What are story beats, and how does one write them?
Last week I showed how to turn a story premise into a summary by adding a life-altering event to the hero’s path, and factoring in the ending of the story.
This filled out the story somewhat, but it was still missing important narrative beats. In order to make the acquisition of these beats a little easier let us now pose an overarching story question as well as three act-specific ones. Note that the overall story question overlaps with that of the last act’s.
The overall story question is: Does the hero succeed in defeating a tribe of cannibals to lead his followers to a place of safety?
This question helps to keep our sights trained on the through-line of the story—what has to be answered at the end of the tale.
Following on from that, we can use our summary to generate appropriate incidents within each act. Remembering that each act is governed by a question aimed at providing a narrative outcome, we have:
Act One: Is the land above as idyllic as it first appears to be?
After a short euphoric encounter with the land above in which our hero notices a large eagle watching them from the sky, the landscape turns gloomy: The sun dims under thick plumes of smoke wafting over from the distance, the bones of dead creatures proliferate on the ground, the hero’s grandfather becomes ill and has to be carried on a make-shift stretcher, and acid rain begins to waft down.
A day or so later a tribe of disfigured wretches approaches the group. A terrible storm is brewing and the tribe offers to lead the youngsters to safety. The leader seems in awe of our hero, rambling on about the legend of a blue-eyed king who will emerge from below the ground to lead the world to salvation. Speaking in a broken dialect, he promises to return the next day for our hero’s decision.
That night our hero falls into a stupor where he dreams that the tribe is really a band of cannibals responsible of much of the hellish state of the terrain. Convinced that his vision is prophetic he awakens the others and persuades them to leave their campsite before the tribe returns.
“Story beats are best generated by asking questions related to the state of the hero’s plight within the context of each act.”
Act Two: How does the hero manage to stay ahead of the cannibals against the odds?
Perhaps our hero forms an occult bond with the giant eagle that has taken an interest in the band of youngsters? Perhaps he can see through the eagle’s eyes, giving him an edge as he and his followers flee across the dangerous terrain?
But then the cannibal leader shoots down the eagle with a poison arrow at the story’s mid-point and everything changes.
Our hero now realises he can no longer keep the group safe from the murderous tribe. He has to change strategy: He willingly offers himself up as a sacrifice if they agree to let his followers live. The leader, who is obsessed with the idea of stealing the hero’s power by having him accept a humiliating defeat, agrees.
Act Three: What goes wrong with the bargain and how does the hero finally outsmart and defeat the cannibal leader and his tribe?
Perhaps our hero has foreseen his own death in another dream and knows the outcome of this deal—something he has kept secret from the others. However, he has bought himself time; time to contaminate his body with poison from the enemy’s own stock, thus ensuring that the entire cannibal tribe is wiped out after the feast, allowing his followers to escape.
This final act answers the overall story question too—the hero does indeed defeat the enemy, but at the cost of his own life.
Although these beats are far from complete—I still need to tie in the hero’s weakness/flaw/secret (his character arc) into the antagonist’s motivation and plot twists in a more detailed way—they do grant me confidence about the potential of the story.
Story questions resolve into narrative events within the context of each act.