Welcome to the Beemgee blog.
This blog is about storytelling and story development. We examine how fiction works and what stories really consist of, concentrating especially on plot and character development. Many of the posts are inspired by functions and features of our outlining software. It’s all about the craft of creating stories. (more…)
Nothing should be more important to an author than how their story makes the audience feel.
As an author, consider carefully the emotional journey of the reader or viewer as they progress through your narrative.
The audience experiences a sequence of emotions when engaged in a narrative. So narrative structure is a vital aspect of storytelling. The story should be touching the audience emotionally during every scene. Furthermore, each new scene should evoke a new feeling in order to remain fresh and surprising.
The author’s job is to make the audience feel empathy with the characters quickly, so that an emotional response to the characters’ situation is possible. Only this can lead to physical reactions like accelerated heartbeat when the story gets exciting. We have to care.
This “capturing” of the audience, making the reader or viewer rapt and enthralled, requires authors to create events that will show who the characters are and how they react to the problems they must face. The audience is more likely to feel with the characters as the plot unfolds when the characters’ reactions to events reveal something about who they really are – and how they might be similar to us.
One Journey to Spellbind Them All
Here we present a loose pattern that we think probably fits for any type of story, whatever genre or medium, however “literary” or “commercial”. It’s not prescriptive, just a rough checklist of the stages in the emotional journey the audience tacitly expects when they let themselves in on a story. The emotions are in more or less the order they might be evoked by any narrative.
Guest Post by KT Mehra.
KT Mehra knows a thing or two about writing from her own experience, not only as an author but as a supplier to writers and authors of fine stationary, in particular fountain pens. Not only that, she is digital savvy too.
Back in 1999, KT and her husband Sal started a small web company to create websites for local businesses and provide internet access. They both had a passion for fountain pens, and one day KT, in an excess of enthusiasm, ordered far too many from a pen company. Just for fun, she decided not to return any of them and instead asked her team to design an e-commerce website to sell the extra pens.
To everyone’s surprise and just like that, the website came together quickly and was an instant success.
KT believes that in the modern digitally saturated world, it’s more important than ever to stay true to your thoughts and create something tangible. In that spirit of creation, she feels that something as elemental as putting pen to paper is ever more essential.
Despite offering a digital tool for authors, we couldn’t agree more!
Develop a romantic relationship that your readers will engage with and root for.
Most of the romance novels you love so much use certain secrets to hook their readers in and keep them engaged.
Learning the secrets to create such compelling romance novels will help you perfect your characters’ love story.
The best way for your readers to relate and root for your relationship is for you to make it realistic and dynamic. To build the foundation of any great love story, you need to have a few things down first. (more…)
Guest post by Rachael Cooper.
Rachael Cooper is the Publishing Manager for Jericho Writers, a writers services company based in the UK and US. Rachael has a Masters in eighteenth-century literature, and specialises in female sociability. In her free time, she writes articles on her favourite eighteenth-century authors and, if all else fails, you can generally find her reading and drinking tea!
What is a manly novel, or a womanly novel for that matter?
Does it matter that 1984 was written by a man, or that a woman penned Harry Potter?
Like anything, people lump writers into stereotypes and groups, along with their work. In some ways, this makes it easier to categorize and begin understanding their novels. In others, it can handcuff an audience’s reading and pigeonhole writers.
Women have been writing, and out writing, men for millennia. From Sappho to Toni Morrison, Jane Austen to Virginia Woolf, myriad women writers have changed the world with their words.
Out of all the novels written by women, these are three of the most “manly” of all, the ones you’d bet were written by men.
“I think your site is brilliant.”
“This one is outlining way better than any other story I’ve outlined. I’m going to assume this is in part due to using Beemgee. Best tool I’ve ever used.”
“Thank you for this awesome platform. I really enjoy working with it. … I really like beemgee because it makes writing complex stories a hell of a lot easier.”
“Your resource is amazing. What an amazing tool. I’m … now very much a fan of this new software. Although I write using Scrivener, I can see how I can do all my planning through Beemgee, and then slide everything into Scrivener.”
“It was exciting to discover Beemgee. It was like light at the end of the tunnel for me, a guide I so needed.”
“I am very impressed with what I have seen so far.”
“I’ve just started using Beemgee and I’m really enjoying the Character developer features …”
“You aim to have Beemgee ‘clutter free and easy to use’, which I very much appreciate. I like the character overview …”
“It’s a great tool.” (more…)
In the summer of 2015 in a run-down part of Berlin, three guys made their way to a notary.
They were in the process of founding the company Beemgee GmbH. There was no product yet, but they did share a conviction and a vision: to help writers and storytellers everywhere conceive, develop and outline their stories.
Today we are proud to celebrate five years of Beemgee with a whole host of new features. Premium users can now access a dozen new attributes in the PLOT and PITCH sections of the Beemgee story development tool.
> > NEW PLOT FEATURES
How ever you work, whichever is your favoured process, you can do it in Beemgee.
The additional plot attributes live now are:
- Hero’s Journey (new)
- Hero’s Journey (classic)
- Plot Beats
- Story Anatomy
- Audience’ Journey
Five years ago, three guys met at a notary’s office in a rather run-down part of Berlin.
They had decided to found a company, and on this day were making the declaration official – although they had no backing and no product. Why?
