Tag Archives: inner journey

How to Merge Story Strands

Traffic sign

Merging Journeys

In seeking to find an effective way to highlight the unity that exists between the outer and inner journey in a story, both in my own writing, as well as in my teaching, it struck me that the structural pivots in a tale (the inciting incident, the turning points, the midpoint) precisely provide for such an opportunity. They are the knots that tie the outer and inner strands of the tale together.

The outer journey, we are reminded, recounts the beat-by-beat occurrence of external events as the Hero struggles against mounting obstacles to achieve the visible goal of the story—preventing the bomb from going off, winning the girl, or the boxing championship, rescuing the kidnapped victim, and so on.

The inner journey, by contrast, is the internal path the Hero takes to enlightenment or obfuscation, depending on the genre of the story, as he initiates or reacts to the outer journey’s challenges, surprises, achievements and setbacks.

The structural pivots combine an outer and inner event into a single motivated action. Lagos Egri, one of the most lucid teachers on the craft of dramatic writing explains that the inner journey is the “why” to the outer journey’s “what”. In short, ensure that your turning points, including your midpoint, describe external events of sufficient magnitude that cause the Hero to react in a way that is in keeping with his current/evolving inner state.

Is it preferable, then, to let the inner state, or, journey, trigger the outer event, or should it be the other way around? I don’t think there is a definitive answer to that question—either will do, just as long as both through-lines end up being tightly interwoven.

In Rob Roy, Liam Neeson’s character accepts his wife’s unborn child—a result of her being raped by an Englishman, because of who he is: a man of immense conviction and inner strength, just as he fights and wins a sword fight against the fop, the expert English swordsman, despite being outplayed at the end, again, because of this inner strength and conviction.

In Braveheart, William Wallace accepts knighthood at the midpoint of the story. This motivates him to move from being an isolationist who merely wants to be left alone to farm with his family, to a national leader who takes the fight to the English. The knighthood ceremony is a perfect fusion of an outer and inner event—as a knight he now has a moral obligation to fight for those who fall under his protection.

Summary

The major pivot points are the perfect place for the writer to ensure that the “why” merges with the “what” in her story. Such pivot points offer the perfect place for the inner and outer journeys to merge and support each other.

Invitation

If you enjoyed this post, or have a suggestion for a future one, kindly leave a comment and let’s get chatting. You may subscribe to this blog by clicking on the “subscribe” or “profile” link on the right-hand side of this article. I post new material every Monday.

Turning Points

Sharp turn sign

Turning Point

I have talked, more than once, about what constitutes a turning point. This post takes another look at this all important topic, adding what, I hope, is fresh insight.

A turning point, we are reminded, is that moment in the story, when something big happens to spin it around in a new and unexpected direction. I’ve mentioned that this takes the form of new information granted to the protagonist and audience.

I’ve also intimated that an action-orientated turn ought to be supported by a strong inner motivation and goal. I’ve further suggested that such motivation is nested in the inner journey—so, if we draw a line to represent the outer journey as the physical series of actions and events, the inner journey is the line that rides below it in parallel, with the various turning points seen as spiking intersections between the two.

But precisely what form should this new information take? Specifically, should it come from the outer journey–such as the news that a solar flare seems set to destroy the earth, in the filmKnowing, then pull the inner journey closer to it, or should it spring from he inner journey directly, as in Oblivion, when the Tom Cruise character realises that the flashes of memory that have been plaguing him are, in fact, actual memories of his wife (albeit, as we’ll later find out, through the medium of resonance, which unites his clones).

Does it really matter, which comes first, you may well ask, since the outer and inner journeys meet at the turning points anyway? My personal view is that it does. A turning point that comes from the inner journey then lifts to touch the outer journey, contains more of an “Aha” moment. It draws our attention to the character’s background and motivation and makes us care more for her predicament. It makes the action that springs from it more meaningfully, right off the bat, and invites empathy and verisimilitude in our apprehension her response.

Of course, that is not to say that action can’t initiate the turning point then drop down to the inner journey and fuse with it effectively. Action films such as Die Hard and the crop of superhero films such as Batman and Superman. often take that route. Still, letting the turning point spring from the inner journey heightens the authenticity of the protagonist’s actions and may be the more appropriate place to mine for turning points in drama-ordinated genres.

Summary

A turning point that springs directly from the inner journey increases character authenticity and verisimilitude and may be the more appropriate place to mine when writing within drama-orientated genres.

How to Write Story Through Character

Chicken and eggs

The Chicken or the Egg?

What comes first, character or story? Does story lay the character, or character lay the story? This perennial chicken-or-the-egg question has many supporters on either side of the fence, or, road, if you prefer. Despite the levity implicit in the metaphor, however, the topic has serious implications for the way we approach writing a novel or screenplay.

A Character’s Story

One of the dangers facing an inexperienced writer writing what he considers to be a thrilling action-packed story is that he may loose sight of character motivation. One big event slams into another, and before he knows it, he’s written a story which uses characters like puppets in the hands of a novice puppeteer – their movement is trite, abrupt, and artificial.

So how do we avoid this without sacrificing pace and excitement in the stories we tell, or, without weighing down our thinking with reams of character traits and back-story? The simplest and most unobtrusive way to do so, I’ve found, is to take the central thought/philosophy/emotion of a character and keep it foremost in mind when writing her scenes.

Scarab II

In my forthcoming science-fiction novel, Scarab II, the protagonist, Jack Wheeler is drawn into a rerun of the cataclysmic events that unfolded in the North West Province of South Africa some five years previously. In Scarab I, Jack is swept along by events, forced to react to rather than to initiate action. But in the follow-up novel, Jack has a better understanding of what lies in store. He is also haunted by what occurred in the past and driven by one overpowering question: can he do anything to prevent the suffering and mayhem that is standard fare in the world today?

This question, born out of a troubled conscience and the knowledge that he may indeed have the power to intervene, motivates most of his underlying thoughts and actions. Understanding this essential aspect of Jack’s character has allowed me to write scenes that are powerfully motivated – an important part of fleshing out an inner journey that explains and fuels the outer one.

In Summary

Identifying the essential preoccupation of each character, and keeping this foremost in mind as you chart the outer journey, allows you to write scenes that are inwardly motivated and stay on track.

Invitation

If you enjoyed this post, or have a suggestion for a future one, kindly leave a comment and let’s get chatting. You may subscribe to this blog by clicking on the “subscribe” or “profile” link on the right-hand side of this article. I post new material every Monday.