Briefing: Unit Four

Welcome to the fourth unit!

Take detailed notes for upcoming quizzes and assignments to understand what lies ahead. Further, notes are submitted as part of your upcoming “Notes & Questions” assignments, so remember to write down any questions you may have, to include also.

STORYTELLING FRAMEWORKS

From our discussing layers of meaning and close reading, we’ll venture into the intricate realm of subjective interpretation and diverse storytelling frameworks. As we unravel these threads, keep in mind that our goal is to comprehend the interplay of structure and innovation in the art of storytelling, and how they guide our engagement with both literature and life.

“God’s Eye” vs. Our Subjective Perspective

Let’s begin our journey by considering the concept of subjective interpretation within film and literature. In film, a “God’s eye view” — a camera shot where the camera looks down on the characters and their surroundings — allows us to “see as we are seen” — an almost divine clarity to observe ourselves. This notion parallels the ancient Greek philosopher Socrates’ belief that “The unexamined life is not worth living.” In other words, thoughtfully considering our lives brings meaning and value to our paths — and to life itself.

To objectively examine our lives, we must adopt a perspective that transcends our limitations. Shifting from personal viewpoints to a broader vantage point demands humility and the acknowledgment of our inherent lack of complete understanding. This pursuit of the “God’s eye view” requires a careful examination of literature and life, and humility intertwined with open-mindedness.

Building upon our previous discussion, literature’s pivotal moments often harbor layers of meaning and significance, urging us to practice close reading. For instance, Pride and Prejudice conceals seeds of insight beneath its surface — a call to engage in attentive exploration, just as its protagonist does, as she reads and re-reads her letter.

Our aim extends beyond surface-level understanding; we aim to decipher the intricate layers that enrich narratives. This endeavor requires more than a casual glance; it necessitates profound consideration.

To aid in our exploration, frameworks stand as valuable tools. Film can offer an objective viewpoint akin to the “God’s eye,” while our perspectives in real life remain limited to subjectivity, like the view from a first-person shooter video game, making it hard to see as we are seen.

Because of the limits of time, and our own innate ignorance, we often lack the foresight to anticipate future challenges. Our reality is a tapestry woven from our diverse viewpoints. Our task becomes piecing together these fragments of differing perspectives to approximate the “God’s eye view,” enhancing our comprehension of ourselves and our trajectory.

Story Modes 

Storytelling frameworks help us navigate this challenge. For example, one well-known framework classifies narratives into four different modes.

1. Adventure, where the hero goes from bad to good. The protagonist embarks on a journey or quest, often starting in a difficult or unfavorable situation and ultimately progressing towards a positive or transformative outcome.
2. Tragedy, where the hero goes from good to bad. The protagonist, usually possessing admirable qualities or high status, undergoes a series of events or flaws that lead to a downfall or negative outcome.
3. Comedy, where the hero goes from good to good. This mode is characterized by light-heartedness, humor, and a plot that typically involves amusing situations, misunderstandings — and often, remarkably good luck — ultimately resolving in a positive and harmonious manner, often with a union of characters or restoration of order.
4. Irony, where the hero goes from bad to bad: In this mode, there is a notable discrepancy or incongruity between what is expected or intended and what actually happens, often resulting in a reversal of fortune or a twist — and often, remarkably bad luck — that exposes the contrast between appearance and reality.

The Hero’s Journey

Joseph Campbell’s hero’s journey, found in myths and stories, maps the stages of a hero’s transformation: call to adventure, trials, finding the treasure (which is, ultimately, not gold, but the wisdom gained along the way) and the return to share that wisdom with their people — and with us, as readers, who glean insights from the characters’ experiences.

• Departure:
  • The Call to Adventure: The hero is presented with a challenge or a quest.
  • Refusal of the Call: The hero initially hesitates or refuses to embark on the journey.
  • Supernatural Aid: The hero receives guidance or assistance from a mentor or supernatural figure.
• Initiation:
  • Crossing the Threshold: The hero enters a new, unfamiliar world or undergoes a significant change.
  • Trials and Tests: The hero encounters various challenges, tests, and obstacles along the journey.
  • Meeting the Mentor: The hero receives further guidance, knowledge, or support from a mentor.
  • Approach to the Inmost Cave: The hero faces a crucial and often dangerous ordeal.
  • Ordeal: The hero experiences a major crisis or challenge that tests their strength and commitment.
  • Reward: The hero achieves a significant accomplishment, gains new knowledge, or receives a reward.
• Return:
  • The Road Back: The hero begins their journey back to the ordinary world.
  • Resurrection: The hero faces a final, life-threatening challenge or undergoes a transformative experience.
  • Return with the Elixir: The hero brings back a valuable gift, insight, or lesson to benefit their ordinary world.

