Transcript Plot™ & Templates

Archplot Structure™
Idea™
Brainstorming™
Genre
Target
Theme
Message
Mood
PoV
Logline Formulæ™
• If [MC] does NOT achieve [Story Goal], [Negative Outcome] will occur.
• A [MC] is in some [Situation] (What’s the Main Plot Thread?), and they
want a change. They are faced with [Objective] (What’s your MC fighting
for?), which would be great if accomplished, but an [AC] (Who’s the
Antagonist Character?) stands in their way, leading to [Disaster] (What’s
the big deal? Why should we care?).
• [Title] is a [Genre] about [Adjective/Description of MC], who wants to
[Default Action]. But when [Call To Action], he must [Story Goal], which
seems impossible because [Central Conflict].
• When [Opening Conflict] happens to [MC], they have to overcome
[Conflict] by completing [Quest].
• When [A] happens to [MC], he must [C] or face [D].
• [MC] is the main guy. He wants to do [A]. [AC] is the bad guy. He wants
to do [B]. They meet at [Z] and all [L] breaks loose. If they don’t resolve [Q]
then [R] starts, and if they do it’s all [L] squared.
• In a [Setting] a [MC] has [Problem] caused by an [AC] and faces
[Conflict] as they try to achieve a [Goal].
• [MC] versus [AC], in [Setting], with [Twist].
• [MC] desperately wants [A] in order to [B] but he is prevented by [C]
until he [D] to overcome obstacle.
• [MC] [Verb] [AC] [Goal] [Stakes].
• To stop [A], [MC] must do [C], but [D] happens.
• [MC] does something, then when [A] happens they must do [C], but
[D] happens.
• When [A] happens [MC] must take some action [C], but [D] happens.
Hooking The Reader. Begin A Story...™
• in the middle of a Conversation
• with a Description
• with background Information
• with a peek into a Character’s Mind
• with a Simile, Metaphor, Hyperbole or Pun
• with a Startling Statement
• with a Question
• with a Quote (Song, Movie, Person, Book)
Characters™
Plot™
Who
2 Adjectives
Strenght
Weakness
MC [___________________________________________________]
AC [___________________________________________________]
Other [___________________________________________________]
[___________________________________________________]
[___________________________________________________]
[___________________________________________________]
Something to
Care About
[__________________________________________]
Learn
[__________________________________________]
What
Internal
External
Want
• Goal
[_________________________]
Why Suffer
• Motivation
[_________________________]
Dread
• Conflict
[_________________________]
Fear
• Disaster
[_________________________]
Act One. Beginning
INTRO. Introduces Us To The Situation
Exposition
1. Opening&Closing Images
Setting the scene
Introducing characters
Background information
2. Inciting Incident
Rising Action
Conflict
Internal. Mind or Heart problem
External. Physical problem between two people or forces
3. First Act Break
Development
The situation is developed
More characters or information is introduced
Act Two. Middle
ACTION. Shows The Situation Changing
Midpoint
4. Complication
Something happens to complicate the lives of characters
Conflict is introduced
5. Point of Commitment
6. All Is Lost
7. Climax
The decision made to resolve the major conflict
Act Three. End
CONCLUSION. Shows What The Situation Changed Into
Falling Action
What happens as a result of the decision
8. Resolution
How the story ends
A decisive moment is reached
Matters come to a head
Suspense can be high
Matters are resolved and/or summed up
Some sort of satisfactory end is reached
Setting™
Where [__________________________________________________]
When [__________________________________________________]
How [__________________________________________________]
• Urgency/Ticking Time-Bomb
• So What?!
• What’s Going On?!
Obstacles [__________________________________________________]
Stakes
[__________________________________________________]
I Took a Masterclass With Billy Wilder...™
…once and he said that in the First Act you put [MC] up in a tree and in
the Second Act you set the tree on fire and then in the Third Act you get
him down. (Gary Kurtz)
Summary Template™
The [________________] (genre) [________________] (title of the story)
by
[________________]
(Author’s
name)
takes
place
in
[________________] (where story is set) during [________________]
(when story occurs) tells the story of [________________] (MC), a
[________________] (an appositive, tells who MC is) who wants to
[________________] (describe MC’s goal or conflict).
Must fight vs [________________] (AC), a [________________] (an
appositive, tells who AC is) in order to achieve this goal.
First, [________________] (tell the beginning of the story using words that
get across the mood of the story).
Encourage their dreams, Justify their failures, Allay their fears, Confirm
Then, [________________] (tell the next event - combine events if needed).
their suspicious and Help them throw rocks at their enemies. (Michael
After that, [________________] (tell what happened next).
Matthews).
Next, [________________] (keep going! Tell what else happened).
Finally, [________________] (tell what happened at the climax trying to
People Will Do Anything For Those Who™
capture the excitement using strong verbs and brief-detailed description).
As the story ends [________________].
Six Memos For The New Millennium™
Lightness, Quickness, Exactitude, Visibility, Molteplicity, Consistency.
(Italo Calvino)
Rock Your Plot™
01: Test Your Idea
1. What is your “Premise”? One sentence, if possible.
2. Check your sentences using the following field test questions:
•Is there something noticeably different from what’s usually in Genre?
•Is there an element of universal appeal?
•Is there an emotional appeal?
•Is there visual appeal?
•Can it be easily reduced to one sentence?
3. Do you have at least one [MC] who wants something?
4. Is something significant standing in the way of his achieving the goal?
5. What is your target market?
•Manuscript Project Target: [
] words
6. Why do you want to write this book?
•Using the [MC]’s age as a starting point,
•Write a life story of your [MC], keeping the GMC and your premise in mind
•If you like, write either a page or two in the first person PoV of your [MC]
•Interview [MC], to get a sense of [MC] beliefs and how [MC] is entering the story
reader and [MC] learn at this plot point should set the [MC] up for the big
dramatic conclusion.
•The Inciting Incident: the moment something changes
•Plot Point 1: establishing the story question
•Pinch Point 1: opposition shows itself
•Midpoint/Plot Point 2: new information shifts [MC]: reactive to proactive
•Pinch Point 2: the [AC] strikes back
•Plot Point 3: ramp up for third act
•Black Moment: worst thing ever (in terms of story question)
•Resolution
after the Black Moment and Resolution.
•No new information after this point.
Figure out this point last. I always write the third plot point after I write the
04: Overview Of The Plot Points
Black Moment and Resolution points. Why? Because then I’ll know what
information needs to be set up by this point, and I’ll know what would be the
The Plot Points
After the GMC charts and background character sketches, the next step is most devastating lead in to the Black Moment will be.
•Write down a brief description of your third plot point. I’d suggest saving this for
figuring out the Plot Points:
09: Black Moment
The Black Moment, which some writers call the climax, should be one of the
easiest plot points to nail down. If you know the first plot point, then your
question to arrive at the Black Moment is:
•What is the absolute worst thing that can happen in terms of his goal?
•External or Internal?
Now, note that this can be your internal or external story goal.
05: The Opening, aka “The Inciting Incident”
Develop internal conflict by forcing the [MC] make a tough choice, one at the
7. Do you have a message/theme you want to explore with this book?
Inciting Incident should have a hook, something intriguing, a puzzle or an expense of the other: in order to achieve the [EG]. Go for the soul-crush.
02: Goal/Motivation/Conflict
outrageous [AC], something that makes me want to find out What’s Going On.
•Write down a soul-crushing Black Moment.
The key to all plotting is in what is commonly referred to as the GMC - Goal,
•Make sure that it ties into [MC]’s GMC, either internal/external, or both.
•Write down your inciting incident.
Motivation and Conflict for your [MC]. Your [MC] has Two Driving Desires:
•What’s the “something different” that is going to start to push your [MC]
10: Resolution
1. External Goal
towards an inevitable change?
•What appeals to you about it?
•The [EG] is going to be your story question, in terms of the [MC]
2. Internal Goal
•The [IG] deals with feelings and emotions, and by its nature is not quantifiable
Motivation
•The goal has to be important for [MC] in a way the reader will understand.
•Motivation is the key for setting that up.
•The tricky part about really disastrous Black Moments?
06: Plot Point 1
This is the end of the first act, and the gateway to the vast wilderness that is
the Middle. At this plot point, you firmly establish the story question, as well as
giving the motivation why your [MC] wants the goal and what the (dire)
consequence is if [MC] tries to avoid it.
•Plot Point 1 is the point of no return
Conflict
Once you’ve set that hook, you’re going to do everything in your power to What “Plot Point 1” Shows
The “Plot Point 1” is where your [MC] knows what [MC] needs to do, and has
prevent your [MC] to get there. So how do you do that?
absolutely no frickin’ clue how to go about that. Usually, a sense of panic,
•The conflict should be related to the goal
headless-chicken-running-around ensues…
•The conflict must escalate
•Write down your first plot point... basically, your GMC, in one scene that
•Think of the worst possible thing that could happen to your [MC], again in terms
illustrates why it’s important and how serious the conflict is.
of the story goal
07: The Midpoint, a.k.a. “Plot Point 2”
Plot Point 2, is when your [MC] figures out what [MC] needs to do. This
proactive quality is usually the best way to define a Midpoint, in my opinion.