The circumstances of each of the three guys were quite different. One was employed, the other already ran his own business, the third had just left his job. Two were techies, one was the content guy, the one with the idea.
Looking back on it, what they had in common was the desire for a sense of purpose. Each of them wanted their working life to follow a vision, rather than a loop.
For let’s face it, most work is repetitive. You end up going through the same motions again and again, whatever they are.
But found your own company and you’re aiming at something. You’re pursuing a vision. You set yourselves goals, milestones. You have an ideal state you wish to achieve. And probably no idea what you’re letting yourself in for.
In short, when you found a company you become the protagonist in your own story. (more…)
A blurb is a short text on the back of a paperback book designed to get you to purchase that book.
Received wisdom in the publishing industry has it that the cover design triggers browsing bookshoppers to pick up a particular book from the table, after which most people will turn it over to read what’s on the back. The short text on the back cover must then arouse so much interest about the content of the book that the impulse to purchase is triggered. Many customers might glance into the book first before actually going to the checkout.
The blurb text is also used to advertise the book in some print magazines and online shopping platforms. Again, the cover is likely to determine whether the blurb text gets read, but in most cases a sale is unlikely without the blurb having done its job of persuading the prospective customer that this is the right book for them.
Films also have blurbs, which are usually placed in combination with the film poster or a film still.
A blurb is therefore a marketing text. It is not a brief synopsis of the story! The blurb is not really designed to provide information, but to create interest. So the job of the blurb is actually to give just enough information to make withholding more information effective. Not saying quite as much as the recipient wants to know is how to arouse curiosity.
What this often boils down to is answering three key questions about the story in the blurb: (more…)
Joseph Campbell’s The Hero With A Thousand Faces.
Joseph Campbell’s study of worldwide myths, The Hero With A Thousand Faces (1949), has become massively influential in commercial storytelling. Campbell was not the first to consider the topic of the hero and mythological or archetypal stories, but his work consolidated what others, including Carl Jung, had suggested into a theory specifically about storytelling.
George Lucas read The Hero With A Thousand Faces as a young man, and we may assume that Francis Ford Coppola and Steven Spielberg were also familiar with the book. We can see the influence of Campbell’s ideas on some of the most successful movies of the 1970s and 80s, and ever since.
Christopher Vogler studied film at the same school as George Lucas, and subsequently while working at Disney wrote a seven-page breakdown of Campbell’s book. This in time developed into The Writer’s Journey, which has become the basis of the popular conception of The Hero’s Journey.
Campbell was an expert on James Joyce and a professor of literature with a particular interest in comparative mythology and comparative religion. The Hero With A Thousand Faces is by no means a how-to book or a storytelling manual. Rather, it posits the theory that all the myths of the world have elements in common and propounds the idea of the “monomyth” as a basic structural model of traditional storytelling. (more…)
Is there a recipe for successful stories?
In search of a recipe for success, Hollywood development executive Christopher Vogler wrote a seven-page practical guide for Disney to Joseph Campbell’s comparative analysis of worldwide myths.
George Lucas had already stated his debt to Campbell in the development of Star Wars, and the idea that there might be a template for stories that are so successful they last over centuries and across cultures caught on quickly in Tinseltown. (more…)
There are two definitions of story beats. Both of them refer to a change.
One use of the term beat refers to the subtle change in the dynamic of a relationship that a line of dialogue brings about in a scene. There are usually several beats within a scene, each a marker for pushing the scene forwards dramatically.
The other meaning of the word beat in storytelling applies to changes in the plot brought about by scenes. A plot is a succession of events linked causally, a narrative chain of cause and effect. One event effects a change, determining what happens in subsequent scenes. Writers might arrange these events on a board or “beat sheet” during the planning phase. (more…)
The essential elements of a story.
One of the many experts on storytelling to have attempted in a book to describe the essential elements of a story is John Truby.
In The Anatomy of Story (2007), Truby identifies 22 steps in any protagonist’s narrative, which may play into four aspects of the story: character, plot, story world, and moral argument. Thankfully, Truby does not insist that every story must follow the template strictly and contain all 22 steps. He does, however, identify as critical that the story shows seven attributes of a main character and their storyline:
- Weakness and need
- New equilibrium
By no means simplistic, Truby’s book is more concerned with the moral element of story – the ethical effect of character transformation on the audience – than with templates such as three-act structure.
Related function in the Beemgee story development tool:
Hero’s Journey, Story Beats, etc
Compose your story now:
A synopsis is a summary of your story intended to be read by industry professionals.
This makes it a different text from a blurb, which is designed to be read by the public.
In both cases, you probably want the reader to purchase your story. But the reader of the blurb is merely buying a book or a movie ticket. The reader of the synopsis is taking a much greater risk if they decide to invest in your story.
An editor or publisher or a movie producer or director is accustomed to hearing story pitches. They want to find out as quickly as possible if your story is something that they might be interest in. So they need certain questions answered fast. These questions usually concern the premise(more…)
Best practices to get the most out of this powerful author tool.
Welcome to Beemgee, the browser-based app that helps you get to grips with YOUR STORY. Follow the advice below to fully enjoy the Beemgee experience.
Dos and Don’ts
Do log in to Beemgee before working on a Beemgee project. Go to any www.beemgee.com page and click LOGIN in the top menu – or bookmark this link: https://www.beemgee.com/app/login.
