Interdependance of A, B, C stories ?

Randall_Oelerich

Randall_Oelerich

Veteran
Blake Snyder discusses how the A story (external goal), B story (hero's transformational arc, inner spiritual journey), and C story (romance or relationship subplot) should be interconnected-- notes below that I made out of his book Save the Cat Strikes Back. Viz until the hero completes the B and C goals, s/he will not complete the external goal of the A story. He uses Casablanca as an example. My question: How often is Blake Snyder's thesis true? Do we see this in most stories? Do the B and C subplots really have to be achieved in order for the hero to accomplish the external goal (A story)? Or is this genre dependent, Casablanca being a romantic drama of a sort? If I am writing a supernatural thriller, do I need the hero to resolve a relationship C-story subplot before they can solve the supernatural mystery?

A,B,C STORIES INTERCONNECTED
Example: Casablanca
  • A Story (external goal): Rick needs to get Victor Lazlo out of Casablanca against the wishes of the Nazis.
  • B Story (transformation, internal, emotional): Ricks doesn't stick his neck out for nobody, his fatal flaw, and showing us his internal emotional need for compassion and to love again. Until his B story goal is met, the A story goal will not be met.
  • C Story (relationship, love): Because of Ilsa, Rick is jaded. Until he can come to grips with his relationship with Ilsa whom he loved but who left him standing in the rain, he will not achieve the B story goal, and thus the A story goal.
 
No one should remark with absolute authority (outside of Tolstoy) on the mechanics of sub-plots and how they should behave exactly. However, if they enrich and provide metaphorical enlightenment to the THEME, you'll be able to stay on track.

If you've properly identified your theme, and taped it to the top of your laptop, you can approach your story from multiple perspectives.

Make sense?
 
Sounds good. Close to what Karl Iglesias said in the same post I made in my UCLA course (crafting better dialogue) I am finishing up with him as instructor.

bill totolo said:
No one should remark with absolute authority (outside of Tolstoy) on the mechanics of sub-plots and how they should behave exactly. However, if they enrich and provide metaphorical enlightenment to the THEME, you'll be able to stay on track. If you've properly identified your theme, and taped it to the top of your laptop, you can approach your story from multiple perspectives. Make sense?
Click to expand...
 
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