Tuesday, November 19

Story Structure: A Refresher

Story Structure: A Refresher



I put the following together for my own use (I'm doing #NaNoWriMo this year), but I thought others might be interested as well so I decided to share it.

1. Inciting Incident (0 to 12.5%)


Here we establish the Ordinary World. We establish the protagonist’s ordinary routine, we establish how the protagonist relates to other people, those who like them as well as those who hate them. The writer lays bare the protagonist's strengths and weaknesses. The story world is established; what is normal, what isn’t. What is considered moral, what isn’t. All this is in service to showing the reader the protagonist’s place in the world.

We also show a significant change in the story world, one without which we would not have the Call to Adventure or the protagonist’s Acceptance of the Call.

Clear as mud? Let me give you an example. In Star Wars: A New Hope I would argue that the inciting incident was Darth Vader boarding Princess Leah’s spacecraft and imprisoning her. That event broke the status quo: diplomatic vehicles should not be forcibly boarded. Because of that change Luke bought the droids. Because Luke bought the droids his aunt and uncle were murdered and their farm burned down. Further, these events brought about both the Call to Adventure and Luke's Acceptance of the Call.

The Inciting Incident usually occurs quite early in the story, within the first 5%. The Call to Adventure generally occurs around the 12% to 15% mark. Usually the Call is refused and then, after talking with a mentor, or after certain things about the protagonist’s life changes, the Call is accepted.

After the Call is accepted, some sort of plan is formulated and put into motion. This culminates in ...

2. Crossing the Threshold (25%)


You could also look at this event, Crossing the Threshold, as the first of three disasters for the protagonist, the others being the first Pinch Point and the All Hope is Lost point. I’ll talk more about these other two points, below.

Before I continue, let me say a word or two about the protagonist’s inner and outer goals.

Inner and Outer Goals


The protagonist’s outer goal will have to do with something external, something in the story world. The goal could be slaying a dragon and claiming its treasure, or bringing back a lost ark, or extracting a spy, or robbing a bank. You get the idea.

The inner goal, on the other hand, has to do with the development of the protagonist’s character. It has to do with them becoming a better person. There is a moral dimension to the inner goal. Perhaps, as in Edge of Tomorrow, the protagonist goes from cowardice to courage. In The Matrix the protagonist, Neo, goes from lacking faith to having faith -- his challenge was to believe.

Now that we’re on the same page regarding inner versus outer goals, let’s ask: What happens when the protagonist crosses the threshold and enters the Special World of the Adventure?

Generally, there isn’t any progression toward the protagonist’s inner goal but there is a lot that happens regarding the protagonist’s progress toward her outer goal. Commonly, there is an actual change in the setting. The protagonist travels to another town, another country, another planet.

Also, the transition between the Ordinary World and the Special World of the Adventure is generally not a smooth transition. The protagonist suffers a tragedy.

For instance, in Get Out the protagonist (Chris Washington) crosses into the Special World when he goes to visit his girlfriend’s (Rose Armitage's) parents and allows Rose’s mother to hypnotize him.

The mother sends his consciousness into a place called the “sunken place.” Get Out is a horror movie so, needless to say, the sunken place is not a happy place filled with kittens and puppies, it’s a slice of hell. The important thing is that this incident — Chris being hypnotized and tortured — divides the story into two: what came before this event and what came after.

Similarly, when in Star Wars: A New Hope, Luke sees the smoking corpses of his Aunt and Uncle, when Luke realizes that their farm has been destroyed, this one event divides his life into before and after. That one event completely changed the trajectory of his life.

Trials and Tribulations/Fun and Games


The Special World is very different from the Ordinary World. After the protagonist crosses the threshold and enters the Special World she is like a fish out of water. She needs to learn how things are done here and, as a result, makes mistakes.

B-Story


The B-Story is where the protagonist bonds with allies. Sometimes this is a love story. The B-Story is where the protagonist makes progress toward her internal goal.

3. First Pinch Point (37.5%)


The first pinch point is the second disaster for the protagonist. Here we get to see the antagonist up close and personal or we see the direct effects of the antagonist’s actions. At this point the antagonist isn’t concerned about the protagonist, he or she isn’t a serious threat.

The Plan


As a result of the antagonist’s attack, the protagonist’s energy is redirected. Before, she was focused on understanding the Special World and trying to fit in. Now she is focused on attacking the antagonist. Often there is a scene where the protagonist and her allies meet in a bar and make a plan. A journey is often involved.

