History Literature / Story

12th Jul '16 1:22:32 AM PaulA
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Passages from [=McKee=]'s book are quoted and a reenactment of the seminar is presented in the Creator/CharlieKaufman-penned {{Adaptation}}. [=McKee=] himself served as a consultant on the film.

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Passages from [=McKee=]'s book are quoted and a reenactment of the seminar is presented in the Creator/CharlieKaufman-penned {{Adaptation}}.''Film/{{Adaptation}}''. [=McKee=] himself served as a consultant on the film.



* {{Narrator}}: Despite what Creator/CharlieKaufman said in {{Adaptation}}, narration is fine if it [[LemonyNarrator adds to or countpoints]] what is happening on-screen. Otherwise, narrating what is obviously happening adds nothing.

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* {{Narrator}}: Despite what Creator/CharlieKaufman said in {{Adaptation}}, ''Film/{{Adaptation}}'', narration is fine if it [[LemonyNarrator adds to or countpoints]] what is happening on-screen. Otherwise, narrating what is obviously happening adds nothing.
1st May '16 4:37:06 AM erforce
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--> --Opening Lines

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--> --Opening Lines
-->-- '''Opening Lines'''



* FlatWhat: When discussion [[{{Franchise/Terminator}} The Terminator]], [=McKee=] mentions the StableTimeLoop regarding Reese and John Conner, and ends the paragraph with only the phrase, "What?"

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* FlatWhat: When discussion [[{{Franchise/Terminator}} The Terminator]], [=McKee=] mentions the StableTimeLoop regarding Reese and John Conner, Connor, and ends the paragraph with only the phrase, "What?"
27th Sep '13 12:02:11 AM SpazMobile
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-----
!!This book provides examples of:

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-----
!!This

Rather than [[StrictlyFormula defining story structure through rigid paradigms or formulas]], ''Story'' has a very flexible framework with plenty of deep philosophy into what goes behind storytelling.

!! Creative Limitations

To limit the limitless possibilities of a story, you first need creative limitations to act as guard rails so you don't fall off the road to your best possible story. They are made up of...

* '''Placement on the Story Structure Spectrum''': Is the story archetypal/realistic, minimalist, absurdist, or a combination?
* '''Setting''': Where does the story take place? When does it take place? For how long? What's the inherent level of conflict?
* '''Genre''': What is the focus of the story? What is the medium and the limits of that medium? Is there a combination of genres?
* '''Characters''': What are my characters like on the surface? [[HiddenDepths What will they do under pressure to get what they want]]?
* '''Value Charge''': The lifeblood of a story, as changes in values (life to death or death to life, hope to despair, love to hate, etc.) create the very substances from which we shape pleasurable or painful experiences. What is at stake in my story? How can I express what is at stake in my story? How can I fairly show all sides of the value?

!! Building Blocks

From your creative limitations and your story value, you can begin organizing events into size and length to express [[AnAesop the controlling idea]], which is the idea that will be tested by showing events that bring that value into the positive or negative with building actions. These actions are organized like so...

* '''Beat''': A moment of action/reaction.
* '''Scene''': A series of building beats climaxing in a scene turning point. The ideal is to have ''every'' scene end in a turning point. Otherwise, scenes without turning points were surely there for an {{Infodump}}.
* '''Sequence''': A series of building scenes ending in a sequence climax, which has greater impact than a normal scene.
* '''Act''': A series of building sequences ending in an act climax, which has a far greater impact than a sequence climax.
* '''Story''': A series of building acts ending in a story climax, expressing the story value.

!! The Classic Story Design

A pattern emerges when you look at how value charges change within stories, resulting in the following five parts...