I External Goals
•Write the External Goal for your [MC]
•Write the Motivation for the External Goal
•Write the Conflict for the External Goal
•The Midpoint is also an escalation
II Internal Goals
•Write the Internal Goal for your [MC]
•Write the Motivation for the internal goal
•Write the Conflict for the internal goal
Repeat all steps for any MC, especially an [AC] if applicable.
Name
Goal
Motivation
Conflict
External
03: Character Sketches
Creating Compelling [MC]
•Start with a sketch
•Write an exploratory biography
•Are you having trouble getting a grip on the [MC]?
•Then interview the character to hear [MC] “voice”
•Describe your [MC]
Internal
New information is introduced. Choices are made.
The [MC]'s options are pruned. When [MC] gets to the inevitable climax, you
want the reader to feel that, given the [MC] is and the choices [MC]’s made,
[MC] has no other reasonable option. The Black Moment needs to have a ring
of inevitability - like a train wreck you can’t look away from. To do that, [MC]’s
got to burn some bridges.
Figuring a way out of them. How to resolve a soul-crushing Black Moment.
First, brainstorm. Keep an open mind. You might not get the answer you’re
looking for, but your brain will probably click into an answer trying to defend
whatever it is your subconscious wants. Second, have faith. Take a little
breather, give yourself some space, and believe that you’re going to find the
solution.
•Write down how the story resolves.
•What is your ending?
•Does it tie up all loose ends necessary in this novel?
11: Pinch Points
•Write down Pinch Point 1 and Pinch Point 2 for your novel.
•Pinch Point #1: [_________________________________________]
•Pinch Point #2: [_________________________________________]
Rock Your Plot™ - The Outline™
•Write a scene outline of every scene.
The System:
•First, pick a word count/page count that fits your target genre
•Then, pick an arbitrary number of scenes
•Then, create the empty outline
•Blank Scene Outline
•Pop in the plot points
What each scene note in the outline should contain.
•Write a brief description of your midpoint. Use your GMC charts, and write what
your [MC] has learned and what [MC] action towards achieving the goal is going to
GMCD. You should have the GMCD pattern in every scene and the sequel
be. Also, check to see if the conflict is greater now than it was in Plot Point 1.
either at the beginning or at the end of an existing GMCD scene.
•What has escalated?
PoV. I want to know who the main PoV character is.
08: Plot Point 3
Goal. What does the PoV character want?
Motivation. Why does the PoV character want it so badly?
The third plot point is the calm before the storm of the third act: like the
Conflict. What’s standing in the way?
click-click-click of a roller coaster, just before the plunge. Similar to the
Disaster. This is the [No], [Yes-But], or [No-&-Furthermore]. Unless it’s a
midpoint, this usually also has a new information aspect to it. In fact, this
should be the last big reveal, and the thing that sets up your last act. What the resolution scene, every scene is going to end in a disaster.
Checklist™
Title
•Is this the best title to tell us what this story is visually and emotionally?
•Does it “say what it is”?
•Pitch Logline
•Can you pitch this in a minute?
•Is what you pitch being delivered in the scripts?
•Does it grab the audience and keep them wanting more?
•Mini-story Logline
•Can you easily tell your story through its key beats?
Act I
Opening Image
•Does the [Tone] tell us what kind of story this is without giving away too much?
•Does the [Opening Image] put us in the right mood for the type of movie it is?
•Do we get a clear picture that this [Opening Image] is the “before” shot?
Theme Stated
•Is there a thematic premise being raised?
•Do we know what this story will be about on the inside?
•Is it primal for all audiences?
Set-Up
•Do we know who the [MC] of the story is?
•Is this [MC] as far back as possible when we first meet [MC]?
•Is the [MC] and his world rife with problems? What are they? Are they clear?
Catalyst
•Is something done to our [MC]?
•Does it force our [MC] into action?
•Is it believable?
Debate
•Is there a valid argument for the [MC]?
•Is it the [MC] who has the debate?
•Does it give us insight into the [MC]’s emotions?
Act II
Break Into Two
•Is it a clear act break that tells us our [MC] is moving into a new world?
•Did the [MC] make a proactive choice to move into Act Two?
•Does the [MC] have a clear goal as [MC] enters Act Two?
B Story
•Who or what is the B Story?
•Does the B Story have a spiritual lesson to teach the [MC]?
•Does it provide a needed breakaway from the A Story?
Fun & Games
•Does it show the promise of the premise?
•Do we have enough set pieces?
•Is there a touchstone scene that defines what this movie/novel is all?
Midpoint
•Is there a clear false victory or false defeat?
•Are the stakes raised? Is there a time clock?
•Is there a public outing or a party that exposes our [MC] and forces [MC] to
declare [MC] new way of being?
Bad Guys Close In
•Does the quest become harder for the [MC]?
•Are there enough external and internal forces attacking the [MC]? What is the
awful truth the [MC] cannot admin?
•Do we see the [MC] being stripped of [MC] comfort zone one piece at a time?
All Is Lost
Action Story™
Act 1
1
•Is there a whiff of death, physically or emotionally?
The story begins introducing [MC] in a way that reveals characteristics, strengths,
•Does it feel like the [MC]’s lowest point?
•Is the All Is Lost as devastating a blow to the [MC] as we can make it? And what weaknesses, life circumstances, motives, and goals and establishes setting and tone.
2
is his “shard of glass” (a blind-spot or flaw that the [MC] is unaware of)?
Something happens to [MC] that is out of the ordinary. The event should be as
Dark Night of the Soul
•Does the [MC] confess [MC] flaw, secret, or ugly truth and have a moment of apocalyptic as possible. This event throws [MC] out of his comfort zone. The more
disastrous it is for [MC] the higher the stakes are more interesting the story will be.
clarity?
3
•Does the B Story prompt our [MC] into Act 3?
[MC] weighs his options. He can't ignore the event that has thrown his life off
•Is the Themed Stated re-enunciated at this point?
track. There's either too much at stake or the event has irrevocably closed the door
Act III
on his previous life until he confronts the issue.
Breaking Into Three
•Is it a clear act break?
•Does the [MC] move the story through the act break?
•Does our [MC] have a new goal?
Finale
•Is there a storming of the castle which our [MC] leads?
•Is the Act 3 world the synthesis of Act 1 and Act 2 worlds?
•Is the B Story clearly resolved?
Final Image
•Is it the opposite of the Opening Image?
•Do we get a real sense of transformation for our [MC]?
•Is this the right way to end the story?
Raising the Bar:
•Does every scene move Plot forward through conflict and emotional shifts?
•Does all the minor characters play a key role in our [MC]’s growth, and do they
change and learn a lesson as well?
•Is there any line, scene, or character that is cliché, and is there any place where
we can push what is expected?
•What is new about this movie/book and, given its genre, does it move the art
forward?
•Who is this movie/book for and does the script do anything that veers from that
target audience?
Act 2
4
[MC] makes an Action’a Plan to address the source of the conflict. The event gives
him 1 clue as to where to start finding answers or he knows the 1st obstacle
between him and resolution of conflict. [MC] executes his plan and succeeds,
closing the door on [AC]’s original plan. [AC] not only doesn’t achieve the goal, but
the exact opposite of what he intended happened and the door he was trying to go
through is now closed. [MC] learns more about [AC], himself and [AC]’s motives.
Based on this new information [MC] makes a new plan to get closer to [AC].
5
[MC], enabled by previous success, sets in motion the 2nd part of his plan to
accomplish his goal.
6
[AC] has to adapt to new situation created by [MC]’s success and think new plan.
7
[MC] executes his new plan and fails. Not only does he not achieve the goal he
was hoping for, but the exact opposite of what he intended happened. The door he
was trying to go through is now closed.
8
Despite [MC]’s failure he has learned something new about [AC]. He uses that
information to create a new plan to approach the conflict from a different angle.
9
[MC] executes his new plan and succeeds. (Note: You can repeat 4-9).
10
[MC]’s success places him in a position to confront [AC] directly, which he does.
This is the Battle of the Bulge. [MC] has made it to/into the gates of [AC]’s lair and
must directly battle all of [AC]’s signature strengths with his signature strengths.
11
[AC] has [MC] cornered. [MC] is at his weakest point and all hope is lost. [AC] is
one step away from accomplishing all of his goals and defeating [MC].
12
[MC] uses his signature strength: attacks [AC]’s signature weakness to defeat him.
Act 3
13
Having defeated [AC] [MC] finally takes possession of the object of his quest.
14
After [MC] takes possession of the Object he must do what he think to do with it.
