We can all remember that first moment we felt like we might understand "how to write a story." The excitement, and the thirst to know more more more. The writing advice moment that turned the key for me came from the late, great mystery and TV writer, Stephen J. Cannell.
Trust me, most of you have heard of his shows: The A Team, The Rockford Files, 21 Jump Street, and a dozens of others. More than a decade ago, Stephen J. Cannell spoke at my writing chapter's monthly event and there was a huge flurry of excitement. At the time, I hadn’t a clue who he was, but I still got caught up in the buzz.
So he gets up to talk and he just looks like a Hollywood guy: sexy in a lanky way, salt and pepper hair, snappy dresser. His easy smile and raspy voice commanded attention. He was mesmerizing.
Here’s what I know now that I didn’t know when I arrived at the meeting that day:
Anyone who has hung around WITS for a while knows I'm a scene writer, a story quilter who can't write linear. I have to put the story in order separately from the writing process, which means...
When it comes to my stories, 3-Act structure is everything.
I never really understood what the heck it was until that first day Stephen spoke. I’ll never forget that moment. He stood at a podium in front of 100 writers and broke down When Harry Met Sally in easy 3-Act detail.
A paraphrase of Cannell’s description of When Harry Met Sally:
When I ask young writers what 3-Act Structure is, they say it has a beginning, middle and an end. This is not the answer. A lunch line has a beginning, a middle and an end. The 3-Act structure is critical to good dramatic writing, and each act has specific story moves.
Take the movie, When Harry Met Sally. The First Act is all about the hook, or the premise. In this case, it’s that “men and women cannot be friends.” So you’ve got the set-up where they meet and then decide they’re not going to be friends.
Act Two opens with Harry and Sally meeting up again in the bookstore and slowly becoming good friends. Their friendship becomes the single most important thing in their lives and the worst thing in the world would be to lose it. The scene in the wedding is the dark moment climax of Act 2 because it is the end of their friendship as we know it.
They’re off to the side of the reception, speaking in furious whispers about why they’ve been at odds since the night they had sex. (See the video clip if you don't remember.)
The scene ends with her slapping him across the face, saying, “F*ck you, Harry!” and storming away. The curtain closes on Act Two because the WORST thing has happened…the two of them are no longer friends.
Act Three is the “clean up” act, the resolution to your story. In this case, it’s all about Harry trying to get back into Sally’s good graces so the two of them can be friends again, just as they were. Sally’s having none of it.
Finally, on New Year’s Eve, Harry has his turning point and we get the final scene of the movie where he runs through New York City to get to Sally before midnight. When he sees her at the party, he gives his now famous "I love you" speech.
This scene is full of awesome. If you want to wallow in the brilliance of When Harry Met Sally dialogue, click here.
I don’t know if this quick breakdown turned the lightbulb on for you, but it sure did for me the first time I heard it. To see Stephen Cannell’s “official description” of 3-Act structure click this post.
More Stephen Cannell Trade Secrets:
Cannell discusses a myriad of “trade secrets” in this entire series on writing that he did on WritersWrite.com. But the main bit I remember, besides my 3-Act Epiphany, was the way he’d refer to the villains in a story.
He called his bad guys “the Heavies” and he was brilliant with them. It’s no surprise to me why his television shows were so wonderful. Whenever, he’d get stuck in a story, he’d ask himself, “What are ‘the Heavies’ doing?” Once he wrote the story from their angle for a while, he’d get back on track.
Once we get past the complication and are into Act Two, we sometimes get stuck. "What do I do now?" "Where does this protagonist go from here?" The plotting in Act Two often starts to get linear (a writer's expression meaning the character is following a string, knocking on doors, just getting information). This is the dullest kind of material. We get frustrated and want to quit.
Here's a great trick: When you get to this place, go around and become the antagonist. You probably haven't been paying much attention to him or her. Now you get in the antagonist's head and you're looking back at the story to date from that point of view.
If you’d like to hear his voice too, he’s got dozens of videos on his site. Here’s some simple, yet sage advice from the man himself.
Advice for Aspiring Writers by Stephen J. Cannell
If Stephen Cannell is a new discovery for you, enjoy! He’s awesome. His mantra was: “be honest, be sensitive, be reasonable, be fair and you can succeed marvelously in business and in life.” Go, Steve.
Who has made the biggest impact on your writing life? (It's okay, you can share more than one.) Do you have any other 3-Act or story planning tips to share with the rest of us?
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By day, Jenny provides training and social media marketing for an accounting firm. By night she writes humor, memoir, women’s fiction and short stories. After 18+ years as a corporate software trainer, she’s delighted to sit down while she works.
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