Story Dynamics

KEYS TO SUCCESS

Use the Keys to Success to master the structural elements of Story Dynamics, i.e., set-up, launch, story, climax, and resolution.

SET-UP

Establishing Image

Include an image, series of images, or anything that tends to establish what the ensuing story will be about (narratively or thematically) without being a necessary part of the storyline itself. This may be the very first narrative description of the movie. If an intentional establishing image is not included, the title; the careful naming of characters, place names, etc.; the first line of dialogue; or the first scene can serve the same purpose.

Equilibrium

Balance the forces in the set-up against each other such that any motion is in a single direction at a constant speed.

Dramatic and Matched Potential

Establish the major dramatic and matched potential that will be used in the story; sufficient for the reader/viewer to understand the later action.

Story Relevance

Establish all of the major threads of the story, limiting description to the dramatic potential operable in the story. If it's described, use it later. This is particularly critical in the beginning to convince the reader/viewer that everything on the page/screen drives what will happen in the story, or it will be ignored.

Maximum Dramatic Potential

Maximize dramatic potential, setting character traits, desirable possessions, special powers, etc., at extremes where possible. This sets heightens anticipation in the mind of the reader/viewer, creates more energy for the story to draw on, and provides for more exciting story options for releasing the dramatic potential.

Foretell Launch

Use the combination of dramatic and matched potential to create anticipation as to what the launch is likely to be (surprises always possible and desirable). A launch that will "change everything that can be changed" should be obvious, at least to the subconscious, because everything in the set-up should be selected to be changed by the launch. If the launch does not succeed in changing everything that can be changed about the universe of the set-up, the character and situational forces should be altered in such a way that this upheaval is possible and even inevitable.

Brevity

Although there are no absolute rules, the attention of the reader/audience must be maintained. A set-up that gets the job done quickly--within ten pages, say--is certainly "better" than a longer one in terms of grabbing and keeping interest. Longer set-ups can work, e.g., THE GODFATHER, but only if the writing is brilliant and clearly headed somewhere.

Need-to-Know Basis

Do not describe those forces of the set-up that are best left until after the launch, for the purpose of surprise, suspense, etc. (Include these elements when outlining the set-up, just shift them to later in the actual telling.)

LAUNCH

Complete Transformation

Change everything that can be changed in the set-up with the launch, kicking off the falling dominoes in each of the major story threads established there.

Energetic, Specific, and Distinctive

Inject maximum energy, with an unbalanced force, while being as specific and distinctive as possible with the launch. The reader/viewer should be able to identify it as significant, as the beginning of the story. The more energy injected here, the more energetic the ensuing action. The launch is about the only place where a random event can be used without the viewer feeling cheated.

Narrative Question

Launch a unified story by setting up a single narrative question--and possibly a thematic one-- that serves as the axis for the story and will be answered in the climax.

Immediacy

Launch the story early, thereby maintaining reader/viewer interest and forcing an economical and well-written set-up. But, remarkable writing clearly leading somewhere can support a later launch.

STORY

Unity

Revolve all the main events and action of the story around the narrative question posed in the launch, ever seeking and developing an answer to it.

Falling Dominoes

Make every event or action result from the previous event or action, such that you could track the story back-to-front and account for each event or action by the one preceding it. (See David Ball on story.)

Energy

Move everything briskly and energetically toward the climax.

Dramatic and Matched Potential

Release all of the major dramatic and matched potential established in the set-up and launch, except that to be released in the climax. When given an option in ways of releasing potential, select the manner that releases it with maximum energy and excitement.

Major Characters

Use the major characters established in the set-up to tell the story, ensuring that the story works for each of them (each from its own point of view).

Rising Action

Increase challenges and complications and raise stakes at an accelerating rate. "Break eggs" each step of the way making returning impossible; irreversibility being more interesting than reversibility.

Random Events

Use random events only at the launch and climax; the latter requiring careful crafting so as not to leave the viewer feeling cheated. Use no random events in the telling of the story.

CLIMAX

Answer Narrative Question

Answer the narrative (and thematic) question posed in the launch of the story, about which the action of the story has revolved.

Final Conflict

Reach a final conflict between the major forces in the story, where they either get what they want or are forced to stop trying.

Major Characters

Use the central characters from the set-up, and about whom the Story revolves, to work the climax. The climax must then lead to a resolution of the major story threads each of these characters was moving along.

Minimum of Three

Use at least three characters in the climax. If only two major characters are used in the story, a third should ideally be injected at the climax (or a device used to serve as the third character). This brings to the closed system of these characters’ lives the necessary outside force and influence to bring about a resolution. (See Bernard Grebanier on story.)

Clarity

Make the climax very clear, even if it comprises a "stutter step" of two or three events, actions, or scenes. It is the point toward which all the action of the story has been leading and should not be downplayed unnecessarily or smoothed over.

RESOLUTION

Brevity

As in life, the end is quick. Once the climax has been executed, close out the movie with rapidity--a few minutes is adequate. Elements of the resolution can even be laid out during the end of the story--much as those of the set-up are often exposed during the story to maintain suspense--allowing the film to end with the climax for maximum suspense, energy, and brevity.

Continuity

Maintain continuity of time, wherever possible. Time jumps of any significance challenge the reader/viewer's "suspension of disbelief", and come off as a storytelling trick, rather than a dynamic outgrowth of the story itself.

Comprehensive

Resolve all of the major strands of the story established in the set-up, except where they may have "died" during the story. Show where these characters/forces are headed now, how they’re lives have changed as a result of the story they’ve just gone through.

Basis for New Story

Create a resolution so compelling that it could serve as the set-up for the next story (otherwise known as a serial).

Equilibrium

Balance the forces in the resolution against each other, as with the set-up, such that any motion is in a single direction at a constant speed.

Symmetry

Devise a major 180-degree change in the characters from their position in the set-up such that character A now swaps characteristics with character B as a result of the transformation undergone during the story. A similar symmetrical shift can also occur with the universal situation, physical objects, the thematic underpinnings, etc.

Work the Story Dynamics exercises to develop and check your understanding of this material.