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As promised to the attendees, here is the outline for the seminar I presented to the Director’s Guild of Canada last Sunday in Vancouver.

It was a spectacular session with a packed house of really eager creative industry people, looking for ways to break through creative block, inject life into their stories, and find and fix elusive narrative problems.

Judging by the response, they found what they were looking for.

Thanks again to the DGC for their invitation, to Roy Hayter who initiated the concept and sheparded it through, and to Barbara Ann Schoemaker (BA) who anticipated and handled every detail to not only make the seminar a huge success, but to make my experience both incredible and indelibly memorable.  Good people, one and all!

So, here’s the seminar outline for reference, which of course does not contain any of the graphics, animations, numerous video clips or my rambling commentary.

Narrative for Movies & Television Seminar

Fix it in the Script – NOT in Post!

Welcome!

Introduction

            Seminar Overview

                        Morning Session

                                    Identify common serious narrative flaws

                                    Techniques to repair flawed narratives

                        Afternoon Session

                                    Story Development Techniques

                                    Application of Structure to the Creative Process

What is Narrative?

            Origin of Narrative

            Generations of Storytellers

            Trial And Error

            Conventions of Storytelling

            Patterns of Dramatics

            The Concept of Narrative

Models of Narrative

            Aristotle and the 3 Act structure

            Jung and the collective unconscious

            Campbell and the Hero’s Journey

            Each had exceptions; Each was a formula

            Each showed only a glimpse of the elusive structure

A New Model of Narrative

            Structure is Non-Linear

            The Story Mind

Teaser

            “You and I are both alike”

What’s Happening!!!

            Narrative is happening

            These are the kinds of dramatic elements that make up narrative.

            If a narrative doesn’t have all the important elements, it will fail

            Let’s learn how to recognize and repair flawed narrative elements…

Narrative Problems with Characters

            The most common narrative missteps regarding characters, and how to fix them.

The Main Characterv& Influence Character

            The passionate core of your story’s message

Main & Influence Characters

            So who ARE these guys?

            Main Character represents a paradigm of belief.

            Influence Character represents an opposing view.

            Between them is your story’s passionate argument.

            The result of this argument is your story’s message.

To Kill A Mockingbird

            4 Principal Characters

                        Main Character

                                    First Person Experience for Audience

                        Influence Character

                                    An alternative life view

                        Protagonist

                                    Prime mover of the effort to achieve the goal

                        Antagonist

                                    Diametrically opposed to Protagonist achieving the goal

Head Line & Heart Line

Heroes and Villains

            The Hero

                        Protagonist

                        Main Character

                        Central Character

                        Good Guy

            The Villain

                        Antagonist

                        Influence Character

                        Second Most Central Character

                        Bad Guy

            Hero and Villain Swap

                        Anti-Heroes

                        Anti-Villains

            Melodrama

                        Head line AND heart line between same characters

                        Power of storytelling masks gaps in arguments

                        Arguments are incomplete

                        Conclusions not supported

            The Dramatic Triangle

                        Can fully separate as in To Kill A Mockingbird

                        Can hinge on one character and split the lines

                        Most common variation (the love interest)

                        Other variations

The Heart Line

            Main Character Resolve

                        The Main Character doesn’t have to change to grow

                        He or she can grow in their resolve

            The influence character pressure the MC to change

                        Key establishing points to reference later.

