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Return Change As I've said, the easiest way to visualize these steps is by drawing a circle, dividing it into 4 equal pieces, and writing numbers around it clockwise, with 1 and 5 at the north and south "poles" of the circle, 3 and 7 at the east and west poles. A red blood cell? By the end of the first 37 seconds, we'd really like to know.

This is the reason why a story is going to take place. The "you" from 1 is an alcoholic. There's a dead body on the floor. A motorcycle gang rolls into town. A hiker heads into the woods.

Pearl Harbor's been bombed. A mafia boss enters therapy. Crossing of the Threshold. A detective questions suspects. A cowboy gathers his posse. A cheerleader takes a nerd shopping. Belly of the Whale, Road of Trials. Friends, Enemies and Allies. We found the princess. The suspect gives the location of the meth lab. A nerd achieves popularity. Meeting with the Goddess. Approach to the Innermost Cave. On one hand, the price of the journey. The shark eats the boat. The nice old man has a stroke.

On the other hand, a goal achieved that we never even knew we had. The shark now has an oxygen tank in his mouth. Jesus is dead- oh, I get it, flesh doesn't matter. The nice old man had a stroke, but before he died, he wanted you to take this belt buckle. Now go win that rodeo. Atonement with the Father, Death and Resurrection, Apotheosis. Coming home to your girlfriend with a rose.

Leaping off the roof as the skyscraper explodes. Life will never be the same. The Death Star is blown up. The couple is in love. Bloom's Time Belt is completed. Lorraine Bracco heads into the jungle with Sean Connery to "find some of those ants.

Master of Both Worlds, Freedom to Live. If we assume you're going to use your full 5 minutes, then you've got 1 minute and 15 seconds to for these 3 steps: You've then got another 1: You've got another 1: And a final 1: In TV including Channel , that last quarter is a good time to make it very clear to the audience that you've got a series in mind.

As a "situation changer," your protagonist is going to be going on more journeys episodes , creating a viable series or "franchise.

Think of each of the 8 steps as consisting of 8 microcosmic substeps. Because the act of: Then you could tell the I'm not recommending that you sit there with a compass and a calculator breaking down your story to the point where every 4 second line of dialogue consists of 8 syllables and tells the story of a sentence, but it's possible and sometimes "going there" can help you make decisions or get unblocked.

On the other hand, you can also just shotgun it. So what if you have to spend an extra 11 seconds making the audience love your main character, at the price of some time from other sections of the story? So what if, in today's world, we really don't need to spend a proportionate amount of time saying "happily ever after," at the expense of less karate?

Nobody's going to notice. A confidently hand drawn, vaguely egg-shaped circle can be circular enough. You won't win any prizes for being the Phillip Glass of story structure, especially if it starts compromising your creativity. If you know what to do, do it. Okay, that's the review of my story model. And here are some questions it sometimes raises: Why do stories have to follow this structure?

It's not that stories have to follow this structure, it's that, without some semblance of this structure, it's not recognizable as a story. I learned about "iconography" from working with Rob Schrab for several years. In cartooning, you have to draw a certain combination of lines before the audience is going to universally recognize what you've drawn. If I draw a cylinder, I can tell you it's a banana, but I can't make you think "banana" on your own unless I make it yellow, taper the ends and give it some curvature.

To further extend this metaphor: Sometimes bananas are green in real life. If I make a green, tapered, curved cylinder, does it look like a banana? It looks like a pepper. You can jump up and down and scream about how you just drew a perfectly good banana, because it looks just as much like a real banana as a yellow one student filmmaker , but I'm telling you, dude, it's a fucking pepper, UNTIL you put more time and energy into giving it OTHER recognizable banana qualities- for instance, drawing it half peeled.

Okay, now it's a green banana. You blew my mind. Likewise, I'm saying there's 8 steps to "drawing" a universally recognizable story. Can you skip some of them? I do it all the time. The "road of trials" in Call me Cobra is a guy sitting down at a table.

If I had an extra 30 seconds, I would have written that Steve tries on different outfits and personas, saying "I'm the Cobra" in a mirror before deciding on his black suit and going to his meeting with the goddess. But I skipped it. The time was needed elsewhere. Yeah, but why would a human being recognize certain things as stories?

