Common Elements in a Good Story
First, and foremost, a story must entertain. I don’t mean it
can’t be serious or important, nor am I suggesting stories should all be amusing
or light-hearted; but a good story is engaging, interesting, or enjoyable to
its audience. This may account for the popularity of the traveling troubadours
and bards of the Middle Ages. They knew all the popular tales, as well as the noteworthy
theses from the universities, the healing power of herbs and simple medicines, and
the scandals of the royal court. Many also played one or more instruments and
could compose poetry at a moment’s notice. Essentially, they knew what their audience wanted to hear, and they delivered it.
Secondly, a story must have all the components of a story –
a clear structure, satisfying resolution, relatable characters, and conflict or
tension. While some may argue over what exactly delivers clarity, satisfaction,
and relatability in a story or may disagree on the correct amount of conflict
or tension; most would agree on the importance of such elements.
The Secret to a Successful Story
Yet, even if a story contains all the above-mentioned elements,
it’s no guarantee it will be good. Are some people just born with the innate
ability to tell stories while others are not, or does the success of a story depend
solely on the opinions of its fickle readers? Maybe there is something else writers
may often overlook.
Lisa Cron believes there is, and she says in her book, Story
Genius, that it’s the biggest mistake writers make. In her world, it’s not
even a story unless the protagonist is affected by the events in the plot and “changes
internally as a result.”
Of course, this is true in character-driven stories. What
about plot-driven ones? Cron believes
that “Ultimately, all stories are character driven . . .”
Examining the Evidence
Before you object or agree, let’s examine the evidence. Can
you think of any classic novel or masterpiece which has stood the test of time that
does not have a dynamic protagonist who is profoundly affected by the events of
the story? Let’s consider Hamlet and Jane Eyre or Scout, in To Kill a
Mockingbird. What about Fitzgerald’s Nick Carraway and Jay Gatsby or Tolkien’s Bilbao
Baggins and Frodo? They were all profoundly affected by the events in the story and changed
internally by the end. Even in Poe’s famous short stories, “The
Cask of Amontillado,” and “The Tell-Tall Heart,” both narrators/protagonists turn
murderous due to the actions, real or imagined, of another and are left profoundly
changed.
So far, the evidence suggests that Cron may be on to
something. She also says, “Anything that doesn’t impact the protagonist’s
internal struggle, regardless of how beautifully written or ‘objectively’
dramatic it is, will stop the story cold, breaking the spell that captivated
the reader, and unceremoniously catapulting them back into their own lives.” Much
like the third rail on a subway train, Cron argues, that internal struggle serves
as the novel’s live wire or “electricity that illuminates the plot, the voice,
and the talent, bringing them all to life.” She also asserts that “. . . everything – action,
plot, even the ‘sensory details’ – must touch the story’s third rail to have
meaning and emotional impact.”
Whether you think Cron overstates the importance of an internal
struggle to the overall success of a story or not, it may be worth considering. Viewing your story through this new lens may provide a much-needed
boost or reveal something you didn't realize was missing. Try it. You’ve got
nothing to lose.
Tune in next time for Part II of my series on “The Art of
Storytelling: A Brief History,” on June 6.
