A crucial test for your new story idea...

There a number of ways of initially evaluating the potential of a new story idea that's come into your head.  My last post dealt with determining who your story is about and the initial questions to ask about that central character.  Another early "test" is to simply ask to what degree that central character comes out a changed person by the end of the tale.

I know this sounds obvious and so basic that it doesn't even warrant mention, but so often writers ignore asking this up front and therefore miss giving that new potential idea an initial structural shape that can be built on in imaginative ways.  It's often the trigger that opens the storytelling floodgates, allowing for the creative development of a new idea.

Every story involves a journey by the central character from one place to another and the most powerful stories always have that character go through some sort of sea change.  In other words, he or she is a significantly changed person when they arrive at the story's destination.

Think of an arc, a trajectory that the character is moving through, starting with the early set up of the main dilemma, then the intensifying struggle to deal with that dilemma, and finally landing at a place of resolution.  And it's having an early handle on how the character is a changed person when reaching the tale's destination that allows for it to initially take root and grow in your mind.

Of course this landing place can change and often does as you develop an idea further.  However, this early focus on how the character is significantly changed (or might be changed) by the end of your story is one of your strongest launching tools as you enter the story development process.

                                         *                    *                   *                   *

I'm the Program Director of the low-residency MFA in Writing for Stage and Screen being offered by the New Hampshire Institute of Art.  Our last residency ran from June 22 to July 1 and we're current considering applications for starting the program next January at our residency scheduled for January 5-14, 2018.  If you're interested, email me at buzzmclaughlin@gmail.com and we can start a dialogue.

I'm also a playwright and screenwriter, producing partner in my production company Either/Or Films (The Sensation of Sight and Only Daughter) a professional script consultant, and the author of The Playwright's Process.  You can follow me on Twitter @eitherorfilms or @mfastagescreen.  I’m also on Facebook at buzzmclaughlinscriptconsulting.

On testing your new story idea...

So here it is, the end of July.  Summer is hitting its peak and if you're like me, you're kicking back a bit on the writing routine--not walking away from it, but taking some time in the hammock to ponder potential new story ideas that you might tackle in earnest after Labor Day.

And the first question that has to be asked as you take a look at that germ of an idea that has floated into your head is who is this story about?  Who is the central character taking the primary journey and how is this character changed in the process?  What's the arc?  And what's driving it forward?

Identifying whose story you want to tell is absolutely critical as your first step in constructing your tale.  And once you've landed on this character, then you can begin to ponder two things about what's motoring that character forward through your story.  You can try several approaches to this, but essentially you need to ask:  What is the primary external want of this character and what is his or her deep-seated and usually hidden internal need?

The external want is the surface driving force that pushes your central character forward.  It's what gives your story momentum as the character runs into roadblocks and obstacles represented by other characters who are preventing the fulfillment of that want.   In almost all cases your central character is hell bent on achieving this want.  And what ignites the story and keeps it running at a solid clip is the series of increasingly potent dilemmas that not achieving that want present and that have to be dealt with.

The internal need is what the central character really has to come to terms with in his or her life.  In almost all stories, it's under the surface and hidden from the consciousness of the character.  However, it's the one thing that the character really needs to have happen in order to come to terms with him or herself and to find a lasting solution to the angst they are constantly living with.  It's the real destination of your story and from which rises your dramatic premise--what you're ultimately leaving in the hearts and minds of your audience.

These are the first things you need to ponder about that new idea that's bouncing around in your head. Try different characters on for size.  Play around with various approaches to want and need.  Just be aware that, in my opinion, this is where to begin your journey towards constructing a solid script with the critical underpinnings that will support your story from beginning to end.

                                        *                    *                   *                   *

I'm the Program Director of the low-residency MFA in Writing for Stage and Screen being offered by the New Hampshire Institute of Art.  Our last residency ran from June 22 to July 1 and we're current considering applications for starting the program next January at our residency scheduled for January 5-14, 2018.  If you're interested, email me at buzzmclaughlin@gmail.com and we can start a dialogue.