The Sacrifice


In order for The Plan to work, the protagonist will have to make a big sacrifice.

4. Midpoint (50%)


The Midpoint is all about the protagonist’s inner journey, her inner goal.

Generally, there is a confrontation at the midpoint, either between the protagonist and antagonist or between the protagonist and one of the antagonist’s minions.

For me, the essential thing about the Midpoint is that the hero learns something crucial about the Special World that helps her understand how truly dire her situation is. Further, this understanding causes her to change tactics.

For example, in Edge of Tomorrow, Cage discovers that his visions aren’t real, that they have been sent to him to lure him into a trap. As a result, he no longer has a plan. He doesn't know how to beat the villain. Because of this he changes his tactics and, at the same time, the stakes are raised.

The important thing here, though, has to do with the Inner Journey. Something important changes inside the character. Cage realizes that, even though he loves Rita, he must let her go. This is the first time he has moved from thinking about himself and his wants and needs to thinking more about the wants and needs of the larger group.

The inner journey can be summed up in a Moral Premise. In Cage’s case perhaps this would be: Being cowardly will kill your soul. Being courageous can save you and your community.

5. Second Pinch Point (62.5%)


Because of the change in the character’s internal motivation, the protagonist begins to make progress. This spooks the antagonis, causing him to personally intervene and attack the protagonist or put obstacles in her way. But this is a personal intervention on the part of the antagonist. The protagonist pays a BIG PRICE.

6. All Hope is Lost (75%)


This is the third and final disaster. The protagonist suffers a major defeat at the hands of the antagonist. In fact, it is such a stunning defeat that it seems as though the antagonist has defeated the protagonist.

This ultimate defeat will likely be the last defeat in a three-beat try and fail cycle.

Resurrection. Epiphany


Protagonist realizes something, something internal, something moral, that finally, completely, takes her from her weakness into her strength.

7. Race to the Finish (87.5%)


At this point she has entered the forest where it is darkest (accepting the call to adventure) and defeated the opposition. She has climbed the hierarchy and is almost at the top. Now there is anew entering the forest where it is darkest. The protagonist has changed, grown. After each disaster the protagonist has entered the forest where it is darkest.

This, now, is the darkest point and the highest stakes.

At this point the protagonist has almost completely transformed. She has become much more physically and mentally skilled and has become well adapted to the Special World. Also, she has begun her inner transformation. Now she pulls out all the stops. She and her allies make a plan. This plan will fall part before the final confrontation but they make a plan and it works for awhile.

8. Climax/Final Confrontation (98%)


The protagonist and antagonist battle. The protagonist wins or loses. If she wins then antagonist loses and that’s that. If the protagonist loses, then the antagonist might win or lose. (They can both fail.)

During the battle, the antagonist seems weaker than the antagonist. It seems that she’s losing. But then she draws on a lesson she learned in the Special World of the Adventure. This catches the antagonist off guard and the protagonist defeats the antagonist.

 Wrap Up


Show the changes in the protagonist’s life, how her friends, family and community benefited.


Recommended Articles:


Quora article: If the 2nd pinch point is known as the 'darkest hour' or the 'all is lost' point what is the nickname of the 1st pinch point? My favorite answer to this question is the first, and much of this article is patterned after it.

The Inciting Incident vs The Call To Adventure

Books


Saturday, November 2

Truth in Fiction: The Importance of Honesty

Truth in Fiction: The Importance of Honesty


Today I want to explore the importance of honesty in writing. First, though, let's look at dishonesty and its effects. That's right! We're going to talk about politicians.

An Example of the Importance of Truth-Telling: Politics


I’m a politics nerd and, over the years, have watched many politicians evade reporters’ questions. To a certain extent, this mild dishonesty goes with the territory. You’ve probably heard the old joke:

Question: How do you know if a politician is lying?
Answer: Are their lips moving?

But, occasionally, a politician's evasiveness, their disingenuousness, goes over the top and voters lose faith. Let me give you a couple of examples of the kind of evasiveness I mean. (In a moment I'll talk about how dialing up a character's honesty or dishonesty can influence how readers feel about them.)

Example 1 out of 2


I’m not going to mention the politician’s name because that’s not important. Let’s call him Joe.

Joe was asked an obnoxious question. I’m paraphrasing here, but he was asked if he had been inappropriate with any of the young people who had been in his charge before he entered public life.

