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Writing Fundamentals: The Craft of Story
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Explanation (Uncovering your protagonist's inner issue)


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Writing Fundamentals: The Craft of Story

with Lisa Cron

Video: Explanation (Uncovering your protagonist's inner issue)

We've been talking about how important it is that the reader immediately gets a sense of your protagonist's agenda, what she wants, why she wants it, and a long-standing fear that she'll have to overcome to get it. Question is, how the heck do you know what those things actually are? The answer is by digging in your protagonist's backstory. After all, you can't filter everything that happens through your protagonist's worldview unless you know what her worldview is. While writers often balk at the idea of outlining or developing their characters before they begin writing, this is the key thing that can cut down on rewriting time.
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  1. 2m 40s
    1. Welcome
      1m 45s
    2. How to use this course
      55s
  2. 9m 38s
    1. Explanation (What is a story?)
      3m 34s
    2. Example (What is a story?)
      4m 14s
    3. Story check (What is a story?)
      1m 50s
  3. 8m 46s
    1. Explanation (Hooking your reader)
      3m 51s
    2. Example (Hooking your reader)
      3m 19s
    3. Story check (Hooking your reader)
      1m 36s
  4. 8m 51s
    1. Explanation (All stories make a point)
      2m 56s
    2. Example (All stories make a point)
      3m 54s
    3. Story check (All stories make a point)
      2m 1s
  5. 9m 33s
    1. Explanation (Feeling what the protagonist feels)
      3m 43s
    2. Example (Feeling what the protagonist feels)
      3m 19s
    3. Story check (Feeling what the protagonist feels)
      2m 31s
  6. 7m 6s
    1. Explanation (All protagonists have a goal)
      2m 36s
    2. Example (All protagonists have a goal)
      3m 9s
    3. Story check (All protagonists have a goal)
      1m 21s
  7. 7m 37s
    1. Explanation (Uncovering your protagonist's inner issue)
      2m 53s
    2. Example (Uncovering your protagonist's inner issue)
      2m 27s
    3. Story check (Uncovering your protagonist's inner issue)
      2m 17s
  8. 9m 58s
    1. Explanation (Being specific rather than vague)
      4m 51s
    2. Example (Being specific rather than vague)
      3m 33s
    3. Story check (Being specific rather than vague)
      1m 34s
  9. 9m 3s
    1. Explanation (Suspense and conflict)
      3m 29s
    2. Example (Suspense and conflict)
      4m 6s
    3. Story check (Suspense and conflict)
      1m 28s
  10. 10m 35s
    1. Explanation (Cause and effect)
      4m 0s
    2. Example (Cause and effect)
      4m 16s
    3. Story check (Cause and effect)
      2m 19s
  11. 11m 50s
    1. Explanation (What can go wrong, must)
      4m 42s
    2. Example (What can go wrong, must)
      5m 0s
    3. Story check (What can go wrong, must)
      2m 8s
  12. 10m 59s
    1. Explanation (Setups, payoffs, and the clues in between)
      4m 19s
    2. Example (Setups, payoffs, and the clues in between)
      5m 6s
    3. Story check (Setups, payoffs, and the clues in between)
      1m 34s
  13. 11m 7s
    1. Explanation (Flashbacks, subplots, and foreshadowing)
      4m 56s
    2. Example (Flashbacks, subplots, and foreshadowing)
      4m 20s
    3. Story check (Flashbacks, subplots, and foreshadowing)
      1m 51s
  14. 1m 49s
    1. Next steps
      1m 49s

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Writing Fundamentals: The Craft of Story
1h 59m Beginner Jan 31, 2013

Viewers: in countries Watching now:

In this course, author Lisa Cron digs into the craft of writing a compelling story based on what the brain is wired to respond to in every story we hear. Whether you're writing a story from scratch, or revising your story for the umpteenth time, this course offers practical how-to advice, then illustrates it using before-and-after examples. Discover how to craft a first page, zero in on your story's point, create empathy, find a character's secret goals and inner issues, translate generics into specifics, write for suspense, create cause-and-effect connections, build momentum and tension, and deftly implement setups, payoffs, flashbacks, subplots, and foreshadowing.

Topics include:
  • What is a story?
  • Hooking your reader
  • Feeling what the protagonist feels
  • Being specific
  • Creating suspense and conflict
  • Writing flashbacks and subplots
Subjects:
Business Collaboration Presentations Business Skills Writing Communication
Author:
Lisa Cron

Explanation (Uncovering your protagonist's inner issue)

We've been talking about how important it is that the reader immediately gets a sense of your protagonist's agenda, what she wants, why she wants it, and a long-standing fear that she'll have to overcome to get it. Question is, how the heck do you know what those things actually are? The answer is by digging in your protagonist's backstory. After all, you can't filter everything that happens through your protagonist's worldview unless you know what her worldview is. While writers often balk at the idea of outlining or developing their characters before they begin writing, this is the key thing that can cut down on rewriting time.

But this kind of preparation doesn't have to put a crimp in your creativity, and it definitely doesn't have to include one of those long births to death character bios. Here's the secret: you're only looking for information that affects the story you're telling. If a story is about the protagonist facing a specific long-standing problem or fear in order to get what she wants, then what you're looking for is the root of that problem. You want to pin-point two things. First, what specific event caused her problem or fear in the first place? Second, what event triggered her desire for the goal itself? The trick is to then trace how these two competing forces shaped her life up to the moment that the story begins.

That's what makes digging into your character's past so essential. Truth is, everything a character does is based on their interpretation of the events. After all, we don't see the world as it is, we see the world as we are. For instance, Olive thinks that everyone is only in it for themselves, thus the nicer people are to her, the more she is sure they're only out to con her. So, knowing how your protagonist sees the world and where and why her interpretation is off is what allows you to create a compelling plot that will force her to come to grips with her mistaken end belief.

Remember, a story is about change, things start out one way and end up another. The information you'll unearth is the protagonist's before, which you can then weave into the story so the reader understands what she's changing from. The beauty of knowing these things is that it will also reveal something that writers often struggle to nail down: when exactly did your story start? The answer is it starts the moment life will no longer let the protagonist avoid her fear, not if she wants to achieve her goal, that is.

And this is the brilliant thing, unearthing the root of your protagonist's inner issue will tell you what she has to learn at the end of the story in order to succeed. Now let's go to the next movie to see how it's done.

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