{"id":2565,"date":"2020-02-16T17:13:40","date_gmt":"2020-02-16T22:13:40","guid":{"rendered":"http:\/\/www.shanafigueroa.com\/blog\/?p=2565"},"modified":"2020-04-05T14:31:43","modified_gmt":"2020-04-05T18:31:43","slug":"9-steps-to-constructing-a-good-scene-or-chapter","status":"publish","type":"post","link":"http:\/\/www.shanafigueroa.com\/blog\/9-steps-to-constructing-a-good-scene-or-chapter\/","title":{"rendered":"9 Steps to Constructing a Good Scene or Chapter"},"content":{"rendered":"\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"512\" src=\"http:\/\/www.shanafigueroa.com\/blog\/wp-content\/uploads\/2020\/02\/First-Chapter-1024x512.png\" alt=\"\" class=\"wp-image-2566\" srcset=\"http:\/\/www.shanafigueroa.com\/blog\/wp-content\/uploads\/2020\/02\/First-Chapter-1024x512.png 1024w, http:\/\/www.shanafigueroa.com\/blog\/wp-content\/uploads\/2020\/02\/First-Chapter-300x150.png 300w, http:\/\/www.shanafigueroa.com\/blog\/wp-content\/uploads\/2020\/02\/First-Chapter-768x384.png 768w\" sizes=\"auto, (max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><figcaption>Don&#8217;t put that book down, girl!<\/figcaption><\/figure>\n\n\n\n<p>You\nknow how sometimes you\u2019ll read an entire chapter of a book and think to\nyourself, \u201cWhat did I just read?\u201d Or maybe, \u201cWhat was the point of that?\u201d Well,\nthe reason you\u2019re asking yourself this question is because whoever wrote the\nchapter didn\u2019t know how to properly construct a scene\u2026or it\u2019s supposed to be\nsome kind of deep literary nonsense, though if that\u2019s the case you\u2019d probably\nthink to yourself \u201c<em>Soooo deep\u2026<\/em>\u201d while\nsecretly feeling ashamed because you assume you\u2019re too dumb to understand it.<\/p>\n\n\n\n<!--more-->\n\n\n\n<p>You\nare not too dumb! Some authors will write in the abstract for the purpose of\nshowing off, but the goal of the vast majority of writers is to clearly relay\ninformation to the reader. Not to say there\u2019s no room for ambiguity,\ninterpretation, or abstract ideas or images, only that it needs to be\npurposeful; clarity should be the default.<\/p>\n\n\n\n<p>The\npoint is, <strong>every scene and chapter in\nyour story should have a clear purpose, and that purpose should be one of two\nthings: to build character or move the plot along; ideally both.<\/strong> <\/p>\n\n\n\n<p>Most\nbeginning authors will make the mistake of writing scenes or whole chapters for\nthe sole purpose of exposition: worldbuilding info, character or story\nbackground info, characters moving from one place to another, characters\nexplaining things to each other that the reader already knows, characters doing\nmundane tasks, endless buildup of some mystery, plot point explanations, etc. A\nscene can contain one or some of these elements, but if that\u2019s all it does,\nthen you have a problem. If your scene doesn\u2019t illuminate or change a key\ncharacter trait, or move the plot\u2014not just <em>explain<\/em>\nthe plot but <em>move<\/em> it forward\u2014then it\u2019s\nnot a good scene. If people are complaining that your \u201cstory is dragging,\u201d it\u2019s\nprobably for this reason.<\/p>\n\n\n\n<p>To\nclarify, a <em>scene<\/em> is an event, or\nsometimes a series of events, that are connected by a singular time, place, or\npurpose. A <em>chapter<\/em> is one long scene\nor multiple scenes that complete part of a narrative arc.<\/p>\n\n\n\n<p><strong>Specifically, a <em>scene<\/em> should do one or more of these\nthings:<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Introduce new, important characters\n(important = story-relevant)<\/li><li>Character learns new, important\ninformation<\/li><li>Character reacts to new, important\ninformation<\/li><li>Character makes a meaningful choice<\/li><li>Key event in the plot takes place\n(usually due to character actions)<\/li><\/ul>\n\n\n\n<p><strong>Here\u2019s what a <em>chapter<\/em> should do:<\/strong><\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Move the main character (or one of\nthe main characters if more than one, ala a romance) along their primary\nnarrative arc. Character should start in one place, mentally and\/or physically,\nat the beginning of the chapter, and end up in another at the end of the\nchapter<\/li><\/ul>\n\n\n\n<p>Since chapters are made up of scenes, we\u2019ll focus on just scenes. So how do you set up a scene? It\u2019s comparatively easy to plot out your story, even to the detail of what will happen in each individual scene. But it\u2019s less intuitive how a scene should flow from beginning to end. The key is to do something similar to the <a href=\"http:\/\/www.shanafigueroa.com\/blog\/9-steps-to-start-your-story\/\">How to Start<\/a> steps: determine who the \u201cstar\u201d of the scene is, what they want, who or what\u2019s in their way, and if they get what they want at the end.