Do use the Global Menu (button top left) and choose the project you want to work on under “All Stories”.
Do log out after every session, and then close the project window! That’s right, don’t be surprised to see your project still open after you have logged out – it is possible to view Beemgee projects even if you are not registered. This means you can send your project link to friends, colleagues and collaborators. More about this below. (more…)
If a story is your original idea, then the copyright to it is by default yours.
However, copyright is a complex legal issue we cannot hope and don’t even want to explain properly here.
Each country has its own copyright laws. Also, copyright usually doesn’t apply until there is a pretty concrete manifestation of a “work”. It is easier to establish the copyright of the text of a novel than of the story the novel recounts. A story idea or even a fairly detailed outline may not qualify for legal copyright. But if you have a project in the form of a detailed outline which has a date to it, you have at least a way of asserting your moral rights to the intellectual property. (more…)
You might think that your story could be enjoyed by anyone. But most stories particularly appeal to more or less specific target groups.
When you’re developing a story, it helps to have an idea of kind of people who are going to be enjoying it. The more specific this idea, the more likely you are to conceive and form the material in a way that will appeal to them.
The Ideal Audience
So while you are writing a story, you may have an ideal reader or viewer in mind. This might be your projection of a particular real individual, or just a vague idea of a type of person. Your ideal reader or viewer gets every joke, spots every reference – no matter how obscure –, and feels just the way they should during each scene.
The ideal audience is a figment of the author’s imagination. Picturing this figment in as much detail as possible in your mind’s eye might be a good starting point for finding out who your target audience is. Is the ideal reader a gentleman sitting in an armchair? Or a teenage girl lounging in a café?
Specifying your target audience to industry professionals you’re pitching to can make it easier for them to judge whether your work is something they can invest in. Typically, the criteria for target groups are: (more…)
Dramaturgy means “the craft or the techniques of dramatic composition”.
In other words, everything to do with the story except the words with which it is told. If your story is about two people in a room, dramaturgy tells you who these people are and what happens in the room. In terms of storytelling process, the term dramaturgy refers to the planning or outlining stage rather than the execution or writing.
The study of dramaturgy has produced a nomenclature that is used by dramaturges, script consultants, story advisors, editors and publishers, producers and filmmakers, as well as authors. Some terms may seem more familiar than others, and often their definitions are not entirely agreed upon. (more…)
Guest post by Hayley Zelda.
Hayley Zelda is a writer and marketer at heart. She’s written on all the major writing platforms and worked with a number of self-published authors on marketing books to the YA audience. She loves working with teen writers and working with schools on literacy programs.
Writing is a craft that cannot be easily taught and from a young age, many students associate writing with homework and essays. By the time high school swings around, many teachers tell me they’ve given up on getting the majority of students excited about writing.
But I believe there is always a way to motivate and inspire young minds to get excited about writing. After all, storytelling has been in existence since the beginning of the human race. And who doesn’t love stories?
If it were a simple task, I probably wouldn’t be writing a blog post about it. Through trial and error, I’ve found a number of ways to help teens have fun while writing. This doesn’t mean that every teen will fall in love with writing forever, but at least some positive association can be built with the act of writing.
Here are some of my top tips on how to get young people excited about writing.
1. Use writing prompts relevant to what young people care about.
Writing prompts are a great way to get creative juices flowing. The more relevant you make the prompt, the stronger the response you’ll get from a student. (more…)
If you dont know what your story is really about, start finding out now (and don’t stop).
By Amos Ponger
The human ability of creating stories and the consumption and absorption of stories are very deeply connected to the core of our civilizations. Our efficiency as a species and cooperation in all scales of human endeavor rely on our ability to tell, decode, understand, and believe in stories.
Story has been so important for mankind’s cooperation, development and the way humans have understood themselves that all of our grand evolutions and revolutions – from the agricultural, religious, economic and cultural revolutions, the invention of money and law, the renaissance and humanism, the American, French and Russian revolutions, modernism, to socialism and capitalism – have actually happened through processes of rewriting collective Story. Revolutionaries and evolutionaries from Moses through Jesus, to Buddha, have actually risen upon a grand scale transformation of how humans understand themselves and cooperate with each other. And that has been done by story. Often the seeds of politics of whole centuries had actually been sown by poets, philosophers and prophets. STORYTELLERS.
Now, even if you don’t plan on a revolution(more…)
The Writer’s Craft Super Stack.
Here is a resource that can help you hone your writing skills.
Stories tend to show characters getting together.
Stories don’t get going until there are at least two characters.
That’s because the characters in themselves are not really what interests the audience. What the audience likes to experience is relationships.
At a fundamental level, there are only these three ways that people – or characters within a story – can interact with each other:
- they can cooperate
- they might oppose each other
- or they may get together
It is the complexities of these types of relationship that authors present to their audiences.
At least two of the three types of relationships are likely to be depicted in any story, cooperation and conflict. To make the story feel complete, authors especially of popular stories such as Hollywood movies often include the third type in the form of a love interest. (more…)
Three sorts of opposition, and two things to remember.
Opposition causes conflict
For any character in a story, there may be opponents, not just for the protagonist. So while the protagonist-antagonism struggle may be at the forefront of the story, actually there is a whole system of opposing forces.
