By Chris Robb

Stories are a form of entertainment and a fundamental way we understand the world. As author Linda J. Cowgill of Writing Short Films says, “Telling stories may be an essential existential act. We tell stories to define our world in causal, temporal terms we can understand. And maybe, at some level, we have to tell ourselves stories to make ourselves aware that we exist.” This universal truth binds us all as storytellers, connecting us to a larger narrative (Cowgill, 2005).

As human beings, we tell stories through jokes, anecdotes, and situations. But as writers. We know there are a few fundamental things involved with telling a story. At its nucleus, the principles of drama are made up of two things. 1) A character (the protagonist) has a want and need that leads them to take action. 2) The character will encounter a conflict that will almost certainly try to stop them from their goal. This article aims to cover the dynamics of drama for consideration while penning your next story.

A good story comprises every psychological aspect that defines us back in the real world. We all have wants and needs. But these wants and needs are different. A need is something that is a dire part of our existence. Let’s take Maslow’s hierarchy of needs, for example. At the bottom, we have needs like food, water, shelter, and sex. Things that are at the base of our existence to survive. While creating needs for your character, you’ll want to consider this. If your character wants a glass of water, people keep trying to get him to do something else. That something else is conflict. For instance, in the movie ‘The Shawshank Redemption, ‘the protagonist, Andy Dufresne, wants to escape from prison; his need is freedom, and the conflict is between the oppressive prison system and the warden’s opposition.

There’s a funny scene in the movie Three Amigos where they are lost in the desert and thirsty. One has an empty canteen and only gets a drop of water. The other’s canteen is filled with sand and gets a mouthful. Since the movie is a comedy, the third amigo has a full canteen that he chugs. In contrast, the other two amigos look desperately at him. He selfishly throws the canteen on the ground and wastes the water but offers the other two “Lip Balm.” The conflict in this scene is the blistering desert heat and dehydration. Still, the incompetent amigo’s aloofness can also be a conflict.

Another example is A Nightmare on Elm Street. Human beings need sleep. Without it, you go crazy, then you die. The teens of Elm Street just want to get some sleep. But a Christmas sweater, fedora rocking, razor-gloved dream demon Named Freddy Kruger has a different option. So, in this scenario, the teens of Elm Street need to sleep and take action to sleep, but Freddy K brings conflict so that if they fall asleep, he can kill them in their dreams. You can also say that the teens “need” to stay awake so they don’t fall victim to Freddy, so they take action by taking “No-Doze” pills and drinking coffee. But the fate of our human condition forces us to sleep at some point, which can also be conflict. Whatever your character needs should drive them to act.

Here is an exercise for you to practice. Pick out three of your favorite movies and watch them. Keep a notepad and paper next to you. While watching, write down what each character wants and needs and what conflicts stifle them. To identify these elements, pay attention to the character’s actions, dialogue, and the obstacles they face. Get good at this to watch any movie and answer this question. If you can’t figure it out, then pick a different film and try again. This practice will enhance your understanding of storytelling and boost your confidence in your storytelling skills.

References

Cowgill, L. J. (2005). Writing short films : structure & content for screenwriters (2nd ed.). Lone Eagle Pub.

(1984, November 16). Nightmare on elm street [Review of Nightmare on elm street]. New Line Cinema.

‌ The Three Amigos. Directed by John Landis, Orion Pictures, 1986.

‌ The Shawshank Redemption . Directed by Frank Darabont, Columbia Pictures, 1994.

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