These stages represent the typical narrative pattern found in many heroic stories and myths,
reflecting the hero’s growth, transformation, and eventual return with newfound wisdom or treasure.

Three-Act Structure

Turning to film, Syd Field’s three-act structure is foundational in many narratives. The setup introduces characters and situations, the confrontation escalates tensions, and the resolution resolves conflicts. This structure fuels engaging storytelling, inviting us to extract wisdom from the characters’ journeys.

• Act 1: Setup
  • A. Introduction: The initial phase of the story that establishes the characters, setting, and initial conflict.
  • B. Inciting Incident: An event or occurrence that disrupts the protagonist’s normal life and sets the main conflict in motion.
  • C. Plot Point 1 (End of Act 1): A significant turning point that propels the story forward and forces the protagonist to take action.
• Act 2: Confrontation
  • A. Rising Action: The series of events and obstacles that intensify the conflict and build tension.
  • B. Midpoint: A pivotal moment in the story where a major development or revelation occurs, shifting the direction of the plot.
  • C. Plot Point 2 (End of Act 2): A crucial turning point that heightens the stakes and leads to the final act.
• Act 3: Resolution
  • A. Climax: The highest point of tension or conflict in the story, where the protagonist faces their greatest challenge.
  • B. Falling Action: The events that occur after the climax, where the tension starts to subside, and loose ends are tied up.
  • C. Denouement (Conclusion): The final part of the story that provides closure, resolves remaining conflicts, and offers insights or reflections.

As we delve into storytelling frameworks, remember that perspectives, though limited, hold growth potential. Just as the hero’s journey enriches our comprehension, the narratives we craft shape our reality. By embracing these concepts, we embark on a journey of comprehension, inching closer to the elusive “God’s eye view,” fostering empathy and insight.

Save The Cat! The Last Book on Screenwriting You’ll Ever Need

Transitioning to the next stage, let’s delve into various storytelling methodologies, exploring their role in crafting compelling narratives. We kickstart our exploration with Blake Snyder’s surprisingly influential Save the Cat method, a fusion of structure and innovation. This approach streamlines narrative flow, orchestrates pivotal story beats, and captivates audiences strategically.

Here are the story “beats” as explained in the book “Save the Cat,” along with brief definitions:

1. Opening Image: The first impression or snapshot that establishes the tone, setting, and context of the story.
2. Set-up: Introducing the protagonist’s world, their normal life, and the status quo before the main conflict arises.
3. Theme Stated: A direct or indirect statement that expresses the underlying theme or central idea of the story.
4. Catalyst: An event or incident that disrupts the protagonist’s ordinary life and sets the main conflict in motion.
5. Debate: The protagonist’s initial resistance or hesitation to accept the challenge presented by the catalyst.
6. Break into Two: The point where the protagonist fully commits to the story’s journey and enters a new world or situation.
7. B Story: An additional storyline or subplot that complements or contrasts with the main plot.
8. Fun and Games: A section of the story where the protagonist explores the new world, encounters challenges, and experiences initial success or failure.
9. Midpoint: A significant event or revelation that fundamentally shifts the story and raises the stakes.
10. Bad Guys Close In: The point where the antagonist or opposing forces gain momentum, increasing pressure on the protagonist.
11. All Is Lost: The lowest point for the protagonist, where it seems they have lost everything, and failure appears imminent.
12. Dark Night of the Soul: A moment of reflection, doubt, or despair for the protagonist, leading to an internal transformation.
13. Break into Three: The final act where the protagonist regains hope, finds a solution, and takes action to overcome the conflict.
14. Finale: The climactic sequence where the conflict is resolved, and the story reaches its resolution or conclusion.

There are 10 story genres as outlined in Save the Cat, offering various categories for describing different kinds of plots.

1. Buddy Love: A story focused on the development of a deep bond or friendship between two or more characters, often with humorous or comedic elements (Lethal Weapon, Toy Story, Diary of a Wimpy Kid).
2. Dude with a Problem: A story that revolves around an ordinary person who becomes entangled in a high-stakes situation or problem and must find a way to resolve it (Die Hard, Home Alone, Harry Potter).
3. Institutionalized: A story set within a structured institution or system, where the protagonist must navigate its rules and dynamics to bring about change or survive (The Shawshank Redemption, A Series of Unfortunate Events).
4. Monster in the House: A story centered around a protagonist who must confront and overcome a literal or figurative monster or threat within a confined space (Jaws, Alien, and Monsters, Inc., where the toddler girl is the “monster”).
5. Out of the Bottle: A story featuring a character who gains a special power, ability, or object that drastically changes their life and leads to unexpected consequences (Aladdin, Matilda, Bruce Almighty).
6. Rites of Passage: A story centered around a character’s personal growth and transformation as they navigate through significant life transitions or rites of passage (The Karate Kid, The Lion King, The Hunger Games).
7. Superhero: A story featuring a protagonist with extraordinary abilities who uses them to protect and serve others, often battling against a supervillain or formidable adversary (Iron Man, Wonder Woman, The Matrix, The Incredibles, Percy Jackson & The Olympians).
8. The Fool Triumphant: A comedic story featuring a protagonist who, through their unconventional or humorous actions, manages to overcome challenges and achieve success (Elf, Mrs. Doubtfire, The Mask, Pee Wee’s Big Adventure, Bill & Ted’s Excellent Adventure).
9. The Golden Fleece: An adventure-driven story where the protagonist embarks on a quest to obtain a valuable or mythical object, facing various challenges and obstacles along the way (Finding Nemo, Indiana Jones, National Treasure).
10. Whydunit: A mystery or detective story where the primary focus is not only on solving a crime but also on understanding the motivations and psychology behind the actions (Zootopia, Nancy Drew).

