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Story JANUARY 20, 2013 by K.M. WEILAND | @KMWEILAND 35 COMMENTS

Structure
STRUCTURING YOUR NOVEL

Character
Arcs Structuring Your
Archetypal
Characters
Story’s Scenes, Pt. 7: The
Scene Three Building Blocks of the
Sequel
Structure Welcome! I'm K.M. Weiland, the award-
winning and internationally published
author of acclaimed writing guides, such as
Common Structuring Your Novel and Creating
Writing
Character Arcs. I write historical and
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speculative fiction and mentor authors.
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Storytelling The sequel*—the second half of the
Lessons
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From Scene—sometimes gets
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shortchanged. But it is every bit as Subscribe To Blog Posts RSS
important as the scene, since it
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allows characters to process the
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from qualifying
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reaction half of the action/reaction
pairing. This is where introspective
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character development occurs.
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Even though we all recognize the importance of these things, authors still AND GET A FREE E-BOOK

sometimes end up hacking sequels out of their stories in the mistaken belief
they’re bad Scenes simply because they contain no outright conflict. No
doubt, you’re familiar with the common wisdom that every Scene (nay, every
page!) must offer conflict. But this is misleading at best.

Sequels may well contain conflict in some form, but they’re more likely to
offer tension (i.e., the threat of conflict). This is an important distinction.
(affiliate link) Outright conflict on every single page can create a relentless pace that
exhausts readers and leaves no time for important character development.
Even the highest of high-speed stories must take a break from the conflict and
slow down, even if microscopically, for the sequel.

Sequels can be full-blown set-pieces that take place over dozens of pages or Email

even multiple chapters. They can also be limited to a paragraph or two of

summary. We’ll get into that more when we discuss Variations on the
Sequel. For now, suffice it that the sequel is every bit as important as the CAPTCHA
flashier scene and deserves just as much attention.

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(Graphic by Christine Frazier of Better Novel Project.)

The 3 Building Blocks of the Sequel

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Like the scene, the sequel can be broken down into three segments that work
together to create a rise and fall of drama. Every sequel should include
the following:

Building Block #1: Reaction

Ultimately, reaction is what the sequel is all about.
This is a time for introspection, a time for
characters to process what they’ve just experienced
in the preceding scene, and a time for the author to
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share those reactions with readers. Without a focus
on reactions, characters become emotionless
automatons, moving through the story’s conflict Structuring Your Novel
(affiliate link)
CHECK OUT MY without ever responding in relatable human ways.
LATEST NOVEL!

For Example: Let’s say your character is that

(affiliate link) same POW who tried to bribe a guard to leave his post, only to have the
guard throw him into solitary confinement. This is a relatively big
disaster with which to end a scene, and you can bet your character will
2014-2022 react in definite ways. Whether he’s kicking and screaming as he’s
dragged to the cooler, putting on a calm façade while mentally beating
himself up for his stupidity, or threatening the guard right back—his
FREE E-BOOK reactions are important not just in knocking over the story’s next
domino, but also in revealing integral factors of his personality.

Too often, inexperienced writers unconsciously skip this part of the sequel
without even realizing they’re neglecting it. Because they are so in tune with
their characters, they often expect readers to understand the characters’
emotions and reactions just as easily. Context will usually help the author out,
but don’t skimp on showing readers what characters are feeling.
Currently Free at:
Amazon (affiliate
link) | Kobo | Reactions can be processed one by one throughout the scene, summarized
Apple | briefly, or discussed at length in internal narrative or dialogue. The choice of
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how to impart the reaction will depend on the needs of your story. What’s
important is remembering its significance as a powerful counterweight to the
action in every scene.

Building Block #2: Dilemma

Once your characters have finished their
initial—and often completely involuntary—
reactions to the previous scene’s disaster, they
will be faced with a dilemma. Sometimes this
dilemma will be as general as: “What do I do
now?” Usually, it will be more specific:

“How do I undo the disaster?” Structuring Your Novel Workbook

“How do I keep my best friend from
finding out the truth?”
“How do I avoid the truant officer when he comes after me?”
“How do I apologize to my daughter before she leaves?”

