If you can’t explain why a scene exists, you probably shouldn’t write it
Writers ask a lot of questions while drafting a novel—who are the characters, how does the worldbuilding work, what are the goals, motivations, and plot twists? And readers have their own questions driving them forward. Will the hero win? Will the lovebirds fall in love? Will the hockey team survive?
But we don’t always ask the question that can save us a ton of time and frustration.
This question isn’t about the story's theme or the protagonist's goals—it’s about why you decided to put this scene into your story in the first place.
If you can’t answer why a scene is in your novel, it's a huge red flag that the scene might not be serving the story.
Let’s look at some possible answers (and pitfalls) to “What’s the point of this scene?”
This is probably the most common reason why a scene is there, because a scene is how you dramatize the protagonist trying to achieve a goal. There’s something the protagonist or point of view character is after and the scene shows how they go about getting it.
The answers here might look like:
With Bob, the goal is clear in the answer itself (to get the codes), though for the other two it’s more vague. Explaining why she missed a date isn’t the goal, but it’s easy to figure out the goal is “getting Jared to forgive her” or something along those lines. Putting back the mascot without getting caught is probably the actual goal of the scene, but the point of the scene is to show Shayla getting caught (and thus failing in her goal).
The point in a goal-focused scene is to accomplish a goal or task of some type. If your answer to "What's the point?" is a little vague, look for ways to make that clear in the actual scene.
(Here’s more with The Difference Between a Sequel and a Scene)
A novel has around a dozen major turning point scenes for the plot and character arc. Hitting that moment of the story is the "point of that scene."
What’s the point of this scene?
This question isn’t about the story's theme or the protagonist's goals—it’s about why you decided to put this scene into your story in the first place.
If you can’t answer why a scene is in your novel, it's a huge red flag that the scene might not be serving the story.
Let’s look at some possible answers (and pitfalls) to “What’s the point of this scene?”
It shows the protagonist in pursuit of a concrete goal central to the plot.
This is probably the most common reason why a scene is there, because a scene is how you dramatize the protagonist trying to achieve a goal. There’s something the protagonist or point of view character is after and the scene shows how they go about getting it.
The answers here might look like:
- To show Bob breaking into the safe to get the codes
- Marla tries to explain to Jared why she missed their date
- Shayla gets caught putting back the school mascot
With Bob, the goal is clear in the answer itself (to get the codes), though for the other two it’s more vague. Explaining why she missed a date isn’t the goal, but it’s easy to figure out the goal is “getting Jared to forgive her” or something along those lines. Putting back the mascot without getting caught is probably the actual goal of the scene, but the point of the scene is to show Shayla getting caught (and thus failing in her goal).
The point in a goal-focused scene is to accomplish a goal or task of some type. If your answer to "What's the point?" is a little vague, look for ways to make that clear in the actual scene.
(Here’s more with The Difference Between a Sequel and a Scene)
It’s a turning point of the plot or character arc.
A novel has around a dozen major turning point scenes for the plot and character arc. Hitting that moment of the story is the "point of that scene."
- Getting the protagonist onto the plot path is the point of the inciting event.
- Forcing the protagonist to face their darkest fear is the point of the dark moment of the soul.
- Making the protagonist realize the problem has been them all along is the point of the realization of growth in the character arc.
If there's no point at those “scenes with turning points” moments, that’s a red flag your structure might be off and your plot could be weak.
The answers here might look like:
The answers here might look like:
- For Bob to decide he’s not going to take Sally’s abuse anymore and stand up to her.
- For Marla and Jared to bump into each other after ten years and feel that spark of attraction again.
- Shayla realizes she’s not prepared for the test and is going to fail and lose her scholarship.
If the point of your scene is to change the story’s path, make sure the emotional and plot beats are strong enough to earn that moment.
(Here’s more with If Nothing Changes in Your Novel, You Have No Story)
If the point of the scene is “to explain something,” odds are there’s no goal driving the scene forward. The scene isn’t trying to accomplish anything, it’s there to explain things to the reader. Even if you’re using a different word or phrase (”to show why…” is just as bad), if the point is to educate, inform, explain, or otherwise dump information about the character’s backstory, you might have a problem.