Blake Snyder’s ten different story genres provide additional insight. Genres serve as springboards, fostering creative freedom while grounding narratives. Yet, flexibility is key, as genres can intertwine, expand, or challenge expectations.

Hit Lit: Cracking the Code of the Twentieth Century’s Biggest Bestsellers

James Hall’s “Hit Lit” dissects recurring patterns in literature adapted into films. These patterns echo society’s zeitgeist, illuminating themes that resonate through time. The intersection of literature, society, and audience emerges as a dynamic interplay.

1. An Offer You Can’t Refuse: Some tricks of the trade that make our bestsellers unputdownable. Fast-paced, tension-filled page-turners featuring captivating characters that lend themselves well to film adaptations.
2. Hot Buttons: One surefire way to rile up folks is to raise the controversy du jour. Whether it was a conscious strategy or not, the authors on our list raised one or more highly contentious topics of their day. Exploring controversial subjects that elicit strong emotions from readers.
3. The Big Picture: Colossal characters doing magnificent things on a sweeping stage. Epic backdrops that transport readers to sweeping landscapes or lost paradises.
4. The Golden Country: America-as-paradise, an idea that so powerfully shapes our national identity, is one of the key motifs in all our twelve bestsellers. Explores the concept of an idyllic lost horizon, depicting settings that embody a utopian vision of perfection and beauty.
5. Nothing but the Facts, Ma’am: An abundance of facts and information, including everything from etiquette to the nutsand-bolts layout of a submarine, fills these twelve books. The didactic function is as old as the novel form itself and continues to be a chief attraction in bestselling novels. Information about how industries work, or historical facts, technological advancements, and other intriguing information.
6. Secret Societies: All twelve of these bestsellers expose the inner workings of at least one secret society. Unveiling secret combinations and organizations such as Opus Dei, the mafia, the Illuminati, or Hollywood’s insider circles.
7. Bumpkins vs Slickers: In most bestsellers, there’s a central character who sets off on a journey that takes her from rustic America into turbulent urban landscapes, where her agrarian values either help her succeed or doom her to failure. Almost as often, the heroes of bestsellers make an exodus in the opposite direction, from the pressures of cities to the bucolic countryside. Us vs Them. Highlighting conflicts between rural and urban communities, insiders versus outsiders, or different social groups.
8. God is Great, or is He?: Our twelve bestsellers all feature religion in prominent ways, consistently critiquing orthodox religious practice and the dangers of zealotry. Examining characters’ beliefs or doubts regarding God and religion.
9. American Dream/Nightmare: Americans delight in reenactments of our national myths. The rise from humble roots to become rich and powerful. A character struggling against injustice and, finally, triumphing over oppression. And we are also grimly fascinated by the flip side of these stories. Portraying characters striving for success or experiencing crushing failures while pursuing their dreams.
10. A Dozen Mavericks: The heroes and heroines of our twelve bestsellers are all rebels, loners, misfits, or mavericks. They don’t fit in worth a damn, and that’s one of the reasons we love them so much. Featuring rebels and iconoclasts who defy societal norms or individuals fighting against perceived injustices.
11. Fractured Families: In each of our twelve novels, a member of a broken family finds an ingenious way to transcend his or her crazy stress. Depicting dysfunctional family dynamics and dysfunctional relationships.
12. The Juicy Parts: In every novel on our list, one key sexual encounter plays a decisive role in the outcome of the plot and in the transformation of the protagonist. Incorporating elements of sex, scandal, and intrigue to enhance reader engagement.

Poetics

To appreciate these modern frameworks, we parallel them with Aristotle’s Poetics. Aristotle’s principles — plot, character, theme, diction, music, and spectacle, in that order of importance — guide our interpretations of narratives of all kinds, even today. Yet, narratives resist rigidity; frameworks serve as guiding lights, not rigid blueprints.