Let’s examine how characters in stories work against each other.
- Opposition can come from striving for the same or for opposite ends.
- Opponents can be antagonistic or incidental.
- There are two sorts of opponents, those from without, and those from within.
Same same or different?
An author might take each character at a time and arrange their opponents, which means characters who are either trying to get to the same thing first or whose success in attaining something else would thwart the character’s efforts.
In other words, the opposition (unless it arises by chance, see below) takes the form of either competition or threat. Competition for the same goal: Who will reach the South Pole first? Threat, because the goal of the opponent is opposed to the goal of the other figure: a nature reserve or a hotel complex. Imagine this for yourself using your own example: Your opponents strive for the same goal as you, and if your competitor wins, you get nothing. So your opponents are competing with you for the same goal, for example the same person. Or your opponent wants something completely different from you, and if he achieves that, it means you cannot get what you want. The success of the opponent is therefore a threat to your own well-being.
In either case, the opposition may be … (more…)
Why The Hero Is Never Alone.
Allies Embody the Principle of Cooperation
Despite their complexity and diversity, there are essentially only three different kinds of human relationships.
That’s right, if you take a step back and try to categorize human interactions, you’ll find three distinct types. Biologists know this, because the principle applies to any species that lives in groups. Within the group, three types of behavior may be observed:
- individuals cooperate with each other
- individuals compete with each other
- individuals mate
Evolutionary biologists describe a spectrum of individual to group selection. Some animals will typically try to maximize their individual gain, as exhibited in behaviors such as taking the biggest share of food or the best space for offspring, without regard for other animals in the group. On the other hand, some species have evolved social organizations in which individuals may act purely for the group’s benefit rather than individual gain. Think of ants, bees, or termites.
Interestingly, on this spectrum between profit maximization and altruism, homo sapiens sit pretty much exactly in the middle. Humans are genetically programmed to selfishness, to seek what is perceived as best for oneself and one’s immediate family, and at the same time have a strong and innate instinctive and natural urge towards cooperation and social behavior – which ultimately also increases our survival chances.
Cooperation, neighborliness, charitable behavior, acts of kindness – even if they costs us, they generally make us feel better and they make life in the tribe, clan, or community so much easier. Mind you, we do like to look after number one. We’re not going to simply give up our salaries, our homes, our lifestyles. Our own needs and those of our families come first. Who is not aware of this dichotomy?
The pull in opposite directions between egoism and altruism is perhaps one of the specifics of human beings as a species that has caused us to evolve abstract thought processes as well as complex societal and cultural forms. It also sheds light on basic principles of storytelling such as conflict. (more…)
Where a character comes from may determine their values.
It is not always necessary to explain where a character comes from. Knowing their origin may not help the audience to understand a character.
But for some stories, origins can be vital.
As an example, take a contrast story like In The Heat Of The Night. Police Chief Bill Gillespie lives in the USA’s deep south and is a racist bigot. Such are his values, and for the purpose of this story also his internal problem. That he is a racist does not surprise the audience at all. It is completely credible given his origins. He comes from an area where, at the time at least, such bigotry was rife, and when the African American detective Virgil Tibbs turns up, their conflict is utterly plausible.
What we’re getting at here is that the values of a character have to be made plausible to the audience, which may be achieved by making the origins of that character explicit. In many stories, where a character comes from has to be fitting to what that character is like. Their origin produces the character’s values.
Setting, Origin, and Story World
Are we talking about setting? Well, only to an extent. (more…)
By Lucia Tang.
Lucia is a writer with Reedsy, a marketplace that connects authors with editors, designers, and marketers. In Lucia’s spare time, she enjoys drinking coffee and planning her historical fantasy novel.
Whether we’re piecing together the timeline for a homicide or puzzling out the intricacies of Newtonian mechanics, cause and effect are crucial to how we make sense of, well, everything. Of course, I say “we” loosely. As writers, most of us won’t actually be catching killers or solving the coefficient of fiction. But still, stories are no exception to this rule: without cause and effect, they fall apart.
At the end of the day, writers should have as tight a grasp on causality as any detective or physicist. It doesn’t matter if you’re working on a doorstopper to rival War and Peace, or a breezy picture book for baby bookworms: you’ll need to craft a storyline that makes sense. This makes your readers want to spend time in the world you’ve created — and ensures they’ll leave it feeling enlightened and satisfied.
Of course, you can get there haphazardly, writing juicy scenes as they come to mind and attacking the chaos of your draft with a merciless red pen. But if you want to save time during the editing process, keep cause and effect in mind as you plot. (more…)
Six Suggestions to Beat the Block.
By Silvia Li Sam
Silvia Li Sam is a storyteller, blogger, writer, and marketing expert. She has built communities of millions of people in education, tech, and non-profit. You can see some of her storytelling credentials on Medium at silvialisam.com, or connect with her on her LinkedIn.
What’s worse for an aspiring writer than to sit in front of their laptop with every intention of writing a great story, only to discover you can’t think of a single idea?
Don’t worry: we’ve all been there. All you need is a dash of inspiration, and you’ll be penning that story – or that novel! – in no time.
But how can you brainstorm great ideas? In this article, we’ll give you a few tips to battle writer’s block and never lose to it again!