            Change Characters

                        Establish a belief system

                        Establish illustrations of belief

                        Announce resolve

                        Verify resolve

            Steadfast Characters

                        Establish belief system

                        Establish illustrations of belief

                        Announce resolve

                        Verify resolve

            One Must Change

                        Main or Influence will convince the other to change

                        Change occurs at character climax

                        Success in logistic goal hinges on who changes

                        Message determined by results of change

            A Changing Influence Character

Character Arc

            Character Arc 101

                        The Steady Freddy

                        The Griever

                        The Weaver

                        The Waffler

                        The Exception Maker

                        The Backslider

                        How Change Happens

The Head Line

            Archetypes

                        Origins of Archetypes

                        Each of us has the same complement of basic traits

                        We use them to solve our personal problems

                        When we join in a group, we quickly self-organize

                        As specialists, the group gains depth and focus

            The 8 Archetypes

Protagonist

Initiative

Antagonist

Reticence

Reason

Intellect

Emotion

Passion

Guardian

Prudence

Contagonist

Expediency

Sidekick

Confidence

Skeptic

Doubt

            External / Internal

                        Protagonist

                                    Pursuit/Consider

                        Antagonist

                                    Prevent/Reconsider

                        Reason

                                    Logic/Control

                        Emotion

                                    Feeling/Uncontrolled

                        Guardian

                                    Help/Conscience

                        Contagonist

                                    Hinder/Temptation

                        Sidekick

                                    Support/Faith

                        Skeptic

                                    Oppose/Disbelief

            Star Wars Archetypes

                        Protagonist

                                    Luke Skywalker

                        Antagonist

                                    The Empire

                        Reason

                                    Princess Leia

                        Emotion

                                   Chewbacca

                        Guardian

                                    Obi Wan Kenobi

                        Contagonist

                                    Darth Vader

                        Sidekick

                                    R2D2 & C3PO

                        Skeptic

                                    Han Solo

            Oz Archetypes

                        Protagonist

                        Dorothy

                         Antagonist

                        Wicked Witch

                         Reason

                        Scarecrow

                          Emotion

                        Tin Man

                          Guardian

                        Glinda

                         Contagonist

                        Wizard

                         Sidekick

                                    Toto

                        Skeptic

                                    Lion

            Oz vs. Star Wars

                        Leia- Reason

                                    Logic

                                    Control

                        Scarecrow- Reason

                                    Logic

                                    Uncontrolled

            Oz vs. Star Wars

                        Chewbacca- Emotion

                                    Feeling

                                    Uncontrolled

                        Tin Man- Emotion

                                    Feeling

                                    Controlled

            Oz Element Swap

                        Scarecrow (Reason?)

                                    Logic

                                    Uncontrolled

                        Tin Man (Emotion?)

                                    Feeling

                                    Controlled

            Complex Characters & Relationships

                        Complex Characters

                                    Structural Relationships

                                    Character Relationships

                        Four-Dimensional Characters

                                    Motivations

                                    Methodologies

                                    Purposes

                                    Evaluations

            Summing Up Characters

                        Head Line characters involved in the goal

                        Heart Line characters involved in the message

                        Head Line determines if your story will make sense

                        Heart Line determines if your story will have meaning

Intermission

 

 

Narrative Problems with Plot

What Is Plot?

Definitions of Plot

What happens in a story

Storytelling vs. Story Structure

The order of story-affecting events

Exposition Order vs. Narrative Order (Flashbacks)

Any sequential narrative elements

Characters, theme, and Genre

The logistics of the narrative

Plot Points (Goal, etc.)

Plot Progression (Acts, etc.)

Plot Points

Goal

The Single Goal

The Collective Goal

The Hidden Goal

Clearly Define!

Consequences

What happens if the goal fails

What already exists that remains if goal fails

Situation or Condition

Specific or General, but clearly defined

Requirements

Conditions that must be met for goal to be achieved

Shopping List Requirements

Sequential Requirements

Substitutes

Forewarnings

Indicators the Consequence is closing in

Forewarnings of Degree

Forewarnings of Steps

Critical Mass clearly stated

Four Modifiers

Dividends

Costs

Prerequisites

Preconditions

Additional Plot Points

Catalyst

Inhibitor

Benchmark

Plot Progression

Hero’s Journey

It works! (But is only one path)

It is a formula for a particular kind of story

Many different formulas

Seeking form without formula

Wheels Within Wheels

Acts

Sequences

Scenes

Beats

Acts

Dramatica Matrix

Dramatica Matrix

Four Signposts – IC

Influence Character Signposts

Signposts & Journeys

Four Throughlines

Main Character (I)

Influence Character (You)

Passionate Story (We)

Logistic Story (They)

Four Throughlines

Act Structure

Act Structure

Sequences

Scenes

Beats

Narrative Problems with Theme

What Is Theme?

Aspects of Theme

Topic

Message

Premise

Lajos Egri

Premise

Greed leads to self-destruction

Great for classifying a story’s message

Lousy as a starting point for writing

Fraught with narrative problems

Thematic Conflict

Greed leads to self-destruction

Greed

Greed vs. Generosity

Scenes featuring Greed, Scenes featuring Generosity

Thematic Argument

Leads to…

Relative value – levels of degree

Once per act

Never compare directly

Thematic Conclusion

Total of all relative values

Author’s Confirmation

Less of two evils

Greater of two goods

Equal

Narrative Problems with Genre

What Is Genre?

Genre and Structure

Genre is most broad stroke structural aspect

Genre structure sets perspective for story

Positions your audience in their experience

Attaches point of view to structural elements

Dramatica Chart

Dramatica Chart

Dramatica Chart

Classes – Internal/External

Classes

Points of View

Main Character (I)

Influence Character (You)

Subjective Story (We)

Objective Story (They)

Situation in 4 Domains

Narrative Problems with Story Dynamics

The 8 Essential Questions

Main Character Resolve

Change or Steadfast?

