All is Right in the World--Inequity/equity and the Antagonist(s)

theory
#21

What do you mean by internalized or externalized? Like whether or not any other characters know about the decision?

If that’s what you mean, I think either could work for a driver, but I’d guess that a decision no one else knows about would be trickier to work with. It would still have to force actions.

#22

After doing some googling and some bouncing around the internet, I’m back with my list of things that define a Driver:

The Initial Story Driver can either be independent of or dependent upon the MC.

  • Sometimes, the Initial Story Driver happens outside of the MC. Example: Star Wars and the Empire’s action of boarding of the Rebel ship.

  • On the other hand, sometimes a story begins in media res. Example: The Verdict and the MC’s decision to take the case to trial. This sometimes places the Initial Story Driver into the hands of the MC.

There are five Story Drivers. You can manipulate this number (kind of):

  • Although the responsibility of the Initial Story Driver shifts to the next major turning point in the story, in media res adds an “honorary” Story Driver that is in the backstory.

  • The Final Driver can be excluded in order to create an open ended story.

  • What would happen if we took out the Midpoint Story Driver? Something like Planet Terror and the missing reel?

Each Driver must fundamentally change the direction of the story from the last Driver.

  • Before this happens, a number of minor changes are made in support of the original action or decision (and a number of opposing decisions or actions). Only when those minor adjustments have been exhausted (think reasonable man doctrine; rule of fours; third time is the charm) will the story be ready for the next Driver.

Decision Drivers and Action Drivers will create a different kind of story:

  • Decision Drivers lend themselves sequels and the process of deliberation.

  • Action Drivers lend themselves to scenes and a frenetic pace.

Anyway, I’m not sure if this list is complete, but I learned a lot from this thread. Thanks. :smiley:

@mlucas I think the decision might need to be known – if it isn’t – how can the micro-shifts and minor justifications of tactics be implemented or how can the decision be resisted. Having said that, I want to think about it more.

Also, it occurs to me that the initiator of the Driver could feel as though they are on the offensive or defensive based on different factors. I’m not sure. Maybe that feeling would be dependent on the outcome of the scene (among other things):

  • success, but (judgement: good)
  • success, but (judgement: bad)
  • failure, but (judgement: good)
  • failure, but (judgement: bad)
  • success, therefore (judgement: good)
  • success, therefore (judgement: bad)
  • failure, therefore (judgement: good)
  • failure, therefore (judgement: bad)

http://dramatica.com/dictionary/story-driver

http://support.screenplay.com/help/dramaticastoryexpert5/driver__action_or_decision.htm

#23

By the way, is the movie “Unbreakable” a case of the Initial Driver (a decision to create accidents until a super powered man is found) being concealed in the beginning and revealed at the end (creating a twist)?

That’s a pretty cool way to think about “twist” movies if it is true.

Sometimes, it is confusing to understand what is backstory and what is considered telling the story out of order.