I mean, with a banana, we need to know it's a banana so that we know we can eat it. We don't "eat" stories. Yes we do, and our survival as individuals and as communities is dependent on recognizing the edible, nutritious ones.

Information can be "empty calories," like a phone book, or it can be downright "poisonous," like a Superbowl halftime show, a Madonna video or footage of a man blowing his brains out. The right kinds of poison can get you high and help you have fun, but it's getting you high because it's fucking with you, it's killing you, and if you don't occassionally eat real story food- a dramatic game of football where your favorite team wins, a meaningful conversation with friends you trust, a good book, a good movie, a good TV show, witnessing a life being saved at the public pool- you are going to wither away and die, psychologically, spiritually and socially speaking.

But I'm sick and tired of cookie-cutter stories about good guys saving the day from bad guys. Some of my favorite movies fly in the face of your story model. If it's really your favorite movie, I absolutely guarantee you it's structured at least somewhat in accordance with this model. You're hearing "good guys and bad guys," but I'm not saying it.

I'm saying "protagonist descending and returning. If you're a subversive punk rock anarchist with a spike through your nose, and you hate "Shrek" because it's a piece of corporate shit, you are craving a descent into the unknown.

And I think you will find that your "favorite" Japanese gore fest is the one with a recognizable protagonist needing to eat human flesh, going to an orgy, eating everyone there, raping a woman, killing the police and jumping out the window before heading into the night.

Schrab has this video we watch all the time: It's an orientation video designed to teach mentally retarded girls about their period. The protagonist is a retarded girl. She starts asking questions about periods.

She's led into a bathroom by her older sister, and after a very uncomfortable road of trials, things take a turn for the bizarre. I won't go into detail. Not only is the protagonist going on a journey, the audience is, too. I have taken great pains to avoid any ethical positioning in my observations of structure.

Stories are not necessarily about love conquering all, they're not about achieving spiritual balance, they're not about "learning valuable life lessons" and they're not about maintaining order.

By the way, "Shrek" had not-so-good structure.

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30 PSYCHOLOGY TRICKS EVERY GIRL SHOULD KNOW



5 minute sex video galleries

Return Change As I've said, the easiest way to visualize these steps is by drawing a circle, dividing it into 4 equal pieces, and writing numbers around it clockwise, with 1 and 5 at the north and south "poles" of the circle, 3 and 7 at the east and west poles. A red blood cell? By the end of the first 37 seconds, we'd really like to know.

This is the reason why a story is going to take place. The "you" from 1 is an alcoholic. There's a dead body on the floor. A motorcycle gang rolls into town. A hiker heads into the woods. Pearl Harbor's been bombed. A mafia boss enters therapy.

Crossing of the Threshold. A detective questions suspects. A cowboy gathers his posse. A cheerleader takes a nerd shopping. Belly of the Whale, Road of Trials. Friends, Enemies and Allies. We found the princess. The suspect gives the location of the meth lab. A nerd achieves popularity. Meeting with the Goddess. Approach to the Innermost Cave. On one hand, the price of the journey.

The shark eats the boat. The nice old man has a stroke. On the other hand, a goal achieved that we never even knew we had. The shark now has an oxygen tank in his mouth. Jesus is dead- oh, I get it, flesh doesn't matter. The nice old man had a stroke, but before he died, he wanted you to take this belt buckle. Now go win that rodeo. Atonement with the Father, Death and Resurrection, Apotheosis. Coming home to your girlfriend with a rose.

Leaping off the roof as the skyscraper explodes. Life will never be the same. The Death Star is blown up. The couple is in love. Bloom's Time Belt is completed. Lorraine Bracco heads into the jungle with Sean Connery to "find some of those ants. Master of Both Worlds, Freedom to Live. If we assume you're going to use your full 5 minutes, then you've got 1 minute and 15 seconds to for these 3 steps: You've then got another 1: You've got another 1: And a final 1: In TV including Channel , that last quarter is a good time to make it very clear to the audience that you've got a series in mind.

As a "situation changer," your protagonist is going to be going on more journeys episodes , creating a viable series or "franchise. Think of each of the 8 steps as consisting of 8 microcosmic substeps.

