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Single Character Scenes

edited July 2012 in - Writing Problems
Hi everyone, i was wondering if anyone else struggles a bit with writing scenes where there is only one character. I mean, trying to keep the scene interesting as there is no other character for the scene character to talk to. I have been thinking that maybe I should bear the following in mind, but wondered if anybody else had further tips: making sure the scene is still full of action, so the character is moving; have the character thinking back to incidences which have relevance to the plot; brief flashbacks; and having the character interacting with the setting to show the character's mood or emotions. Would there be any other techniques to think about? Any help would be great, thanks!

Comments

  • edited July 2012
    It depends a lot on what kind of stuff you're writing - long/short/light/dark/serious/funny/romance/mystery/thriller/etc/...

    A character may be engaged in their normal business but sometimes writers dwell on objects/actions in a heavy symbolic way which the reader is yet to realise - or perhaps give the reader the pleasure in inferring it for themselves...

    ...a character might say things to their cat/dog/to the mirror which might be meaningful...

    it depends on what you are aiming at, after all, you know where you are going...the reader doesn't...

    edit
    get the character to do something unusual/out of character/relevant at the beginning of scene and do not explain...until later
  • edited July 2012
    Helen, I read something only recently where a well-known author (sorry, can't remember who) advised it's always best to try to avoid single character scenes for the very reason you started up this thread. Sorry, but as far as additional ideas go, I really can't add more to yours and Bill's suggestions. Good luck.
  • Agree completely.
    But I do sometimes use internal dialogue in this situation- it's a good way of showing character and getting info released in a less obvious way.
  • edited July 2012
    The only solution I have is to use cuts. It doesn't matter what device you use to create dialogue and movement, none will really be as strong as reaction scenes. I'm not saying it won't work, just that it has the potential to stall, bore and maybe lose the reader.

    Using cuts you can quickly jump from the scene to an action scene running parallel in storyline. If the protagonist is locked in an elevator and alone then cut to the rescue team outside occasionally. This gives you action, dialogue and pushes the single character story along with movement. Choose good places to cut. If it starts to feel like sagging, cut just before then. Is the protagonist about to make a revelation? Cut then. Create mini cliffhangers between cuts and this will turn a single character scene from potentially being flat to being one of the most exciting in the book.

    Hope it helps.
  • Although there is only one character in this scene could you perhaps use a flashback or have your character answer a phone? That way it should keep the pace and plot moving.
  • You make a good point ST.
    Though I do think the genre and type of story is the issue- if it's a fast paced thriller or crime story then the cuts you mention would work, but that wouldn't in a romance story for example.
  • Single scenes aren't difficult, and they are required at certain times during a novel as a useful device to slow the story down, but first and foremost you must have motivation for your character, it's what drives the story forward - what is motivating them to either be active, reflective or engaging in flashback?

    Single scenes can be:

    Reflective - character is thinking about events or people that have a bearing on the story, and it might involve a revelation perhaps, but the character is engaging with his or her surroundings.
    Active - character is doing something that must have a bearing on the main story - maybe they're running from someone, hiding, driving a car somewhere, walking, planning their next move etc
    Non-active - The character is alone with his or her thoughts, not active within the scene, and not engaging in flashback or the surroundings. It's just the character with his/her thoughts.
    Flasback construct - Useful to show the character thinking back to events or people, with direct bearing on the plot.

    And of course all the above will depend on the type of story you are writing.
  • edited July 2012
    [quote=Helen]making sure the scene is still full of action, so the character is moving[/quote]

    Agree with Carol and Red on genre and need.As Red points out we do need to have dips in the arc so reflective scenes are useful, though they don't always have to be single character. I took the cue from the quote above when I offered my advice. It seems Helen does want forward motion and action in the scene she's having problems with. My guess is the character is either trapped physically, emotionally or restricted by plot to the scene. She's asking for interactions, flashbacks and other movement devices.

    So this appears to be an active scene, though maybe she'll come on and correct this later. I'm unsure even flashback would work here. If you look at flashback as defined by Red above you'll realise it isn't something to just play with. It is a real structural device. Used in the wrong manner, or too sort and quick and it feels crowbarred in.
  • [quote=SilentTony] If you look at flashback as defined by Red above you'll realise it isn't something to just play with. It is a real structural device. Used in the wrong manner, or too sort and quick and it feels crowbarred in.[/quote]

    I agree with you there. Flashbacks have their uses but are easy to get wrong and ruin the story.
  • Helen - does your character have to be alone for long enough for it to matter?
    If there's no reason for the scene, cut it.
    :)
  • edited July 2012
    I find this thread extremely useful, as I have a potential scene approaching in a sci fi story I am writing, which, although it is only outline at this moment, would entail a character finding himself isolated in a part of a space craft, without contact with his fellow crew members, and without knowing their fate. I have already written one chapter (the first of four that already exist) where all of my characters are in cryogenic sleep, and the chapter centres on the ship itself, it's 'life' as it careers through space, and of the dynamics between it and the computer, which will later manifest characteristics of its own. It has been - and still is - an interesting exercise writing a passage in a story which tells of a situation where ordinarily one might think that nothing is happening. The comments here have already helped me to begin to shape the solo scene for one of my characters, and I feel I have already avoided a few errors. It remains to be seen how it turns out once I have written it.

    Incidentally, although what I have described here may hint of influences of either Alien or 2001 A Space Odyssey, the actual story will be quite different. I'm not saying it will be any good, but it will be different.
  • [quote=JohnWho63]the chapter centres on the ship itself, it's 'life' as it careers through space, and of the dynamics between it and the computer, which will later manifest characteristics of its own.[/quote]

    Ooo-er, John! I wouldn't have a clue how to go about this. THAT is why I don't do sci-fi. I don't read it, I don't write it and I don't watch it!!
  • [quote=Tiny Nell]Ooo-er, John! I wouldn't have a clue how to go about this. THAT is why I don't do sci-fi. I don't read it, I don't write it and I don't watch it!![/quote]

    I have just posted the said chapter on my blog. The story is something of a learning exercise for me, rather than something I would ever intend for publication. Not that it's that good anyway.
  • I'll have a gander... if I can find your blog. Off to the blog thread...
  • Okie dokie. If sci fi is not your thing (genre) I don't blame you if you only read three lines and give up. It's not polished either, although probably not as badly written as 50 shades, it is still very much as first written, and therefore plagued with gaffes. I welcome any feedback though, especially if it's very honest.
  • I quite like a single character scene, especially if I'm putting an unusual character in a mundane scenario, or putting a run-of-the-mill person into something a bit out of the ordinary. Sometimes a reaction can imply a background, as you can contrast what you would have done to the character and then figure out what events led to that decision.

    I recommend Iain Banks' The Wasp Factory - much of the action is the main character in isolation, and it gives a great impression of a very different way of looking at the world.....
  • Thanks everyone, this has been very useful for me. Glad the thread has helped you too, JohnWho63. :) I am going to have my character in isolation for only part of the scene so it is more active. She will be joined by another character later on. I will do it that way, and when it comes to the editing stage, I can see how it reads. Everybody's advice and tips have been very helpful. Delvey, thanks for that, I will take a look at 'The Wasp Factory'.
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