A story is a communication that expresses an artistic description of how a person can grow or evolve. It follows a specific structure of seven organic steps taken with human change. The formula goes like this:
A story is how something happens (plot) affects someone (protagonist) who is trying to achieve what turns out to be a difficult goal (story question) and how he/she changes (subject of story) as a result.
The character change
Hero's change = C = W x A
C = the changed person
W = weakness, both psychological and moral
A = the struggle to accomplish the basic action (the one action best able to force the character to deal with his weakness and change) in the middle of the story.
The hero’s change starts with his need and ends with the eye opening self-revelation during the final conflict. True character change involves a challenging and changing of core beliefs. This challenge/change leads to new moral action.
You start organising your structure by forming a premise: the story states in one sentence, in the simplest combination of character and plot. It should give a sense of the main character(s), the events that start the story and some sense of the outcome. Every decision you make will be based on the premise. It’s your core.
The designing principle
Designing principle = story process + original execution
The designing principle organises the story as a whole. It’s the logic underneath, the binding element between parts. Because of this, the story becomes greater than the sum of its parts.
The story structure: the seven steps that form a change
The following seven steps are fundamental because they are basic human action. To achieve the best impact upon the audience, they must be organic, implied by the premise and linked properly.
1 Weakness and Need
At the start of the story, the protagonist has a fundamental flaw that is ruining his life, though he isn’t aware of it yet. Ideally, there is both a psychological and moral need. To create a moral need, the protagonist must be hurting at least one person (other than himself) from the start of the story. To achieve this, you can exaggerate a virtue until it becomes a weakness or identify the moral weakness and need that stems naturally from the psychological need. These needs require the protagonist to overcome something within himself.
Desire is the goal outside of the protagonist, which fulfils his need when achieved. A story becomes interesting the moment a desire comes into play. The need is hidden in the story, the desire is in plain view of the audience. The desire should be specific and build steadily in importance and intensity as the story moves towards the climax.
A true opponent is in competition with the protagonist and wants to prevent the hero from achieving his desire. The real goal is often hidden and stays hidden, but it is the very thing that ties the two together. For example, a detective story isn’t about a detective’s desire to catch the killer and the killer’s desire to get away from it. This is the surface goal. The real goal is their competition for the version of “truth” that will be known. Will a killer be caught at all? Will the right killer go to jail for the crime? Who will the public think, committed the crime?
The opponent must be necessary to the protagonist. He is the one person who can attack the protagonist’s greatest weakness relentlessly. He must be as complex and valuable as the protagonist, and equally human. You can build a set of opponents that attack the protagonist’s greatest weakness in different ways.
This is the strategy employed by the protagonist to overcome the opponent and reach his goal. The plan organically links to both desire and to the opponent.
The final conflict between protagonist and opponent. This battle determines the outcome, who wins and who achieves his goal.
The protagonist endures three revelations.
First, a revelation that forces him to make a decision and move into a new direction. It adjusts his desire and motive. The plot thickens. Between the first and second revelation, the protagonist suffers some kind of apparent defeat.
Second revelation is more explosive than the first and builds on it. A new piece of information shows him victory is still possible. His desire is now turning into obsession, along with a moral decline.
The third revelation is even more explosive than the second, while still building on the first two. If a fake-opponent features in the story, this is where he is outed. Next, the protagonist passes through a gate (while under attack) and realises he could die soon, though this only strengthens his motivation to push on. The final battle causes the protagonist to have a major revelation about who he truly is. Show (don’t tell) this insight, through his actions.
The setup towards a revelation should have these qualities:
- The hero hides something from himself.
- The hero is a thoughtful person, capable of seeing the truth.
- The self delusion hurts him in a serious way.
The moment of revelation has the following qualities:
- It should be sudden, for maximum impact.
- It creates a burst of emotion.
- The information should be new to the protagonist.
- It triggers him to take immediate new moral action.
7 New Equilibrium
The fundamental and permanent change has occurred within the protagonist. The desire is gone and all returns to a new form of normal. If the hero fails to undergo change, the hero has fallen or has been destroyed.
Cron, L. (2012) Wires for Story: the Writer’s Guide to using Brain Science to hook the Readers from the very First Sentence.
Truby, J. (2007) The Anatomy of Story