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August 29, 2016
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By Linda Wilson
C.S. Lakin's terrific book, Shoot Your Novel: Cinematic Techniques to Supercharge Your Writing,
is the latest addition to my desk. Note, I didn't say bookshelf.
Overnight, Lakin's book has become a staple of my process that
is quickly growing dog ears. This is no exageration: Every page of Shoot
is jam-packed with suggestions for writing or re-writing the scenes in
your books to advance the plot, reveal your character, and stir your
readers' emotions. In short, Shoot is thorough. It covers so
much on what it takes to enhance your novel that it is a great resource
for all writers, beginners as well as experienced.
In this post we will touch on Lakin's approach to writing fiction, which
is to view your story as a series of scenes as seen through the lense
of a camera. For the full scope of what she has to offer, I highly
recommend this book to be added to your own personal writer's toolbox.
It could save you time and effort and give you a concrete way to reach
your reader, ridding you of any guesswork. Sprinkled throughout Lakin's
book are numerous passages from books and movies to illustrate her
points. A handy list of them is included at the end.
Most important, there is much more to this book than is covered in this
post, such as how to combine camera shots for the best outcome, how to
use visual motifs and symbols, and more. I hope the post will spark your
interest in reading it for yourself and reaping all it has to offer.
Lakin has written three other books on writing and many fiction books.
Next I want to study her book, Writing the Heart of your Story: A Guide to Crafting an Unforgettable Novel, which details scene construction (and dip a toe in one of her fiction books . . . just for fun, of course).
Before you begin, you might want to make room in your closet for more
hats other than the editor's, illustrator's, writer's, marketer's, etc.,
hats you already wear. To name a few, you might add chapeaus for
cinematographer, production designer, and screenwriter. Save your
fanciest topper for you as director, as you will be donning this hat to tell your story in a series of scenes as if it were a movie.
Lakin has handily narrowed down the types of camera shots to two:
stationary and moving. Stationary shots are the most common shots in
movies and on TV. "These essential shots define our world . . . We are
not always moving . . . We see life most often [this way], whether close
up . . . or far away."
"Moving shots mimic the way our eyes follow what's happening . . . The
right choice of a moving shot will effect pacing and tension . . .
Novelists have a wonderful medium in which to translate moving shots
into powerful prose."
Lakin's Method
Begin by identifying the high moment of your scene--the moment of
greatest impact. You will need to decide which camera shots to use
leading up to the high moment, and then the best shots for whatever
happens afterwards. Once you know the high moment and how your plot
builds to it,
you can work backward and forward. Some basic shots Lakin describes:
- Establishing Shot (ES): Each time the scene changes
the time and place need to be established. In most cases, it is best to
keep the ES short--move on to the main part of the scene. Omniscient
POV is okay. Give just enough details, then move on.
- Three Basic Distances:
- The Close-Up or Two-Shot (CU): The CU is used when
you want to zero in on a detail, such as an expression on a character's
face or an object that is the point of the scene. The common two-shot
shows two people in conversation or relating with one another. CU's tell
the reader, "Pay attention here!" You can reveal a clue that is not
explained until later to add tension and your reader's curiosity.
- Full or Medium Shot (MS): Full shots can be full
body shots or shots from the waist up, showing body language and facial
expressions. MS shots can also show a small group of people, such as a
family sitting at the dinner table eating and talking.
- Long Shot (LS): LS's in novels are effective if
showing something that might be coming or what might be happening such
as a threatening tornado or hurricane off in the distance, which can add
tension. LS's can add tension by drawing out a high moment. The example
used is an excerpt from Predator by Terry Blackstock:
"[Krista] has to wait (and so does the reader) agonizing moments until
the body is pulled out and she can make out the shirt and hair--not the
face because she's not close enough--" we've had to wait (and sit on the
edge of our seat) for the final moment when she recognizes her sister.
More Helpful Tips
To read the full article, please go to:
And, please, don't forget to comment and share!
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