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 Drama: September 06, 2017 Issue [#8482] |
  Drama This week: It Begins with a Mistake Edited by: Kate - Writing & Reading   More Newsletters By This Editor   1. About this Newsletter 2. A Word from our Sponsor 3. Letter from the Editor 4. Editor's Picks 5. A Word from Writing.Com 6. Ask & Answer 7. Removal instructions 
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Let's start with an image/active exposition of our protagonist, the antagonist(s), basic conflict and setting. Remember, we don't want to flatline with a lengthy non-active introduction, but a scene to introduce the story, to invite the audience(readers) to attend the story, whether on paper or stage. It's more than mere 'hook' as it offers more depth, an opportunity for you to share a sensory image of the characters and their interaction with each other and their surroundings in a few short paragraphs.
Have the exposition end with the inciting incident (the mistake), without which there would be no story. This is the reason for the story; it sets the rest of the story in motion, with expression and attitude; your characters are committed to act. 
Now, there's a pulse to the story, and conflict speeds the pulse of the story, as an incline would speed the heartrate of a runner. As a conflict is resolved, the heartbeat becomes more relaxed, like the runner loping downhill. This pulse can continue over several obstacles as each is first encountered, then engaged, then resolved for the benefit or further lesson of the protagonist. 
The resolution arrives after the final push uphill, heart racing, to reach the climax, changing the characters, resolving the obstacles and allowing once and for all the protagonist and antagonist(s) to win or fail, to be changed by their journey - the resolution after the climax providing the understanding, perhaps a final instance of suspense to make your reader/listener/audience doubt the climax.
And we don't end a story on a cliffhanger but resolve what was begun in the opening ~ answer the questions raised, changing the lives, interactions, of the protagonist/antagonist, fix the mistake. Have our cake and eat it too
The protagonist may fail, but learn something about him/herself; the ending may be joyous, comedic, or tragic; but do bring it to a conclusion for your characters (and your audience whether in print or on stage).