The answers here might look like:
If the point of the scene is to explain, but you’ve created a story-driving scene that also allows for this backstory or information to come out naturally as the characters pursue their goal, then you’re doing your job and the scene is probably working.
(Here’s more with 5 Ways to Find the Backstory Readers Want to Know)
If backstory is the explanation of character, infodumping is the explanation of world building. If the point of the scene is to explain the history of the world, why things are the way they are now, why a particular situation works a certain way, it’s a red flag you’re dumping information and not crafting a scene.
The answers here might look like:
(Here’s more with 4 Reasons Over-Explaining Will Kill Your Novel)
Setup scenes can be sneaky, because it feels like it works when your character “happens” to find the exact clue that leads to the next plot point. But when there's no solid groundwork or reason for that "something" to happen, the whole scene feels forced. It's there only to transition to the next scene.
(Here’s more with If Nothing Changes in Your Novel, You Have No Story)
It explains why the protagonist is the way they are.
If the point of the scene is “to explain something,” odds are there’s no goal driving the scene forward. The scene isn’t trying to accomplish anything, it’s there to explain things to the reader. Even if you’re using a different word or phrase (”to show why…” is just as bad), if the point is to educate, inform, explain, or otherwise dump information about the character’s backstory, you might have a problem.
The answers here might look like:
- To explain why Bob is scared of dogs.
- To show why Jared has trust issues.
- To explain what happened when Shayla was ten and why she’s so determined to be liked.
If the point of the scene is to explain, but you’ve created a story-driving scene that also allows for this backstory or information to come out naturally as the characters pursue their goal, then you’re doing your job and the scene is probably working.
(Here’s more with 5 Ways to Find the Backstory Readers Want to Know)
It explains the history or rules of the world or setting works.
If backstory is the explanation of character, infodumping is the explanation of world building. If the point of the scene is to explain the history of the world, why things are the way they are now, why a particular situation works a certain way, it’s a red flag you’re dumping information and not crafting a scene.
The answers here might look like:
- To show that everyone has to wear masks when they go outside because the environment was destroyed by a war three hundred years ago between the two major factions.
- It shows how the lower classes are treated by those who have money and power.
- It explains the animosity between the Jets and the Sharks.
(Here’s more with 4 Reasons Over-Explaining Will Kill Your Novel)
It sets up the next scene.
Setup scenes can be sneaky, because it feels like it works when your character “happens” to find the exact clue that leads to the next plot point. But when there's no solid groundwork or reason for that "something" to happen, the whole scene feels forced. It's there only to transition to the next scene.
For example, you know the protagonist needs to get into a fight with her spouse in Chapter Five, but she needs to find the hotel receipt first. So she she decides on a whim to search her husband's pockets or briefcase, even though there’s no plausible reason why she’d do it aside from, “the author needs her to do this to find the thing that sets up the next scene.”
The answers here might look like:
- For Bob to stumble across a clue that Jane and Sally aren’t the enemies they pretend to be.
- To upset Marla so much she forgets her date with Jared.
- To foreshadow that there’s a growing evil in the land.
(Here’s more with Why Your Novel Isn’t Hooking Your Reader)
Scenes have multiple uses in a novel, but their main job is to dramatize the story and move the plot forward.
If the point of the scene doesn’t involve a goal, a choice, a change, or a consequence, it’s worth rethinking what that scene is doing for your story. It might not be pulling its weight.
Asking “what’s the point of this scene?” is a great tool to help you pinpoint why a scene (or novel) isn't working. It’ll also help you find the weak and unnecessary scenes bogging your novel down, so you can either develop or eliminate them.
Asking “what’s the point of this scene?” is a great tool to help you pinpoint why a scene (or novel) isn't working. It’ll also help you find the weak and unnecessary scenes bogging your novel down, so you can either develop or eliminate them.
EXERCISE FOR YOU: Look at any scenes you fear might be weak and ask: What’s the point of this scene? What's driving it (the goal)? What changes because of it? If you can’t answer all three clearly, brainstorm how to strengthen those aspects and revise. You can also do this for every scene in your novel. It takes a bit of work, but it's a great revision tool to test your narrative drive.
