Events and scenes talk

questions
#1

Hi.

Just a query about the quote below (from here):

“So, each Event in a Scene will have a 1,2,3,4 for sequential order, a P,R,C,O, for context, and be a Situation (Universe), Attitude (Mind), Activity (Physics), and Mentality (Psychology).”

I just wanted to clarify this means that Situation, Activity, Fixed Attitude and Manipulation each belong in every scene, rather than just one of them (Situation in one and Activity in another, for example)?

Is anybody able to elaborate on the meaning of this concept?

Also, is it right that an event might be any timeframe within the timeframe of the scene it’s contained within?

Lastly, I’m asking this because it’s just popped into my head again - I admittedly haven’t given it much thought since I don’t remember when - but is it viable to create multiple events within each scene? Are there implications for doing so?

Cheers.

#2

There isn’t a ton of information out there regarding 1,2,3,4 or PRCO. Generally, I think it’s the kind of thing that should take a backseat to storytelling, so you don’t really need to worry about it.

As for putting multiple events within a scene – this is done all the time. I think I saw some chart (from “Everything bad is good for you”) that showed how modern TV shows are putting more and more into each scene. I would think that the only implication would be maintaining clarity.

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#3

Hmm. Interesting. Thanks MWollaeger.

#4

Hey Josh,

So, I take a different tack than some of the folks here. And I’ve also looked for how the Sitch/Activity/FA/Manip. can serve me in developing scenes. It’s actually a useful concept in that it gives you something to hang your hat on when your actually working out what the storytelling should be/look like.

So just for an example, I’m going to start with a sitch (External/Static (sort of)) problem

Let’s say we’ve got a character that is bored, he’s in a place with nutthin’ much to do. He can look for solutions in any of the four arenas.

He could search for an activity to solve the bordem (I know they told me not to go into the basement but there’s nutthing to do up here…there must be something to do down there, otherwise, why tell me not to go down there? Who does he have to manipulate to get the key? Why is there an FA that the basement is off limits? What does he find (Activity) when he get’s down there? Did he relieve his bordem? Has his sitch changed?

He could decide that he would never be bored again (FA) and start reading every book in the library.

He could decide that getting his little sister in trouble would relieve the bordem and trick her into getting into trouble (Manip)

He could decide to change his sitch and get involved with a gang/chess club/girl

Each of these choices leads down a different path and then by process of elimination you’ve developed a scene.

You can place the problem and/or the solution/movement in any of the four quads.

It’s really kind of nifty. I’m sure I’m not using the tools as intended, but whatever gets words on the page, right?

#5

I’m pretty sure he was asking about putting everything in the same scene, but you can use your same basic trick.

He’s bored, so he puts his mind towards doing something fun (FA). He comes up with some ideas (Psychology) and then does them (Activity) only to realize the problem is that he is in jail (Sitch).

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#6

Newbie here, what’s “FA” mean? I’m assuming Sitch is Situation? Thanks! …dave

#7

FA = Fixed Attitude and yea “Sitch” is Situation…

#8

Thanks Jassnip. That’s helpful.

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#9

I’m still unclear about the idea of time frames of events within scenes. I mean, should story points and central plot points within a particular scene be nested within the time frame of events? Or is an event it’s own happening within a scene, not necessarily happening in the same time and place as the other story points and central plot points do, within the same scene? I’m also rather muddy/encumbered by the idea of events within events within events. Some events are less obvious than others. How small is too small? How mild a conflict is too mild? I know one answer is: whatever you think is right. But what about in practice; what are some examples of an event working at a really miniscule-scale level? I haven’t really found much on how events integrate with the other elements of plot. I’ve found quite a bit on what an event is, but it’s more in isolation, rather than how you integrate it into the bigger structure.

#10

Oooh. I should clarify: working really effectively at a miniscule-scale level.

#11

MWollager, in theory, could you not retrospectively attach FA/Psych/Activity/Situation to each of those stages of the scenario you’ve outlined above? Do you have a system beyond intuition to weigh which of the four (FA/Psych/Act/Sit) is the most appropriate? I’m assuming it’s more black and white in some situations than others; I’m also assuming it’s healthier to consciously determine which of these four classes belongs to which stage of an event in advance, rather than retrospectively rationalising which class to tack on to whichever stage is in question? Perhaps that’s obvious.

#12

My system: all of this takes a backseat to storytelling.

My example was (since you seemed to have missed this) a way of brainstorming, nothing more.

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#13

Yeah, it’s not a question of whether it’s secondary to “storytelling” however (though I consider it of storytelling anyway). I’ll dig deeper into some prevailing theories and if I have any breakthroughs, or roadblocks, I’ll embed, because I think there’s merit in honing in deeper on the elements of an event and it’s relationship to a scene.