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…)
Action is character.
So the old storytelling adage. What does that mean, exactly?
In this post, we’ll consider:
- The central or pivotal action – the midpoint
- Actions – what the character does
- Character and Archetype
The central or pivotal action – the midpoint
More or less explicitly, the main character of a story is likely to have some sort of task to complete. The task is generally the verb to the noun of the goal – rescue the princess, steal the diamond. The character thinks that by achieving the goal, he or she will get what they want, which is typically a state free of a problem the character is posed at the beginning of the story.
The action is what, specifically, the character does in order to achieve the goal: rescue the princess, steal the diamond. In many cases, this action takes place in a central scene. Central not only in importance, but central in the sense of being in the middle.
Let’s look at some examples. (more…)
What’s the problem? Does the character know?
In storytelling, discrepancy between a character’s awareness and the awareness-levels of others is one of the most powerful devices an author can use. “Others” refers here not just to other characters, but to the narrator and – most significantly – to the audience/reader.
Let’s sum up potential differences in knowledge or awareness:
- A character’s awareness of his or her own internal problem or motivation
- A difference between one character’s knowledge of what’s going on and another’s
- The narrator knows more about what is going on than the character
- The audience/reader knows more than the character – dramatic irony
In this post, we’ll concentrate on the first point: Awareness of the internal problem. We’ll break that down into
- Becoming Aware – the importance of the revelation
- The Story Journey – and where to place the revelation
- Surface Structure and Deep Structure
- The Need for Awareness – or, Alternatives to Revelation
Becoming Aware – the importance of the revelation (more…)