If You Can't Answer This Question Stop Writing The Story - Andy Guerdat

Summary

Andy Guerdat, a television writer, discusses the importance of identifying the 'spine' or central conflict in storytelling. He explains that the spine is the main conflict that must be resolved, and without it, the story lacks focus. Guerdat emphasizes that writers should be able to express the spine in one sentence, as it guides every scene and action in the narrative. He advises against jumping straight into structuring the story and instead encourages an organic process of free association to discover the core conflict before refining it into a cohesive plot.

Takeaways

• 🧠 The spine of a story refers to its central conflict, which drives the narrative forward.
• 📚 The term 'spine' was borrowed from William Goldman and is essential to understanding the core of a story.
• 🦴 Just like an animal's spine, the story's spine holds everything together, and the story cannot function without it.
• 🎯 A writer should be able to describe the spine of a story in one sentence, as it represents the central conflict that must be resolved.
• ⏳ Once the central conflict is resolved, the story is over. The writer must structure the entire narrative around this conflict.
• ✏️ Before writing, a screenwriter should identify the spine to avoid getting lost in unnecessary scenes and subplots.
• 🔀 Story beats should connect using 'SO' and 'BUT' (causality), rather than 'AND,' to ensure the plot moves forward with purpose.
• 📝 The spine helps the writer stay focused on the story's core, preventing wasted time on irrelevant scenes.
• 💡 The writer's process involves free association and imagination, with the spine eventually emerging naturally from this exploration.
• ⚖️ The spine should focus on the emotional throughline of the story, rather than merely summarizing the plot.

Q & A

What does Andy Guerdat mean by the 'spine' of a story?

Andy Guerdat uses the term 'spine' to describe the central conflict of a story. It's the main issue that needs to be resolved for the story to conclude, and all parts of the story should serve to develop and resolve this central conflict.

Why is it important to identify the spine of a story before writing?

Identifying the spine is crucial because it ensures that every element of the story is focused on the central conflict. Without this, writers may veer off into irrelevant subplots, leading to inefficient writing and the need to discard scenes later.

How does Guerdat suggest writers should develop their spine?

Guerdat advises writers to begin by exploring ideas freely, writing down scenes, dialogue, and characters as they come to mind. Through this process, the spine should naturally start to emerge, connecting key moments through causality (using 'so' and 'but') rather than random events ('and').

Why does Guerdat prefer the term 'spine' over 'log line' or 'premise'?

Guerdat prefers 'spine' because it focuses on the central conflict or emotional throughline, rather than simply condensing the plot. He believes the plot is secondary to the emotional core of the story, which is what truly engages the audience.

Can the spine of a story be expressed in one sentence? If so, why is this important?

Yes, Guerdat believes that the spine of a story should be expressible in one sentence. This ensures clarity and focus for the writer, allowing them to avoid unnecessary detours and stay aligned with the central conflict throughout the writing process.

How does Guerdat illustrate the concept of a spine using 'Lawrence of Arabia'?

Guerdat uses 'Lawrence of Arabia' as an example, explaining that the four-hour film boils down to a simple spine: 'A young British officer in World War I goes to Arabia and tries to become a god.' This single sentence captures the central conflict, around which the entire film revolves.

What happens if a writer cannot boil their story down to one sentence?

If a writer can't condense their story to one sentence, Guerdat advises them to stop and refocus on the central conflict. A lack of clarity about the spine often means the writer is too focused on plot details rather than the core emotional conflict.

Why does Guerdat emphasize causality (using 'so' and 'but') over 'and' when connecting scenes?

Guerdat emphasizes causality because it ensures that scenes are connected in a meaningful way, where each event causes the next. Using 'and' suggests randomness, which weakens the structure of the story and makes it feel disjointed.

What is the 'emotional throughline' of a story, according to Guerdat?

The emotional throughline refers to the emotional conflict or journey that runs through the entire story, keeping the audience engaged. It's more important than the plot itself because it connects the audience to the characters on an emotional level.

What is an example Guerdat gives of a strong emotional throughline in a children's story?

Guerdat mentions a story where a character loses their favorite toy. Although it may seem trivial to adults, for a child, losing a favorite toy can feel like a life-or-death situation. This strong emotional connection makes it powerful enough to sustain an 11-minute children's story.