The short answer: By studying books, particularly ones that exemplify bestsellers, breakout novels, and, perhaps most importantly, masterworks in a genre, we can recognize patterns and invaluable, key elements in fiction that engage and move readers. 

How can a writer study these patterns and elements? Stories are subjective, after all. Won’t, at the end of the day, a target reader recommend a story to their friend (or not) because of their personal taste and opinion? 

There can’t be a one shoe fits all answer to masterful writing, right? 

Absolutely—personally, I have never believed in one approach to great writing. 

Still, if there’s one truth all writers can agree on, I’d argue it’s this: Stories (at least when it concerns fiction) are about change. 

This can be a character change. A change in plot (what happens from the opening page to the end). A change in perspective, beliefs, and ideas. Preferably, all the above. 

And while many great writers often learn rules to, at opportune moments, break them, this can’t be accomplished without first understanding why certain patterns exist. 

For today, let’s continue this scene analysis series with a close examination of the opening pages in Tracy Deonn’s bestselling novel Legendborn.  

It’s my hope that by absorbing the writing advice and tips that follow, you will see how a scene not only moves the plot forward and develops a character—crucial accomplishments to a well-paced novel—but also how such movement impacts the big picture, or main plotline. 

Should You Write in Scenes or Chapters?

If you’ve been following my series that contains scene analysis case studies, you probably know that I encourage writers to plan books—and write them—in scenes instead of chapters. This is a belief that my good friend and fellow book coach, Savannah Gilbo, also holds; she’s written a fantastic article on why, which I strongly encourage you to read here.

In summary, this is why I think it’s more advantageous for a writer to plan/write in scenes instead of chapters:

Scenes are a unit of story that contain a clear beginning, middle, and end. Because of this, scenes contain key elements called the Five Commandments of Storytelling—which craft resources, like Story Grid and Robert McKee’s philosophy teach. The most important commandments in scenes show how there is a dominant conflict in a scene (or Turning Point) which forces the main character in the scene to make a Crisis decision, or undergo a dilemma. 

When a character is forced to make a decision, readers learn a little bit more about who that character really is. It also reinforces that the character has agency, and because of this, their decision will cause an action that moves the plot forward. 

In other words, a scene contains a change in Value. Or, a change in something that the character values; these can range from tangible items like their very life to psychological shifts like their emotional state of being. To learn more about Values, check out this article.     

Chapters, unlike scenes, are arbitrary. They exist mainly to enhance the reader’s experience and therefore may or may not end with a complete Value shift/change. A chapter can contain multiple scenes, one scene, or an incomplete scene that carries over into the next chapter (cliff hangers are often examples of this). 

The key difference? Chapters have more control over a reader’s experience—but they don’t necessarily contain structure. 

One major reason a manuscript might fail to maintain a reader’s interest is because nothing happens—i.e. there’s no plot and structure, and therefore, there’s no developing change. 

Scenes, on the other hand, keep a story’s evolving change in check.  

Note: There are various fiction elements that make a story great. Structure is only one of them, and even if you master scene structure, you might not have a book that hooks. But, if your book doesn’t contain structure, you’re probably in for a larger overhaul when it is time to revise your draft—which is why understanding how to write scenes with strong structure can set you up for success.     

Legendborn: Chapter One Summary

For today’s case study, we’re going to look at the first chapter (not the prologue) of Tracy Deonn’s bestselling YA fantasy novel, Legendborn. I was introduced to this book when Savannah and I selected it for Book Notes, our virtual book club—and heck, it’s an entertaining read! 

In case you’ve never heard of Legendborn, take a look at the back cover here. 

For today’s analysis, we will only look at the first chapter—which I believe contains two scenes. Here is a summary of the plot event that unravels in that first chapter:

Bree Matthews (the protagonist) and her best friend Alice watch students from UNC jump off a cliff into a deep pool of water at Eno River State Park. (This happens three months after Bree’s mother died suddenly in an accident.) Alice is upset that they’re breaking school rules but they attended because Charlotte, Bree and Alice’s friend from Bentonville, invited them. After they talk to Charlotte’s boyfriend, Evan, Bree worries about how people react to her mom’s death. She feels her personality and identity has been split into two parts: before her mom’s death (Before-Bree) and after her mom’s death (After-Bree). Bree stays behind when Alice goes off with Charlotte and Evan. She contemplates cliff jumping, but a guy named Selwyn Kane (Sel) appears and warns her not to jump. Bree feels electricity when Sel looks at her. He grabs her wrists and asks her if she feels something, but Bree lies (she says no).

