Here’s a short one… A person talking is often boring. People arguing are often compelling. If you have to drop exposition, try to do it in the back and forth barbs of an argument. Let the characters use the information you need to convey as barbs in their back and forth attacks. Then your story won’t grind to a halt just because you need to tell your audience something.
Category Archives: Quick Tips
Give each character a personal goal
Personal Goals are the motivating reasons your characters care about and/or participate in the effort to achieve or prevent the overall goal. In other words, they see the main story goal as a means to an end, not as an end itself.
Although a personal goal for each character is not absolutely essential, at some point your audience or readers are going to wonder what is driving each character to brave the trials and obstacles. If you haven’t supplied a believable motivation, it will stand out as a story hole.
Success or Failure?
A story without a clear indication of success or failure is a failure with your readers or audience. You need to work out exactly how the audience will know the goal is achieved or not.
This might seem obvious in an action story, but may be much more difficult in a story about character growth.
Success and Failure don’t have to be binary choices; they can be matters of degree. For example, the effort to bring back a treasure may fail, but the adventurers discover one large ruby that fell into their pack. Or, someone seeking true love might find love but with someone who is rather annoying.
Whether either of these examples is a partial success or a partial failure depends largely on how you portray the characters’ attitudes to the imperfect achievement. To ensure a sense of closure in your readers/audience, make sure they know exactly how things end up on the success/failure scale.
Creating Extra Tension with Consequences
A goal is what the characters chase, but what chases the characters? The consequence doubles the dramatic tension in a story by providing a negative result if the goal is not achieved.
Consequences may be emotional or logistic, but the more intense they are, the greater the tension. Often it provides greater depth if there are emotional consequences when there is an external goal, and external consequences if there is an emotional goal.
Your story might be about avoiding the consequences or it might begin with the consequences already in place, and the goal is intended to end them.
If the consequences are intense enough, it can help provide motivation for characters who have no specific personal goals.
Don’t Forget the Requirements!
The achievement or failure to achieve the goal is an important but short moment at the end of the story. So how is interest maintained over the course of the story? By the progress of the quest toward the goal. This progress is measured by how many of the requirements have been met and how many remain.
Requirements can be specific, such as needing to obtain five lost rubies that fit in the idol and unlock the door to the treasure. Or, they can be nebulous, such as needing to reach three progressive states of enlightenment before the dimensional portal will open.
The important thing is that the requirements are clear enough to be easily understood and “marked off the list” as the story progresses.
Quick Tip: Characters’ Personal Goals
Personal Goals are the motivating reasons your characters care about and/or participate in the effort to achieve or prevent the overall goal. In other words, they see the main story goal as a means to an end, not as an end itself.
Although a personal goal for each character is not absolutely essential, at some point your audience or readers are going to wonder what is driving each character to brave the trials and obstacles. If you haven’t supplied a believable motivation, it will stand out as a story hole. e trials and obstacles. If you haven’t supplied a believable motivation, it will stand out as a story hole.
Quick Tip: The Collective Goal
Some novice writers become so wrapped up in interesting events and bits of action that they forget to have a central unifying goal that gives purpose to all the other events that take place. This creates a plot without a core.
But determining your story’s goal can be difficult, especially if your story is character oriented, and not really about a Grand Quest.
For example, in the movie “Four Weddings and a Funeral,” all the characters are struggling with their relationships and not working toward an apparent common purpose. There is a goal, however, and it is to find happiness in a relationship.
This type of goal is called a “Collective Goal” since it is not about trying to achieve the same thing, but the same KIND of thing.
So don’t try to force some external, singular purpose on your story if it isn’t appropriate. But do find the common purpose in which all your characters share a critical interest.
Quick Tip: Flashbacks and Flash Forwards
There is a big difference between flashbacks where a character reminisces and flashbacks that simply transport an audience to an earlier time. If the characters are aware of the time shift, it affects their thinking, and is therefore part of the story’s structure. If they are not, the flashback is simply a Storyweaving technique engineered to enhance the audience experience.
In the motion picture and book of Interview With The Vampire, the story is a structural flashback, as we are really concerned with how Louis will react once he has finished relating these events from his past. In contrast, in Remains Of The Day, the story is presented out of sequence for the purpose of comparing aspects of the characters lives in ways only the audience can appreciate. Even Pulp Fiction employs that technique once the cat is out of the bag that things are not in order. From that point forward, we are looking for part of the author’s message to be outside the structure, in the realm of storytelling.
From the Dramatica Theory Book
Storytelling Technique: Out of Sequence Experiences
Changing Temporal Relationships:
With this technique, the audience is unaware they are being presented things out of order. Such a story is the motion picture, Betrayal, with Ben Kingsley. The story opens and plays through the first act. We come to determine whom we side with and whom we don’t: who is naughty and who is nice. Then, the second act begins. It doesn’t take long for us to realize that this action actually happened before the act we have just seen. Suddenly, all the assumed relationships and motivations of the characters must be re-evaluated, and many of our opinions have to be changed. This happens again with the next act, so that only at the end of the movie are we able to be sure of our opinions about the first act we saw, which was the last act in the story.
A more recent example is Pulp Fiction in which we are at first unaware that things are playing out of order. Only later in the film do we catch on to this, and are then forced to alter our opinions.
From the Dramatica Theory Book
Storytelling Technique: Non-Causality
There is often a difference between what an audience expects and what logically must happen. A prime example occurs in the Laurel and Hardy film, The Music Box. Stan and Ollie are piano movers. The setup is their efforts to get a piano up a quarter mile flight of stairs to a hillside house. Every time they get to the top, one way or another it slides down to the bottom again. Finally, they get it up there only to discover the address is on the second floor! So, they rig a block and tackle and begin to hoist the piano up to the second floor window. The winch strains, the rope frays, the piano sways. And just when they get the piano up to the window, they push it inside without incident.
After the audience has been conditioned by the multiple efforts to get the piano up the stairs, pushing it in the window without mishap has the audience rolling in the aisles, as they say.
From the Dramatica Theory Book