Write2Ignite

If you have ever researched rules in storytelling, you may have come across the famous Pixar’s 22 Rules of Storytelling. This came from a 2011 tweet from a Pixar employee who realized there were 22 written (and unwritten) rules they implemented on every story. While Industrial Scripts does a pretty good job of explaining the rules, I thought it would be fun to expand on them here in regards to books. After all, while there are many books made from their stories, Pixar makes movies. In part 1, I discussed rules 1-5. Today, in Pixar’s 22 Rules of Storytelling Part 2, I’ll cover rules 6-10. Let’s get started!

#6. What is your character good at or comfortable with? Throw the polar opposite at him. Challenge him. How does he deal with it?

This goes back to the beginning of Pixar with Woody in Toy Story. Woody is the favorite toy of Andy. Until Buzz Lightyear shows up! How does Woody deal with it? Not his finest hour. This rule reminds us that sometimes putting our characters in uncomfortable positions means that our characters will make uncomfortable (if not bad) decisions. But that’s okay. Just like adults, children learn from their mistakes. While it can feel wrong to write a sinful character for kids to read about, think of it this way: kids will learn from your character’s mistake, so they don’t have to make the same mistake in real life. After all, what are cautionary tales for? However, this isn’t just for cautionary tales. Sometimes, a mild-mannered character shows his true heroic self when you throw the worst at him. You will soon find out just what your character is made of.

#7. Come up with your ending before you figure out your middle. Seriously. Endings are hard. Get yours working up front.

Do you know how your story ends? If not, then you shouldn’t be writing it. While it is okay to rewrite the ending later, you should never begin a draft without knowing how the story ends. Pixar broke this rule themselves when they made Finding Dory. They had a perfect ending figured out until the documentary Blackfish changed people’s attitudes towards killer whales. Now, Pixar had to rewrite the ending that we see now. If you have ever found the ending to be a little lackluster, or abrupt, then that is the reason. Thank God for Louie Armstrong songs that you can plug in anywhere and make a moment beautiful. But music cannot fix your ending when you are writing a book. For you, it is absolutely necessary to know where you are going before you even start.

#8 Finish your story. Let go even if it’s not perfect. In an ideal world, you have both but move on. Do better next time.

Sometimes a story doesn’t turn out. Like a painting that doesn’t look as good on canvas as it did in your head, or a poem that is crumped up and tossed in the trash. Sometimes a story that sounds good in your head just isn’t that great. Pixar has projects that they have scrapped. Make sure you don’t give up just because of a bad draft. But also make sure that you finish a first draft so you can find out if the story is worth pursuing. You may have a great few chapters, but can the story sustain itself? You won’t know until a draft is staring you in the face.

#9. When you’re stuck, make a list of what wouldn’t happen next. More often than not, the material that gets you unstuck appears.

Before I knew this was a Pixar rule, I had my own interpretation. When I would have a story idea, I would imagine I was at a crossroads with at least three different ways the story could go. I would then imagine that the story turned right until I hit a dead end. Then I would go back to the crossroads and go straight. Then, after hitting a dead end there, I would go back and turn left. Each story has to be taken on a test drive before you sit down to write a draft. Otherwise, you’ll find yourself with a story that has no sense of direction. But you have to go down those roads. You never know what you may find.

#10. Pull apart the stories you like. What you like in them is a part of you. Recognize it before you use it.

When I look back on the different story ideas I’ve worked on, I can tell you exactly what movies, TV shows, and books I was consuming at the time. A ten-page outline for a Pecos Bill story came from my disappointment in the Disney Lone Ranger film. The steampunk mystery I wrote with AI last year came from Robert Downey Jr.’s Sherlock Holmes franchise. The list goes on. But just like a journalist must avoid plagiarism, creative writers have to be aware of our influences. In fact, it can be an advantage. When you pitch your story and list comparable titles, you can cite the stories that influenced your manuscript.

What is your favorite Pixar rule so far? Which one will you be implementing into your project? Let me know in the comments.

Just like his two older brothers, Kyle Morgan was homeschooled from Kindergarten through High School. When he is not busy writing, the next classic children’s book, Kyle loves spending time with his family, all things baseball, and watching black and white movies. He is a monthly contributor to Write2Ignite where he blogs about writing for children. His work has appeared in The Old Schoolhouse Magazine, The Caldwell Perspective and StarLight Magazine. You can check out his Facebook page or follow him on Instagram.