1. Write down everything that comes to mind!
You might be asking yourself, “What am I supposed to write about? I don’t have any ideas!”
Don’t worry, the objective here isn’t writing anything exceptional, it’s just getting rid of the white page sitting in front of you. So type into your computer (or write down if you still use a pen and papers) anything you can think of. (more…)
It’s a bundle, and you’ll be laughing.
This is something we haven’t done before.
The Writer’s Craft Super Stack is a collection of digital tools, training, and resources that should help you improve your writing. In it you will find ecourses, ebooks, printable workbooks, access to 7 world-class pieces of software (yes, including Beemgee Premium), and lots more. (more…)
Beemgee helps authors develop their narrative material. The founder explains the benefits to authors and publishers.
By Tom Tivnan.
Why a Picture Book Manuscript Always Benefits From Systematic Planning
by Vincent Teetsov
Residing at the crossroads between songwriting, picture books, and non-fiction with a cultural focus, Vincent Teetsov is a communicator with the ambitious goal of inspiring the world to innovate and live meaningfully through multimedia creations. Since 2013, he has released several music albums and books, relating to topics of history, language, and the passage of creativity through time. This has been particularly impacted by his time living across the United States, Italy, and the UK. Since 2015, he has collaborated with illustrator Laani Heinar in creating the children’s stories, comics, and songs for Pumpkin and Stretch.
You can follow Vincent’s latest activity on Instagram here: www.instagram.com/pumpkinandstretch/ and here: www.instagram.com/vincentteetsov/.
Squeezing 90,000 Words Into 1,000
Admittedly, there is less text in a picture book than you will find in a novel. In a picture book, printing specifications typically dictate that there should be 32 pages. This even number allows for the story’s pages to be folded up neatly into a single stack, called the ‘signature’. After printing, the signature is then cut and bound together. Novels have less specific requirements.
With these differences in length, sometimes outsiders to the process of writing will assume that creating a picture book is easier. This is compounded by the fact that most picture books are written for children and use simpler language. Actually, it’s even harder to get this language right than when writing for adults. (more…)
What does meaning mean? When is a tale meaningful? A few perspectives on imbuing your plot and characters with a subtext.
It’s no mean feat to make your audience feel they have learned something through your story.
Meaning is that which is intended or understood. The audience draws significance, relevance or profundity out of a story when it understands the deeper implications, reasonings and causes behind it. The meaning of a story depends on the standpoint. An author may mean something different from what the audience understands.
Let’s try to unravel this tricky but essential element of stories. We have noted that stories cannot help but exhibit four distinct elements:
- Style (aka language, or “voice”)
The interplay of characters and their actions form the plot, and all this is brought into a story structure, or narrative. Since there is always an author writing the novel or a team of people making the film, their stylistic choices determine the language of the work. In this post, we’ll skim the surface of the fourth element. Meaning is, of course, a broad term for something very hard to pinpoint.
Let’s break down how we might look for the meaning of a story. (more…)
How does a publisher decide which manuscript to publish?
Nicole Boske heads the editorial team at Impress and Dark Diamonds, imprints of Carlsen Verlag.
Even as a child I tried to discover the magic behind the printed word, and I knew my dream job before I started studying German. I always wanted only one thing: to help great novels find a home – in the hearts of their readers.
In the summer of 2014, my wish became reality. Under the shining grey sky of Hamburg I started as an editor for Impress and Dark Diamonds, both imprints of the famous publishers Carlsen Verlag [German publisher of the Harry Potter books]. As programme manager, a position I assumed in December 2018, my responsibilities also include planning and finalizing the programme and ultimately deciding which novels will be published. A pleasure as well as a challenge. We can’t publish all the manuscripts submitted to us, even if there’s an enormous amount of passion behind every single one of them.
But how exactly do we make a programme?
Set the structure markers in the NARRATIVE order, see them in both sort orders. (more…)
Archetypal Antagonism in Documentary Film and Fiction
by Amos Ponger of Mrs Wulf Story Consulting
Stories are intricate mechanisms
Documentary film is a powerful genre that draws much of its energy from the material of real-life action. Consuming documentaries, we as spectators often ignore the fact that documentaries, like fiction, are a constructed clockwork of storytelling. Since the digital revolution, the amounts of raw material for documentary productions have probably grown tenfold, shifting much of the dramaturgical construction work to the editing room. Dealing with hundreds of hours of material you may say that 90 percent of the editing work in documentary film is “finding the story“, discovering what your story is about.
One issue editors often encounter while working on the narratives of documentary films is that many directors tend to neglect the importance of understanding and designing their antagonist or their antagonistic powers, the Antagonism.
Sure, you love your protagonists. You identify with their strivings and journeys, and you as a storyteller have probably given a lot of thought to making them appealing to your audience, giving the audience someone they can identify with. Your protagonists may be an inspiration to you, or you may yourself strongly identify with them, you may share or appreciate some of their characteristics and values.
At the same time you have probably not given your Antagonist/m the same attention. Have you? (more…)
In recent years, scientists have been writing books about the reasons why we tell each other stories.
Neurobiologists have discovered that when a person is immersed in a story, their brain patterns are similar to what they would be if that person were actually performing the actions they are reading about or watching. So if a recipient is emotionally engaged in a story, they are essentially “living” it – at least in terms of the brain patterns. The excitement is real, the fear, the empathy, the arousal. See Boyd, 2009, or Gottschall, 2012*.
