Chuck Wendig & Cause/Effect
…the complications of each scene result[s] in the one following — therefore, a thing happens. But, the opposite occurs. Because of, indicating consequence. But never merely: and then.
The Kick Ass Writer
by Chuck Wendig
When I first began to write novel length stories, I struggled a lot with pacing and flow. I was consistently told that my work felt meandering, that there was no drive through the plot, that characters lacked agency, and a whole host of other valid criticisms. I could tell as well that my stories weren’t flowing the way I wanted them too, but I couldn’t figure out what I was doing wrong.
An editor I was lucky enough to work with enlightened me one glorious day by explaining that my scenes where just that — discrete, separate moments, placed next to each other narratively but with no driving link actually stitching them together. They were great scenes! By themselves. But why one lead to the next and then to the next was totally unclear.
I was and then-ing.
My writing levelled up that day. You can’t just string moments together in a story and expect the reader to follow along. You have to give them a reason, a propulsion, a flow to coast on. Cause and effect. Why does this scene lead to the next? Usually it is one of the three connecting thoughts that Wendig has provided us with above: therefore, but, or because of.
LESSON LEARNED: WHEN PLOTTING, YOU SHOULD BE ABLE TO CONNECT EACH SCENE WITH SOMETHING MORE THAN “AND THEN”. IF YOU CAN’T, A REWRITE IS IN ORDER!