#32 WRITING EXPOSITION

WRITING THE EXPOSITION
source: http://www.scriptmag.com/features/specs-the-city-writing-exposition-and-little-miss-sunshine

please note - text in blue & red - i'm trying to emphasize tips given in this article...

Exposition (narrative)
From Wikipedia, the free encyclopedia

The exposition is the portion of a story that introduces important background information to the audience; for example, information about the setting, events occurring before the main plot, characters' back stories, etc. 

Exposition can be conveyed through dialogues, through a character's thoughts, through background details, through in-universe media such as newspaper clippings, trial reports and letters, or through a narrator telling a back-story or by establishing scenes where a character is followed. 

Exposition is considered one of four rhetorical modes of discourse, along with argumentation, description, and narration.




Exposition. It’s the necessary evil of screenwriting. No one – writers, readers, audiences – enjoys or even really appreciates it, but it’s a vital component to fully understanding the main story you’re trying to tell. 

How can your audience truly understand the plot, themes, or characters you’re presenting if you don’t properly set the stage? They can’t. More often than not, writers treat writing exposition like kids treat needing to finish their homework before being able to go outside and play; it’s something they simply have to endure so they can get to the “fun” stuff in their scripts.

Be honest. Have you ever written anything like this?

SUSAN

Do you want to go to party on Friday?
DON
I can’t. My brother, who is also my twin, but I haven’t seen him since college because we had a falling out over the same woman, and then he went on a trip to South America where he became a priest and lost an arm in a horrible car accident, is coming into town.

Then you, my friend, are guilty of an exposition dump. 

But it doesn’t have to be that way. Exposition CAN be interesting to an audience. You just have to treat these kinds of scene with respect. Instead of dumping all of the information by itself, mix it in with a scene that either moves the plot forward or develops your characters further. This allows you to sneak in the information your audience needs, while still moving your story forward in an entertaining fashion.

And it’s precisely because of this attitude that so many writers tend to do what’s called an “exposition dump” early on in their script. It’s usually a group of characters standing around, asking each other questions and answering with a ridiculous amount of information.

For a recent example of a script that had a ton of information to get out early on about its characters, and did so with humor, grace, and skill, let’s take a look at…

CASE STUDY:

Writing Exposition and ‘Little Miss Sunshine’

(LOGLINE: -->) The story of a dysfunctional family that bonds over the course of an impromptu road trip to the titular beauty pageant, Little Miss Sunshine is an indie darling that won over audiences everywhere after debuting at Sundance in 2006. 

(KEY & DOMINANT ISSUE -->) At its heart, the film is about a group of damaged people who learn what it means to be a family, which means, if we’re going to care about their journey towards healing, we need to understand exactly how they’re broken. This means exposition, and lots of it.

(BACKSTORY: -->) Grandpa is living with them because he was kicked out of his retirement home for being loud and abusive.Luckily, screenwriter Michael Arndt (who was recently hired to pen Star Wars: Episode VII), was up to the challenge. What he gives us is a thirteen page scene set around the family dinner table where most of the backstory and family issues are laid out bare for the audience. Now, thirteen pages is a gigantic amount of exposition, but we don’t mind because the scene serves so many purposes. It’s funny, it develops multiple characters, and introduces the voice-mail which is the inciting incident, all while managing to give us the following pieces of information:

• Olive recently placed as the runner-up in the regional round of the Little Miss Sunshine beauty contest and that, due to the winner being disqualified, Olive has now been awarded the win and a chance to compete in the finals.
• Dwayne has been observing a vow of silence for the past nine months, and plans on doing so until he joins the Naval Academy. Also, he hates his family everyone.
• Richard doesn’t care for Sheryl’s brother, Frank.
• Frank is suffering through a bout of depression and is recovering here with his sister Sheryl and her family from a failed suicide attempt.

And all of that is straight-up exposition, not subtext. The scene’s amazing as a whole, but the area where they discuss Frank’s suicide attempt works best as a contained example of what Arndt did so well while handling his exposition.

