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Sunday, September 17, 2017

Storyteller’s Rulebook: Just Tell Us Their Age and Race Already

I read a lot of Middle Grade novels, which are basically books about 8-13 year olds, and lots of YA, which is 14-18. (Of course, the age of the protagonist doesn’t necessarily match the age of the reader, which is always displaced by a few years.)

I also read books that could be one or the other because they never bother to specify the age of the hero. Of course, there are clues: Are they in middle school or high school? If that’s not clear, do they have a cell phone or not? Are they driving or not? I also read books that are clearly MG but it isn’t clear for the first hundred pages whether the hero is 8 or 13.

Don’t do this. Don’t make me search for clues. When I pick up your book, one of the first things I need to do is picture your hero. And no, that doesn’t mean I need to hear about their one lock of hair that won’t stay tucked behind their ear, that means I need to know their age, and their race.

Writers are even more coy about race. There’s starting to be a shift on this, but for a long time writers considered it politically incorrect to come out and tell us the race of their characters so they would only use food comparisons. “My skin is cashew-colored, my best friend is almond, and her sister is peanut.” Ugh. No more food, please

One book was set in a fictional metropolis in a fictional country in a post-Apocalyptic world, but a character was still referred to as African-American just to avoid saying black, although this was the only reference to America in the whole book.

When the Hunger Games movie came out, some racist moviegoers were pissed that Rue was black, but then others pointed out that she was black in the book, too, but Collins had skirted using the word.

Yes, the terms “white” and “black” are problematic, but they’re the terms we use in our own minds, so just use them already. And let us know right away, so we can picture who we’re reading about.  It’s hard to identify with a hero we can’t picture.

Thursday, September 14, 2017

Storyteller’s Rulebook: Readers Are Hungry for Conversation

 When we pick up a book, we start reading it provisionally, wondering, “Am I actually going to read this whole damn thing?” And our answer is always the same: “It all depends on whether or not I fall in love with the hero.” So we’re waiting for a scene that will let us make that decision. Specifically, we’re impatiently waiting for a scene where your hero has some dialogue with another character in the book’s present.

It’s tempting to begin your book with pages upon pages of your first-person hero telling us all about himself. And that’s fine. Sometimes those pages are very charming and they win us over…sort of. We can decide we mostly like a hero, but we’re still not going to fully commit.

We know that everybody is great in his or her own mind. Anyone can claim to be one of the good guys and argue persuasively for that. But only dialogue tests us. It could be that, once you leave your house, everybody you talk to says, “No, you’re actually an unbearable loser.” Is that going to happen with your hero? We want to know as soon as possible.

If we’re going to decide whether or not we like your hero, we’re going to need to listen to a conversation, which is the same way we decide whether or not we like somebody in real life. You can only find out so much from reading the resume, then you’ve got to sit down for the interview.

This speaks to another issue: Get to your “present” as soon as possible. It could be your book is mostly set in 1971 but your first three chapters cover the first twenty years of your hero’s life from ’51 to ’71. Well, we’re going to want to hear some actual ’71 conversation as soon as possible, so you either have to shoehorn some in before flashing back to cover the hero’s life heretofore, or squeeze that preamble down to about 20 pages and arrive in your book’s “present” so that we can finally meet the present-day-hero and decide if we like him or her enough to stick around and actually read this thing.

In fact, 20 pages is a good deadline. It’s great to have dialogue on the first page, but if not, try to have it by page 20 at the latest. And make it authentic-sounding dialogue that is appealing in one way or another. We don’t have to like your hero, but we have to believe in him or her, and we have to start to fall in love with him or her. Maybe we’ll start to fall in love with his or her strengths, or with his or her weaknesses.

Tuesday, September 12, 2017

Storyteller’s Rulebook: Begin by Showing Your Hero Losing Because of His or Her Flaw

It’s always good to introduce your hero doing something active. If this takes the form of a physical competition, or even just hitting on someone, then it’s good to show your hero lose in a way that hints at their overall flaw, without calling attention to that fact at the time.

The hero will still not realize he or she has this flaw, and the reader may not realize it as well, but for both the hero and the reader, when the big flaw is finally confronted at around the ¾ point of the story, the fact that this first loss also traces back to this flaw will resonate.  Eventually, we want your hero to realize that he or she must overcome this flaw in order to defeat the antagonist and/or win over another character.

Don’t begin by highlighting the wrong flaw, because that can get you on the wrong track. In one book I read for my notes service, the hero lost the competition in the first scene because he was distracted by a woman, conditioning us to think that this will be a problem throughout the book. But this didn’t turn out to be the hero’s flaw. His flaw was that he was too contemptuous and snobby. If he had lost the match because he had too little respect for his opponent, that would have set up the rest of the story better.