In the distance, shouts from the party interrupt Bree and Sel. Sel runs towards them and Bree follows. They find four football players fighting. Bree also spies a shimmering object above the combatants. No one else—except Sel—sees what Bree sees (this ends up being a key antagonist in the story). This triggers haunting thoughts about her mother in Bree, and Sel, who makes eye contact with Bree, telepathically commands her to leave.

Legendborn: Chapter One Scene Analysis

I mentioned above that I see two scenes in this opening chapter, which indicates that there are two Value shifts in this scene, as well as two separate wants/objectives. The main character in this scene is the protagonist, Bree Matthews, and so it’s Bree’s want/goal that I focus on when identifying what she’s trying to accomplish in this scene and how the Five Commandments of Storytelling challenge Bree’s ability to achieve each want/goal. 

To refresh your memory on the Five Commandments of Storytelling or how I analyze scenes with these tools, review this article. 

Now, let’s break down this chapter into two scenes using the Five Commandments of Storytelling to confirm how there is a Value shift in each scene that moves the plot forward and challenges Bree’s character.

Scene One

Bree’s Goal: Enjoy a fun night out at the Quarry. Also, distract herself from the memories of her mother, which consume her thoughts when she’s alone.

The Five Commandments of Storytelling:

1. Inciting Incident (the unexpected disturbance that creates the goal/want or interrupts it): Evan (Charlotte’s boyfriend) recognizes Bree as “the girl whose mom died.”

2. Turning Point (an action or revelation that forces Bree into a Crisis): Alice wants to leave to avoid getting in trouble.

3. Crisis (two equally weighted good or bad options that come with consequences): Should Bree go back to the dorm room with Alice, or stay out with the other kids and risk getting into trouble?

4. Climax (the direct action that Bree takes based on her Crisis): Bree says she’ll meet up with Alice later.

5. Resolution (the aftermath of the scene, where the protagonist stands after the climax): Bree meets (and has a strange encounter with) Sel; somewhere in the distance, Alice screams.

Looking at this scene, I can assess that there is a change in Value from beginning to end. This change impacts the main stakes of the novel (Life/Death or Danger/Safety).

While I encourage writers not to fester on the perfect words to describe a Value shift, you should be able to defend why you think a change in some Value exists—as well as why that shift impacts the big picture as well as the scene. 

For this first scene, I argue there is a shift from Safety to (Slight) Danger because Bree’s decision to stay out results in her meeting Sel, as well as a close encounter with a corporal demon.

Scene Two

Bree’s Goal: Find Alice and figure out what made her scream like that. 

The Five Commandments of Storytelling:

1. Inciting Incident: Bree sees a flicker of light that triggers a memory.

2. Turning Point: Sel mesmers Bree, asking her to leave (but it doesn’t work 100%).

3. Crisis: Leave in order to find Alice and Charlotte (bury her curiosity like she does her grief) or stay to figure out what’s happening?

4. Climax: Bree hesitates and smoke and flame envelop Sel.

5. Resolution: Bree sees Sel and Tor take down the creature with magic. The creature says it’s feeding, but not by “my gate.” Bree runs.

Value shift? (Slight) Danger > (Extreme) Danger

Well-Structure Scenes Create a Purposeful Change

Since these are the first pages in Legendborn, and the main stakes in the story do concern Bree’s (and other’s) life/death or safety/danger, it’s not surprising that the scenes in chapter one directly impact Bree’s direct safety/danger. However, not every scene will prioritize the life/death or safety/danger stakes. 

Most every scene should, however, impact Bree’s movement towards life or death in the big picture or main plotline. I think it’s safe to say that these opening pages definitely accomplish this—all while championing other key fiction elements, like a captivating narrative voice, deep, emotional themes involving grief and race, and an exciting magic system with high stakes.  

