R said he was listening to some videographer podcast and the guy said all stories are if, then statements.
If the alien doesn’t find a way to call home, then the government will experiment on and kill him. (ET)
If the woman doesn’t get married, then she will continue to be an embarrassment to her family and limited in her ability to do things. (Big Fat Greek Wedding)
If the crew can’t act on the real ship as they did on the fake, entire worlds will be destroyed. (Galaxy Quest)
You get the idea, right? So I thought I would work on Dielli’s situation and see what I could come up with. I mean, I have written book one and I’m half way through book two. I have been sure I knew how to finish it, though I may have changed that just now. And I have a rough idea of book three.
If Dielli doesnâ€™t keep her dreaming secret, then she will be taken away from her family.
If Dielli doesnâ€™t get rescued, then she will have to live as a slave.
If Dielli doesnâ€™t make herself useful, then she will never be free.
By making book two about her being rescued, which doesn’t happen, I find that the dramatic ending might ought to be when she finds out they are moving after Uncle Toban had left. I still think the idea of going to Belen or Salen entire would be good. She still won’t be rescued there because Ilshak can’t talk to her. I think that is a great scene. Maybe the book needs to be re-ordered. I will think about it.
The actual formula was from the filmmaker one podcast (http://www.filmmakerone.com). He said you should come up with your movie’s tag line and it is almost always in the form.
X must do Y or else Z
X = your main character
Y = your charcter’s dramatic need
Z = the peril the character is in if they fail.