The World At Risk, part 1. By Ed Dinger.
I found something pretty valuable on an old computer of mine the other day--a written handout from the year 2000, from a place called Word Museum. I was the newsletter editor of a community writing group back then, and used the article, "The World At Risk," in an edition or two. I was still learning the basic bones of writing at the time, and it helped to center my thoughts around that lovely vehicle called "conflict."
I don't remember who gave this to me. But I think it is important to share, especially with writers who are just starting out. So here we go.
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Every traditionally plotted screenplay [or short story, or novel] begs the question, What's at risk? Clearly, the greater the risk, the greater the tension and the more our characters will be forced to reveal their deep natures as they endeavor to resolve the conflict that has thrown them into jeopardy.
Although what is specifically at risk will vary from story to story, I maintain that whether you're writing an action-adventure tale that spans five continents or a domestic drama set in a fishing village, the same principle applies: The world is at risk. Indeed, if the fate of the world, either literally or figuratively, does not weigh in the balance, your story will be hamstrung from the outset.
Usually in the action-adventure genre, the world is literally at risk. Consider Terminator 2. An assassin travels back in time to kill the future rebel leader who will one day save mankind. Hence, the world (as we know it) is at stake. Consider Raiders of the Lost Ark. Why must the ark be found? We're told that an army with the Ark of the Covenant at its head would prove invincible. If the Nazis find it first, Hitler will be unstoppable. Again, the fate of the world weighs in the balance (despite our knowing that Germany didn't win the war.)
It should go without saying that if the world is literally at risk, the life of the main character is as well. On a figurative basis, the character's "world" is also at risk. With action-adventure stories and thrillers, therefore, the principle is fairly straight-forward. In some stories, of course, only the life of the main character is threatened and not the entire planet, so that the principle of the world at stake applies on a purely personal level.
In other kinds of stories, however, physical life is NOT at risk, whether on a personal or global scale. It is in these cases, when applied on a purely figurative and personal level, that the principle actually proves the most useful.
_______________
We'll pick up right there, next time!
Tah for now.
I don't remember who gave this to me. But I think it is important to share, especially with writers who are just starting out. So here we go.
_______________
Every traditionally plotted screenplay [or short story, or novel] begs the question, What's at risk? Clearly, the greater the risk, the greater the tension and the more our characters will be forced to reveal their deep natures as they endeavor to resolve the conflict that has thrown them into jeopardy.
Although what is specifically at risk will vary from story to story, I maintain that whether you're writing an action-adventure tale that spans five continents or a domestic drama set in a fishing village, the same principle applies: The world is at risk. Indeed, if the fate of the world, either literally or figuratively, does not weigh in the balance, your story will be hamstrung from the outset.
Usually in the action-adventure genre, the world is literally at risk. Consider Terminator 2. An assassin travels back in time to kill the future rebel leader who will one day save mankind. Hence, the world (as we know it) is at stake. Consider Raiders of the Lost Ark. Why must the ark be found? We're told that an army with the Ark of the Covenant at its head would prove invincible. If the Nazis find it first, Hitler will be unstoppable. Again, the fate of the world weighs in the balance (despite our knowing that Germany didn't win the war.)
It should go without saying that if the world is literally at risk, the life of the main character is as well. On a figurative basis, the character's "world" is also at risk. With action-adventure stories and thrillers, therefore, the principle is fairly straight-forward. In some stories, of course, only the life of the main character is threatened and not the entire planet, so that the principle of the world at stake applies on a purely personal level.
In other kinds of stories, however, physical life is NOT at risk, whether on a personal or global scale. It is in these cases, when applied on a purely figurative and personal level, that the principle actually proves the most useful.
_______________
We'll pick up right there, next time!
Tah for now.