Shift one’s viewpoint or stay the course

Leap of Faith or Creep of Faith

Influence character will do the opposite

Main Character Resolve

Main Character Growth

Start or Stop?

Hole in Heart / Chip on Shoulder

Grow into something or out of something

Waiting for something to start or stop

Main Character Growth

Main Character Approach

Do-er or Be-er?

Preference, not an absolute

Go with the flow

Fish out of water

Main Character Approach

MC Problem Solving Technique

Linear or Holistic?

Basic level below conscious consideration

Don’t shift techniques!

Appropriate behavior

Main Character Problem Solving

Story Limit

Time Lock or Action Lock?

State it when the quest begins.

Don’t violate the lock!

Can have smaller locks within overall story.

Story Limit

Story Driver

Action Drive or Decision Driven

Causal Relationship

Independent of amount of action or decision

Book Ends

Story Driver

Story Outcome

Was the goal achieved or not?

Independent of emotional conclusion

Independent of outcome for protagonist

Can have degrees of accomplishment

Story Judgment

Is the mood of the story better or worse?

Independent of success or failure

Transmitted particularly through Main Character

Can have degrees of positive or negative flavor

Story Outcome and Judgment

Morning Session Wrap Up

Intermission

 

Afternoon Session

Story Development Techniques

Teaser

Story Structure vs. Storytelling

Storytelling vs. Story Structure

The Creative Process and Narrative Structure

Muse vs. Structure

People think in narrative but think about topics

Not all topic concepts can fit in the same narrative

Starting with structure hobbles the Muse

The Master Storyteller Method

4 Stages of Story Development

Story World

Story Line

Story Points

Story Form

Building Your Story World

Story World Construction Steps

What’s the Big Idea?

Create a Log Line

Asking Questions

A Thumbnail Sketch

The Creativity Two-Step Demo

Creativity Two-Step Technique

Take any sentence in your story development

Ask questions like an audience might

Let your Muse go and provide multiple answers

Ask questions about each answer

Rinse and repeat

Character Tips

Creating Characters from a Log Line

Character Swap Meet

Character Personal Goals

Writing from a Character’s Point of View

Have Characters Write Their Own Life Stories

More Character Tips

Characters vs. Players

“Things” as Characters

Group Characters

The Attributes of Age, Gender

Character Sub-Plots

Plot Tips

Use Signposts and Journeys as a guide

Outline of each of the four throughlines

Look for gaps and missteps, fill and fix

What happens in Act 2?

Theme Tips

A different theme for each throughline!

Illustrated through proper point of view

Main and Influence Main Message

Don’t forget the topic!

Genre Tips

A Mixed Bag

Select genres you like

Choose elements that reflect your story’s personality

Alter the traditional references

Your Story Synopsis

A map of your story’s terrain

Characters, relationships, potentials

Plot, processes, events

Theme, topics, messages

Genre, elements, moods

Building Your Story Line

From Map to Path

One story or many?

Choosing a course through your story world

Narrative Order or Exposition Order

Sequential Outline

Include all four throughlines

Character Tips

The Rule of Threes

First Impressions

Dismissals

Character Hand-Offs

Varied Structural Relationships

Structural, Logistical, Emotional Relationships

Plot Tips

Acts, Sequences, Scenes and Beats

The 28 Magic Scenes

Multi-Appreciation Moments (MAM)

Constructing Scenes from Beats (PRCP-1234)

Theme Tips

Main / Influence Thematic Argument, Act by Act

Four Throughlines thematic conflict moments

Pacing of Topic references

Individual character themes

Genre Tips

Genre Situation

Genre Attitude

Genre Manipulation

Your Story Treatment

Write a separate timeline for your characters, plot, theme, and genre

Look for gaps and fill them, pacing and adjust it

Weave all four timelines together

Alter the timeline with exposition order

Building Your Story Points

Introduction

Linchpins or anchor points of your narrative

Like Cornerstones and Keystones

If some are missing, whole structure can collapse

Some are more crucial than others.

The Story Points

Revised Story Treatment

Look for each story point in your treatment

Consider whether each point is crucial or optional

Incorporate all crucial story points

Incorporate as many optional story points as you can

Building Your Story Form

Introduction

Perfect Story Structure is a Myth

Like a Blueprint for your Story

Includes both story points and story dynamics

Ensures all story points work together

Bring your story closer to a stronger structure

Storyforming Demonstration

Dramatica At Work

Narrative for Movies & Television

~ Fin ~

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I’ve been invited to present a one-day seminar to the Director’s Guild of Canada in Vancouver, BC on April 2. The topic is NARRATIVE FOR MOVIES AND TELEVISION. Registration is currently open only to DGC members, and seating is limited, but if any space is left they will open registration to the public. For information contact the Director’s Guild of Canada at info@dgcbc.com

Click picture for complete details…

Our latest Writing Tips Newsletter is now available!

