This is Story Fanatic, a collection of articles covering story structure and analysis for
creative writers. Published weekly.
Every complete story consists of four throughlines. The Overall Story Throughline, which is an objective look at the problem affecting everyone in the story. The Main Character Throughline which obviously covers the central character with which the audience empathizes most with. The Impact Character Throughline who provides an alternate way of solving the problem at hand and a perspective different from the Main Character. Finally, there is the Subjective Story or Relationship Throughline – which covers the relationship between the Main Character and the Impact Character. Having all four of these in a story is required if the Author’s intention is to argue some greater meaning.
The ease with which visual conflict plays out on-screen leads filmmakers towards visiting familiar territory. Conflict exists, however, in both the external and internal domains. Rarely traversed, this realm of within offers those in the cinematic arts an opportunity to try something new.
Stories that mean something have something important they want to communicate. This message, or purpose, can only be heard when it respects the human mind and its engine for appreciating conflict. This is what it means to naturally structure a story – naturally structure it in such a way that it matches the psychological structures found within the minds of a waiting Audience.
Stories provide a context for the seemingly pointless events that pass through time. Granting the audience an opportunity to step outside of themselves, a well-told complete story gives purpose and understanding to that which has happened. Sometimes, but not always, history has so much to say that it requires more than one story to make sense of it all.
Fans of great storytelling rejoice, HBO has done it again. Mildred Pierce, the depression-era star vehicle for Kate Winslet, continues the long line of thoughtful meaningful drama the cable studio is known for. Those who make a living projecting cinema on the big screen take note: this miniseries illustrates precisely why your numbers are dwindling.
There are many who believe they don’t need story structure. They see it as something restrictive, something to hold a writer back from his true and artful potential. What many don’t realize is that by setting into motion a work of narrative fiction that means something, they have already engaged the gears of purpose.
Rarely do American audiences get a chance to feast on a film teeming with the subtle colors and nuances that well up from rich thematic exploration. Often they are left wanting, leaving the theater with their head cocked wondering What did all of that mean? Those who experienced this 2007 Pixar masterpiece were delighted to find that for once, their cravings did not go unanswered, their hearts unfulfilled.
Aristotle tells us stories have a Beginning, Middle and End. Syd Field and Blake Snyder tell us the Second Act has a Midpoint effectively dividing it in two. The truth is, all of them are confusing the forests with trees. There are really four movements in every complete story, a reality based on the fact that the mind’s problem-solving process follows the same approach.
A common complaint of many films is that while they are stunning visually, they somehow lack heart. This unfortunate occurrence happens when a story either minimizes or all-together ignores the relationship storyline that sits at the center of a complete story.
A story must explore all four throughlines if it is to be successful.
The possible dangers in following the rules of a revolutionary story theory.
A unique and interesting take on how to write creatively with the Dramatica theory of story.
Plot leaks of WALL-E reveal a well-developed story.
In a conversation I had with Dramatica theory creator Chris Huntley last November, I asked him, “After 10 years of writing story analysis, what are the top 10 re-occurring problems you see in story today?” He gave me two.
Plain and simple: Dramatica can help you write something you’ve never written before. It can help you find a story you never knew was inside you.
Well, after a month of being away due to personal issues, it certainly is nice to come back and see all the new wonderful things there are to read about Dramatica.
There are good trailers and then there are bad trailers. The best trailers compel you to go to the theater. And as always, the most compelling ones incorporate Dramatica concepts.
Can a 3-minute trailer lay the foundation for a Grand Argument Story? I think if a movie wants to draw an audience into the theater it has to. And the Sam Mendes film, Jarhead, does just that.