After working with so many writers through consultations, I’ve come to the conclusion that “Writer’s Block” might just be a myth.

Whether I’m meeting with someone about an idea and a logline, a beat sheet, or a complete script, I’ve discovered that writers who think they have a lack of direction in their writing are often facing a different affliction: “Writer’s Deluge”

In our discussions, I’ve noticed that writers have no shortage of ideas. In fact, it’s that abundance of ideas that can cause them to be stumped, to reach a point where they think they have no place else to go. Their characters can make different choices and take different actions, all of which lead them down separate story paths.

It’s kind of like the multiverse theory. If my character makes Choice A, then certain events will logically follow in the story. But if they make Choice B, it can often lead to vastly different outcomes. Moreover, each of these paths has their own sets of choices that branch off into different directions. This can be overwhelming, leading to a flood of ideas that wash over us and threaten to drown us in the possibilities. In short… a deluge.

The good news is that it is possible to navigate this sea of story ideas and arrive safely on shore.

When writers share their frustrations with me, I point out that no matter what, the story should result in a character who has gone through the Transformation Machine and has undergone a journey worth following. The best way to do this is by ensuring that the spine of the story is straight.

I usually start by asking the writer to share their vision of the Opening Image. After all, this sets the tone, mood, scope and style of the story, and it gives us a glimpse of the hero in their life before the journey. Then, I ask what they think the Final Image would look like. Obviously, it will show growth or change, and we will see evidence of the hero’s transformation.

Next, I ask what it is that the hero learned on that journey? How did they change, and why?

If we can figure that out, we know what needs fixing in their life, and it gives us a hint of their Shard of Glass. From here, we discuss the Theme Stated beat. How does the story preview the lesson the hero will learn? Who says it to them, and how? Now, we have a thematic premise to build on; each important moment in the story should point to it.

The Catalyst is the next major beat we examine. What happens to the hero, and how does it change their life? More importantly, I ask writers what goal the hero now has as a result of the Catalyst event. Sometimes, writers have discovered that they never gave their hero a clear goal. The goal should be something tangible that the hero wants; “finding happiness” isn’t tangible enough, and that might be better saved for the spiritual goal.

The goal needs to be tangible because every choice the hero makes during the next scenes will push them closer to or further from achieving that goal. When we come to a scene where we aren’t sure what to do next, we can ask ourselves what will be the best way to have the hero seek the story goal while adding conflict in the scenes.

Ultimately, we want the hero to seemingly achieve their goal at the Midpoint. Because we’ve ensured it’s tangible, we have evidence that they have reached it. Of course, we know it’s a false victory, so we need to make it clear that the hero hasn’t addressed their Shard of Glass yet. This is why the Theme Stated beat is so important. The hero has what they want, but only further trials will show what they need. As a result, I often ask at the Midpoint how the stakes rise for the hero. Where is there a time clock? How has their goal changed?

Usually, I like to go to the next key beat, the All Is Lost moment. I ask writers, “What is your All Is Lost beat? What does it look like? How is it the worst possible thing to happen to the hero, so much so that they will tell themselves it would be better if the Catalyst never happened?” Sometimes writers realize that this beat isn’t as strong as it could be. They might have many ideas, but again, we bring it back to what is best for the story. What will help the hero transform the most?

Of course, this leads into the Dark Night of the Soul, where the hero grapples with the events in the All Is Lost beat. I always ask, “How does the hero learn the theme here? How does this event force them to look and see their Shard of Glass and pull it out? How does it make them a new person, ready to take on the story problem brought on by the Catalyst?”

Once we’ve gone through these key beats, writers often find clarity. Their flood of ideas has receded a bit, and now it is easier to concentrate on the ones that benefit the story the most.

I’m always thrilled when a writer leaves a consultation enthusiastic and renewed because it’s easy to become discouraged when writing. Our minds are swimming with so many ideas that they threaten to pull us under. But by focusing on the spine of the story, we grab hold of a life preserver, emerging with clarity and the ability to tell the story we were born to tell.

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