15
[MC], having accomplished all of his goals must choose what to do next or with
the rest of his life.
16
denouement tells what lies in store for [MC], any supporting characters or the
world in general
12-Chapter Mystery Formula™
Act II - Direct the investigation to a (erroneous) conclusion.
12
A. The Climax - a dramatic confrontation between the sleuth and the perpetrator
A. Reveal facts about suspects, through interrogations and the discovery of clues. in which the sleuth prevails. The more “impossible” the odds have been, the more
rewarding the climax will be.
1
B. Flight, or disappearance of one or more suspect.
B. Resolution - Revelation of clues and the deductive process which lead to the
C. Develop a sense of urgency. Raise the stakes or make it evident that if the
A. Disclose the crime and mystery to be solved. The crime must capture the
solution. Establish that the case has been solved and justice has been served to the
mystery
is
not
solved
soon,
there
will
be
terrible
consequences.
imagination. It should have been committed in an extraordinary way and either the
satisfaction of all involved (except, the villain)
victim the perpetuator, or both, should be unusual. Give the reader enough
5
information about the victim to make them truly care that the perpetrator is found
A. The investigation should broaden to put suspicion on other characters.
out and that justice is served.
B. Information gathered through interviews or the discovery of physical evidence,
B. Early in the story, clues should be revealed which suggest both physical and should point toward the solution, although the relevance may not yet be apparent.
1
psychological aspects of the initial crime. Those clues should point to suspects and
Introduce the detective. Arthur Conan Doyle usually just showed Sherlock
6
motive which will cary the sleuth to the end of Act I. Some clues should point the
A. The sleuth’s background is revealed as the sub-plot is developed. Tell the Holmes in his home office and said, “This is Sherlock Holmes. He’s a genius
sleuth in the right direction, others may not be obvious or be recognized as actual
detective.” Just to prove the point he would sometimes have Sherlock Holmes
reader what drives [MC], what haunts or is missing in his or her life.
clues unto later in the story.
B. Make it clear that the sleuth has a personal stake in the outcome, either make genius deductions about his sidekick based on his appearance.
C. Introduce the sleuth who will solve the crime early, and have him or her do or
2
because of threat to his or her life, or the possibility of revelation of matters deeply
say something very clever or unexpected which will establish that person as unique.
Introduce the harbinger. Someone walks through the door and tells the
disturbing to [MC] on an emotional level.
Create this character with care. His or her personality should be interesting enough
detective they have a case they need solved. Then the detective agrees to hear
Act III - Change of focus and scope of the investigation.
to sustain the interest of the reader to the very last page. (or through an entire
series of books). It is not necessary to disclose all aspects of the sleuth’s personality
This is the pivotal point in the story where it become evident that the sleuth was the case. If you want to rub in what a genius the detective is then you can have
at the onset. Let the description unfold gradually to sustain interest. Do reveal on the wrong track. Something unexpected occurs, such as the appearance of a him make deductions about the harbinger based on their appearance.
3
enough background to let the reader understand the world in which [MC] functions. second body, the death of a major suspect, or discovery of evidence which clears
The harbinger explains the case as they understand it. They leave out the
(Small town sheriff, Scotland Yard detective, Pinkerton agent in the old West, the most likely suspect. The story must take a new direction.
critical details necessary to solve the plot. However, they give the detective all
country squire, investigative reporter in New York City, etc.)
7
D. Ground the reader in the time and place where the crime occurs. It is often
A. Reveal hidden motives. Formerly secret relationships come to light, such as the clues he needs to solve the case. These clues are laid out in plain sight, but
useful to include some sort of symbol, an object or a person, in the opening scene business arrangements, romantic involvement's, scores to be settled or previously they’re presented along side heaps of superfluous details so that it’s
which serves as a metaphor for what occurs in the story. The reappearance of this veiled kinships.
impossible for the reader to guess which details are the true clues.
symbol at the conclusion of the story will create a certain organic unity.
4
B. Develop and expose meanings of matters hinted at in Act I., to slowly clarify the
E. Begin with a dramatic event. Some writers offer a prologue, describing the significance of earlier clues.
The detective identifies the Clues in the harbinger’s story and asks the
execution of the crime in detail, as it occurs, possible from the point of view of the
harbinger to elaborate on them.
8
victim or perpetrators. The same information could also be revealed by a character,
5
A. The sleuth reveals the results of the investigation. The reader, as well as [MC]
through dialogue. Sufficient details should be furnished to allow the reader to
The detective leaves his office and finds the proof necessary to validate his
experience the event as though he or she were actually there. Another good and other characters, are given an opportunity to review what is known and assess
theory.
the
possibilities.
opening would be to put the sleuth in a dire situation and allow detail of the crime
6
B. The solution of the crime appears to be impossible. Attempts to solve the crime
to unfold in due course.
The detective catches [AC] and explains how he solved the mystery.
have stymied the sleuth. Misinterpretation of clues or mistaken conclusions have
2
Note: The key to plotting a mystery is to understand that a mystery story is really three
lead him or her in the wrong direction, and logic must be applied to force a new way
A. Set the sleuth on the path toward solving he mystery. Offer plausible suspects, of grasping an understanding of the uncertainties.
stories: The story of how/why [AC] committed his crime, the story of how/why the crime
all of whom appear to have had motive, means and opportunity to to commit the
affected the harbinger and the story of how/why the detective solved the case. The easiest
9
crime. Select the most likely suspects, and have the sleuth question them. One of
way to weave these together is to write them in this order and then splice them together in
A.
Have
the
sleuth
review
the
case
to
determine
where
he
or
she
went
wrong.
these suspects will turn out to be the actual perpetrator.
the format explained above. So the first thing you need to do is to write a dark crime story
B. Reveal the chain of events which provoked the crime.
starring [AC], which you do like this:
B. At the approximate mid-point of Act 1, something should occur which makes it
C. The crucial evidence is something overlooked in Act I, which appeared to have
1a
clear to the reader that the crime is more complicated than originally thought. Hints
may be given to allow the reader to actually see possibilities not yet known to the been of little consequence at the time it was first disclosed. That evidence takes on
Introduce [AC].
new
meaning
with
information
disclosed
in
Act
III.
sleuth.
2a
D. The sleuth (and perhaps the reader, if a keep observer) becomes aware of the
3
[AC] has an opportunity to attain or defend what he wants most in life
error which remains undisclosed to the other characters.
(usually a lot of money or a lover)…at the expense of someone else.
A. The sub-plot should be introduced. The plot will continue to maintain the
Act IV - Solution
3a
progress of the story, but the subplot will carry the theme, which is a universal
10
concept to which the reader can identify. Sub-plots tend to originate either in a crisis
[AC] finds a way to attain/defend what he wants in a way that nobody
in the sleuth’s private life, or in the necessity of the sleuth to face a dilemma
A. The sleuth weighs the evidence and information gleaned from the other
else can trace the crime back to him.
involving a matter of character, such as courage or honesty.
characters.
4a
B. The ultimate resolution of the sub-plot with demonstrate change or growth on
B. Based on what only he or she now knows, the sleuth must seek positive proof
[AC] commits the crime but unknowingly leaves one or more vital clues
the part of [MC], and will climatic on a personal or professional level. That climax to back up the yet undisclosed conclusion.
that can trace the crime back to him.
may coincide with, or occur as prelude to the climax of the main plot. The sub-plot
11
5a
may be a vehicle for a romantic interest or a confrontation with personal demons of
A. Resolution of the sub-plot
[AC] goes on about his life hiding his secret.
the sleuth. The author can manipulate the pace of the novel by moving back and
B. [MC], having been tested by MC private ordeal, is strengthened for the final
forth between the plot and sub-plot.
action leading to the actual solution of the mystery.
Act I - Introduction of the crime (mystery) and the sleuth
4
Sherlock Holmes Mystery™
The Hero You Want To Be™
Act 1
1
Name your 3 favorite [MC] from books/movies and now combine yourself and
those [3MCs] into One Person. That’s who your [MC] is. Name your 3 favorite
Stories and now combine the setting/environment into One Place. That’s where
[MC] lives. Write a short narrative about what that [MC]’s daily routine is like. Have
[MC] engage a conflict that is typical of his life, and have his succeed or fail as would
be typical for that character.
2
What is the one thing you want most in the universe? Who/what is the most likely
agent in the the story setting you just created to have the power and the motive to
take that away from you? What is the most logical obstacle that would prevent you
from stopping this agent of loss from taking away the most valuable thing in the
universe from you? That agent takes your thing away and you fail to stop it from
happening.
3
What’s the 1st thing that would go through your mind after traumatic loss? How
do you react to loss?
Act 2
4
What would it take to get your very important thing back? What would be first
logical thing you would do to get back your very important thing given the
strengths/weaknesses of your [MC] and the specific nature of the agent that took it?
5
What’s the most logical reason why that wouldn’t work? Because it didn’t work,
and that’s why. So where does that leave you now?
