By Chris Mathews
Story
engineering, Larry Brooks contends in his book by the same name, must contain milestones,
which he defines as the points in the story where new information changes the
direction, tension, and stakes of the story(the first plot point, midpoint, and
second plot point, he calls “major milestones”). Here are the milestones he outlines, along
with my illustrations of his points using the Little Red Riding Hood story:
1) The opening
scene of the story—the set-up scene(the mother in Little Red Riding Hood,
for example, carefully instructing her daughter to stay on the path and not to
talk to strangers as she goes to take goodies to her sick grandmother)
2) A hook (first 20 pages in novel,
first 10 pages in screenplay)—the reader is grabbed by a question he/she must
know the answer to(Why does the Wolf want to know where Little Red is going?)
3) First plot point (occurs about ¼ of way into
story)—the hero suddenly has a quest and a mission as the antagonist
emerges(Little Red meets the manipulative BB Wolf and we see he may have bigger
plans in mind—or else why wouldn’t he just eat her?—he could.) Conflict, without
which there can be no story, comes into sharp focus here. (This wolf is big and
bad and conniving and he is going to get in Red’s way.)
4) The midpoint (at the
exact middle of the story) which shifts the story’s context--probably occurs in
Little Red when she gets to her grandma’s and starts to realize there is
something a little wrong with this picture.
5) The second plot point (3/4
of the way through the story)—in Little Red, when Red learns that the wolf is
playing the part of Granny(“the better to eat you with”). At this point, the
true power of the antagonist is revealed.
6) The final
resolution scene (In Red Riding Hood, this scene occurs when the hunter bursts
in and kills the wolf.)
I find Brooks’ outline
of structure useful, but too programmed. Fortunately, he realizes that while
screenplays must adhere closely to this structure, these points might be better
thought of as principles for the novelist, rather than hard-and-fast
rules.
Scene execution and writing voice comprise his final core competencies
for the aspiring writer. The most
important point he makes about scenes, I believe, is that each scene must move
the story forward. All scenes must have a mission. He suggests writing scenes
that propel the story forward, ending a scene with a question that drives the
reader’s interest on. Brooks spends even less time on writing voice, feeling
this competency is way overrated, especially at writing conferences. His
watchwords are: keep it simple, and less is more. He favors “essence” over
“eloquence.” While he acknowledges the importance of dialogue and feels you can
develop an ear for dialogue, writers fail, he maintains, when they don’t get
outside themselves in their dialogue.
In Story
Engineering Larry
Brooks has put together good benchmarks to help writers stand a better
chance of being published. His contention is that knowing where you are going
as you write is a good thing. Outlining can help strengthen and hold your story
together. Intuition can be cultivated. Little Red Riding Hood may not be much
of a heroine, by Brooks’ definition, but the story is compelling because the
construction of the story holds. Theme is intertwined with character and
conflict: listen to your mother, don’t be too naive, there are bad creatures
out there. The storytelling of Little Red Riding Hood is tight. Every part fits
together and has a purpose that leads forward.
Are we to infer that a writing voice has something to do with eloquence? Voice isn't a question of essence versus eloquence. Voice is the difference between reading about Annie Proulx in an encyclopedia and reading one of her books.
ReplyDeleteVoice is not easy to identify. And I wonder if you can teach a writer how to develop a voice.
Bonnie