How to separate scenes in a short story?
It depends. Most of the time short stories are only one scene. (Scene does NOT = setting. A short story could be two people walking about town or at work, going from the work station to the meeting to the loading dock, etc.) And, no, time change doesn't make for different scenes either. If the story tells of a long drive followed by the people going into a hunting lodge, you don't simply make a paragraph break, because they stopped talking in the car first. Just go on to the next paragraph with "Later that day" or another connector. So, since you're getting no useful information on here, I recommend you do the obvious and learn what a scene is, so you can tell whether your next paragraph needs a paragraph break or not. The only time I've seen short stories need breaks in them is when they were the old fashioned definition of a short story--7,000-15,000 word stories. Since you're asking on here, I'm guessing a drabble or something less than 3,000 words, so there probably is no reason to break.
Help me describe a romantic scene in a story I'm writing....?
It is very difficult for any liberated author to simply dictate a specified outlet toward any whimsicality of the imagination, especially romance, so basically, you would have to take complete control of that. Your number one priority should be to use vivid imagery, regardless of the perspective it is written in.You didn't really mention in what form you wanted it, or who the main character was, but assuming it is in third person, vindictive first person, or alternating first person, I would suggest you isolate speed in which it happens. For example, a lot of authors who feel uncomfortable in their ability to describe things very well, or successfully do justice to a beautiful idea, try the following statement- It all happen very fast, or the next few events were a blur. My suggestion is to simply increase the provocation and dramatic intensity of the scene with dialogue, backed up mainly with personal insight if it is a main character talking, or a fully bias account from an alternate source.
What are the coolest movie scenes and stories where one hero singlehandedly thwarts a much larger enemy force?
Commando: Retired colonel John Matrix is kidnapped along with his daughter by a former member of his unit who now works for a twisted warlord. Matrix proceeds to take out the warlord and his entire army.Die Hard: Bruce Willis thwarts the terrorists who have taken over the Nakatomi building.Kill Bill Vol. 1: The Bride thwarts the entire Crazy 88 gang, along with O-Ren Ishii and her many guards / henchmen.The Matrix: several scenes; recurring theme.The Road Warrior: Mad Max comes to the aid of a group of survivors who are being terrorized by a band of barbaric marauders.Taken: Bryan Mills kills a ton of bad guys to get his daughter back.Under Siege: Casey Ryback thwarts the terrorist group that has taken over the battleship.
What stories work for a one room/scene play?
one room , 3 character play , the play is FANDI by SHANKAR SHESH in this play, one room,no costumes ,no makeup and the character are1) wadour ( jail police)2) wakeel ( advocate )3) fandi (the culprit)in this play, fandi character has to play 5 character more other than fandi itself and the wakeel (advocate) has to play 3 character more other than wakeel .believe me its not a easy play changing character in seconds its not an easy task. If you want to learn what's acting actually means work.for this one and if you find it's boring come to I will tell you what actually this scripts is one of the best script to know what actually acting is.l
Cute / Romantic / Friendly scene ideas for a story?
You just need to get some inspiration going. Sorry, but I'm not going to give you actual ideas, just ways to help you think of some! You should take a walk outside, listen to music, read books If it's nighttime, you can just stay up in bed and think. You can also take past situations you've had, and maybe dramatize it and change/add/remove a few details. If none of those work, just think of one essential thing you need for a story (setting, characters, plot, resolution) or a scene you want in it and work it from there. I like to play story ideas in my head like movies over and over, so then other things will start coming. For example, think of one scene you FOR SURE want in the story. Work around it. Add things you want and then fill in the rest later. You don't have to write a story in order, as long as it comes together and makes sense in the end. Always keep something to write with and on for when you get an idea. Good luck! Hope I helped!
Hamlet, Act 1 Scene 5? Please help.?
Hamlet, Prince of Denmark. Study Guides: http://www.shmoop.com/hamlet/ http://nfs.sparknotes.com/hamlet/ (No Fear Shakespeare) http://www.litcharts.com/lit/hamlet/ http://www.pathguy.com/hamlet.htm http://www.bookrags.com/notes/ham/ http://www.clicknotes.com/hamlet/index.html http://www.sparknotes.com/shakespeare/hamlet/
When it comes to fiction writing, how do you end one scene and flow into a new one?
You just hit return once, then click on Header 1 and type the chapter title for the next chapter.Yes, it is that easy - you just end it.Now, I’m being pedantic - my point is, you can end it however you want. The reason is that our brains, interestingly, understand “punctuated reality” as a natural way of building the world. I learned this while writing my book on VR. (It’s why teleporting works so well as a type of movement).It’s also well documented in “Kludge” and “Brain Hacks” (books that will scare you - we aren’t quite as there as we think).In other words - if you end a scene, and the reader flips a page, and starts reading the next scene - their brains will “put it together” and know they are in another scene.It is an excellent ability that you can exploit to quickly move the story along. For example, you can end the last scene on a cliffhanger; the reader will naturally flip to see what’s next.The larger question, of course, is “How do you know the scene has ended?”THAT is more difficult. A scene is usually there (except in excessively cute literary fiction) to drive the story forward. Any scene is a “dude with a problem”. (dude meaning person, or object). Conflict drives our consciousness as well as our fiction.If you aren’t sure if a scene has ended, it’s probably because it hasn't accomplished anything - or conversely, not clear if the dude with a problem has failed.Instead of worrying about moving to the next scene, check and see how THIS scene is progressing. Is there clear conflict or is the protagonist just brushing their teeth? (realism is, actually, not terribly interesting). Is the conflict resolved, either positively or negatively?If you get bogged down in wondering how people get from one place to another - don’t be too worried about that; it can be either assumed (there’s that punctuated reality again), or just alluded to, IF it drives the story forward, or reveals character.Bob put his keys on the table as he and Jane walked in.orAs they walked to the crime scene, Jane said “I’m NOT letting you drive again; you didn’t need to hit one hundred going by the school.”“It’s Sunday!”