Transcript 03_structure_ca2012_v2

CA2012 STORYTELLING FOR COMMUNICATION
STORY STRUCTURE
CA2012 STORYTELLING FOR COMMUNICATION
STORY
STRUCTURE
UNDERSTANDING
THE
AUDIENCE
Theme
Media Content
Plot
Experience
(Frame of reference)
Character
Needs and Desires
(Stimulation and
Motivation)
CA2012 STORYTELLING FOR COMMUNICATION
STORY STRUCTURE
Three-act Structure
Setup
Confrontation
Resolution
_characters
_location
_conflict
_complication
_obstacles
_climax
_resolution
ACT 1
Beginning
ACT 2
Middle
ACT 3
End
CA2012 STORYTELLING FOR COMMUNICATION
STORY STRUCTURE
Three-act Structure
CX
STORY INTENSITY
100
CO
R
EX
TIME LENGTH OF THE STORY IN MINUTES
0
0 10
120
20
ACT 1
Beginning
30
40
50
60
ACT 2
Middle
70
80
90
100
110
ACT 3
End
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STORY STRUCTURE
Te n s i o n g r a p h
Climax
Rising Action
(complications)
Resolution
Point of Attack
Dénouement
Exposition
ACT 1
Beginning
ACT 2
Middle
ACT 3
End
CA2012 STORYTELLING FOR COMMUNICATION
STORY STRUCTURE
THEME
PLOT
CHARACTER
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THEME
 The central idea of your story
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Main Theme (General)
Sub Theme (Specific)
Collateral Theme (Support)
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Main themes are universal
and eternal.
Sub themes are not universal
nor eternal.
Collateral themes are
supporting themes.
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STORY STRUCTURE
Main Theme: Forbidden Love /
Love has no boundary
Sub Theme:
Sub Theme:
Sub Theme:
Sub Theme:
Love exists
between human
and vampire
Love exists
between two
social classes
Love exists
between two
enemies
Love exists
between two
men
Collateral
Theme:
Problems
occur when
parents do not
understand
their children
80 Universal Themes
Physiological Themes
01_ Air (oxygen)
02_ Food – Its Absence or Abundance
03_ Water
04_ Sleep
05_ Bodily Wastes
06_ Maintenance of Bodily Temperature
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80 Universal Themes
Animal Themes
07_ Wild Animals
08_ Animals Acting Like Humans
09_ Humans Pretending to be Animals
10_ Serpents
11_ Hybrid and Imaginary Animals
12_ Animal-Gods
CA2012 STORYTELLING FOR COMMUNICATION
STORY STRUCTURE
CA2012 STORYTELLING FOR COMMUNICATION
80 Universal Themes
STORY STRUCTURE
Danger Themes
13_ Pestilence
23_ Spells
14_ Flood
24_ Mutilation
15_ Famine
25_ Cannibalism
16_ Fire
26_ War
17_ Exposure to the Elements
27_ Executions
18_ Darkness
28_ Drowning
19_ Earthquakes
29_ Being Marooned
20_ Physical Traps and Fear of Being Buried Alive 30_ Fear of Heights (Fear of Falling)
21_ Physically Deformed Persons
22_ Mental Derangement
31_ Perilous Journey
80 Universal Themes
Imaginary Creatures Themes
32_ Ghosts
33_ Witches
34_ Vampires
35_ Werewolves
36_ Ghouls
37_ Mermaids
38_ Dragon
39_ Half-Human, Half-Beast
40_ Giants
CA2012 STORYTELLING FOR COMMUNICATION
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80 Universal Themes
Sex Themes
41_ Heterosexual Erotic Sex Themes
42_ Taboo Sex Themes
43_ Rape and Abduction
44_ Sex as Humor
CA2012 STORYTELLING FOR COMMUNICATION
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80 Universal Themes
CA2012 STORYTELLING FOR COMMUNICATION
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Wish-fulfillment Themes
45_ Utopia
52_ Ridicule of Authority Figures
46_ Romantic Love
53_ Ridicule of Societal Deviants
47_ Magic and Miracles
54_ Evil Punished
48_ Get-Rich-Quick
55_ Virtue Rewarded
49_ Eternal Youth
56_ The Worm Turns
50_ Magical Transformations
51_ Innocence of Youth
80 Universal Themes
Love Themes
57_ Heterosexual Love
58_ Homosexual Love
59_ Forbidden Love
60_ Familial Love
61_ Romantic Love
62_ Lost or Unrequited Love
CA2012 STORYTELLING FOR COMMUNICATION
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80 Universal Themes
CA2012 STORYTELLING FOR COMMUNICATION
STORY STRUCTURE
Archetypal Themes
63_ God
72_ Rebirth and Resurrection
64_ Satan
73_ Fertility and Infertility
65_ Earth Mother
74_ Parent versus Child
66_ Wise Old Man
75_ Sibling Rivalry
67_ Wise Old Woman
76_ War between the Sexes
68_ The Hero
77_ The Outlaw Hero
69_ The Heroine
78_ Loyal Companion
70_ Death
79_ Braggart Warrior
71_ Hell
80_ The Trickster or Mischief Maker
CA2012 STORYTELLING FOR COMMUNICATION
STORY STRUCTURE
PLOT
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Plot and Theme
Theme: What you want to tell?
 Message / what is it about?
Plot: What happens in the story?
 A narrative of events with the
emphasis on the causality
Theme
- Why did this happen?
- What was the motivation of the characters?
- What will this lead to?
- How will this influence the final effect?
Plot
Plot
Plot
Plot
Plot
Plot
Plot
Plot
CA2012 STORYTELLING FOR COMMUNICATION
STORY STRUCTURE
“Show me. Don’t tell me”
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What if …
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“No conflict. No drama”
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Act 1: Establish the problem
Act 2: Complicate the problem
Act 3: Resolve the problem
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Christopher Booker’s
The Seven Basic Plots
CA2012 STORYTELLING FOR COMMUNICATION
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Basic Meta Plot
Anticipation
stage
Dream
stage
Frustration
stage
Nightmare
stage
The “call” to
adventure, and
the promise of
what is to
come.
The heroine or
hero experiences
some initial
success everything
seems to be
going well,
sometimes with a
dreamlike sense
of invincibility.
First
confrontation
with the real
enemy. Things
begin to go
wrong.
At the point of
maximum
dramatic
tension,
disaster has
erupted and it
seems all hope
is lost.
Resolution
The hero or
heroine is
eventually
victorious, and
may also be
united or
reunited with
their ‘other
half’ (a
romantic
partner).
CA2012 STORYTELLING FOR COMMUNICATION
The Seven Basic Plots
01_ overcoming the monster
02_ rags to riches
03_ the quest
04_ voyage and return
05_ comedy
06_ tragedy
07_ rebirth
STORY STRUCTURE
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STORY STRUCTURE
The Seven Basic Plots
01_ overcoming the monster
Anticipation
stage
Dream
stage
Frustration
stage
Nightmare
stage
The call
Initial success
Confrontation
Final ordeal
Resolution
Miraculous
escape,
death of the
monster
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The Seven Basic Plots
02_ rags to riches
Anticipation
stage
Dream
stage
Frustration
stage
Nightmare
stage
Initial
wretchedness
at home
Out into the
world
The central
crisis
Independence
Resolution
Final union,
completion
and fulfillment
CA2012 STORYTELLING FOR COMMUNICATION
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The Seven Basic Plots
03_ the quest
Anticipation
stage
Dream
stage
Frustration
stage
Nightmare
stage
Resolution
The call
(oppressed in
the city of
destruction)
The journey (ordeals of the
hero/heroine & companions)
may include some or all of
the following:
a) Monster
b) Temptations
c) The deadly opposites
d) The journey to the
underworld
Arrival and
frustration
Final ordeal
The goal
CA2012 STORYTELLING FOR COMMUNICATION
STORY STRUCTURE
The Seven Basic Plots
04_ voyage and return
Anticipation
stage
Dream
stage
Frustration
stage
Nightmare
stage
Fall into the
other world
Initial
fascination
Frustration
Nightmare
Resolution
Thrilling
escape and
return
CA2012 STORYTELLING FOR COMMUNICATION
STORY STRUCTURE
The Seven Basic Plots
05_ comedy
Anticipation
stage
Dream
stage
Frustration
stage
Nightmare
stage
Resolution
The hero
meets the
heroine
Initial
fascination
Misunderstanding,
confusion reign
Final ordeal
United in love
CA2012 STORYTELLING FOR COMMUNICATION
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The Seven Basic Plots
06_ tragedy
Anticipation
stage
Dream
stage
Frustration
stage
Nightmare
stage
Greed or
selfishness
Dream
Frustration
Nightmare
Resolution
Destruction or
death wish
CA2012 STORYTELLING FOR COMMUNICATION
STORY STRUCTURE
The Seven Basic Plots
07_ rebirth
Anticipation
stage
Under the
Shadow
A young
hero/heroine falls
under the
shadow of a dark
power
Dream
stage
The Threat
Recedes
Everything
seems to go well
for a while – the
threat appears to
have receded
Frustration
stage
The Threat Returns
Eventually the treat
approaches again in
full force, until the
hero/heroine is seen
imprisoned in a state
of living death
Nightmare
stage
The Dark Power
Triumphant
The state of living death
continues for a long
time when it seems the
dark power has
completely triumphed
Resolution
Miraculous
Redemption
If the imprisoned
person is a
heroine, redeemed
by the hero; if a
hero, by a young
woman or child
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The other two plots from
The Seven Basic Plots
_ the mystery
Begins by posing a riddle,
usually through the revelation
that some baffling crime has
been committed.
Central figure unravels the
riddle.
STORY STRUCTURE
CA2012 STORYTELLING FOR COMMUNICATION
The other two plots from
The Seven Basic Plots
_ rebellion
A solitary hero/heroine finds themselves being drawn into a state of
resentful, mystified opposition to some immense power, which
exercises total sway over the world of the hero. Initially they feel
they are right and the mysterious power is at fault, but suddenly the
hero/heroine is confronted by the power in its awesome
omnipotence.
The rebellious hero/heroine is crushed and forced to
recognize that their view had been based only on a very limited
subjective perception of reality. They accept the power’s rightful
claim to rule.
STORY STRUCTURE
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Ronald B Tobias’
20 Master Plots
01_ Quest
11_ Metamorphosis
02_ Adventure
12_ Transformation
03_ Pursuit
13_ Maturation
04_ Rescue
14_ Love
05_ Escape
15_ Forbidden Love
06_ Revenge
16_ Sacrifice
07_ The Riddle
17_ Discovery
08_ Rivalry
18_ Wretched Excess
09_ Underdog
19_ Ascension
10_ Temptation
20_ Descension
CA2012 STORYTELLING FOR COMMUNICATION
STORY STRUCTURE
Georges Polti’s
The Thirty-Six Dramatic Situation
01_ Supplication (in which the Supplicant
must beg something from Power in
authority)
02_ Deliverance
03_ Crime Pursued by Vengeance
04_ Vengeance taken for kindred upon
kindred
05_ Pursuit
06_ Disaster
07_ Falling Prey to Cruelty of Misfortune
08_ Revolt
13_ Enmity of Kinsmen
25_ Adultery
14_ Rivalry of Kinsmen
26_ Crimes of Love
15_ Murderous Adultery
16_ Madness
27_ Discovery of the Dishonor of a Loved
One
17_ Fatal Imprudence
28_ Obstacles to Love
18_ Involuntary Crimes of Love (example:
discovery that one has married one’s
mother)
29_ An Enemy Loved
19_ Slaying of a Kinsman Unrecognized
32_ Mistaken jealousy
20_ Self-Sacrificing for an Ideal
33_ Erroneous Judgment
21_ Self-Sacrifice for Kindred
34_ Remorse
09_ Darling Enterprise
22_ All Sacrificed for Passion
10_ Abduction
23_ Necessity of Sacrificing Loved Ones
11_ The Enigma (temptation or a riddle)
24_ Rivalry of Superior and Inferior
12_ Obtaining
30_ Ambition
31_ Conflict with a God
35_ Recovery of a Lost One
36_ Loss of Loved Ones
CA2012 STORYTELLING FOR COMMUNICATION
Jessamyn West’s
7-Basic-Plots
01_ man vs. nature
02_ man vs. man
03_ man vs. the environment
04_ man vs. machines/technology
05_ man vs. the supernatural
06_ man vs. self
07_ man vs. god/religion
STORY STRUCTURE
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PASSION VS PASSION
DUTY VS DUTY
PASSION VS DUTY
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Setting
Geographical location_
Time period_
Economic environment_
Political environment_
Social environment_
Religious environment_
CA2012 STORYTELLING FOR COMMUNICATION
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CHARACTER
CA2012 STORYTELLING FOR COMMUNICATION
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Protagonist – Leading
Antagonist – The
Character
Opponent
CA2012 STORYTELLING FOR COMMUNICATION
STORY STRUCTURE
Reference:
Booker, C. The Seven Basic Plots: Why We Tell Stories. Continuum: London.
2004.
Hyde, S. Idea to Script: Storytelling for Today’s Media. Boston, MA: Allyn and
Bacon: New York. 2003.
Sorenson, Sharon. How to Write Short Stories. Singapore: Thompson/Arco,
2002.