Let’s go back to Raiders of the Lost Ark. Indy begins by trying to replace a religious idol with a bag of sand, because he doesn’t see any difference, but the altar can tell the difference, and it triggers all sorts of booby traps that delay him long enough for Belloq to steal the idol. It’s not obvious to us or him at the time that this speaks to his overall flaw, his lack of respect for spirituality, but it subconsciously sets us up for the for the moment when he overcomes his big flaw to “win” at the end (simply by closing his eyes out of reverence.)

Sunday, September 10, 2017

Storyteller’s Rulebook: Let Us Guess From a Character’s Introduction How Important He or She is Going to Be

A character enters the room. You write, “The door opens. Everybody turns to look. In steps a quietly commanding figure, Sergeant Elias Quartermain, son and grandson of generals and destined to make it himself someday. Three women break away from their conversations to sidle up to him, but he brushes past them all.” Then we never hear from this character again. Don’t do that.

On the other hand, you’ll have this: “I was taken down to the command room where I met analysts named Adamson, Bowers, Cahill, and Dumont. They all shook my hand and then we turned our attention to the briefing.” Then, by the time the book is over, Bowers turns out to be the love interest. Don’t do that either.

As I mentioned here, audiences want to keep track of as few characters as possible. Every time you introduce a character, you’re asking your reader for a favor, “Sorry, but I’ve got yet another character I want you to remember and keep track of.” Audiences are always looking for permission to lose track of a character.

When they read the first intro above, they think “Oh boy, I’d better clear out a bunch of head space to keep track of Quartermain, even if it means forgetting about some of the earlier characters.”  When they read the second intro, they think, “Oh good, these four analysts are not being given any distinguishing characteristics, so I don’t have to keep track of them. Their four names can go in one ear and out the other.” Then later, when Bowers becomes more and more important, they’ll think “Wait, who is this guy, did we meet him before? I forget, let me flip back…” Trust me, your readers will be pissed with you if they have to flip back.

Let us guess correctly how important a character is going to be. Don’t bother to name Sgt. Quartermain if he’s never going to be mentioned again, and if your heroine is going to fall in love with one of those four analysts, have him stand out when he’s introduced. You don’t have to mention how hot he is or tip off the fact that he’ll be the love interest, but at least give him a little character note, so we’ll (begrudgingly) remember who he is later.

Wednesday, September 06, 2017

Storyteller’s Rulebook: Sometimes It's Better to Humanize Than Incentivize

 This is a rule that James mentioned in our sixth podcast, and I thought I should give it its own post.

In Raiders of the Lost Ark, Indiana Jones begins the story with a very standard social humiliation, losing the idol he just found to another archaeologist. He then returns home to his university empty-handed, only to find out about an intimidating opportunity to redeem himself when the government comes around and asks him to find the ark of the covenant. First, however, he hangs out with his friend and senior colleague Brody.

As James pointed out, if you were writing strictly according to how a guru told you to write, it would tempting to pile on another humiliation and escalation here. Brody could be critical of Indiana coming back empty-handed, and even tell him that he’ll be fired if the doesn’t bring back something better soon.  On paper, that sounds like a good idea. The hero now has more motivation for the story going forward and bigger emotions (more humiliation) to deal with. So why not?

Because it’s more important to humanize Indy at this point. Let him be a human being for a few scenes, won’t you? Give him a nice normal friendship and some comfort. You’ve already started your story off with a bang, so your audience should be willing to put up with a few scenes of downtime before we launch back into the big conflict.

Don’t get me wrong, downtime is risky, and under-motivation is deadly, but if you’ve earned a breather, take it. We want to like Indy, and so we want to see that at least one other person likes Indy.

(After writing this, I remembered that two of my very first posts seven years ago were on the dangers of over-motivation.  This is a good example of a movie that avoided that problem.)

Tuesday, September 05, 2017

Podcast Episode 6: Raiders of the Story Circle

Hey guys, it’s been a long time since we put up a new podcast episode, hasn’t it? Well we’re back, baby! In this episode we start off by comparing my structure to Dan Harmon’s Story Circle, then we basically just end up talking about Raiders of the Lost Ark for a long ass time, so long that this is our second longest episode, and it doesn’t even have a free story idea! Nevertheless, I think you’ll like it.

Lots of links this time around:
And here’s a series of posts from Dan Harmon where he discusses his story circle:
And here’s Film Crit Hulk (in annoying all caps) making the case for a five-act structure, which is also worth a read:

Monday, September 04, 2017

Happy Labor Day

Hi guys, new content resumes tomorrow!

