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WHAT IS THE PREMISE The premise is your story stated in one sentence. It is the simplest combination of character and plot and typically consists of some event that starts the action, some
sense of the main character, and some sense of the outcome of the story. Some examples
Casablanca: A tough American expatriate rediscovers an old flame only to give her up so that he can fight the Nazis.
Self-revelation The battle is an intense and painful experience for the hero. This crucible of battle causes the hero to have a major revelation about who he really is. Much of the quality of your story is based on the quality of this self-revelation.
Fora good self-revelation, you must first be aware that this step, like need,
comes in two forms, psychological and moral. Ina psychological self-revelation, the hero strips away the facade he has lived behind and sees himself honestly for the first time. This stripping away of the facade is not passive or easy. Rather,
it is the most active, the most difficult, and the most courageous act the hero performs in the entire story.
Don't have your hero come right out and say what he learned. This is obvious and preachy and will turnoff your audience. Instead you want to suggest your hero's insight by the actions he takes leading up to the self-revelation.
Casablanca Rick
sheds his cynicism, regains his idealism, and sacrifices his love for Ilsa so he can become a freedom fighter.
CHARACTER TECHNIQUE CUTTING EXTRANEOUS CHARACTERS Extraneous characters are one of the primary causes of episodic, inorganic stories. The first question you must ask yourself when creating any character is "Does this character serve an important function in the overall story" If he doesn't—if he only provides texture or cofor—you should consider cutting him entirely. His limited value probably won't justify the time he takes up in the story line.