<\/p>\n\n\n\n<p><strong>Here are the steps to constructing\na good scene: <\/strong><\/p>\n\n\n\n<p>(ASSIDE:\n<em>Why are you so into steps and numbered lists?<\/em>\nyou might be wondering at this point if you\u2019ve read my other posts. Because\nit\u2019s easier to explain stuff in steps, that\u2019s why. And it works for <a href=\"https:\/\/www.google.com\/url?sa=t&amp;rct=j&amp;q=&amp;esrc=s&amp;source=web&amp;cd=21&amp;cad=rja&amp;uact=8&amp;ved=2ahUKEwjQ7OPUsrvnAhVClKwKHYq0AGsQFjAUegQIARAB&amp;url=https%3A%2F%2Fwww.cracked.com%2Findex.php&amp;usg=AOvVaw0J5ivUiEHQyOFI3XVYSI5F\">Cracked.com<\/a>.)<\/p>\n\n\n\n<p>TL;DR:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Step 1: Decide who\u2019s the POV character for the scene<\/strong><\/li><li><strong>Step 2: Make it clear when and where the scene is taking place<\/strong><\/li><li><strong>Step 3: Establish what the POV character wants<\/strong><\/li><li><strong>Step 4: Establish the context of the scene, and how the character\u2019s critical flaw will be tested<\/strong><\/li><li><strong>Step 5: Establish who or what is preventing the POV character from getting what they want<\/strong><\/li><li><strong>Step 6: Convey what\u2019s at stake in the scene<\/strong><\/li><li><strong>Step 7: Have the POV character and the opposing force face off<\/strong><\/li><li><strong>Step 8: Show if the POV character gets what they want at the end of the scene<\/strong><\/li><li><strong>Step 9: Finally, double check to make sure your scene serves a purpose<\/strong><\/li><\/ul>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.shanafigueroa.com\/blog\/wp-content\/uploads\/2019\/11\/typewriter-squiggle.png\" alt=\"\" class=\"wp-image-2309\" width=\"100\" height=\"42\"\/><\/figure><\/div>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Step 1: Decide who\u2019s the POV character for the scene<\/strong><\/li><\/ul>\n\n\n\n<p>Don\u2019t\nbe cute and do an omniscient POV. Very few writers can pull that off without\nlooking amateur.<\/p>\n\n\n\n<p>If\nyour book is in first-person POV, then this is obviously a non-issue\u2014the POV\nwas established at the very beginning of the book. If you have multiple POV\noptions\u2014say a scene takes place between two main characters ala a romance, for\ninstance\u2014then pick the character who has the most at stake in the scene. If\nthat\u2019s not a discerning factor, pick the one who can relay the most information\nto the reader, ex: an outsider visiting a new area the reader\u2019s not familiar\nwith yet. If that\u2019s not a discerning factor either, then pick the most\ninteresting character. If THAT\u2019S not a discerning factor either, then just\nfreakin\u2019 pick one randomly and move on.<\/p>\n\n\n\n<p>You need to establish the POV character by making it clear upfront whose perspective we\u2019re in. For instance, let\u2019s say our POV character for a scene we\u2019re writing is named John. You could start the scene with this sentence: \u201cJohn forced himself to walk through the police station\u2019s towering double doors, taking slow breaths through his nose to appear calm.\u201d We&#8217;re clearly in John&#8217;s POV because he&#8217;s the only person who knows what he&#8217;s thinking (assuming this story doesn&#8217;t involve psychics).<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Step 2: <\/strong><b>Make it clear when and where the scene is taking place<\/b><\/li><\/ul>\n\n\n\n<p>Right\nfrom the opening line, we know John is in a police station. If it matters what\ntime of day it is, we can add a mention in the first couple paragraphs about\nhow he\u2019s hungry for dinner\u2014implying it\u2019s the early evening\u2014or maybe he needs to\nget back to work because he\u2019s on his lunch break\u2014implying it\u2019s around noon.<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Step 3: <\/strong><b>Establish what the POV character wants<\/b><\/li><\/ul>\n\n\n\n<p>What\u2019s\ntheir goal in this scene?