I scoff that I once thought transitions were easy.
It is just "getting in and out of scenes," right?! Nope. There's more.
I liked what Eric Heisserer (@HIGHzurrer, and a hoot on Twitter) tweeted:
TODAY'S CHALLENGE: Transitions. Remove the slug lines (INT./EXT.) and examine scene relationships.
When I don't have a slug line announcing a new scene for readers, it forces me to forge a cinematic link between them. I start to think about why and when I'm leaving one scene, and how it connects to the visual or audio of the next one. But the stronger you bind one scene to the next, the more you protect them from unnecessary changes later. More and more, I'm learning that great storytelling is about the relationship: of two shots, of two scenes, of two characters, etc. (1/30/17)Transitions are what link a scene(s) together.
Without those links, the reader will: 1) not get your vision, and/or 2) stop reading.
Let's try to identify the links in this scene:
ex. "INT. BARRACKS - MORNING
ON A LAPTOP SCREEN: Aerial footage of the Shell appears. Back from a safe distance. The Shell looks, as always, intimidating.
But now with the footage is a SINISTER SCORE added by shock-jock radio host RICHARD RILEY, who emphasizes words -- [This scene opens on tv footage on a laptop screen.]
[For brevity, I cut out Riley's dialogue here.]
REVEAL the LAPTOP is in:
The military barracks. And PRIVATE LASKY listens intently to it. Nodding. Glancing out the open flaps of the barracks tent toward the giant Shell in the distance.
[We see we are in military barracks. This establishes our location.]
[The 1st POV is Lasky, who agrees with the shock jock.]
Three bunks over, a group of SCIENTISTS watch a news program on a separate TV, following riots somewhere. Could be Prague, could be Detroit. One SCIENTIST shakes his head in disgust. Outside, Louise walks past the barracks, on her way to --"
[The 2nd POV are the scientists, who are concerned about the rioting.]
[We glimpse a 3rd POV, Louise.]
[Note how this one scene shows three distinct POVs, without any dialogue. This links them AND contrasts how each one feels about the present events.]
WHAT I'VE LEARNED: I liked the idea that the stronger my transitions, i.e., linking scenes, the bigger the chance that they will stay in the final draft.
by Eric Heisserer
Based on the story, "Story of Your Life," by Ted Chiang