Spin a Good Yarn

While character and dialogue are important parts of a script, the modern box office increasingly looks at telling a good story. Many of the most successful scripts achieved that success because of the story. It has to be a good and satisfying tale.

However, storyline doesn't necessarily equate to action. The Indiana Jones series of movies were non-stop action flicks. Aside from some seduction scenes, most James Bond movies were also major action shows. Even the Star Wars series contains considerable action sequences. And action doesn't necessarily equate to storyline.

The storyline is the sequence of events in the show. The theme is portrayed by the events of the storyline.

The theme asks and answers a few questions: "What is the play about?" "Who is the play about?" "What does the protagonist want?" The protagonist must have a compelling goal that drives all her actions; that she values above all else; that she is willing to give her all to achieve.

The plot is the venue/vehicle to demonstrate/portray the thought/theme. It is the series of events/incidents that lead the protagonist (and audience) along the journey to the climax and conclusion. Are the events reasonable? Does one event reasonably lead to the next? Additionally, the plot must always point back to the central theme of what the protagonist is trying to achieve. This is why the audience continues to watch; this is why the reader turns the page. Will she make it?

What or who is putting obstacles before the protagonist? Who is the antagonist? Why should the audience feel any empathy/sympathy for the protagonist? Here is the reason for having a compelling goal and compelling protagonist. The audience must feel something strong, they must embrace the protagonist early and cheer her on throughout the show. The audience must suffer when she suffers, they must be sad when she's put down, and they must also be elated when she wins. If they don't feel her goal or her character are worthy, well ... apathy is the worst audience response.

Keep in mind that all this is independent of the story line -- the truth of the theme stands apart from the setting and sequence of events.

For the protagonist, the action should generally move her story line forward. There is only so much that can be shown in the mere 90 to 120 minutes of a play. Tangents (subplots) are a luxury rarely afforded and that must be applied diligently.

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