Karen Woodward: #goals

Monday, January 18

Good Storytelling: Internal and External Stakes (Part Four of Four)

Just as characters have internal and external goals so there are internal and external stakes.

Inner Stakes versus Outer Stakes

As I’ve mentioned previously in this series, in the movie Shrek the protagonist's internal conflict, his challenge, was to risk rejection and let people past his defenses, to let others know how he really felt. Specifically, his internal challenge was to tell Princess Fiona he loved her. Shrek needed to risk rejection so he could make connections with her and find true love.

Shrek's outer challenge was to get the fairytale creatures out of his swamp by rescuing Princess Fiona and bringing her to Lord Farquaad so she could be Farquaad’s bride. If Shrek did that Farquaad promised Shrek to remove the fairytale creatures from his swamp.

Inner Goal versus Outer Goal

Different kinds of stakes accompany different kinds of goals. If Shrek failed to rescue Princess Fiona from the castle, Lord Farquaad would have had Shrek killed.

If Shrek failed to lower his internal defenses and let people in, he would have lost the love of Princess Fiona and endured a sad and lonely existence in his now vacant swamp which would have made it a pyrrhic victory.

Stakes and Complexity

It's not the size of the stakes that count, it's their complexity. Complex stakes involve not just a character's internal or external goals, but both together. It's not just about saving the world, it's about overcoming one's fears so that one can save the world.

Escalate the Stakes

Stories contain compcolications. The hero sets out to do one thing, a complication pops up and blocks him, he tries to get around the complication by doing something else but that only makes things worse, and so on. The stakes escalate throughout the story until everything comes to a fever pitch at the end.

Conflicting Goals, Conflicting Stakes

Conflicting goals often mean conflicting stakes.

In Raiders of the Lost Ark, there's a terrific scene in the middle where Indy ducks into a tent to hide from the bad guys and comes across Marion tied to a tent pole. Indy begins to untie Marion then realizes that if the Nazis discover her missing they'll know he is in the camp looking for the ark. If he frees Marion he will give himself away and fail in his quest. What does Indy do? He ties Marion back up! She's furious with him. It's a great scene.

Let's take a look at the stakes at play in this scene.

Indiana's stakes at the beginning of the scene:

Indiana’s goal: Escape the guard's notice and obtain the ark.

What success would look like: Indiana doesn't get captured and is one step closer to his goal.

What failure would look like: Indiana is captured, possibly tortured. He fails to obtain the ark.

Marion's stakes at the beginning of the scene:

Marion’s goal: Get untied, sneak out of the Nazi camp, go to America.

What success would look like: Marion gets her freedom.

What failure would look like: Marion's future is unknown. She could be tortured, various nasty things could happen to her.

In the middle of the scene the stakes change when Indy realizes he has to tie Marion up or risk losing the ark.

Indiana's stakes in the middle of the scene:

Indy's goal: To find the ark and for Marion not to hate him.

What success would look like: Marion's forbearance and a possible future together.

What failure would look like: Marion's lasting wrath.

For Indy to succeed in winning Marion's affection--or just to avoid making her furious with him--he must help her escape. But he can't. Not now. If he helps her, then he risks his primary mission. So he fails to achieve this minor goal, accepts Marion's wrath, ties her back up and exits the tent.

The point is that conflicting mini-goals with their own stakes often pop up within a scene. I thought the above scene was especially interesting. It highlights Indy's and Marion's diametrically opposed interests. Marion would much rather just escape and forget all about the ark, but recovering it is Indy's primary goal.

Summary

Characters have goals. Every goal has stakes attached, what it would mean for the hero to achieve, or fail to achieve, the goal. Will their lives go better or worse? This--the space between where the character is and where the character could be--creates various kinds of conflict and conflict is the engine that drives a story forward.

I hope you have enjoyed this series! If you have any comments or questions, please get in touch. Either leave a comment or reach out to me at karenwoodwardmail (at) gmail (dot) com. Thanks! Good writing.

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Other posts in this extended series (I'm blogging a book):
How to Write a Genre Story: The Index

Where you can find me on the web:
Twitter: @WoodwardKaren
Pinterest: @karenjwoodward
Instagram: @KarenWoodwardWriter
YouTube: The Writer's Craft

Blog posts you might like:

Good Storytelling: Give Your Characters Something to Die For (Part One)
Good Storytelling: Goals, Stakes and Consequences (Part Two)

Saturday, January 16

Good Storytelling: Unique Stakes (Part Three)

This is Part Three of a mini-series. This part can be read on its own, but if you would like to read the first two parts they are here:

Unique Stakes

Quick review. Each character has a goal. For example, in Star Wars IV, Luke Skywalker wanted to destroy the Death Star. After all, anything called a Death Star probably needs to be destroyed!