* '''[[IncitingIncident The Inciting Incident]]''': The protagonist's life is more or less in balance until something happens to throw a value charge in his/her life out of balance, either in the positive or the negative. This first turning point sends the character on a quest to obtain an object of desire to restore the balance of life. They may have a conscious desire, or they might also have a contradictory unconscious desire.
* '''[[Main/RisingConflict Progressive Complications]]''': There, the character will take a small, conservative step based on their experience of life, only to find that it won't work. Taking a risk, they take a larger action. It may work for the time being and bring the value back to the positive, but that brings about repercussions and new situations that force the character to take larger and larger actions.
* '''Crisis''': Once the character has exhausted all of his/her options, they're left with one final method to achieve their object of desire to restore the balance of life. This action takes the character into the climax. A crisis can be placed anywhere in the story. When placed within the climax, one final action solves the story. When placed before the climax, it fills the final Act or final Sequence with climatic action. When placed at the very beginning, you get an entire story of relentless pursuit of the object of desire, typical of action films.
* '''[[Main/TheClimax Climax]]''': The most meaningful event of the story, expressing the [[AnAesop Controlling Value]] with one final action. The climax can result in an [[HappyEnding Idealistic Ending]], ending on the positive and celebrating the good in life. The climax can result in an [[DownerEnding Pessimistic Ending]], ending on the negative and reminding us of the horrors and perils of life. The climax can also end on two opposite charges, creative an Ironic Ending, which can be [[EarnYourHappyEnding mostly good]] or [[BittersweetEnding mostly bad]].
* '''[[{{Main/Denouement}} Resolution]]''': The after-effects of the story, which can be used to clear up any remaining loose ends.

The rest of the book goes into detail behind the designing philosophies of each of these parts, how to use them, how to avoid pitfalls and other problems, and more.

!This
book provides examples of:



* DownerEnding: Defined as a Pessimistic Ending, where the story's main value charge (thematic statement) ends in the negative.



* NoAntagonist: Perfectly acceptable: conflict may come from within (internal conflict) or from other characters (interpersonal conflict) on a light level.

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* NoAntagonist: Perfectly acceptable: conflict may come from within (internal conflict) or from a source other characters (interpersonal conflict) on a light level.than people such as nature or societal laws (external conflict).
26th Sep '13 11:13:03 PM SpazMobile
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* StrictlyFormula: The introductt while some terrible films follow Hollywood formulas perfectly, great films have broken many so-called "rules" to great success.

to:

* StrictlyFormula: The introductt introduction while some terrible films follow Hollywood formulas perfectly, great films have broken many so-called "rules" to great success.



* StylisticSuck: The synopses for the "personal story" and "guaranteed commercial success" bad scripts.

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* StylisticSuck: The synopses for the "personal story" and "guaranteed commercial success" bad scripts.scripts, along with many of the bad story examples throughout the book.
* {{Subtext}}: The basic building block of all dialogue. At one point, [=McKee=] compares two love scenes: a candlelit dinner of two lovers declaring their love for eachother, and a scene where two characters change a tire on the car with all of the dialogue ''about'' fixing the tire on a car. The former scene actually imply its opposite: this couple is going too far to declare their love for eachother, and chances are, they're about to break up. In the latter, the actors get to portray the subtle nuances of two characters falling in love, and as an audience, we understand what's ''really'' going on.
20th Sep '13 7:32:16 PM SpazMobile
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--> ''All notions of paradigms and foolproof story models for commercial success are nonsense. Despite trends, remakes, and sequels, when we survey the totality of Hollywood film, we will find an astounding array of story designs, but no prototype. [...] No one needs yet another recipe book on how to reheat Hollywood's leftovers. We need a rediscovery of the underlying tenets of our art, the guiding principles that liberate talent.

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--> ''All ''"All notions of paradigms and foolproof story models for commercial success are nonsense. Despite trends, remakes, and sequels, when we survey the totality of Hollywood film, we will find an astounding array of story designs, but no prototype. [...] No one needs yet another recipe book on how to reheat Hollywood's leftovers. We need a rediscovery of the underlying tenets of our art, the guiding principles that liberate talent."''
20th Sep '13 7:19:27 PM SpazMobile
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->''"Who are the characters? What do they want? Why do they want it? How do they go about getting it? Who stops them? What are the consequences?"''

