Structure in Storytelling
By Chris
Mathews
For
some of us, writing good sentences is not a challenge. We can do that. We write
with flair (we like to think). We know how to color our words with strong nouns
and verbs, with sensory details, and with vivid metaphors and similes. The real
challenge is to structure our writing so that the reader wants to keep reading
our story and not lose his or her way in ornate sentences that meander.
Writers
wonder what they can do when they come to a dead-end in their writing, when the
muse whispers no more. The answer according to Larry Brooks in Story Engineering is that “…successful
stories are as dependent upon good engineering as they are artistry.” For me,
this book provided just the recipe I was looking for, especially since my
method for writing had always fallen into what Brooks calls pantsing, writing from the seat of your
pants without a plan.
When
I didn’t know where to go next with a story, my writing would stall out or I
would write passages that filled up the pages but did not advance the story. What
Brooks recommends is applying screenwriting techniques to build a scaffold for
any story, making the story work by blending what he calls the six core
competencies: concept, character, theme,
structure, scene execution, and writing voice.
He
defines concept as the idea that is
the springboard for the story, best defined by answering the question “what
if?” The answer leads to further “what if?” questions, and the answers become
the story. Although concept seems
very close to theme to me, it is clearly set apart by Brooks. For Little Red
Riding Hood, the concept could have developed by asking, “what if a wolf meets
a little girl in the woods who tells him she’s going to her grandmother’s? What
if the wolf races ahead to kill the grandmother so he can have a second
course—Little Red?.” You can see how concepts for screenplays can be “pitched”
to movie studios.
Character is broken down into three dimensions, the first,
second, and third. The first dimension of a character is what the reader sees
on the surface (he has a hairy face, for the wolf). The second dimension provides the backstory or
meaning behind the surface (the wolf is hairy because he is an alcoholic and
has let himself go to pot). The third dimension reveals the true nature of the
character and includes the character arc,
the means of showing character growth (Little Red is naïve in telling a
stranger too much, but finally puts two and two together). Brooks is adamant in claiming that the reader
must be able to empathize with or root for the main character in the story. He also claims that the protagonist must face
conflict if the story is to advance, and he or she must learn something or at
least die trying. The structure of the story should change at crucial times as
the hero changes from orphan-to-wanderer-to-warrior-to-martyr (here he makes reference to Carol S. Pearson’s The Hero Within: Six Archetypes We Live By).
In an upcoming blog, I will discuss
Brooks’ other core competencies of story-telling, and complete an analysis of
his techniques in Story Engineering.
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