Published in 1965, Dwight V. Swain’s “Techniques of the Selling Writer,” some feel, is a bit outdated. Written before the ubiquitous word processor, Google, and AI gives the book some age; however, after reading the book once and studying through it a second time, I think the book has good information. It is still in print, which speaks about the book’s endurance. The book has information for a freshman writer, like myself, or a senior writer. I’ll be studying through the book again and presenting some of my observations.
Dwight Swain (1915-1992) began his writing career in the 1930s. From publishing short stories, his writing evolved to include mysteries, westerns, and action-adventure stories. He was also a screenwriter.
Swain taught in the Professional Writing Program at the University of Oklahoma, where he oversaw the development of student writers. Students in the program submitted writing assignments. From these submissions, Swain drew many illustrations used to support his points in his nonfiction books about writing, such as Techniques of the Selling Writer, the focus of this discussion.
Chapter 4
Building a Sequel
Dwight Swain says that a story consists of scene … sequel … scene … sequel … scene … sequel.
A scene takes place in real time, involves people, and action. A sequel, Swain says, is a unit of transition that links to scenes. It displays the focal character’s relation to the scene just completed and motivates him into the next scene. The goal of a sequel, then, serves three functions:
1. To translate disaster into goal.
2. To telescope reality.
3. To control tempo.
1. A sequel translates disaster into goal—its first function.
By providing a bridge that gives the focal character—and the reader—a reason for pressing on in a particular direction that will bring further conflict, sequel translates disaster into a goal. Only when the focal character reaches a decision as to what path he will take can the story logically proceed.
The sequel, then, is the decision-making time that forms a bridge from one scend to another. A scene is a unit of conflict, tension, or inquiry. At some point, however, a scene ends. The reader needs a reason to continue w the story.
Swain holds that conflict or tension for its own sake is meaningless—it adds nothing to the story. There may be incidents or happenings along the way, but they should not lead the reader astray or he may fold the book away. A character’s efforts must have meaning; they must have consequences. There must be reason or logic behind the focal character’s action that makes sense, that gives the reader a reason to read on. Explicitly or implicitly, the sequel must reveal why the focal character chooses their new direction or course of action, assuring the reader that the focal character is a sensible person, worthy of acceptance. Sequel, therefore, traces the character’s chain of logic, their pattern of rationalization. It translates disaster into a goal.
2. Sequel also telescopes reality—its second function.
Making a decision or embarking on a new course of action often takes time, maybe weeks or months. Following this route beat by beat could be tedious and the reader would lose interest. Therefore, time can be collapsed. In the film industry, this practice would be a “jump cut.” Earlier writers felt the need to follow the focal character step by step between each scene. Analysts claim readers today are impatient with that type of detail description, so the sequel should move from one scene to the next with economy, yet not derail the story.
3. A sequel should control tempo—its third function.
Sequel does this by allocating space and emphasis to get the effect the writer wants. Stories, Swain says, have peaks and valleys; big moments and small. Life, nor a story, is one continuous climax. Therefore, a sequel must convey the sense of time passing. That may be done by introspection, description, or elaboration.
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