In other words, as the author of your stories, you should be able to defend why every scene has a purpose or needs to exist. It’s likely that your defense will come down to this: the story event moves the plot forward in a cause-and-effect trajectory towards the climatic moment—and the main Conflict-Crisis in the scene enforces agency in the protagonist.

If you can explain how your scenes create events that cause a character to make a Crisis decision, you should also be able to explain how your scenes create a major change in the scene that also impacts the big picture. 

And if you can do this, you’re well on your way to drafting an engaging story.     

How many scenes do you see in the first chapter of Legendborn? How did you analyze it with the Five Commandments? Let me know in the comments! 

P.S. Do you enjoy analyzing stories closely? Learn more about the virtual book club, Book Notes, which Abigail co-hosts with book coach Savannah Gilbo. Click here >> 

Abigail K. Perry is the host of the podcast Lit Match and a certified developmental editor who specializes in Upmarket Book Club Fiction, Women’s Fiction, Curio Fiction, and YA fantasy. She holds a B.S. in TV, Radio, and Film from Syracuse University and a Masters in Secondary Education from Endicott College. Abigail worked as an editorial intern and the Agency Relations Assistant for P.S. Literary Agency, is fluent in book and movie quotes, and loves a long walk with good company, which includes audiobooks and two- and four-legged babies and buddies.  You can learn more from Abigail on her podcast or follow her on Twitter and Instagram.

The post First Chapter Scene Analysis: Legendborn by Tracy Deonn appeared first on DIY MFA.

Writers who learn how to read like writers inevitably improve their craft in immeasurable ways. The longer you read like a writer—and the more accurately you do this—the higher likelihood you notice what does and doesn’t work in a scene, while other scenes grip your attention with ferocious intensity.

In this article, I continue my series on analyzing first chapters with a deep dive analysis. To do this, I’ll breakdown the first scene in the bestselling novel, The Midnight Library, and then explain how it “works” using editing tools from The Story Grid and Robert McKee.

What is a Scene that Works?

When I coach writers, especially when evaluating the strength of a scene, I assess if a scene works. What I mean by this is: Does the scene advance the plot, or move the story forward, and develop the character by forcing one or more main characters to face a dilemma, or make a crisis decision. 

If a character makes a crisis decision, then they take action that results in negative or positive consequences for themself or someone or something else. Plus, readers learn who characters really are through action, or this act of decision making, which is why including a crisis moment—that isn’t necessarily spelled out on the page—is so important. 

Most importantly, a well-structured scene confirms that important changes have happened from beginning to end. 

And all scenes—and stories—are about change.  

Case Study: The Midnight Library

For today’s case study of a well-structured scene, let’s look at the second chapter of Matt Haig’s bestselling novel, The Midnight Library, which starts on page five, and is called “The Man at the Door.” I chose to analyze this chapter instead of the first chapter, “A Conversation about Rain,” because: 

1. The first chapter works as a prologue in disguise more than a first chapter established in the Nora Seed’s present time, and
2. I don’t think the first chapter is actually a complete scene—even though it hooks readers! 

If you’re curious to learn more about the first and second chapter analysis of The Midnight Library, you’re welcome to listen to my conversation with book coach Sharon Skinner on my podcast, Lit Match, here.

However, for now, let’s turn to that second chapter, which does model a complete scene. To do this, first review the scene synopsis (read it yourself here) and answer two Socratic questions adapted from The Story Grid’s scene analysis template:

• Confirm if there is a value shift, or change in the scene, on various layers. 
• Review how five commandments can subjectively confirm if the scene advances the plot and develops the main character(s) or not.

Scene Summary, The Midnight Library, “The Man at the Door”

Nora Seed, depressed, scrolls through the happy lives of other people on social media. Then Ash, a man who once asked Nora out years ago, rings her doorbell. Nora is self-conscious about answering the door, since she’s not put together. She answers the door anyway and tries to have a light-hearted conversation with Ash, but Ash shares some bad news: He thinks a car hit and killed Nora’s cat, Voltaire (Volts). Nora confirms Volt’s body and cries for him, while secretly confessing to herself that she feels envious of him.  

