Some thoughts on what comes before the story
I am, as I have noted elsewhere, a fan of structure. Not because I feel I must slavishly follow every convention of structure, but because, frankly, I write better when I keep the elements of Structure in mind.
Structures
Three Act Structure, for all the hate it receives helps me to remember that a story involves taking someone in their comfortable routine and shaking them out of it through a disruptive event that forces them to pursue a goal (the inciting incident). Conflict arises and obstacles to the achievement of the goal are placed in front of them that raise the stakes higher and higher (rising stakes). At a certain point they are forced to commit themselves fully to the task, burning their bridges behind them (the point of no return). Eventually the obstacles become so great (rising tension) that they lose and all seems lost (the reversal), but, by making a final titanic effort (the final confrontation), they will either overcome and achieve their goal or it will be forever taken beyond their reach. Either way they will, if I’ve done my job right, have learned something important and their life will settle into a new normal (denouement).
There are a million tales to tell within this structure and it is helpful as a guide to where any given plot might go.
The Character Arc structure is also helpful. Where the plot structure deals with the external events of the plot, the character arc provides a structure for mapping the internal responses of the characters in a story to those events.
Generally, characters are flawed and need to change (before change), then an event occurs that seeks to break them out of their comfortable routine and send them on a journey of self-discovery and change (the call to change), but at first they avoid making the decisions they need to (resisting change). Eventually they are forced to the realisation that a change is really needed (embracing change) but it hasn’t yet taken root. Circumstances arise that test their resolve (testing change) until at last they prove to themselves (and, sometimes, those around them that a real change has occurred) (demonstrating change). The change then becomes part of the character’s new normal (after change).
These, of course, aren’t the only helpful structures available to writers. John Truby, whose advice is the subject of this essay, suggests some further structures and processes. The following relates to conceptualising the story – or generating the idea for a story. His aim, in proposing this process, is to help the writer develop a genuinely original (and hopefully satisfying to an audience) concept.
Steps towards a concept
Step 1: Create a premise (a one line summary that consists of an event that starts the action, a sense of the character that the event befalls, and a sense of the outcome of the story.
To develop a story idea or premise, you need to jot down everything that you would like to see in a story. This is a brainstorming task. You won’t use every idea (or even most of them) in your story, but you will develop a resource to pick and choose from.
Next write down all the story ideas and premises you have ever thought of. Again, you are creating a resource that allows you choice.
Select your favourite premise from your list.
Step 2: Explore the possibilities. Brainstorm. Take your idea and play what if? You have a boy who witnesses a violent crime. What if he is from a peaceful Amish community? What if an individual licensed to use, and familiar with the exercise of, force must protect the boy, entering the Amish world? What if he falls in love with an Amish woman? That was the film, Witness. Essentially, the exercise is one of changing things up to see what new, interesting, and original possibilities might be found (rather than accepting an idea at face value).
Step 3: Identify the challenges that are built into your premise. Ask yourself what must I accomplish to successfully tell this story. Must I authentically communicate a clash of culture? Must I raise the mundane to the level of the Shakespearean epic? Must I explore the emotional life of a child?
Step 4: Identify the designing principle. Not all stories have one, according to John Truby, but every good story does. The designing principle is a statement that expresses the deeper theme of the work and through which the selection and arrangement of events can be accomplished – a benchmark for the story’s deeper theme, if you will. What thematically challenging choice or circumstance does every scene, character, and action within the story find itself addressing? Supersition vs Rationalism? Trust vs Prejudice? Cruelty vs Kindness? Violence vs Peace? Etc.? Now identify how this idea will be explored? A plague where a doctor and a priest square off against each other? A KKK member who must rely on two black FBI agents to survive? A man of violence tasked to protect a child while inside a community of pacifists? A war criminal is nursed back to health in a convent behind enemy lines?
Step 5: Determine the best character to use. Who is the most interesting character? Does the character generate curiosity in you? Do you want to follow them and explore what they think? Who, among the characters, do you love the most? If they are not the main character, then change the premise so that they are or, if you can’t find a character you love, move on to a new premise.
Step 6: Identify the main conflict. In one line determine who fights whom over what. It must relate directly to the designing principle
Step 7: Identify the cause and effect pathway. What is the one action your character takes that connects all the pieces of the story? Do they use their fighting skills to defeat the villain? Do they sacrifice their goals for love? Do they bury their pride and cooperate with others to win the day? That is the cause and effect pathway.
Step 8: Determine how your character will change. What is the character’s weakness? How will their actions address that weakness? The characters action is the mid-point between two behavioral extremes. Lets say the main conflict requires the character to take violent action. Perhaps he or she begins as a frightened and cowardly individual. By the end he or she is a protector of the weak and downtrodden. Or perhaps he or she begins as a lover of peace and non-violence that in the end becomes a bullying warlord.
Step 9: Identify the protagonist’s moral choice. What choice between two competing and compelling goods must the protagonist make in order to complete their journey? Will they choose love or wealth? Will they choose trust or power? Will they choose honour or approval? Make the choice as equally balanced as possible to create the greatest sense of drama.
It’s a little hard to see what this looks like in practice, so here is the development of a complete story concept that forms the basis of a short and spooky play I am writing.
Template (Example)
1. Premise: A young man, looking for a quick dollar (and travelling with an older companion), is tasked with couriering an, unknown to him, magical statue, from New York to a small railroad town and dooms himself by letting his curiosity drive him to ignore clear warnings that danger lies ahead.
2. Possibilities: Throughout the journey he encounters omens and individuals that warn him to turn back, but overcomes them through the reckless application of his curiosity, each time digging himself further into the pit.
3. Story Challenges and Problems: To convincingly convey to the audience that his choices are bad while making him likeable enough to care about and making his choices so plausible that he remains plausibly convinced they are good.
4. Designing Principle: Curiosity didn’t kill the cat. Ignoring the warning signs did.
5. Protagonist: Curious young man who wants to do good but has a reckless curiosity.
6. Conflict: His companion wants him to mind his own business (and so also ignores the signs of danger). The statue wants him to submit to it and unwrap and free it from its packaging.
7. Basic Action: Giving in to his curiosity and giving the statue control in exchange for aid when danger threatens.
8. Character Change: Gives up his money and stops being reckless in order to try and save his companion – but too late.
9. Moral Choice: The protagonist must choose between loyalty (to the post office) and compassion (the safety of his companion).
Admittedly, the expression is a little clumsy, but I think the overall concept is pretty clear.
Copyright Philip Craig Robotham © 2020 .
