I’ve marked here four examples that show how the process of visually clustering story elements to the step outline has helped me identify problems and opportunities so far in this story — before their oversight drags me down when I begin writing the screenplay.
The numbers in the picture above correspond with the numbered list items below.
- On the “Orlando LaSalle Pursues” card, notice that I’ve used two arrows to temporarily assign that card to two concurrent steps. After eyeballing the clusters, I realized that I need the story beats on that one card to be represented in both steps, allowing me to reveal successively more about the character Orlando as the story progresses through these two steps.
- If you look closely, you can see that the “Businesses collapse” card, which comes from the Economy/Infrastructure story thread, is incomplete. When I mapped out that story thread in early August, I knew that it was important to show urban decay early in the first act, but wasn’t yet sure precisely where or how. So I made the card but left the details blank. However, with the story now developed into a step outline, and now that this visual clustering allows me to easily see what else is happening in that step, several ideas poured forth as I pondered the map, giving me the answer, which I’ll now go back to the step sheet and write up.
- You’ll notice that I have handwritten a story thread card called “Press Status.” What happened is, as I begin to assign story beats to each step, I could see that I hadn’t fully anticipated the opportunities this step presented for helping to establish the status quo relationship of the press to the police, which is very important for the audience to understand early on and throughout the story, so they can be at least subconsciously aware of the antagonistic turbulence of that interrelationship as its tension ebbs and flows. So, to not interrupt my progress, I just jotted on a blank card the missing info as a reminder to add to this step outline later.
- This notation identifies where I’ve handwritten notes on two of the cards reminding me to represent this story element within other numbered steps in the outline. As I stepped back from the board, I could see that the story threads from which these two cards came were inadequately represented elsewhere on the storyline. I then analyzed and identified appropriate steps along the outline I could use to more gradually develop these two story elements and keep them fresh in the audience’s mind.
These are just four examples of story gaps and opportunities I discovered as a result of the graphical representation that this physical assembly process presented me. I might have found them in other ways, but they easily popped into view with this visual map.