(SCRIPT EXCERPT: Little Miss Sunshine

observe & note 

1. short, simple sentences/dialogue 

2. important info given in each sentence 

3. character's thoughts/values/traits/attitudes are displayed)

OLIVE
How did it happen?

FRANK
How did what happen?

OLIVE
Your accident…

SHERYL
Honey…

She shakes her head: “Don’t go there.”

FRANK
No, it’s okay. Unless you object…

SHERYL
No, I’m pro-honesty here. I just
think, you know…  It’s up to you.

FRANK
Be my guest…

SHERYL
Olive, Uncle Frank didn’t really
have an accident. What happened was:
he tried to kill himself.

OLIVE
You did? Why?

RICHARD
I don’t think this is an appropriate
conversation.
(to Olive)
Let’s leave Uncle Frank alone.

A beat. Olive has stopped eating.

OLIVE
Why did you want to kill yourself?

RICHARD
Frank. Don’t answer that question.

Frank stares at Richard. He turns back to Olive.

FRANK
I tried to kill myself because I was
very unhappy.

RICHARD
(overlapping)
Don’t listen, honey, he’s sick and
he doesn’t know what he’s…

SHERYL
Richard… Richard… Richard…

RICHARD
What?! I don’t think it’s appropriate
for a six year old!

SHERYL
She’s gonna find out anyway. Go on,
Frank.

OLIVE
Why were you unhappy?

Frank glances at Richard — deadpan victorious — and continues.

FRANK
Well, there were a lot of reasons.
Mainly, though, I fell in love with
someone who didn’t love me back…

OLIVE
Who?

FRANK
One of my grad students. I was very
much in love with him.

OLIVE
Him? It was a boy? You fell in love
with a boy? 

FRANK
Yes. I did. Very much so.

This is new to Olive. She thinks it over.

OLIVE
That’s silly.

FRANK
You’re right. It was very, very silly.

GRANDPA
There’s another word for it… 

RICHARD
Dad…. 

OLIVE
So… That’s when you tried to kill
yourself…?

FRANK
Well, no. What happened was: the boy
I was in love with fell in love with
another man, Larry Sugarman.

SHERYL
Who’s Larry Sugarman?

FRANK
Larry Sugarman is perhaps the second
most highly regarded Proust scholar
in the U.S.

RICHARD
Who’s number one?

FRANK
That would be me, Rich.

OLIVE
So… That’s when you tried…?

FRANK
Well, no. What happened was: I was a
bit upset. I did some things I
shouldn’t have done. Subsequently, I
was fired, forced to leave my
apartment and move into a motel.

OLIVE
Oh. So that’s when…?

FRANK
(hesitates)
Well, no. Actually, all that was
okay. What happened was: two days
ago the MacArthur Foundation decided
to award a “genius” grant to Larry
Sugarman.
(deep breath)
And that’s when…

GRANDPA
…You tried to check out early.

FRANK
Yes. And I failed at that as well.

RICHARD
Olive, what’s important to understand
is that Uncle Frank gave up on
himself. He made a series of foolish
choices, and then he gave up on
himself, which is something that
winners never do.

A beat. Frank looks like he could leap across the table and strangle Richard. Sheryl intervenes.

Frank’s backstory is interlaced with character moments for everyone else, and that’s what keeps us interested. The way they react to his story, and the fact that Olive’s asking the questions to begin with, tells us a little bit more about every single character at that table. If it had just been Olive asking questions, and Frank answering them, the film would have lost any feeling of momentum, and the audience would have quickly gotten bored. 

And that’s the vital question when you’re dealing with exposition. Does the exposition scene in your script serve any purpose other than exposition? If not, go back and rework it. Make the scene about something vital to the story, whether it’s plot advancement, character development, or both, and the audience won’t mind the information you’re feeding them.

Now go crank the volume on “Super Freak’, dance your heart out, and keep writing!

