The Five Elements of a Story

Burke defines the five foundational elements of a story as Act, Scene, Agent, Agency, and Purpose, discussing them in the context of human motives:

> "A comprehensive account of motives requires a term for the act (what occurred, either in thought or action), a term for the scene (the context in which it happened), and an indication of the agent (who performed the act), the agency (the means used), and the purpose."

If you've played the game Clue (or Cluedo), you're familiar with these components. The act is predetermined: murder. You have cards for agents (characters), agency (weapons), and scenes (locations). While the game doesn’t specify the purpose (the reason behind the murder), the film adaptation fills in that narrative gap with entertaining motivations.

Understanding my writing philosophy is aiding in discerning which advice resonates with me and which does not, fostering a renewed trust in my own instincts.

Act

Burke describes the act as the occurrence itself, summarizing Socrates' perspective:

> "Reality, he stated, is the ability to act and be acted upon."

In Aristotle's dramatic analysis, the equivalent term is plot. When discussing a movie or book's plot, we seek a summary of actions or acts. This is why creative writing instructors often suggest asking, "What happens next?" when encountering a plot block.

Additionally, characters (agents) are defined by their acts, embodying the idea that "actions speak louder than words," which is especially pertinent in plays and films where internal thoughts cannot be explicitly conveyed. Characters must exhibit clear, logical actions that reflect their internal states.

The interactions among characters help the audience understand their personalities. Burke encapsulates George Herbert Mead's thoughts on character dynamics:

> "A social connection forms between the individual and external entities or people, as the individual learns to anticipate their reactions towards him. Consequently, he becomes aware of himself in relation to the 'other.' His attitudes, shaped by their reflections, influence his actions."

When writing ensemble stories, instructors recommend ensuring that each character is distinct in their actions. This not only aids the audience in differentiating characters but also sets the stage for interpersonal conflict. Each character’s desires in response to the scene will vary, leading to potential clashes.

If this perspective resonates with you, then you’re an act person! Begin by determining what occurred and who was involved, charting the actions of each character in your narrative. In genres like mystery or thriller, the acts contribute to the overarching scene, with audience understanding of the agents developing through their actions. Interest is generated by how characters engage in their agency, and the purpose becomes clear through the consequences of their acts.

Scene

According to Burke, the scene refers to the context. This viewpoint posits that the scene or initial situation drives human actions.

A writer focused on the scene would argue that a character (agent) can’t undertake an act without a preceding event that creates the impetus for action. This foundational inquiry often emerges when instructors prompt us to identify the "instigating incident," guiding us to consider what the agent is responding to.

Burke cites Hobbes, who argued that the scene provides the backdrop for human desires. Characters utilize their agency to respond to the scene. The intrigue in a character's decisions lies in our shared understanding of right and wrong, with tension arising from whether the character accurately interprets the situation.

Burke also addresses the compelling nature of survival as a character's motivation. The idea is that reactions to threats engage audiences deeply:

> "Just as the Infinite Substance [God] is eternal, so too would every finite mode of Substance endure indefinitely were it not for the limitations imposed by other entities. In essence, each entity seeks to preserve its nature until external forces intervene."

Stories that showcase multiple characters contending with a shared threat or conflict demonstrate this principle, dramatizing our feelings of encroachment. Competition arises as a reaction to a world replete with constraints:

> "Every being strives to maintain its essence for as long as possible until disrupted by uncontrollable factors."

Ordinarily, characters aim for success, albeit they may inadvertently complicate their lives. People are inherently motivated by victory and averse to defeat.

However, this concept becomes irrelevant without an ongoing situation in which characters can strive for success or failure. Without a scene, there is nothing to navigate. Thus, it follows that the scene is what propels human action.

If this resonates with you, you’re a scene person! Concentrate on crafting the backdrop or inciting incident that launches your story. Your characters (agents) will be shaped by their circumstances and their reactions, which will in turn influence their acts and agency. Their purpose will likely revolve around survival or preserving a lifestyle.

