ties of Storytelling
1 1 You admire a Character for trying
t' more than for their successes
3: Trying for theme is important, " you
won' t see what the story is actuaaly about tit
you' re at the end of it New rewrite.
Because of that __ Because of that 4
5: Simplify. Focus. Combine characters.
Hop over detours. Yew feet iike you' re losing
valuable stuff but it sets you free,
er, What is your at
comfortable with? Throw the polar opposite at
them Challenge them. How do they deaf”?
faure out your middie Seriously. Endings are
herd, get yours working up front.
PF CCL? rs. i
8: Finish your story, tot go even if its not
perfect, in an ideaa wow you have both, but
move on Do better next time.
9: When you' re stuck, make a fist of what
WOULDN' T happen next Lots of times the
materiel to get you unstuck wit show up
tit : Put apart the stories you iike. What you
iike in them is a part of you; you' got to
recognize l before you can use it
1 1 _ Putting l on paper iets you start fixing it.
if l stays in your head, a perfect idea,
yew never share it with anyone.
in 2: Discount the wt thing that comes to
mind. And the gnd, Bro, tth, tth - get the
obvious out of the way Surprise yourserf.
in 3:‘ Give your characters opinions
Passive/ malleable might seem likable to you
as you write, but it' s poison to the audience.
1 4: Why must you ) story? What' s
the belief burning within you that your story
feeds off of? That' s the heart of it ,
w 5: if you, were your character, in this
situation, how wouid you feet’? i honesty tends
credibility to unbelievable situations.
tit 62 What are the stakes”? Give us reason to
root for the character. What happens if they
don' t succeed? Stack the odds against.
M 7: No work is ever wasted. if " not
working, tot go and move on - it' ii come back
around to be useful tater.
difference between doing your best ii fussing.
Story is testing, not refining.
1 9: Coincidence; to get C N tee, , i,
trouble are gee? 'c' ces to get them
out of l are cheating.
20 Exercise: take the building blocks e
movie you dislike. How d' you rearrange them
into what you DC) We’?
21 [ You gotta identity with your
situation/ characters, can' t just write boot.
What wouid make YOU act that way?
22: What' s the essence of your story?
Most economical wing of it?
if you know that, you can we out from there,