What will happen to a character is based on whether she achieves her goal. Those are the stakes. Think of gambling. If I place a bet on my team to win the Big Game then the stakes of the bet are the amount of money I could gain or lose. In Luke Skywalker's case, when he prevented the Death Star from blowing up the rebel's base on Yavin IV the resistance was preserved.

But that was Luke's main goal--that was the story goal--and, as such, he shared that with many other characters such as Princess Lea. Luke had other goals that were unique to him. For example, he wanted to learn how to fly a variety of spacecraft and he wanted to learn how to control the force.

Sure, Han Solo was an accomplished pilot and Obi-Wan Kenobi was a Jedi skilled in controlling the force, but Luke--while he did have the capacity to be both these things--wasn't there yet.

And that these (becoming a better pilot, becoming a Jedi) were his goals said something about him, they made him unique.

That's what I mean by unique stakes.

Character Creation

What does your character want? What drives him? What gets him up in the morning? The answers to these questions show who your character is.

Stakes help reveal your character's personality.

Here’s a trick I learned:

If you’re not sure what desires drive a character, ask: If this character won an obscene amount of money, what is the first thing she would do with it? Would she rush to the bank to make an investment? Would she fly with 20 of her closest friends to Vegas? Would she buy a house? Would she get married? Would she give it all away to charity?

In Luke Skywalker’s case the answer is easy: he would take care of his aunt and uncle and then go offworld to the Academy and learn how to fly all sorts of aircraft.

What does your character fear? When he was a kid what kind of beasties lived under his bed?

The best character’s fears are a unique blend of the universal and the particular. A few universal fears are shame, boredom, hunger, pain and death, but characters are particular and these universal fears need to manifest themselves in the character’s life in a unique and preferably quirky way. For example, one of the things I loved about Mr. Monk was that he was scared of milk. Milk! That fear was unique and revealed his character.

Sherlock Holmes was not fond of being bored, he required a difficult, interesting puzzle to solve.

Luke feared letting his aunt and uncle down. He also feared being bored, being trapped on a planet where nothing exciting ever happened.

A character’s wants and fears tie them to their goal

In Raiders of the Lost Ark Indiana Jones is terrified of snakes. And of course snakes are found in any dungeon or ancient temple worth the name.

Luke is scared of turning to the dark side of the force like his father did.

In The Matrix, Neo is scared that Morphius will die because he, mistakenly, believes that Neo is The One. Of course it turns out that Neo IS The One, and Morphius doesn’t die, but that was the fear that motivated Neo to act.

The Reader

A character's wants and fears need to tie into the reader's wants and fears.

It’s good when a character’s wants and fears tie in with their goal--which, for the protagonist is the story goal--but we write for wonderful people, our readers. We want to draw them into our story.

This is another advantage of writing a genre story. For example, if you’re writing a romance story you know what your reader will want to feel. She will want to vicariously fall in love along with the protagonist, have a good cry with her when it doesn’t work out and then have renewed hope at the end when the lovers get back together.

If you’re writing a horror story the reader is going to want to be terrified.

And so on.

It’s the stakes that tie the reader to the characters--especially the protagonist--and, in so doing, the stakes tie the reader to the story.

Readers Stakes versus Character Stakes

For example, in William Goldman's wonderful story, The Princess Bride, why did Inigo Montoya devote his life to becoming a master swordsman? It was because the six-fingered man (Count Rugen) killed his father and Inigo had sworn to avenge his father's death.

So yes, sure, Inigo's goal was to kill Count Rugen but I would argue that, generally, he wanted to do right by his father. The love that Inigo had for his father was the glue that kept him focused on his goal.

What are the stakes for Inigo? When Inigo finally fights Count Rugen it seems as though Inigo is dying, felled by a sneaky, dishonorable blow meted out by Count Rugen. We understand from the very beginning: the stakes of this contest, this battle, are life and death and Count Rugen isn't going to fight fair.

All that is true, but I would argue that for Inigo the stakes that matter to him aren't life and death--his life and death--they are whether he succeeds in avenging his father. If he were to discover that avenging his father would mean his death he wouldn't hesitate. If Inigo doesn't succeed in avenging his father's death, it seems to me that Inigo wouldn't want to live.

Does the reader think about it that way as well? I don't think so. I think we care much more than Inigo does about his life. Yes, absolutely, we want to see justice done. We want Inigo to complete his quest and kill the dishonorable Count Rugen. But it is also very important to us--much more important than it is to Inigo himself--that he survive.

So all that has been building up to this: the stakes of the character aren't necessarily our stakes, the reader’s stakes. We sometimes care passionately about something the character themselves doesn’t seem to care a lot about. And that's great! What we want as writers is to get our readers to care passionately about our characters and what happens to them.

Okay! That's Part Three of this series. There's only going to be one more part. In the final part I'll talk about internal and external stakes. That's it for now! Good writing.

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Other posts in this extended series (I'm blogging a book):
How to Write a Genre Story: The Index

Where you can find me on the web:
Twitter: @WoodwardKaren
Pinterest: @karenjwoodward
Instagram: @KarenWoodwardWriter
YouTube: The Writer's Craft

Blog posts you might like:

Tuesday, December 29

Good Storytelling: Goals, Stakes and Consequences (Part Two)

[This is Part Two of a mini-series on good storytelling. This part can be read on its own, but if you would like to read Part One it is here: Good Storytelling: Give Your Characters Something to Die For (Part One)]

This might seem obvious, but in order for a character's stakes to matter the character’s goal must be clear.

Goals

Every main character must want something. This goal, achieving it or failing to achieve it, will define the character’s arc. (And each arc will itself usually have a beginning in the Ordinary World, a middle in the Special World and, in the end, the Return.)

The protagonist’s arc is also the arc of the story.

External Goals

All characters have external goals. In Raiders of the Lost Ark Indiana Jones's external goal was to obtain the Ark of the Covenant. He didn’t have an internal goal.

An external goal is something concrete, something you could take a picture of, something that exists in the external world independently of your character.

Internal Goals

Shrek, though, had both external and internal goals. His external goal was to get the fairytale creatures out of his swamp. His internal goal or challenge was to allow himself to be connected to others. In addition, there is tension between Shrek’s external and internal goals. He wants the fairytale critters out of his swamp because he is the ultimate loner, but his internal goal/challenge is to become more connected to others. His love for Princess Fiona is the concrete manifestation of that inner challenge.

An internal goal is usually a need or challenge that the character must meet or overcome. Usually it is the internal need or challenge that is met at the end of the B-story and that contributes to the epiphany that gets the character out of the All Hope is Lost moment and helps him formulate a new plan.

I’ll say more about all this later on, but I wanted to begin to introduce the ideas here.

One Goal to Rule Them All

A main character--like the real people they are a fiction of--can, and should, have more than one goal, but it must be clear they want one thing desperately and they must want it more than anything else. The thing that the protagonist passionately wants becomes the story goal. If the protagonist achieves the goal then she's succeeded, if not then she's failed.

For instance, in Raiders of the Lost Ark, if Indiana finds the ark and brings it back with him then he has succeeded. If not, he's failed.

What are the stakes? If Indy achieves his goal then he gets professional kudos and the opportunity to study a fascinating artifact. If he doesn't, then the Nazi war machine will use the ark to help turn the tide of war in its favor.

Of course, the goal can change along the way. In “The Firm,” Mitch McDeere starts out wanting to be a rich lawyer then, about halfway through the story, his goal changes: he just wants to be free, he doesn't want either the FBI or the mob to own him.

The stakes must matter to the characters

This seems obvious. If the stakes don't matter to a character that's like creating a beautiful car but neglecting to put gas in the engine.

Tying Stakes to Goals

The other day I was walking through a fairground and one of the hawkers called out to me:

"Hey! You wanna play this game? I know you do. It's fun and you could win a great prize."
"Oh?" I said. "What prize?"
The youth held up a big stuffed pink and green elephant.

No thanks. It would be cheaper--a lot cheaper--for me to go out and buy myself a stuffed elephant!

Now, if he'd held up the promise of a critique by, say, Stephen King I'd have played. Heck, he wouldn't have been able to get rid of me!

Why? Because the stakes, the possible consequences of a course of action--in this case winning a critique by Stephen King--are connected in the right way to my desire to become a better writer. That is, the stakes would help further my goal.

When the stakes help a character further their goal then the stakes will matter to your character.

Tying Stakes to Emotions

This is basically just another way of saying the same thing I just said, but it takes the topic from another direction.

This point about the stakes needing to matter to your characters is also about believability.

When the going gets tough and your character is getting beaten up, whether literally or figuratively, the character needs a believable reason for why they keep on keeping on.

How do you, as a storyteller, make it plausible that your characters will go through hell to achieve their goal? You make the stakes matter to the characters. Okay, but how do you do that? Simple: you tie the stakes into your character's wants and fears.

I think this is one reason why stakes are often life and death. Whether or not a person continues living matters a great deal to them and it doesn't need explanation. If a burglar pulls out a gun and points it at your character, the reader understands the character's panic.

Thanks for reading! I'll post Part Three in this series soon. In the meantime, good writing.

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Other posts in this extended series (I'm blogging a book):
How to Write a Genre Story: The Index

Where you can find me on the web:
Twitter: @WoodwardKaren
Pinterest: @karenjwoodward
Instagram: @KarenWoodwardWriter
YouTube: The Writer's Craft

Blog posts you might like: