Scenes 36 and 37
I got ready to start Part Three.
After reading my first draft, I decided something dramatic to reveal as I swung into Part Three.
My problem? My MC goes through Part Two using two assumptions which are false. Nor can my reader know.
Part Two, with Scene 35, ends with her still gripped by those wrong assumptions. Then, in Scene 36, I wanted her villain / love interest to learn, along with my readers, that she is safe. As part of that, her assumptions are shown to be false.
I wanted Scene 37 to occur within hours after Scene 35. But, if her villain / love interest is hundreds of miles away, how could this timeline work?
No simple answers popped up. Miscommunication and false information are keys to my story. And, if I alter everything for this event, then I might ruin other parts of my story.
And, in truth, I’ve already made some changes to allow key information to show up hundreds of miles away. My MC’s people use magic. Not strong magic, but just enough that they can send simple thoughts through dreams to other people, but their system isn’t perfect and can lead to mistakes.
I considered smoke signals. Then someone suggested semaphore towers. And I discovered Napoleon used them. French armies used them to signal Napoleon’s victory at Vienna. That news arrived in Paris 30 minutes after he won!
I wanted to use this in my story. I tried dropping in lines here and phrases there. But, is that really enough? If parts of my story turn on this system, I should properly introduce this Jaeni answer to magic. That means several paragraphs early on. And, just as important, I need to maintain story credibility and prevent ripples through my story which force me new changes.
Scene 36 (May 25th)
I had planned Scene 36 as my second scene in Part Three. But, I decided to I would use it lead off. In turn, I changed Scene 35 to include a one word reveal, so her thoughts in Scene 36 would make sense. I hope I won’t be accused of cheating.
I wrote Scene 36 as contemplative. My choice drastically changed my scene content. I trimmed much of my original scene and focused on only one part. I stayed true to Rosenfeld’s suggestion that I reveal nothing new. But almost everything she ponders comes out of that one word question that ends Scene 35.
Scene 37 (May 26th)
When Scene 36 moved up, so did Scene 37. I used Dialog as my template. I trimmed 1/3 of my original scene. While I regret losing descriptive material, I think I narrowed my new scene down to its essence. Long shadows will lean out from that scene into the rest of my story. I used Rosenfeld’s big reveal to complicate my MC’s life.
How Am I Doing?
I’ve written 63,549 words now. That puts me 63 words over in Part Three. If I can hold to 1,500 words per scene, I will have 3,000 extra words when I get done. But I’ve got two major battles looming in this part, and I suspect I’m scene starved. So, I will save every word I can scrape up. If I cannot stay in my budget, I will to cut scenes in Part Three. That I would hate to do.
With my new math, I have 41 of 78 scenes written. Scenes 36 and 37 are transition scenes as my MC faces new and different dangers. My writing feels different. And starting to get that edge of my seat feeling.