# RS Illustrations **URL:** \ **Category:** Writing\ **Created:** [January 4, 2018, 2:56am UTC](https://discuss.dramatica.com/t/rs-illustrations/1410 "2018-01-04T02:56:31Z")\ **Posts on this page:** 1\ **Showing post:** 14
**Author:** ![jhay](https://yyz2.discourse-cdn.com/flex010/user_avatar/discuss.dramatica.com/jhay/32/1944_2.png) [@jhay](https://discuss.dramatica.com/u/jhay)\ **Post date:** [January 4, 2018, 3:51pm UTC](https://discuss.dramatica.com/t/rs-illustrations/1410/14 "2018-01-04T15:51:08Z")
> [@mlucas](#): > > I definitely don’t try to give the RS its own scenes, though some scenes might end up as mostly RS. For me, most scenes have more than one throughline woven in somehow, except scenes with neither MC nor IC present (those would usually be OS only), and maybe an early MC scene or two being MC only. I come to a similar conclusion but the opposite way, almost. I tend to design scenes specifically for the RS that, when I come to writing them, wind up incorporating at least one other throughline. I’m about to write an RS scene now (that’s all about whether a work-centric relationship can become a friendship) and I already know it’s going to feature quite a bit of the IC throughline (and a little set-up for the OS). The RS is the most difficult of all for me, so I find it helpful if I have a plan. Even if it’s just as basic as _‘Can this relationship become something more than a team-mate bond?’_ or _‘How does the relationship hold up when both get the idea they’re attracted to the other?’_ By the time I get to writing that scene or sequence, I can see what’s happening in the other throughlines and just discover the scene as I go. Since it’s the emotional core of the story, it tends to feel more ‘real’ to me if I just follow my subconscious to write the scenes. --- _[View the full topic](https://discuss.dramatica.com/t/rs-illustrations/1410)._