Agent

Burke's definition of agent refers to the individual. Those who view agent as their starting point argue that a conscious perspective is essential for storytelling; without a narrator to convey the tale, there is no narrative.

Creative writing instructors often emphasize that a story must be anchored in someone's perspective. Even unnamed narrators provide a viewpoint, which serves to manage the narrative’s scope. Burke elucidates this idea through the concept of perception:

> "To exist is to be perceived... All that comprises our 'real' world must meet this criterion. We navigate among 'ideas' and learn to manipulate them to create desired realities that can only be perceived."

This notion parallels viewing the world through a camera lens; only what appears within the frame is visible to the audience. Anything beyond that frame does not exist in the narrative context. Thus, perspective in storytelling determines what exists for the audience, as it relies on the agent's perception.

Burke further clarifies that this makes the agent driven by sensations and ideas:

> "Through our senses, we learn to alter the set of 'ideas' we encounter, allowing us to seek the desired experiences, such as buying a ticket for a train journey, where we anticipate the sensations associated with arrival."

We envision places we long to visit, and that anticipation drives our desire to go. Conversely, the actual experience may differ from expectations. Both positive and negative experiences hinge on our anticipation. Thus, the agent's perspective shapes the narrative.

Consequently, the thoughts and sensations of the agent construct the story. Writing instructors often advise incorporating the sensory details of the POV character’s experience—sights, sounds, textures, and tastes. In contemporary writing, conveying the character's inner thoughts clearly is also crucial, referred to as “deep POV.”

This sensory immersion is what makes a narrative feel engaging. Readers experience the story through the character's mind, gaining access to their unique perception of reality.

Those who prioritize agent suggest that the desires for experiences propel the narrative. This is evident in many Disney films, such as The Little Mermaid, where Ariel yearns for human experiences, catalyzing the story's progression.

If this perspective resonates with you, then you’re an agent person! Focus on the POV of the character whose perspective—broad or narrow—provides direction. The character's experiences shape the scene, while their thoughts and desires guide their acts. Their capacity to fulfill their desires defines their agency, while their purpose often centers around leading a fulfilling life.

Agency

When Burke refers to agency, he is discussing the means by which the agent can act. Writers who argue that a story should commence with determining how someone accomplished an action focus on the tools, skills, or abilities required for that act. Burke identifies this as a study of power.

Instructors frequently stress that a character's methods must be credible. The mechanics of a story are paramount; a character's potential and limitations are crucial. Establishing the laws governing the story's universe is essential. Agency defines what is feasible or impossible within that context. Issues often arise when the agency is inadequately established or inconsistent.

Stories that begin by clarifying agency may seem uncommon until you seek them out. Any narrative that opens with an explanation of how something is achievable falls into this category. In films, this "how" is often articulated through introductory text or a voice-over, setting the stage for extraordinary occurrences. A classic example of demonstrating agency is found in Columbo, where each episode begins with the viewer witnessing the murder setup, albeit without knowledge of the perpetrator's identity.

There are two primary types of agency: tools and inherent traits. For instance, a time machine represents a tool granting a character the agency to traverse time, while a character's supernatural ability to time travel grants them inherent agency.

If this perspective resonates with you, then you’re an agency person! Begin by conceptualizing a fascinating mechanism, invention, or inherent skill. Next, establish the scene that arises from its introduction, leading to a public act that reveals the ability or tool. Determine who will wield this power (agent) and why they might choose to do so (purpose).

Purpose

Burke interprets purpose as the inquiry into meaning, intent, or objectives. Having a purpose serves as a guiding force in life. Burke notes this concept often connects to the divine, exemplified by the Chosen One trope. Creative writing instructors typically critique this trope for detracting from character motivations. However, Burke acknowledges that the escapism offered by the Chosen One narrative provides psychological relief:

> "Mystical philosophies emerge as social reflections during periods of skepticism regarding human purpose. They thrive when previous societal beliefs about life’s objectives weaken, and no new, satisfying framework has emerged."

