Story Line

by Jennifer Grisanti

  Many of my clients ask me what components I feel can make or break the success of a story. The establishment and placement of the goal and dilemma is always my biggest concern. This is why I ask writers to start by writing their log line. Your log line will show you how to best construct your story lines and will reveal what isn’t working in your story. The exercise of writing a log line for your life that the previous chapters have walked you through was designed to teach you how to define pivotal moments in terms of dilemma, action, and goal. By thinking of your story lines in terms of dilemma, action, and goal, you are forced to start organizing your thoughts into a certain structure. This prepares you to write your script.

  All of my favorite current features, The Hurt Locker, Avatar, Up in the Air, and 500 Days of Summer, have a clear goal/dilemma. In every single one of these movies, I know and understand what the goal/dilemma is nearly immediately, and the story engages me from the very first moment. Also, each of these films establishes empathy for the central character before the goal is set. Your audience needs to be able to answer the question, “Why do I care?” If you can’t answer that question, your audience certainly won’t be able to.

  In The Hurt Locker, we feel empathy immediately because the movie begins with the death of a leader, Thompson (Guy Pearce), who dies in the line of duty doing what our central characters are doing. This heightens the stakes from the start. There is an overall goal set, as well as individual goals for all three characters, Will James, J. T. Sanborn, and Owen Eldridge, that stem from the dilemma they face after Thompson dies. The overall goal is to succeed at their mission of dismantling IEDs and finishing their rotation. Within the establishment of this external goal, each character has his own goal. James’ goal is to try to fill the shoes of the former leader and dismantle as many IEDs as possible while staying alive. He is driven by the adrenaline rush of the job. This relates back to the words that start the movie, “War is a drug.” It is also felt when he explains the best way to dismantle IEDs to a high-ranking officer: “The way that you don’t die, sir.” This gives us so much insight into his character, while firmly establishing his goal. Sanborn’s goal is to protect his leader and complete the mission. This is revealed when Sanborn tells James, on page 30 of the script, “My job is to keep you safe so we can keep going on a mission.” Another dilemma comes up at the midpoint. This is when Sanborn suggests killing James as a way for he and Eldridge to save their own lives. We understand this dilemma, because by this point, James has shown that he is a reckless wild card, yet Sanborn wants to protect his leader, and Eldridge wants to remain alive despite feeling that he will be killed due to James’ lack of caution. This movie really shows the value of the use of dilemma in story. The setup of these characters is so clever because, at first, it feels like James is the antagonist to Sanborn’s goal. Then, James becomes the main protagonist. As for Eldridge, his goal is not to die. After losing his leader at the beginning of the movie, Eldridge becomes obsessed with death. Since the goals in this movie resulting from a strong dilemma are so crystal clear, you understand the depth of this experience so much more.

  In Avatar, we feel empathy for Jake from the beginning of the story for several reasons: his physical condition—he’s paralyzed from the waist down; his emotional condition—he discovers that his twin brother died; and his mental condition—his crippling self-doubt when completing his twin’s mission. The goal is clear. First, he needs to fill his brother’s role on a hazardous mission. Then, he will get his legs back. To do this, he has to obey the bad guy. So, one side of his dilemma is that if he does what the bad guy asks him to do, he will get his legs back. We soon discover the other side of his dilemma. If he does what the bad guy asks him to do, he will have to betray his new love interest. Which is more important, his external goal or his internal goal? This is a very strong dilemma because of the high emotional stakes involved.

