StoryNotesNewsletter #4:


(This is a continuation of the
article which began in Issue #1; see
the online archive at e-groups if you
did not receive or save Issues 1-3:
www.egroups.com/StoryNotesNewsletter)


PART 4 (of 4):


THE KEYS TO SUCCESS FOR PROTAGONISTS & SCREENWRITERS


TEST IT

You won't fully accept this success paradigm unless you put it
to the test – several, in fact.
So look back at the first, shorter version of this list of
actions and attitudes (or at the summary version that follows) and
think of a movie that you have seen a dozen times or more. Go down
the list, and see how many of these steps or traits were used in
that movie. Probably most, if not all.

One example isn't enough. Do this for several movies you are
very familiar with – choose a few recent ones, and some classics.
You will again see that most, if not all, of the steps were used.
Finally, go ahead and get out a movie you know well from your
collection. Play it – in fast forward, if you're in a hurry
– and look for examples of these character traits rising to the
fore, or for the actions described. Think about the movie in terms
of these factors for success.

You will find that this success paradigm acts as a kind of
underlying, supplementary structure, as well as a secondary theme,
to most movies, past and present. And to quite a few plays,
novels, and epic poems.

USE IT

What is the reason most (or usually, all) of these traits and
action steps are in movies about an outmatched character who
succeeds against the odds? It's because these are actually the
traits and steps needed for a real person to achieve difficult
goals.
By including most, or if appropriate, all of them in your
script, your story will be more believable. And there are other
reasons to include them, as well.
You will be adding variety to the story action.
The emotional palette will likely be broader and more intense.
Your characters will gain more dimension.
In addition, the audience members will receive, in hidden
form, a design for success – one that, they sense, could make a
big difference in their lives. Just as it could to yours.

One last reason why this list can be valuable: it makes for a
powerful brainstorming tool. By thinking about each item in terms
of your story and main character(s), ideas will likely spring into
your mind.
It's an idea-generator. And not just in the early pre-writing
phases. It can also be used as a guideline-checklist after you've
completed the first draft, in preparation for the next draft.
Sometimes adding that one last missing trait or step (again,
if appropriate to your character and story) can make a significant
difference. It can remove a "thin" quality that you sensed was
present but weren't sure how to correct. It can add a bit more
interest or emotion. It can help to more fully dimensionalize your
main character.

In short, utilizing this formula for success can add vigor and
variety to your script, as well as plausibility.
For members of the audience, it can help to satisfy the hunger
for solutions to life problems; it can be a model for achieving
elusive goals.

To expand on this last point ...

THE STORYTELLING MISSION

Seeing this portrayed in any one movie or book will not likely
make many people cry "Eureka!" as they suddenly notice this helpful
process (or some part of it) and perceive its value – but it might
happen with a few.

"Maybe if I were more persistent."
"I'm just working blindly; I don't have a plan."
"I don't use my head enough; I've got to start working smart."

"I'm not trying hard enough; I've really got to give it all
I've got."
"I gotta shrug off all the naysayers; I don't care if they
make fun of me."
"I'm trying to do it all on my own; that won't work."
"I've got to be willing to sacrifice more if I want to pull
this off."

Certainly, with some, thoughts like these will spring to mind.
And after viewing numerous movies where this model has been
incorporated into the story, no doubt many people will glean the
insights and value that it offers.

Granted, it's not our primary responsible as storytellers to
"help" our audience – although most themes are meant to provide
some level of increased understanding. Our main purpose is to
entertain. This model, however, takes nothing away from the
entertainment aspects of a story. This can be used with most story
concepts, and with marvelously diverse characters. It tends to
enrich plots, not weaken or burden them. Most of the time, it
makes a story *more* entertaining, not less.

The fact it can help many viewers to deal better with problems
in their lives and to achieve difficult goals is simply a welcome
bonus. And remember: one reason many people enjoy stories is to
learn about problem-solving and goal-achievement.

VARIATIONS & EXCEPTIONS

While this paradigm is compatible with most stories and will
enhance them, it must, of course, be flexible.

Sometimes when dealing with a particular character or theme,
one of these traits or steps will be purposefully excluded. That
will happen more often in stories with a sad, bitter, or tragic
ending, or a mixed (bittersweet or ironic) ending. In these
stories, the exclusion of one or more of these attitudes or actions
will be part of the thematic point. The failure, limited success,
or success at too-great cost may be seen as partially due to pride,
inflexibility, moral corruption, excessively clinging to old ways,
passivity, half-hearted or unfocused efforts, etc.

In other words, these stories emphasize traits or actions that
cause the character or characters to omit some of the needed steps,
or which contradict some of the needed attitudes. These stories
become, amongst other things, a demonstration of what can happen
when one or more of these attitudes and actions are not utilized.
In effect, these stories are saying "Here's what can happen
when pride prevents one from seeking needed assistance." Or "Those
who don't think thoroughly, and thus rely on old or lazy ways of
thinking, are doomed to failure." Or "A lack of courage results in
caving in to the unfair desires of the group, leading to mediocrity
and misery." These statements may not be the primary theme, but
they generally relate to the main theme and complement it.

