Summary

A Story is an Argument

September 25, 2008

A tale is merely a statement: a linear progression from one event to the next culminating in one singular outcome. In contrast, a story is an argument: a course of logical and emotional reasoning aimed at proving that a particular approach is either a good one, or a bad one. Complete stories argue their point in such a way that they leave little for the audience to reject or refute.

A tale, on the other hand, is ultimately forgotten because of the proliferance of exceptions that are inherent to its form. There is no argument being made, no discernible point to it all.

This is why stories are superior. An argument’s ultimate goal, after all, is to tell some truth; its purpose is to relay some meaning to an audience. This is where the power of stories lies and is why so many Authors strive to produce them.

Stories as Arguments

The following montage of movie clips seeks to prove that truly wonderful films are the end result of a filmmaker trying to argue a particular meaning. Spoiler Alerts abound for the films Fight Club and The Sixth Sense - if you haven’t seen these films and still want to be surprised, don’t click play and please stop reading!

One cannot possibly come away from The Shawshank Redemption without the understanding that no matter the situation, there is always hope. It is what Stephen King and Frank Darabont were trying to communicate through by telling this particular story - there was intention behind their creation.

Likewise, one can’t watch Fight Club and not believe that sometimes anarchy and self-destruction is an effective solution to one’s problems. David Fincher certainly has a point of view about the hopeless reality of life and more often than not executes it brilliantly. At the other end of the spectrum, Walt Disney’s Pinocchio argues that one should simply do the right thing. While handled in a more obvious way than Fight Club, Pinocchio is no less effective; both films are about something.

But it is in the climactic clip from The Sixth Sense that one can clearly see how meaningful stories work on all levels.

The Connection Between the Personal and the External

There was more to Cole's visions than everyone thought.

Malcom Crowe (Bruce Willis) had been fooling himself (as many Main Characters do) into believing that what he saw and what he perceived as being reality was in fact, real. It was only by working his way through the story and allowing the influence of Cole into his life that he finally understood what was really going on.

The truly great thing about this story was that this understanding was reflected not only in Malcom’s personal throughline but also in the larger story about a disturbed boy and his even more disturbing visions.

Many of the characters in the film (Malcom included) perceive Cole’s outlandish actions as symptomatic of a heavily disturbed mental psychosis. They believe that Cole must be a victim of some sort of child abuse or that he is acting out because his father is gone. He couldn’t possibly be seeing real ghosts.

As it turns out, they were dead wrong.

The Real Reason Stories Exist

Their error of perception, the same that Malcom experiences personally, is shown to be deception, deliberate or otherwise. Overcoming this problem is the focus of the story, and the ultimate meaning of the film.

When people talk about the importance of story, of creating a narrative that matters, what they are really looking for is some way of bringing meaning into the piece. Structure exists to create this meaning. This message, or purpose, has to be in there from the beginning of development. It can’t be tacked on towards the end of the writing process and the specifics of it can’t be tied to a myopic story paradigm.

The Shawshank Redemption, Fight Club, Pinnochio — all these films were carefully designed with an overall purpose in mind. Whether it was the benefits of hope when there is no hope or the healing power of anarchy, each film was trying to say something the Authors felt was very important. Tales are usually the unfortunate result of an Author unsure of what they want to say, or confused as to how proper story structure can aid in their writing process.

In regards to this last point, the arugment made in The Sixth Sense can be applied to writing as much as it can towards deceased ghosts who don’t know they’re really dead. People should look beyond what they see, what they perceive to be the truth about storytelling, and really dig down deep to the reality that exists.

Story structure communicates the Author’s argument.

Advanced Story Theory for this Article →

This section assumes a working knowledge of the Dramatica theory of story.

The concept of the difference between a story and a tale is something that sits at the heart of the Dramatica theory of story. The first chapter of the theory book states in no uncertain terms that Dramatica is concerned with stories that seek to be meaningful by arguing a particular point-of-view. Tales can attempt to be meaningful, but this meaning will always be left to interpretation by audiences; the meaning will warp and bend because of each individual audience member’s subjective experience.