I'm also a playwright and screenwriter, producing partner in my production company Either/Or Films (The Sensation of Sight and Only Daughter) a professional script consultant, and the author of The Playwright's Process.  You can follow me on Twitter @eitherorfilms or @mfastagescreen.  I’m also on Facebook at buzzmclaughlinscriptconsulting.

Analyzing your new story idea...

The first thing I do with writers I work with who have a new story idea they want to explore is to have them do a preliminary analysis of the idea to see if it at least has the potential to contain the basic dramatic ingredients any good script possesses.

 

This involves a simple process of breaking down the idea into the various essential components, all of which will "test" the viability of the idea.  I explain this in detail in my book The Playwright's Process, presenting what I call the Story Idea Worksheet and how to use it.  It's a simple tool that allows you to begin taking a serious look at your new idea, to discover if it is something that deserves further development.

The worksheet asks that you tackle your idea by first landing on a working title, briefly describing the story's central character, and then stating simply both the dominant conscious or external want of the character and his/her dominant conscious or unconscious internal need.  This sets up the major dilemma or issue inherent in the idea.  The worksheet then asks you to list other possible characters who could possibly populate your story--characters who champion or could come against the want and need of your central character thereby setting up conflict.  Next it asks you to suggest a setting and possible special occasion that might surround the unfolding of your story--choices that might further raise the stakes for your central character and his/her dilemma.

The worksheet goes on by asking you to state in very simple terms how the major conflict/dilemma manifests itself in action and how that dilemma is ultimately resolved.  And finally it asks you to state how the central character is changed by the end of the story--a critical part of any test of an idea--and what you think the dramatic premise might be--what you're leaving with your audience at the final fade out.

This exercise has proven to be invaluable for the writers I work with.  It allows for lots of flexibility and trying things on for size.  Some writers end up doing several versions of the worksheet before committing to developing an idea further, finally settling on the one that feels strongest.

The whole point is that you have to start somewhere and analyzing a new idea in terms of seeing just how potent it might be is a good and logical starting point.  Because a story idea's potency is always dependent on how solidly it contains the essential dramatic ingredients--a good thing to discover very early in the development process and not half way through the writing of your first draft.

                                  *                    *                   *                   *

I'm the Program Director of the low-residency MFA in Writing for Stage and Screen being offered by the New Hampshire Institute of Art.  Our last residency just ended, running from January 6-15, and we are currently accepting applications for starting the program with our June 2017 residency running from June 22-July 2.  I'm also a playwright and screenwriter, producing partner in my production company Either/Or Films (The Sensation of Sight and Only Daughter) a professional script consultant, and the author of The Playwright's Process.

 

     

Dealing only with closed chapters

     My last post (“The risk of self exposure”) made the case for mining your own life experiences and inner emotional life when looking for potent story ideas. But I ended with stating there’s one cautionary note you should keep in mind.  Here it is:  As possible ideas start presenting themselves, be sure the specific experiences or episodes you're drawing on from your own life are truly in the past and not issues you're still right in the middle of emotionally.

 

     Several years ago I made this mistake.

The risk of self-exposure

     Here’s another basic principle of the craft that writers early in their careers often have trouble putting their arms around. Simply put, if you're going to write meaningful, gripping scripts, you have to make available your inner, private secrets and not be afraid to deal with them.

The myth of recognition

     One consistent issue beginning writers have with modeling characters on people close to them is their fear that their models will recognize themselves in the finished script and not be happy. Because of this fear, they often tend to stay clear of any idea drawn from their own lives which would automatically involve characters based on real people.  They don't want to offend or upset anyone.  They're unwilling to risk the possibility that a friend or family member might see an unflattering portrayal of a character obviously based on them.

The writer's paradox

     Lately, I’ve had some interesting discussions with clients about the very early stages of the writing process and those critical private deliberations every writer must have when deciding whether or not to seriously pursue a new story idea. One very simple and basic principle that keeps coming up I think is worth sharing, something that all writers might need to be reminded of from time to time.