As a new writer one of the most difficult decisions to make is about what to write about. There is plenty of advice from experienced writers out there who say just sit in the chair and write. And that if you don’t write, you can’t become a writer. But that doesn’t help the newbie author sitting in the chair and staring at a blank screen with a thousand-and-one ideas buzzing through his/her head and wondering which path to take. For me developing and writing a novel takes at least twelve months. That’s a considerable commitment and one which you don’t want to abandon half-way through, because of a failure to plan adequately.
Clearly if you have a story you want to tell that’s just bursting to be told, then write it. And don’t stop until you finish it. But if you’re like me and have different ideas competing with each other in your head, you need to choose the best. And you’ll only achieve this if you do some work on developing the story design. Notice I’m talking about story design and not outlining. Story design is about the dynamics of the story, not about the structure.
In the previous blog, I introduced the idea of the five core story elements a writer needs to identify before he/she has a story proposition.
To help evaluate a story design I’ve tried to put together a simple blueprint. Part of this blueprint is twenty questions about the story design. Ten of those questions are about the characterisation of the protagonist, which I’ll deal with in the next blog. The other ten questions are about story design and are as follows:
- What is the idea at the heart of you story that makes it new and interesting? This is usually expressed as a ‘what if…’ question. It’s probably the most difficult question to answer. The previous blog sets out some of the ways of creating them.
- How does the setting affect the story?
- What does the protagonist want that drives the central plot? This is set in motion by the protagonist’s response to the Catalyst (see 8 below) in the first Act .
- What stands in the protagonist’s way from getting what he/she wants? (Eg. a difficult quest, a difficult mystery/conundrum to solve, natural forces, or other antagonist forces.)
- What are the consequences if the protagonist fails to get what he/she wants? Are these stakes big enough?
- What is the central dramatic question at the heart of the story that drives the reader’s hopes and fears for the story outcome? Example: Will Katniss Everdeen survive the Hunger Games? Will Luke Skywalker rescue the princess and destroy the Death Star?
- How does the story end?
- What is the catalyst that sets up the central plot in motion? This is the Big Problem or Opportunity that disturbs the protagonist’s world in the first act. Example: Katniss Everdeen’s sister’s name is drawn in the Hunger Games lottery.
- What is the log line for your story. Example: (‘Star Wars:A New Hope’) is a (science fiction fantasy) story about (a young farm boy) who teams up with (a Jedi Knight and a mercenary pilot) to (rescue a princess and lead a rag-tag rebellion) in order to stop (the evil forces of the Galactic Empire) from (destroying their world).
- What is the underlying theme / moral premise of your story? Example: ‘Even death cannot conquer the power of love’ (Romeo and Juliet).
Once you’ve answered the ten questions there’s probably another question you could ask yourself. Would you want to read this story? If it doesn’t excite you, what chance have other readers of finding it exciting.
As mentioned above, the characterisation of the protagonist is part of the story design. The character has to fit the story, or the story has to fit the character. In the next blog I’ll deal with the ten elements of the protagonist’s characterisation.
In the meantime, I would welcome any comments on the five core elements or the key questions on story design. No doubt there are many more questions that could be asked about a story that would flesh more detail. I’ve seen some story checklists with a hundred-and-one different questions to answer about a story. Such checklist may well be useful for assessing the final draft, but are too detailed for the initial stages of story design. In comparison, the key questions are concerned with whether you have a core story that will work before you outline it, or write it.
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