When
working with new screenwriters, I often ask them what their story is about. The answer I usually get is a ‘this happens,
then this happen, then this other thing happens.’ Somewhere along the way, I politely stop the
writer and again ask what the story is about. Usually the conversation starts up where they
left off. What I am trying to get out of
the writer is not the plot, but what their story is about in one paragraph or
less. What I usually get is the
frustration of a writer realizing that they do not know what their story is
about.
There are
three elements to story telling: theme, one word or simple phrase that
describes the story; story, what the story is about in one paragraph or less;
and plot, the ‘this happens’ then ‘that happens.’ Each of these elements
of storytelling serve single; but ultimately unified, purposes.
Theme can
be expressed in one word or simple phrase. For example, love, hate, revenge, heroism in
the face of overwhelming odds. As one gains experience in writing, one is
able to go beyond simple themes to more complex ones realizing that at their
core stories are simple things.
Story is
what the story is about in one paragraph or less. In screenwriting terms, a story should be able
to be described in a log line. At its
core, story is the STORY. Here are some
examples of a description of a story in a log line. Of course, you will recognize many of these
stories in their movie form.
- Earth is invaded and nearly destroyed by a super-powerful alien force.
- A circus clown has a mid-life crisis and decides to become a mailman.
- A six-year-old American boy is separated from his parents and finds himself lost in Act II of Japan.
- An autistic gardener is put out on the street when his boss dies, but manages to survive by making friends and impressing people with his “wisdom”.
- A 20-year-old suicidal boy falls in love with an 80-year-old woman who loves life.
Below are
some truths about story and storytelling. No, I did not write any of these. Of course, I stole them.
- Story is about eternal, universal forms, not formulas – archetypes, not stereotypes.
- Story is about thoroughness, not shortcuts.
- Story is about respect, not disdain, for the audience.
- Story is about mastering the art, not second-guessing the marketplace.
- Story is about originality, not duplication.
- The stronger the idea the stronger the unity of the story.
Plot is
the ‘things happens’ then ‘this happens’ followed by the ‘then this other thing
happens.’ However, plot is all of those
things and more. Plot is structure. Plot is control. Plot is design. There will be more in future blogs on story
design and structure.
Theme,
story, and plot work separately and in unison to bring your story to life. There is a synergy between these elements. A synergy that only you, as the writer, can
bring the story to life.
4. Insight
Insight
has several, related meanings:
- a piece of information;
- the act or result of understanding the inner nature of things or of seeing intuitively;
- an introspection;
- an acute observation, deduction, penetration, discernment, or perception;
- an epiphany.
What has
all this to do with writing, you ask? Shhh, and I will tell you.
Writers
are people (well, one hopes) that tell stories that titillate us, threaten us,
cajole us, and hopefully entertain us. Often time, what we lack is the insight into a
story and its workings. You all have
been there. Some folks call this place
‘writer’s block.’ I call this ‘time for
a scotch and a nap.’ In any case, this
is a time where introspection and deduction work at solving design and
structure problems.
A couple
of thoughts allow the writer to look at their story:
analyze past experiences, not only yours but others as
well, with the purpose of gaining insight for use to develop your story;
create simulations of story scenarios using existing
insights gained from the mind mapping I have previously written about in order
to predict outcomes.
A mature
writer looks at many ways to gain insights and understands cause and effect
within a story. You need to have a clear
understanding of your target readers’ or viewers’
attitudes and beliefs, which connect at an emotional level, that provoke a
clear response in the reader or viewer.
For a
writer, insights are most effective when they do one of the following:
- the story is unexpected;
- the story creates a disequilibria;
- the story changes momentum;
- the story exploits a point of difference.
Why are you reading this?
Go write!
John still practices screenwriting
in King County, WA along with a small rat dog, a mortgage, and a great view of
the valley.
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