#24 ARCHETYPES & THE WRITER'S JOURNEY

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

------------------------------------------------------------------ 
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.

------------------------------------------------------------------

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

------------------------------------------------------------------ 
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

------------------------------------------------------------------ 

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.

------------------------------------------------------------------ 

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.

-----------------------------end------------------------------------- 

no17. PLAGIARISM

source: http://www.plagiarism.org/plag_article_what_is_plagiarism.html

What is Plagiarism?

Many people think of plagiarism as copying another's work, or borrowing someone else's original ideas. But terms like "copying" and "borrowing" can disguise the seriousness of the offense:

According to the Merriam-Webster Online Dictionary, to "plagiarize" means

• to steal and pass off (the ideas or words of another) as one's own
• to use (another's production) without crediting the source
• to commit literary theft
• to present as new and original an idea or product derived from an existing source.

In other words, plagiarism is an act of fraud. It involves both stealing someone else's work and lying about it afterward.

But can words and ideas really be stolen?

According to U.S. law, the answer is yes. The expression of original ideas is considered intellectual property, and is protected by copyright laws, just like original inventions. Almost all forms of expression fall under copyright protection as long as they are recorded in some way (such as a book or a computer file).

All of the following are considered plagiarism:

• turning in someone else's work as your own
• copying words or ideas from someone else without giving credit
• failing to put a quotation in quotation marks
• giving incorrect information about the source of a quotation
• changing words but copying the sentence structure of a source without giving credit
• copying so many words or ideas from a source that it makes up the majority of your work, whether you give credit or not (see our section on "fair use" rules)

Most cases of plagiarism can be avoided, however, by citing sources. Simply acknowledging that certain material has been borrowed, and providing your audience with the information necessary to find that source, is usually enough to prevent plagiarism. See our section on citation for more information on how to cite sources properly.

(REPRINT & USAGE RIGHTS: In the interest of disseminating this information as widely as possible, plagiarism.org grants all reprint and usage requests without the need to obtain any further permission as long as the URL of the original article/information is cited.)

no16. A SCRIPTWRITER'S LINGO

CONCEPT / CONCEPTUALIZATION: an abstract or general idea inferred or derived from specific instances.

THEME: an idea that is a recurrent element in literary or artistic work.

PITCH: (Informal) To attempt to promote or sell, often in a high-pressure manner: "showed up on local TV to pitch their views" (Business Week).

LOGLINE: a one-sentence summary of the story.

CHARACTER BIO: a biography of certain character like his/her childhood.

SYNOPSIS: a brief summary of the major point in the story.

STORYLINE: a plot

TREATMENT: a piece of prose, typically the step between scene cards and the first draft of screenplay for motion picture, TV program, or radio show.

DEVELOPMENT HELL: a period where a film or other project got trapped in development.

A Scriptwriter’s Terminology:

1 SENTENCE PITCH - The entire plot summed up into a single sentence.

LOGLINE - A brief summary of a television program of film, often providing both a synopsis of the program's plot, and an emotional "hook" to stimulate interest.

SYNOPSIS  -   A synopsis is a brief summary of the major points of a written work, either as prose or as a table; an abridgement or condensation of a work.

CHARACTER BIO - A brief history, description, or analysis of a character in a film.

CHARACTER BIBLE - A collection of the character data.

3 ACT STRUCTURE - A model used in writing and evaluating modern storytelling which divides a screenplay into three parts called the Setup, the Confrontation and the Resolution.

STORYLINE - The plot of a book or play or film.

TREATMENT - A film treatment (or treatment for short) is a piece of prose, typically the step between scene cards (index cards) and the first draft of a screenplay for a motion picture, television program, or radio play. It is generally longer and more detailed than an outline (or one-page synopsis), and it may include details of directorial style that an outline omits. They read like a short story, except told in the present tense and describing events as they happen. There are two types: the original draft treatment, created during the writing process, and the presentation treatment, created as presentation material.

PLOTS/ SUBPLOTS - Plot is a literary term defined as the events that make up a story, particularly as they relate to one another in a pattern, in a sequence, through cause and effect, how the reader views the story, or simply by coincidence. One is generally interested in how well this pattern of events accomplishes some artistic or emotional effect.  subplot is a secondary plot strand that is a supporting side story for any story or the main plot. Subplots may connect to main plots, in either time and place or in thematic significance. Subplots often involve supporting characters, those besides the protagonist or antagonist.

SCENE BREAKDOWN - Careful annotations of each scene in a play, with all necessary actors listed and some indication of the action and setting.

