What Star Wars and Seseme Street Can Teach Us About Story Structure

   The other day I was looking at an article on Cracked.com entitled "17 Images That Will Ruin Your Childhood". I'll warn you, if you love nostalgia this will definitely crush some memories. 

So, it got me thinking about what I have been learning about story structure and plot. What made our childhood images so powerful was the effort that writers, artists and directors took to "suspend disbelief".  

Wait...isn't that what we are trying to do in our writing? 

Catherine Brady in her book Story Logic and the Craft of Fiction states," to think like an artist is to understand that story structure depends not on baldly advancing a literal conflict but on constructing a plot that articulates the exact parameters at the stories heart."  

Wow! That is a mouthful but think about it. What stories have you read that leave you changed and hungry for more? Why?

When I read a story, I don't want the author to come out and tell me what to think, just like a child I want to discover it myself.  It's how many of us are wired. Would the parables in the New Testament have as much impact if the true message was blatantly laid out?

Think about Faulkner and Munroe, their ability to use literal action to build the tension of the bigger story is epic! There are, of course many more that use this artistic scaffolding, invisible to the reader. It is only at the climax of the story do the questions that the tension aroused make sense. It's magic, a sleight of the hand.

What magic have you read lately?

Weaving Compelling Characters

"He does not write- he breathes life off the page"  -Edna O'Brien on Chekhov

      Characters are what make a story. You can have the most exciting plot with twists and turns but if the characters in your world don't feel authentic, the story will fall flat. The goal in every story is to "suspend disbelief". The best way to do this is to make sure your characters are fully developed.

There are some common threads that I have found woven into every memorable character.

1) Warp- Great characters have back stories that make them who they are. The warp of any weaving is the structure that holds the tapestry together. Our characters don't just pop out of  nowhere. They had full lives before entering the story we are telling. Spending time with your characters and creating a history that leads to who they are today will hold your character together as they face your unfolding plot.

2) Texture- Believable characters have real emotion. The most interesting tapestries have different textures to add depth. Telling your readers that your character is sad is flat and uninteresting. However, if your character is staring at the same stain on the wall, arms wrapped around her shoulders rocking back forth we see and feel that sadness. Look for new and interesting ways to convey emotion.

3) Color- Exceptional characters want something. The use of color creates the unique design of each tapestry. Our characters, from the protagonist to the ancillary characters all have wants and desires that color all their actions. These are what drive the decisions that each character makes. Spend time understanding these motivators.

4) Pattern- Memorable characters have patterns of behavior. Most patterns in a tapestry repeat themselves over and over again. Human beings have a tendency to develop routines, ways for doing things based on who they are. These can be good or bad habits. They can even change as the character grows but these are small things that make each character unique. Flipping his hair to the right, moving her hands whenever she gets excited, are all things that anchor the character in reality and keep your character interesting.

5) Tension- Larger then life characters act when their wants come in conflict with events. In a weaving if the tension is too tight the strings can break, too loose the design becomes distorted, uninteresting. Knowing when and how much tension to introduce to a character and their world is important. It is often referred to as raising the stakes. Push you're characters to the limit then stand back. If you find that your not sure what they will do next then perhaps you need to revisit their wants until it becomes clear.

These are important parts of weaving a character. It is sometimes tempting to skip or skimp on one or more or the parts and just get on with the story. However, you will find that creating full and compelling characters requires close attention to all of these details. (Tapestry above by Sylvia Heyden)

What processes do you use to get at these important parts of a compelling character?