You’ve heard me go on about the critical third layer of your big-picture story structure: your characters’ Goals and Motivations.

But recently I was reminded that this element of storytelling is so critical to our understanding of story, period, that we can’t even quite tell what’s going on in a logline that omits this.

Here’s the definition of a logline (a term from screenwriting), also known in the publishing world as an elevator pitch (a single line you could use to pitch your novel if you happen to wind up riding the elevator with your dream agent/publisher).

If you follow that definition link above, you’ll see a quote from one authority on movies, Ken Miyamoto, saying:

•  “You’re not telling a story in a logline. You’re presenting the core concept of your script. You don’t need to delve into twists, character arcs, and plot. You’re simply conveying the core idea…”

And another from Linda Venis, an author, saying:

• “There are many formats you can use to write a good logline. (The one I currently use is: “When _____ happens to [your hero], he must do _____ in order to solve his problem.)”

Screenwriting and novel writing are two different story beasts, sure. But both require their authors to be able to quickly pitch someone on buying the story!

A lot of people would assume that just conveying the core idea wouldn’t actually involve conveying what your protagonist is attempting to accomplish.

But they would be wrong.

This is something I was recently reminded of, when one of my coaching clients asked if her current logline made sense.

That logline was well-written, and it conveyed a lot of fascinating details about her novel—but no, it didn’t actually make sense.

Because it didn’t convey what the protagonist was trying to achieve.

Brain-science-based coach Lisa Cron considers this aspect of the novel so critical to our understanding of story, period, that she likens reading one where we CAN’T tell what the protagonist is trying to achieve (and why) akin to watching football on TV with the sound off, while having no understanding whatsoever of the rules of football.

Why did that guy throw the ball that way? Why did all the fans on that side stand up and cheer? Why did the guy from the other side kick the ball the other way, only to have a member of the opposing team take it and try to kick it through those goal posts?

(Honestly, these are questions I can relate to, having had pretty much zero interest in this sport my entire life!)

So:

1.     In your story, is your protagonist’s goal—and why they absolutely have to achieve it (the STAKES around this)—100 percent clear from your reader’s POV?

2.     Are there aspects of your character’s Goals and Motivations that could be strengthened in revision?

3.     Is the relationship between your protagonist’s higher-order goal and lower-order goals 100 percent clear as well?

4.     If your protagonist’s higher-order goal changes at some point in the story—is it 100 percent clear to your reader WHY?

5.     Are you considering adding a subplot to your novel—or wondering if the subplot you already have is working?

PS. I’ll actually be presenting on this very subject next month at the Author Alchemy Summit in Portland, OR. So if you’re in the area, I’d love to connect with you IRL! Here’s the link where you can claim $100 off the total cost of your summit registration.

Never miss a post! Subscribe to my newsletter.