3 Socratic Questions to Evaluate A Value Change 

In order to determine if there is a change in a scene, you can ask yourself three Socratic questions about it. Each question identifies an important change that needs to happen in a scene.  

1. What are the characters literally doing? How does that change from beginning to end? (An external value change) 

Nora Seed scrolls through social media and has a conversation with a man she somewhat knows, and later confirms that her cat, Volts, is dead. 

Literal Change: In her house to on the road

2. What does the main character in the scene want, what is their goal? How does this change or evolve from beginning to end? (An internal value change) 

Nora Seed wants to scroll through social media alone—probably so that she can compare her unhappy lives to other happy lives on social media. She does this because she’s depressed, and later her envious feelings for her dead cat confirm her depressed feelings. 

Character Change: Sad to Envious 

3. How does the change in this scene impact the big picture, particularly the main value shift? 

This scene shows Nora Seed twenty-seven hours before she decides to die—it also presents her with the first of several losses (Volt’s death, which she realizes that she’s envious of) that push her to this decision.

Big Picture Value Change: Longing for Another’s Life to Longing for Death 

5 Commandments in a Well-Structured Scene 

To read like a writer and determine if a scene is well-structured, you can use five commandments, or elements of a scene, to determine if the plot moves forward and if one or more main characters change in the scene. I pull these commandments from editing tools seen in The Story Grid and Robert McKee. 

1. Inciting Incident 

This is a causal or coincidental unexpected disturbance that creates a character goal or forces the character to change their approach in achieving their goal.

This is when Ash rings the doorbell.  

2. Turning Point

This is an action or revelation (a type of conflict) that forces a character to make a crisis decision. 

This is when Ash tells Nora that her cat is dead.   

3. Crisis

This is a best bad choice or irreconcilable goods decision, two equally weighted decisions, that results in negative or positive consequences for either the main character or a third party. 

This is Nora’s decision: Should Nora risk emotional trauma to confirm her cat’s dead body, or reject Ash’s suspicion that it’s Volts who the car hit and killed?

4. Climax

This is the direct action that a character takes after they make their decision.

This is when Nora leaves her house to find Volts.   

5. Resolution

This is the aftermath of the scene, the denouement. 

This is when Nora finds Volts, cries, and secretly feels envious of his death.    

Why You Should Learn How to Read Like a Writer  

I firmly believe that there is no one way to learn how to write. However, using the tools shared in this article has helped me learn how to read like a writer well—and therefore, simultaneously has made it easier for me to pull out when I think a scene does or does not work. 

Like anything, with practice and more time spent reading, we all can learn how to read like a writer. When we do this, we learn how to take an implicit understanding of story patterns and turn it into an explicit awareness of how a well-structured scene works. We then can communicate why we think a scene does or doesn’t work, whether this is for a critique partner’s work or our own scenes.  

Writers who read like writers will elevate their craft! And I bet, the more that you understand how to read like a writer, the more fun you’ll have analyzing and editing your own stories, too. 

So have fun with this! Pull up one of your favorite chapters from a comparable title and use these tools to identify what you think works in that scene. 

And if you want to learn more about how to read like a writer, check out episodes like The Midnight Library deep dive analysis on my podcast, Lit Match, here.

How did you analyze this chapter in The Midnight Library? I’d love to hear from you in the comments!

Abigail K. Perry is the host of the podcast Lit Match and a certified developmental editor who specializes in Upmarket/Commercial fiction, Women’s Fiction, Historical Fiction, MG/YA fiction, and YA fantasy. Abigail holds a B.S. in TV, Radio, and Film from Syracuse University and a Masters in Secondary Education from Endicott College. Abigail worked as an editorial intern and the Agency Relations Assistant for P.S. Literary Agency, is fluent in book and movie quotes, and loves a long walk with good company, which includes audiobooks and two- and four-legged loved ones and buddies.  You can reach her on her podcast or follow her on Twitter or Instagram.

The post First Chapter Analysis: <em>The Midnight Library</em> appeared first on DIY MFA.

