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What It Takes

What It Takes

The Victim, the Perpetrator and the Rescuer

By Shawn Coyne
Published: April 11, 2014

An Oldie but Goodie for the "On Writing" Shelf

As we all know, there is no story without conflict. There is no beat to a scene, no scene, no sequence, no act and no global story without a dump truck full of conflict.

But diving into our vast personal experiences of conflict is not exactly the first pool of creative energy any of us wants to explore. It’s sludgy and unpretty. It gets our heart beating faster than we’d like and it makes us irritable.

Even boxers don’t rush into a prizefight throwing one roundhouse after another. They need to get a feel for the opponent first. Test out their strengths and weaknesses before they attack with combinations.

So what to do?

Take yourself out of the equation and focus on the imaginary people you’ve invented. Think about how each one of them would play one of these three roles when faced with a direct conflict.

How would he play the victim of someone else or a power out of his personal control?

How would he become the perpetrator, the character that loses his composure and unloads a bucket of bile on another character?

How would he play the rescuer, the character that steps in between these two combative forces and sides with the victim?

For example, say you have to set up a love affair for your global story. And you need to dramatize a married couple’s rift. After running down a long list of possibilities (a having a baby scene, a purchasing a house scene, an applying for a loan scene, a wrapping Christmas presents scene…) you decide to write a domestic dinner scene.

How do you do it without using cheesy conflict behavior—having dishes thrown or spewing on the nose “you’re a terrible husband” dialogue?

Start with a VPR analysis.
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Posted in What It Takes
12 Comments

Do The Work

Steven Pressfield is the author of the most important book you've never read: The War of Art. It will help you understand why you're stuck, it will kick you in the pants, and it will get you moving. You should, no, you must buy a copy as soon as you finish reading this.

In this manifesto, Steve gets practical, direct, and personal. Read it fast; then read it again and take notes. Then buy a copy for everyone else who's stuck and push them to get to work as well.

—From the Foreword to Do The Work by Seth Godin

Do The Work isn't so much a follow-up to The War of Art as it is an action guide that gets down and dirty in the trenches. Say you've got a book, a screenplay or a startup in your head but you're stuck or scared or just don't know how to begin, how to break through or how to finish. Do The Work takes you step-by-step from the project's inception to its ship date, hitting each predictable 'Resistance point' along the way and giving techniques and drills for overcoming each obstacle. There's even a section called 'Belly of the Beast' that goes into detail about dealing with the inevitable moment in any artistic or entrepreneurial venture when you hit the wall and just want to cry 'HELP!'

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