I’ve been thinking about today’s blog post–quite a bit, in fact. I decided that instead of offering you some of my own hard-earned wisdom(insane laughter), I would take you on my exploration of John Truby’s well-regarded, well-known book, “The Anatomy of Story.”
The plan is simple: Make a post about each chapter (sometimes the posts about a chapter might be more than one, depending on how complex the chapter is). Within these posts I will attempt to extract the most important advice, guidelines, techniques and so on by retelling and rephrasing the most important parts, those that jump at me from the pages of this book; I will occasionally offer my own commentary and views, no doubt a great deal less worthwhile than Mr. Truby’s, but none the less, mine. It is *my* name on the blog, after all…ain’t that right, lads’n’lasses?
I hope that this little adventure will be useful and worthwhile not only to me, but to you as well, dear reader. So let’s begin!
CHAPTER 1: Story Space, Story Time
It’s no easy feat, creating a great story. Showing the how and why of human life — perhaps the end goal of storytelling, all things considered — is a monumental job.
There are numerous obstacles in your way. Take common terminology: what help are terms like “rising action,” “climax,” “progressive complication” and so on, when we get down to the nitty-gritty of practice? Those terms, so theoretically burdened and broad, are meaningless and lack practical value for storytellers.
Just so with the ‘three-act theory,’ which, while a lot easier to use in practice, is a mechanical view on story, hopelessly simplistic and almost inevitably leading to episodic storytelling.
Great stories are organic – living, breathing organisms that develop, in a way eerily similar to the human body.
We could define a story as: “A speaker tells a listener what someone did to get what he wanted, and why.”
Three distinct elements can be observed: the story itself, the speaker (or storyteller), and the the listener, or audience.
Good storytelling lets the audience relive events in the present so they can understand the forces, choices and emotions that led the character to do what they did. Stories are really giving the audience emotional knowledge–what we can easily dub as wisdom–in a playful and endearing way. (Magnus’ commentary: I thought that was a really nice view and explanation on stories.)
The storyteller constructs a sort of puzzle, to be figured out by the listeners. Two major elements go into the construction of this puzzle:
- The author presents the audience with information about a made-up character; and
- He then withholds the certain information–which is crucial to the storyteller’s make-believe, by forcing the audience to figure out who the character is, what his motivations are. That’s what draws the audience to the story; without it, we no longer have an audience, and the story stops.
All forms are a form of communication that expresses the dramatic code.
But what is the dramatic code? It is, in simple terms, an artistic description of how a person can grow and evolve. Let’s explore this concept further:
- Change is fueled by desire. (“I want, therefore I am.”)
- A story tracks what a person wants, what he’ll do to get it, and what costs he’ll have to pay along the way.
- Characters who go after their desires are forced to struggle; it is that struggle that effects change upon a character.
The ultimate goal of the dramatic code is to present a change in a character, or to illustrate why change didn’t occur. The different forms of storytelling frame human change in differing ways, of course.
The dramatic code expresses the idea that human beings can become a better version of themselves, psychologically or morally. The story body is made of many parts: characters, plot, revelations, the story world, the moral argument, the symbol web, the scene weave and symphonic dialogue.
Theme is the brain of the story, characters–the heart, story structures are the skeleton, and so forth. Each subsystem of the story consists of a web of elements that help define and differentiate the other elements.
Nature uses a few basic patterns to connect elements in a sequence. Storytellers use these same patterns, individually and in combination, to connect story events over time. Let’s see which those are:
- Linear Story: Tracks a single main character, from beginning to end.
- Meandering Story: Follows a winding path without apparent direction.
- Spiral story: The character keeps returning to a single event or memory, and explores it at progressively deeper levels.
- Branching is a system of paths that extend from a few central points by splitting and adding smaller and smaller parts.
- Explosive Story: Has multiple paths that extend simultaneously. These stories also put more emphasis on exploring the story world, showing the connections between the various elements there and how everyone fits, or doesn’t fit, within the whole.
WRITING YOUR STORY
What writing process will give you the best chance of creating a great story?
Most writers use an approach that is external, mechanical, piecemeal and generic. We will work, instead, towards a writing process that may be described as internal, organic, interconnected, and original. It’s no easy process.
You’ll construct your story from the inside out, meaning that:
- You must make the story personal and unique to you;
- You must find and develop what’s original within your story idea.
With each chapter, your story will grow and become more detailed, with each part connected to every other part.
Next Up: Chapter 2: Premise
Things are heating up!