Thread by @Spaztique

A Story (Structure) Reboot: A thread summarizing Narratology for #storytelling and #writing.

Part 4: All about Event Shapes

Today’s thread will focus on the shaping of Kernel Events (events that disrupt the status quo) and Satellite Events (reactions to the change).

First, a basic overview of the typical event shape:
1. All events begin with an Abstract (why should the audience want to see this) and Orientation (where, when, who).
2. A Complication of the orientation.
3. A Reaction.
4. A Resolution and Coda (the scene-ending beat).

To go back to the phrase, “Stories are just ‘ands,’ ‘buts,’ and ‘therefores’”:
-The Orientation is your “And”
-The Complication is your “But”
-And the Reaction is your “Therefore.”
Or, think of the Complication is like an in-scene Kernel, and the other parts as Satellites.

And if you like the Kishoutenketsu format, you should feel right at home: these four beats (also known as Labov’s Structure, or Natural Narrative) fit comfortably in Kishoutenketsu with room for variations.
Go and read some 4komas, and you’ll see Natural Narrative in action.

Unlike the “inciting incident, rising action, climax” model, this puts an emphasis on the complication instead of the climax. It avoids the typical “saggy middle” problem by making the climax a natural outpouring of the complication, instead of saving everything for the end.

This format is also naturally used in improv theater, to which I was a tech for numerous years. They referred to this concept as the Platform and Tilt.
Platform is your Orientation.
Tilt is your Complication and Reaction.
The Resolution creates a new Platform.
And on it goes.

“But wait,” you might say, “I heard all good scenes should present characters with a choice! And the best choices are dilemmas!”
Well, I got good news: that’s just *one* of the possible event shapes, and I can boil down your possible dilemmas to a few archetypes!

Dilemmas are made of the following factors:
1. Who is forced to choose between what.
2. A positive aspect. It can be ally the character cares for, or something personal they want.
3. A negative aspect. It can be an enemy, or something the character does not want.

From that, we get four kinds of dilemmas:
1. Betrayal: A character gains, but a positive suffers.
2. Sacrifice: A character suffers, but a positive gains.
3. Greater Good: A character gains, but a negative gains too.
4. Take Down: A character suffers, but a negative suffers too.

There’s also a fifth dilemma choice, where no matter what the effect on the positive or negative, it is unknown what the immediate consequences will be.
Finally, we get a decision, and the consequences of that decision.
And for that, dilemmas are almost always kernel scenes.

“What about lower-key scenes or stories where not much happens?”
Anecdotes still have a little bit of tellability: a mild reaction to an event could become a satellite, but a strong epiphany could end up being a kernel.

Anecdotes usually run like this:
1. Abstract and Orientation
2. Complicating Event
3. Reaction/Insight. A HUGE emphasis on the reaction and insight.
4. Resolution and Coda

Not really different from a standard event, other than the character usually being on the sidelines.

You also have Exemplum and Recounts. Both start the same way…
1. Abstract/Orientation
2. Retelling complicating Event from the past
But Exemplum resolve with a present interpretation of the events, while Recounts remain objective, letting the story tell itself.

Now that we have a decent idea of how to shape events, let’s look at a few examples of what can usually happen in Kernel Events.
1. Disturbance: The reveal of the initial event, the disruption of the status quo.
2. Obstacle: Introducing obstacles and/or antagonists.

3. Complication: The most common function of Kernel Events, when the dynamics of the situation change and force characters to take new courses of action.
4. Confrontation: Wherein the character *must* face an obstacle. Success or failure can lead to more complications.

5. Crisis: Like a Confrontation, only this is for all the marbles: it decides the fate of the rest of the story.
6. Resolution: The result of the Crisis: either the status quo is restored (for better or for worse) or a new equilibrium is established (for better or for worse).

Mind you, this isn’t an exhaustive list, but it should give you an idea of the kinds of scenes that can wildly upset a story.
Next, we’ll look a some examples of examples of what goes on in Satellite Events.
Remember: more than one of these can occur in a Satellite.

1. Exposition: Good ol’ backstory.
2. Drama: The most common function of Satellites. The world in progress; especially if it’s reacting to the initial Disturbance and Complications. Helps raise dramatic questions and shed light on the nature of the conflict.

3. Character Introduction: Although some character introductions can double as Obstacles or Complications, others do not: especially if they’re either allies who do not affect the status quo or one-offs.
4. Action: Carrying out major actions, often in response to a change.

5. Plan Reveal: Characters reveal the Actions they’ll take.
6. Relationship Affirmation: We get more information about the characters’ relationships. Info does not have to pertain to the conflict.
7. Clarification: Revealing new information about the conflict.

8. Continuing Conflict: The repercussions of the disruption of the status quo. May also provide new insights and revelations to characters.
9. Relief: A moment to slow down: especially after intense scenes.
10. Theme: Character expresses their view on the theme. Use carefully.

11. Foreshadowing: Setting up and/or hinting at future events, giving previous events more significance later on.
12. Ambience: Drawing the audience in on an emotional level, either through character emotions or mimesis of real life.

See the difference in Kernels and Satellites?

You may have previously heard the phrase, “Cut out every scene that does not move the plot forward.” But in practice, it’s more complicated than that: we kind of need the scenes that don’t necessarily move the plot forward to flesh out the world, characters, theme, and stakes.

Sure, a story made only of Satellites goes, “And then, and then, and then.”
But a story of only Kernels goes, “But then, but then, but then.”
They’re both equally monotonous.
Perhaps this is what it means to have good pacing: a good rhythm of kernels to satellites.

So, we’ve covered how to build a storyworld and its events. We now have our content. From this alone, we can tell a story a million different ways.
Now we need to narrow it down to just *one.*
Next time, we’ll cover how it’s done: with Narrative Discourse!