Who Leads: Story or Form?

So, who leads: story or form?

When a story idea strikes, the form seems implied. It just makes sense. I think playing with form, though, can help us understand new components to stories. Writing it in long-form develops the internal struggles and motivations. Writing it in short form compacts it. Poems refine it to the emotional essence. A podcast or audio requires essential storytelling skills. And film illustrates the story.  Experimentation provides new story elements with their time in the spotlight.

In my experience, the story comes first. Form follows. As I mentioned last week, my World War II film set in occupied Paris, The French Baker, began as a screenplay. That form feels right because I want the audience to watch Sebastien’s world collapse around him. The emotions needed will be easily visualized through facial features. I have begun to write it in novel format. I hope to discover more of Sebastien’s inner conflict, which would lead to it being shown better on film. 

You’ll know it’s the right format when the writing flows like a thick protein shake. That’s not to say there is just one true format. As mentioned, a story can take every form, and each one reveals something new. 

For example, the books about the life of Forrest Gump are vastly different than the film adaptation. There are many more adventures in the books, which likely would have required a substantial budget increase during film production. The film brought Gump’s story to life. Transitioning from page to screen, the audience could see the world with Forrest. We felt his awkwardness and enjoyed his simple replies to people.

Let’s take Killer Angels by Michael Shaara and the 1993 film, Gettysburg. Shaara tells an incredible story, weaving in the paths of Union and Confederate leaders. We are in their shoes and can understand why they made their choices. The film version takes a different approach, enrapturing our attention with the cannon and musketry. The movie catapults us from inside the mind to the physical world, and there is plenty going on there, too. Neither form is wrong. The book is a great read, and I highly recommend the entire series. The movie, as well, is one of my favorites (of course!). 

So whether The French Baker becomes a film or a novel, Sebastien will teach me something different in the form he speaks through. In fact, it might be ideal to write the story in different formats. This will help decide the best format for his story in particular. I’m curious how other writers design their work. What form do you write in? Why?