For Example: In the case of our POW, his dilemma might be twofold:
“How do I get out of the cooler and/or keep from going insane while in
the cooler?” and “Once I get out, how can I proceed with my escape plan
now that I know the guard can’t be bribed?”

The dilemma is the setup for the next scene. The disaster at the end of the
previous scene created a new round of problems for the characters. During
the sequel, they will analyze these problems so they can appropriately tackle
them in the next scene.

Often, the dilemma will be obvious from the context. For example, if the POW
character is moldering in solitary, his problem is pretty obvious. But don’t be
afraid to state the dilemma outright, particularly for your own benefit in early
drafts. You can always cut it later if it’s going to hit readers over their heads
with its obviousness. You want to keep your sequels just as focused and
deliberate as your scenes.

Building Block #3: Decision

The dilemma leads right into the sequel’s final part—the decision. In order to
formulate a goal for the next scene, characters must figure out a solution
(whether it’s right or wrong) to the dilemma. In essence, the dilemma is a
question, and the decision is the answer.

This is the planning stage of your story. The characters return from their
massive defeat on the battlefield and head back to the drawing board. They
pore over maps, discuss the mistakes of the former battle, and figure out what
to do next. Compared to the battle, this will be a quiet Scene, but because of
its importance and its high what’s-gonna-happen-next quotient, readers find
sequels like this every bit as intriguing (sometimes more so) than the
race-’em-chase-’em scenes.

For Example: Our captured POW will enter his concrete cell, sit down,
and start thinking furiously. His particular sequel will probably last days,
or even weeks, since he can’t take action until he gets out of the cooler.
He might make and remake his decision a dozen times over if doing so
serves the purpose of the story. By the time the sequel ends and he is set
free, he needs to have decided upon his next move—whether it’s
punching that nasty guard in the face, trying to bribe a different guard,
or even giving up on the escape attempts altogether. Whatever his
decision, it will bridge the sequel with the next scene and set up his new
goal.

Can you see how integral your scenes and sequels must be to each other?
They are connected in such a way that to eliminate even just one would
destroy the seamless evolution of the plot. The disaster creates a dilemma, the
dilemma forces the character to decide what to do next, and that decision
informs the next scene’s goal.

The Sequel in Action

Let’s take a look at the sequel, as a whole, in action in
the fourth and fifth chapters of Jane Austen’s Pride &
Prejudice. These chapters take place right after the
dance at the Meryton Assembly, where Darcy rejected
Elizabeth as a desirable dancing partner.
Pride & Prejudice by
Reaction: General discussion of the dance by all Jane Austen (affiliate
link)
the involved characters.

Dilemma: How should Elizabeth respond to

Darcy’s prideful rejection of her?

Decision: To avoid Darcy.

Sequels can be more difficult to spot and break down, since they often occur
much more quickly than scenes, and also because their parts are often
mashed together or implied instead of stated outright. Once you understand
the components of a successful sequel and its importance in balancing and
driving your story, you’re well on your way to writing a smashing second half
to all your Scenes.

*For the purposes of this series, “Scene” with a capital S will refer to the
scene in general (which can include in its definition the sequel). I’ll use a
small s and italicize scene and sequel to refer to the two different types of
Scenes.

Stay tuned: Next week, we’ll talk about Options for Reactions in a Sequel.

Complete Series:

Part 1: Mastering the Two Different Types of Scene

Part 2: The Three Building Blocks of the Scene
Part 3: Options for Goals in a Scene
Part 4: Options for Conflict in a Scene
Part 5: Options for Disasters in a Scene
Part 6: Variations on the Scene
Part 7: The Three Building Blocks of the Sequel
Part 8: Options for Reactions in a Sequel
Part 9: Options for Dilemmas in a Sequel
Part 10: Options for Decisions in a Sequel
Part 11: Variations on the Sequel
Part 12: Frequently Asked Questions About Scene Structure
Further Posts About Scene Structure

Wordplayers, tell me your opinions! What happens

in your latest sequel
sequel? Tell me in the comments!

