I define story in my courses as "the transformational journey of a human being."
A character starts the story one way, and they change over the course of the narrative. That transformation is the story itself.
It can be the protagonist that transforms, or it can be a protagonist that remains steadfast to a core belief and, in doing so, changes those around them.
Either way, it's all about change.
Something is different at the end of the story compared to the beginning.
But this is not just true for the whole story.
Remember a few months ago when I discussed how a story is fractal? This is another example of it.
The larger transformation of the story is composed of smaller transformations in each scene.
All pushing, pulling, or diverting the transformation to its completion.
Something is different at the end of the scene compared to the beginning.
So, say the character starts as a moral coward and transforms into someone willing to die for what they believe in.
Each scene will either PUSH them closer (literally or figuratively) to this destination, PULL them back to where they started, or DIVERT them to an entirely different destination.
Those scenes without something different at the end are non-scenes that should be cut.
Think of BARBIE. She starts out perfect and ends up wanting the imperfection of being human.
Each scene is either 1) her pursuing her old life, 2) obstacles that tempt her to give up, or 3) realizing the joy and pain of being human.
Three Elements of Great Screenwriting
The change in the scene and its effect on the characters is its purpose. It's why the scene exists as part of the story and addresses all three elements of great screenwriting.
Great characters.
Great scenes.
The order by which we put these things (the structure.)
This is yet another reason why I emphasize the importance of knowing where you are going. You can't tell a story if you don't know what story you're telling.
The South Park guys have a famous video.
I'm sure you've seen it. In it, Trey Parker and Matt Stone talk about the necessity of being able to insert "therefore" or "but" in between scenes.
It is this connection that keeps moving the story forward.
This is indeed true, and it's excellent advice. But it is also the bare minimum of scene connections.
It's not just plot.
Too many take Stone and Parker's advice to mean chronological plot. This is sometimes true, but it's not nearly the full benefit of it.
The true benefit is knowing the emotional shift that the plot brings about.
A moment is not about the plot. It's about the emotional reaction to the plot.
Does it really matter if a spouse cheats, lies, or steals?
Not really.
As storytellers, we can mix and match betrayals based on the particulars of the characters and the extent to which we want to destroy trust.
We can even use it to show how normal such things are with this couple!
What's important is how the audience and the characters feel about it and how they react to it.
That's the writer's intention. The plot choices are just one tool we choose to execute this intention.
Yet, because of our focus on plot first, we often go in asking, "What can happen?" rather than "What needs to happen to get us where we are going?"
I've also read some claims that the emotion in the scene should shift to the opposite of how it began.
If it's positive, it should be negative at the end. If it's negative, it should be positive.
I have seen no evidence that this is consistently true.
Sure, it often happens. And it's effective when it does.
But there are plenty of scenes that are just as effective that start negative and continue to be more negative.
I've been rewatching THE SOPRANOS, and I watched a scene last night when they heard the news that Jackie dies. Christopher comes in, pissed about business, and the scene takes another turn for the worse.
Scenes that start positive and grow more positive are also equally common.
What matters is the effect on the story.
What is different at the end of the scene that pushes the character toward, pulls them from, or diverts them away from their final destination?
As we generate scenes for our screenplay, we tend to focus on two types.
The emotional scenes required for the journey.
Great scenes that capitalize on the screenplay's unique premise.
The first ones usually have a purpose already built in. The second type will often be detached from the story at inception.
Perhaps it's a great action set piece or a high-concept horror sequence. If it's a comedy, it's likely a scene we know will get laughs, but we don't know where it goes in the story yet.
We know it has the potential to be a great scene, but we don't yet know where it will land in the structure.
Our job is to figure that out.
Even if sometimes the answer is that there isn't a place for it.
Look at the end of each scene.
Both in what it naturally is, as well as what it could be with a little tweaking.
What changes about the character?
Are they more confident? Less confident?
Are they more determined? Do they question earlier decisions?
How does a new understanding affect their worldview? Does it solidify it? Or contradict it?
What have they learned about themselves?
Does it force them to change their plan? Do they want to turn back? Does it encourage them that they're on the right path?
Don't forget the relationships.
Are the people in the scene closer or farther apart? Are they influencing each other in a healthy way, or are they pushing each other on unhealthy paths?
Causation is not just about events.
It is about how characters are changed and how that change affects their decisions.
Barbie would never seek to leave Barbieland without the weird changes "mutating" her body.
She would never question her purpose without seeing the disconnect between her own existence and the real world.
It is learning that there are no women at Mattel that makes her question her trust.
It is meeting Ruth Handler that leads her to RUN.
It is realizing that Gloria is the one she is looking for that leads her to retreat to Barbieland.
Ken would never have sought to bring the Patriarchy to Barbieland if he hadn't been introduced to it in the real world.
And so on and so on.
The causation is not just the chronology of events.
It's how these events affect the characters.
And how that change influences their decisions, which in turn affect the subsequent events.
Until the character is fully transformed.
An exercise.
To hammer this point home, take your favorite movie (or at least one you're particularly familiar with) and list out each scene along with the shift at the end of it.
This shift can be significant or slight, but take note of it. How do the events of the scene affect them?
(Note: In Sequence 1, there will be less change. Until the inciting incident hits, the ordinary world is more about establishing the norm and expectations of the future.)
Then, take note of how this emotional reaction changes them and any following choices they make.
Notice the changes in the character and what part those scenes play in it, either as an immediate turn or a cumulative effect.
This will likely make clear two things:
Most stories are more character-driven than we think.
Most plots are incredibly simple, and it's the emotional reaction to the plots that gives them depth.
If you like The Story and Plot Weekly Email, you'll love the courses.
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That's a wrap for this week!
We are entering the third month of Story and Plot Pro and getting ready start signups for the next session. It has been a blast and will be the focus of my one-on-one teaching in the future.
I am crossing my fingers that DADDY'S GIRL is a go in the 4th quarter as well. With the production going back to my earlier draft, my enthusiasm for the project has been reenergized.
We are now in casting, however, and that has some significant challenges that are worth their own Weekly Email.
I am feeling renewed energy for all my projects, to be honest. It's a nice feeling to have.
For everyone in the states, I wish you a happy 4th of July weekend.
Or as I have come to think of it, the night I try to reassure my dog the world is not ending.
