From the Fiction Desk

A number of years ago I watched a live performance of Agatha Christie’s play “Black Coffee.” In it, as with any of Dame Christie’s stories, there was murder and a detective. I do not remember who did what anymore, but there is a scene that stood out—a perfect symbiotic display of character and scene presented for dramatic psychologically effect. Here is how the scene played out:

The setting was in a 1940’s or 50’s salon of some rich characters home, if I remember, cast on one of those melodramatic “dark and stormy nights.” The furniture is elegant and on a black and white checkered marble tile floor, with steps leading up to a French window. One character takes a cup of coffee, talks with others. Lighting flashes as the character is ready to sip. The lights go off as the character drinks of the poisoned brew, chokes and dies. All the characters make sounds of panic. Then the French window opens, lighting strikes, casting a set of figures in silhouette. Miraculously, the power is “restored” as the lights come on. Do you think I have described the psychology yet? No, not yet. Here it comes.

The detective seeing what has happened steps down from the stairs and onto the checked floor, as if a chess master has moved a powerful piece into play on the chess board (provided by the checkered tile). The setting and actions were perfect, because that is exactly what Dame Christie did. She has now moved the “great detective” into play on the chess board of the murder.

When writing a scene—especially in the rewriting stage, I try to recall this play and the effects of the scene. The stage setting was elaborately designed to produce the image of a chess board and the psychological effect that comes when watching a new threat or defender enter the game. I try to make the scenes of each sub-chapter of a story not only provide action, drama, and character development, but I try to produce a psychological effect on the reader that will subconsciously engulf them into the scene.

I heard it said that no scene should ever be left in the final draft that does not promote the action of the story forward or promote the character’s development. But, I wish to add to this. Have you ever watched an artist paint? Painters pay great attention to how their paint is laid upon the canvas to produce the image of what they are painting and the effect they try to produce in the viewer. Writers do the same. Our readers’ minds and hearts are the canvas we set to paint upon. Our words become the paint that is brushed carefully upon it, laying out the scene how our imagination portrays it. Then, as the painter, we lightly brush the image with the afore knowledge of what emotional and psychological effect we want to produce. No scene in the end should exist that does not have its own psychology and psychological effect.

Thank you for reading and please visit www.davidalanlucas.com for updates on my writing.