  In Up in the Air, Ryan’s goal is to avoid being grounded. This is accentuated by his goal of getting 10 million frequent flyer miles. This goal is brought to the forefront in so many ways. He refers to his “home” as being in the air. He uses the lines “Moving is living,” and “The slower we move, the faster we die.” His dilemma arises in the shape of Natalie Keener (Anna Kendrick), a young overachiever who recommends that the company replace people like Ryan and conduct firings via remote computers. In order to prove his worth, he has to take Natalie with him into the field. One side of the dilemma is that if he and Natalie do get grounded, he has to learn how to be comfortable in one place, which feeds into his fear of his own mortality. This is why he develops the goal of showing Natalie the value of being in the air and of firing people in person. If he doesn’t succeed, he will be grounded and forced to face his own mortality. This idea is reflected upon even further when his sister’s fiancé gets cold feet. Ryan is asked to give him guidance and consequently has to confront his own personal fears. The fiancé fears marriage because he feels that this is the beginning of the end, meaning it starts the process of death. Ryan feels this way about marriage, commitment, and being grounded. This is an excellent example of how a goal and a strong dilemma work well for the overall experience of a strong story.

  In the movie 500 Days of Summer, we start in the middle of the story as Tom (Joseph Gordon Levitt) deals with the breakup of his dream relationship. Tom’s goal is to get Summer (Zooey Deschanel) back. We immediately sympathize with Tom because the movie starts by showing us how he will react to the breakup. We’re also informed that “this is not a love story.” Then we’re transported to the day that Summer and Tom met and we learn how it all began. The rest of the film skips back and forth in time, giving us a sense of what led to the demise of the 500-day relationship. Because the film opens at an early point in their rocky relationship—which leaves Tom with enough time to win Summer back—the movie gives us a great setup for dilemma. The dilemma is that Tom thinks Summer is “the one,” and we later find out that Summer doesn’t feel that Tom is “the one” for her. How do we make someone see us in the way that we see them? While the movie doesn’t have a typical ending, it still has a lot of emotional resonance. We’ve all been on the receiving end of this blow. We can either be the victim, or we can get back up, armed with the lessons we learned, and try again.

  Many movies have several goals and dilemmas. In Star Trek (Paramount, 2009), there is a constant setup of goal and dilemma throughout the whole movie. We feel immediate empathy for young Kirk because, at the beginning of the film, we see his father sacrifice himself for his fleet, his wife, and his son. It is this choice made by his father that haunts and drives his son. Additionally, there is a continuous flow of goals and dilemmas in his relationship with young Spock. The emotion is escalated by the cleverness of the story structure and the constant twists and turns.

  In television, a standout pilot and series is also often tied to a strong goal and dilemma. In the pilot White Collar (Fox Television Studios), the structure of the story works so well because of the clear establishment of the goal and dilemma. First, I will give you a description of the show. Then, I will take you through the pilot episode and show why the dilemma and the goal work so well in it.

  White Collar is about the unlikely partnership of a con artist and an FBI agent who have been playing cat and mouse for years. Neal Caffrey (Matt Bomer), a charming criminal mastermind, is finally caught by his nemesis, FBI Agent Peter Burke (Tim DeKay). When Neal escapes from a maximum-security prison to find his long-lost love, Kate, Peter nabs him once again. Rather than being returned to jail, Neal suggests an alternate plan: He’ll provide his criminal expertise and underworld connections to assist the Feds in catching other criminals in exchange for his eventual freedom. Initially wary, Peter quickly finds that Neal provides insight and intuition that can’t be found on the right side of the law.

  In the teaser, the dilemma is set up. Neal, a white-collar criminal, has to get out of jail to find his girlfriend, Kate, who broke off their relationship. Peter, the
agent who took three years to capture Neal, learns that Neal has escaped and finds him again by the end of the teaser. Neal shows Peter that his criminal expertise could help solve crimes. In Act I, Neal asks Peter to let him help find the “Dutchman,” an elusive counterfeiter who has eluded Peter for years. Peter agrees to give Neal a shot. They put an ankle bracelet on Neal to track his every move. Neal’s dilemma is clearly established. If he runs (leaves the jurisdiction to go look for Kate), he goes to jail permanently instead of just for four more years. If he helps Peter to find the Dutchman, he could be free forever. Act I ends on the beat of Neal meeting a wealthy woman who gives him a place to live and clothes to wear. All of this makes it possible for Neal to achieve his goal. Act II ends with Neal hitting an obstacle to finding the Dutchman. This in turn creates an obstacle to Neal getting free so that he can find Kate. Act III ends on an obstacle to Neal’s personal goal with Kate because Mozzie, his longtime confidant and connection to the crime world, tells Neal that he hasn’t found her. It also ends on a potential break in the case when Neal asks Mozzie for his expertise on a piece of evidence. Act IV ends on the first major obstacle in the case; they lose the Dutchman, and an “all is lost” moment in Neal’s personal story occurs when he sees a picture of Kate with a man wearing a ring on his finger. Neal fears that he’s lost her again. It is clear in this pilot that the goal and dilemma are what is driving the story. Act V ends with Neal leading Peter to the Dutchman. He didn’t find Kate, but he did help Peter solve the case. This ensures his job with Peter, sets up the series, and establishes that finding Kate will be a season arc goal.

