Writers Tricks of the Trade ISSUE 3, VOLUME 7 - Page 33

WHAT ARE THE CONTOURS OF YOUR STORY ? (C ONT ’ D ) B UILDING B ELIEVABLE outlined. Use A them as outlines. There is the Journey Story and how old is that baby? But it serves great purpose. Use it, don’t defuse it. Set your character(s) on a journey as in King’s IT – Available on Amazon “C ONTROL ” THEN fears CLICK “BUY” TO PURCHASE ANY BOOK the journey of returning to P RESS one’s childhood to face them down. George Lucas’ Luke Skywalker is asked to do the same. Sometimes the journey is what happens on a bus ride across a continent, one obstacle after another. There are archetypal story SHAPES that you should use. The Buddy film, the romantic Comedy, the Fish Out of Water films such as…well just fill in the blank. As a young author, I railed against these shapes like the Wolf at the Door tale, or the Mythology of the Gods with their moralistic endings in the false belief that I could create a unique Good vs. Evil-shaped story, but the Good vs. Evil had then to be utilized, not disparaged. Still I wanted to create unique Shapes of my own. No, there is no new shape to be made, only what you can do within the context of a shape (or two or three used in same work). “Every story under the sun has been done” really refers to the OUTLINE, the Form, the Shape. The poets and playwrights have their shapes and formats to conform to as well, for instance, the Sonnet or the Haiku. Pretty tight formats, but within them uniqueness happens. Shakespeare creates an entire play in iambic pentameter, damn! But he did so using Romantic Tragedy perfected by t ɕ̸)$ՑЁݡͥѕѡЁAձѡ$ͭ)ᅵѼݡѱɕݥѠѡͥݽɐ胊q%PQͥ)ݽɐ%PѡЁЁɕեɕ́a͡dȁɴQչѱЁѽ͕)䁙а$Ѽɕ七q ЁݡЁ͔́%P]Ё́%P]Ё́Ѽ)ݥѠ%Ṕ%Pх́ݥѡЁ͡ȁѥѼѡѡЁ)ɔ%Pt%͡а$ͽչɕѕѡѥѡՑЁЁѡ̰)$ٕȁͅ܁ݡ݅́ͅЁ́$Ё)ɥѕѡͅ=]ɐÁ䁹ܰḾ=ٕɅ5)!ɽٕѡɕᅵͽɕѥ䁽ɍɅѥ)ɹɽɥѕ́ѡɽ՝Ёѡ̰ѕȁݡɕ́ɔѡ)ѽ䁽ѥѡЁ́ɔ)Qɔ́ѡIٕхѡɑȁѕ䰁ѡɽȁѽ䁙ȁ)ɕͽ́ѽ́ѼɔѡɬͥѡյѥЁ́)ɽѥ䁅ѡȁɵ́ɔѡɥѕȁͥյ丁5䁙)٥Ѽչѡ́́ͥQɸ܁ѼЁͼե䁅)ɽѱ䰁ͥЁݸɥє5ѕ䰁ȁݥѡѡ́ѡ́)͡ԁЁȁɕ͕́ѼЁЁѼٕѽ履)ѼЁѽЁѽɅѕȁͭэQ́͡ѡ͡)ɍ̰́́́ɽȁ͍ѥѕɹѥٔѽѼɅ͔)Օѥ͍́ѕȁѼѡɕЁѡѽ䁅ݕɥ)ѡ͔Օѥ̸%ѡɽ́ݽɭѡɴ͡ѡ)\I%QILdPI% -L)=Q!PI)ɴ͡(̤)́ȁѡɕȁѼхѡ)Ʌ)ݸݥѠɔ10)@()́ѡ͡ɽ٥́ɥ䁽ѡɥ͕́ѡѡȸ