Do you know the point of all your scenes? Are there some that might need a little more work?
Do you know the point of all your scenes? Are there some that might need a little more work?
*Originally published March 2018. Last updated November 2025.
Find out more about plot and story structure in my book, Fixing Your Plot & Story Structure Problems.
Go step-by-step through plot and story structure-related issues, such as wandering plots; a lack of scene structure; no goals, conflicts, or stakes; low tension; no hooks; and slow pacing. Learn how to analyze your draft, spot any problems or weak areas, and fix those problems.
With clear and easy-to-understand examples, Fixing Your Plot & Story Structure Problems offers five self-guided workshops that target the common issues that make readers stop reading. It will help you:
Available in paperback and ebook formats.
Janice Hardy is the award-winning author of the teen fantasy trilogy The Healing Wars, including The Shifter, Blue Fire, and Darkfall from Balzer+Bray/Harper Collins. The Shifter, was chosen for the 2014 list of "Ten Books All Young Georgians Should Read" from the Georgia Center for the Book.
She also writes the Grace Harper urban fantasy series for adults under the name, J.T. Hardy.
When she's not writing novels, she's teaching other writers how to improve their craft. She's the founder of Fiction University and has written multiple books on writing.
Website | Facebook | Twitter | Pinterest | Goodreads | Amazon | Barnes & Noble | iTunes | Indie Bound
Find out more about plot and story structure in my book, Fixing Your Plot & Story Structure Problems.
Go step-by-step through plot and story structure-related issues, such as wandering plots; a lack of scene structure; no goals, conflicts, or stakes; low tension; no hooks; and slow pacing. Learn how to analyze your draft, spot any problems or weak areas, and fix those problems.With clear and easy-to-understand examples, Fixing Your Plot & Story Structure Problems offers five self-guided workshops that target the common issues that make readers stop reading. It will help you:
- Create unpredictable plots that keep readers guessing
- Find the right beginning and setup for your story
- Avoid the boggy, aimless middle
- Develop compelling hooks to build tension in every scene
- Craft strong goals, conflicts, and stakes to grab readers
- Determine the best pacing and narrative drive for your story
Available in paperback and ebook formats.
Janice Hardy is the award-winning author of the teen fantasy trilogy The Healing Wars, including The Shifter, Blue Fire, and Darkfall from Balzer+Bray/Harper Collins. The Shifter, was chosen for the 2014 list of "Ten Books All Young Georgians Should Read" from the Georgia Center for the Book.She also writes the Grace Harper urban fantasy series for adults under the name, J.T. Hardy.
When she's not writing novels, she's teaching other writers how to improve their craft. She's the founder of Fiction University and has written multiple books on writing.
It's like you can read my mind. I needed this info today. You're always concise and clear.
ReplyDeleteI have writing gremlins who search for people are struggling with (grin).
DeleteExcellent advice and perfectly timed. I'm plotting/planning/outlining my next book and now I'll know to watch out for "set-up" scenes. Thank you!
ReplyDeleteAwesome!
DeleteI have a written process I go through for each scene before I write much of it, and it specifically includes the Goal for the scene.
ReplyDeleteHere are some other prompts in that set:
Pivotal: What if scene DIDN’T happen?
Symbols (can shorten the climax into a single telling detail): the wheelchair is a symbol of disability that is hard to ignore. Andrew sees it as a wise idea.
OMEN: a way to get the reader interested, a form of foreshadowing, or of making it seem things aren’t as they appear to be; its job is to cause unease in the reader.
Hardest part: What is my biggest obstacle to writing this scene?
...
I find it much easier to write a scene if I've thought about these - and many other factors - before I start writing. I answer the prompts in writing, sometimes creating snippets of what will fulfill it, other times going deep into backstory which won't appear, but underlies what happens.
Then I write. Makes it much easier not to forget things I consider important. Otherwise the scene takes too much rewriting.
Those are great questions. I love your process!
DeleteThat was me, above. Does the internet seem more complicated now than in 2012, when I started blogging? Plus, it ate 'rdt'. I give up.
ReplyDeleteI think it is, especially Blogger. One of the reasons I'm building a whole new site (which will hopefully be ready to launch in early 2026.)
Delete