Related Articles:

• More Specs & The City articles by Brad Johnson
• Storytelling Strategies: ‘Argo’ and Recapitulation
• The 7 Deadly Dialogue Sins

Tools to Help:

• Dr. Format Tells All
• Dialogue
• Word Menu

#29 WRITING YOUR SCREENPLAY

Week12 Class

ASSIGNMENT - What to prepare 

1. production folder
- exec summary, logline, synopsis, 3act, storyline, script, etc

2. presentation board
- selling your story with one promo poster...
- content: relevant visual + title + logline + credits
(credits = creator/screenwriter, sponsors etc)

3. storyboard (of your screenplay's trailer)
- using 6-8 key visuals to tell your story
- not as detailed as a storyboard prepared for animators/team

WEEK13 TO SUBMIT:
1. print of above (b&w is ok)
2. softcopy blackboard (backup in blog)

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CLASS LESSON:

1. using 3Act 
Act1 - est key char + motive
Act2 - key char struggles with motive
Act3 - key char resolves motive (achieve or not)

2. storyline 
= telling your story eg tell me the story of the last spongebob episode in narrative form
- planting important info
- using beats

case study: coyote vs bugs

act1 coyote uses a door to introduce himself & his motive (establishes key character - impt info)
- uses a namecard with word "genius" (impt info)

act2 coyote struggles with catching & eating bugs

plan1 (beat1)
- coyote opens plan1, laughs (beat 1.1)
- coyote puts machine over rabbit hole (beat 1.2)
- bugs appears & sees coyote (beat 1.3)
- ......
plan2 (beat2)
plan3 (beat3)
plan4 (beat4) - CLIMAX (biggest struggle)

act3 coyote does NOT achieve motive 
(story is still resolved/ completed/ there is a closure)

3. script edits
- confirm storyline
- do draft1 script according to storyline
- rewrite rewrite rewrite!

tips:

1. important info 
- must be planted in visual or audio

2. what makes info important?
- TEST: will your story still work if you remove that info?
- TEST: remove dialogue and see if story works
- is it worth watching a movie if you've missed the first half of it? why???

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CASE STUDY: Honest trailers
notice how the logline is still the same, but the way they tell the story is NOT.

1. Lord of the Rings
http://youtu.be/AOIi9SjJvgU

2. Twilight
http://youtu.be/0gugBiEkLwU

#28 DEVELOP YOUR STORY IDEA

WEEK11: ASSIGNMENT
this week is consultation. please have your logline ready. i will talk to those i did not talk to last week. please be patient. i want you to use class time to do your work. thanks!

SUMMARY OF 3ACT STRUCTURE
ACT1: Establish key character + motive
ACT2: key character struggles with motive
ACT3: key character resolves motive (achieves/doesn't achieve)

ref: THE SCRIPTWRITER'S LINGO

http://storyscript2012.blogspot.sg/2012/10/no16-scriptwriters-lingo.html

DEVELOP YOUR STORY IDEA
now you have your story idea, work on your story design:
(yes, you can go for lunch but be back by 12.45pm)

1. logline
- you'll need a character and clear motive (confirm this by now)
- logline = key character + motive + situation

2. 3 act - act1 
- must have info... how do you plant them into your script???
- use the strengths of screenplays - AUDIO + VISUAL

SCRIPT = ACTION/VISUALS + AUDIO/DIALOGUE/SILENCE

3. 3 act - how do you work on your act2?

ACT2 = KEY CHAR STRUGGLES WITH MOTIVE
- use coyote & bugs bunny case study as a guide (plan 1,2,3,4,etc) - see notes below in this blog
tip: create interesting situations/events to show struggles

4. write in DRAMA into your script:
eg instead of having your characters quarrel, write in a "dramatic" cat fight scene (learn from the cat fight case study)

5. dialogue & behavior for key character to make him/her UNIQUE ON SCREEN

tip: special "voice" for your key character, e.g. signature laugh or a phrase they always use (e.g. think of austin powers, bugs bunny, etc)

tip: special "behavior" e.g. no other screen character behaves or walks/runs like jack sparrow

6. STORYLINE - 450 to 500 words
- storyline = write in a narrative form, 3rd person, present tense, simple sentences
- write the story as if you are watching it on the screen...

