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6

Monica is on the right track, but I'd push it more. If he's howling the name of his murdered wife in his grief, he's not aware of anything outside that grief. I would actually not show the husband being aware of the changes while they're happening. Maybe, possibly, flashes of light (which cast different shadows on her face), or he feels his ears pop, or ...


4

For this script at least, the numbers correspond to the scenes. Each number in the left margin appears at the beginning of a new location. At a guess, this could simply be to make writing easier for the screenwriter, or perhaps to correspond to clapperboard information. These possible uses are only guesses, however. As seen in @Reed's comments, this is ...


4

I can't call specific examples to mind right now, but I've seen this sort of "wait, the world is not quite as it should be" situation handled by sharing the POV character's inner dialogue as he gradually notices peculiarities. Something like this: "Sharon, no!" he shouted to no one in particular as he cradled her in his arms. "Sharon!" He shuddered as ...


3

Let's ignore the details and and focus on the methods of research and proofreading. You need three gun nuts, and two of them should be antique gun nuts. In the general case you need experts, and you need at least two or better three or four, specifically during the research phase you need someone who knows the subject well enough to answer all your ...


2

I would use the natural evolution of the firearm as the starting point. As a gunsmith he might be tempted to try to engineer a modern rifle. But in an army of flintlocks a springfield rifle would be devastating. So his first area might be to find some brass type material, that could be used to construct a percussion cap. So that a modern esque breech ...


2

One helpful guideline is to think of a scene as being continuous in time and place (and perhaps in POV). So if your characters are in one place and they go to another, and your narrative continues with them, that can be a single scene. But if your characters are in one place, and then you jump (discontinuously) to another time or place, the jump would start ...


2

A scene is defined by the meaning we ascribe to the events. Think of real life and how you tell your friend of something that happened. You usually have a clear idea of which of your lifelong, second-by-second experiences belong to that event (and in the narration), and which don't. If you tell of a visit to the dentist, you wont usually start with how you ...


2

There's no reason you can't do this, as long as it's the reader understands the information you're giving them. The clearer way to do something is nearly always preferred. Writers have formatted scenes as screenplays within a novel, but it's a rare, experimental device. It also evokes a cinematic feel, which may not be what you want. Long passages of ...


2

I saw this handled in a movie, (It has been a while, so I can't remember which one) but you can just skip it. You have what went before and what happened afterwards, and the shock of the transition to jar the reader. In the movie the script called for the wife to be killed in a car wreck, but the director just filmed her and her husband chatting in the car ...


2

It sounds as if your story progresses in a series of "this happens and then that happens" scenes. I think the key is to focus on cause and effect. This happens, and therefore that happens. Take a closer look at Lauren's awesome "plotting backwards" answer that you cite. Every single one of her prompt questions is about cause and effect. Edited to add: I ...


2

Number = Scene Screenplays are usually formatted in such a way that one page roughly equates to one minute, and, in a shooting script, the scenes are numbered. Notes on the length of The Battle of Algiers: A According to the French Wikipedia article, there is a French dubbed version of the movie that is 157 minutes long. Finding out when and why the ...


1

Normally they are minutes roughly 1 page equals about 1 minute of visual time. But it is not an exact science and here 146 pages translate to 120 minutes.. most likely this is caused by long descriptions which only take a short time time to show rather than tell. that 1 page= 1 minute is truest for talking and some action scenes, still as they are not ...


1

IT will be confusing for some people. But are you going to use indicators to set them apart or just let them figure it out? Also, is that scene order going to be same throughout the entire story or are you just going to keep it that way for a few chapters? Eventually, if the readers really want to understand the book, they'll read rest of it and wouldn't be ...


1

"The openings of my novels seem fine. This may be because they are generally only one scene long. But it may also be because I develop them differently than the rest of the plot." In that case, treat each scene as the "opening" of the rest of the novel. Develop it as you would develop the real opening, rather than the "rest of the plot." That way, your ...


1

You can use Lauren's method to develop your plot, but I wouldn't advise you to write backwards. In my opinion you should always write every text in the order that it will be read. As you progress from one part to the next you will automatically create transitions from one part to the next, because that is how the mind works. If you work backwards, you'll ...


1

Sequence is all and well, but don't forget your character development. And while we are at it remember that in the real world, everyone in the star of their own story. So you have the order of events, but if the story is that simple, it is just a tale. Remember Eddie will put rabbit ears on anybody whenever there is a camera pointed at them, and Bob used to ...


1

As has been said by others, it sort of depends on the perspective. This might be troubling to write in first person for the exact reason mentioned - the character is probably not paying attention. In that case, you might be better off having him revisit the experience in a flashback later. However, if we're dealing with any other perspective, I think it's ...



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