6
What would be the most logical way for you to get your very important thing back
from the agent of loss now? You do that, and it almost doesn’t work, but you do it a
little more and it finally works (or fails) perfectly.
The Seinfeld/Snatch™
1
Introduce all [4[MCs] in one location. “Seinfeld” uses a diner. “Friends” uses a
cafe. “The IT Crowd” uses a work office. “The Big Bang Theory” uses communal
living space. “It’s Always Sunny in Philadelphia” uses an Irish pub. You get the idea.
2
The 4[MCs] go their separate ways and each of them encounters problem that
prevents them from achieving [Goals] or an opportunity opens up that allows them
the chance to attain their goal given that they complete a task relevant to the goal.
3
Each character does something that commits them to accepting the challenge
before them. They could simply declare that they’re going to achieve their goal like
making a vow to get laid on prom night or they can do something they can’t back
out of like making a deal with a mobster.
4
Each character steps up to the plate and takes their first swing at their problem.
They go on the date. They go to the job interview. They steal the beer. They steal the
diamond. Remember that they engage their challenge in a way that reflects their
distinctive personalities and values.
5
Up until this point it doesn’t matter if each character’s story line intersects or
affects any other characters’ story line. Whether or not that happens up to this
point just depends on what moves your particular story along. Having reached this
point though, the story lines have to start weaving together.
6
After each character succeeds or fails they end up back where they first met in 1
and lick their wounds and/or celebrate their victory.
Group Journey (Children’s)™
1
Introduce [MC], describe [MC], explain [MC]’s back story.
2
Act 3
Something terrible happens to [MC], and he has to embark on a journey to get
7
something that will fix the problem.
What’s the first thing you would do after getting your very important thing back?
3
8
[MC] sets out on his journey and runs into his travel companions who each have
And what would that accomplish? What’s the biggest effect that would have on personalities, values and/or skills relevant to the quest. Explain each supporting
your life and/or the world?
characters’ back story and their incentive to join [MC].
9
4
Once that happens what does the future hold for your character and/or the
Explain the first obstacle the characters must surmount to resolve their conflict.
characters left behind in the story environment you created?
The characters must draw on their combined resources (mental and physical) to
overcome the obstacle.
5
Explain the second obstacle the characters must surmount to resolve their
1
conflict. This one must be more difficult than the first, and the characters must
[MC], characteristics, strengths, weaknesses, life circumstances, motives, goals.
overcome it or work around it.
2
Note: You can have as many obstacles as are logical, but they must keep getting
[AC] appears and poses a moral quandary to [MC].
progressively more difficult.
3
6
[MC] chooses a course of action he believes is most desirable based on his values.
After surmounting all the obstacles between the characters and their goal they (or
4
just [MC]) face [AC] head on. Describe [AC], Explain [AC]’s back story. Explain [AC]’s
[MC] executes his decision, and [AC] reacts accordingly.
motivation to oppose [MC]. [MC] (possibly aided by his/her friends) defeat the
5
If [MC] chose wisely it has positive consequences for him and negative for [AC]. If physically superior [AC] by outwitting him/her.
7
[MC] chose unwisely it has negative consequences for him and positive for [AC].
Denouement
6
The lesson to be learned from [MC]’s decision is explained.
Fable™
Sitcom, Tragic Opportunity™
1
The first segment of an episode should begin by revealing [MC]’s primary
motive/goal for that particular episode.
In a sitcom Segments 1 and 2 can be combined often within a single sentence of
dialogue.
2
[MC] finds (or is presented with) an unusual (for him, not for the audience)
opportunity to attain whatever it is he values (usually money, fame, sex, love,
freedom, leisure, etc.).
3
[MC] pursues the opportunity and becomes involved with it.
4
The opportunity turns south. Not only does it not help [MC] achieve his goal, but
it actually prevents him from achieving it and results in him attaining the thing he
was trying to avoid.
5
[MC] tries to free himself of the situation he’s gotten himself into but fails.
6
The opportunity, being faulty, ends up destroying itself and spitting [MC] either
right back where he started, farther behind, or miraculously ahead in some
unexpected way.
7
[MC] learns a valuable lesson.
8
In the final scene it is explained how the resolution of the conflict will affect the
character’s life in the future.
It’s Like The Author Understands Me™
Act 1
1
Who are you? What is your day to day life like?
2
What was the biggest personal problem or tragedy you had to overcome in your
life?
Act 2
3
How did you figure out the solution you ultimately used to solve (or at least cope
with) the problem?
4
What steps did you take to solve/cope with the problem.
5
How did the final events that brought closure to the issue play out?
Act 3
6
How did the initial recovery period after that go? What was it like adjusting to life
after having gone through what you went through?
7
Where are you now? What are doing with yourself these days? How is life going
for you? Have the old wounds healed?
8
What are your plans for the future, or are you just living for the moment right
now?
Adventure™
01. Introduzione:
Inizio. Si presentano l'Eroe [MC] e i personaggi nell'ambiente a loro naturale; si
descrivono gli amici e i familiari del [MC], la casa. Soprattutto, si descrive un «bene
prezioso», un valore importante per l'[MC] o per tutta la comunità. Se già
s'introduce l'Antagonista [AC], vuol dire che è vicino all'[MC] (un familiare). La
condizione iniziale può essere idilliaca, piena di serenità e benessere, poi infranto, o
triste e misera, da ribaltare nel corso degli eventi della fiaba
02. Instaurazione del conflitto:
08. danneggiamento. È un momento drammatico per l'[MC]: il suo
comportamento, che ha favorito l'[AC], provoca un disastro e innesca l'azione della
trama; Il danno consiste nella perdita di un «bene prezioso»: la donna amata, un
mezzo magico, un tesoro; per un'intera comunità, il «bene» può essere la libertà e
le terre - perdute con l'invasione delle truppe dell'[AC] - o un amuleto che
proteggeva il popolo dalle avversità. La «perdita del bene prezioso» può causare un
matrimonio forzato, il rapimento di una persona cara o un ferimento o omicidio;
può scatenare una guerra, la distruzione dei raccolti o una tempesta, la cacciata
della comunità e la persecuzione... In generale si può parlare di un DANNO per la
comunità vicina all'[MC], o per l'[MC] stesso, che si realizza con una PERDITA di un
bene prezioso. L'[AC] scopre il suo vero volto «cattivo» usando la violenza, la
tortura, imprigionando gli innocenti, usando a suo vantaggio anche mezzi magici.
Qui finisce il I atto, introduzione/instaurazione conflitto. Nel II atto toccherà a
[MC] risolvere il danno che lui stesso ha contribuito a generare.
01. allontanamento. A un certo punto, [MC] deve allontanarsi dal suo luogo
natìo, volontariamente, costretto o per missione. Può essere colpa della guerra, di
un principe cattivo, per cercare una persona scomparsa, per una tragedia
improvvisa (morte di un familiare, una siccità o una pestilenza), o magari solo per
05. Fase di preparazione al conflitto:
portare qualcosa alla nonna (Cappuccetto Rosso) o per lavoro o per la voglia
9. mediazione. Giunto nel baratro, interviene un aiuto, magari da un mediatore.
d'avventura...
Si entra nel vivo della storia: il danno precedente innesca un processo di reazione,
02. divieto
con un tentativo di recupero da parte del [MC]a, con ogni mezzo. L'[MC] - dopo lo
03. infrazione: Prima di allontanarsi, al [MC] vengono impartite delle sconforto - vuole risollevarsi, anche cercando aiuto con un mediatore vicino all'[AC].
raccomandazioni, divieti o proibizioni: non aprire, non parlare, non uscire, non Questa fase può creare ulteriori equivoci sulla bontà dell'[MC] da parte della
lasciare la via maestra, non baciare... Oppure è una richiesta di fare qualcosa per comunità, che può ulteriormente perseguitarlo, cacciarlo, imprigionarlo ecc.
«conservare il Paradiso», ossia l'idilliaca situazione iniziale che verrà a mancare in
10. inizio della reazione. Ad ogni modo, l'[MC] prende coscienza, e attiva un
seguito all'infrazione del divieto o alla non ottemperanza alla richiesta. Il mancato piano con le contromisure necessarie a fronteggiare il suo [AC].
rispetto del divieto è la causa che scatena l'azione e consegna l'[MC] nelle braccia
11. partenza. È giunto il tempo della «chiamata all'Avventura»! L'[MC]-Eroe si
dei «cattivi». La trasgressione del [MC] può essere volontaria (tipica del mette alla caccia dell'[AC], magari dopo essere riuscito a fuggire dalla prigione dove
disubbidiente), inconsapevole (senza voler infrangere le regole), oppure indotta, la sua stessa comunità lo aveva costretto (L'[MC]-Vittima, invece, s'infila in un
tipicamente da un cattivo maestro, da un falso amico che può essere l'[AC] stesso.
tunnel disperato, ridotto a mendicare, a vagabondare senza meta né scopo).
