Structuring Your Story
Conflict & Tension: The Engines of your story
·
Conflict must be the umbrella that is always
present in your story. This could be
internal or external (such as an evil genius or weighing options for a decision)
·Tension, like conflict, drives the story, but
this is your accelerator / brake; tension (or lack thereof) will guide the pace
for your story, and will keep the reader turning the page
Basic 3-Act Structure
·The great majority of stories follow a 3-act
structure (few exceptions exist, such as nonfiction, historical fiction or
nonfiction, and epics like Gilgamesh or the Bible). It is important to at least understand this
type of story structure because if your story is commissioned for a screenplay,
it must follow this structure strictly.
Act 1 - The Backstory
· The first thing you must achieve as a writer is
provide the reader with a hook - something that will interest
the reader and make them want to read your story. Make sure your hook is more than just a gimmick,
though, or your reader will not be interested.
Know the difference.
· The first act helps to establish the daily
routine of your characters, their backstories, and the setting
·
In this first act you must establish the beliefs
of your primary and secondary characters to set the stage for their development
through the story
· You must also set the stage for what is at stake
once the character is drawn into the story
· What sparks the STORY (not the protagonist) is
the inciting
event. This is something the
protagonist will eventually be engulfed in, but he or she may not know it at
first.
· The event that triggers your protagonist's
involvement is the key event - also known as your 1st plot point.
· The inciting event can happen before your story
begins (bank robbery, fire, death in the family, divorce) - this is called in
medias res.
· This act takes up about 25% of your story. Too much Act 1 and your reader will be bored,
and too little will make your reader not care about your characters so be
careful!
Act 2 - The Meat
· The key event ends the first act and begins the
second act. The characters' daily
routines are changed by the event, and they try as best they could to deal with
the new circumstances.
· The characters' reactions must move the story
forward, and along the way the antagonistic force (character's ethical
conviction, evildoer, fire, etc) will have several small victories that both
show off its power and raise the stakes, pushing the protagonist to try new
things to be able to win.
· The antagonistic force has another major victory
over the protagonist. This event raises
the stakes even higher for the protagonist and causes him or her to change from
simply reacting to circumstance to taking charge and seeking out the
antagonistic force. This is known as the
2nd
plot point or midpoint.
· After the midpoint, the protagonist starts a series
of aggressive actions to defeat the antagonistic force.
· The antagonistic force has another minor win.
· Some of the subplots are resolved
· The protagonist has a eureka! moment (read
Isaac Asimov). The best example is probably
in The Matrix, where Neo finally realizes he is the one.
· The lowest point for the protagonist is the
biggest victory for the antagonistic force (brother dies in the fire, girl is
humiliated by all her classmates in front of the boy she wants to win over,
protagonist is kidnapped or trapped). This
is the 3rd plot point.
· This act takes up 50% of your story, so it is
the meat of your story.
Act 3 - Climax
· The third plot point sets the protagonist into
motion on rapid-fire. This is where the
protagonist fully embraces his or her new skills to defeat the antagonistic
force (The slipper fits in Cinderella, for example). This must be inevitable but unexpected. It must hit the reader from left field, yet
not leave them thinking you cheated in some way. For example, in The Hunger Games, the
protagonists use poisonous berries they had found earlier in the story to get
their way. Avoid doing something like in
Stephen King's "It", where the clown was really a giant spider in a
cave that the kids kill with a rock.
This leaves the reader thinking the author copped out of spending some
time to create an intriguing ending.
· The climax proper is a single scene that permanently
stops the antagonistic force. It could
be a revelation (The Wizard of Oz), a fight to the death (The Dark Knight),
overcoming fear (Cyrano de Bergerac)
·
Some stories can have a faux climax (popular
with horror stories), in which the antagonistic force is not really destroyed,
or there is a bigger force behind the whole thing.
· What follows is the resolution, where you must
tie off any final loose ends, leaves the characters ready to continue life, but
in a slightly different way. The
protagonist's change must be obvious, but not spoon-fed to the reader (show
don't tell). Also, it must stir emotions
in line with the tone of the book (for romance novels, the girl ends up with
the guy, for example).
Endcaps: Prologue and Epilogue
· These are not popular sells for new authors, so
try to avoid using them early in your career.
Some stories demand a prologue and/or epilogue, which are scenes that
sit outside of your story.
· Prologues usually work in mystery or detective
novels, to show the reader the crime being committed. They can work in historical works as well,
and some horror (Dracula).
· Epilogues show the reader what happened to the
characters after the resolution.
Sometimes these are used to close off a series or to set up a sequel to
the story.
Scenes: Building Blocks
· Scenes must be interesting and exciting - and
must move the plot forward. Use action,
movement, and proper pacing in context with the scene. If it is a mysterious scene, or an
educational one, the pace should be slower than a chase scene or a revelation. All scenes must have tension. Even a simple visit to grandma's house can
have tension with something like a hint of trouble during her marriage that she
slips hints of then refuses to discuss it, a legend about the house being
haunted or someone being murdered there before she bought the house, or
something embarrassing little Fanny doesn't want grandma to reveal in
conversation to her new husband, Rob.
· Scenes need three things: a goal, a conflict,
and a "disaster". The disaster
does not mean it should be something deadly or large-scale; it is simply something
that sets the protagonist or main character within the scene a step back from
achieving his or her goal. These
dilemmas should not be easy decisions like "Should I have chicken or fish
tonight?" - they should be more like, "should I save my mother or my
son?" One step forward, two steps
back!
· Scenes are followed by scene sequels - these are
what captures the reactions of the characters to the disaster of the scene, resolving
a dilemma or forcing a decision that builds the character.
Characters
· Protagonist and antagonist should share a common
goal or motivation, but they approach it differently.
· The protagonist should be flawed, and some of
those flaws are corrected at the end of the novel (character development), but
not all of them.
· Antagonist should be likeable, and not all
evil. He or she should have some level
of humanity so that the reader can feel conflicted about rooting for either the
antagonist or protagonist.
Other tips
·
Remember to vary your sentence structure
·
Vary the pace
·
Don't state the obvious or spoon-feed your
audience
·
Cut or repurpose cliches
·
Avoid big words or sentences. Impress your audience with your crafty
sentences and sensory detail, not your vocabulary.
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