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About K.M. Weiland |

@KMWeiland
K.M. Weiland is the award-winning and internationally-published author of
the acclaimed writing guides Outlining Your Novel, Structuring Your Novel,
and Creating Character Arcs. A native of western Nebraska, she writes
historical and fantasy novels and mentors authors on her award-winning
website Helping Writers Become Authors.

Comments

Meryl says
JANUARY 20, 2013 AT 4:47 PM

Great post
Sequels are really important, we should not dread they could be
boring

REPLY

K.M. Weiland says

JANUARY 20, 2013 AT 4:53 PM

Exactly. In fact, sequels can be some of the most fun Scenes to write.
The opportunity for character development is never higher than in
the quiet, introspective moments of the sequel.

REPLY

Meryl says
JANUARY 20, 2013 AT 4:55 PM

Oh, I agree! It´s then when your character is emotionally there and
becomes more real

REPLY

K.M. Weiland says

JANUARY 20, 2013 AT 7:07 PM

And, really, good fiction = good characters = emotional resonance.

REPLY

Meryl says
JANUARY 20, 2013 AT 7:09 PM

So true. We all love a good story, but what´s better than a character
you can feel deep within?

REPLY

Liberty Speidel says

JANUARY 20, 2013 AT 8:24 PM

In my current sequel (which I’m ALMOST done with–been staring it

down for WAY too long!), my MC is contemplating how he keeps
screwing things up with his client (they’re both attracted to the other,
but come at it from completely opposite ends of the moral spectrum),
then shifts into deciding what needs to be done next on the case.
There’s some footwork going on, but it’s mostly a quiet scene–err,
sequel. Definitely some tension when the client shows up since he
hasn’t decided what to do about her yet.

While I love to write my action-packed scenes, I do enjoy writing the

sequels probably best of all. It provides a nice balance overall to any
story to have properly placed and paced sequels.

REPLY

K.M. Weiland says

JANUARY 20, 2013 AT 8:38 PM

I always enjoy sequels. As a writer, I need that time to figure out what
my characters are really feeling about situations. The sequel is the
single most important factor in creating a logical and linear plot.

REPLY

Rich Weatherly says

JANUARY 20, 2013 AT 9:56 PM

This makes me feel like I’m on the right track. Sorry if it sounds like
I’m bragging.

REPLY

K.M. Weiland says

JANUARY 20, 2013 AT 9:57 PM

That’s a good thing! Author’s instincts are usually pretty accurate.

Sometimes it’s our brains that get in the way, so if e can realize we’re
on the right track, mentally, it’s much easier to *stay* on the right
track.

REPLY

Ruth Douthitt says

JANUARY 21, 2013 AT 6:56 PM

THANK YOU so much for this!! I am writing the sequel to The

Dragon Forest right now. The main thing I wanted in the sequel was
a tough decision my main character would need to make. This choice
would project the story forward!

After reading your post, it seems I am on the right track. Whew!

THANK YOU again!

REPLY

K.M. Weiland says

JANUARY 21, 2013 AT 7:08 PM

I’m sure you’re all over this, but, just to be clear, I’m talking about
the sequel as the second half the Scene, not the follow-up to a
previous book. In the case of a sequel book, the same rules apply as
in normal story structure.

REPLY

JustSarah says
JANUARY 22, 2013 AT 12:31 AM

And think thats the part I forgot in my miniature plot outline. I’m a
little unsure of how to go about sequels, as I’m not sure how long it
should be for something that’s suppose to be an epic poem.

