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Anatomy of Story PDF
Anatomy of Story PDF
John Truby
Outine By
John Fraim
The GreatHouse Company
614-397-7559
[email protected]
www.greathousestories.com
1
Contents
Premise! ! ! ! ! 6
! ! !
! ! ! !
Character!! ! ! ! 16
Theme! ! ! ! ! 25
Setting! ! ! ! ! 32
Symbols! ! ! ! ! 38
Plot!! ! ! ! ! 41
Scene Sequence!! ! ! 57
Scene Construction! ! ! 58
2
Story Space, Story Time
Premise
Character
3
Setting (Story World)
Symbol Web
Plot
4
Scene Sequence (Scene Weave)
5
Premise
Premise
Examples.
6
Where might the idea go? Explore your options.
Brainstorm the many different paths the idea can take
and then choose the best one.
Example.
Example.
7
Designing Principle = Story Process + Original
Execution
Example.
Tootsie.
8
very likeable. This character should always be driving
the action. Determined by asking:
Who do I love?
Do I want to see him act?
Do I love the way he thinks?
Do I care about eh challenge he has to
overcome?
Example.
9
Determine basic action of hero
Examples.
Star Wars.
The Godfather.
Moral Choice
10
character going after a goal. The most important step
in this argument is the moral choice of the hero.
Audience Appeal
11
Seven Steps
Example.
12
Weaknesses. Clarice is inexperienced,
suffering from haunting childhood memories
and a woman in a mans world.
Sunset Boulevard.
2. Desire
Examples.
13
Need. Hero John Miller must do his duty in
spite of his fear.
3. Opponent
Examples.
Star Wars.
4. Plan
14
Example.
The Godfather.
5. Battle
6. Self-Revelation
Psychological revelation
Moral revelation
7. Equilibrium
15
Character
Character Web
Function
Hero (H)
16
weaknesses and needs that hold him back from
success.
Opponent (O)
Ally (A)
17
Opponent because not as useful to the writer.
Cannot give the audience the conflict and
surprises of an opponent.
Example.
Hero - Clarice
Main Opponent Buffalo Bill
Second Opponent The warden
Fake-Ally Opponent - None
Ally Jack, Clarices boss at FBI
Fake-Opponent Ally Hannibal Lecter
Subplot Character - None
Archetype
18
Therefore, each character possesses the strength of
the archetype meaning as well as the weakness of the
archetypes shadow quality.
19
Warrior (W)
Trickster (T)
20
Weakness Can be the ultimate fascist insisting
on perfection, may create a special world where
all can be controlled or simply tears everything
down so that nothing has value.
Lover (L)
Rebel (R)
Examples.
Star Wars.
21
You begin individuating characters by finding the
moral problem at the heart of the premise. You then
play out the various possibilities of the moral
problem in the body of your story.
Compare Characters
Weaknesses
Needs
o Psychological
o Moral
Desires
Values
Power, status and ability
How each faces the central moral problem
Focus on Hero
Self-revelation (first)
Need
22
Child to adult
Adult to leader
Cynic to participant
Leader to tyrant
Leader to visionary
Metamorphosis
Changed Beliefs
Opponents
Opponents Values
23
In what ways are any of the minor characters
variations on the heros unique weakness and
moral problem?
CHAPTER NOTES
Character Techniques
Multiple Heroes
Double Reversal
24
Theme
(Moral Argument)
Theme
25
the heros moral self-revelation and decision until as
close to the end of the story as possible. Keep the
question Will the hero do the right thing, and will
he do it in time? in the back of the audiences mind
for as much of the story as possible.
General Examples:
Ulysses
Designing Principle: In a modern odyssey
through the city over a single day, one man
finds a father and another man finds a son
26
Designing Principle: A magician prince
learns to be a man and a king by attending a
boarding school for sorcerers over the
course of seven school years
A Christmas Carol
Designing Principle: Trace the rebirth of a
man forcing him to view his past, present
and future over the course of Christmas Eve
Citizen Kane
Designing Principle: Use a number of
storytellers to show that a mans life can
never be known
27
brings out the worst in him. He must
get worse before better.