Of course, a strong first chapter is only one step in entertaining your readers. To hold their attention to the end, you need to write a great book. 

One of the skills that can help a writer do this is if they learn how to read like a writer. This means that the writer needs to learn how to identify when and how details in a chapter aid a story on both the macro (big picture) and micro (scene) level. 

Writers who understand how to read like writers are more likely to intentionally and confidently cut out passages that don’t move their story forward or develop characters (or other important story elements, like setting) during their revision, and possibly even writing, process. Their scenes and chapters are more likely to shape the best version of themselves in earlier drafts. 

If you’ve been following along with my series of articles on DIY MFA that use a scene analysis template to analyze the strength of a scene’s structure, you’ll understand what to expect in the rest of this article. If you’re unfamiliar with these previous articles, don’t fret! I’ll explain the tools and questions you can use to analyze the durability of a scene’s structure in this article.

Scene Analysis Template: How to Assess Structure in a Scene and Chapter 

Before we get into today’s article, I’d like to note that I find great value in analyzing a scene’s structure in order to determine if key elements exist in a scene. This helps me determine if I think a scene “works,” or, as I like to say, if a scene advances a plot and develops a character. 

I adapted the scene analysis I use from Story Grid, an editing methodology that I am trained in; the main focus of the scene analysis template determines if there is a clear character goal/want in the scene, a value shift that impacts the big picture (or main value shift in the story), and five commandments that challenge a character and force them to make a decision that shifts that scene’s value (more on these in a bit). 

Keep in mind, while plot and structure are undeniably important in a scene’s workability, writers must master other essential story factors to make it entertaining and relatable. Characters, for example, are, in my opinion, the heart of a story. 

That being said, I’ve found that if a writer can understand how structure works on the scene level, they can fix some major issues that create scenes where nothing significant happens—and this is a valuable writing and editing skill to learn if you are in a place of feeling like something is off in your scenes, but you’re unable to pinpoint exactly what the issue is. 

Case Study: Counterfeit by Kirstin Chen 

For today’s article, I’d like to look at a bestselling upmarket crime novel and Reese Witherspoon book club pick—Counterfeit by Kirstin Chen. When reading it, I was immediately hooked by its clever first chapter which uses point of view. A stranger comes to town encounter, and a reader’s growing skepticism to turn the page.

I had the pleasure of interviewing Kirstin Chen and her editor, Jessica Williams (Harper Collins), for a deep dive analysis episode on my podcast Lit Match (listen to the full episode here). In it, you can hear insightful perspectives on how this first chapter sets up expectations for the big picture. 

We then also did a deep dive analysis on the first chapter’s scene structure, which I’m going to share with you here. 

Let’s get into it! 

Scene Analysis Template: Counterfeit, First Chapter 

*NOTE: As previously mentioned, I adapted this scene analysis template from Story Grid’s writing toolbox. The four Socratic questions (I’ve reworded them but they are the foundational ideas) and the five commandments are what Story Grid uses in their masterwork guide analysis books.*

Chapter One:

“The first thing I noticed were the eyes… which is more than can be said for those Hollywood brats.”

Summary: 

Ava Wong meets up with her old college roommate, Winnie Fang, who called Ava after twenty years of silence. Over coffee, Ava learns that Winnie has a friend who needs a transplant and Winnie hopes Ava can get her husband to help. Ava is annoyed until her son, Henri, throws a tantrum, and Winnie calms him down by singing to him in Chinese. Winnie then gives Henri an expensive keychain from her designer handbag. Ava is horrified when she realizes that Winnie gave Henri a Fendi keychain, and later Ana tries to purchase one as a replacement—she quickly forsakes this intent after she finds it for $600. Ava spends the evening reminiscing about why Winnie left Stanford and how Ava, like her friends, thought Winnie was guilty of cheating. And all of this is discussed between Ava and a detective.   

4 Socratic Questions that Analyze a Change in a Scene:

1. What is the literal change in the scene? How does this advance the plot in some way?

Ava and Winnie become friends again after coffee; Ava even invites Winnie to her home after Winnie calms down Henri. 