I’m not really going for an “action adventure” per say, though it has
action scenes. I’m going for more of a thinking or introspective story.
Would this require shorter action, and longer sequels? I’m not sure.

REPLY

K.M. Weiland says

JANUARY 22, 2013 AT 1:48 AM

Sequels can be as long or as short as you want them to be. Most

action stories will focus more on scenes, thus ramping up the speed.
On the other end of the spectrum, you have literary stories that spend
a lot of time on sequels and convey a more leisurely pace. Just think
about how much emphasis you want to put on your character’s
reactions vs. their actions. For example, if you know a particular
reaction is going to end up being especially important, you’ll
probably want to devote a longer sequel to it.

REPLY

RF Monroe says
JANUARY 23, 2013 AT 2:44 AM

Thanks for the free lesson on writing. My pattern is to outline each

chapter or scene, and now I’m adding the three elements of a sequel
to it. With over 20 years as a non-fiction writer, this kind of
information is just what I need to learn new good habits.

REPLY

K.M. Weiland says

JANUARY 23, 2013 AT 5:04 PM

If you’re already an outliner, fitting in proper Scene structure usually

feels very natural. If anything, it makes the outlining process even
easier!

REPLY

JustSarah says
JANUARY 24, 2013 AT 9:35 PM

A lot of it might also depend on if its a political thriller over an action

thriller too I guess.

REPLY

K.M. Weiland says

JANUARY 24, 2013 AT 9:46 PM

Pacing is always a big factor in what makes up a genre. Reading

broadly in your chosen genre is the best (read: only) way to really get
a sense for what’s appropriate and what’s not.

REPLY

JustSarah says
JANUARY 25, 2013 AT 10:32 PM

So reading in Bizarro, Military Sf, Biopunk, Anime Novels,

Contemporary, & Epic Poetry might be beneficial.^^

Well actually, its more like the battles themselves aren’t shown,
rather its something like how some parts of Italy are set up. You don’t
ever really see the the old sacking of Rome, but you feel the after
effects of it in the underground ruins.

Its hard to explain unless your familiar with Brutalist architecture.

REPLY
 K.M. Weiland says
JANUARY 25, 2013 AT 10:44 PM

Definitely beneficial. And it’s still beneficial to read genres you’re not
writing as well. Every story can teach us something.

REPLY

JustSarah says
JANUARY 26, 2013 AT 2:10 AM

Well especially if it might have some features. Even though I don’t

write romance, you never know when reading said book will have
with a subplot.^^

REPLY

K.M. Weiland says

JANUARY 26, 2013 AT 10:54 PM

Exactly. The broader our reading habits, the more depth we have to
draw on in our own writing.

REPLY

Jackson says
MAY 16, 2015 AT 6:30 AM

Contextualising what I’ve absorbed here into my own stories scenes –

I become a little unsure:
Say my characters got a scene goal (for that day), she’s going to go
about achieving that goal through action and is going to come across
conflict (e.g. A larger wave than expected) there’s going to be a quick
moment of reaction, dilemma and decision there? (eyes widened,
contemplated going for it or doing her best to avoid it and not get
pummelled – she decided to…) then the disaster…

As you said “reactions can be processed one by one throughout the

scene” – in the middle of action where she’s not going to stop, and
the author doesn’t want to slow down the scene too much – would
the reaction be a one line to a short paragraph of thought, perhaps?
And then the sequel half of the Scene coming after.

Having trouble switching my internal censor off, but at the moment

I’m working on a day which I’ve broken down into a morning and
afternoon as action scenes, with a sequel in between, then a longer
sequel taking place in the evening.
I’m thinking the disasters are as low-key as wiping out on a wave,
deciding to try again and again until a larger wave or a bad wipeout
or, etc. something closer to the word disaster comes and – forces the
character to stop… Going into a sequel.