03. Il conflitto (la rottura del divieto) muove l'azione:
04. investigazione. L'[AC] o l'[MC] stesso indagano sulla situazione. Questa
funzione può assumere varie forme, ma la più tipica è quella in cui è l'[AC] che per
soddisfare il suo obiettivo, s'informa sull'[MC] che lo ostacola in qualche modo,
magari inconsapevolmente. Ad esempio: la strega che interroga lo specchio: «chi è
la più bella del reame»? In genere l'[AC] è geloso dell'[MC], invidioso della sua
donna, della sua ricchezza, della fertilità delle sue terre e così via.
05. delazione. L'[AC] riceve informazioni sull'[MC], forse da terze persone (spie),
o tramite un mezzo magico (lo specchio fatato, la palla di vetro, etc.).
06. tranello. In questa prima fase, l'[AC] non cerca lo scontro diretto, ma
piuttosto usa l'inganno per raggiungere il suo obiettivo. Le menzogne e le falsità
dell'[AC] attirano l'[MC] in un tranello: magari l'[AC] non ha il suo vero volto,
crudele, ma assume le sembianze di un amico, di una bella fanciulla, di un povero
mendicante, inducendo l'[MC] a fidarsi di lui. Fa una proposta all'[MC], che sarà la
sua rovina. L'[AC], per far cadere l'[MC] nella sua trama, può usare anche l'arma
della persuasione occulta o del ricatto (minaccia di morte a un familiare, o di un
danno alla comunità).
06. Ottenimento del «mezzo magico»:
con l'astuzia riesce a superare la barriera e a trovarsi al cospetto dell'[AC], L'esito
del conflitto è incerto, la lotta cruenta. In molte fiabe (a sorpresa) può essere l'[MC]
ad avere la meglio. Può persino riuscire a riagguantare il «bene prezioso» e a
lasciare indenne la Tana del Nemico, che appare sconfitto definitivamente, magari
cacciato via dal suo reame, distrutto...
08. Vittoria temporanea dell'[MC], ritorno:
17. marchiatura. In tal caso, l'[MC] s'impossessa di un simbolo nemico. Ogni
vittoria ha bisogno di un «segno» che le dia forza e riconoscimento: si impossessa di
una bandiera, di un marchio dell'[AC] sconfitto, e testimonia al mondo l'avvenuto
successo. È il segno che, per ora, le prove sono finite - ma è la vittoria momentanea
di una battaglia, non della guerra.
18. vittoria. L'[MC] può godere della sua temporanea vittoria sull'[AC] e...
19. rimozione. All'[MC] viene riconosciuta la bontà, la buona fede: la colpa e la
connivenza sono rimosse; la sua comunità lo perdona
20. ritorno. L'[MC] può dunque uscire dalla “Tana del Lupo” e tornare nella sua
comunità, dalla quale era stato scacciato...
09. Seconda battaglia con l'[AC]:
21. persecuzione. Sembrava fatta, e invece l'[AC] risorge dalle sue ceneri, si
ripresenta più subdolo e feroce, magari sotto false vesti, cambiato, irriconoscibile.
Inizia ad inseguire e a perseguitare l'[MC].
22. salvataggio. È il momento più cupo per l'[MC]: dopo l'illusione della vittoria, si
trova invece sul punto di soccombere. Sta per non farcela, ma, in extremis, riesce a
salvarsi.
10. Lo scontro finale:
23. in incognito. L'[MC] è costretto a nascondersi e ad affrontare la prova finale
senza farsi riconoscere: «il principe si maschera da mendicante», insomma l'[MC] si
presenza sotto false sembianze, per astuzia o perché costretto dagli eventi.
12. donatore. Arriva in scena una figura fondamentale: il Donatore. Un mago, un
24. pretese infondate. Al primo incontro, l'[AC] muove pretese assurde e
vecchio saggio, un antico amico, o qualcuno che conosce bene l'[AC] e sa come
infondate, e false accuse. Le falsità possono giungere a far credere che il vero
affrontarlo. Conosce i suoi punti deboli e ha il mezzo utile per sconfiggerlo. Può
cattivo sia l'[MC], e la vittima l'[AC], ma l'imbroglio sarà presto smascherato.
essere del tutto positivo, diventando subito il Mentore dell'[MC], oppure essere una
25. compito difficile. All'[MC] vengono assegnati dei difficili compiti da superare.
figura infida e oscura, che solo dopo innumerevoli prove per l'[MC], si convince a
Ma, ormai, ha la forza per vincere definitivamente: il percorso seguito lo ha
schierarsi con lui, e a concedergli il «mezzo magico» che lo sconfiggerà.
irrobustito, ora ha fiducia in sé e nei poteri che gli conferisce il mezzo magico.
13. reazione. Il «donatore» non è dunque sempre benevolo, dall'inizio. Bisogna
26. adempimento. Si sottopone dunque ai compiti che gli vengono imposti: la
convincerlo: in alcuni casi è persino ostile, sospettoso, non si fida. Può essere un
mago cattivo come in certe fiabe è l'[AC], e aiuta l'[MC] solo per vendetta o gelosia PROVA FINALE
per il vecchio nemico. Mette dunque alla prova l'[MC], che reagisce alla sfida, anche
11. Il ritorno da vincitore:
trovando nuova linfa interiore, scoprendo una volontà insospettata; oppure, si
27. identificazione. Le prove vengono superate con successo e l'[MC] viene
scompone, all'inizio non sembra fronteggiare la situazione. Poi, però, riuscirà a riconosciuto come [MC], e condotto alla vittoria.
superare le prove.
28. smascheramento. Le falsità del “cattivo” vengono smascherate, le sue colpe,
14. mezzo magico. L'[MC] ha ricevuto uno strumento, potente e magico dal cattiverie, perfidie rivelate e mostrate alla comunità. L'[MC] è il definitivo vincitore.
Donatore: una spada fatata, una bacchetta con poteri, una pozione miracolosa...
29. trasfigurazione. Grazie alla vittoria, l'[MC] acquisisce poteri superiori
07. Prima battaglia contro l'Antragonista:
(soprannaturali), o, più semplicemente, uno stato sociale più elevato (diventa re, ad
15. trasferimento. L'[MC] è costretto a entrare nella Tana del Nemico: è la esempio).
discesa agli Inferi. È un momento importante: l'ingresso nella «tana del lupo», dove
12. Finale:
magari intravede il «bene prezioso» sottratto, lì rinchiuso, sequestrato, incatenato.
30. punito. Nel frattempo, l'[AC] viene punito per aver fatto del male, cacciato via
È il reame del maligno, può essere in una caverna, nei bassifondi o in un'altra
dimensione spazio-temporale, o dove vi pare, basta che sia un luogo cupo, oscuro. per sempre, condannato per l'eternità, ridotto a non poter nuocere più.
07. connivenza. [MC] inconsapevolmente cade vittima del tranello o è costretto
dal ricatto e accetta la proposta, diventando così connivente con l'[AC]. Pensando di
agire a fin di bene, accetta le condizioni imposte dall’[AC] e viola le proibizioni,
trasgredisce le regole. Tranello e connivenza possono generare l'infrazione al
divieto, dunque (anche se nelle funzioni di Propp l'infrazione viene prima). Ad ogni
modo, il risultato è lo stesso: la comunità accusa l'[MC] - giustamente o meno - e
magari lo respinge via (cacciata dal Paradiso). La «cacciata dal Paradiso» può anche L'ingresso nella tana dell'[AC] è spesso introdotto dal «Guardiano della Soglia», il
essere intesa come metafora del cambio di uno stato interiore, che passa dal Caronte che accompagna negli Inferi, e che magari avvisa l'[MC] di non proseguire,
se non vuole perdere la vita: «lasciate ogni speranza, o voi ch'entrate»
benessere e felicità (il «Paradiso», appunto), all'angoscia più cupa.
16. lotta. Scontro tra [MC] e [AC] - sono le prime prove. Nella prima battaglia,
04. La perdita del «bene prezioso»:
può succedere che l'[MC] si scontri con gli Alleati del Nemico, le sue guardie, ma
31. nozze. È il lieto fine: matrimonio, conquista del Regno, vittoria sul Male
The 12 Stages of The Hero's Journey™
01. Ordinary World
This is where the Hero's exists before his present story begins, oblivious
of the adventures to come. It's his safe place. His everyday life where we
learn crucial details about our Hero, his true nature, capabilities and
outlook on life. This anchors the Hero as a human, just like you and me,
and makes it easier for us to identify with him and hence later, empathize
with his plight.
The hero, uneasy, uncomfortable or unaware, is introduced sympathetically
so the audience can identify with the situation or dilemma. The hero is shown
against a background of environment, heredity, and personal history. Some
kind of polarity in the hero’s life is pulling in different directions and causing
stress.
he has always been scared to do. However the threshold presents itself, prize. The Reward may come in many forms: an object of great
this action signifies the Hero's commitment to his journey an whatever it importance or power, a secret, greater knowledge or insight, or even
reconciliation with a loved one or ally. Whatever the treasure, which may
may have in store for him.