There is absolutely no reason to think this was the case, so it was a cheeky question, an offensive question, and the way Joe answered made it clear he was hostile to the questioner. And, absolutely, it would be difficult NOT to be hostile to someone who implied that you were using your position to exploit the children who were in your care.

That said, I found myself not liking Joe as much. The fascinating thing, to me, was that even though I believed Joe and thought the reporter's question was obnoxious, the reporter somehow came out looking better than Joe. After all, just as politicians are often less than candid, reporters ask insulting questions, it's part of their job.

The Takeaway: Applying this to Writing


Even though I one hundred percent believe Joe answered the reporter’s question honestly, the WAY he answered it made him seem dishonest.

Why was this?

Here’s what I think. Putting this in terms of Story the reporter was the protagonist of that particular scene.

As you know, the protagonist is the person who the reader or viewer identifies with, So the question is: Why did I view the reporter as the protagonist? What made me do that?

I think it was because the reporter was the most active one in the exchange between the two men. Also, I viewed the reporter as having a clear goal; namely, to 'encourage' the politician to be candid, to say what he really thought, so that his fellow citizens could figure out who to vote for.

After all, if I don't know what a person thinks, what goals they have, what ideals we share, then I don't really know THEM, the person. All I know is their mask, the persona they have crafted.

Example 2 out of 2


The same anonymous politician, Joe, was asked another question, one much less obnoxious than the first.

Joe was asked whether he had tried to set right a particular wrong, one he had admitted to committing. Joe didn't answer the question, instead he made a completely unrelated political statement.

Joe’s response made him seem dishonest. Why? Because I thought he COULD HAVE answered the question without any major political fallout. He could have said, “No, because …” and given his reasons for not doing it. Or he could have said, “Yes, I thought it was important for me to do that because …”

Joe probably would have gotten some flack either way, but I think he suffered MORE for not being open and honest.

The Takeaway: Applying this to Writing


If you want readers to be drawn to your character, to think he or she is the kind of person the reader could respect and be friends with, keep these two things in mind:

a. Have the character tell the truth.

b. Have the character tell the truth in an extremely difficult situation.

(b) is the key. Anyone can tell the truth if there are no consequences for doing so. But if, at least in your character’s mind, there could be a terrible price to pay, then it really means something when they refuse to lie.

Conversely, if you want another character -- perhaps your antagonist -- to look shady, untrustworthy, then have him or her tell the truth in easy situations but lie when the stakes go up.

The Truth in Fiction


Stephen King, in On Writing, tells us that even in fiction, there is a core of truth.

Sure, the town you're writing about doesn’t exist. Sure, the characters are imaginary but, at the story’s core, is a truth.

For instance, in Stephen King’s IT, I would say that the core truth is that we -- humans -- are stronger together. We can best the human bullies as well as the monsters that lurk in the darkness. We need to be our authentic self, we need to trust each other and work together. We need to accept each other in all our weird wacky messiness and cooperate to accomplish a goal.

If we do all that we MAY succeed ... occasionally.

Be Honest


This is the most important thing and, really, what this post is all about. Remember: No one is going to see your Zero Draft (I sometimes call this the vomit draft[link]).

Honesty is difficult because it makes us uncomfortable, it exposes who we are and so opens us up to the possibility of rejection. That fear of rejection causes anxiety.

If I tell my friend that she does something that irritates me (for example, showing up late) my friend may become angry and end our relationship. Despite the risks I think that telling the truth in real life is worth it.

But you might think: Karen, you're talking about fiction here, isn't it different?

I think the same principle applies. I think that telling the truth in fiction AS YOU SEE IT is absolutely essential.

Why is this? Here's my explanation: Truthfulness meshes with the world in a way that its opposite does not. If I am honest about what makes me happy, sad, angry, frustrated, and so on, then -- because we are all much like each other -- my readers can relate to these experiences. This is what Stephen King refers to as the truth within the lie.

I'd be interested what you think about this. Do you agree? Disagree?

NaNoWriMo


If you’re participating in NaNoWriMo, good luck!

How many words have you written so far? I have 14 pages of (longhand) notes where I wrote ... how can I describe it? Word jazz. I brainstormed arcs, main characters, how the arcs intersect, and so on.

Today I need to sit down and write about 5,000 words. I'll check back in with you in my next post.

Thanks for reading, and good writing!