This has given rise to the analogy of the flight simulator.
Stories are everywhere. We create and consume them from an early age. Homo sapiens have done so for millennia – our modern media are a result of our ancient need for stories. We have been telling them to each other ever since we, as a species, have been human. It’s what homo sapiens do. It’s a defining characteristic. What evolutionary biologists call an “adaptation”.
That means there is a reason for us to tell stories: They help us survive. (more…)
What is the difference between commissioning editors, developmental editors, and line editors?
Photo by Patrick Tomasso on Unsplash
Let’s look at what each do to see the differences between the three different kinds of editors. And then find the other editorial task they all have in common.
The Commissioning Editor
An example (more…)
Virtual Reality technology (VR) has fascinating effects on storytelling.
Photo by NeONBRAND on Unsplash
The VR viewer wears special goggles and occupies a space within a virtual holodeck, which is created by two diagonally opposing little boxes shooting lasers out at right angles. The viewer can move within this virtual space, which might be the stage for a story. The goggles will show the viewer whatever program is loaded, Matrix-like. The 360° view is created quite conventionally, by filming a location in all directions, the camera at the centre, pointing outwards and panning all the way round.
So far, so good. It gets more interesting when such virtual locations are populated.
For VR, actors are filmed not with one or two cameras from a couple of angles, but with 40 or more cameras from all angles, the cameras all pointing inwards with the actor at the centre. The resulting 40 or more images are stitched together. The VR goggle wearer can therefore walk around the actors and see them from the front, from behind, from any angle. The actor was never at the location, but is superimposed into the virtual space (this already happens in conventional film with green screen technology).
What you get is the viewer as a ghost, moving about the story stage and around the characters at will. The effect is like intimate theatre. (more…)
A pledge to transformational storytelling
Working for over 20 years as an award winning film editor and story consultant, Amos Ponger studied film science, cultural sciences, art history and multidisciplinary art sciences at The FU Berlin, Humboldt University Berlin and the Tel Aviv University. He has a Master’s degree from the Steve Tisch School of Film in the Tel Aviv University, worked as an editing teacher in two Israeli film academies, is senior advisor to our story development tool Beemgee.com, and recently co-founded the story consulting service Mrs Wulf. Book his services directly here.
The Transformational Process of Creating a Great Story
We all know that creating a great story is a process that can sometimes take many months and even years to fulfill.
If you talk to professional writers they will probably tell you that they have complex relationships with these processes of writing. Involving dilemmas, fear and joy, suffering and excitement. And that these self-reflexive processes are also processes of self-exploration.
Yet many writers, scriptwriters, filmmakers tend to put a lot of energy into their external journey towards completing their story, focusing on drama, act structure, “cliff hanging”, while neglecting minding their own internal processes on their journey.
What many film and story editors encounter while working with directors and writers is that authors and directors tend to have a very strong drive. They endure months in writing solitude, or filming in deserts, storms, war zones, perhaps even putting themselves in danger in order to realize their artistic vision. Yet at the same time very often they have a remarkable incapability of explaining WHY they HAVE to do it, and can only do so in very vague terms. (more…)
How narrative structure turns a story into an emotional experience.
Image: Comfreak, Pixabay
Storytelling is a bit of an overused buzzword. While we are all – by dint of being human – storytellers, how aware are you of the principles of dramaturgy? What exactly constitutes a story, in comparison to, say, a report or an anecdote?
And just to be clear, the following is not a story. It’s an how-to article.
Whatever the medium – film or text, online or offline –, storytelling has something to do with emotionally engaging an audience, that much seems clear. So is a picture of a cute puppy a story? Hardly.
Stories exist in order to create a difference in their audience. Stories always address problems and tend to convey the benefits of co-operative behaviour.
While there simply is no blueprint to how stories work, let’s examine the elements that recur in stories and try to find some patterns.
Who is the story about?
All stories are about someone. That someone does not have to be a person, it can be an animal (Bambi) or a robot (Wall-e). But a story needs a character. In fact, all stories have more than one character, with virtually no exceptions. This is because the interaction between several characters provides motivation, conflict and action.
Moreover, stories usually have a main character, the figure that the story seems to be principally about – the protagonist. It is not always obvious why one character is the protagonist rather than another. Is she simply the most heroic? Is she the one that develops most? Or does she just have the most scenes?(more…)
Antje Tresp-Welte is the winner of the Your Perfect Plot challenge set by BoD and Beemgee.
In her guest blog post, she gives frank insight into her writing process and her experiences with Beemgee.
Short stories were child’s play
When something intrigues me, I spin a story out of it. Until a few years ago I wrote mostly fairy tales, short stories for adults, poetry and stories for younger children, some of which were published in magazines. My story about a bad-tempered spectacled snake was published as a little book, “Charlotte and the Blue Lurker”. For all these stories I only sketched a few thoughts as planning and then wrote them down relatively quickly.
By now, book projects fascinate me too. Currently they are crime novels and fantasy for children from 8 or 10 years.
