As the pandemic unfolded last year, a story concept I toyed with for years kept coming to mind, mainly because the conflict in the story dealt with the end of the world. And I wanted the hero of my story to be a protagonist with a disability or mental issue. So I had my controlling idea clearly planned out.
A story’s controlling idea should be obvious by the time we get to the narrative’s resolution. First, we need to understand what the controlling idea is not.
- Plot
- Theme
- Message
However, these aspects of story can and should emerge from the story, particularly in the subtext of it. The bottom line is you should have a grasp of your controlling idea before you start writing the story.
Controlling Idea!
A controlling idea of the story should simply be a one sentence statement about the story’s meaning and how it is expressed through action, events and characters all the way through the story’s climax.
Think of it as an X marks the spot on a treasure map. It’s what we want in the end of the journey. Thus, the importance of the concept is undeniable. It will shape the message via guiding the plot and revealing our theme.
This helps writers to know why they are writing the story before the initial fade in. There are two parts of the controlling idea: the how and the why. Below are a few examples of how a controlling idea can produce a story’s theme.
- True strength isn’t always in might – humility.
- Love overcomes hate – the power of love.
- Good triumphs over evil – justice.
- Revenge doesn’t pay – forgiveness.
- Shallowness doesn’t last – find the meaning/purpose.
- Overcoming impossible odds – hope prevails.
David Trotter explains, “Give your movie some meaning. According to Patrick Sheane Duncan, ‘A movie is generally about one thing, one theme or idea, and every scene and every character is formed from that fountainhead’. … Each scene, and the conclusion in particular, points to the idea.”1
If we know and understand our story’s message, we should understand how the controlling idea will produce it. More importantly our audience should understand both concepts: what our theme is and why we feel that way. Your job as a writer is to make these clear.
One of the first writing “rules” I learned is to always think about the reader or audience first. Our stories or art aren’t just for us—they are a communication to others. Do your job well and make sure others will get it!
Get It?
We all go to movies for different reasons, but the fact is we expect to get something in return for the money we pay: entertainment, information, or to escape from reality.
The controlling idea needs to be obvious to the audience if we’re going to help them receive what they’re expecting. The controlling idea is the framework to sell our message effectively.
Robert McKee notes, “A controlling idea may be expressed in a single sentence describing how and why life undergoes change for one condition of existence at the beginning to another at the end.”2 Below are a few examples of movies for strong controlling ideas with emotional undertones.
- A Very Long Engagement War and loss are devastating – keep hoping.
- Jurassic Park Man versus nature – life finds a way.
- Chariots of Fire Victories don’t come easy – self-sacrifice and humility.
Knowing your story’s message is important. As we start a new year, do you know your controlling idea?
Martin Johnson survived a severe car accident with a (T.B.I.) Traumatic brain injury which left him legally blind and partially paralyzed on the left side. He is an award-winning Christian screenwriter who has recently finished his first Christian nonfiction book. Martin has spent the last nine years volunteering as an ambassador and promoter for Promise Keepers ministries. While speaking to local men’s ministries he shares his testimony. He explains The Jesus Paradigm and how following Jesus changes what matters most in our lives. Martin lives in a Georgia and connects with readers at Spiritual Perspectives of Da Single Guy and on Twitter at mtjohnson51.
1 Trotter, D. (2019). Screenwriter’s Bible , Silman-James Press. Pg. 94.
2 Mckee, R.. (1997). Story , Harper-Collins e-books, Pg. 115.
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