7. remember the main thing about writing your screenplay is...
TELLING YOUR STORY FOR YOUR TARGET AUDIENCE

eg. story of "beauty and the beast"
- DISNEY will tell this story differently from LOONEY TUNES & DREAMWORKS

eg. "the little mermaid" is a romance story for children. you'll tell it differently if you were to adapt & rewrite this screenplay for teenagers or 20-somethings.

:)

ok, see you all in class this week!

CASE STUDIES:

1. Looney Tunes - bugs & coyote - "operation rabbit"
link: http://www.wimp.com/funtoon/ 

Quick 3ACT Structure:
act1 - est key char + motive
act2 - key char struggles with motive 
- struggle1 - plan1 (fail)
- struggle2 - plan2 (fail)
- struggle3 - plan3 (fail)
- struggle4 - plan4 (fail)
act3 - key char resolves motive (achieved/not achieved)


2. Mind Your Language - s1, ep2
Link: http://youtu.be/5Yn4N9k_nLI

PLEASE DO THIS IN YOUR BLOGS:
1. Logline for episode - what is this episode about?
2. Identify main plot & sub plot(s)
3. do a quick 3 Act Structure for this episode
4. in point form, outline struggles for each plot/motive in Act2

#25 WRITING THE DIALOGUE

Reminder:  
Assignment Draft 1 
due in blackboard week 10
i) updated blogs
ii) logline
iii) executive summary (see my template)
iv) 3 Act (short summary, see below)
act1: identify/establish key character & motive
act2: (how) key character struggles with motive
act3: (how) key character resolves motive

*consultation from next week, 
please prepare draft1 for consult.

assignment brief in Blackboard (look at draft1 week10 submission)
& more details in: http://storyscript2012.blogspot.sg/2013/02/22-assignment.html

----------------------------------------------------------------------------------------------------------------------------
WEEK 9 
1. Online test
2. LESSON: WRITING THE DIALOGUE 
Link: http://masterwriterz.blogspot.sg/2011/09/no13-dialogue.html 

----------------------------------------------------------------------------------------------------------------------------
CLASS EXERCISE: DIALOGUE
- GROUPS / INDIVIDUAL?
- do it in your blogs

1. Watch the catfight
2. Come up with a story that goes with the footage
3. Write the dialogue 
4. Identify the key character & motive 
5. give your script a suitable title & come up with a logline for your script, based on the following video:

class exercise, cat fight scene: http://youtu.be/HqlLMBxgvRc



observe:
- how do men and women behave/react/speak in a situation like that?
- the action/visual of a cat fight is a lot more exciting, more dramatic than people quarreling and arguing on screen
- do you notice how people get angry over a very small matter that is the "last straw that breaks the camel's back"... that small matter is never the real issue of argument or fight, it is an accumulation of things that make people blow up in anger... (do you know what i mean? ask me or your classmates if you don't!)
- observe how the playful music in this tense scene has played down the seriousness of the issue that is used for the fight?? (one of the ladies is accusing the other of saying bad things about her husband... which in real life is a very serious/unfriendly accusation...)
----------------------------------------------------------------------------------------------------------------

WRITING THE DIALOGUE

DIALOGUES help tell your story. know your story & character(s) before writing the dialogue!

tip1: write dialogue that is suitable for the character/personality. 

tip2: write only necessary info to tell your story. every sentence provide info needed for your story. KEEP IT SIMPLE > SHORT SENTENCES. 

tip3: learn from the experts... listen to the dialogues on good tv shows & listen to how people talk in real life.