Literal Change: Friends who had a fall out to Friends starting up a relationship again 

2. What does the main character want in this scene? Why do they want this?

At first, Ava meets Winnie because she’s curious. She wants to know why Winnie contacted her after twenty years of silence. During the meeting (and after Winnie asks Ava if she’ll connect her friend with Ava’s husband), Henri arrives. At this point, Ava wants to quiet Henri.

On a global perspective, Ava wants to convince the detective that she’s innocent. 

Character Change: Curious to Exasperated to Relieved 

3. How does the change in the scene impact the value shift in the central plot (big picture)? 

This is the initial (stranger comes to town) meeting between Ava and Winnie. From here, Ava will bond with Winnie and find relief in Winnie’s ability to calm down her son. Without this initial meeting, Ava and Winnie would not rejuvenate their friendship and eventually join together in order to run a counterfeit handbag business. 

Central Plot Value Change: Innocent to Tempted  

4. How does the main conflict in the scene create a story event? Describe this story event in one sentence.

 *Note: a story event exists when a protagonist’s wants/goal directly conflict’s with an antagonist’s wants/goal.*
Ava shares her initial meeting with Winnie after twenty years of silence, and how Winnie started to grow close again after Winnie helped calm down Ava’s son, Henri. All of this, along with some of Winnie’s darker past, is recounted by Ava to a detective.        

5 Commandments in Scene Structure: 

1. Inciting Incident (Causal or Coincidental): 

Causal. Henri has a meltdown. Another idea is that this scene starts in medias res, and the inciting incident is when Winnie calls Ava to request a meeting. 

2. Turning Point (Action or Revelation): 

Action. Winnie sings to Henri in Chinese and hands him a Fendi keychain, which calms him down. 

3. Crisis Decision (Best Bad Choice or Irreconcilable Goods): 

Best Bad Choice: Does Ava invite Winnie back to her house even though she’s skeptical of Winnie’s intentions, or does Ava say goodbye to Winnie even though she’s one of the only people who has been able to calm Henri down?  

4. Climax: 

Ava invites Winnie back to her house. 

5. Resolution: 

Ava and Winnie start up their friendship again. Ava realizes how expensive Winnie’s keychain is and tries to find a replacement for it. Ava gives up on this mission when she finds it for $600. All this is explained to the detective that Ava is talking to in the scene. 

How Did You Analyze this First Chapter?

If you want to write a great first chapter, you need to know how to analyze how the details both set up expectations for the big picture and develop a well-structured scene. 

We focused on scene structure today, and how I thought the five commandments and story event worked in the first chapter of Counterfeit. 

The beauty of my analysis, however, is that it’s just one perspective. You might see the scene structure differently, and that’s okay! The goal for learning how to read like a writer with this scene analysis template isn’t to come up with replicated answers. Instead, we can use it to come up with an agreeable conclusion about how the story moves forward, and why there is a change in value and character because of a story event.  

When you start to master these tools used to analyze scenes, you’ll probably gain confidence on how to write and revise scenes. It also is a fun way to learn how to read like a writer, which inevitably will make you a better writer of your own stories. Cue your happy dance! 

What did you like about the first chapter of Counterfeit? I’d love to hear your thoughts in the comments. 

P.S. If you enjoyed this article and would like to learn more about how to analyze the big picture and scenes in a first chapter, I have some good news for you!

My editor and book coach companion, Savannah Gilbo, and I started a virtual book club to discuss the big and small picture of publishing’s most popular books with burgeoning writers. Come join us for our first discussion (and others to follow!). Learn more here.

Abigail K. Perry is the host of the podcast Lit Match and a certified developmental editor who specializes in Upmarket/Commercial fiction, Women’s Fiction, Historical Fiction, MG/YA fiction, and YA fantasy. Abigail holds a B.S. in TV, Radio, and Film from Syracuse University and a Masters in Secondary Education from Endicott College. Abigail worked as an editorial intern and the Agency Relations Assistant for P.S. Literary Agency, is fluent in book and movie quotes, and loves a long walk with good company, which includes audiobooks and two- and four-legged loved ones and buddies.  Visit Abigail’s website at www.abigailkperry.com. You can also follow her on Twitter or Instagram and subscribe to her podcast.

