@mlucas thank you for volunteering you’re up first tomorrow
Agree – very helpful to see the process in action!
And I’ll volunteer whenever you need a volunteer
Bump. It’s 24 hours after I wanted to get this up…but it is now. Episode 6: Plotting Struggles
Yay! I was hoping there’d be a new episode soon.
I was excited in the last episode to see the gist for Learning I had suggested in Subtext: keeping someone from finding out about something. I was like, ooh, my gist is famous!
Oh, for those watching the Subtext Writer’s Room today (June 27), I totally forgot to mention one thing about the new First Driver which Jim had helped me figure out…
The Cat Elders decide to allow new tenants in Waverley Manor for the first time in fifty years… (leading to a bunch of disagreement and conflict about whether dogs should be allowed in)
And the OS Act 1 first PSR Item is… drum roll … Permission!!
It’s so accurate it’s almost scary! Jim was the one who suggested that, so I wonder if Jim’s story sense is so good now he can glance at the storyform (without checking the PSR) and subconsciously know what should come first…!
Hi Diane, Jim -
Firstly, I’m really enjoying the video series. It’s always educational to see the process first hand - I wish I could 4x fast forward my own meandering uncertainty, sometimes. I’m especially interested to see how much of the iron and char of Diane’s original concept emerges as the tempered Dramatica steel at the end of all the hammering.
Secondly, apologies for inserting my question here - I tried to find/use the Reply as Linked Topic button, but I’m either not worthy, yet, or that feature isn’t working for me for some reason.
Finally and thirdly,
@Jhull in a reply, here: Breaking Down Story Units for Novels you indicate that the Story Drivers should have their own structural scene/sequence. At 9min30sec in episode 6 of Writing With Subtext, you reply to state, effectively “The Driver doesn’t get its own beat”.
If I’ve misunderstood something, can you indicate what it is?
Hi Diane and Jim,
Thanks for sharing this process. It’s fun and educational to see. And also to see that it is a real strugle. Related to this I have a few questions.
- I see that you have the storyform already done. That is the plan for Diane’s story. How did you came to this storyform? I can’t recall that I saw it in the videos.
- Is it a struggle to get the story into this storyform? Or is the storyform wrong for this story causing the strugle?
- Or is it the struggle to get the concepts and the storypoints/beats right which is ‘just’ the writers part for doing the job ?
Thank you so much. The response to the videos has been so positive, Jim and I have both been thrilled.
This story was NEVER completely from scratch, at least as far as the videos go. I’ve been working with it for awhile.There were things that I already new about this particular story that made getting to the storyform easy.
The basic 8
MC Character Dynamics (Resolve=Steadfast, Growth=Start, MC problem-solving style=Linear
Story Dynamics (Action drivers,Optionlock, Success Good)
I knew that I wanted them (the story people to run out of options, and that I wanted a happy ending)
I didn’t really know that Layla was going to be a “be-er” I thought for sure she was a do-er, which, as an aside is one of the reasons I wasn’t getting to the correct storyform on my own. That’s one of the reasons that I asked Jim if a particular action (being defiant by standing in a doorway) on Layla’s part was a be-er or do-er thing. Not sure which episode that was.
I wasn’t positive of the goal, but took Jim’s guidance that it was obtaining and I’d also known that freedom/uncontrolled was the answer. BUT what I didn’t have a good grasp on was where it went. Which turned out to be direction,
With the answers to these particular story choices, you hone in on just one storyform.
Does that answer your question?
Hopefully Jim will clarify too, but I’m pretty sure he meant that the Driver Action or Decision scene/sequence will usually (always?) coincide with one of the signpost/PSR beats.
Here are some examples:
Example 1, Star Wars (1977): An Imperial Star Destroyer attacks a diplomatic vessel – as a validation of their ultimate power, the Empire does something that it is not permitted, making it understood they can get away with whatever they want now. (Action, Permission while Understanding, OS Problem Test)
Example 2, The Princess Bride: Buttercup and Westley suffer a twist of fate when his ship is attacked by the Dread Pirate Roberts, who never takes prisoners, so Buttercup gets the idea that her true love is dead. (Action, Fate while Conceiving, OS Problem Evaluation (i.e. making a poor evaluation of Westley’s fate))
Example 3, The Matrix: Through an investigation of Neo and his hacking activities, Morpheus decides that Neo is The One, though some of his team are skeptical*. (Decision, Investigation while Doing, OS Problem Disbelief)
* all this is implied in the first minute, in a brief conversation between Cypher and Trinity
I don’t know that this is required for a complete story, but it sure has a great feel to it. It also worked really well for something in my own story that Jim helped me with recently (see my last post above).
@mlucas - that makes complete sense. It’s been niggling in my mind today that otherwise they’d be as arbitrary as a man bursting in with a gun - just to move the story forward. Thank you for including specific examples. I presume, then, that the Final Story Driver, for consistency, will also be formed from the final OS Signpost and PSR event. In the initial and subsequent three drivers they are all the beginning of the new act, and are the thing that diverts the plot onto a new track. But, for the Final Driver, there is no new track. So, to keep with the metaphor, is it the buffers at the end of SP4?
Apologies again for diverting the thread.
@jassnip Hi Diane, from what I’ve seen in the videos, you seemed to have a pretty good idea of what your MC’s Unique Ability is (Layla being able to see Auras), and how it was to be the key to unlocking the OS. There was a moment in one of the earlier episodes where Jim was excited that you seemed to be thinking about how the MC and OS throughlines would tie together already, but when he reviewed the Storyform, the UC variation seemed not to fit with what you had in mind.
I’m not really sure what my question is - perhaps, whether you think that the initial focus on the OS Throughline, and the choices you have to make as you work through it will mean you have to make sacrifices (of your initial ideas) in the other Throughlines to honour those OS choices?
Umm…part of it is a balance between adjusting the ideas that I’ve already had to fit the context the storyform is providing. I might have to let go of an idea/concept, but I will only be able to do that IF I think of something better. So no harm, no foul from that aspect. The last part is part of the whole learning experience – the part that I’m getting out of this endeavor – learning how to apply dramatica to my ideas. That’s honing my skills (or writing chops, as I like to call them) to be an artist/creative. Structure, in any art form, is always the difference between a novice, a journeyman, and a master.
This is kind of new territory, but I think so. Also note, I think the various Act Turn Drivers could coincide with EITHER the first PSR item of the next signpost, OR the last PSR item of the previous signpost.
This was so helpful to watch and learn. Thank you so much for sharing these vids!
OMG another gem! I already have more clarity on how to use the Decision driver in my own story. I was a little worried that decision drivers could be less action packed but it can be quite the opposite. Lots of action can follow (and usually follows) the Decision driver. Good stuff. Thanks!
That’s a fantastic illustration of the story points in action! Thanks, @mlucas.
Am I right in thinking this is similar for most other opening Act scenes?
We have another video that I need to edit today and then get up. I’ll let you know when I post it. I usually have to fight the video to keep the picture and sound synched so it takes me a while to go through one…
I apologize for the delay. This has been an insane month for my family as we moved two of my birds out of the house and down to So. Cal. My nest feels so empty. sobs a mother’s tears
Ooh, if it’s possible to crank up the volume, that would be great, @jassnip. If it ends up being too much hassle, don’t worry. It is hear-able.
I do have the ability to up the volume a bit. Can do.