 

CASE STUDY (HITLER CLIPS)

TELLING STORIES WITH ONE FOCUSED KEY MESSAGE: same scenes, different story!!

1. Hitler's water bottle is stolen and thrown at Justin Bieber

2. Hitler is informed that he is Lee Kuan Yew

3. Hitler is informed Santa Claus doesn't exist

4. Hitler defies gravity

ok, use the same hitler scene and come up with your own scripts! 

plz do NOT use swear language.

thanks & have fun!!

#24 ARCHETYPES & THE WRITER'S JOURNEY

What is...
... Archetypes
... Character Arc
... Stages of a journey
... Dramatic Structure  
... Linear Storytelling

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Archetypes

source: http://thescriptlab.com/screenwriting/character/archetypes 

An archetype is more than a stereotype or a generic version of a personality, and for the screenwriter, understanding fundamental character archetypes is an essential tool for understanding the purpose or function of characters in a story. 

Archetypes can be found in nearly all forms of literature including screenplays, with their motifs being predominantly rooted in folklore, but it wasn’t until Swiss psychologist Carl Jung coined the term archetypes when describing common character types, symbols, and relationships. In Jung’s view, archetypes were patterns of personality that are the shared heritage of the human race. 

Jung proposed there is a collective unconscious shared by all, and when we enter the world of fairy tales and myths, these stories begin to reflect all times and cultures. And it is from this collective unconscious where the same character types seem to occur: questing heroes, heralds to call them to adventure, mentors to guide them, guardians to block their path, shape shifting companions full of surprises, and shadowy villains hell-bent on destroying them, and mischievous tricksters to provide comic relief.

Although the number of archetypes is limitless, some characters may switch from one archetype to another, and a character may even display the qualities of more than one archetype, it is useful to examine with the most significant, recurring archetypal images:  

The Hero, The Child, The Mother, The Sage, The Guardian, The Messenger, The Shapeshifter, The Fox, and The Shadow.

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ARCHETYPES - CLASS EXERCISE (BLOGS)

In your blogs 

1. define, understand & write out the above terms:

2. Give 5 examples of movie/tv show characters that is considered under each term:

The Hero, The Child, The Mother, The Sage, The Guardian, The Messenger, The Shapeshifter, The Fox, and The Shadow.

3. Name 3 characters from a movie/tv show and apply the character arc to these 3 characters

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A CHARACTER ARC
source: wikipedia
A character arc is the status of the character as it unfolds throughout the story, the storyline or series of episodes. Characters begin the story with a certain viewpoint and, through events in the story, that viewpoint changes. A character arc generally only affects the main character in a story, though other characters can go through similar changes.

More on character arc: http://youtu.be/9Su7TZFWkf4

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The Writer's Journey: Mythic Structure for Writers

From Wikipedia, the free encyclopedia

Link: http://en.wikipedia.org/wiki/The_Writer%27s_Journey:_Mythic_Structure_for_Writers

The Writers Journey
Author(s)	Christopher Vogler
Country	United States
Language	English
Genre(s)	Non-fiction
Publisher	Michael Wiese Productions
Publication date	2007
Media type	Paperback
Pages	407
ISBN	978-1-932907-36-0
OCLC Number	154677482
Dewey Decimal	808.2/3 22
LC Classification	PN1996 .V64 2007

The Writer's Journey: Mythic Structure For Writers is a popular writers' textbook by screenwriter Christopher Vogler, focusing on the theory that most stories can be boiled down to a series of narrative structures and character archetypes, described through mythological allegory.^[1] Vogler based this work upon the writings of mythologist Joseph Campbell, particularly The Hero with a Thousand Faces, and holds that all successful films innately adhere to its principles. The book was very well received upon its release, and is often featured in recommended reading lists for student screenwriters.^[2][3][4]

Contents 1 Hero's Journey Overview 2 Stages of the Journey 3 Archetypes 4 History 5 Title 6 References 7 External links

