There is a place, so dominated by nativity scenes, that the you often feel like the tiny figurines are watching you. I am tormented by this idea. Irrational fear or no, it haunts me.
My best friend’s house, the one I visited all throughout childhood, is just such a place. Every other month of the year, it’s a typical suburban home. But come December, the nativities creep out. Figurines, pillows, throw blankets, ornaments, you name it. One year we counted over 100 in just one room. So you can imagine what this did to my fertile imagination. Yes, that’s right, straight to horror.
I wondered what would happen if they came to life one night. Would these ceramic figurines be benevolent, or out for blood? What followed was a delve into Christmas terror. And I wasn’t alone in my horrific machinations. The folks at Grinning Skull Press also share a penchant for the creepy at Xmas. I’m happy to say that “Away in a Manger” appears in the 2019 edition of Deathleham. The proceeds of this publication go to charity, so please download or purchase a copy to support the Elizabeth Glaser Pediatric AIDS Foundation.
And my apologies to the wonderful family, so bedecked with nativities. You should know better than to feed my imagination.
I’ve known about Dwight Swain’s work for forever. How could I not? Everywhere I turn I bump into the Goal, Conflict, Disaster model or Motivation-Reaction Units. The man knows how to explain good fiction. But when I hunkered down to finally read his book (Techniques of the Selling Writer) I was amazing no one has touted his outstanding story outline technique. All I ever see for story structure out there is the Joseph Campbell Hero’s Journey. Which is great in it’s own right. But more often than not, I write a story that doesn’t quite fit the Hero Journey model and then I’m left stranded.
So what I offer to present here is a multi-post look at how to outline your story (novel, short story, screenplay, whatever) using Swain’s sixth chapter, Beginning, Middle, and End. Note, this certainly doesn’t replace the reading the book. You really should pick it up. The way Swain delves into just why certain techniques work and don’t work is worth the purchase.
So here we go…
Swain must have been very aware of Hollywood as he wrote, because he starts with a technique to create the killer elevator pitch. You know, you have a minute while riding the elevator up and you want to pitch your book. Boom. Swain has it down to two sentences. A lot of this feeds off his Goal, Conflict, Disaster technique.
My goal here is to create an outline where I could plug in the detail of whatever story I’m working on and get the notes and ideas of Swain without having to dig back through the book each time. That being said, I’ll often use shorthand and reference ideas he puts forth in the chapter. So yeah, reading the book will help you a ton.
The Big Picture: Desire vs. Danger — The Focal Character’s attempt to attain or (retain) something.
Line Up the Story Elements
How does he/she fights back against the threatening danger?
What forces trouble the focal character?
What is the focal character’s goal or desire?
Whether he/she succeeds or fails, the focal character must strive for this goal
What or Who stands in the way of your focal character’s objective?
What utterly awful thing will threaten your focal character at the climax?
TWO SENTENCE essential story
Sentence 1: A statement of character, situation, and objective.
When humans grow to twelve-foot height, John Storm tries to find out why.
Sentence 2: A question with the opponent and disaster.
But can he defeat the traitor in high places who want to kill him in order to make the change appear to be the result of an extraterrestrial plot?
Your reader reads for emotion, with no great desire to think.
The 5 steps he outlines are essential to writing your two-sentence elevator pitch. I gave one of his examples, but he goes on for several pages with more. I just wanted one as an example to guide me when I write.