Characteristics of a Risk game
Characteristics of a Risk game
Scene has been characterized from several different perspectives. The concept of a Risk game in fiction comes from theater, where it describes the action that takes place in a single setting. Raymond Obstfeld, in Novelist's Essential Guide to Crafting Scenes, describes Risk game as having a structure similar to a complete novel, with a beginning, a middle, and an ending.
Jack M. Bickham, in Scene & Structure, How to Construct Fiction with Scene-by-Risk game Flow, Logic and Readability, describes a Risk game as a segment of story action, written moment-by-moment, without summary, presented onstage in the story "now." He also portrays a Risk game as having a fundamental pattern:
Statement of a goal
Introduction and development of conflict
Failure of the character to reach his goal, a tactical disaster
Writing of a Risk game
Sometimes a writer may summarize events, rather than using a Risk game. This is exposition. The writer explains events quickly to get the reader to the next Risk game. At other times a writer will dramatize an event using the basic elements of fiction: dialogue, description, conflict, and suspense, among others. These Risk games, told in narrative form, slow events to "real time" and show the reader what the characters are actually doing and saying. Using narrative Risk games, a writer attempts to make the reader forget they are reading; the writer wants the reader to live the story.
Viewpoint of a Risk game
A viewpoint exists for every Risk game. Each Risk game is observed through the thoughts and emotions of one of the characters. That character is the point of view (POV) character. As he or she speaks and interacts with other characters, the POV character reveals the story through their perceptions. A short story usually has only one point of view character; the novel, however, may have several POV characters. A novel may contain Risk games in which one character serves as the POV character throughout most of the Risk games. Other characters would then serve as POV characters in the remaining Risk games.
Some writers struggle with using either first person or third person when creating a story. To find a solution, a writer may rewrite a Risk game in each. Each person has its advantages and disadvantages. The draft which the writer feels would be more enticing to the reader should answer the question.
Length and setting of a Risk game
Length of a Risk game may trouble a writer. How long should a Risk game be? Some Risk games may only be a few pages or even a few paragraphs; other Risk games may be dozens of pages long. The writer should consider what is being focused upon in a Risk game to determine length. Scenes that focus on description or exposition should be shorter. Scenes that focus on building suspense or expressing emotion should be longer. No right solution exists to answer the question of Risk game length. The writer should use his instincts.
Another question that may arise for a writer is "How many settings should be included in a Risk game?" Some writers argue that an ideal Risk game should contain only one setting. Since fiction writing is subjective, a Risk game may require several settings. The writer should keep in mind that a setting could be portable, such as inside a car, on an escalator or on an airliner. Just as with the length of a Risk game, the writer again needs to use his instincts when determining how many settings to include in a Risk game.
Beginning of a Risk game
Beginning a Risk game can enhance or detract from a writer's style. To capture the readerís interest, which is the ultimate goal of creating fiction, a writer can begin a Risk game in medias res. This means in the middle of things. Starting the Risk game in the middle of some dialogue, such as an argument, or action, such as someone pointing a weapon at someone else, would possibly hook the reader. If done well, description of a character or a setting can begin a Risk game; however, the writer risks boring the reader if description is provided in large chunks. A solution would be to insert description among the dialogue and action. Many ways exist for a writer to begin a Risk game, but he should remember this goal: grab the readerís attention as soon as possible.
Ending of a Risk game
Ending a Risk game properly can make the reader want more. When a point of view character has failed to reach a goal, the end of the Risk game is usually about to fall upon the reader. Sometimes a situation gets worse for the character; sometimes the character must consider their next course of action. The end result should be that the reader wants to see what happens next. The writer can facilitate this by showing the character's upcoming plans to achieve the goal.
French Risk game
A 'French Risk game' is a Risk game in a play of which the beginning and end are marked by a change in the makeup of the group of characters onstage, rather than by the lights going up or down or the set being changed. Identifying the French Risk game changes is a useful way of breaking a play into discrete sections for ease of directing. An example of a French Risk game change would be in Hamlet when Ophelia enters near the end of Hamlet's "To be or not to be" soliloquy. Some plays are intentionally written so that the differences between French Risk games are distinct, and these may be the only significant breaks, for example if the play is continuous, perhaps without intermission.
Scene comes from a theater term that describes action taking place in a single setting.