BEATS - The smallest division of action in a play, film or other work of drama; The moment at which increasing dramatic tension produces a noticable change in the consciousness of one or more characters.

SCRIPT - The written text of a play, movie, or broadcast 

All situations/plots need:

HOOK / TEASER - A thing designed to catch people's attention/A short introductory advertisement for a product/film, esp. one that does not mention the name of the thing being advertised.

MOTIVE - A reason for doing something, esp. one that is hidden or not obvious.

CONFLICT / OBSTACLES - An incompatibility between two or more opinions, principles, or interests/ A thing that blocks one's way or prevents or hinders progress.

DRAMA / ACTION - An exciting, emotional, or unexpected series of events or set of circumstances.

DRAMATIC SEQUENCE - The sequence a 5-act play follows including exposition, rising action, climax or turning point, falling action, and denouement or catastrophe

UP THE STAKES

CHAIN REACTION -  A series of events in which each event is the result of theone preceding and the cause of the one following.

RESOLUTION - The resolution in a film is the solution to the problem and main tension of the story. It often explains what has happened, what will happen, and shows a new status quo.

OUTCOME- a final product or end result; consequence; issue.

CLOSURE - A bringing to an end; conclusion.

Terms and the 3 Act Structure:

- PARADIGM = diagram of a screenplay (story map)

ACTS -
Act1 : Set up
Act2 : Confrontation 
Act3 : Resolution

SET UP - Camera position, as for a particular shot in a scene being filmed. 

CONFRONTATION - Discord or a clash of opinions and ideas: an age of ideological confrontation. 

RESOLUTION - The resolution in a film is the solution to the problem and main tension of the story. It often explains what has happened, what will happen, and shows a new status quo.

PLOT POINTS - In television and film, a plot point is a significant event within a plot that digs into the action and spins it around in another direction. It can also be an object of significant importance, around which the plot revolves. It can be anything from an event to an item to the discovery of a character or motive. The plot point is usually introduced at theexposition of the movie.

TURNING POINTS

MOTIVE - A reason for doing something, esp. one that is hidden or not obvious.

CONFLICT- An incompatibility between two or more opinions, principles, or interests.

DRAMATIC ENTERTAINMENT

UP THE STAKES

CLIMAX - The most intense, exciting, or important point of something; a culmination or apex.

MORE TERMS

1. GENRE-is a particular type of literature, painting, music, film, or other art form which people consider as a class because it has special characteristics.

   Eg:comedy,horror,action,romance,crime,sci-fi,tragedy,ethical drama,historical drama,documentary.

   CLICHE-is an expression, idea, or element of an artistic work which has been overused to the point of losing its original meaning or effect, especially when at some earlier time it was considered meaningful or novel.

   Eg:You can lead a horse to water, but you can't make him drink;what goes around comes around;haste makes waste;life is unfair;opposites attract;Don't put off for tomorrow what you can do today;As easy as pie;A chain is only as strong as itsweakest link;Many hands make light work.

   STEREOTYPE-is a belief that may be adopted about specific types of individuals or certain ways of doing things, but that belief may or may not accurately reflect reality.However, this is only a fundamental psychological definition of a stereotype.

   
   

   Eg:All homeless are that way by choice;All Lawyers are crooks;All judges are honest;All white people eat mayonnaise;All women like to shop.

   
   

   
   

   ANTAGONIST-is a character, group of characters, or institution , that represents the opposition against which the protagonist must contend.

   
   

   Eg:Dracula (Bram Stoker's "Dracula");Edmund (William Shakespeare's "King Lear")
   Fagin (Charles Dickens' "Oliver Twist")
   Grendel ("Beowulf")
   Iago (Shakespeare's "Othello")
   Long John Silver (Robert Louis Stevenson's "Treasure Island")
   Mr. Hyde (Robert Louis Stevenson's "The Strange Case of Dr. Jekyll and Mr. Hyde")
   Professor Moriarty (Arthur Conan Doyle's "Sherlock Holmes" series)
   Raskolnikov (Fyodor Dostoyevsky's "Crime and Punishment")
   Simon Legree (Harriett Beecher Stowe's "Uncle Tom's Cabin")
   Uriah Heep (Charles Dickens' "David Copperfield")
   The Wicked Witch of the West (L. Frank Baum's "The Wizard of Oz")

   PROTAGONIST-"one who plays the first part, chief actor" ) is the main character (the central or primary personal figure) of a literary, theatrical, cinematic, or musical narrative , which ends up in conflict because of the antagonist and with whom the audience is intended to most identify.