One other variation: any of these traits or steps, taken to
extreme, can be counter-productive. Excessive persistence can
become foolish stubbornness. Seeking help could lead to over-
reliance on others. Total commitment could lead to blind
obsession. Willingness to suffer when necessary and/or the need
for maximum effort, if extended for too long a period, can become
punishing and dangerously self-destructive, even physically self-
abusive (and thus lessen odds for success or even survival).
Excessive courage can lead to recklessness. The extreme form of
these behaviors can be as bad as their absence.
This can sometimes be effectively incorporated into the story.
If this excessiveness leads to failure, that becomes part of the
theme. If the excessiveness is eventually tempered, then, prior to
being corrected, it can create both internal and external
conflicts, as well as emotion and suspense.

Finally, what about stories that feature an opponent or
competitor? It turns out most of these attitudes and actions will
apply to that character, too. The failure of the adversary (when
such is the case) will often be due to some character defect that
overrides these traits and steps, or from the extreme, excessive use
of one of them, or from the absence of one.
For instance, antagonists are often relentless (a mixture of
persistence and total commitment). Usually they have clear goals
and often well-formulated plans for achieving them. They often
enlist the aid of allies. And so on. For an opponent to be
worthy, challenging, and a threat in some way to the main
character's goals, this needs to be the case.

Thus, this paradigm can be helpful for a wide range of
stories. It can be flexibly applied. Sometimes one or more mental
states or behaviors will be missing, and that will lead to failure.
Other times the danger will come from an extreme application.
For most stories, most or all of these traits and steps will
be both appropriate and beneficial to the story – and to the
characters within them who are struggling to solve tough problems
and/or striving to achieve difficult and important goals.

Before ending with a summary of this paradigm, let's recap why
a conscious knowledge of this can be helpful to many stories:


REASONS TO USE THE "SUCCESS PARADIGM"


1. CREDIBILITY: the paradigm is a realistic portrayal of the
character attributes and action steps needed to achieve difficult
goals. If an outmatched character is, indeed, ultimately
successful, this model makes that success more believable.

2. INSIGHT: this list of attitudes and actions which enable an
outmatched person to do great deeds displays authorial
understanding, and can lead to helpful insights on behalf of the
reader or viewer. Thus, this tends to act as a complement to the
story's theme; it's a secondary theme.

3. CHARACTER: knowledge of these traits and steps can lead to the
creation of a more complex, fully rounded character – and to a
character who is better suited to carry the weight of being a
protagonist. These would not generally be primary character traits
(although they could be); they are supplementary traits that add
dimension.

4. VARIETY: weaving some (or, when appropriate, all) of these
traits and especially the action steps into a plot will almost
inevitably create more variety in terms of the nature of the events
depicted than would otherwise have been the case.

5. ENHANCE AUDIENCE INVOLVEMENT: readers or audience members will
respect and admire characters who hold these attitudes and take
these actions. Even if a character is basically unsympathetic, now
at least there will be a grudging respect and partial, limited
admiration. If the character is flawed but primarily likable,
then, when this model has been utilized in the course of the story,
the audience will pull that much more for the character's success,
and rejoice that much more in the eventual victory. Thus, this
enhances the audience's engagement with the characters, and their
overall emotional response.

6. BRAINSTORMING TOOL: this serves as an idea-generator while
developing the plot. It can be useful in the rewriting process, as
well.

7. A BEHAVIORAL MODEL: this can act as a slightly helpful,
perhaps even an invaluable guide for readers and viewers. Since
one reason that people are drawn to stories is to learn how other
people, real or fictional, solve tough problems and accomplish
difficult goals, weaving this model into your story can enhance its
appeal to audiences.


Seven reasons, any one or two of which would be reason enough
to study this model, to see how it's been utilized in many films,
present and past, great and "merely" fun ... and to consider its
inclusion with your present and future stories.

Not all traits or steps will be right for a given story. But
usually most of them will be not only compatible, but beneficial.
And quite often, all of them.

The "Recipe for Success": what works for your main characters
can be a winning formula for you, too.

How can you apply this prescription for success to your
current script – and to your career?


SUMMARY:

THE SUCCESS PARADIGM


1. GOAL: Have a clear-cut goal.

2. STRONG MOTIVATION: Be strongly motivated.

3. TOTAL COMMITMENT: Be fully committed.

4. PLAN: Come up with a good plan.

5. PERSISTENCE: Be intensely persistent.

6. WITS: Use your head; be clever.

7. SUFFERING: Be willing to endure pain.

8. STRENGTH AND SKILLS: Whatever you have, use it.

9. ASSISTANCE: Seek or accept help when needed.

10. MAXIMUM EFFORT: Give it all you've got.

11. MORAL FACTOR: Listen to your conscience.

12. COURAGE: Summon up physical or emotional courage.


# # #


Copyright Jeff Newman, 2000



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.

ABOUT THE AUTHOR

To read my bio, go to my website by clicking on the following
link:
www.storynotes.net
If it's not clickable, then type www.storynotes.net
Once there, scroll down to the very bottom of the home page
and click on "Credentials."

If you'd like to investigate my screenplay evaluation service,
see the homepage at the above site, and the "Testimonials" link.
If you'd like, you may call me in Los Angeles at (310) 715-6455.


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