A two-part unit of storytelling where a character acts toward a goal (scene), then processes the outcome emotionally (sequel).
Scene and sequel is a technique popularized by Dwight Swain in Techniques of the Selling Writer. A "scene" (in this framework) is a unit of action: the character has a goal, faces conflict, and hits a disaster or setback. The "sequel" is the reaction that follows: the character processes their emotions, thinks through their options, and makes a decision that launches them into the next scene. Together, these two beats create a natural rhythm of tension and release that propels the story forward while keeping readers emotionally invested.
Scene and sequel solves one of the most common problems in early drafts: stories that are all action with no breathing room, or all reflection with no momentum. By alternating between the two, you create a push-and-pull rhythm that mimics how real humans actually experience high-stakes situations. You do something, you deal with the fallout, and then you decide what to do next. It also gives your reader permission to feel alongside the character before the next wave of conflict hits.
Collins is a master of scene and sequel. Nearly every arena sequence (scene) is followed by Katniss processing what happened, tending wounds, and deciding her next move (sequel). The rhythm keeps the pacing relentless without losing emotional depth.
Kvothe's story is built on scene-sequel pairs. He faces a disaster at the University (scene), retreats to process and strategize (sequel), and then launches into his next attempt. The sequel sections are where Rothfuss does his best character work.
Nick's chapters follow tight scene-sequel structure, but Amy's diary entries subvert it by presenting carefully constructed fake sequels. The contrast between authentic and manufactured emotional reactions is part of what makes the novel so unsettling.
If your story is nonstop action without reaction, readers get exhausted and emotionally numb. After a major scene, give your character (and reader) at least a moment to process before the next conflict.
A sequel that goes on for pages of internal monologue stalls your momentum. The sequel should end with a decision that creates new forward motion. Get to the decision.
If a scene ends with the character achieving their goal cleanly, there is no reason for a sequel and no fuel for the next scene. Scenes should end with a setback, a complication, or a yes-but outcome.
The sequel is not a recap. It should reveal new information through the character's emotional response and reasoning. What does the character realize now that they did not understand in the heat of the moment?
Write a scene-sequel pair. Start with a 400-word scene where your protagonist has a clear goal, encounters a specific obstacle, and ends with something going wrong. Then write a 300-word sequel where the character reacts emotionally, considers their options, and makes a decision that sets up the next scene. Pay attention to how the sequel naturally creates forward momentum toward a new goal.