Comments on: Story Structure Series: #10 — Part 4… the Final Act

By: Overview of Larry Brooks’s Story Structure » Jordan McCollum

Overview of Larry Brooks’s Story Structure » Jordan McCollum — Wed, 27 Jan 2010 21:36:15 +0000

[...] now we’re ready for Part Four, the Resolution. Our hero steps up and takes the lead for the final chases, the last showdowns. [...]

By: Story Structure « The Writing Land

Story Structure « The Writing Land — Tue, 25 Aug 2009 19:39:09 +0000

[...] Story Structure Series: #10 — Part 4… the Final Act [...]

By: Larry

Larry — Thu, 20 Aug 2009 03:53:55 +0000

Does the protagonist always have to be likeable? That’s a great question, because it debunks and old myth. The answer is no.

But… the protagonist always needs to be someone we are rooting for in context to the mission/quest/need you’ve given them in your story. We need to root for them to achieve what needs achieving, which means there must be stakes in place that elicit our empathy and make for drama and tension.

The anti-hero is a relatively new archetype in literature, which is why the old myth of likeability dies hard (speaking of “Die Hard,” Bruce Willis epitomizes the unlikeable anti-hero for whom we root whole-heartedly).

Hope this answers, thanks for the question.

By: J. Seltzer

J. Seltzer — Thu, 20 Aug 2009 02:41:37 +0000

comment/question

Does the protagonist always have to be likeable? Can she create enough interest that an audience needs to see what’s next. She has some good points, but mainly, she’s a pita.
thanks

By: Get Your StoryFix Daily

Get Your StoryFix Daily — Thu, 13 Aug 2009 15:38:46 +0000

[...] Story Structure Series, post #10: The Most Important Moment (pt 4)—the Final Act [...]

By: Debbie

Debbie — Mon, 10 Aug 2009 15:45:08 +0000

Larry, 11 dynamite blogs! You’ve stuffed several books-full of information into a Reader’s Digest condensed version that’s easy to understand, follow, and implement. I’m working with several beginning writers who want to plunge right into their first novels, without reading books or taking classes in craft, and wind up floundering. Your blog is short enough that I can recommend it to them as a learning tool without them complaining, “I don’t want to waste time reading a book when I could be writing.” Thanks for a concise, helpful piece of work.

By: Larry

Larry — Mon, 10 Aug 2009 00:22:12 +0000

Not my rule, it’s an accepted conventional guideline. Moreover, it’s what agents and editors want. You can find exceptions out there for almost every guideline — just like NBA players dribble behind their back, which isn’t something you suggest to young players, in fact, you bench them for it — but that’s doesn’t negate the wisdom. We play casual with these guidelines at our own peril.

Difference between a blueprinter and an outliner: an outliner virtually creates the story, beat by beat, scene by scene, in the form of a narrative outline… a blueprinter defines the major story milestones — open, FPP, pinch, mid-point, pinch, SPP and ending — ahead of time and then uses them as guidanced and context for connecting scenes. Because 6 of those major scenes probably require a set-up scene, or two, plus a follow-on scene, that’s almost 20 of the baseline 60ish scenes that are defined by the major milestones. From there its much easier to know what the bridging scenes should be.

By: poch

poch — Sun, 09 Aug 2009 15:35:59 +0000

In para 4 of Guidelines for an effective Part 4, you wrote:

‘…They can’t merely observe and narrate, they can’t assume a supporting role, most of all they CAN’T BE rescued.’

Not to contradict you but, is this your own rule?
I mean, numerous bestsellers had their hero rescued or semi-rescued by their ‘buddies’.
If you mean it’s better for a story if the hero isn’t rescued, I see that.
Reminds me of the irritating padding which most bestsellers do.

‘A few flopping loose ends can leave your reader engaged and hoping for a sequel.’
I call this ‘baiting with morsels’.

I think I’m still not sure what’s the difference between a blueprinter and an outliner. Yet.