  Another one of my favorite shows that really crafts the set up of a dilemma leading to a goal is Glee (Fox Network). From Ryan Murphy, the creator of Nip/Tuck, Ian Brennan, and Brad Falchuk comes Glee, a new comedy for the aspiring underdog in all of us. The series follows an optimistic teacher, Will Schuester (Matthew Morrison), who—against all odds and a malicious cheerleading coach—attempts to save McKinley High’s Glee Club from obscurity, while helping a group of aspiring underdogs realize their true star potential. It’s a tall order when the brightest stars of the group include Kurt (Chris Colfer), a soprano who hits a high note in fashion; Mercedes (Amber Riley), a larger-than-life diva with a voice to match; Artie (Kevin McHale), a geeky guitarist who rocks and rolls; and Tina (Jenna Ushkowitz), a punk rocker who hides behind her stutter and blue hair extensions.

  Will is determined to do whatever it takes to make Glee great again. Will’s only hope lies with two true talents: Rachel Berry (Lea Michele), a self-proclaimed star who is convinced that MySpace and show choir are her tickets to fame; and Finn Hudson (Cory Monteith), the popular high school quarterback with movie-star looks who must protect his reputation from his holier-than-thou girlfriend and “Cheerios” head cheerleader, Quinn (Dianna Agron), and his arrogant football teammate, Puck (Mark Salling). Everyone else around him thinks he’s nuts. He’s out to prove them all wrong.

  But Will’s only ally is fellow teacher and germaphobe Emma Pillsbury (Jayma Mays). Everyone else—from his tough-as-nails wife Terri Schuester (Jessalyn Gilsig) to McKinley’s scheming cheerleading coach, Sue Sylvester (Jane Lynch)—is another hurdle for him to leap.

  In the episode titled “Hell-O,” written by Ian Brennan, I will go through the setup of the main goal and dilemma that made this a standout episode of television. The brief for this episode is, “Fresh off their sectional win, the Glee kids work on new numbers for regionals. But club cohesion (not to mention Rachel and Finn’s budding romance) is threatened when Rachel becomes involved with a competitor named Jesse.”