Because the act of: Then you could tell the I'm not recommending that you sit there with a compass and a calculator breaking down your story to the point where every 4 second line of dialogue consists of 8 syllables and tells the story of a sentence, but it's possible and sometimes "going there" can help you make decisions or get unblocked.

On the other hand, you can also just shotgun it. So what if you have to spend an extra 11 seconds making the audience love your main character, at the price of some time from other sections of the story?

So what if, in today's world, we really don't need to spend a proportionate amount of time saying "happily ever after," at the expense of less karate? Nobody's going to notice. A confidently hand drawn, vaguely egg-shaped circle can be circular enough. You won't win any prizes for being the Phillip Glass of story structure, especially if it starts compromising your creativity.

If you know what to do, do it. Okay, that's the review of my story model. And here are some questions it sometimes raises: Why do stories have to follow this structure? It's not that stories have to follow this structure, it's that, without some semblance of this structure, it's not recognizable as a story.

I learned about "iconography" from working with Rob Schrab for several years. In cartooning, you have to draw a certain combination of lines before the audience is going to universally recognize what you've drawn.

If I draw a cylinder, I can tell you it's a banana, but I can't make you think "banana" on your own unless I make it yellow, taper the ends and give it some curvature. To further extend this metaphor: Sometimes bananas are green in real life. If I make a green, tapered, curved cylinder, does it look like a banana? It looks like a pepper.

You can jump up and down and scream about how you just drew a perfectly good banana, because it looks just as much like a real banana as a yellow one student filmmaker , but I'm telling you, dude, it's a fucking pepper, UNTIL you put more time and energy into giving it OTHER recognizable banana qualities- for instance, drawing it half peeled.

Okay, now it's a green banana. You blew my mind. Likewise, I'm saying there's 8 steps to "drawing" a universally recognizable story.

Can you skip some of them? I do it all the time. The "road of trials" in Call me Cobra is a guy sitting down at a table. If I had an extra 30 seconds, I would have written that Steve tries on different outfits and personas, saying "I'm the Cobra" in a mirror before deciding on his black suit and going to his meeting with the goddess. But I skipped it. The time was needed elsewhere.

Yeah, but why would a human being recognize certain things as stories? I mean, with a banana, we need to know it's a banana so that we know we can eat it. We don't "eat" stories. Yes we do, and our survival as individuals and as communities is dependent on recognizing the edible, nutritious ones.

Information can be "empty calories," like a phone book, or it can be downright "poisonous," like a Superbowl halftime show, a Madonna video or footage of a man blowing his brains out. The right kinds of poison can get you high and help you have fun, but it's getting you high because it's fucking with you, it's killing you, and if you don't occassionally eat real story food- a dramatic game of football where your favorite team wins, a meaningful conversation with friends you trust, a good book, a good movie, a good TV show, witnessing a life being saved at the public pool- you are going to wither away and die, psychologically, spiritually and socially speaking.

But I'm sick and tired of cookie-cutter stories about good guys saving the day from bad guys. Some of my favorite movies fly in the face of your story model. If it's really your favorite movie, I absolutely guarantee you it's structured at least somewhat in accordance with this model.

You're hearing "good guys and bad guys," but I'm not saying it. I'm saying "protagonist descending and returning. If you're a subversive punk rock anarchist with a spike through your nose, and you hate "Shrek" because it's a piece of corporate shit, you are craving a descent into the unknown. And I think you will find that your "favorite" Japanese gore fest is the one with a recognizable protagonist needing to eat human flesh, going to an orgy, eating everyone there, raping a woman, killing the police and jumping out the window before heading into the night.

Schrab has this video we watch all the time: It's an orientation video designed to teach mentally retarded girls about their period. The protagonist is a retarded girl. She starts asking questions about periods. She's led into a bathroom by her older sister, and after a very uncomfortable road of trials, things take a turn for the bizarre. I won't go into detail. Not only is the protagonist going on a journey, the audience is, too. I have taken great pains to avoid any ethical positioning in my observations of structure.

Stories are not necessarily about love conquering all, they're not about achieving spiritual balance, they're not about "learning valuable life lessons" and they're not about maintaining order. By the way, "Shrek" had not-so-good structure.

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1 Comments

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