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Part 3… of a 10-Part Series on “Story”

Please note: this short intro appears prior to each of these ten installments.  If you’re read it before, skip down to the next subtitle in larger font. Also, to read previous posts in this series, refer to this menu of links (be sure to return to this page to keep reading in sequence; that said, each of these stand alone, it is the assimilation the full body of information that will take you to the next level of understanding of the basic principles of fiction-writing craft, as it applies to writing a novel):

Part 1: Concept

Part 2: Premise

Part 3: DRAMATIC ARC

It’s not mystery that stories have a beginning, middle and end.  But if you leave it at that, you may not be seizing the inherent potential of your premise, and you may be leaving upside on the table in a way that may either explain a rejection letter, or fall short of your self-publishing goals.

Modern fiction – let’s leave Cervantes and Homer out of the conversation for a while, they haven’t sold a novel in centuries – is not driven by formula (a distasteful word for writers).  Some writers – too many – dismiss anything related to structure as formula, but that’s laziness and ignorance, because unless you are finger painting, everything has structure driven by what has been proven to work.

The unfolding sequence of a story is driven by something called “dramatic theory”…

…with is a core expositional principle that results in stories sequencing in a certain way… a linear contextual order that is a little more complicated than beginning, middle and end.

Novels are built around four evolving contextual parts (which overlays and aligns with 3-Act structure, but with more useful context for writers who are doing it, rather than just studying it).  No matter how many chapters or scenes are involved, an effective novel presents itself to the reader in a way that naturally captures their interest and manipulates their emotions.  It begins with putting the pieces of the story – characters, settings, plot machinations, stakes, heroes and villains – into play initially, and then throwing a wrench into the works, thus allowing readers to immerse themselves into the emerging dynamics of it all.

And then something happens – there’s that wrench – and it does it is the most important moment in the story: everything changes.  The primary “plot” (the source of dramatic tension) launches or, if it was partially initated earlier in the Part 1 setup, here is where it escalates.  Suddenly your hero has something to do, something to play for, motivated by threat or opportunity and opposed by forces (usually a human “villain,” but a personal crisis or natural event can threaten just as heinously) that pursue another goal altogether, one that puts them (the villain/antagonist) at odds with the goals of our hero.

This sequence is known as the dramatic arc…

… and it becomes the very essence of the narrative of a novel.  And yet, professionals know that, while there is no formula, there is a prescribed order to the context of it all.  You wouldn’t, for example, show the reader the ending in the first half of the book (and if you do, then the suspense may reside in the way you get to it, which needs to surprise the reader along the way).

This is more than structure, per se.  Rather, this is the proactive management of the reading experience, leading your reader through the lens of your story strategically, in a manner that optimizes drama, emotion and the sheer vicarious thrill of losing themselves with your story world.  Dramatic arc is the means by which you deliver an experience – emotional, intellectual, visceral, sexual, social – vicariously through the sequence of your scenes.

This flow is as complex as it is critical to the success of the story. 

Some writers labor for years in search of it – others deny it completely while they, unwittingly, set out to find and implement the very thing they deny – and yet it remains available to any writer seeking to understand story as a reliable theoretical sequence, rather than something that is different every time out.

Want more?  Would you like to go deeper into the basic essentials of craft?

Join me and story coach Jennifer Blanchard in Portland April 3 through 7, for a deep dive into the full realm of story craft – definitions and criteria included – covering this and many more elements and essences of a successful story… a story so powerful it’s almost as if it’s on steroids… all presented in context to your writing process, whatever that might be.

Click HERE for a description of the workshop, and a link to the enrollment page.  Or HERE for a closer look at the four-day agenda.

Or click HERE to go straight to the workshop’s website.

If you enroll before February 1, you will receive a TEN PERCENT DISCOUNT on the workshop tuition.

*****

 

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Filed under 10 Part 101 craft series

Part 2… of a 10-Part Crash Course on Story

Please note: this short intro appears prior to each of these ten installments.  If you’re read it before, skip down to the next subtitle in larger font. Also, to read previous posts in this series, refer to this menu of links (be sure to return to this page to keep reading in sequence; that said, each of these stand alone, it is the assimilation the full body of information that will take you to the next level of understanding of the basic principles of fiction-writing craft, as it applies to writing a novel):

Part 1: Concept

Welcome to the 101 of writing novels.

One of the reasons writing a great novel is so challenging is that there is no obvious starting place.  Is it a character?  A premise?  A theme?  A single sentence that won’t get out of your head?