Hero's Journey Overview

1. Heroes are introduced in the ORDINARY WORLD
2. they receive the CALL TO ADVENTURE
3. They are RELUCTANT at first or REFUSE THE CALL, but
4. are encouraged by a MENTOR to
5. CROSS THE THRESHOLD and enter the Special World, where
6. they encounter TESTS, ALLIES, AND ENEMIES.
7. They APPROACH THE IN-MOST CAVE, cross a second threshold
8. where they endure the ORDEAL
9. They take possession of their REWARD and
10. are pursued on THE ROAD BACK to the Ordinary World.
11. They cross the third threshold, experience a RESURRECTION, and are transformed by the experience.
12. They RETURN WITH THE ELIXIR, a boon or treasure to benefit the ORDINARY WORLD.

Stages of the Journey

Its stages are:

1. THE ORDINARY WORLD. 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.

2. THE CALL TO ADVENTURE. Something shakes up the situation, either from external pressures or from something rising up from deep within, so the hero must face the beginnings of change.

3. REFUSAL OF THE CALL. 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.

4. MEETING WITH THE MENTOR. 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.

5. CROSSING THE THRESHOLD. At the end of Act One, the hero commits to leaving the Ordinary World and entering a new region or condition with unfamiliar rules and values.

6. TESTS, ALLIES AND ENEMIES. The hero is tested and sorts out allegiances in the Special World.

7. APPROACH TO THE IN-MOST CAVE. The hero and newfound allies prepare for the major challenge in the Special world.

8. THE ORDEAL. Near the middle of the story, the hero enters a central space in the Special World and confronts death or faces his or her greatest fear. Out of the moment of death comes a new life.

9. THE REWARD. The hero takes possession of the treasure won by facing death. There may be celebration, but there is also danger of losing the treasure again.

10. THE ROAD BACK. 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. THE RESURRECTION. 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. The hero returns home or continues the journey, bearing some element of the treasure that has the power to transform the world as the hero has been transformed.^[5]

 

Archetypes

According to Vogler's analysis, the Journey is populated by archetypes—basic functions that tend to appear in every story. They are recurring patterns of human behavior, symbolized by standard types of characters in movies and stories.

1. HEROES Central figures in stories. Everyone is the hero of his or her own myth.

2. SHADOWS Villains, antagonist or enemies, perhaps the enemy within. The dark side of the Force, the repressed possibilities of the hero, his or her potential for evil. Can be other kinds of repression, such as repressed grief, anger, frustration or creativity that is dangerous if it does not have an outlet.

3. MENTORS The hero’s guide or guiding principles, for example Yoda, Merlin, Gandalf, a great coach or teacher.

4. HERALD One who brings the Call to Adventure. Could be a person or an event.

5. THRESHOLD GUARDIANS The forces that stand in the way at important turning points, including jealous enemies, professional gatekeepers, or your own fears and doubts.

6. SHAPESHIFTERS In stories, creatures like vampires or werewolves who change shape. In life, the shapeshifter represents change or ambiguity. The way other people (or our perceptions of them) keep changing. The opposite sex, the way people can be two-faced.

7. TRICKSTERS Clowns and mischief-makers, Bugs Bunny and Daffy Duck, Richard Pryor and Eddie Murphy. Our own mischievous subconscious, urging us to change.

8. ALLIES Characters who help the hero through the change. Sidekicks, buddies, girlfriends who advise the hero through the transitions of life.^[5]

History

The book stems from a seven page studio memo, "A Practical Guide to The Hero with a Thousand Faces",^[6] based on Campbell's work, which Vogler wrote while working for Disney. An earlier edition, The Writer's Journey: Mythic Structure for Storytellers and Screenwriters, was published in 1992. Vogler revised the book for a second release in 1998 and changed the title to The Writer's Journey: Mythic Structure For Writers. The third edition, published in 2007, included a new introduction, new artwork and analysis of recent, popular motion pictures.

