REVISED August 13, 2020
The broad, first steps in writing a successful story are outlined below in two sections. This first part lists The Story Fundamentals. The second is The Story Development Process.
If you're a story client of mine, stick with just Part One. Part Two will inform you about the whole thing, but the answers I want to accompany your script are just 1-7 of Part One, NOT Part Two.
I believe the Story Fundamentals should be listed on the first page of every script or manuscript because it sets up the reader in much the same way that a movie goer is set up to see a movie. No movie goer attends a movie without first understanding what the movie is about in a general way; they know the fundamentals of the particular story. So, that is how scripts should be read, with a page listing the Story's Fundamentals right up front.
For the writer, it really does not matter HOW you get to the story fundamentals. But knowing the fundamentals of your story are critical to effective and efficient writing the treatment and subsequent drafts of script or novel.
For my story coaching clients, please provide me with short one- or two-line descriptions of the first seven (1-7) steps below. The more focused and precise you think them through and write them, the more effective will be our time together on step 8, which is what most need help on. Few of my clients actually have all seven items below answered when they come to me. But our consulting time together is designed to first get Steps 1-7 right, and then move on to Step 8. Once you get past step 8 your story will practically write itself in terms of plot and character motivations. Actors who are writers will especially enjoy this, because after they answer 1-8 (with or without my help), they will fully understand their on-camera motivations.
8. MAJOR BEATS FOR PROTAGONIST (13-19, Turning Points, Disasters and Sequences)
9. SYNOPSIS (600 words with ending)
10. OUTLINE (every major scene)
11. TREATMENT (prose short story)
12. DRAFT (formatted)
PART TWO
The Story Development Process
Here is a more detailed breakdown of the above.
The first eight steps should be executed iteratively. That is, it doesn't matter where you start, or in what order you do the steps in; although there is a logic to the order as presented. But it may not be your logic. So, just get on with it. Whatever works. Do it!
With each progression, go back and review the former decisions and see if they still fit. When you're done with 1-9 there should be a cohesiveness that will naturally drive steps 10-12. Although... even in working on 10-12 you will probably need to go back and revise 1-9. You're not God, so plan to do it over, and over, and over until you get it right.
My consulting is principally focused on the first eight steps and then how the decisions made are executed in your subsequent writing. These structural steps should be imbued in every sequence, every scene, and every dialogue exchange (and when it comes to production... in the casting, art direction, cinematography, music, etc.... all the way through marketing.) In the end the project should fit perfectly together and allow your story to resonate deeply with your audience.
1A. What is your story's working TITLE?
1B. What is the story's GENRE?
1C. What ERA (time period) does the story take place in?
1D. What is the story's SETTING (location, country, class)?
1E. What is the target audience's DEMOGRAPHIC? (Sex, Age)
2. What is the story's physical HOOK? (this is the story's physical premise)
3A. What is the SHORT LOG LINE? (10-second pitch)
3B. What is the LONG LOG LINE? (or 60-second pitch)
3C. What is the story's TAG LINE? (What is the emotional heart of the story expressed in a short pithy line that would go on a poster?)
4. What is the core CONFLICT OF VALUES that all the characters deal with?
5. What is the MORAL-PHYSICAL PREMISE STATEMENT that guides every aspect of the film/novel?
PART ONE
Writing a Focused Story
Writing a Focused Story
If you're a story client of mine, stick with just Part One. Part Two will inform you about the whole thing, but the answers I want to accompany your script are just 1-7 of Part One, NOT Part Two.
I believe the Story Fundamentals should be listed on the first page of every script or manuscript because it sets up the reader in much the same way that a movie goer is set up to see a movie. No movie goer attends a movie without first understanding what the movie is about in a general way; they know the fundamentals of the particular story. So, that is how scripts should be read, with a page listing the Story's Fundamentals right up front.
For the writer, it really does not matter HOW you get to the story fundamentals. But knowing the fundamentals of your story are critical to effective and efficient writing the treatment and subsequent drafts of script or novel.
For my story coaching clients, please provide me with short one- or two-line descriptions of the first seven (1-7) steps below. The more focused and precise you think them through and write them, the more effective will be our time together on step 8, which is what most need help on. Few of my clients actually have all seven items below answered when they come to me. But our consulting time together is designed to first get Steps 1-7 right, and then move on to Step 8. Once you get past step 8 your story will practically write itself in terms of plot and character motivations. Actors who are writers will especially enjoy this, because after they answer 1-8 (with or without my help), they will fully understand their on-camera motivations.
The Story Fundamentals
What You Should Know Before You Start Writing,
and my goal in coaching you... to get you here.
and my goal in coaching you... to get you here.