While that argument continues to rage, what remains in less dispute is this: there are a set of principles and essential elements that, before the story works, you need to get right.  With that in mind, this series introduces – reintroduces, actually, since these are the foundation of this body of work, and my three writing books – ten of those essential elements.

Today’s post defines and explores the one that is in the running for that Square One focus.

PREMISE

“It isn’t a story until something goes wrong.”

That’s the essence of premise in a nutshell.  Premise is not merely an intriguing time or place.  “A story about ancient Rome,” for example, is only a partial – and therefore defective – statement of premise.  A solid premise is a snapshot of what your protagonist is up against, what she/he must do (action) and accomplish (outcome), what their quest/journey is within the story (experience) – in other words, what goes wrong – and what is at stake (consequences of both success and failure).

Consider your story as a vehicle, waiting to carry your reader somewhere.  To another time and place, into the throes of a relationship, smack in the middle of a mystery or a dangerous situation.  That is the beginning of premise (setting), but not the entire raw grist of the story.  Ever.

The heart and soul of a vehicle, any vehicle, is some sort of dramatic engine.  A source of compelling draw, of narrative power.  Without that engine, the whole thing just sits there.  It becomes a still-frame.   Perhaps pretty to look at, or sit in, but without a source of motion – a hero with a goal or a problem, taking action to achieve that goal or solve the problem, in the presence of opposition and/or antagonism, with something at stake — is is a parked car, not a race car or, if you prefer, a gilded chariot.

That dynamic proposition becomes the engine of your story.  And an engine worthless until you put it into motion.

This action-driven, problem/goal orientation is called the premise, a common (and thus, too often loosely rendered) writing term, one that resides at the heart of every successful story.  And I’ve just defined it for you.  Here it is again: a hero with a goal or a problem, taking action to achieve that goal or solve the problem, in the presence of opposition and/or antagonism, with something at stake.

Right now, in this moment, you can use this analyze your story.  If you struggle with identifying any of these elements and forces within your story, you have more work to do.  Because your answer for each needs to be concise, clear, and most of all, compelling.

A functional premise, one with inherent power, is all of these things. 

The absence of any one or more of these story elements renders the premise less than effective.  Because it is the sum of these that puts the story vehicle into motion.  Such a premise explains rejection or failure in a huge percentage of rejections (agent, publisher or readers at large), the other reason being less than compelling narrative skill.

Non-writers often ask writers what their story is “about.”  This is a loaded question.

Writers almost always ask other writers what their “premise” is.  So if you say, “my story is about ancient Rome,” that’s at best a partial premise (maybe you’re waiting for a response to add the rest, but if you don’t have more story than that, then you haven’t yet landed on a premise that will work).  Telling someone what your story is about is a risky, nebulous proposition that can land on a character, a theme, a time or place… all of which can be conceptual and cool, but none of which comprise a fully-formed premise.

If that partial answer is delivered to an agent, then you are already toast.

“The Davinci Code,” for example, is about… what?  There are easily a half dozen correct answers to that question.  But the premise is perfectly aligned with the definition: a hero (Landgon) with a goal or problem (he is being framed for murder and the cops are after him, as well as a mysterious albino assassin, in addition to a potential romantic interest who may or may not be what she seems), and so he runs for cover while also seeking answers to a murder and the emergence of a bizarre proposition, one that bad guys (under the cover of being good guys) are willing to kill to protect.  Not only his is life at stake, but the veracity of the most popular belief system in the Western world may be threatened by what he learns.

And that, fellow writers, is an $80 million killer answer to what a story is about.

That’s what a great premise can do.  Maybe not to that scale, but when you fuel your premise with a compelling conceptual essence as its framework (which implies, accurately, that you can cover all these component bases in your premise, and it still might not be all that compelling… finding and adding the magic if your job, your challenge, and it actually the key to everything… but you need a fully-formed premise as the vehicle for that magic), you are suddenly in the hunt for readers in a way that you won’t be if you take the nature and breadth of your premise for granted.

Want more?  Would you like to go deeper into the essentials of craft?

Join me (and story coach Jennifer Blanchard) in Portland April 3 through 7, to learn more – definitions and criteria included – about this and many more elements and essences of a successful story… a story so powerful it’s almost as if it’s on steroids… all presented in context to your writing process, whatever that might be.

Click HERE for a description of the workshop, and a link to the enrollment page.  Or HERE for a closer look at the four-day agenda.

Or click HERE to go straight to the workshop’s website.

If you enroll before February 1, you will receive a TEN PERCENT DISCOUNT on the workshop tuition.

*****

Next post in this series: Dramatic Arc.

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Filed under 10 Part 101 craft series