Title

The title of the book was influenced by a number of sources. The first came from Campbell's text, The Hero with a Thousand Faces. Later, in the 1980s, two documentaries would introduce the phrase, The Hero's Journey into popular discourse. The first, released in 1987, The Hero's Journey: The World of Joseph Campbell was accompanied by a 1990 companion book, The Hero's Journey: Joseph Campbell on His Life and Work. The second was Bill Moyers' series of seminal interviews with Campbell, released in 1988 as the documentary (and companion book) The Power of Myth.

References

1. ^ BBC Writers Room staff. "Christopher Vogler's screenwriting workshop". BBC Writers Room. Archived from the original on 2007-08-18. Retrieved 2007-08-18.
2. ^ Exposure staff. "Recommended Reading". Exposure.co.uk. Retrieved 2007-08-06.
3. ^ De Montfort University. "Recommended Reading". Demontfort University Official Website (Humanities). Archived from the original on 2007-02-17. Retrieved 2007-08-06.
4. ^ Editing Service Staff. "Books about Writing". OgleMoore staff. Retrieved 2007-08-06.
5. ^ ^{a b} The Writer's Journey, Christopher Vogler, http://www.thewritersjourney.com/hero%27s_journey.htm
6. ^ Vogler, Christopher. "A Practical Guide to The Hero with a Thousand Faces". An online copy of the memo.

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story-telling techniques:

What is linear storytelling? (please google this)

Some story-telling techniques:
1. journey / quest or goal-achievement / education
2. rivalry / testing
3. discovery / coming of age
4. love / forbidden love
5. problem-solution / question-answer

below, source: wikipedia

Linear and non-linear narrative structures

A non-linear narrative is one that does not proceed in a straight-line, step-by-step fashion, such as where an author creates a story's ending before the middle is finished. Linear is the opposite, when narrative runs smoothly in a straight line, when it is not broken up.

Flashback movies are often confused with true non-linear narratives. Although they appear to open (very briefly) with the ending, flashback movies almost immediately jump back to the very beginning of the story to proceed linearly from there and usually proceed past the supposed "ending" shown at the beginning of the movie.

A classic example of a non-linear narrative is the 1994 film Pulp Fiction. The film is ostensibly three short stories, which upon closer glance are actually three sections of one story with the chronology broken up; no "flashbacks" are involved.

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#23 STORY DESIGN

.... week6 STORY DESIGN

designing the visual world through:
characters
situations
location/sets
scenarios
atmosphere
colours
costumes/hair/make up
props
language
music & sound effects
---------------------------------------------------
week6 case studies:

Observe Story-telling technique & these:

GENRES

CHARACTERS (IN SITUATIONS)

CLICHES

STEREOTYPES

THEMES / KEY MESSAGE

MAKING ABNORMAL NORMAL

STORY DESIGN

Notes: 

Observe DETAILS in the visual & audio 

> how do they present an idea on screen

> eg explosions, moving peanuts

1. tvc's (assorted ads)
 link: http://youtu.be/1VYWmdMUe9g

2. bugs & coyote - "operation rabbit"
link: http://www.wimp.com/funtoon/

3. tom & jerry 

T&J "elephant mouse" (video not complete)
link: http://youtu.be/5eqntuW1oMo

T&J "Baby"
link: http://youtu.be/wmOfvDfSsqk


4. spongebob - the production process (read)
link: http://masterwriterz2.blogspot.sg/2012/01/no6-tell-your-story.html

MORE CASE STUDIES:

Observe Story & these:

GENRES

CHARACTERS (IN SITUATIONS)

CLICHES

STEREOTYPES

THEMES / KEY MESSAGE

MAKING ABNORMAL NORMAL

STORY DESIGN

1. Monty Python - Ministry of Silly Walks
Link: http://youtu.be/wippooDL6WE

2. Monty Python - Spam
Link: http://youtu.be/anwy2MPT5RE

3. Monty Python - Olympics
Link: http://youtu.be/4wRwZrThGXI