Long takes longer …
During a holiday at the North Sea I had the idea for my first crime novel. In it, the protagonist, an eleven-year-old very imaginative boy with a penchant for drawing, not only saves his grandma’s tea room from demolition, but is also involved in a mysterious story about a pirate who died long ago. I developed the original idea into a plot at a seminar for authors. I found the topic so great that I couldn’t wait to start writing it. Beforehand, I made notes on the individual characters and considered important cornerstones of the plot with the help of the hero’s journey. I started off with a great momentum and was soon able to read the first chapters to my son. Unfortunately his comment was, “Mama, that is much too long!”
… not to be longwinded
My two test readers came to a similar conclusion and I too had noticed that it somehow “grated”. I wasn’t really getting to the point. Was it due to my preliminary planning? Was it not detailed enough? I dived into the text, shortened passages, removed individual characters and worked out others more precisely. This changed entire storylines. At the same time my story gained more (narrative) speed and I found the tone for the language. (more…)
The first novel to state in black and white that the author worked with Beemgee.
This is certainly not the first book for which our author tool was used. But it is the first time that an author explicitly mentions Beemgee in her acknowledgements. Thank you, Katharina, we’re glad you use Beemgee during your story development!
All The Rage – Der letzte Schrei
published by the renowned Piper Verlag (Bonnier group)
Susanne Pfeiffer has recently joined the Beemgee team. She interviewed her friend Katharina Gerwens for us.
Beemgee: Congratulations, Katharina! It’s always great when you can hold your own book in your hands … How many novels have you published so far?
Katharina: This is my eleventh regional thriller published by Piper. Soon I’ll make it a dozen ….
Beemgee: I think ALL THE RAGE is a really good thriller title! You like double meanings. – But I want to get at something completely different: You know my foible to start every book by reading the acknowledgements – and here it says, last but not least, you worked on the plot with BEEMGEE! How so?
Katharina: Because for me any support I get is worth mentioning! I have asked so many people in my field about all sorts of things, and in these conversations new aspects have always emerged – the least I can so is say thank you! ALL THE RAGE is, by the way, the first book in which I worked with Beemgee – and it was a great help to me. (more…)
Reflections on dialectically guided writing, or: Can dialectics help us tell better stories?
Guest post by Richard Sorg.
Prof. Dr. phil. Richard Sorg, born in 1940, is an expert in dialectics. What is that, and what does it have to do with my novel? Well, “All great, moving and convincing stories are inconceivable without the central significance of the contradictions and conflicts that represent the driving energy of movement and development.” This puts us in the middle of dialectics. And of storytelling.
After studying theology, sociology, political science and philosophy in Tübingen, West Berlin, Zurich and Marburg, Richard Sorg taught sociology in Wiesbaden and Hamburg. His book “Dialectical Thinking” was recently published by PapyRossa Verlag. (Photo: Torsten Kollmer)
Ideas that contain a potential for conflict.
Sometimes there is a single but central chord at the beginning of a piece of music, even an entire opera, which is then gradually unfolded. Its inherent aspects, harmonies and dissonances emerge from the chosen, sometimes inconspicuous beginning, undergoing a dramatic, conflictual development, so that a whole, complex story emerges at the end of the path of this simple chord after its unfolding. This is the case, for example, with the so-called Tristan chord at the beginning of Richard Wagner’s opera “Tristan und Isolde”, a leitmotif chord that ends with an irritating dissonance.
The beginning of a story is sometimes an idea, an idea which you may not know how to develop. But some such ideas or beginnings carry a potential within them that is capable of unfolding and which holds unimagined development possibilities. ‘Candidates’ for viable beginnings – comparable to the dissonant Tristan chord mentioned above – are those that contain a potential for conflict or contradiction within. But it can also be a calm with which the matter is opened up, a calm that may then prove to be deceptive. We also find something similar in some dramas, for example with Bertolt Brecht.
And with that, we are already in the middle of dialectics. (more…)
See what’s new and track the continuous improvement of the Beemgee storytelling tool in these release notes.
December: Cork board style view of plot event cards | Color picker for plot event cards | Choose to show or hide id and sort order numbers on plot event cards | Improvement of the PDF plot export | Categorisation of the plot attributes into scene info, structure, and process related attributes
June: Improvement ALL STORIES functionality | Layout optimisation of PDF exports | Premium PLOT attributes Dramaturgy, Hero’s Journey (new), Hero’s Journey (classic), Plot Beats, Story Anatomy, Audience’ Journey | Premium STEP OUTLINE attributes Author, Copyright holder | Premium PITCH attributes Genre, Audience, Similar to …, Period setting, Synopsis, Blurb in the STEP OUTLINE section
November: Set Project Permissions (Premium) | Guest mode shows all features
May: Copy projects to create versions or drafts of stories (Premium) | Revised Tour
April: Export .rtf text documents (Premium) | Reorganisation of FREE feature set | Referral function
January: New servers (more…)
Stories are driven by yearning.
In order to get somewhere, there has to be a current position and a destination. Stories fundamentally describe a change of state – things are different at the end of the story than at the beginning. Hence a story has a starting point and a final end point, a resolution.
But that’s not enough. There has to be fuel, energy to power the motion between the one position and the other. In stories, this driving force is the motivation of the characters.
Motivation is so important to storytelling that we are going to look at several aspects of it. We’ll break it down into what we call the wish, the want, and the goal, all of which are interlinked but also distinct from each other. Here in this post, we’ll deal with the wish.
