A few days ago, I came across some advice that has transformed the way I’m thinking about my current WIP. I found an interview with Robert McKee (who’s famous for his book, webseminars, etc. on screenwriting) where he says this:
Story begins when an event, either by human decision or accident in the universe, radically upsets the balance of forces in the protagonist’s life, arousing in that character the need to restore the balance of life. To do so, that character will conceive of what is known as an “Object of Desire,” that which they feel they need to put life back into balance. They will then go off into their world, into themselves, in the various dimensions of their existence, seeking that Object of Desire, trying to restore the balance of life, and they will struggle against forces of antagonism that will come from their own inner natures as human beings, their relationships with other human beings, their personal and/or social life, and the physical environment itself.
I knew, of course, about the concept of an “inciting incident”–that thing that happens that starts the hero or heroine on their journey, the thing that sets this particular day off from all other days. However, I’d been thinking of it more in terms of the “call to action” that takes place in the classic hero’s quest. And I knew that my character had to want something–and that there had to be something that prevented her from achieving what she wanted.
But I find that this idea of balance clarifies my thinking about the core of the story itself: why is the MC’s life out of balance? What triggered this imbalance? (Was it a slow evolution or something that happened suddenly, catastrophically). In short, it’s not enough for the character to want something–she has to want something because it will restore something to her life that she feels that it lacks.
For example, in the lovely children’s book The Higher Power of Lucky, Lucky is continually searching for the “higher power” that she hears people talking about in the various twelve-step recovery programs that she eavesdrops on. Her search is intensified when she begins to fear that her guardian, Brigitte, is going to leave her and go back to France. Once this fear develops, she searches for a way to keep Brigitte in Hard Pan (pop. 43).
Sometimes this imbalance is dramatic: the death of someone in the MC’s life, a divorce, a break-up. Sometimes, though, it can be as simple (and complicated!) as falling in love, realizing something unwanted about yourself, or feeling like an outsider.
So now I’m back to another revision–but one I feel hopeful about, because I feel like I’m finally peeling away some of the issues that are holding the story back. I know what needs to happen (if not how it happens). (Also, McKee reminds me that 90% of what we write is crap–and that’s why we revise.)
What about you? What tricks have you discovered for unearthing the core of your story? And what sustains you as you revise?