Story Shapes, Plot.pdf
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Story Shapes, Plot.pdf
this familiar shape: a protagonist has a problem they leave their familiar world they go on a journey they find the thing they’re looking for they take it back the consequences of taking it pursue them they overcome the consequences and solve their
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
Thus the ‘journey there; journey back’ structure exists in all archetypal stories. It’s either literally presented (Jack and the Beanstalk), hidden underneath the literal story as part of an internal change (E.T./The Godfather) or embodied as knowledge sought, retrieved and acted upon (Spooks).
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
Boiled down to its essence, the shape becomes: there is a problem the protagonists go on a journey they find the solution they return the problem is solved.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
The Hero’s Journey The most famous narrative structure for storytelling in general is known as the “hero’s journey.” The hero’s journey starts with a hero who goes on an adventure or quest, learns a lesson, uses that knowledge to achieve victory, and then returns home transformed.
April Dunford • Sales Pitch: How to Craft a Story to Stand Out and Win
ACT ONE 1. Heroes are introduced in the ordinary world where … 2. they receive the call to adventure. ACT TWO 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 … ACT THREE 6. they encounter tests, allies and enemies. 7. They approach the inmost cave,
... See moreJohn Yorke • Into The Woods: How Stories Work and Why We Tell Them
“the hero’s journey.” (Christopher Vogler, in his landmark interpretation of Joseph Campbell’s work, The Writer’s Journey, refined the stages to twelve. Chris’s book has become a Hollywood standard and a classic screenwriting textbook throughout the world.)
Mark Manson • Will
Anyway, the point is: the hero’s journey and carrier bag are both about narrative models rather than gendered modes of storytelling, and the rise of the novel was a fall of the hero (whether male or female) from epic demigod figure to boy-with-toy. Or girl-with-toy as the case may be.
Venkatesh Rao • Boat Stories
Moreover ‘the real problem with applying the monomyth to a female hero’s journey is that her “return” is particularly problematic. There is no leadership role for her to step into. There is no kingdom (queendom) for her to rule