Sublime
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dialogue is the characters’ responses to the narrative
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
Telling has replaced showing and the audience is made redundant.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
The crisis is precipitated.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
a deeply unfashionable man is invited into a privileged world and in so doing creates the coolest club on the planet.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
‘David stares into the fire wondering whether to vote Labour or Conservative’, as the audience have no way of inferring that.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
in a godless universe, the abject horror of meaningless existence is too much for any individual to bear.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
the story shape is structured around how they find, retrieve and finally master the quality in their life that has eluded them.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
In every scene, remember, a protagonist is presented with a mini crisis, and must make a choice as to how to surmount it. Meeting with a subversion of expectation – a blow to their established plans – a character must choose a new course of action. In doing so they reveal a little bit more of who they are.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
good dialogue is forged in the furnace of opposition.