If You Can't Answer These 6 Questions You Don't Have A Story - Glenn Gers

Story (definition)

A story follows a character (or characters) trying to accomplish something and encountering obstacles. The drama comes from their attempts to get what they want and how others or circumstances help or hinder them.

• Obstacles can be external (other people, theft, physical barriers) or internal (fear, phobias, emotional blocks).
• Every character believes they are the main character of their own story.

Core concepts and artistic techniques

• Dramatic action: a character trying to accomplish something and facing obstacles.
• Goal–obstacle–response structure: identify the character’s want, the obstacle, what they try, why it fails, what they finally do, and the ending.
• Scene-based thinking: conceive and write in scenes—small, self-contained units that show action.
• Question-driven development: keep asking who, what, why, where, how to turn ideas into scenes and specifics.
• Show-don’t-tell: convey character and emotion through concrete actions (for example, show misery by a character throwing dinner on the wall).
• Iterative practice: work in short bursts, test material, stop before you grind, take breaks, then return and repeat.
• Self-awareness of process: experiment to find the daily/weekly rhythm that suits you (night vs. day, short vs. long sessions).

Practical steps and materials

• Use the six essential questions to build any story:
  1. Who is it about?
  2. What do they want?
  3. Why can’t they get it?
  4. What do they do about that?
  5. Why doesn’t that work?
  6. How does it end?
• Think in scenes and write scene descriptions that answer a clear question (e.g., “How do we know he’s miserable?” then supply a concrete action).
• Capture ideas outside your head: outline, notes, script text, overviews, notecards, phone notes—whatever works—so you can set work aside and return to it.
• Test different working rhythms; pay attention to what produces good work and feels sustainable.
• Work in short, focused bursts if that’s your strength; take breaks before productivity drops to avoid ruining good drafts.
• Be honest about your real-life constraints (free time, temp jobs) and structure writing time around them.
• Keep asking “why” to deepen character motivation and scene specificity.

Script formatting and technical advice

• Avoid unnecessary screenplay directions (e.g., “CUT TO,” “DISSOLVE TO”) unless they are essential to the story.
• Leave cinematic editing decisions to directors and editors; keep script formatting minimalist and focused on action, character, and dialogue.
• William Goldman is referenced as an example regarding sparing use of “CUT TO.”

Notable references and contributors

• Glenn Gers (screenwriter, main contributor)
• Film Courage (interviewer)
• William Goldman (referenced)
• Writing For Screens (Glenn Gers’ YouTube channel)