Any thoughts would be much appreciated

REPLY

K.M. Weiland | @KMWeiland says

MAY 17, 2015 AT 1:23 PM

You’re totally on the right track. Every action (however small)

in a scene will require a reaction, so you’re going to have
action and reaction volleying back and forth from paragraph
to paragraph (or even sentence to sentence) in each scene. But
the overall scene structure will focus on the bigger disasters
that stand out and obviously move the plot forward.

REPLY

Dominic says
AUGUST 24, 2015 AT 9:24 AM

This series of articles is absolutely the most practical, useful thing

I’ve ever read about writing a novel. Brilliant stuff!

REPLY

K.M. Weiland | @KMWeiland says

AUGUST 24, 2015 AT 1:16 PM

That’s great to hear! So glad you’re finding it useful.

REPLY

Joseph Bendoski says

AUGUST 24, 2016 AT 1:09 PM

I’ve read a lot about scene and sequel, written detailed outlines, and
blogs listing page numbers in books, but I don’t think anything
explains it as clearly as your Harry Potter graphic. Great job.

REPLY

K.M. Weiland | @KMWeiland says

AUGUST 29, 2016 AT 10:34 AM

Credit for the Harry Potter graphic goes to the fabulous

Christine Frazier.

REPLY

Lacy says
AUGUST 18, 2017 AT 9:07 PM

Hey there K.M. You mentioned that the sequel could play out over
multiple scenes/chapters. Could it play out like this?

Scene 1: Father and Son disagree on something important.

Sequal 1:(New scene) His father convinces(passive-aggressively) the
son all is well, and he has nothing to worry about – the son believes
him because it is part of his lie.
Sequal 1a:(New scene) They’re at dinner, and the father brings up the
disagreement, but this time isn’t passive-aggressive but is flat-out
degrading to his son(Ghost), and even though his son is upset over
the way he is being treated, it ends with him agreeing that his father
is right.

REPLY

K.M. Weiland | @KMWeiland says

AUGUST 19, 2017 AT 9:46 AM

Yep, that definitely works.

REPLY

Viv says
JANUARY 29, 2018 AT 10:57 PM

I am reading your book now about scene and I found it extremely

useful. I am so glad I found your blog as I am getting a bit confused. I
understand about ending scenes with decisions that lead to the next
scene, but how does that applies to the ending scenes of the book,
when the villain has been revealed and lovers finally getting
together? Does the “Decision” part ever ends? Does “let’s both move
to LA to be together” count as a decision for a scene?

REPLY

K.M. Weiland | @KMWeiland says

JANUARY 30, 2018 AT 8:40 AM

The end of the book is a special case. It can be nice to end with
the characters’ forming a new goal, indicating the continuance
of their lives after the story. But it’s not necessary. The final
scene can end simply with their reactions to the previous
events.

REPLY

Ryan says
JUNE 19, 2019 AT 1:14 PM

Reading this made me realize that Avengers: Infinity War and

Avengers: Endgame, though they are full-fledged stories, are also just
big scenes. I think that’s the case anyway…

REPLY

Trackbacks

Writing “In Scene:” Part 2 | A New Fiction Writers Forum says:

SEPTEMBER 2, 2013 AT 2:42 AM

[…] series on writing scenes. I highly recommend it. She devoted a lot of space to the concept of “scene and
sequel.” What this means in basic terms is that the first half of the scene should contain action […]
REPLY

Force: Name & Age | Dana Derville says:

JUNE 19, 2015 AT 2:03 AM

[…] This serves double duty, since the absence of the baby can suggest conflict in the couple: Stella wants
kids, and her husband isn’t so eager, because he has demanding career and little time for distractions. This
also gives us a nice sequel. […]
REPLY

Writing Scenes (Part 1) – The Importance of Cause and Effect says:

FEBRUARY 22, 2016 AT 5:18 PM

[…] Whatever emotions your protagonist feels, they will now face a dilemma. According to author K.M.
Weiland, on her blog post ‘The Three Building Blocks of the Sequel’: […]
REPLY

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