StoryNotesNewsletter

ISSUE #14:

(This is a continuation of the
article which began in Issue #12; see
the online archive at yahoo-groups if
you did not receive or save Issues 12-13:
http://groups.yahoo.com/group/StoryNotesNewsletter)


PART 3 (OF 3):

BACKSTORY AND THE


* * * B A C K S T O R Y E V E N T * * *



BACKSTORY EVENT, INNER NEED, & KEY FLAW

Quite often it is this troubling, sometimes haunting
Backstory Event that creates the character's Inner Need. That is
(as described earlier), it leads the main character to feeling
incomplete in some way -- it causes a void, an emptiness, a lack
within the character. Or it creates a kind of emotional,
psychological wound.

And it is out of that unmet need and/or unhealed wound that
the Key Flaw is born, as a kind of would-be survival or defense
mechanism -- but which turns out to be counter-productive.

Sometimes, the Backstory Event creates the Inner Need and the
Key Flaw at the same time.

And of course, all of this relates to the Character Arc. The
issue from the past must be resolved or overcome. The void must
be filled, or the wound healed -- and the Key Flaw vanquished --
before this character can live a relatively happy life and
sustain healthy relationships.

ONE OF THE TOP TEN EVENTS?

In the opening of this article, the statement was made that
some would consider a Backstory Event to be one of the ten most
important events in a story.

While that's certainly not true of all movies, we can see
that it may be valid for many. The top ten events would
generally include the Inciting Incident, the End of Act 1,
perhaps a key Midpoint scene, an event or two at the End of Act 2
(we're supposing a 3-Act structure here), and the Climax
Resolution. And two or three other significant events --
complications, revelations, twists, major advances or setbacks --
that are crucial to the story. Since story and plot are not
quite the same thing (the plot is the story as its been organized
and presented), it would often be the case that the initial event
of the story would be seen as extremely important to the story,
and yet the plot starts after that event.

The fact that friendly aliens have landed on Earth (to
inspect our habitat and to collect plant samples) is certainly a
crucial story event in E.T. -- but it's the main-story BSE; the
plot begins after that point. The fact that The Company has
directed the space barge to investigate an alien presence (and to
bring back samples -- the crew is expendable) could be considered
one of the most important events in ALIEN -- but it's the
Backstory Event. It's not shown, or even revealed until late in
the film.

In IN THE LINE OF FIRE, a rogue agent runs afoul of the CIA
and they try to kill him, and then he decides to kill the
president. Those are certainly key story events, but in the
plot, they are Backstory Events. The movie starts after that
point.

The successful cloning of dinosaurs is a major story event in
JURASSIC PARK -- but when the movie starts, that's already
occurred (wisely).

The same is true with ORDINARY PEOPLE, POLTERGEIST,
CASABLANCA, and THE MATRIX -- the foundational story events in
those films would likely be listed as one of the top ten events,
maybe even as one of the five most important events in the story.
And yet they are Backstory Events. And effectively so.

So it can indeed be argued that a Backstory Event is one of
the key story events -- maybe even one of the top ten events --
in many films. At the very least, it's definitely a relevant and
significant event, and yet it happens prior to the start of the
movie.

SUMMARY

For now: consider providing your main character -- and your
story -- with a key Backstory Event. In some ways it's like an
Inciting Incident or Catalyst -- one that happens *before* the
beginning of the film. Doing this helps you get the movie
started more quickly, because now you're not starting at the very
beginning; you're jumping in a ways past that point. Some
threads of the story are already in place. You can enter "In Medias
Res" -- in the middle of things. A further advantage: it
allows you to end your first act within the first half-hour.

Finally, the Backstory in general and a personal Backstory
Event enhance characterization. By providing a sense of a past,
your character will seem more real, for when that is important.
In addition, your main character will likely be more complex,
more interesting, and more of an individual.

It can also shed light as to why your character is the way he
is. *A personal Backstory Event helps to explain your
character's beliefs, values, attitudes, goals, and actions*. It
helps provide *motivation* for the goals set and the actions
taken by your main character.

And the personal Backstory and Backstory Event relate to
Inner Need, Key Flaw, and Character Arc. All of these are great
character-building tools, and their inclusion can greatly enrich
plot development and story structure.

As long as you don't spend too much time just talking about
and verbally informing us about the Backstory and the key event
within it, this can be a wonderfully helpful aspect of character
and story to explore before you begin writing.

You can have a personal Backstory Event, or one that is more
situational in nature -- a main-story BSE. Or both,
simultaneously or separately.

Think over ten of your favorite films. Are there one or more
events from the main character's past that have influenced and
continue to affect that character? Or a past event not directly
involving your main character (as yet) which has led to the
opening situation, or which will lead to the situation that forms
the basic concept of the story? Or both -- a personal and a main-
story Backstory Event?

It's likely you will see this in at least half of those
films, probably about two-thirds of them. And in most of those
where you don't, chances are the equivalent to the Backstory
Event plays out in the opening scene or two, as a prologue.

When developing your next screenplay story, consider whether
or not this could be helpful. Most of the time, it's best not to
start at the very beginning of the story. Consider starting *after*
a personal, Main-Character Backstory Event, or after a
Main-Story BSE. Or both.

Let the past be prologue to the present. The odds are good
your story will be the better for it.

# # #


Copyright Jeff Newman, 2001


JEFF NEWMAN is a screenplay consultant -- rated #2 out of 17
script analysts reviewed and ranked by "Creative Screenwriting"
(March-April 1999).

Author's Note: I now offer a $300 screenplay evaluation,
consisting of on-script notes, a tape recording elaborating on
the notes, 10 pages or more of written evaluation (6 pages or
more of written commentary, and a 4-page checklist), and a
follow-up phone consultation.

For details, and info on my other evaluation services, please see
my humble homepage: http://www.storynotes.net

To read my bio, scroll down to the very bottom of the home page
and click on "Credentials."

There is also a "Testimonials" link -- feedback from some writers
who have used my evaluation services. If you'd like, you may
call me in Los Angeles at (310) 715-6455.

To see other of my articles on screenwriting, go to:

http://hollywoodnet.com/StoryNotes/films.html

http://hollywoodnet.com/StoryNotes/board.html

http://creativescreenwriting.com/storynotes/storynotes.html


* * * *

SCREENPLAY CONTEST and HIGH-CONCEPT SEMINAR:

CONTEST

Screenplay.com and Scriptapalooza CALL FOR ENTRIES with a Grand
Prize of $25,000.

Scriptapalooza is currently accepting screenplay submissions for
its 3rd Annual Competition. Deadline is April 16, 2001. Visit
http://www.screenplay.com or http://www.scriptapalooza.com for
complete details.


A SEMINAR ON "HIGH CONCEPT"

Steve Kaire will conduct a "HIGH CONCEPT SEMINAR" in Los Angeles
on Saturday, April 28th. Producer David Permut ("Face/Off")
said, "Steve Kaire is a one-man story department and a master at
creating potential blockbusters."

For more information go to:

http://www.workspot.net/~stevekaire/


* * * *


QUESTIONS? COMMENTS?

Suggestions? Criticisms? Compliments? Caveats?

I'd like to hear them. If I think they would be of interest
to others, I'll post a special issue along with my replies. Send
them to: storynotes@...

I hope you've found this article of interest, and that it
proves helpful in your present and future scripts.

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