Tuesday, August 16, 2011
The Ultimate Story Checklist v6!
Welcome to version 6 of The Ultimate Story Checklist!
The goal is simple: Try to answer yes as often as possible. Of course, every story is unique and no story that I’ve evaluated has answered yes to all 122 questions, nor should it. Check out the Checklist Roadtests over there in the sidebar, to see how lots of great movies did. If you want to try it yourself, a downloadable version of this list as a word document is available here.
I’ve used this list to evaluate my favorite stories and my own work. The result: my favorite stories all pass and my own work always fall short. This tells me what I’m doing wrong.
The goal is simple: Try to answer yes as often as possible. Of course, every story is unique and no story that I’ve evaluated has answered yes to all 122 questions, nor should it. Check out the Checklist Roadtests over there in the sidebar, to see how lots of great movies did. If you want to try it yourself, a downloadable version of this list as a word document is available here.
(This list is primarily for stand-alone stories such as
screenplays, novels and plays, but don’t worry, there’s a separate “pilot” checklist for the first episode of continuing stories such as TV series, book series, web series, and comics)
PART 1: CONCEPT
The Pitch: Does this concept excite everyone who hears about it?
Does the concept contain an intriguing ironic contradiction?
Story Fundamentals: Will this concept generate a strong story?
Is the concept simple enough to spend more time on character than plot?
Does the story follow the progress of the hero’s problem, not the hero’s daily life?
Does the story present a unique central relationship?
Is at least one actual human being opposedto what the hero is doing?
Does this challenge represent the hero’s greatest hope and/or greatest fear and/or an ironic answer to the hero’s question?
Does something inside the hero have a particularly volatile reaction to the challenge?
Does this challenge become something that is not just hard for the hero to do (an obstacle) but hard for the hero to want to do (a conflict)?
In the end, is the hero the only one who can solve the problem?
Does the hero permanently transform the situation and vice versa?
The Hook: Will this be marketable and generate word of mouth?
Does the story satisfy the basic human urges that get people to buy and recommend this genre?
Does the story satisfy the basic human urges that get people to buy and recommend this genre?
Does this story show us at least one image we haven’t seen before (that can be used to promote the final product)?
Is there at least one “Holy Crap!” scene (to create word of mouth)?
Does the story contain a surprise that is not obvious from the beginning?
Is the story marketable without revealing the surprise?
Is the conflict compelling and ironic both before and after the surprise?
PART 2: CHARACTER
Believe: Do we recognize the hero as a human being?
Does the hero have a moment of humanityearly on? (A funny, or out-of-character, or compassionate, or oddball, or comically vain, or unique-but-universal “I thought I was the only one who did that!” moment?)
Does the hero have a well-defined public identity?
Does that ironically contrast with a hidden interior self?
Does the hero have a consistent metaphor family (drawn from his or her job, background, or developmental state)?
Does the hero have a default personality trait?
Does the hero have a default argument tactic?
Care: Do we feel for the hero?
Does the hero start out with a shortsighted or wrongheaded philosophy (or accept a false piece of advice early on)?
Does the hero have a false or shortsighted goal in the first half?
Does the hero have an open fear or anxietyabout his or her future as well as a hidden, private fear?
Is the hero vulnerable, both physically and emotionally?
Does the hero have one or two untenable great flaws that we empathize with? (but…)
Invest: Can we trust the hero to tackle this challenge?
…Is that great flaw (ironically) the natural flip-side of a great strength that we admire?
Is the hero curious?
Is the hero generally resourceful?
Does the hero have general rules for living he or she clings to (either stated or implied)?
…And is the hero willing to let them know that, subtly or directly?
Is the hero already doing something activewhen we first meet him or her?
PART 3: STRUCTURE (assuming that the story is about the solving of a large problem)
1st Quarter: Is the challenge laid out in the first quarter?
2nd Quarter: Does the hero try the easy way in the second quarter?
3rd Quarter: Does the hero try the hard way in the third quarter?
Do the stakes, pace and motivation all escalate at this point?
4th Quarter: Does the challenge climax in the fourth quarter?
PART 4: SCENEWORK
The Set-Up: Does this scene begin with the essential elements it needs?
The Conflict: Is this a compelling collision of competing agendas?
Are the characters cagy (or in denial) about their own feelings?
The Outcome: Does this scene change the story going forward?
Does the outcome of the scene ironically reverse (and/or ironically fulfill) the original intention?
Does the scene cut out early, on a question(possibly to be answered instantly by the circumstances of the next scene)?
PART 5: DIALOGUE
Empathetic: Is the dialogue true to human nature?
Specific: Is the dialogue specific to this world and each personality?
Heightened: Is the dialogue more pointed and dynamic than real talk?
Strategic: Are certain dialogue scenes withheld until necessary?
PART 6: TONE
Genre: Does the story tap into pre-established expectations?
Framing: Does the story set, reset, upset and ultimately exceed its own expectations?
Is there a dramatic question posed early on, which will establish in the audience’s mindwhich moment will mark the end of the story?
Is there a dramatic question posed early on, which will establish in the audience’s mindwhich moment will mark the end of the story?
Does the story use framing devices to establish genre, mood and expectations?
Are reversible behaviors used to foreshadow and then confirm change?
PART 7: THEME
Difficult: Is the meaning of the story derived from a fundamental moral dilemma?
Grounded: Do the stakes ring true to the world of the audience?
Subtle: Is the theme interwoven throughout so that it need not be discussed often?
Untidy: Is the dilemma ultimate irresolvable?
Whew! So how did your story do? Go check out the Checklist Roadtests to see how some great stories line up.
- Get link
- Other Apps
- Get link
- Other Apps
In the future, this will be the Six Sigma of screenwriting.
HOLY COW
Brillianto.
The problem, of course, is that no one wants to read a screenwriting book by someone without a produced credit. I'll probably have to wait until one of my scripts floating around out there actually gets made. And wait... And wait...
I need to breathe into a paper bag and return later.
Golden.
Thank you so very, very much.
You have made it very difficult for myself lean back and try to say "well I think that's good enough"...
I can't find any holes to poke at...
Thank you for your efforts, knowledge and kindness...
Namaste Speedo
I still sense that it will serious-ize my comedy.
How can I keep that from happening besides remaining true to my wild side while putting my protagonists through your chops?