Story Maps

Map
Mapping the Creative Process:
In looking at the writing process it is often helpful to have a snapshot or map of the lay of the land in mind. Below is one such map. (For a detailed definition of the listed terms, kindly consult the archived posts on this site.)

The Map

Most stories come from the generation of multiple ideas, ideas which are filtered and distilled down to a core of sufficient worth. In The Matrix the core idea is “What if the world we take to be real is an illusion?”

But an idea without a story is impotent. This is where the story concept comes in, followed by background and setting, which help the writer determine the genre.

At this point, log-lines and the one-liner help to focus the story concept and produce a working title.

The next stage involves a large and powerful leap—the synopsis. In writing the synopsis one determines and explores the main character and supporting cast— the backstory, biography, character traits, motivation, need vs want, goal and transformational arcs, where appropriate. Simultaneously, one builds a plot inflected by structureinciting incident, pinches, turning points, mid point, climax and resolution.

Now the writer is ready to identify and create possible subplots, central conflicts, obstacles to the story goal, suspense, pace, central imagery, and emotions.

That done, the writer is ready to create the treatment, followed by the step-outline, before turning to that all-important, but malleable first draft. It is here that dialogue comes to the fore, dialogue that ought to be authentic, purposeful and born out of the character’s already-defined traits.

By the end of the obligatory or climactic scene, the writer has exposed the main theme of the story—the winner of the battle carries the theme. In The Matrix, for example, human instinct and heart trump artificial intelligence.

Of course, the first draft is the first of several, as discussed in previous posts, but it does, at least, represent the first exposure of one’s story to the cold light of day.

Summary

Keeping a map of the overall creative process in mind is often helpful in supporting the writing of the first draft of a story. This post names the components of one such map.

Simplifying the Story Question

Question Mark
The Story Question
During one of my lectures on storytelling in Sydney, Australia, I remember one student asking me if there was one single piece of information, one pithy piece of advice, I could offer novice writers, which might help them to kickstart their story?

This reminded me of my asking the very same question of one of my mentors at the London International Film School, many years ago. The advice I received back then was the same advice I offered my Sydney students: What does your protagonist want and why can’t he/she have it?

This generic question incapsulates most traditional tales in one single sentence. Answering it involves telling a story in which the protagonist encounters a problem, seeks to solve it, is opposed in solving it by the antagonist, and either succeeds or fails to do so by the end of the story. Chunking these considerations into separate parts, yields, most typically, a three act structure based upon that well known Aristotelian observation that a story has a beginning (what is the problem), a middle (how does the protagonist engage with the problem) and an end (how is the problem finally resolved/unresolved).

Exploring Character

Probing the sentence further we uncover a psychological element: What does your protagonist ‘want’? Exploring your protagonist’s want(s) leads us to consider deeper elements of his/her life such as background, occupation, relationships, psychology, want versus need (see previous post). Some of these elements are typically revealed in the story’s subplot, involving minor characters who are arrayed into two main camps, the protagonists’ and the antagonists’. Typically, the subplot acts as a foil to the plot, highlighting, either by comparison or by contrast, similarities and differences in character, values, goals, as well as strengths and weaknesses of the major characters.

Exploring the Inner and Outer Journey

The question also hints at a dual journey to be undertaken by the protagonist in order to achieve his/her want: Clearly there is an outer goal to be achieved in order to fulfill the want, which, most typically, involves a physical entity or result: get the girl, stop the bomb from exploding in downtown Los Angeles, save the cat (outer journey). But the want involves a need: Why does the protagonist need to risk life and limb to do so (inner journey)?

We can see, even from a brief exploration of this basic question, how probing it yields an individual story that is, nevertheless, based upon a general truth. A typical story is nothing other than the tale of someone who wants to achieve something because of some deep psychological/human need, but is being prevented from doing so by opposing forces.

Summary

At the deepest level, individual stories may be summed up in universal structures. One such structure comes in the form of a question: What does your protagonist want and why can’t he/she have it? In answering this general question, you are, in fact, telling an individual story.

Invitation

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