More Tips on Telling Stories

 

Before, I wrote about the four stages of a story: Set-up, Problem, Decision, and Reward.  Now, let me talk a little more about these four stages and how I use them in putting stories together. 

Writing, of course, is an art, and it's subjective.  No one can make hard and fast rules that will work for every story, every time. That's what makes writing such a satisfying thing.  To take something from our imagination and shape it into an enjoyable story ... well, there really are no rules.  But there are guidelines.

To make the four stages of a story work for me, I expand them a little, looking especially at how one part of the story leads logically -- and emotionally -- to the next.

Here's how my expanded "framework" version looks:

 

Setup: Premise and Problem

Problem: Development and Decision

Decision: Resolution and Reward

Reward: Gifts and Gimmick

 

Here, you can see how each stage of the story leads right to the next.  As I write the set-up, for instance, I'm introducing the problem and leading into the second stage of the story.  Then, in the Problem stage, I'm not only developing the problem, but leading toward the all-important decision my character will have to make.  When I come to the Decision stage of the story, I focus on how the decision will help resolve problems and what rewards -- or losses -- the character faces.  At last, in the Reward stage, I can smile as I give my characters the gift of living happily ever after, and finding the perfect "gimmick" for ending the story puts a smile on my face, too.

One by one, here's how I approach each stage of a story as I'm writing:

In the Set-up, I'm establishing the premise of the story and letting the reader know what problem the main character faces, or what potential problem is lurking right around the corner.

In the Problem stage, I'm developing the storyline through the problem and the character's attempts at resolving the problem. I'm also showing all the factors that will come into play as the character is forced to make a decision.

In the Decision stage of the story, I turn to resolution and reward. What are the character's thoughts? What has she or he learned in the story?  What are the implications of the decision the character must make? What does the character stand to gain or lose?  This is the crucial point of any story.  Here we have to see that SOMETHING HAS HAPPENED. What is that something? How has the character changed?

Finally, in the Reward stage, I look at gimmicks and gifts.  What good things happen now that the character has made the right choice? I want to give my characters all they deserve, but never more than what they deserve.  The point in romantic fiction is that when we do the right things and make the right choices, we get the happiness we deserve.  What are "the right things"? In romantic fiction, there are three key principles:

 

• Be true to oneself. Characters have to listen to their hearts, follow their dreams, and do what is right for them, even against formidable odds and opposition.

 

• Care about others. Characters in romantic fiction must genuinely be concerned about the well-being of others. They're willing to help, willing to make sacrifices, willing to stand up for others even if doing so is unpopular.

 

• Never settle for anything less than true love. Although there are stories where couples come together in a marriage of convenience, those arranged marriages are -- well, arranged.  When a character in romantic fiction chooses to marry, it needs to be for true love.  That means that both man and woman must be in love.  If he's only proposing because he feels obligated or if he has other ulterior motives, she simply can't accept. 

 

But, I digress.  The point is that characters in our romance stories do make the right choices. They care about others, they hold out for love, and they remain true to themselves, thus they deserve happiness. 

Happiness comes in four distinct flavors.

 

• Projects are successfully completed, or are willingly abandoned if the character realizes the project was wrong.

 

• Acceptance and forgiveness are obtained. 

 

• Information is revealed, lies are exposed, and any deception in others is punished.

 

• Significant changes that previously seemed impossible now occur.

 

Next, to wrap up the story, I look for a "gimmick".  This is something that ties the whole story together and gives it a unified sense that just "feels right".  Maybe it's a word or phrase that's repeated throughout the story.  Maybe it's a special location, or a precious memory.  Maybe it's an action, a sound, or a certain look.  It's something that was introduced early in the story and which now gives us that important "before and after" glimpse at the main character.  In the beginning the character had problems and faced unhappiness.  That was "before".  Now, "after" the events of the story, the character is well on the way to resolving any problems and happiness is real.

 

Making a Story Framework

 

In story planning, I rarely -- if ever -- start planning from the beginning.  Instead, I focus on the dramatic "turning point" I'll use in a story, the point at which my character has to make that crucial decision.  That "turning point" holds all the important keys, showing what's important in the story, showing how the character changes and what lessons are learned.  Once I know that, I know what the story is going to be about.

When I know what decision will be made, I can understand who the character is.  If she must choose between playing it safe and taking a risk, I know she has to be conservative and cautious at the start of the story.  If she must choose between following her dreams or sacrificing those dreams for love, then at the start of the story, I have to show what her dreams are and what they mean to her.

In other words, by knowing the decision, I know the problem.  I now have 2 of the 4 elements in place.

Next, I consider how the problem might develop ... and how to convey that information to the reader. Did the problem begin in the past? What caused it?  Or is the character experiencing problems in the present? How is she/he dealing with the problem? Is it a problem waiting to happen? What needs to be done to prevent unwanted consequences?

I don't spend a lot of time planning or plotting the problem development.  I've found that once I've written the opening and have presented the problem, I can usually see a logical pathway from there to the big decision.  I trust my instincts, write what comes to mind, and as long as I stay focused on where I'm going -- that big decision -- it usually works.  If not, maybe I need to rethink the premise and the problem.

With those 3 elements in place, giving my characters what they deserve is simple.  I never plan this part out ahead.  I like getting to the ending and being thrilled to see the special gifts they get.  Sometimes I actually cry right along with my characters as I discover the pleasant little surprises they find.  Then, I wipe the tears from my eyes, grab a gimmick and turn it into a happy ending.

That's how I write my stories.  If any of my ideas are helpful, feel free to use them.   Writing can't really be explained, and how-to-do-it can't be reduced to a series of rules.  But maybe you can find some guidelines here that will help you turn your ideas into finished stories.

 Want more tips on telling stories?

 Click here to learn the four basic story premises for romantic fiction.