When you decided to become an animator, it was because you had to express yourself.  And if you’re reading this, you want to express yourself through story. 

In finding the tale you want to tell, it’s crucial to keep in perspective the “why” of your animation craft.  You are a storyteller first, an animator second.  Animation may be the best medium for what you want to say, but you must know for certain what it is you want to say.  What human truth are you revealing?  What personal experience are you illustrating?  If your point is valid and one that you are invested in, you’re halfway home.

Of course, no matter how personal the film is, you want to keep in mind that you will not be the only person enjoying it.  Many filmmakers make the mistake of expending countless hours on a short piece which is pure therapy.  These films usually lack the global appeal that would be easily attainable if the filmmakers had kept the audience in mind during the conception.  This is not to say you should create solely for the masses, but structure your film so it speaks to you and others as well.  Furthermore, no matter how complex your concept is, your audience may not be so sharp.  Always opt for the simplest way to tell a story.  It’s easy to be obtuse; it’s much more difficult to be clear.

Now you’re ready to follow the set-up/build-up/resolution pattern of a good story.  Creating a story arc, complete with its climax three-quarters through, is not any more different than it was when you were in middle school.  Once your settings and characters are chosen, your conflict has to come out of that situation, either because of the characters or because of the circumstances themselves.

Conflict is the pith of story.  Somebody wants something and has trouble getting it.  That, in essence, is Conflict.  Whether between opposing characters or between a character and his environment, there must be an unfulfilled desire that pulls the story along.  Desire is something we can all relate to, but if you really want a story that people will remember, make the desire for something fundamental to human nature.  You could make a weak film about the desire to play a game of chess, or you could make a stronger film about the desire to win at all costs, and have it revolve around chess.  People are vain, and we love seeing ourselves up on the screen.  The more we can relate to an animated film, the better.

In regards to human nature, we experience the struggles of the world on a daily basis.  Many young filmmakers opt to tell a dramatic story rather than a cheery one.  Remember that each kind of story contains elements of the other.  There’s pathos in comedy and hijinks in tragedy.  It’s often easy to finish a film on a dramatic note.  Life, after all, is hard.  However, if you can just as easily end your story happily, I suggest you try.  The audience rarely sets out to experience a story that will make them feel worse than when they started.  The final punch may have a stronger blow if it is accompanied with a guffaw instead of a grimace.

While you think about all this, never stray from what your point is as a storyteller.  There is only one you, so any hackneyed story you wish to express will always be unique.  Implement as much of your perspective and point of view as you can, and you’re bound to make a mark.  And in the end, that’s the best way to give your story a life of its own.

Jake Friedman is a New York-based animator and animation journalist.  Visit his latest film at www.StonedWheatFilm.com