At the end of Act One, the hero commits to leaving the Ordinary World and
well facilitate his return to the Ordinary World, the Hero must quickly put
entering a new region or condition with unfamiliar rules and values.
celebrations aside and prepare for the last leg of his journey.
06. Tests, Allies, Enemies
The hero takes possession of the treasure won by facing death. There may be
Now finally out of his comfort zone the Hero is confronted with an ever
celebration, but there is also danger of losing the treasure again.
10. The Road Back
more difficult series of challenges that test him in a variety of ways.
This stage in the Hero's journey represents a reverse echo of the Call to
Obstacles are thrown across his path; whether they be physical hurdles or
people bent on thwarting his progress, the Hero must overcome each Adventure in which the Hero had to cross the first threshold. Now he
challenge he is presented with on the journey towards his ultimate goal. must return home with his reward but this time the anticipation of danger
The Hero needs to find out who can be trusted and who can't. He may is replaced with that of acclaim and perhaps vindication, absolution or
earn allies and meet enemies who will, each in their own way, help even exoneration. But the Hero's journey is not yet over and he may still
prepare him for the greater ordeals yet to come. This is the stage where need one last push back into the Ordinary World. The moment before the
his skills and/or powers are tested and every obstacle that he faces helps Hero finally commits to the last stage of his journey may be a moment in
us gain a deeper insight into his character and ultimately identify with him which he must choose between his own personal objective and that of a
even more.
Higher Cause.
02. Call To Adventure
The Hero's adventure begins when he receives a call to action, such as a
direct threat to his safety, his family, his way of life or to the peace of the
community in which he lives. It may not be as dramatic as a gunshot, but
The hero is tested and sorts out allegiances in the Special World.
simply a phone call or conversation but whatever the call is, and however
07. Approach To The Inmost Cave
it manifests itself, it ultimately disrupts the comfort of the Hero's Ordinary
The inmost cave may represent many things in the Hero's story such as
World and presents a challenge or quest that must be undertaken.
an actual location in which lies a terrible danger or an inner conflict which
Something shakes up the situation, either from external pressures or from
up until now the Hero has not had to face. As the Hero approaches the
something rising up from deep within, so the hero must face the beginnings of
cave he must make final preparations before taking that final leap into the
change.
great unknown. At the threshold to the inmost cave the Hero may once
03. Refusal Of The Call
again face some of the doubts and fears that first surfaced upon his call to
Although the Hero may be eager to accept the quest, at this stage he
adventure. He may need some time to reflect upon his journey and the
will have fears that need overcoming. Second thoughts or even deep
treacherous road ahead in order to find the courage to continue. This
personal doubts as to whether or not he is up to the challenge. When this
brief respite helps the audience understand the magnitude of the ordeal
happens, the Hero will refuse the call and as a result may suffer
somehow. The problem he faces may seem to much to handle and the that awaits the Hero and escalates the tension in anticipation of his
ultimate test.
comfort of home far more attractive than the perilous road ahead. This
The hero and newfound allies prepare for the major challenge in the Special
would also be our own response and once again helps us bond further
world.
with the reluctant Hero.
08. Ordeal
The hero feels the fear of the unknown and tries to turn away from the
adventure, however briefly. Alternately, another character may express the
uncertainty and danger ahead.
04. Meeting The Mentor
At this crucial turning point where the Hero desperately needs guidance
he meets a mentor figure who gives him something he needs. He could be
given an object of great importance, insight into the dilemma he faces,
wise advice, practical training or even self-confidence. Whatever the
mentor provides the Hero with it serves to dispel his doubts and fears and
give him the strength and courage to begin his quest.
The hero comes across a seasoned traveler of the worlds who gives him or
her training, equipment, or advice that will help on the journey. Or the hero
reaches within to a source of courage and wisdom.
05. Crossing The Threshold
The Hero is now ready to act upon his call to adventure and truly begin
his quest, whether it be physical, spiritual or emotional. He may go
willingly or he may be pushed, but either way he finally crosses the
threshold between the world he is familiar with and that which he is not.
It may be leaving home for the first time in his life or just doing something
The Supreme Ordeal may be a dangerous physical test or a deep inner
crisis that the Hero must face in order to survive or for the world in which
the Hero lives to continue to exist. Whether it be facing his greatest fear
or most deadly foe, the Hero must draw upon all of his skills and his
experiences gathered upon the path to the inmost cave in order to
overcome his most difficulty challenge. Only through some form of
"death" can the Hero be reborn, experiencing a metaphorical resurrection
that somehow grants him greater power or insight necessary in order to
fulfill his destiny or reach his journey's end. This is the high-point of the
Hero's story and where everything he holds dear is put on the line. If he
fails, he will either die or life as he knows it will never be the same again.
About three-fourths of the way through the story, the hero is driven to
complete the adventure, leaving the Special World to be sure the treasure is
brought home. Often a chase scene signals the urgency and danger of the
mission.
11. Resurrection
This is the climax in which the Hero must have his final and most
dangerous encounter with death. The final battle also represents
something far greater than the Hero's own existence with its outcome
having far-reaching consequences to his Ordinary World and the lives of
those he left behind. If he fails, others will suffer and this not only places
more weight upon his shoulders but in a movie, grips the audience so that
they too feel part of the conflict and share the Hero's hopes, fears and
trepidation. Ultimately the Hero will succeed, destroy his enemy and
emerge from battle cleansed and reborn.
At the climax, the hero is severely tested once more on the threshold of
home. He or she is purified by a last sacrifice, another moment of death and
rebirth, but on a higher and more complete level. By the hero’s action, the
polarities that were in conflict at the beginning are finally resolved.
12. Return With The Elixir
This is the final stage of the Hero's journey in which he returns home to
his Ordinary World a changed man. He will have grown as a person,
learned many things, faced many terrible dangers and even death but
now looks forward to the start of a new life. His return may bring fresh
hope to those he left behind, a direct solution to their problems or
perhaps a new perspective for everyone to consider. The final reward that
he obtains may be literal or metaphoric. It could be a cause for
celebration, self-realization or an end to strife, but whatever it is it
represents three things: change, success and proof of his journey. The
Near the middle of the story, the hero enters a central space in the Special
return home also signals the need for resolution for the story's other key
World and confronts death or faces his or her greatest fear. Out of the moment
players. The Hero's doubters will be ostracized, his enemies punished and
of death comes a new life.
his allies rewarded. Ultimately the Hero will return to where he started
09. Reward (Seizing The Sword)
After defeating the enemy, surviving death and finally overcoming his but things will clearly never be the same again.
The hero returns home or continues the journey, bearing some element of the
greatest personal challenge, the Hero is ultimately transformed into a
treasure that has the power to transform the world as the hero has been
new state, emerging from battle as a stronger person and often with a
transformed.
How to Write Gothic Fiction
1. Developing Ideas for Your Gothic Fiction
Choose a time when your story will take place.
Decide if your story will take place in the past or present. Many
gothic fiction stories take place a century or even further in the past. A
story about the past can make supernatural events and strange
characters seem more real to your readers. Or, you can write in the
present but include lots of elements that hearken back to an older
time. Bram Stoker includes modern technology and ancient things in
Dracula. He describes typewriters and trains, but he also includes
vampires and an ancient castle.
Choose a setting.
Choose a setting. Settings are important because they help create a
creepy atmosphere for your characters. Crumbling buildings, haunted
houses, and old castles make great settings for gothic fiction. Your
setting should be a place that was once thriving, but has since fallen
into decay. The Overlook Hotel in Stephen King’s The Shining is an
excellent example of such a location. The Overlook was once a
gleaming vibrant vacation spot occupied by many people, but now
only Jack and his family occupy it.
Create your characters.
Your characters are just as important as your setting, so spend
plenty of time developing them. Gothic fictions often feature certain
types of characters that may help you to develop your own characters.
Hero or anti-hero. There should be at least one character in your
gothic fiction that readers will like, even if he or she has some dark
tendencies. Mary Shelley’s Victor Frankenstein is a great example of a
hero who is good, even though he creates a monster. Villain. The
villain in gothic fiction stories often plays the role of a tempter, who
leads the hero down a dark path. A good villain should be both evil
and fun to read about. Dracula in Bram Stoker’s Dracula is an excellent
example of an interesting, yet evil villain. He does terrible things (like
murdering people), and is portrayed by Bram Stoker as the epitome of
foreign corruption that threatened Britain's society at the time. Since
this fear of invasion was common at the time “Dracula” was
published, it was a very popular Gothic novel. Woman in white. Many
gothic fiction novels feature a doomed bride character who never gets
her happy ending. Elizabeth from Mary Shelley’s Frankenstein is a
good example of a woman in white. Woman in black. Other gothic
fictions include a woman in black character like a widow. Miss Jessel
of Turn of the Screw by Henry James is an example of a woman in
black.
