Stephen Carter: “Channeling the Muse: Using Outlines to Strengthen Literary Fiction”
(No pic again: sorry!)
Feels like Oliver Cowdery: wanting to translate, hadn't prepared himself
SC not a natural born writer, but "I'm a persistent cuss!"
Presentation: the musings of a high-fxning-autistic writer (son high-fxning-autistic, learned to read emotions on a person's face, just as SC learned to write effective stories)
Of the idea that planning is an essential part of putting a story together. Writing a story like literary architecture.
Using this basic idea more consciously could improve their work
Base of every story: character arc
"these are the basic bones of how I put together a story"
1: give character a goal
2: make something to oppose that goal: antagonist/antagonism
First two things: essentially plan of salvation: antagonism in all things
3: kick the conflict up a notch: test the protagonist in larger and larger conflicts
We want to see increasing levels of conflict: once past level one, don't want that level again; increase intensity
4: Need dramatic need; goals transitory, but dramatic need is in opposition to goal: dramatic need: change the protagonist needs to make inside: interior spiritual need
Getting dramatic need to work is key to making story work, to get character to change, even to make reader change
The Sopranos is a good example of this model
Tony Soprano afraid of losing family b/c of his job as mob boss, but can't leave the job b/c made an oath, won't break his oath
Constant larger and larger conflicts
Structure of tragedy: pro. gets goal at expense of dramatic need
Structure of drama: pro. gets dramatic need at expense of goal
Ideal: stretching pro. b/w dramatic need and goal
Another ex: Avatar
Disappointed w/movie: pro. only had a goal, no dramatic need
Conclusion: Increase tension b/w goal and dramatic need: stretch it, make them almost mutually exclusive
(Notes taken on my iPhone Notes app during the session.)
- Tyler-at-large: chasing clouds, blogging live
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