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The defining trait of a protagonist is a character the reader identifies with, and there are two essentials that facilitate that identification.
Weak dialogue portrays exchanges of information that leave the energy of the scene flat. Compelling dialogue does these two things.
Turning points are why scenes exist. So it’s essential to understand how and why they work within your story to propel both plot and character.


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6 thoughts on “Turning Points Propel Your Story”

  1. All this talk about how scene breaks are indicated kind of makes me want to choose something really original. Like maybe those poop emojis. 😉 This was really helpful for me, because it’s difficult to take all the well-known theories of scene and smoosh them together in my brain; all those acronyms, it’s like alphabet soup up in there,

  2. I’ve been working on a manuscript for a while now that has a narrator a la Moby Dick, with lots of digressions that add details to the world and to the plot. I always had problems thinking about how to segment it, because those digressions often couldn’t be considered “scenes” in the traditional sense. The way you went through different ways of thinking of a scene really opened things up for how I view my current WIP.

  3. This is fantastic – thank you. I really liked the idea of scenes as important moments in the character’s life, and you show the centrality of the turning point very clearly and logically. I also appreciate the wide reading you’ve done on scenes. It helps what you write feel grounded.

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