Develop a plot.
Once you have worked out a setting and characters for your gothic
fiction story, you will need to figure out what is going to happen to
these characters. Like the setting, the plot should show a decline in
the hero’s world, relationships, and/or sanity. Gothic fictions usually
resolve when the hero redeems him or herself with the help of a loved
one. For example, in Bram Stoker’s Dracula Mina redeems herself with
the help of her friends.
2. Making Your Gothic Fiction Unique
Add a supernatural element.
Gothic fiction often features something or someone supernatural.
Make one of your characters a ghost, vampire, werewolf, or some
other supernatural creature. Or, you could use your setting to create
an eerie atmosphere that suggests something paranormal is at work.
A spooky castle or house can add a supernatural element to your
story.
Add children to your story.
Children often feature into gothic fiction and they are usually in
danger or in the care of less than capable guardians. Having children
in your story who are in some sort of danger will infuse your story
with extra tension throughout. For example, young William
Frankenstein wanders off and Frankenstein’s monster murders him.
Add a prophecy or curse.
Add intrigue to your story by including a prophecy that has
something to do with the character or the setting (house, castle, etc.).
Prophecies in gothic fiction are usually incomplete and confusing. A
good prophecy should cause your readers to scratch their heads and
want to know more. Sometimes gothic fiction stories feature a family
curse or secret that haunts them. A curse can also help drive your
hero’s actions and even explain some if his or her behavior. For
example, a prophecy haunts the family in Horace Walpole’s Castle of
Otranto. The prophecy says that the castle will pass from Manfred's
line. The prophecy seems to have come true when Manfred's son dies.
Add a damsel in distress.
Gothic fiction stories often include a young woman who is in danger.
This young woman may be your central character or your central
character’s love interest. You can use this character as a way to
influence the emotions of your readers, such as their pity, sadness,
and fear. Depict your damsel’s reactions to her situation by telling
your readers how she feels, acts, and what she says. Matilda is in love
with one man, but another man lusts after he, which puts her in
danger throughout the book.
Consider using a found material or true story framing device.
Many gothic novels put forth the story that they tell as true or found
in a diary. This way of framing the story adds mystery, since it invites
the reader imagine that the events of the story transpired. For
example, Mary Shelley and Bram Stoker both use found material
framing devices. They present their stories through character letters
and journal entries.
3. Writing Your Gothic Fiction
Introduce your story.
In the beginning of your story, take care to describe your setting and
characters who are present in the beginning of your story. Just make
sure that you don’t give away too much information in the beginning.
Leave some things to describe later, like the villain and other
mysterious elements of your story. You can hint at these things early
in your story, but don’t give in to the urge to share too much too soon.
Maintain an air of gloom and horror throughout your story.
You can make sure that your story has a high level of creepiness by
incorporating plenty of unnerving details. Describe the moon, the
howling wind, or a dark corridor to maintain an air of gloom and
horror throughout your story. You can also describe the way that your
characters are feeling or acting, as well as their facial expressions.
Maintain suspense and mystery throughout your story.
Tantalize your readers by only offering them quick glimpses of your
villain or a ghost. Hint at the family curse but hold off on explaining it
until later in the story.
Incorporate descriptions of heightened emotions throughout your
story.
Describe over-the-top emotions like shrieking, cackling, fainting, and
sobbing. These moments of hysteria will pull your readers into the
story and help keep them entertained.
Incorporate themes of madness.
Describe spooky things from the perspective of a character who has
gone mad. This approach will intrigue your readers and lead them to
question what is happening. For example, Roderick descends into
madness in Edgar Allen Poe’s “Fall of The House of Usher”. His decline
intensifies the story and makes it scarier.
Kill off some of your characters.
As much as you might love your characters, good gothic fiction tales
usually feature the death of one or more of the main characters. The
deaths of your characters do not need to be ultra-gory (although, they
can be), but they should be frightening. Use plenty of details to
describe the scenery and action of your death scenes. For example, a
giant helmet crushes Conrad in Horace Walpole’s Castle of Otranto.
Conrad was on his way to get married.
Conclude with a twist.
Good gothic fiction stories often end with a twist that causes
readers to wonder about the events and characters of your story. The
reappearance of a someone who has died is one way to include a
twist, but you can experiment with other types of twists as well. Edgar
Allen Poe includes twists at the end of his stories that lead readers to
question the finality of death. Poe includes one of these twists in “Fall
of the House of Usher” when Madeline appears in the doorway and
falls on top of Roderick. Roderick had believed that Madeline was
dead.
Elements of the Gothic Novel
Setting in a Castle.
The action takes place in and around an old castle, sometimes
seemingly abandoned, sometimes occupied. The castle often contains
secret passages, trap doors, secret rooms, trick panels with hidden
levers, dark or hidden staircases, and possibly ruined sections. The
castle may be near or connected to caves, which lend their own
haunting flavor with their darkness, uneven floors, branchings,
claustrophobia, and mystery. And in horror-gothic, caves are often
seem home to terrifying creatures such as monsters, or deviant forms
of humans: vampires, zombies, wolfmen. Translated into the modern
novel or filmmaking, the setting might be in an old house or mansion or even a new house - where unusual camera angles, sustained close
ups during movement, and darkness or shadows create the same
sense of claustrophobia and entrapment. The house might be already
dark, perhaps because it was abandoned, or it might at first seem light
and airy, but either night comes and people turn off the lights to go to
bed, or at some dramatic point the lights will fail (often because of a
raging storm). The goal of the dark and mysterious setting is to create
a sense of unease and foreboding, contributing toward the
atmospheric element of fear and dread. Darkness also allows those
sudden and frightening appearance of people, animals, or monsters.
An atmosphere of Mystery and Suspense.
The work is pervaded by a threatening feeling, a fear enhanced by
the unknown. This atmosphere is sometimes advanced when
characters see only a glimpse of something - was that a person
rushing out the window or only the wind blowing a curtain? Is that
creaking sound coming from someone's step on the squeaky floor, or
only the normal sounds of the night? Often the plot itself is built
around a mystery, such as unknown parentage, a disappearance, or
some other inexplicable event. People disappear or show up dead
inexplicably. Elements 3, 4, and 5 below contribute to this
atmosphere. In modern novels and filmmaking, the inexplicable
events are often murders. The bodies are sometimes mutilated in
ways that defy explanation - “What kind of monster could do this?” or
“Here's the body, but there's no blood”. When the corpses start to
mount, suspense is raised as to who will get killed next. (In
filmmaking, the atmosphere can be created largely by the music.
Anyone who has watched a horror movie with the sound off or very
low knows this.)
An ancient prophecy
is connected with the castle or its inhabitants (either former or
present). The prophecy is usually obscure, partial, or confusing. “What
could it mean?” In more watered down modern examples, this may
amount to merely a legend: “It's said that the ghost of old man Krebs
still wanders these halls”.
Omens, Portents, Visions.
A character may have a disturbing dream vision, or some
phenomenon may be seen as a portent of coming events. For
example, if the statue of the lord of the manor falls over, it may
portend his death. In modern fiction, a character might see something
(a shadowy figure stabbing another shadowy figure) and think that it
was a dream. This might be thought of as an “imitation vision”.
Sometimes an omen will be used for foreshadowing, while other
writers will tweak the reader by denying expectation - what we
thought was foreshadowinig wasn't.
Supernatural or Otherwise Inexplicable Events.
Dramatic, amazing events occur, such as ghosts or giants walking, or
inanimate objects (such as a suit of armor or painting) coming to life.
In some works, the events are ultimately given a natural explanation,
while in others the events are truly supernatural. As you might
imagine, Hollywood uses special effects to a large degree to provide
fire, earthquakes, moving statues, and so forth, often bluring the line
between human-produced, natural, and supernatural events.
High, Even Overwrought Emotion.
The narration may be highly sentimental, and the characters are
often overcome by anger, sorrow, surprise, and especially, terror.
Characters suffer from raw nerves and a feeling of impending doom.
Crying and emotional speeches are frequent. Breathlessness and
panic are common. In the filmed gothic, screaming is common.
Women in Distres.
As an appeal to the pathos and sympathy of the reader, the female
characters often face events that leave them fainting, terrified,
screaming, and/or sobbing. A lonely, pensive, and oppressed heroine
is often the central figure of the novel, so her sufferings are even
more pronounced and the focus of attention. The women suffer all
the more because they are often abandoned, left alone (either on
purpose or by accident), and have no protector at times. (In horrorgothic films, when the guy tells the girl, “Stay here; I'll be right back,”
you pretty much know that one of them will soon be dead.)
Women Threatened by a Powerful, Impulsive, Tyrannical Male.