Complete stories, what Dramatica refers to as Grand Argument Stories, are designed to communicate a specific perspective regardless of who receives the message. If the givens in the story are accepted, audience members will find it close to impossible to argue a counterpoint. This is because a complete story covers all the bases.

The message is not left open to interpretation.

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Writing Complete Stories

If this is your very first time here, you definitely want to read this article about the one thing all great stories have in common. If you gain nothing else from this site, understanding the concept of four throughlines within every complete story will drastically improve anything you write and increase your appreciation of effective storytelling.

What Character Arc Really Means

The second most important thing to learn about great stories is the difference between a character who changes and a character who grows. Other paradigms or understandings of story dictate that the central character must always undergo some significant transformation. This simply is not true as it discounts a countless number of great stories where this does not happen. A montage of films that explore this dynamic is provided.

Of Ticking Clocks and The Ending of Stories

Another feature of great stories is their ability to communicate with an audience exactly when the damn thing is supposed to end! When there is no limit set in place, the film can often meander on and on causing many a viewer to question if there really is a point to what they are watching. Attention spans are shorter than ever now; better to give them some signal as to when the crisis will occur.

Redefining Protagonist and Main Character

Many hold true to the notion that the Protagonist is always the Main Character. This is an old idea that does not accurately describe what is really going on within the structure of complete stories. While it may seem foreign at first to separate the two, an entire world of new storytelling is open to those willing to take the plunge.

Meaningful Endings

Some articles are gathered into a collection, or series that explores a certain subject. Perhaps the most important, at least to first-timers, would be the idea of providing an audience with a Meaningful Ending. There should be a point to the two hours that proceeded these final scenes. To that end, this series seeks to provide writers with an understanding of the dynamics that gives stories their meaning.

Archetypal Characters

Another popular subject is the idea of Archetypal Characters. Usually, this refers to the characters Campbell discovered in his exploration of world mythology. The Herald, the Trixster, the Shapeshifter -- all of these are what most consider archetypal characters. The reality is that these are interpretations of the basic forces at work in a complete story. This series explores Campbell's more familiar characters and then gives insight as to what really makes them tick.

Dramatica: Story Theory for the 21st Century

Most, if not all, of the analysis and insights into story presented on this site are informed by a deep exploration of the Dramatica theory of story. The usual reaction to the theory is that it is "too complicated" or "I'm not going to let a computer program tell me what to write." And you shouldn’t. The theory is complex, but it has to be in order to cover the magnficient creation that is a great story. If you have any interest whatsoever in why stories are so dang compelling, you owe it to yourself to at least investigate a little further.

Not Everything Is A Hero’s Journey

It is almost impossible not to hear about the Hero’s Journey paradigm within the context of story structure. While at first glance, it may seem helpful in writing a story, it doesn't account for every story nor does it accurately describe why stories exist in the first place. It assumes a spiritual or transcendental context for a character’s ultimate transformation. Now, this can occur, but it doesn't always have to. This article explains why.

Two Sides of the Same Coin

Who says story theory can't be fun? This article takes a humorous look at a cliche that shows up from time to time in the course of storytelling. But beyond simply pointing it out, it explores why this dynamic exists and suggests ways of masking it while maintaining the meaning behind it.

The Illusion of Change

What would a story structure site be if it didn't include an analysis or two? This article takes a closer look at Christopher Nolan’s thriller The Prestige. While both of the characters in this film are well developed, only one truly transforms the way they see the world. This concept, shared by all great stories, elevates this story of battling magicians beyond mere spectacle and grants us a greater understanding of our own lives.

Up In The Air

A personal favorite from 2009, Up In The Air communicates a deeply meaningful argument concerning the issues facing the modern worker. What is most fascinating about this film is the connection between the Main Character's personal problem and the problems endured by the other characters in the story. This article explores why great stories often have this correlation.

Hotel Rwanda: Story Analysis

Historical dramas are often great places to find complete stories, and this film, nominated for Best Original Screenplay in 2004 is no exception. Writers find themselves drawn to the subject matter because of the chance to draw some greater meaning from the tragic events of our collected human history. This analysis explores the dynamics that went into establishing some sense from the chaotic events of 1994.