<\/p>\n\n\n\n<p>For\ninstance, let\u2019s say John is in the police station because the police called him\nthere so they could question him about the disappearance of his wife. What he\nwants is pretty simple\u2014he wants to get out of there. His broader goal is to get\nthe cops off his back. So we open the scene with John in the police station,\nacting fidgety and anxious (the opening line makes it clear he doesn\u2019t want to\nbe there). Maybe he asks the receptionist when he can leave over and over\nagain.<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Step 4: Establish the context of the scene, and how the character\u2019s critical flaw will be tested<\/strong><\/li><\/ul>\n\n\n\n<p>The\ncontext of a scene will inform how the characters should act. Now let\u2019s say\nJohn also has secrets he\u2019s hiding from the police; for instance, a mistress.\nNot only does he want to go home, he also wants to avoid slipping up and\ntipping them off to his secret\u2026but he\u2019s a bad liar. John\u2019s critical flaw is\nthat he\u2019s <em>dishonest<\/em>. He\u2019s now in a\nsituation that directly tests this flaw. The result is he\u2019ll be nervous and on\nedge when the police question him, while trying and failing to appear calm. Maybe\nright before the interview, John clumsily tries to delete the texts from his\nmistress off his phone.<\/p>\n\n\n\n<p>The<em> context<\/em> of this situation is that John\nis in a cat-and-mouse game with the police that he\u2019s woefully unprepared for.<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Step 5: <\/strong><b>Establish who or what is preventing the POV character from getting what they want<\/b><\/li><\/ul>\n\n\n\n<p><a href=\"http:\/\/www.shanafigueroa.com\/blog\/3-easy-steps-to-write-a-compelling-villain\/\">The engine of any story is conflict<\/a>, so there MUST be conflict in the scene. If the POV character just waltzes in, gets what they want, and waltzes out, then that\u2019s a pretty boring scene. Or if the characters stand around exchanging exposition for the benefit of the audience -the most common version of a boring scene &#8211; then you&#8217;ve also got a snoozefest on your hands. There has to be something or someone significant standing in their way.<\/p>\n\n\n\n<p>Usually,\nthe opposing force is another person (sometimes it\u2019s nature or a supernatural\nforce like a ghost or whatever, but those opposing forces are less interesting\nand should be avoided unless they\u2019re key parts of the story. If it\u2019s a system\u2014ex:\nthe evil Empire in Star Wars\u2014then the system should be represented by a person\nor a few key people\u2014ex: Darth Vader and Emperor Palpatine. The point is, people\nare easier to identify with than non-people, and make for more compelling\nantagonists). The antagonist also has a goal that\u2019s in conflict with what the\nPOV character wants, and this is how we define the trajectory of the scene: <em>these two opposing forces face off<\/em>.<\/p>\n\n\n\n<p>In\nour example, John\u2019s main opponent is the police detective questioning him. The\ndetective takes John to an interrogation room and straight-up tells John that\nthey want truthful answers to their questions. They know John is hiding\nsomething (the detective sees John nervously deleting texts), but don\u2019t know\nexactly what it is (\u2026though a mistress is pretty standard, honestly\u2014any halfway\ndecent detective can guess that). The detective also suspects John is\nresponsible for his wife\u2019s disappearance, but doesn\u2019t know that for sure,\neither. The detective\u2019s goal is to squeeze the truth out of John, which is in\ndirect conflict with John\u2019s goal to hide the truth.<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Step 6: Convey what\u2019s at stake in the scene<\/strong><\/li><\/ul>\n\n\n\n<p>What\nhappens if the POV character fails? What happens if the opponent fails? <em>Stakes<\/em> are what give a conflict\u2014and\nhence the entire story\u2014its strength. If the stakes are low, the reader\u2019s not\ngoing to be super-invested in the outcome. If the stakes are high, the opposite\nhappens: readers tell their friends your book is a page-turner, your sales go\nup, you become famous, BOOM YOU\u2019VE MADE IT TAKE THAT HATERS\u2026something like\nthat.<\/p>\n\n\n\n<p><a href=\"http:\/\/www.shanafigueroa.com\/blog\/3-reasons-why-you-should-never-skip-the-inciting-incident\/\">Understanding the stakes is what builds suspense and tension<\/a>. Hitchcock had these immortal words about tension (paraphrased here): if two people are sitting at a table having a conversation, and then a bomb goes off, the most you\u2019ll get out of an audience is \u201cOh, wow\u201d for a second at the end. However, if you show the audience the bomb underneath the table at the <em>beginning<\/em> of the scene, suddenly the entire conversation is dripping with tension. That\u2019s how stakes work.<\/p>\n\n\n\n<p>The\nstakes should continuously increase as the story unfolds. They don\u2019t need to\nstart off high, because a key element of stakes is that we <em>care <\/em>about the outcome, usually meaning we care about the <em>characters<\/em>. Some newbie authors will try\nto juice up the beginning of their books by putting their characters in peril\nright away, like writing an opening scene where the main character is running\nfrom danger ala <em>Raiders of the Lost Ark<\/em>.\nHowever, that particular scene was in a <em>movie\n<\/em>and was compelling because it introduced us to the adventure world of the\nstory with some visual razzle dazzle, not because (at that point) we cared\nabout Indiana Jones. If you try to do the equivalent with words in a book, it\u2019s\nalmost certainly not gonna work (trust me\u2026many amateur writers have tried).<\/p>\n\n\n\n<p>Sometimes\nI\u2019ll get to the midpoint of a book I\u2019m reading or a TV show I\u2019m not super-into,\nand ask myself, \u201cIf this character got shot in the head right now, would I\ncare?\u201d If the answer is no, then I\u2019ll stop reading\/watching. Yeah it\u2019s kinda\nmorbid, but it illustrates my point quite clearly I think.<\/p>\n\n\n\n<p><em>First,<\/em> you introduce your characters and make your reader <em>care<\/em> about them with some low-stakes drama. <em>Then <\/em>you ratchet up the stakes.<\/p>\n\n\n\n<p>For instance, here\u2019s a quick scene that would be appropriate for the <em>beginning<\/em> of a story: Our protagonist, Jane, is at a supermarket shopping for food\u2014her goal in this scene is simply to buy food. She lives alone, so she\u2019s filling her shopping cart with a lot of single-serving meals, <a href=\"https:\/\/www.google.com\/url?sa=t&amp;rct=j&amp;q=&amp;esrc=s&amp;source=web&amp;cd=17&amp;cad=rja&amp;uact=8&amp;ved=2ahUKEwidsr207b3nAhUMRK0KHWiMAmcQwqsBMBB6BAgKEAQ&amp;url=https%3A%2F%2Fgetyarn.io%2Fyarn-clip%2F88e40faa-9d95-431e-8b48-68e44aa1fa78&amp;usg=AOvVaw1XPQwqYLo-kNsatdWWTrQ2\">margarita mix for one<\/a>, a single banana, one apple, etc., maybe while sighing sadly. We see she\u2019s lonely and unhappy about it\u2014that\u2019s the context. <em>Then<\/em>, she sees a guy she knew from high school in the bread section. He was the only boy who was nice to her, despite the fact he was also a popular football player. She really wants to say hello to him, but she\u2019s extremely nervous\u2014her critical flaw is that she lacks self-confidence. So instead of just walking up and saying hi, she keeps starting to walk up to him, then changing her mind and walking away, over and over again as he\u2019s shopping. What Jane doesn\u2019t know is that he\u2019s with his girlfriend\u2014the opponent in this scene\u2014and his girlfriend sees Jane\u2019s erratic behavior and mistakes Jane for a creepy stalker. The girlfriend loudly confronts Jane, and Jane is escorted out of the store by local security. The scene ends with Jane not getting what she wanted\u2014neither companionship, nor food. Jane\u2019s critical flaw kept her from meeting her goals, even though all she initially wanted was food. Now we\u2019ve set the stage for the rest of the story, and can increase the stakes as the story progresses and Jane wants more than just food.<\/p>\n\n\n\n<p>So,\nback to our example with John the Lying Liar Who Can\u2019t Keep It In His Pants: we\nmight not <em>like <\/em>John, but we <em>understand<\/em> him and are rooting for him\nto become a more honest person; therefore, we care what happens in this scene\n(this particular scene would take place at about the midpoint or latter half of\nthe story). The stakes for John are that he could be implicated in the\ndisappearance of his wife, maybe even charged with her murder and thrown in\njail. The stakes for the detective are the life of the man\u2019s wife, if the\ndetective fails to find her in time. Both have a lot to gain and to lose, which\nmakes this a tense scene.<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Step 7: Have the POV character and the opposing force face off<\/strong><\/li><\/ul>\n\n\n\n<p>After\nyou\u2019ve set the scene and established what the primary players want and what\u2019s\nat stake, the bulk of a scene will be two opposing forces facing off.<\/p>\n\n\n\n<p>In\nour example, John and the detective will have an intense, cat-and-mouse\nconversation where John tries to lie his way out of trouble while the detective\ntries to coax him into telling the truth.<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Step 8: Show if the POV character gets what they want at the end of the scene<\/strong><\/li><\/ul>\n\n\n\n<p>The\nscene ends when the POV character gets what they want, <em>or<\/em> it becomes clear they won\u2019t get what they want.<\/p>\n\n\n\n<p>To\nwrap up our example, let\u2019s say this scene culminates in the detective letting\nJohn go\u2014so John gets what he wants\u2014but the detective is also convinced that\nJohn is lying and probably killed his wife to cover up for something, like an\naffair. Now John has moved up to the detective\u2019s number one suspect\u2014not good for\nJohn!<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Step 9: Finally, double check to make sure your scene serves a purpose<\/strong><\/li><\/ul>\n\n\n\n<p>Like I said in the beginning of this long-ass post, every scene needs to <em>either<\/em> develop a character <em>or<\/em> move the plot forward, ideally both. Our example is a good scene because we get to see John\u2019s primary character flaw in action: he\u2019s lying to try to get out of trouble. We also get to see him make a <a href=\"http:\/\/www.shanafigueroa.com\/blog\/we-need-to-talk-about-the-darkest-minds-and-the-importance-of-choice\/\">meaningful choice<\/a>: he could be honest with the detective and tell them the truth, but he chooses not to. The consequence is he becomes their number one suspect and increases his chances of going to jail (this whole example, BTW, is pretty much the plot of <em><a href=\"https:\/\/en.wikipedia.org\/wiki\/Gone_Girl_(film)\">Gone Girl<\/a><\/em>). We get character development and plot movement in one scene. That\u2019s ideal!<\/p>\n\n\n\n<p>However,\nlet\u2019s say this is the second or third scene where John is being questioned by\nthe police. If all this stuff has already happened before\u2014we\u2019ve seen John lie\nto the police, we\u2019ve seen their suspicion of him go up\u2014then it\u2019s NOT a good\nscene. We\u2019re getting no new information, and John is still in the same place\nnarratively that he was at the beginning of the scene. <\/p>\n\n\n\n<p>A\ngood rule of thumb is if you can cut a scene out of your story and nothing\nsignificant changes, then cut it or rewrite it.<\/p>\n\n\n\n<p>A story is kinda\nlike a Russian nesting doll\u2014every scene is a mini-story with its own narrative\narc within the larger story. Now that you know how to write scenes, go forth\nand conquer that blank page!<\/p>\n","protected":false},"excerpt":{"rendered":"<p>You know how sometimes you\u2019ll read an entire chapter of a book and think to yourself, \u201cWhat did I just read?\u201d Or maybe, \u201cWhat was the point of that?\u201d Well, the reason you\u2019re asking yourself this question is because whoever wrote the chapter didn\u2019t know how to properly construct a scene\u2026or it\u2019s supposed to be &hellip; <\/p>\n<p class=\"link-more\"><a href=\"http:\/\/www.shanafigueroa.com\/blog\/9-steps-to-constructing-a-good-scene-or-chapter\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;9 Steps to Constructing a Good Scene or Chapter&#8221;<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2},"_links_to":"","_links_to_target":""},"categories":[495,502],"tags":[590,593,588,594,591,592],"class_list":["post-2565","post","type-post","status-publish","format-standard","hentry","category-construction","category-scene-construction","tag-clarity-should-be-the-default","tag-establish-the-conflict","tag-gone-girl-plot","tag-opposing-forces-facing-off","tag-purpose-of-scenes-and-chapters","tag-set-the-stakes"],"jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p9Vyi8-Fn","_links":{"self":[{"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/posts\/2565","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/comments?post=2565"}],"version-history":[{"count":11,"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/posts\/2565\/revisions"}],"predecessor-version":[{"id":2656,"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/posts\/2565\/revisions\/2656"}],"wp:attachment":[{"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/media?parent=2565"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/categories?post=2565"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.shanafigueroa.com\/blog\/wp-json\/wp\/v2\/tags?post=2565"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}