The post First Chapter Analysis: Counterfeit by Kirstin Chen appeared first on DIY MFA.

If you want to publish your manuscript, you need to learn how to write well-structured scenes that hook and engage your readers. You also need to learn how to balance fun and important details that work with structure. 

In other words, you need a scene where every line weaves together—where no detail is needless or wasted. 

To help you gain confidence in how you write and analyze your own scenes, I’m working on a series of articles for DIY MFA that look closely at strong scenes. Specifically, I provide my subjective analysis of a first chapter from a bestselling book.

All of the chapters that I select are, in my opinion, well-structured and strong examples of how to not only start a book, but write a scene and chapter. 

You can learn more about the fundamentals of my big picture (central plot, setting up expectations in a first chapter) and small picture (scene analysis) in the linked DIY MFA articles.

For today, let’s continue our analysis studies with a small picture first chapter scene analysis of Casey McQuiston’s Red, White & Royal Blue. 

Afterwards, I’ll share why I chose to analyze this first chapter as one scene instead of multiple. 

Here we go!   

First Chapter Analysis: Red, White & Royal Blue

*NOTE: I have adapted this scene analysis template from Story Grid’s writing toolbox. The four Socratic questions (I’ve reworded them but they are the foundational ideas) and the five commandments are what Story Grid uses in their masterwork guide analysis books.*

Chapter One:

“On the White House roof…flash from someone’s camera goes off.” 

Summary (2-4 sentences):

Alex and his sister, June, attempt to put on a happy face when they attend the Royal wedding, but Prince Henry’s insipid demeanor agitates Alex. Henry asks June to dance and Alex decides to get increasingly more drunk. Eventually, Alex feels so irritated with Henry that he confronts him. When Henry points out that Alex acts like he is “obsessed” with Henry and then Henry turns his back on Alex, Alex tugs Henry’s shoulder. For a moment, it looks like Henry will push Alex—but he doesn’t. Alex trips over his feet and accidentally pulls Henry down with him; they topple over and ruin the $75,000 wedding cake.   

4 Socratic Questions that Analyze a Change in a Scene:

1. What is the literal change in the scene? How does this advance the plot in some way?

In America, Alex pokes fun at a false rumor about his romantic relationships. By the end of the scene, Alex is in serious trouble after causing an altercation with Prince Henry at the Royal wedding. 

OTS: Poking fun at the press to publicly humiliate (which is exacerbated by the press).

Others: America to Great Britain  

2. What does the main character in the scene want? Why do they want this?

Alex wants to get through the Royal wedding without getting into an altercation with Henry because—even though Alex doesn’t mind messing with the tabloids—his long-term goal is to be the youngest congressman in elected history. Alex also recognizes that he has a rivalry with Henry, and he, essentially, wants to be the better of the two.

ATS: Entertained to humiliated

Others: Humored to horrified; contained bitterness to active loathing.   

3. How does the change in the scene impact the value shift in the central plot (big picture)? 

Alex obsesses over what Henry thinks about him but also loathes Henry and views him as arrogant and as competition. Alex’s altercation with Henry will force them to spend more time together, even if this is initially against their will. 

BTS: Dislike to loathing (potentially this masks Alex’s unrecognized attraction to Henry)  

4. How does the main conflict in the scene create a story event? Describe this story event in one sentence.

Alex attends the royal wedding and causes an altercation with Prince Henry that results in the destruction of the $75,000 wedding cake.         

5 Commandments in Scene Structure: 

1. Inciting Incident (Causal or Coincidental): Causal. June reminds Alex about the royal wedding that they need to attend. 

2. Turning Point (Action or Revelation): Action. Henry turns his back on Alex after he passively points out that Alex appears to be obsessed with Henry—Henry says that Alex often seeks Henry out. 

3. Crisis Decision (Best Bad Choice or Irreconcilable Goods): Best Bad Choice. Should Alex swallow his pride and let Henry get the last word or should he challenge Henry?