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->''"Who are the characters? What do they want? Why do they want it? How do they go ->''"'''Story is about getting it? Who stops them? What are principles, not rules.''' A rule says, 'You ''must'' do it ''this way''.' A principle says, 'This works... and has through all remembered time.' The difference is crucial. Your work needn't be modeled after the consequences?"''
well-made play; rather, it must be well-made within the principles that shape our art. Anxious, inexperienced writers [[StrictlyFormula obey rules]]. Rebellious, unschooled writers [[TheyJustDidntCare break rules]]. Artists master the form."''
--> --Opening Lines


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* StrictlyFormula: The introductt while some terrible films follow Hollywood formulas perfectly, great films have broken many so-called "rules" to great success.
--> ''All notions of paradigms and foolproof story models for commercial success are nonsense. Despite trends, remakes, and sequels, when we survey the totality of Hollywood film, we will find an astounding array of story designs, but no prototype. [...] No one needs yet another recipe book on how to reheat Hollywood's leftovers. We need a rediscovery of the underlying tenets of our art, the guiding principles that liberate talent.
20th May '13 7:47:54 PM SpazMobile
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Added DiffLines:

* DeadpanSnarker: [=McKee=], both in the book and in real life, though he admonishes the use of snark in screenplay description, citing that snark does not make up for a good story.
20th May '13 7:12:32 PM SpazMobile
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* FlatWhat: When discussion [[Franchise/Terminator The Terminator]], [=McKee=] mentions the StableTimeLoop regarding Reese and John Conner, and ends the paragraph with only the phrase, "What?"

to:

* FlatWhat: When discussion [[Franchise/Terminator [[{{Franchise/Terminator}} The Terminator]], [=McKee=] mentions the StableTimeLoop regarding Reese and John Conner, and ends the paragraph with only the phrase, "What?"
14th May '13 8:26:21 PM SpazMobile
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Added DiffLines:

* FlatWhat: When discussion [[Franchise/Terminator The Terminator]], [=McKee=] mentions the StableTimeLoop regarding Reese and John Conner, and ends the paragraph with only the phrase, "What?"


Added DiffLines:

* LongList: From this example regarding using colorful and direct language:
--> ''A typical line of nondescription: "He starts to move slowly across the room." How does somebody "start" across a room on film? The character either crosses or takes a step and stops. And "move slowly"? "Slowly" is an adverb; "move" a vague, bland verb. Instead, name the action: "He pads across the room." "He (ambles, strolls, moseys, saunters, drags himself, staggers, waltzes, glides, lumbers, tiptoes, creeps, slouches, shuffles, waffles, minces, trudges, teeters, lurches, gropes, hobbles) across the room."''


Added DiffLines:

* NoAntagonist: Perfectly acceptable: conflict may come from within (internal conflict) or from other characters (interpersonal conflict) on a light level.


Added DiffLines:

* PlotHole: In the event of a PlotHole, your options are to create a new scene, skim past it if it's completely unnoticeable and forgettable, or just [[LampshadeHanging outright admit it is a plot hole]].
14th May '13 7:43:28 PM SpazMobile
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* [[invoked]] BigLippedAlligatorMoment: Acceptable under Antiplot to comment on the absurdity of life or in Comedy if the rest of the story is held together by structure. See RuleOfFunny.



* [[BizarroEpisode Bizarro Movie]]: Acceptable under Antiplot structure if the point of the work is to say that life does not make sense.

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* [[invoked]] [[BizarroEpisode Bizarro Movie]]: Acceptable under Antiplot structure if the point of the work is to say that life does not make sense.


Added DiffLines:

* RuleOfFunny: Although [=McKee=] says that both drama and comedy share the same structure, you may halt the narrative drive of a comedy just for jokes.
--> ''How little story can be told and how much pure comedy can be worked into a film? Watch the Creator/MarxBrothers. A sharp story, complete with Inciting Incident, first, second, and third act climaxes, always holds a Marx Brother's film together... for a total screentime of about ten minutes. The other eighty minutes are surrendered to the dizzying genius of Marx Brothers shtick.''
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