- TITLE, GENRE, ERA, SETTING, DEMOGRAPHIC
- HOOK
- LOG-LINE (Short and Long), TAG LINE
- CONFLICT OF VALUES (Simple Dipole, Linear Nicomachean, or Layered Nicomachean)
- MORAL PREMISE STATEMENT (Simple or Complex)
- PROTAGONIST, ANTAGONIST descriptions
- Protagonist's physical GOAL and STAKES
Before we get into Step 8, it will be helpful to have read The Moral Premise, or to review this linked blog post: http://moralpremise.blogspot.com/search/label/13%20Major%20Beats
The Writing
Now you can start to write, in order:
Now you can start to write, in order:
10. OUTLINE (every major scene)
11. TREATMENT (prose short story)
12. DRAFT (formatted)
PART TWO
The Story Development Process
Steps to Writing a Successful Screenplay, Play or Novel
Here is a more detailed breakdown of the above.
The first eight steps should be executed iteratively. That is, it doesn't matter where you start, or in what order you do the steps in; although there is a logic to the order as presented. But it may not be your logic. So, just get on with it. Whatever works. Do it!
With each progression, go back and review the former decisions and see if they still fit. When you're done with 1-9 there should be a cohesiveness that will naturally drive steps 10-12. Although... even in working on 10-12 you will probably need to go back and revise 1-9. You're not God, so plan to do it over, and over, and over until you get it right.
My consulting is principally focused on the first eight steps and then how the decisions made are executed in your subsequent writing. These structural steps should be imbued in every sequence, every scene, and every dialogue exchange (and when it comes to production... in the casting, art direction, cinematography, music, etc.... all the way through marketing.) In the end the project should fit perfectly together and allow your story to resonate deeply with your audience.
1A. What is your story's working TITLE?
1B. What is the story's GENRE?
1C. What ERA (time period) does the story take place in?
1D. What is the story's SETTING (location, country, class)?
1E. What is the target audience's DEMOGRAPHIC? (Sex, Age)
2. What is the story's physical HOOK? (this is the story's physical premise)
3A. What is the SHORT LOG LINE? (10-second pitch)
3B. What is the LONG LOG LINE? (or 60-second pitch)
3C. What is the story's TAG LINE? (What is the emotional heart of the story expressed in a short pithy line that would go on a poster?)
4. What is the core CONFLICT OF VALUES that all the characters deal with?
5. What is the MORAL-PHYSICAL PREMISE STATEMENT that guides every aspect of the film/novel?
6. PROFILE MAIN CHARACTERS (start with your protagonist), in a short, descriptive and compelling paragraph that tries to answer these questions. You might construct these as interviews, with you asking the questions, and the character answering.
- What is the character's name, sex, age, career, family?
- What is she/he trying to accomplish? What is his/her goal for each of the subplots in his/her storyline, e.g., personal, family, professional, hobby, romance. Which of these plots drives the overall story? (i.e. there are multiple characters with multiple sub-plots, but ONLY one character, and ONLY one sub-plot for that character will drive the story forward.)
- What is the character's moral vice or weakness?
- What is the character's moral virtue or strength?
- How does the character transform and change?
- Who is trying to stop the character from reaching their goal?
- What happens if the character fails? (i.e. what are the stakes?)
- What irony is involved in each of the physical storylines?
- What irony is involved in the psychological storylines?
7. Describe
NOW YOU CAN START WRITING
9. Write a 600-word SYNOPSIS that dramatically summarizes the main character and the major beats revealing the story's resolution.
10. Construct a scene OUTLINE. If you've followed my goals and plots advice, you will have beat out every storyline for all the characters. The protagonist will have between 3 and 6 story lines, one of which will be the physical spine of the story and include no less than 13 major beats. Minor characters will have between 1 and 3 story lines, none of which will exceed 13 beats, and most will have from 3 to 9 beats. Place (stick) all of those story line beats (now on 3x5 cards) on the wall (like a large story diamond) and discover in what scenes the various beats of the various story lines occur simultaneously. From this, draft your scene outline, including every beat of every storyline. Exclude establishing shots. This outline can then be expanded into prose, creating a full treatment.
11. Write a succinct prose TREATMENT (not script formatted). Make it read like a high-level short story. Avoid too much detail.
12. WRITE the first draft properly formatted. (Review and Repeat ad nauseam.)
- Protagonist's Physical GOAL
- STAKES if goal is not achieved?
NOW YOU CAN START WRITING
9. Write a 600-word SYNOPSIS that dramatically summarizes the main character and the major beats revealing the story's resolution.
10. Construct a scene OUTLINE. If you've followed my goals and plots advice, you will have beat out every storyline for all the characters. The protagonist will have between 3 and 6 story lines, one of which will be the physical spine of the story and include no less than 13 major beats. Minor characters will have between 1 and 3 story lines, none of which will exceed 13 beats, and most will have from 3 to 9 beats. Place (stick) all of those story line beats (now on 3x5 cards) on the wall (like a large story diamond) and discover in what scenes the various beats of the various story lines occur simultaneously. From this, draft your scene outline, including every beat of every storyline. Exclude establishing shots. This outline can then be expanded into prose, creating a full treatment.
11. Write a succinct prose TREATMENT (not script formatted). Make it read like a high-level short story. Avoid too much detail.
12. WRITE the first draft properly formatted. (Review and Repeat ad nauseam.)