28
Sequence & Story Structure: Moral Argument Sequence
The Sequence
29
Immoral Actions During the early and middle
parts of the story, the hero is usually losing to
the opponent. He becomes desperate and as a
result he starts taking immoral actions to win
30
in the world. The insight breaks bounds the
characters. Audience sees the total design of the
story, the full ramifications of what it means on
a much greater scale than just a few characters.
Tragedy
Pathos
Black Comedy
31
Setting
(Story World)
Examples:
Ulysses
Designing Principle: In a modern odyssey
through the city over a single day, one man
finds a father and another man finds a son
32
A Christmas Carol
Designing Principle: Trace the rebirth of a
man forcing him to view his past, present
and future over the course of Christmas Eve
Citizen Kane
Designing Principle: Use a number of
storytellers to show that a mans life can
never be known
Story Arena
33
Send the hero on a circular journey through
generally the same area. Like above but
here, hero returns home at the end.
Natural settings
Island
34
Mountain
Plain
River
Weather
Man-made Spaces
House
Safety V. Adventure
Ground V. Sky
The Warm House
The Terrifying House
Cellar V. Attic
Road
City
City as mountain
City as ocean
City as jungle
City as forest
Size
Big to Small
Small to Big
Technology (Tools)
35
Extensions of humans
Seasons
Holiday or Ritual
1. Weakness or need
2. Desire
3. Opponent
5. Visit to death
6. Battle
36
7. Freedom or slavery
37
Symbols
Story Symbol
Symbolic Characters
Character Type
38
Symbolic Character Change of Hero
Symbolic Theme
Symbolic World
Symbolic Actions
Symbolic Objects
39
Symbolic Development
Chart how each symbol you use changes over the course
of the story.
40
Plot (22 Steps)
Types
Journey
Three Unities
Reveals
Antiplot
Genre
Multistrand
41
Device to extend the heros organic
development backward. The heros internal
opponent. The fear that is holding him back
from action.
42
1. Community start Hero lives in a
paradise world where everything in
perfect harmony but soon to be
disrupted.
4. Inciting Event
5. Desire
43
story reduces hero and makes complexity of plot
impossible.
Survive (escape)
Take revenge
Win the battle
Achieve something
Explore a world
Catch a criminal
Find the truth
Gain love
Bring justice and freedom
Save the republic
Save the world
6. Ally or Allies
44
and opponent is the most important relationship
in the story.
45
the story. How information is revealed
makes or breaks your plot.
8. Fake-Ally Opponent
46
Hero gets a surprising piece of information that
forces him to make a decision and move in a new
direction. Causes him to adjust his desire and
motive also. (All four revelation, decision,
changed desire and motive should occur at the
same time).
10. Plan
47
Training important in certain genres like sports,
war and caper stories and when it is will come
right after plan and before the main action in
the story.
12. Drive
48
him to begin questioning his values and ways of
acting.
49
16. Audience Revelation
50
this information makes the hero feel stronger and
stronger and more determined to win.
19. Battle
51
audience sees clearly for the first time, which
way of acting and living is best.
20. Self-Revelation
Sudden
Shattering
New
52
Connect the two self-revelations. The
hero should learn something from the
opponent and the opponent should learn
something from the hero.
Revelation Sequence
53
Must come at an increasing pace. Audience
gets hit with the grater density of
surprise.
54
Introduce the storyteller in a dramatic
situation
CHAPER NOTES
55
Plot depends on how the author withholds and reveals
information. Involves the masterful management of suspense
and mystery, artfully leading the reader through an
elaborate space that is always full of signs to be read,
but always menaced with misreading until the very end.
56
Scene Sequence
Ordering Scenes
CHAPTER NOTES
57
Scene Construction & Symphonic Dialogue
Scene Construction
58
recognize deception and play along or be
fooled and give the other character what he
wants.)
Dialogue
59
Lead character proposes or takes a course of
action
Unique Voices
CHAPTER NOTES
60
Once a scene has been constructed, use description and
dialogue to write it.
61