The Art of Scene Transitions

Scene transitions are the bridges between the different parts of your story. They help readers move from one setting, time, or perspective to another.

Good transitions maintain the story's momentum, provide necessary information, and keep readers invested in the narrative. Great transitions do this without confusing the reader.

Types of Scene Transitions

There are nearly infinite ways to transition between scenes. Here are the most common ones:

1. Hard break: A symbol (e.g. ***) between paragraphs.

2. Time jump: The writer indicates a passage of time.

3. Narration: Move between scenes with a summary or explanation.

4. Change in perspective: Switch to a different character's point of view.

5. Thematic link: Use a common element to connect scenes.

Transitions play a role in your story's pacing. Short, abrupt transitions can create tension or urgency, while longer, more detailed transitions can slow the pace for reflection or to build anticipation.

Examples

a) Hard break (from “It” by Stephen King):

There was a huge striped refreshment tent in Derry Park, and band concerts there every night. In Bassey Park there was a carnival with rides by Smokey's Greater Shows and games run by local townfolk. A special tram-car circled the historic sections of the town every hour on the hour and ended up at this gaudy and amiable money-machine.

It was here that Adrian Mellon won the hat which would get him killed, the paper top-hat with the flower and the band which said I ♥ DERRY!

[hard break] 4

“I'm tired,” John 'Webby' Garton said. Like his two friends, he was dressed in unconscious imitation of Bruce Springsteen, although if asked he would probably...

In this scene break, Stephen King stops the first scene and immediately begins the next one. The only thing indicating a scene break is the number ‘4’, indicating that it was the 4th scene in Chapter 2. This is a hard break.

b) Time jump (from "The Old Man and the Sea" by Ernest Hemingway):

"But, he thought, I keep them with precision. Only I have no luck anymore. But who knows? Maybe today. Every day is a new day. It is better to be lucky. But I would rather be exact. Then when luck comes you are ready."

[time jump] "The sun was two hours higher now and it did not hurt his eyes so much to look into the east."

This time jump shifts the scene from the old man's thoughts to the rising sun. Hemingway shows us how to transition between internal and external focus with a simple mention of the passage of time.

c) Narration (from "To Kill a Mockingbird" by Harper Lee):

When I was almost six and Jem was nearly ten, our summertime boundaries (within calling distance of Calpurnia) were Mrs. Henry Lafayette Dubose’s house two doors to the north of us, and the Radley Place three doors to the south. We were never tempted to break them. The Radley Place was inhabited by an unknown entity the mere description of whom was enough to make us behave for days on end; Mrs. Dubose was plain hell.

[narration] That was the summer Dill came to us.

Early one morning as we were beginning our day’s play in the back yard...

Lee uses this narration to move from a vague recollection of the Radley Place to a very specific day when Dill came to visit the main character.

Practical Tips

1. If you have enough narrative distance, you can use transitional phrases: Words like "meanwhile," "later," or "across town" can help orient readers in time and space.

2. Employ sensory details: Engage the reader's senses to ease them into a new scene. Describe sights, sounds, smells, or textures to ground them in the new setting.

3. Create continuity: Find a common thread between scenes, such as an object, emotion, or theme, to create a sense of connection.

4. Vary your transition styles: Mix up your techniques to keep your writing fresh and engaging. Don't rely too heavily on any single method.

5. Read your transitions aloud: This can help you identify any awkward or abrupt shifts that might disrupt the flow of your story.