Scene Breakdown: 6 Things Jane Austen Does RIGHT (How to Write a Great Scene)
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- čas přidán 19. 06. 2024
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You want to learn how to write great scenes?
Study the masters!
In this video, we break down Scene 1 of PRIDE AND PREJUDICE by Jane Austen to look at why she is a master storyteller.
Read the Scene - timgrahl.notion.site/Pride-an...
Top 10 Scene Writing Mistakes - • Top 10 Scene Writing M...
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00:39 - Minimum Viable Exposition
01:44 - Expertly Crafted Dialogue
04:25 - 5 Commandments of Storytelling
07:40 - Protagonist as Responder
09:06 - Objects of Desire
09:50 - Consistent Characters
🙋♀️ Have a question or topic for a future episode? storygrid.com/youtube-questions - Jak na to + styl
Jane Austen is a pillar. Pride and Prejudice is my favourite and that opening line is just iconic !
This is the single best explanation of how to write a good story! You always get the same kind of feedback (like 'describe, don't explain'). But this is more fundamental: just showing how a good scene develops in practice, where most writing tips are already in place and don't have to be repeated explicitely.
When I'm going back to my writing, I can be relieved that the framework of my writings is already in line with this advice, but still can be enhanced. Even more important, now I'm much closer to have the tools to actually being able to be more certain about what I write. Since before, I was always sensing something might not be complete. But now I can really check for holes of the story arc throuhgout my writing.
Although we later discover that Mr. Bennet has already been to see Mr. Bingley. His wife constantly irritates him and he enjoys teasing her.
Thank you Tim, the Aristotle to Coyne’s Plato. The lessons on this channel are so good it’s not even funny. And compared to Authortubers at large, this channel is thee picture of education being taught to people who wish to learn. Its like boom. There it is. But I will say you probably think beginners could learn a lot from these lessons but I tell you these are for people who’ve been learning a long time already. Its like I’ve been learning from paintings that all convey knowledge but now someone is articulating the knowledge into words that I can actually just hear and know.
Good video - I took the 5 Commandments of Story Telling class and remember this. I even purchased more materials like the 5 Commandments Analysis for The Hobbit. On my shelf, I have a copy of "The Threshing, a Story Graid Contenders Analysis Guide" - A title that you are familiar with!! :) After this video I may read your book, The Threshing, next. It would be great if you produced a list of the classics we SHOULD read, as opposed to reading any random classics that may not be as good for us. I did find some on Amazon just now. This stuff really takes some practice.
I feel like “remember” is the keyword for this channel. Everything is explained in such a way that I feel myself memorizing it as I’m hearing it.
Informative and strong example using Austen. Excellent presentation. Concrete and succinct.
Chapter 2 switches the first scene in such a satisfying way. :)
The video is a clear demonstration that you have integrated the material quite well in relation to the Story Grid. Kudos! I appreciate that you provided the example as readable link, as well. Overall, the video is a marvelous walk through of scene structure and a demonstration of the components that make it effective 200 years later. I hope you will provide similar examples of how BTS and ATS are worked into a scene in explicit ways; however, I also understand that this might be implied within a scene as well.
Your advice and explanations are simply the best writer content I have met with on YT. Thank you
Outstanding content. Question: many YT gurus tell you to "pnly include what the reader needs to know!" in those crucial first few scenes. But how do you decide what the reader needs to know?
Fantastic, relevant question. I'll be addressing that in a future video.
@@StoryGrid awesome thanks. Much appreciated. Looking forward to it.
That's still the hardest question, always. But from experience: It's less then one thinks. A sense of place, a sense of time, the goal of the main character for the scene. Not so much anything else. Like when you meet a person in real life.
Apparently readers only need to know what drives the story forward, every sentence must mean something relevant to whatever comes later
Good examples and reminders. Thank you.
Story Grid: "Jane Austen doesn't infodump."
Me: "Ah - I guess we're not in Sense and Sensibility for this example!"
But the reason there is such an amount of conflict in this dialogue are the characters themselves and their relationship. In fact, this is why this dialogue is iconic - because it "shows" the Bennetts so well. That does not mean you need to make every dialogue an argument.
You make it sound like the protagonist should always be the responder and this is NOT always the case. What about Elizabeth and Mr. Darcy's First Meeting at the Meryton Assembly?
I took this to mean that the protagonist of the scene is the one who, when all is said and done, is left with a problem, with an off tilt world, if you wish. Which means you can have more than one protagonist in a scene, just like you can have more than one in the full scale work.
About the meeting at the Assembly Hall : Elizabeth is left with a problem, Darcy is just Darcy. She has now to contend with and actively work to counter the idea that she is just too plain to have a quality partner.
At the end of the day most of their interactions are exactly like the scene between Mr and Mrs Bennet, if you think about it. Each time only one of them is left to wonder what it all meant.
The first proposal has two protagonists though 😁
How many views lead to the buying of the book 'Pride and Prejudice'?
I have to disagree on the protagonist being always on the reactive side. For the whole book, sure they can react to a crisis that turned their life upside down.
If it’s every scene, it gets stale really fast especially when there’s only one narrator.
What are beat breaks?
You call this piece of dialogue an argument. What makes it an argument?
Are you saying the protagonist shouldn't be driving the action?
The way I see it is the protagonist drives the action by making the decision at the crisis point- they don't drive it by speaking first. Having them speak second is a way of making it so that life is coming at them, so in fact they do lack control over a lot of it's aspects. The main control they have is the decision they make. This is to simulate how life feels when something happens and we feel out of sorts. Beat breaks are a piece of input and output- in dialogue this is usually someone speaking and someone responding. It can also be someone speaking and someone else doing an action (e.g. body language). I would say it isn't really a full on argument but there is strong conflict- she is trying to get him to do something and he wont agree to it. I was in the story grid guild for a year and this is what I picked up. Hope this helps.
You're really treating us like we're stupid. They're speaking English and you're translating that into English for us. We're not as idiotic as you think we are.
You assuming I think you’re an idiot says more about you than me. - Tim
Could you translate that English sentence into English for me, and use small words, I'm pretty stupid.
Is it really necessary to insert an ad every 2 minutes?