Four Useful Lies About Writing
By
Steven Barnes
lifewrite@aol.com
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Most
writing “experts” favor a particular way of looking
at plot, and will adhere to it for years or an entire
career. That’s all well and good, but its important
to realize that any way of modeling story is just
that—a model, not the depths and living essence of
story itself.
Problems
arise when young (or experienced!) writers mistake
a simplified structure for some deep and eternal truth.
It’s much better to examine several structures, see
what their strengths and weaknesses are, and try to
glimpse the truth they are trying to convey.
The
actual “truth” of story is beyond any structure, but
they all point in the same direction, toward that
misty, hidden metaphorical mountain all storytellers
have been climbing since the beginning of time. As
long as we don’t mistake the finger for the mountain,
the structures can be quite useful indeed.
The
worst story model that is at all useful might be”
“It has a beginning, middle, and an end.” Well, yes,
but so does a piece of string.
More
helpfully, try: Objective, Obstacle, Outcome. In other
words, a character wants something, and something
stands in her way. She tries various things to resolve
the difficulty, leading to an eventual climax.
This
one is even more useful:
Situation,
Character, Objective, Opponent, Disaster. Using the
classic James Bond film “Goldfinger” as an model (action
films are good for this, because their structure is
usually crystal clear):
Situation:
When gold is being smuggled from England in large
quantities,
Character: Secret Agent 007 James Bond
Objective: Is assigned to find out how it is being
done. But little does he know that
Opponent: Industrialist billionaire Auric Goldfinger
Disaster: Is smuggling gold to finance his real operation,
the destruction of Fort Knox with an atom bomb!
Can
you see how this model helps to clarify the different
basic aspects of your story? The hero must have a
goal, and there must be forces in opposition. Moreover,
the hero’s initial goal and his ultimate goal may
well change over the course of the story, as they
grow to understand the situation more fully. A story
structure like this one implies both internal and
external motivations, and sets up a dynamic structure
that almost writes itself!
The
very best writing structure would be what is known
as the “Hero’s Journey” created by Joseph Campbell,
and explored by anthropologists and writing mavens
around the world. There are numerous interpretations
of it, but in essence, it can be represented as:
1)
Hero Confronted With A Challenge.
2) The Hero rejects the challenge
3) The Hero accepts the challenge
4) Road of Trials
5) Meeting allies and gaining powers
6) Confront evil and defeat.
7) Dark Night of the Soul
8) Leap of Faith
9) Confront Evil and victory
10) Student Becomes The Teacher
This
pattern automatically implies the yearnings, fears,
obstacles, efforts, deep depression and exultation
of actual human lives. This is the reason that this
pattern, more than any other, is useful to writers
both new and experienced. Because it mirrors our lives,
a writer can most easily adapt her own understandings
of life and the universe into her work. If you organize
your work into this pattern, readers or viewers all
over the world will instantly recognize your efforts
as “story.” Whether it is a “good” story will depend
entirely on the skill and creativity that you bring
to the task—the unquantifiable quality of “art” that
is beyond direct description.
There
are, of course, many other patterns, and an ambitious
writer or student would do well to list several of
them side by side, and analyze what they are saying.
None of them are “truth,” but all are useful fingers
pointing toward that mountain.
About the Author: NY Times bestselling novelist
Steven Barnes has lectured on story and creativity
from UCLA to the Smithsonian. He created the Lifewriting
high-performance system for writers. Get a FREE daily
writing tip at: http://www.lifewriting.biz
and http://www.lifewrite.com
Source:
www.isnare.com
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