• Plot (mythos): Aristotle considered plot to be the most important element of drama. It refers to the arrangement and structure of events in a play, including the beginning, middle, and end. A well-constructed plot should have a clear and logical sequence of actions that engage and captivate the audience.
• Character (ethos): Characters in a drama play a crucial role in conveying the story and its themes. Aristotle emphasized the importance of believable and consistent characters who have distinct qualities, motivations, and conflicts. He believed that the actions and choices of the characters should drive the plot.
• Thought (dianoia): Thought refers to the ideas, themes, and messages conveyed in a dramatic work. Aristotle believed that a good play should have a clear and meaningful exploration of universal concepts, moral dilemmas, or philosophical ideas. Thought contributes to the intellectual depth and resonance of the drama.
• Diction/Language (lexis): Diction encompasses the language and dialogue used by the characters in a play. Aristotle considered the choice of words, their clarity, appropriateness, and eloquence to be important aspects of effective dramatic writing. Well-crafted diction enhances the expressiveness and impact of the play.
• Music (melos): In ancient Greek drama, music played a significant role, particularly in the form of choruses. It included singing, instrumental accompaniment, and rhythmic elements. While Aristotle acknowledged the importance of music in drama, he considered it less essential than the other elements.
• Spectacle (opsis): Spectacle refers to the visual elements of a theatrical performance, such as costumes, set design, lighting, and special effects. While Aristotle recognized the role of spectacle in enhancing the audience’s experience, he considered it the least important element, as he believed that a well-crafted plot and compelling characters should be able to engage the audience without relying solely on visual spectacle.

It’s important to note that these elements are hierarchical in Aristotle’s theory, with the plot considered the foundation upon which the other elements are built. However, this does not diminish the significance of the other elements, as they all contribute to the overall effectiveness and impact of a dramatic work.

That’s basically how we still interpret drama and literature today, film critics still rely on this ranking of important story elements.

Today, it’s sometimes called “Aristotelian Analysis.” In a literary context, “Aristotelian analysis” refers to the examination and interpretation of a literary work using Aristotle’s principles of dramatic structure and storytelling, particularly his concept of the unity of action and the elements of plot, character, and theme. It involves applying Aristotelian principles to analyze the narrative structure, character development, and moral implications of a literary work.

Aristotle also went deeper into describing story elements of tragedy, in a manner similar to Save the Cat over 2300 years later:

• Reversal (Peripeteia): A sudden change in the fortune or circumstances of the protagonist, often from a positive to a negative state, which leads to a significant shift in the plot.
• Recognition (Anagnorisis): The moment of crucial discovery or revelation, where the protagonist gains important knowledge or understanding about their identity, the situation, or other characters.
• Tragic Flaw (Hamartia): The character trait or error in judgment that leads to the downfall of the protagonist. It is often a moral or intellectual weakness that contributes to their tragic fate.
• Hubris: Excessive pride or arrogance displayed by the protagonist, which leads them to defy the gods or natural order. Hubris often contributes to their downfall and serves as a warning against excessive pride.
• Catharsis: The emotional release or purging experienced by the audience, brought about by witnessing the tragic events and the suffering of the characters. It provides a sense of emotional cleansing or renewal.
• Fate or Destiny (Moira): The belief that events in the tragedy are predestined or controlled by an external force, often beyond the control of the characters. It adds a sense of inevitability and contributes to the tragic nature of the story.
• Suffering or Calamity: The element of tragedy that evokes pity and sympathy in the audience towards the suffering of the characters. It creates an emotional connection and heightens the impact of the tragic events.

These story elements, as outlined by Aristotle, contribute to the overall effectiveness and impact of a tragedy by introducing crucial moments, character flaws, and emotional engagement that are fundamental to the genre.

Aristotle’s tenets find application in the analysis of tragedy, culminating in catharsis—a purging of emotions. Hamartia, the tragic flaw, symbolizes hubris and its implications for personal growth.

As we conclude this journey, Aristotle’s legacy endures. His teachings enrich narratives, bridging past and present. The essence of storytelling weaves through plot, characters, themes, language, music, and spectacle.

Multiple Points of View, All at Once

I remember when I was a child, when we’d often ask each other what we would eat if we could only eat one thing for the rest of our lives (e.g., cherry-flavored Pez). But we aren’t children anymore, and we can eat all sorts of things, as we like or need, which is a far healthier (and happier) approach.

Similarly, we don’t need to look at literature from only one perspective. We can look at stories from different perspectives, all at once, as we like or need.

Thus, we can get a healthier and happier view of stories (and, similarly, life) by looking at things from various perspectives, all at once, as we like or need.

Perhaps, in that way, we can also gain a “God’s Eye Perspective,” on our own lives, seeing as we are seen.