Flash fiction is a form with such tightly controlled standards that – for me – attempting it is like joining the marines. And I just don’t have what it takes. My usual authorial endeavours are a bit too akin to guerrilla warfare for me to stray too often onto the open battlefield that is the flash fiction market.
Yes, all stories need a beginning, middle, and end. You need to introduce a character, set up their arc, and then watch them complete it. But somewhere along the way, the structure of flash fiction has narrowed to include that little twist at the end: a bow that ties it all together. But when you are required to telegraph your intent so clearly, how do you hide the seams that show where you stitched this all together?
Perhaps I just haven’t worked this out yet.
The Beat Sheet is a trick I picked up in film school. It covers all the major plot elements (“beats”) of a long form story. Now, Snyder was writing about film, which is much more structurally formulaic than prose, but I firmly believe that taking a good, hard look at structure is essential for any novel, especially if you are writing anything other than hoity toity high-brow experimental literary fiction.
So, if you not in that 0.00001% of writers who are writing hoity toity high brow experimental literary fiction, then the beat sheet is worth your time. At the very least, you’ll notice the formulas and structures that so inescapably pervasive that you probably just took them all for granted. Continue reading “Blake Snyder’s Beat Sheet for novels”
#1: You admire a character for trying more than for their successes.
#2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be v. different.
#3: Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.
#4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.
Continue reading “Pixar’s rules of storytelling”