# Story Layering, Plot, and Genre
Goals and Needs
• In virtually every story, the central character has a conscious [[goal]].
Of course, opposition makes it almost impossible to reach the goal.
That opposition usually comes in the form of a person who either has
the same goal or who, in some other way, opposes your central
character’s goal.
• Beneath it all lies a (usually) unconscious or subconscious [[need]].
◦ This yearning sometimes runs counter to the [[goal]] and
sometimes supports or motivates it.
◦ The [[crisis]] often brings the [[need]] into full consciousness.
• Usually, the [[need]] is blocked from within by a character flaw. This
flaw serves as the inner opposition to the inner need. The flaw is almost
always a form of selfishness, pride, or greed.
• The flaw comes from the character’s past.
That [[backstory]] haunts the character
enough that he acts in inappropriate or
hurtful ways.
Two Stories in One
• Screenplays often tell two main stories: ### - The Outside/Action
Story
• Driven by the [[goal]].
• Referred to as the spine or the external journey. ### - The Inside/
Emotional Story
• Derives from relationships and is generally driven by the need. ==The
action story and the emotional story are relationship-bound.== — ##
You Gotta Have Heart
• We often look at movies in terms of individual characters, but the
relationships those characters have with each other are vital. Think of
the key relationship or dominant relationship as the heart of the story.
• In terms of characters’ goals, desires, and
needs, don’t just think in terms of what
your character wants, but what she wants
from others. It is just as important to
develop a relationship as it is to develop a
character.
[[plot]]
• The [[plot]] comprises the important events in a character’s story. The
words [[plot]], structure, and story are often used interchangeably.
[[plot]] grows from character because everything starts with a
character that has a [[goal]]. Since the [[goal]] is opposed, the
character takes action. The resulting conflict culminates in a [[crisis]].
Will she win? Will he lose? Will he grow? Will she decline? The answer
to those questions determines the kind of story - the kind of [[plot]] -
you’re writing.
• There are basically two kinds of stories: [[goal]]-driven stories and
character-driven stories. In [[goal]]-driven stories, the focus is primarily
on the character’s [[goal]] and the action - the spine of the story. In
character-driven stories, the focus is primarily on character dynamics,
a [[need]], and a key relationship - the heart of the story.
Goal-Driven:
- The Character Wins
• The character strives for a goal and wins. #### - The Character Loses
• A moral victory of some kind often results despite the failure of a very
sympathetic character. #### - The Character Sows the Seeds of His
Own Destruction
• What goes around, comes around.
Character-Driven
- The Character Grows by Doing the Right Thing
• The character is about to do the wrong thing but transforms into
someone who overcomes his or her flaw and does the right thing.
#### - The Character Grows Up
• The character comes of age while striving for one or more goals that
are either achieved or not achieved - it doesn’t matter which.
• The [[goal]] is only there to give the relationship a track to roll on. In
some character-driven stories, the [[goal]] may change. And that’s fine
as long as the conflict intensifies and rises to a [[crisis]] and [[climax]].
#### - The Character Learns
• The character learns what he or she needs to be happy.
• Notice in this instance and in many other instances that the
[[realization]] is the same as or closely related to the theme. #### -
The Character Fails to Learn
• The character fails to learn what he or she needs to learn to be happy.
In this [[plot]], the character does not grow, but the audience learns the
lesson. #### - The Character Declines
• Declines while striving to achieve a worthy
goal.
Subplots
• In virtually all stories, there is one main plot. Everything else
happening in the character’s life is a subplot. In addition to the central
character’s plot and subplot, each of the other characters in the
screenplay has his or her own plot with a [[goal]], action, [[crisis]], and
resolution. These are all subplots.
• Most or all of the subplots should cross the
central character’s main purpose, creating
complications.
Genre
• Each genre carries with it certain characteristics.
Love Stories
• In a rom-com, the lovers meet [[catalyst]], are forced to be together or
willfully choose to be together [[big event]], fall in love [[midpoint]], are
separated [[crisis]], after which one or both will change in some way,
reform, and return to the beloved [[climax]]. Most often, this results in
a character-grows-by-doing-the-right-thing [[plot]].
Action Adventure
• These stories usually open with an exciting action sequence, followed
by some exposition. Although these can be suspenseful, the key to this
genre is exciting action. Make sure there is plenty of it. These stories
generally follow a character-wins [[plot]] and usually end with a chase
and/or plenty of violence.
• The key to good action scenes is reversals… it’s like a good news/bad
news joke.
Thrillers
• Focus on suspense more than action. In a thriller, an ordinary man or
woman gets involved in a situation that becomes life-threatening. The
bad guys desperately want the [[MacGuffin]].
• Although the characters are after the [[MacGuffin]], the audience
generally cares more about the survival of the central character than
the [[MacGuffin]]. This is because she cannot get help, has been
betrayed in some way, and cannot trust anyone. The primary motivation
is one of survival, so there’s not much of a character [[realization]] in
the end.
Traveling Angel
• This is a story about a character who solves the problems of the people
around him. He doesn’t grow much himself because he’s “perfect,” but
other characters do, and once they have done so, the angel rides off
into the sunset.
Detective Mystery
• The murder mystery opens with a murder. Then the police officer,
private detective, or retired novelist solves the case. Since solving the
case is primarily a mental exercise, there is often a voiceover narration
so we can be privy to the central character’s thoughts.
• If this central character is a private detective, he will usually be
portrayed as one who operates on the fringes of the law.
• Often, detectives uncover a small corruption that leads to a larger one.
Film Noir
• (Literally, “black film”) describes both a genre and a shooting style -
shadowy, cynical, and realistic - as well as a storyline that features
ordinary people in over their heads, no heroes and villains per se. In
fact, there is usually a moral ambiguity, even though there may be a
struggle between good and evil within the central character. Stories
often end unhappily.
Fish-Out-of-Water
• Creates so much potential for conflict and fun.
• A character is abruptly taken out of her element and forced to adjust to
a new environment.
Horror
• Scary movies differ from the thriller in that the opposition is a monster,
or a monster-like human, or a supernatural force. This genre leans
heavily on shock and surprise.
Science Fiction
• Sci-fi movies take on the characteristics of
another genre and move it to another
world or time.
