plot-driven or character-driven stories?

August 14, 2006

An action driven story can seem more happenstance when compared to a decision driven story.

This was brought up at our last User Group Meeting.

The actions may sometimes seem to “come out of the blue” and may seem to happen to the characters instead of growing from within them. This is not to say that these actions are exactly random, but that they are not based on personal decision.

But, with the above thought-starter in mind, I think you could break them down even further into:

• Plot-Driven Actions - these are the ones that seem random or to happen to the characters
• Character-Driven Actions - the character’s actions push the story forward
• Character-Driven Decisions - the character’s decisions force actions to be taken
• Plot-Driven Decisions - you got me on this one - although, in my sleep-deprived mind, my first thought would be these are decisions not made by the principal characters in your play

Any four of these could be the actual driver behind all your act turns - just as long as it remains consistent! (More on this with my review of Taladega Nights tomorrow…)

Writing Complete Stories

If this is your very first time here, you definitely want to read this article about the one thing all great stories have in common. If you gain nothing else from this site, understanding the concept of four throughlines within every complete story will drastically improve anything you write and increase your appreciation of effective storytelling.

What Character Arc Really Means

The second most important thing to learn about great stories is the difference between a character who changes and a character who grows. Other paradigms or understandings of story dictate that the central character must always undergo some significant transformation. This simply is not true as it discounts a countless number of great stories where this does not happen. A montage of films that explore this dynamic is provided.

Of Ticking Clocks and The Ending of Stories

Another feature of great stories is their ability to communicate with an audience exactly when the damn thing is supposed to end! When there is no limit set in place, the film can often meander on and on causing many a viewer to question if there really is a point to what they are watching. Attention spans are shorter than ever now; better to give them some signal as to when the crisis will occur.

Redefining Protagonist and Main Character

Many hold true to the notion that the Protagonist is always the Main Character. This is an old idea that does not accurately describe what is really going on within the structure of complete stories. While it may seem foreign at first to separate the two, an entire world of new storytelling is open to those willing to take the plunge.

Meaningful Endings

Some articles are gathered into a collection, or series that explores a certain subject. Perhaps the most important, at least to first-timers, would be the idea of providing an audience with a Meaningful Ending. There should be a point to the two hours that proceeded these final scenes. To that end, this series seeks to provide writers with an understanding of the dynamics that gives stories their meaning.

Archetypal Characters

Another popular subject is the idea of Archetypal Characters. Usually, this refers to the characters Campbell discovered in his exploration of world mythology. The Herald, the Trixster, the Shapeshifter -- all of these are what most consider archetypal characters. The reality is that these are interpretations of the basic forces at work in a complete story. This series explores Campbell's more familiar characters and then gives insight as to what really makes them tick.

Dramatica: Story Theory for the 21st Century

Most, if not all, of the analysis and insights into story presented on this site are informed by a deep exploration of the Dramatica theory of story. The usual reaction to the theory is that it is "too complicated" or "I'm not going to let a computer program tell me what to write." And you shouldn’t. The theory is complex, but it has to be in order to cover the magnficient creation that is a great story. If you have any interest whatsoever in why stories are so dang compelling, you owe it to yourself to at least investigate a little further.

Not Everything Is A Hero’s Journey

It is almost impossible not to hear about the Hero’s Journey paradigm within the context of story structure. While at first glance, it may seem helpful in writing a story, it doesn't account for every story nor does it accurately describe why stories exist in the first place. It assumes a spiritual or transcendental context for a character’s ultimate transformation. Now, this can occur, but it doesn't always have to. This article explains why.

Two Sides of the Same Coin

Who says story theory can't be fun? This article takes a humorous look at a cliche that shows up from time to time in the course of storytelling. But beyond simply pointing it out, it explores why this dynamic exists and suggests ways of masking it while maintaining the meaning behind it.

The Illusion of Change

What would a story structure site be if it didn't include an analysis or two? This article takes a closer look at Christopher Nolan’s thriller The Prestige. While both of the characters in this film are well developed, only one truly transforms the way they see the world. This concept, shared by all great stories, elevates this story of battling magicians beyond mere spectacle and grants us a greater understanding of our own lives.

Up In The Air

A personal favorite from 2009, Up In The Air communicates a deeply meaningful argument concerning the issues facing the modern worker. What is most fascinating about this film is the connection between the Main Character's personal problem and the problems endured by the other characters in the story. This article explores why great stories often have this correlation.

Hotel Rwanda: Story Analysis

Historical dramas are often great places to find complete stories, and this film, nominated for Best Original Screenplay in 2004 is no exception. Writers find themselves drawn to the subject matter because of the chance to draw some greater meaning from the tragic events of our collected human history. This analysis explores the dynamics that went into establishing some sense from the chaotic events of 1994.