What is Story WritingThings to do with story writing
What can you do with the story conception and assumption? Today's article contains extracts from What's the Story? Modules for the fiction letter, Section 11: "Concept, Principle and Loglines". The majority of listeners are first led to story-telling as ideas, spaces or log lines. Those are pitons used for pitching and advertising; they attract people's interest, arouse their interest in a story and force them to buy.
Authors often begin with a conception or assumption as a starting point for a story. It is certainly not the only way a story can be created, but the early recognition of a clear conception or assumption can create clearness while you work through the composing of a story.
They often mix up the words conception and assumption and use them in an interchangeable way, but they have different connotations that are important for stories. Conception gives us what a story is - the key story notion. Two kinds of approaches exist: low approaches and high approaches. Lower level approaches are easy and may seem at first sight either general or commonplace.
Poor designs have no built-in conflict or antagonist. Also, they do not appear particularly singular or irresistible on their surface. These are some low concepts: two teens falling in lover; a dowager struggling with mourning; a private investigator solving a felony. Teens are falling in romance every single second. What's so interesting about that?
âThis is what makes low conception a tougher sale; it must often be worked into a fuller postulate to keep any genuine interest. In a few words, high level marketing strategies bring a great deal of assertiveness. Frequently wrestling with what-if issues and tending to contain a built-in call while communicating a refreshing or inventive notion - or a new turn of an old notion.
A lot of high level conceptions concentrate on original feelings and situation, e.g. surviving or discovering it. In a few words, these conceptions arouse people's imagination. All you need is a one-line descriptive text to attract attention: You can see that these are all not uncommonly written sagas; sci-fi and phantasy are particularly suitable for high concept.
Often designs are too wide and only interesting on the interface - even high designs. One hundred story-tellers could begin with the same approach - high or low - and they will end with one hundred different rooms. One could, for example, take the brainchild of GMDs in many different ways. Now, we are approaching something similar to a precept.
An outline is an notion for a story, while an assumption is a very short outline of a story. It gives us an overview of what a story is about - a distant look. She draws the cameras nearer so that we get a better feel for what is going on in this story.
An assumption leads to the introduction of personality, action and possibly attitude. Romeo and Juliet's assumption shows how a low conception (two teens falling in love) can be turned into a more convincing assumption with a little fine-tuning. You can see that a assumption extends a notion and makes it more interesting by providing detail about the universe or the conflicts of history.
An assumption unveils detail about the protagonists, provides the structure of the story and identified the antagonists and the nuclear conflicts. Would you like to know more about the development of a convincing story idea? A copy of What's the story? Modules for fiction.