In this issue:

Story Structure for Passionate Writers / The Influence Character / Characters: Cogs in the Machine? / The Radical Story Mind / Finding Your Creative Time / Four Throughlines in To Kill A Mockingbird / Finding Inspiration for Your Novel

Read it all and subscribe if you like at:

http://app.streamsend.com/ss/1/KkVO/cg8pxhmoij

I’ve been teaching creative writing now for more that twenty-five years, and here are my best tips for starting your new writing year:

First, schedule your writing time like you would a dentist’s appointment. Why?  Because as Dorothy Parker once said, “I hate writing; I love to have written.”  We all hate going to the dentist, and most of the time, we also hate writing – coming up with words for the page is like pulling teeth.  But after we’ve gotten the gumption and gotten it done, the afterglow of the results ranges from satisfaction to ecstasy.

So put it down on your calendar.  And then, as soon as it is over, schedule your follow-up visit before you leave the office or you’ll never get around to it.

Next, during your writing session, don’t sit in front of a blank page trying to come up with something to say. Rather, let your mind wander to favorite memories, favorite subjects, or even to problems, worries or fears, and just write about them.  Consider it a warm-up exercise before you get your game on.

As you warm-up, you’ll find that your mind naturally begins to feel its way around the subject you intend to write about.  And at some point, you’ll come up with an idea on that topic that is so logistically important or emotionally powerful to that you find you’ve already started writing about it instead of the warm-up topics.

Third, never try to force the Muse to work on a story problem. Cut her free. By nature, she is full of boundless energy and wants to explore your creative mind with reckless abandon.  Try to shackle your Muse to the task at hand, and she’ll balk.  But if you let her run wild, even if it is WAAAAY off topic, it is like another warm-up exercise in the middle of the long routine of writing.  Every once in a while you need to come up for air, feed your head, and give  your heart some candy.  In short, don’t feel that once you start working on your actual story that you can’t diverge whenever the Muse stands at the door with her leash asking to go for a walk.

Fourth, write about what you love.  Sure, we all have dreams of writing a great novel or script, and perhaps we will, but don’t let that make you choose a less epic topic because you think it has the potential to be more noteworthy.  In fact, the odds of writing something truly meaningful go WAY down if you don’t write about what moves you personally.

But here’s the rub – this is a real pisser for me personally… The kinds of stories I like to read are not the kinds of stories I’m very good at writing. Man, that gets stuck in my craw!  I want to write sci-fi-ish action stories of great adventure, incredible discovery and amazing tales of triumph over unbelievable odds! But every time I try it is all mechanical, stilted, or (worst of all) completely lame.

Yep, I’d also like to be a pastry chef, but I’m good at making sauces. I’d like to be a chess champion, but I flub it all up, yet I can triumph in checkers or tic-fracking-tac-freaking-toe.  My private horror (don’t tell anybody): what I’m good at is this. Yes, this. Writing inspiring articles so others can write all the wonderful things I’d like to write. What manner of hell is this?

Not to worry, though.  I’ve just started a new novel, and for the first time it is something I really, really, really want to work on.  I’m actually enjoying the writing of it and can’t wait until the next session – not like a dentist’s appointment at all: more like an ice cream social.

Yep, that happens too.  But not often.  So don’t wait for it – do the other stuff I’ve mentioned and get things “wrote” in between the rare bromance with a flirty story you just can’t resist.

Well, I’ve come to terms with it. That’s why you’ll find literally HUNDREDS of articles on story structure and storytelling here and also on my writing tips web site at Storymind.com [Self Serving Plug Alert]

I eventually came to the conclusion I’d rather write what comes naturally than get perpetually stuck trying to write what I like to read. If I want that other kind of story – the one I’m no good at – I’ll read somebody else’s.  So, I’ve finally embraced the awful, yet sobering and even somehow calming notion that it is better to be a carefree pianist, bringing music into the world with little effort at all, than a continually struggling trombonist, blurting out a few stilted notes and never affecting anyone nor even finding satisfaction in my own work.

Summing up then my tips for you new writing year…

I urge you all to set up that time where you are forced (by resolution) to do nothing. And from that nothing will rise your Muse like a Kraken of Creativity, snarling out its arms to embrace every shiny, beckoning or threatening notion within its horizon, consuming it, and spewing out prose of a grand and powerful ilk upon the world, upon yourself, upon your soul.

May God have mercy upon us all, for we are writers.

Now get Kraken in this new year, for God’s sake (and for your own)!

Melanie Anne Phillips

Oh – and you might want to try this too: