Crafting a scene that earns the total sympathy of your readers can be challenging, but it's not impossible. Most emotionally devastating scenes fail at two things, but when these are done right, the results can be powerful.
1. The Build-Up,
2. Breaking the Dam.
Before I explain these concepts, let me share a case study.
I wrote a story about a young orphan named Jackie and her younger brother. Their village was burned down, leaving them as the only survivors.
For the next few chapters, readers followed their painful journey and their struggle to survive. The younger brother had a heart problem, and Jackie vowed to become a cardiologist to save him.
She was very ambitious about it, but at the time, it was very ironic. Later in the story, when they encountered a tragic living condition with a family, the brother died while telling his sister how much he missed their parents.
When her brother was fighting for his life, she was sent out of the room, only to be let in again to see his cold, lifeless body.
The build-up is extremely important when you aim to convey strong emotions. Here's a secret: if you plan for a scene with strong emotions, start leaving breadcrumbs from the very beginning of the story.
Take the previous case study. I carefully built up their journey so people could easily relate and feel the pain of the older sister during her brother's sudden death.
You need to give the situation enough reason to feel utterly hopeless and devastating. Gradually cultivate the tension until it's ready to let loose.
Breadcrumbs in stories ensure you utilize the time you have to build up certain emotions around your characters.
At the beginning of my story, Jackie’s fate was already pitiable, but she survived every hurdle. This gave the readers enough to feel for her while still leaning away from the outcome. When I built enough, I introduced her brother's sudden death.
Hence, leave your breadcrumbs while leaning away from the outcome.
When building up your story, consider these elements:
☞ Character Relatability: The characters need to be realistic to draw readers into the story. This helps readers invest themselves in your story.
☞ Realistic Emotional Pain: Just as characters need to be relatable, their emotions need to be realistic and not appear forced.
☞ Create a Strong Emotional Attachment: Give them something they care about or that has the power to ruin their lives in any way. It could be something that makes them happy or something their happiness relies on. When it's time, snatch it away without remorse.
☞ Have a Backstage Struggle: This struggle keeps readers occupied, so they won't see the outcome coming. For example, Jackie’s constant struggle to find food and shelter keeps readers engaged while the impending tragedy looms in the background.
☞ Attach Believable Elements: For a realistic character, emotion, and struggle, attach believable elements. It could be death, ailments, sickness, disorder, disappointment, failure, etc.
Now that we've covered the build-up, let's move on to the next crucial part.
This is when you make your readers feel the strong emotions alongside your characters. All the tension you’ve been building up is released, making all emotions come into play.
☞ Break Your Strong Attachment: Cut off your strong attachment from your character when they least expect it or at a point when they couldn't use more struggles (i.e when they are helpless).
This will not only evoke readers’ emotions but also pique their curiosity as they wonder how the character will survive the situation.
☞ Description of Sensory Details to Invoke Emotions: The advice of "show, don't tell" will be really helpful here. It's crucial to ensure that the final execution matches the build-up.
A well-crafted build-up can fall flat if the emotional release isn't handled effectively. To avoid this, blend the climax seamlessly into the narrative, making it feel natural and impactful.
(because at some point it does, he's 'Draco' in the epilogue.)
And I found some interesting stuff.
~ The book consistently uses 'Draco' during scenes that feature Lucius, or sentences that mention both Draco and Lucius together. This makes sense - up until Book 7 Lucius is "Mr. Malfoy" or "Lucius Malfoy" in the narration... and you don't want a "Malfoy" and a "Mr. Malfoy" in the same scene, that's just confusing.
(this is also probably why Voldemort calls all his Death Eaters by their last names during the graveyard scene... except Lucius. We're still firmly in Children's Lit, and if Voldemort had started addressing one of his Death Eaters as 'Malfoy' ... somebody would have gotten confused and thought that Draco was somehow there.)
~ The first scene that really commits to "Draco" in the narration is the opening of Book 7, where Voldemort is holding court in the Malfoy dining room. It's told in third person omniscient, and even though Lucius isn't doing much... it's a scene about Voldemort taking his wand (and his power) away from him. So there's a fun mis-match between the detached /objective narrator, who calls him "Malfoy" or "Lucius Malfoy," and Voldemort... who calls him "Lucius." The way the scene is written is telling us that he's being disrespected.
Draco is called "Draco" in this scene so we don't confuse him with his father... but maybe there's also a little implication that "Draco" is the most neutral thing to call him, and he's only "Malfoy" through Harry's eyes (ie the "Harry filter.") Still, using his first name like this during such an emotionally charged scene does have the side effect of bringing us a little emotionally closer to the character - especially during Charity Burbage's death, which is a beat that doesn't have anything to do with Lucius.
“And you, Draco?” asked Voldemort, stroking the snake’s snout with his wand-free hand. Draco shook his head jerkily. Now that the woman had woken, he seemed unable to look at her anymore. (...) “Avada Kedavra.” The flash of green light illuminated every corner of the room. Charity fell, with a resounding crash, onto the table below, which trembled and creaked. Several of the Death Eaters leapt back in their chairs. Draco fell out of his onto the floor.
~ The bit where Draco tortures Rowle is the first time when Harry's narration uses "Draco" (in a scene that has nothing to do with Lucius.) We actually watch the switch happen:
A log fell in the fire: Flames reared, their light darting across a terrified, pointed white face — with a sense of emerging from deep water, Harry drew heaving breaths and opened his eyes. (...) Malfoy’s gaunt, petrified face seemed branded on the inside of his eyes. Harry felt sickened by what he had seen, by the use to which Draco was now being put by Voldemort.
~ He's "Draco" all through the scene in Malfoy Manor... and of course he is, Lucius Malfoy is massively important to that scene. But since by now we've had a little moment of "Draco" from Harry, and from the narration (and he's "Draco" during the whole bit with the prisoners in the cellar, which Lucius isn't there for...) I think that this writing choice (unintentionally?) implies... an emotional connection from Harry, that wouldn't be there if his narration stuck to "Malfoy." Like here are two sentences that I think would read very differently if Harry's narration used "Malfoy" instead of "Draco."
Harry did not dare look directly at Draco, but saw him obliquely: a figure slightly taller than he was, rising from an armchair, his face a pale and pointed blur beneath white-blond hair.
Harry saw Draco’s face up close now, right beside his father’s. They were extraordinarily alike, except that while his father looked beside himself with excitement, Draco’s expression was full of reluctance, even fear.
~ Harry calls the wand he uses to defeat Voldemort "the hawthorn wand" a couple of times... but MOSTLy he thinks of it as "Draco's Wand." Including at like, the moment he's actually defeating Voldemort:
Harry heard the high voice shriek as he too yelled his best hope to the heavens, pointing Draco’s wand: “Avada Kedavra!” “Expelliarmus!”
I think the Doylist reason for this is to help the reader understand the (pretty confusing) chain of events that leads to Harry being the master of the Elder Wand.... but in the moment, that's a ton of emotional weight for Harry to be giving the name "Draco."
~ There is this interesting little moment where Harry calls Draco "Malfoy" out loud... but "Draco" in his head:
“Not [your wand] anymore,” panted Harry, tightening his grip on the hawthorn wand. “Winners, keepers, Malfoy. Who’s lent you theirs?” “My mother,” said Draco.
So maybe we've got a little conflict going. Harry doesn't have the same relationship with Draco that he used too... but is a little uncomfortable letting Draco know that. Actually, the only time Harry just calls him "Draco" in dialogue is when... he's talking to Voldemort.
“I got there first. I overpowered Draco weeks ago. I took this wand from him.”
(draco behind a pillar having an out-of-body experience because really potter? did you HAVE to phrase it like THAT?)
~ Interestingly, Harry's narration switches back to "Malfoy" during the Fiendfyre scene. This might be to make Draco more of an intentional pair with Crabbe and Goyle ('Malfoy, Crabbe, and Goyle' is a construction the books love.) Or maybe it's to reflect Ron and Hermione's perspective? Backpedal a bit on the implied Harry/Draco emotional closeness? Because... lemme just show you what this scene looks like if I swap out "Malfoy" with "Draco"
Draco saw him coming and raised one arm, but even as Harry grasped it he knew at once that it was no good. “Don’t kill him! DON’T KILL HIM!” Draco yelled at Crabbe and Goyle, who were both aiming at Harry [Ron] and Hermione dragged Goyle onto their broom and rose, rolling and pitching, into the air once more as Draco clambered up behind Harry. Draco was screaming and holding Harry so tightly it hurt.
~ And then, in their last real interaction, the names are all over the place:
Draco was on the upper landing, pleading with another masked Death Eater. Harry Stunned the Death Eater as they passed: Malfoy looked around, beaming, for his savior, and Ron punched him from under the Cloak. Malfoy fell backward on top of the Death Eater, his mouth bleeding, utterly bemused. “And that’s the second time we’ve saved your life tonight, you two-faced bastard!” Ron yelled.
All I can think here is that it's "Draco" when the narration is focusing on Harry's experience... and "Malfoy" when it's focusing on Ron's.
While Ice be looking at Mav's eyes THEN lips like he wants to devour them, with a big goofy smile and a hella cliché line
"FiGurEd OuT yEt ?? wHo ThE bEsT wAs"
Ice you're so close don't tell me you didn't do it on purpose
You mean to tell me that Maverick didn’t have a crush on ice man but this…THIS is how he looks at him?
That big smile the soft eyes
Mav you have two options here:take ice to bed or loose him forever
LMFAO
Maverick: It's not gay if I wanna date Ice...like as bros right?
Goose: I'm not an expert, but that does sound kind of gay
Hollywood: *Eating chips* I'm an expert, thar's gay
i love a good fic where bradley takes the rest of the daggers to his house with mav and they find out that ice is mavs husband and then all the other flyboys are there and the daggers are all in shock and mad at bradley for not telling them
The struggle it is istg
i sit down to write and suddenly i am the most distracted human alive. the chair is uncomfortable. my coffee is too hot. my playlist isn't quite the vibe. i need to research what victorian houses smelled like in 1872 for exactly 45 minutes even though my story takes place in space. and yet the moment i'm trying to fall asleep? every single sentence i've ever needed just lines up perfectly in my brain like some kind of creative parade i'll never get back.
*Goose and Mav eating Breakfast* Goose: More toast, Pete? Mav: *looking at his phone* Why won't you call me, Ice? Goose: More toast, Ice?
😫😫😫my heart
Steve breaking Tony's heart, and Tony giving him the last piece
Love love love those✋👁️👄👁️
How do I stop obsessing over Maverick? (I don't have much practice drawing him so these look kinda wonky 😔)
I write stuffs about ships I'm obssessed with🤷♀️sh4rming on AO3Enemies/Rivals to Lovers = my roman empire
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