Into The Woods: How Stories Work and Why We Tell Them
Fundamentally there are two types of exposition: conveying information that neither audience nor characters know conveying information the audience needs but all the characters know.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
the ‘sub-goal’ of the fifth act is identical to the main – original – goal of the story.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
Like every other narrative Canada is built on the same bedrock: a protagonist is thrown into the woods to find his way home.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
INTELLECTUALIZATION – concentrating on the non-emotive aspects (Manhattan) REPRESSION – repelling pleasurable instincts (The Remains of the Day) REGRESSION – to an earlier stage of development (The Big Chill) SUBLIMATION – shift of negative emotions into another object (Chocolat) RATIONALIZATION – specious reasoning away of trauma (Leaving Las
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new ‘call to action’.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
If dramatic structure is intrinsic to the human mind, it suggests, perhaps, that there could be a psychological basis for the paradoxes that inform all great drama and characterization.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
They arouse the antagonist, or massed ranks of antagonism, and, like a snowball at the top of a mountain, these forces continue to grow in size, thundering down the mountain until they finally, directly, confront the protagonist.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
drama can only really work when it fulfils its structural duty to validate both sides.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
question and answer, the root of all structure, is inherent in the crisis and climax of the act.