   Eg:harry potter;jack sparrow;the narnia kids;Frodo and the Fellowship of the Ring.

   
   

   SUPPORTING CHARACTER-is a character of a book , play , video game , movie , television or radio show or other form of storytelling usually used to give added dimension to a main character , by adding a relationship with this character.

   Eg:The Dursleys-Harry Potter ;Batman Family-Batman;Mary Jane's family-Spider-Man.

   
   

   COMIC RELIEF-is an operating British charity, founded in 1985 by the comedy scriptwriter Richard Curtis and comedian Lenny Henry in response to famine in Ethiopia .

   Eg:C-3PO and R2-D2 in Star Wars;Timon and Pumbaa in The Lion King.
   
   CHARACTERIZATION-is the art of creating characters for a narrative , including the process of conveying information about them.
   
   Eg:His childlike innocence allows him to take an active role in George's dream of owning farm;
   The impatient girl always misbehaved with her calm and quiet brother. The patient mother had to bear this everyday;
   I'm paying today for my acts of cruelty. I have been treacherous all my life and have lost everything today.
   
   CONCEPT / CONCEPTUALIZATION-is defined variously by different sources.
   
   THEME-In contemporary literary studies, a theme is the central topic, subject, or concept the author is trying to point out, not to be confused with whatever message, moral, or commentary it may send or be interpreted as sending regarding said concept.
   
   PITCH- is a perceptual property that allows the ordering of sounds on a frequency -related scale. 
   (Informal) To attempt to promote or sell, often in a high-pressure manner: "showed up on local TV to pitch their views" (Business Week).
   
   LOGLINE-A log line or logline is a brief summary of a television program or film , often providing both a synopsis of the program's plot , and an emotional " hook " to stimulate interest.
   
   CHARACTER BIO-is not only a simple way to develop a character, it is a simple way to keep track of the characters you develop .
   
   SYNOPSIS-is a brief summary of the major points of a written work, either as prose or as a table; an abridgment or condensation of a work.
   

   
   

   STORYLINE-The plot or subplot of a story ;The narrative of a work, whether of fictional or nonfictional basis;The narrative threads experienced by different but specific characters or sets of characters that together form a plot element or subplot in the work of fiction. the step between scene cards ( index cards ) and the first draft of a screenplay for a motion picture , television program, or radio play.

   
   

   DEVELOPMENT HELL-is a period during which a film or other project is trapped in development .

   
   

   -----------------------------------------------------------------------------------

   
   GENRE:
   is the term for any category of literature or other forms of art or entertainment, e.g. music, whether written or spoken, audial or visual, based on some set of stylistic criteria. Genres are formed by conventions that change over time as new genres are invented and the use of old ones are discontinued. Often, works fit into multiple genres by way of borrowing and recombining these conventions.
   
   
   CLICHE:
   is an expression, idea, or element of an artistic work which has been overused to the point of losing its original meaning or effect, especially when at some earlier time it was considered meaningful or novel. In phraseology, the term has taken on a more technical meaning, referring to any expression imposed by conventionalized linguistic usage. The term is frequently used in modern culture for an action or idea which is expected or predictable, based on a prior event. Typically a pejorative, "clichés" are not always false or inaccurate; a cliché may or may not be true. Some are stereotypes, but some are simply truisms and facts. Clichés are often employed for comic effect, typically in fiction.
   
   
   STEREOTYPE:
   A stereotype is a belief that may be adopted about specific types of individuals or certain ways of doing things, but that belief may or may not accurately reflect reality. However, this is only a fundamental psychological definition of a stereotype. Within and across different psychology disciplines, there are different concepts and theories of stereotyping that provide their own expanded definition. Some of these definitions share commonalities, though each one may also harbor unique aspects that may complement or contradict the others.
   
   
   ANTAGONIST:
   An antagonist is a character, group of characters, or institution, that represents the opposition against which the protagonist must contend. In other words, 'A person, or a group of people who oppose the main character, or the main characters. In the classic style of stories wherein the action consists of a hero fighting a villain/enemy, the two can be regarded as protagonist and antagonist, respectively.
   
   The antagonist may also represent a major threat or obstacle to the main character by their very existence, without necessarily deliberately targeting him or her.
   
   
   PROTAGONIST:
   A protagonist is the main character (the central or primary personal figure) of a literary, theatrical, cinematic, or musical narrative, which ends up in conflict because of the antagonist and with whom the audience is intended to most identify. In the theatre of Ancient Greece, three actors played all of the main dramatic roles in a tragedy; the leading role was played by the protagonist, while the other roles were played by deuteragonist and the tritagonist.
   
