I find it so interesting--the idea that from the time we were young weve projected what weve

learned into our later experiences--so much that we never truly live in the moment. In most
school systems, weve been trained to write through this idea of projection, and address main
ideas as opposed to explicit details. The details to our writing were always considered support to
the central concepts. For example, in the past Ive only written precise descriptions while
explaining instructions or anything of that nature. Yet, to write in scene, to make the audience
live through our senses, we must also do this.
In this course, we have consistently explored strategies to better our scene-writing. Weve read
articles and chapters depicting different ways to do so. Butlers piece, chapter four, Cinema Of
The Mind, highlighted the idea of writing fiction as if one is directing a movie. Fades, cuts,
slow and fast motions...these are all aspects of this strategy that place the audience into a writers
world. This strategy, specifically, helped me develop my writing, and stray away from writing
through exposition.
My first example is part of my third draft of my Lyric. It describes myself, looking into a mirror,
and having a memory about when I was younger. Here is the transition:
My brown eyes squinched, becoming more narrow. The brows above them faded, losing their
shape and fill. My nose shrunk, and my lengthy golden brown locks shortened. A beauty mark
on my left cheek became surrounded by a much fuller face, no longer camouflaged by makeup.
The same beauty mark, but now of a raw and virtuous child. She wilted into fetal position,
situated on the lowest step.
This is a portion of my second draft of my Lyric, in which I tried to convey a flashback by
placing two scenes next to one another:
Erins athletic body pressed on the thick, splintered doors. Thwack. Her frame stumbled
forward as the doors gave, nearly causing her to plunge onto the unswept floor.
Thanks for the help, guys! she directed over her shoulder. Alison hoisted her right foot
upward, kicked the opposite door inward, and for a moment the world moved sluggishly. Their
mouths locked, and soft gusts of air came through their nostrils; chests rising and falling.
A man dressed in uniform appeared in the door frame, projecting earthy shades of greens, greys,
and browns.
What are some of the strategies that helped you develop your scene-writing over the past five
weeks? Provide examples from your narratives, and how you plan to use these new skills in the
future. What are you taking away from this change in your writing?

Samantha Emerson 6/24/2016 4:18 AM

Comment [1]: Dissolve- The dissolve
was used to create a time change effect,
using the same person but in two different
time periods.

Samantha Emerson 6/24/2016 4:23 AM

Comment [2]: Slow motion- The slow
motion was used to indicate some drama
and thought-- The emphasis was
supposed to be placed on what was
behind the door-- leading to the following
cut/transition.
Samantha Emerson 6/24/2016 4:27 AM
Comment [3]: Cut- This is a completely
different narrative which was supposed to
be connected to the previous narrative
through the cut/transition. Both moments
pertained to a crucial moment revolving
around a door.