4. Climax: Alex pulls Henry’s shoulder back. 

5. Resolution: Henry looks like he might push Alex but doesn’t. Alex trips over his own foot and topples backwards. On his way down, he reaches for Henry and they both smash into the $75,000 wedding cake. Alex dreads how his mother will react to this debacle just as someone’s camera goes off. 

Why One Scene? 

I had to read this chapter a few times before confidently analyzing this first chapter as one scene instead of three scenes. Depending on how you analyze scenes (or have been taught to analyze scenes), you may use a set time and place to determine how a scene begins and ends. 

Before I studied Story Grid (especially in screenwriting, which is my background), I also used a change in setting or time as a change in scene. 

Story Grid’s methodology, however, doesn’t restrict a scene’s start and end to a set time and place. Instead, it concentrates on the value change and polarity shift, which is the purpose of a scene. 

The reason for this is that readers have a sense, consciously or not, that the plot has advanced if there is a change or shift in a scene.  

This also means that there has been a change that raised the main stakes for the novel, and these stakes have developed a character because they’ve been forced to make a Crisis Decision—i.e. Characters who make decisions take action, and action moves the plot forward. 

Overall, I think that all three encounters in the first chapter of Red, White & Royal Blue are interesting (Encounter One: Alex talks to June in the White House, Encounter Two: Alex, June, and Nora fly to Great Britain, and Encounter Three: the royal wedding). However, I couldn’t pinpoint an effective Crisis Decision in the first two encounters—even if there is a page break that separates each encounter, indicating a change in time and place. 

From my perspective, I saw each encounter—even though they are set in a different place and time—as moments that introduced conflict and complicated stakes that eventually led to the Royal wedding and the main crisis in the scene: Alex’s altercation with Prince Henry. 

I believe the main event in the first chapter, being this altercation, impacts the love stakes in the central plot (big picture) best, so I wanted to focus my analysis on that moment. 

While others might argue that there are three scenes in this first chapter, I’d argue that there is one scene in one chapter based on how I use Story Grid’s five commandments and their scene analysis template. 

Alex doesn’t make his Crisis Decision until the royal wedding. How he acts on his crisis causes a change in value, whereas Alex’s reactions in the first two sections—or what I’ve called encounters—(June reminds Alex about the royal wedding and then Alex, June, and Nora judge the extravagance of the wedding on the plane) demonstrate a change in behavior or tactic. 

A change in behavior or tactic is a beat, not a scene. 

A scene requires a change in value—which I believe all three encounters together create. 

How did you Analyze this First Chapter?

If you want to write a great first chapter, you need to know how to analyze how the details both set up expectations for the big picture and develop a well-structured scene. 

We focused on scene structure today, and I argued that because of how I understand Story Grid’s five commandments that the first chapter in Red, White & Royal Blue is one scene. 

The beauty of my analysis, however, is that it’s just one perspective. You might see the scene structure differently, and that’s okay! 

It’s not important that you and I have the exact same analysis for this first chapter. Instead, focus on how to use the four Socratic questions and five commandments to analyze scenes of all kinds—and then use them to defend your analysis. 

When you start to master these tools, you’ll probably gain confidence that will help you make decisions about when to keep or cut moments from your manuscript. 

These decisions are hard to make! 

I hope these tools make your revision process and all the hard work that comes with it fun and interesting.

If they did and you want to learn more about how to analyze scenes, check out more of my articles on DIY MFA or take a listen to one of my first chapter analysis episodes on my podcast, Lit Match. 

How did you analyze the first chapter of Red, White & Royal Blue? I’d love to hear your thoughts in the comments! 

Abigail K. Perry is the host of the podcast Lit Match and a certified developmental editor who specializes in Upmarket/Commercial Book Club Fiction, Historical Fiction, and YA fiction and fantasy. Abigail holds a B.S. in TV, Radio, and Film from Syracuse University and a Masters in Secondary Education from Endicott College. Abigail worked as an editorial intern and the Agency Relations Assistant for P.S. Literary Agency, is fluent in book and movie quotes, and loves a long walk with good company, which includes audiobooks and two- and four-legged buddies.  Learn more about writing and publishing from Abigail on her podcast, Lit Match, or her website.

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