One or more male characters has the power, as king, lord of the
manor, father, or guardian, to demand that one or more of the female
characters do something intolerable. The woman may be commanded
to marry someone she does not love (it may even be the powerful
male himself), or commit a crime. In modern gothic novels and films,
there is frequently the threat of physical violation.
The Metonymy of Gloom and Horror.
Metonymy is a subtype of metaphor, in which something (like rain)
is used to stand for something else (like sorrow). For example, the film
industry likes to use metonymy as a quick shorthand, so we often
notice that it is raining in funeral scenes. (This explains why they never
oil the hinges on the doors in gothic novels.) Note that the following
metonymies for “doom and gloom” all suggest some element of
mystery, danger, or the supernatural.
wind, especially howling. rain, especially blowing. doors
grating on rusty hinges. sighs, moans, howls, eerie sounds.
footsteps approaching. clanking chains. lights in abandoned
rooms. gusts of wind blowing out lights. characters trapped
in a room. doors suddenly slamming shut. ruins of buildings.
baying of distant dogs (or wolves?). thunder and lightning.
crazed laughter.
The Vocabulary of the Gothic.
The constant use of the appropriate vocabulary set creates an
sustains the atmosphere of the gothic. Using the right words
maintains the dark-and-stimulated feel that defines the gothic.
Mystery. diabolical, enchantment, ghost, goblins, haunted,
infernal, magic, magician, miracle, necromancer, omens,
ominous, portent, preternatural, prodigy, prophecy, secret,
sorcerer, spectre, spirits, strangeness, talisman, vision
Fear, Terror, or Sorrow. afflicted, affliction, agony, anguish,
apprehensions, apprehensive, commiseration, concern,
despair, dismal, dismay, dread, dreaded, dreading, fearing,
frantic, fright, frightened, grief, hopeless, horrid, horror,
lamentable, melancholy, miserable, mournfully, panic, sadly,
scared, shrieks, sorrow, sympathy, tears, terrible, terrified,
terror, unhappy, wretched
Surprise. alarm, amazement, astonished, astonishment,
shocking, staring, surprise, surprised, thunderstruck, wonder
Haste. anxious, breathless, flight, frantic, hastened, hastily,
impatience, impatient, impatiently, impetuosity, precipitately,
running, sudden, suddenly
Anger. anger, angrily, choler, enraged, furious, fury, incense,
incensed, provoked, rage, raving, resentment, temper, wrath,
wrathful, wrathfully
Largeness. enormous, gigantic, giant, large, tremendous,
vast
Darkness. dark, darkness, dismal, shaded, black, night
Walpole himself lays on most of these elements pretty thick
(although he's a lot lighter on darkness than many modern gothic
works), so it might be said that another element of the classic gothic is
its intensity created by profuse employment of the vocabulary of the
gothic. Consider this from Chapter 1 of The Castle of Otranto: The
servant “came running back breathless, in a frantic manner, his eyes
staring, and foaming at the mouth. He said nothing but pointed to the
court. The company were struck with terror and amazement”. Gets
your interest up on page two, doesn't he? Then, “In the meantime,
some of the company had run into the court, from whence was heard
a confused noise of shrieks, horror, and surprise”.
INFO GENERALI
nome completo
soprannome
gradisce il soprannome?
data di nascita
luogo di nascita
etnia
religione
indirizzo corrente
è la casa e la posizione ideale?
ASPETTO FISICO
altezza
peso
corporatura?
colore degli occhi?
occhiali? Lenti a contatto? apparecchio acustico?
ABITUDINI QUOTIDIANE
finanze
abitudini personali (fumo, droghe, gioco d'azzardo)
con chi e per quanto tempo?
parolacce?
vocabolario generale (preciso, infantile, volgare)
elencare i precedenti partners
comportamento?
Mattina
rituali del mattino
chi altri dorme nello stesso letto?
a che ora si sveglia?
è allegro al mattino?
cosa fa durante la colazione?
Pomeriggio
giornata lavorativa
lavora fuori casa?
come ci arriva al lavoro?
ansia da lavoro?
ama il suo lavoro?
è bravo nel suo lavoro?
preferiva fare un altro lavoro?
quanto lunga e dura la giornata di lavoro?
si ferma per il pranzo?
dove?
Cena
mangia a casa o cena fuori?
ha dei locali preferiti?
a casa chi prepara il pasto?
cosa mangia di solito?
con chi mangia?
cosa succede durante la cena?
chi pulisce?
Sera
cosa fa in una serata tipica?
dove?
con chi?
quanto ama queste serate?
qual è la serata ideale?
Notte
va a letto con ritmi regolari?
da solo o con qualcun altro?
si addormenta facilmente o soffre di insonnia?
sogna?
cosa?
ricorda?
con che frequenza capita?
fa sogni ricorrenti?
come si sono incontrati?
postura tipica
abilità
figli?
gesti
in che cosa è particolarmente qualificato?
rapporto con ciascun figlio
gesti comuni
hobby (sport, arte, collezionismo, giochi)
è in affitto o è il proprietario?
breve descrizione dell'abitazione (casa, roulotte)
colore della pelle
caratteristiche distintive (lentiggini, cicatrici, tatuaggi)
forma del viso
struttura dei capelli naturali
colore naturale dei capelli
acconciatura
condizioni di salute generale?
vive con qualcuno?
patologie croniche?
breve descrizione dell'area in cui vive
problemi di salute attuali?
quando qualcuno entra qual è la prima impressione?
come si veste
animali
prezzo
sì, no, perché?
style
sono importanti?
veste per essere notato? perché?
quanto sono trattati bene?
gioielli speciali? perché sono speciali?
occupazione attuale
accessori
soddisfazione professionale
reddito
istruzione
COMUNICAZIONE
velocità dell'eloquio
accento o dialetto
guida?
che tipo di auto possiede
sessualità
tono di voce (stridulo, alto, profondo, rauca, aspra)
intercalare abituali
stato civile
IL PASSATO
luogo d'origine
RELAZIONE CON GLI ALTRI
il miglior amico?
altri amici
infanzia felice?
che ricordi conserva?
il ricordo più triste
il ricordo più felice
quanto scuola ha frequentato?
gli piaceva studiare?
eventi significativi dell'infanzia
altri eventi significativi dell'infanzia, se del caso?
lavori significativi del passato
situazione fedina penale?
è stato arrestato per?
la prima cotta?
la prima esperienza sessuale? positiva/negativa?
incidenti o traumi?
come lo vedono gli altri...
amici
parenti
coniuge
genitori
figli
vicini
capo-ufficio
colleghi
autorità (polizia, IRS, politici, avvocati, medici)?
cosa trovano di positivo/simpatico?
cosa giudicano il suo più grande difetto?
filosofia personale
cosa lo imbarazza?
cosa desidera più di ogni altra cosa?
pregiudizi (razza, cultura, sessualità, religione)
partito o convinzioni politiche
crede nel destino?
è superstizioso?
la sua più grande forza di carattere
altre caratteristiche
il suo più grande difetto
altri difetti
il suo più grande pregio (fisico, personalità)?
come si giudica
come lo percepiscono gli altri?
una persona che gli piace particolarmente
il suo più grande rammarico
altri rimpianti
il suo più grande segreto
qualcuno è a conoscenza di questi segreti?
se sì, come sono stati rivelati?
come reagisce alla crisi?
origine problemi della sua vita (finanze, salute)?
una persona che non riesce a sopportare
come reagisce per cambiare?
la persona più importante della sua vita, perché?
cosa gli piacerebbe cambiare di se stesso, perché?
la peggiore fine di un rapporto (amico, amore, collega)
obiettivi a breve termine
relazioni clandestine?
comportamenti sessuali (inibito, imprudente)?
su chi può contare per dei consigli pratici?
FAMIGLIA DI ORIGINE
nome, status, occupazione della madre
obiettivi a lungo termine
su chi può contare per un sostegno emotivo?
fa dei programmi per raggiungere questi obiettivi?
rapporto con sua madre
chi può contare su di lui per dei consigli pratici?
cosa gli impedisce di raggiungere questi obiettivi?
nome, status, occupazione del padre
chi può contare su di lui per un sostegno emotivo?
timori/paure
rapporto con suo padre
è adottato?
lo sa?
fratelli/sorelle (età e ordine di nascita)
rapporto con ognuno di loro
nipoti, se del caso
chi altri della famiglia estesa (cugini, zii, nonni)?
atteggiamento mentale (ottimista o pessimista)?
convinzioni personali
problemi psicologici (fobie, depressione, narcisismo)?
quando si trova di più a suo agio
quando si trova di più a disagio
il suo approccio alla vita (cauto, coraggioso, temerario)
le sue priorità I suoi valori (famiglia, denaro, religione)
per chi sarebbe disposto anche a morire?
atteggiamento verso gli altri (sensibile, egoista)
PREFERITI
cibi
bevande
colore
libro
film
musica
canzone
TV
Sport
motto
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