Thursday, August 10, 2017

Community: The Archive

How many of these people are starring in their own shows right now?  (I guess Joel McHale and Danny Pudi’s new shows just got cancelled, but Brie, Olver, Glover and Jacobs are going strong.)

Wednesday, August 09, 2017

Cheers: The Archive

This was one of the first ones I did, back when I didn’t do as many posts about each one.  I should go back and add some more at some point.  There’s certainly no shortage of things to say about this great pilot.

Thursday, August 03, 2017

Wednesday, August 02, 2017

Mackendrick's Rules: The Archive

Writer-director Alexander Mackendrick made underrated movies such as The Man in the White Suit, then became a revered film professor and published a great book called “On Filmmaking.” Commenter J.S. found a list of 41 Mackendrick truisms online, so I spent a few days discussing how those excellent rules lined up with my own advice... 

Monday, July 31, 2017

The Shining: The Archive

Yay, it’s my final updated checklist ever!  (Unless I do the TV checklists.  I don’t think I will because those checklists were only slightly updated.  I still may archive them though.)  Unexpectedly, this movie did a pretty terrible job with the checklist, mainly because it kept switching heroes.

Sunday, July 30, 2017

Infographic on Theme

Hi, everybody! Before we do the next archive, a reader named Martin Cavannagh asked me share a big infographic he made about Theme. He defines Theme slightly differently than I do, but there’s a lot of good insights here, so I’m happy to share it. Check it out!

Thursday, July 27, 2017

The First 15 Minutes Project: The Archive

 So back before the Road Tests of the Ultimate Story Checklist, I had a series where I would go step by step through the first 15 minutes of a film or TV pilot and figure out how they got us on the side of the hero.  Many of these eventually got checklists, but many never did, so they can only be found here (How have I never done The French Connection or The Apartment?) The above graphic is from the fifth piece below where I went through the first four and noticed something: One shortcut to sympathy is to have your white character high-five a black person. 

Wednesday, July 26, 2017

Problem, Opportunity, Conflict: The Archive

I enjoyed making graphics like the one above, and it was a bit of a let-down to realize that none of them were going to make it into the book, but it’s probably for the best.  It might have made it harder to set up the audiobook.

Monday, July 24, 2017

How to Write a Screenplay in 30 Easy Steps: The Archive

This is obviously a relic from the days when this was pretty much exclusively a screenwriting blog, but this method (which is no longer really my method) could apply to other types of writing as well. I love the comic I chopped up to use as illustrations for this. I totally forget what it was or where I found it...

Wednesday, July 19, 2017

Interweaving an Irreconcilable Theme: The Archive

Well, it’s happened again, I went searching for my Theme series only to discover that I never did one!  As with  Dialogue, I apparently just stitched that portion of the Checklist together out of Storyteller’s Rulebook pieces, so I have to dump all my Theme pieces here and let you put it together yourself!

Monday, July 17, 2017

How to Craft Dialogue: The Archive

So, funny story: I go to archive my “How to Write Dialogue” series and discover that it isn’t in the sidebar, which seems weird.  So then I search for it.  It turns out that it doesn’t exist.  Because I never wrote one.  The other six sections of the checklist were based on series I wrote, but I apparently just cobbled together the Dialogue section of the checklist from “Storyteller’s Rulebook” posts I’d written.  So I decide that it’s high time this was in the sidebar, so I make a list of all the posts with a tag that says Dialogue, and I realize that I haven’t been doing this with the other categories, because it’s a ton of work, because I’ve written hundreds of “Storyteller’s Rulebook” posts.  Nevertheless, here you go: I never wrote this series so you get more than you could have asked for:

Thursday, July 13, 2017

How to Structure a Story Around a Big Problem: The Archive

It’s interesting to see how much this all changed on its way into the book:


Wednesday, July 12, 2017

How to Create a Compelling Character: The Archive

Forget what I said yesterday, this is the real backbone of the book.  The introduction of this story became the opening of the book and the conclusion became the conclusion.  This one was calling out for an archive because the original posts were written out of order and re-numbered later, making them a nightmare to read the way Blogger had them sorted.  Lots of interesting stuff here: It’s fascinating how late in the process the Moment of Humanity arrived.  

Monday, July 10, 2017

The Secrets of Story Book Videos: The Archive

Hey guys, I’ve never put my book videos into the sidebar, so here they are! I would love to go back and do some more of these if I get the time (each represents many, many hours of work!)

Video #1 is about how you should let objects do the talking:
Video #2 is about how characters should use tricks and traps:

Video #3 is about creating moments of humanity for your characters. I recently updated this one just a bit: 
Video #4 is about how to work exposition into your story:

Video #5 is about the need to have as many ironies as possible: