I recently posted a series of articles about how to use desire to define your story, to drive the action and characters toward a satisfying resolution, and to captivate your… read more →
Let’s finish this series by going through all the types of desires we’ve discussed, making certain that they don’t get confusing. I want to present them in the logical sequence… read more →
In this series of articles exploring the various goals your hero will pursue, all the desires have had one thing in common: they all serve to move your hero closer… read more →
Defining your hero’s Outer Motivation can sometimes seem confusing because it can easily be mistaken for two of your hero’s other desires: his Preliminary Goal and his Ultimate Objective. The key to understanding these… read more →
What does the hero of your story want? Lots of things. And that’s the problem. Sifting through all those desires to pinpoint the ones that drive your story can be… read more →
What does the hero of your story want? Lots of things. And that’s the problem. Sifting through all those desires to pinpoint the ones that drive your story can be… read more →
What does the hero of your story want? Lots of things. And that’s the problem. Sifting through all those desires to pinpoint the ones that drive your story can be… read more →
When your goal is to deliver a written or spoken story that elicits emotion (as it ALWAYS must be), your story has to include 3 essential elements: character, desire and… read more →
The film THREE BILLBOARDS OUTSIDE EBBING, MISSOURI includes an early scene where the hero, Mildred Hayes (Frances McDormand) is confronted by Chief of Police Bill Willoughby (Woody Harrelson) about her… read more →
In the outstanding film HIDDEN FIGURES, screenwriters Allison Schroeder and Theodore Melfi faced the formidable task of immediately introducing their three major characters, and making them unique and memorable. All… read more →