   The terms protagonist and main character are variously defined and, depending on the source, may denote different concepts. In fiction, the story of the protagonist may be told from the perspective of a different character (who may also, but not necessarily, be the narrator). An example would be a narrator who relates the fate of several protagonists, perhaps as prominent figures recalled in a biographical perspective. Often, the protagonist in a narrative is also the same person as the focal character, though the two terms are distinct. Excitement and intrigue alone is what the audience feels toward a focal character, while a sense of empathy about the character's objectives and emotions is what the audience feels toward the protagonist. Although the protagonist is often referred to as the "good guy", it is entirely possible for a story's protagonist to be the clear villain, or antihero, of the piece.
   
   
   SUPPORTING CHARACTER:
   A supporting character is a character of a book, play, video game, movie, television or radio show or other form of storytelling usually used to give added dimension to a main character, by adding a relationship with this character. Sometimes supporting characters may develop a complexity of their own, but this is usually in relation to the main character, rather than entirely independently.
   In some cases, especially in ongoing material such as comic books and television series, supporting characters themselves may become main characters in a spin-off if they are sufficiently popular with fans.
   Supporting characters help the plot of a story and enhance the plot.
   
   
   COMIC RELIEF:
   Comic relief usually means a releasing of emotional or other tension resulting from a comic episode interposed in the midst of serious or tragic elements in a drama. Comic relief often takes the form of a bumbling, wisecracking sidekick of the hero or villain in a work of fiction. A sidekick used for comic relief will usually comment on the absurdity of the hero's situation and make comments that would be inappropriate for a character who is to be taken seriously. Other characters may use comic relief as a means to irritate others or keep themselves confident.
   
   
   CHARACTERIZATION:
   Characterization or characterisation is the art of creating characters for a narrative, including the process of conveying information about them. It may be employed in dramatic works of art or everyday conversation. Characters may be presented by means of description, through their actions, speech, or thoughts.

   
   

   
   

   
   CONCEPT / CONCEPTUALIZATION:

   The word concept is defined variously by different sources. Philosophers and others generally agree that concepts are formed from experience and other pre-existing mental content by abstraction and other operations in the brain.

   
   
   THEME:

   Theme or Themes may refer to: Arts, Music Tittle,Miscellaneous.

   
   
   PITCH:

   Pitch may refer to: Music and acoustics,Spatial measurements, Sports, Media.

   To attempt to promote or sell, often in a high-pressure manner: "showed up on local TV to pitch their views" (Business Week).
   LOGLINE:
   

   A log line or logline is a brief summary of a television program or film, often providing both a synopsis of the program's plot, and an emotional "hook" to stimulate interest.

   
   
   CHARACTER BIO:

   is a detailed description or account of someone's life. It entails more than basic facts (education, work, relationships, and death), a biography also portrays a subject's experience of these events. Unlike a profile or curriculum vitae (résumé), a biography presents a subject's life story, highlighting various aspects of his or her life, including intimate details of experience, and may include an analysis of a subject's personality.

   
   
   SYNOPSIS:

   A synopsis is a brief summary of the major points of a written work, either as prose or as a table; an abridgment or condensation of a work.

   
   
   STORYLINE:

   Storyline may refer to:

   The plot or subplot of a story;

   The narrative of a work, whether of fictional or nonfictional basis;

   The narrative threads experienced by different but specific characters or sets of characters that together form a plot element or subplot in the work of fiction. In this sense, each narrative thread is the narrative portion of a work that pertains to the world view of the participating characters cognizant of their piece of the whole,and they may be the villains, the protagonists, a supporting character, or a relatively disinterested official utilized by the author, each thread of which is woven together by the writer to create a work.

   The Storyline method of teaching.

   
   

   
   TREATMENT:

   Film treatment, prose telling of a story intended to be turned into a screenplay

   In the card game bridge, a treatment is the meaning associated with a natural bid as distinct from a conventional bid

   
   
   DEVELOPMENT HELL:

   In the jargon of the media-industry, "development hell" (or "development limbo") is a period during which a film or other project is trapped in development. A film, television program, screenplay, computer program, concept, or idea stranded in development hell takes an especially long time to start production, or never does.

   The film industry buys rights to many popular novels, video games, and comics, but it may take years for such properties to be successfully brought to the cinema, and often with considerable changes to the plot, characters, and general tone.