“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. 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…)
In stories, the characters’ emotions are ultimately the sources of their actions, because motivations are ultimately based on emotions.
Determining the emotional core of a character in a story may lead to a clearer understanding of that character’s behaviour, i.e. their actions.
What we’re getting at here is essentially a premise for creating a story. We have noted that if you plonk a group of contrasting characters in a room – or story-world –, then a plot can emerge out of the arising conflicts of interest. If you’re designing a story, one approach is to create the contrasts between the characters (their essential differences of character) by giving each character a core emotion. One character may be frivolous, another penny-pinching. One may be fearful, another cheeky.
You might object: Isn’t that a bit one-dimensional? Aren’t characters with just one core emotion flat?
Not necessarily. Focusing on one core emotion is not a cheap trick. It is as old as storytelling.
Theme is a binding agent. It makes everything in a story stick together.
To state its theme is one way of describing what a story is about. To start finding a story’s theme, see if there is a more or less generic concept that fits, like “reform”, “racism”, “good vs. evil”. The theme of Shakespeare’s Othello is jealousy.
Once this broadest sense of theme is established, you could get a little more specific.
Since a theme is usually (though not always) consciously posited by the author, it has some elements of a unique and personal vision of what is the best way to live. At best, this is expressed through the structure of the story, for instance by having the narrative culminate in a choice the protagonist has to make. The choices represent versions of what might be considered ways to live, or what is “right”.
But beware! This is a potential writer trap. See below.
How story expresses theme
Theme is expressed, essentially, through the audience’s reaction to how the characters grow. A consciously chosen theme seeks to convey a proposition that has the potential to be universally valid. Usually – and this is interesting in its evolutionary ramifications – the theme conveys a sense of the way a group or society can live together successfully.(more…)
Narrative is made of successive events.
Narrative is the order in which the author presents the story’s events to the recipient, i.e. the audience or reader. Chronology is the order of these events consecutively in time. Some people use terms from Russian Formalism, Syuzhet and Fabula, to make the distinction.
While the convention is linear, i.e. to relate the story’s events consecutively in time, that is chronologically, we are also very used to narratives which move certain events around. An event may be moved forward, meaning towards the beginning of the narrative, perhaps even to be used as a kick-off. Or possibly events may be withheld from the audience or reader and pushed towards the end, perhaps to create a revelation late in the narrative for a surprise effect – though this technique often feels cheap. Also, an author may use flashbacks to insert backstory events from the past, the past being all relevant events that are prior to the events in the narrative.
As authors, when we begin composing a story, we(more…)
How aware are you of the creative process while writing?
Do you really consciously control what comes out of your fingers onto the page?
Even when writing happens “naturally”, while the words are pouring forth, the author is probably already performing a first level check that precedes the more detached and critical control of rewriting. If you want to make yourself more conscious of this process, consider putting an imaginary parrot on your shoulder every time you sit down to write.
Well, the creature of your choice. At Beemgee, it’s a parrot.
The parrot reads what you write as you write it and squawks a running commentary into your ear. It might commend a good sentence or it might censure. It might suggest alternative words or phrases. It may like or hate a paragraph.
The parrot has three main hobbyhorses: relevance, surprise, and recognition.
Relevance – (more…)
Some people say they don’t like plot.
For some people, plot is like a dirty word. They prefer their stories to concentrate on character. Or premise. Or language. It is action movies or thrillers by Michael Crichton or Robert Ludlum that have plots.
At Beemgee, we believe that the four pillars that hold a story up are plot, character, premise, and language – with conflict as girders. Every story, no matter how “good” or “bad”, exhibits all four of these pillars. No story can really go without any one of them.
We have not found a single work of fiction in any medium or genre that does not have a plot. Ulysses has a plot. The Sound And The Fury has a plot. Even the most famous attempt in literary history to shun plot, Tristram Shandy by Laurence Sterne, did not manage to avoid describing events and characters. Its language is beautiful and its premise, of course, is the attempt to shun plot.
There is an intimate relationship(more…)