  In “Hell-O,” the dilemmas that are set up in the beginning for each story line include the school principal, Figgins (Igbal Theba), telling Will that the Glee Club has to place in the regionals or they will be disbanded. He also tells him that they need to find a new place to practice because the Cheerios (cheerleaders) need the gym. Will argues that they don’t have a coach. Sue walks in and says that she’s been reinstated. As a result of this dilemma, Will decides he’s going to do everything it takes to win the regionals and find a place for Glee Club to practice. At the end of Act I, Will asks Finn to be his new rock star. With Finn, Will feels that he can put Glee Club in a strong place to win the regionals. Sue puts her plan into play by getting two of her Cheerios to ask Will on a date. Since Finn is dating Rachel, Sue puts her plan into action in hopes of splitting up Finn and Rachel which she feels will lead the Glee Club to lose. This is a goal for Sue that comes from the dilemma that the Glee Club beat the Cheerios at the sectionals. It also serves as an obstacle to Will achieving his goal. In Act II, Finn breaks up with Rachel. Sue’s plan is working. Rachel meets Jesse, a singer from the choir that will be competing against them. These are escalating obstacles to Will getting what he wants from having Finn be his rock star. Finn goes on a date with the two Cheerios. After it, he tells Rachel he was wrong about them and wants to get back together. She tells him that it’s too late, she’s met someone new. She tells him about Jesse. He points out that he is on the competing team. At the end of Act III, Finn goes to Will and tells him that they have a problem. In Act IV, the Cheerios tell Sue that they struck out with Finn. However, they do give her the news that Rachel is dating Jesse. Will goes to check out Jesse. He introduces himself to the choir instructor. She and Will wind up making out. This elevates the stakes. Act IV ends with the Glee Club confronting Rachel about betraying them by dating Jesse. They give her an ultimatum: She breaks up with him or they all quit. This is an emotionally charged obstacle. In Act V, Sue attempts to persuade Rachel to keep thinking only of herself, a reputation Rachel has acquired with her schoolmates. Rachel confronts Jesse about her fears. They agree to keep their relationship a secret. The act ends with Jesse’s choir instructor watching as he kisses Rachel. Jesse sees her watching while telling Rachel it will be their secret. This ends the act. In Act VI, Rachel tells Finn that she ended it with Jesse. Finn tells her that he wants them to be a “real couple.” Rachel tells Finn that she can’t because she doesn’t want to bring their drama into Glee Club. The act ends with the Glee Club doing a stellar performance of “You Say Good-Bye and I Say Hello.” All of the act-outs reflect back to the goals. This is an excellent example of how a powerful dilemma leads to a strong goal and makes for a memorable episode.

  EXERCISE

  Go to the Fox website, Netflix, or Hulu.com and watch the pilot of White Collar and the episode “Hell-O” from Glee. While watching them, look at how each act break reflects back to the goal. By understanding this formula, you will get a stronger idea of how story works. This will help you to write your specs.

  If you’re writing a television spec script, watch a strong episode of the series that you’re writing for, then break it down by identifying the dilemmas that lead to the goals and formulate how all the act-outs connect back to the goal. This will help you see how the show crafts structure and will make your script read like a produced episode.

  For feature films, go to Netflix and watch The Hurt Locker, Avatar, Up in the Air, and 500 Days of Summer. Look for the dilemmas that lead to the goals. Then, study how the obstacles, the midpoint, and the “all is lost” moment all reflect back to the goal.

  Chapter Eight

  HOW DOES YOUR BACKSTORY INFLUENCE YOUR GOALS AND DILEMMAS?

  I put all my genius into my life; I put only my talent into my works.

  ~ Oscar Wilde

  Our backstory is everything that happens in our lives that leads up to certain pinnacle moments. Think of the high and low moments in your life. Some of the highs could include graduating from college, the first time you fell in love, or getting your first job. Think about all the pivotal moments that led up to the highs. These are part of your backstory. Think of the lows you’ve been through. This could include getting your heart broken, losing a job, or someone you’re close to dying. What were the pivotal moments that led to these lows? This is how you begin to form backstory. Backstory is what happened
before the beginning of your story. To get a sense of how backstory affects your characters, explore your own backstory to see how it influences your life goals and dilemmas.

  On the page, we can create whoever or whatever we want. We can draw from our own backstory and fictionalize it into the story lines we create or we can draw from our friends’ and family’s back-stories. We have complete freedom. We can visit our dark side, hiding behind the claim that everything we write is fiction. People don’t have to know the level of intensity that lies in your darkness. That’s why the page is your escape. Your story lines can give you a secure place to reflect upon your truth, without worrying about exposure. You can be you in your writing. You have nothing to be afraid of because only you will know the difference between fiction and truth.

  What creates our emotional depth? Very often it is our interpretation, perspective, and experience of how we go through life. Do we embrace life and dive in headfirst? Do we stand on the sidelines and observe quietly rather than participating? Do we live in the recesses of our mind, wondering what more there is? Or, do we intoxicate ourselves with constant risk and blind abandonment in order to take advantage of the short time we’re here on earth and build our story?