was it William Faulkner that said that each scene either had to reveal character or move the story forward (and in some cases both I think?)
Interesting to read others thoughts here about what defines a pulse - and just what it's purpose is.
In scene structure for filmmaking, writers and directors (and actors obviously) understand and an…
was it William Faulkner that said that each scene either had to reveal character or move the story forward (and in some cases both I think?)
Interesting to read others thoughts here about what defines a pulse - and just what it's purpose is.
In scene structure for filmmaking, writers and directors (and actors obviously) understand and analyze a scene in terms of "beats". A scene could have any number of them, but by the end of the scene things have changed and are now pointing in a new direction
I'm trying to be careful not to assume that works the same way with short stories, but it feels similar, in a way, to the notion of George's "pulses". Here maybe the pulse is the entire thrust of the scene, and not the individual beats of story within a scene.
Both terms call to mind a heartbeat, one leading and propelling us to the next thing, keeping it flowing, keeping us interested. Also, a pulse for me not only propels the story forward, introducing question and answer pattern that happens on a subconscious level about character, story (George's bowling pins) but the main thing for me is the feeling it instills (he says at the end of this pulse that he'll get along with the cossacks, but will he? anxiety, fear) For it to effectively "pulse," you have to feel something, if the entire story is going to resonate. We may not know why exactly on an intellectual level, but we've felt it.
was it William Faulkner that said that each scene either had to reveal character or move the story forward (and in some cases both I think?)
Interesting to read others thoughts here about what defines a pulse - and just what it's purpose is.
In scene structure for filmmaking, writers and directors (and actors obviously) understand and analyze a scene in terms of "beats". A scene could have any number of them, but by the end of the scene things have changed and are now pointing in a new direction
I'm trying to be careful not to assume that works the same way with short stories, but it feels similar, in a way, to the notion of George's "pulses". Here maybe the pulse is the entire thrust of the scene, and not the individual beats of story within a scene.
Both terms call to mind a heartbeat, one leading and propelling us to the next thing, keeping it flowing, keeping us interested. Also, a pulse for me not only propels the story forward, introducing question and answer pattern that happens on a subconscious level about character, story (George's bowling pins) but the main thing for me is the feeling it instills (he says at the end of this pulse that he'll get along with the cossacks, but will he? anxiety, fear) For it to effectively "pulse," you have to feel something, if the entire story is going to resonate. We may not know why exactly on an intellectual level, but we've felt it.