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Friday, August 2, 2013Willamette Writers Conference
“Story Physics 101”
Larry Brooks
www.storyfix.com
The Writing Conversation
Wherein we explore the conventional wisdom in search of unconventional insight.
The Six Realms of Story Physics
Wherein we get to it.
Story Physics:
• Compelling dramatic premise
• Dramatic tension/arc
• Optimized pacing
• Heroic empathy (what we root for)
• Vicarious experience
• Narrative Strategy
Compelling Dramatic Premise
Wherein we put character, purpose, conflict and context in the same room.
What is CONCEPTUAL about your premise?
Your CONCEPT is the CONCEPTUAL source of energy
and compelling allure to your story.
Dramatic Tension
• Hero’s quest…
• … facing obstacles
• … with motivating stakes (and possibly emerging stakes
• … creating
• opportunity for heroic resolution
Optimal Pacing
Wherein we put the story into some sort of sequence…
… according to given principles that OPTIMIZE pace.
Heroic Empathy
Wherein we make is easy for our readers to ROOT for our hero on her/his quest.
And… to root against the villain/antagonist (because fear is a terrific motivator)
Vicarious Experience
Wherein we tap into the Secret Weapon of storytelling… by transporting the reader
into a new time, place, experience, context and emotional state.
Narrative Strategy
Wherein we choose how to tell the story.
Tense, voice, POV, something fresh, something risky…
… or not.
Story Physics
- Compelling Dramatic Premise
- Dramatic Tension
- Optimal Pacing
- Heroic Empathy (rooting)
- Vicarious Experience
- Narrative Strategy
The Three Stages of Story Development
Wherein we figure out where we are in the process.
The Three Stages:
• The Search for Story
• Story Design
• Story Execution and Polish
Case Study
Wherein we look at the most common missed opportunity (bordering on mistake)
out there.
Four Key Questions:
• What is the concept that drives your premise, and why will it be compelling?
• What is your core dramatic question and arc (focus, unfolding exposition), driven by what your hero needs in context to the stakes attached?
• What opposes that quest, and how compelling (scary) is it?
• Is your First Plot Point functional, and is it where it needs to be?
Questions?
Wherein we play Stump The Presenter
Story Physics:
Harnessing the Underlying Forces
of Storytelling