So far in this series, we’ve looked at the difference between a TV Series Pitch Bible and a Series Bible, and how to develop the first of these. Now let’s look at how to expand your initial efforts into a broader, more complete bible to serve as a receptacle for all the details and elements contained within the series.
Learn what to include in your writer’s Series Pitch Bible for television and novels. What to include and why. How to format it and where to find samples. Part II of III.
The final story issue in our series concerns inconsistencies in your story, series, and world. In other words, contradicting facts in your story’s canon.
Identifying and avoiding story-related issues in your writing that weaken the experience and characters. While the following list is not exhaustive, it does reflect some of the most glaring issues facing stories today. Ignore them at your peril. Three are character based and the final issue affects every aspect of story. This is part one of a three-part series. More to come.
In the first part of this series, we looked at the definitions and purposes of concept, premise and story. Now let’s look at how to build a good premise and break down one of the previous examples to see how the author built a stronger story from her concept and premise.
Concept, premise and story are not the same things. Confusing them or using them interchangeably is a common mistake, but one that weakens writing. In this two-part series, we’ll explore what each of these terms means and how to use each technique to build stronger stories.
Themes enhance stories, making them more meaningful. It’s theme that makes a story linger in your memory. It’s theme that provides the touchstone for what happens. It’s what informs everything that follows the opening sequence. Themes matter to the story and your writing. But most of all, theme matters to your characters.
Scenes make up stories. They are the building blocks that form narrative. As writers, we stack scenes together to tell a particular tale. How we write, build, and stack those scenes matters.
In the last blog we defined throughlines, loglines and taglines. Now let’s look closer at throughlines—the most important of the three.
The throughline is a single thread that winds through your story and off which everything else hangs. It drives the writing and organizes the plot, action and character development. The throughline is the main motivation driving the protagonist toward the ending. It is what holds your story together so it can be a story instead of a random collection of anecdotes and scenes. A good throughline is how you propel your story forward in a way that makes sense.
In Part I of this series, we examined some ways to dig deeper into your characters’ motivation and figure out their stakes in the plot. Now let’s go even farther by asking your characters:
The only thing that matters in fiction is why. Why does what is happening matter to the protagonist and other characters? Why should we care? It’s not enough for things to happen to your characters. You have to know what it means to each of them and how it affects their lives. This means you need to know what makes your characters tick. Why they make the choices they do. Why they react the way they do. Why they don’t just walk away.