A wish is inherent in the character from the beginning. We might call it a character want, as distinct from a plot want (which we deal with elsewhere).
Some examples: (more…)
Beemgee and ProWritingAid are proud to announce the runners up and winners!
Every three days participants of The Plot of Gold Challenge received assignments per e-mail. Within thirty days, authors of fantasy, historical fiction, romance, and pretty much any other genre or style you can think of had complete outlines of their stories. Many submitted these to The Plot of Gold Competition.
Choosing the winners was much harder than the judges had imagined, since the standard of the entries was very high across the board. Thankfully, the PDF exports of the many Beemgee projects we received provided thorough insight into the nature of each story, including its strengths and weaknesses.
“Where’s the story set?”
The answer provides many clues about the story in question. While we ask “where”, the setting actually encompasses somewhat more than location.
In Film, the term location is generally used to refer to scenes that are shot outdoors rather than on a sound stage or in the studio. In that specific context, the word “setting” is often used in scripts is a hyper-ordinate term to refer to both types of shooting, indoors in a controlled environment and out “on location”.
But for stories in general, the concept of setting refers to rather more. Let’s find out how setting relates to
- story world
Each Star Wars story reminds us of the setting before it even starts: “A long time ago in a galaxy far, far away”. In being reminiscent of “once upon a time”, the famous opening establishes that this is essentially a fairy tale with spaceships.
“Middle-earth” is a valid answer to the question above for The Lord of the Rings. One might be tempted to explain that this is a fictitious realm, maybe say something about how its technology relates to the actual Earth’s history, and possibly mention the connection to the Midgard of Norse mythology.
So in addition to describing physical space, both these examples contain hints and associations about the time when the events of the story take place. (more…)
Beemgee has come a long way. The features so far:
- FREE registration: Log into your account with your e-mail address and password.
- My Stories: Unlimited number of projects.
- Tour: Turn the guide to Beemgee’s basic functionality on or off at your leisure.
- Context-Sensitive background information on aspects of storytelling | ? |: On-site explanations and advice about each specific aspect of story development.
- “More About …” Buttons: Context-specific links to in-depth articles on each specific aspect of story development.
- Retractable Tool-Bar: Keep your workspace uncluttered by closing the tool-bar.
- Autosave: Project saves automatically after every change.
- Simple-Share: Share your story with your co-author, editor, producer, etc. (Attention: Working on one project simultaneously from several devices may lead to input loss – Beemgee always saves the newest version of the project).
- Work Offline: Continue working on your project even if you lose the internet connection (free features only) – the project will sync when you are back online.
- Language Switch: Use the tool in English or German.
- Premium Registration: See and adjust your account and billing information.
- Copy stories to create versions (drafts).
- Permissions: Set a project to private, view-only, or can edit.
- Detail Views: See detail views of character sheets, pot events, and your step outline.
- Export PDFs: Character Sheets, Plot, Step Outline, Project – with selections for narrative/chronology, all attributes or input only, etc.
- Export RTF text files to re-import in writing software for treatments or as manuscript document.
If you speak German, this online congress could be for you!
From the 5th through to the 12th of November, bestselling authors and experts from all fields of storytelling and (self-)publishing are giving advice, knowledge and tips on everything to do with writing and selling novels and stories.
It’s all free on www.online-autorenmesse.de.
Beemgee is taking part too. Hear what we have to say about how to create compelling characters on the 7th of November at 6 p.m. CET. Click the banner to register for free to the online author fair:
ProWritingAid teams up with Beemgee to run the 30 Day Plot of Gold Challenge
To enter, click here: Plot of Gold.
What do we mean when we talk about story structure?
A story is a complex entity comprising many interrelating parts. The author imposes some sort of organising principle onto the material, turning the story into a narrative. The result of this forming or shaping of the material is the story structure.
Certain structural markers are so explicit that the audience is aware of them, such as chapters in novels. Elizabethan plays are typically divided into five acts. A film script is broken down into acts, sequences, and scenes.
The beat is the smallest unit of story, below the scene in the structural hierarchy. It is the space between an action and the reaction it causes within a scene.
A plot event is not part of this traditional hierarchy, being more of a meta-unit somewhere between beat and scene.
Scenes and acts are defined in screenplays, like chapters in novels. But stories have structures that are not usually made obvious or explicit.
There are two different understandings of the term beat.
A scene may be broken down into beats – marked only by the moments when the mood or relationship the scene describes changes. Two characters are having a conversation, character A says something which makes character B react in a different way from what A expected – that’s a beat.
The term beat is also sometimes used when marking such changes on a bigger scale, across an entire narrative. Some screenwriters work with so-called beat sheets; in the Beemgee outlining tool, the plot event cards are perfect for creating beat sheets, since each card is designed to stand for one plot event. In a beat sheet, a beat is one unit of plot. If you think of narrative as a chain of events, then each beat is a single link. In one school of thought, a Hollywood movie is ideally constructed of exactly 40 such beats. (more…)
BoD and Beemgee are looking for heroes!
Click here to take part in the competition!
Archetypal Storytelling – Triggering Emotions
Free talk on how stories are structured to make us feel a certain sequence of emotions.
DATE AND TIME
Wed, July 12, 2017
6:00 PM – 7:00 PM CEST