Yet, Burke warns that excessive escapism can be detrimental:

> "A purpose perceived in such a 'pure' manner can become indistinguishable from having no purpose at all in practical terms."

A lofty calling often feels disconnected from everyday life, making it challenging for audiences to relate.

Moreover, purpose is intertwined with other narrative elements, complicating its separation and analysis. As Burke observes:

> "The concepts of act and agent inherently involve purpose. Similarly, agency is tied to purpose, as tools and methods serve specific aims..."

Additionally, the blending of other narrative elements can obscure the true nature of a character’s motivation:

> "This ambiguity particularly arises from the 'Something for Its Own Sake' motivational pattern, which often culminates in the 'pure' motive of money. Money, while fundamentally a medium in banking, gambling, and profit-seeking, becomes a purpose, leading to what Harold Loeb termed the 'mysticism' of money."

Burke highlights that incomplete motivations can become convoluted. If a character (agent) acts for money, it is likely due to a necessity for something else—rendering money a tool (agency). This raises further questions regarding the character’s ultimate motivations.

If we say, “They need money to save a kidnapped loved one,” we introduce a context (scene). Next, we might ask why they wish to rescue their loved one. If the answer is “for love,” we have returned to an act, prompting us to question the significance of that love. Ultimately, we might arrive at the conclusion that love is humanity’s intended connection, pointing towards a divine purpose.

As Burke summarizes Aristotle’s perspective, purpose relates closely to the essence of living beings. Broadly, the argument posits that humanity's purpose is to perform good deeds. Many narratives ultimately converge on this theme: heroes embody goodness, while villains represent evil, culminating in a classic struggle of Good versus Evil, where the audience rallies behind the virtuous.

Narratives that capture audiences often lean into the exploration of a divine purpose. Works like The Lord of the Rings center on the defeat of Evil to safeguard Good, while Star Wars portrays the quest for balance between Light and Dark. Harry Potter focuses on vanquishing Voldemort to restore goodness.

However, it is relatively rare for a story to originate with purpose before other elements are introduced. When this occurs, it typically appears as an epigraph in a novel or a prophetic voice-over in a film.

Divine purpose or prophecy often comes to light after characters (agents) have been established, and sometimes the rationale for their actions is revealed post-establishment of the overall scene. That said, it’s entirely feasible to conceive a prophecy or divine motivation first and then develop the story’s other components; it simply seems more challenging for many writers.

If this resonates with you, then you’re a purpose person! After determining the overarching meaning or goal, you can work on the scene that facilitates fulfilling that purpose. Alternatively, you might identify your character (agent), delineate how their abilities function (agency), and define how they will leverage their powers to achieve the greater good (act).

Writing Prompts

If you’re still uncertain about your writing philosophy, consider these prompts. Which one inspires you the most?

1. What would life be like on another planet or in an alternate reality? What remains unchanged, and what differs?
2. You awaken to find a viral news story dominating the internet. What has happened?
3. What does your character fantasize about?
4. If you possessed a time machine, what would you do? Or, how would you use psychic powers?
5. You discover an ancient, mysterious prophecy within a dusty old tome. What does it foretell?

Key: 1. Scene 2. Act 3. Agent 4. Agency 5. Purpose

Thanks to Kenneth Burke's A Grammar of Motives, I've learned that my natural starting point is agency.

My writing process unfolds as follows: agency, agent, scene, act, purpose. I begin with an intriguing ability or gadget, then consider who would possess it, the situation that prompts its use, the actions taken to achieve their desires, and ultimately, the significance of their journey, which often only becomes clear in hindsight.

I hope this exploration of various writing philosophies aids you, and I wish you the best of luck in your writing endeavors!