That’s
right. Taking requests and playing the
hits you ask for.
Probably
one of the most common thing writers hear is people asking about turning ideas
into stories. “Oh, I’ve got a really
great idea, I just need someone to help me turn it into a book.” I get messages like this four or five times a
year. When it’s from friends, I try to
be really polite and explain why it doesn’t make much sense for me to help with
their idea when I’ve already got far too many of my own to work on. When it’s someone I don’t even know...
I usually
just ignore those messages.
Still, the
unspoken question there is a valid one.
How do you go from clever idea to full-fledged book or screenplay? How does a writer go from “bugs in amber have
dinosaur DNA in their bellies” to Jurassic Park?
Let’s talk
about that.
Now, as
usual, nothing I’m about to say is a hard-fast rule. A lot of it comes from a talk I had a few
Christmases back with writer/director Shane Black (best known for Lethal
Weapon, The Long Kiss Goodnight, Kiss Kiss Bang Bang, the
upcoming Iron Man 3, and a string of really awful dirty jokes in the
movie Predator). He had a few thoughts on how to assemble a story that I thought were very
insightful, and I’m going to use his general framework to address this week’s
topic.
Having said
that, just to make things less confusing, from here on in I’ll be referring to
our collection of words as “a novel.”
It’ll be clear why as we move on.
Depending on what you want to write, feel free to swap “novel” out for
screenplay, short story, epic poem, or whatever.
If I’ve got
an idea for a novel, I want to look at it in terms of plot and story. Can it expand into a full plot? Does it lend itself to a strong story?
Let’s go
over each of these terms.
Okay, first
we need to understand what the plot is. If I’m writing a book, the plot is what’s going
to be on the back cover. If I’m writing
a screenplay, it’s going to be what they put on the back of the DVD. Simply put, the plot is the chain of events
that make up the novel. It’s what makes
readers need to turn the page so they can find out what happens next.
It’s
important to remember that one idea does not make a plot. “There’s a haunted castle,” is not a
plot. “My partner is a robot,” is not a
plot. “I want to go to the prom with a
cheerleader/ quarterback,” is not a plot. A lone idea
is just a plot point, and basic geometry tells us we need multiple points to
make something worth looking at. That
something being a novel (or screenplay, epic poem, etc.).
If I’m
describing a plot, I’m going to use a lot of conjunctions. I’ll be using and, but, and or
to string all those plot points together.
Take a look at this example...
Indiana
Jones is an adventurer who finds ancient treasures and he’s a professor
of archaeology at a university. The
government hires him to find the Ark of the Covenant before the Nazis, but
the Nazis have a head start. Indy goes
to find his old mentor, but finds out that Abner has died and his
daughter has a grudge against Indy. The
Nazis show up and Indy and Marion fight them off. They travel to Cairo and meet Indy’s
old partner, Sallah, but learn the Nazis already have their excavation
well under way. The Nazis try to have
Indy killed in the marketplace and he fights them off again, but
Marion is killed when the getaway truck explodes. Indy and Sallah get the medallion deciphered but
it turns out there are two parts to the inscription and the Nazis only
have half of it.
See what I
mean? Lots of points, and I’ve barely
written out half the movie. It’s also
worth re-noting then none of those ideas on its own is a novel. It’s when they start joining up that we get
something that interests us.
This is
where a lot of people mess up the whole idea of “expanding an idea into a novel.” Y’see, Timmy, an idea doesn’t
expand. The plot expands
as more ideas are added into it. It’s
impossible to expand “Indy and Sallah get the medallion deciphered”
without adding a new element to the mix.
Seriously, try it. Any attempt is
just going to be some artificial wordplay and padding until I bring “it turns
out there are two parts to the inscription” into it.
It’s also
worth noting another key thing. For
most good novels, the plot is the attempt to do something. Not
necessarily succeeding at something, mind you, but attempting to do it. Beat the Nazis, save the girl, beat the
system, save the clock tower, and so on.
Plot is active. In that
little summary up above, ten of the eighteen points are characters physically
doing things.
Listing
these points out can also be a hint that my story is getting a little thin on
plot. If I’m really stretching to come
up with individual points, or falling back on a lot of inactive, internal points,
that could mean my novel is veering into more of an artsy-character range. If a lot of my points don’t really tie back to the main thrust of the novel, that’s another good sign. There’s nothing wrong with that, provided I
knock the character stuff out of the park.
Which brings us to our next point.
Now, if
plot is what goes on around the characters, the story is what
goes on inside the characters. Plot is
big and external. Story is small and
intimate and internal. It’s the personal
stuff that explains why the characters are interested in the plot. And if it’s why the characters are
interested, it’s also why the reader is interested. Plot makes us need to turn the page, but
story makes us want to turn the page because we’ve come to like these
characters.
A great
example of plot vs. story is Silence of the Lambs. The plot is the search for a missing girl,
and some of the desperate decisions and deals the FBI will make to find
her. The story is about Clarice Starling
trying to make up for what she sees as an awful failure in her childhood, and
how much of her life is shaped by the need to balance that failure.
I’ve said a
few times here that characters are key to a successful novel, and that’s
because without good characters you can’t have a lot of story. I can have a ton of plot, but not much else.
Now,
because of this, developing an idea into a novel is a little tougher from the
story side, because it involves developing characters. How the characters react to the idea depends
on who they are and how this idea interacts with their personality and history. Which means they need to have personalities
and histories. And a lot of this can
just come down to asking and answering questions that relate back to that
original idea.
Let’s go
with the one I mentioned up at the top—my partner is a robot. Let’s say my character is Bob. Did Bob know this partnership was coming or
did it get sprung on him? Does he like
being partnered with a robot? Does he
like robots in general? What kind of
partnership do they have? Is Bob the
junior or senior partner? Why? Do they work well together? Does Bob have weaknesses the robot will
compensate for (or vice versa)?
The answers
to all of these questions expand the story.
Odds are that some of the answers will lead to more questions, too. And more questions means the plot is
expanding.
As above, this
can also be a hint that my novel is a little weak on the story side of
things. If I just give quick,
inconsistent answers to these sort of questions, my characters are going to end
up pretty flat. Character arcs are a big
part of the story, so if my character never changes in any noticeable way, it
probably means my novel is emphasizing plot over everything else. There’s nothing wrong with that—there are plenty
of fantastic plot-driven books and
movies—but it does mean I need to have a really solid, engaging plot.
It’s
important to notice that story is why so many novels can use the same plot but
still be very different. Alan Moore’s Watchmen
has the exact same plot as the classic Outer Limits episode “The Architects of Fear," but they have different stories. The same with Never Let Me Go and The Island. While the basic idea is the
same, the character tweaks make each of these into unique stories.
Consider
this—how much does the story of Raiders of the Lost Ark change if I just
do a gender swap on Indy? Start way back
with her relationship with Ravenwood’s underage son. Would this still cause a falling out between
the two professors? How would the son
view this past relationship? And in the
late 1930s, what would it be like for a female professor? The male students hitting on her in class is
a very different image, and would the government men be as enthusiastic when
they learn Dr. Jones is a woman? Our
basic plot wouldn’t need to change too much, but all these story elements
become very different.
So when you’re
looking to take an idea all the way to a full blown novel—or screenplay, epic
poem, opera, or whatever it is you write—start with the basics. Consider your idea as part of a larger
plot. Think of how it could fit into a
character’s story.
This week
was kind of long and rambling, so next week I might just do something
quick. Whatever pops into my head.
Until then,
go write.
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