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The Seven Basic Plots

The Seven Basic Plots
The Seven Basic Plots: Why We Tell Stories is a 2004 book by Christopher Booker, a Jungian-influenced analysis of stories and their psychological meaning. Booker worked on the book for 34 years.[1] Summary[edit] [edit] The meta-plot begins with the anticipation stage, in which the hero is called to the adventure to come. The Seven Basic Plots[edit] Overcoming the Monster[edit] The protagonist sets out to defeat an antagonistic force which threatens the protagonist and/or protagonist's homeland. Rags to Riches[edit] The poor protagonist acquires things such as power, wealth, and a mate, before losing it all and gaining it back upon growing as a person. Examples: Cinderella, Aladdin, Jane Eyre, Great Expectations, David Copperfield.[2] The Quest[edit] The protagonist and some companions set out to acquire an important object or to get to a location, facing many obstacles and temptations along the way. Voyage and Return[edit] Comedy[edit] Tragedy[edit] Rebirth[edit] Prior work[edit] Ronald B. Related:  Story StructurePlotEcriture

Monomyth Joseph Campbell's monomyth, or the hero's journey, is a basic pattern that its proponents argue is found in many narratives from around the world. This widely distributed pattern was described by Campbell in The Hero with a Thousand Faces (1949).[1] Campbell, an enthusiast of novelist James Joyce, borrowed the term monomyth from Joyce's Finnegans Wake.[2] Campbell held that numerous myths from disparate times and regions share fundamental structures and stages, which he summarized in The Hero with a Thousand Faces: A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.[3] A chart outlining the Hero's Journey. Summary[edit] In a monomyth, the hero begins in the ordinary world, and receives a call to enter an unknown world of strange powers and events. The 17 Stages of the Monomyth[edit]

» Blog Archive » Plotting Your Novel – The Quick Outline Tool Nothing draws a line in the sand of novel writing like the question, “To outline or not to outline.” Is there any kind of middle ground? In fact, I think there is. When I started my first novel, I wrote into the void, with no outline to guide me. By the time I’d rewritten the 3rd draft with no more idea where the story was going than when I’d set out along the path years earlier, I decided I’d better channel my inner Virgo and see what outlining could do for me. So I learned everything I could about outlining. I made convoluted complex road maps. As my good friend and YA author Janice Hardy is fond of reminding me, “Plot is a verb, not a noun.” So let’s go plot your character’s journey… Okay, so if we think of plot as a verb, then what we are looking for isn’t some magical overlay that we place onto our story or our characters, but an organic progression of actions our characters “do” or “take” that become the plot. But what choices should they make? Let’s talk about Act I.

List of narrative techniques A narrative technique (also known more narrowly for literary fictional narratives as a literary technique, literary device, or fictional device) is any of several specific methods the creator of a narrative uses to convey what they want[1]—in other words, a strategy used in the making of a narrative to relay information to the audience and, particularly, to "develop" the narrative, usually in order to make it more complete, complicated, or interesting. Literary techniques are distinguished from literary elements, which exist inherently in works of writing. Setting[edit] Plots[edit] Perspective[edit] Style[edit] Theme[edit] Character[edit] References[edit] ^ Orehovec, Barbara (2003). Le coach en Match d’impro [eng] In a Match, the ‘coach’ is not merely the team’s admin: he doesn’t go onstage, yet he should have a big influence on the game. [fra] Je réagis un peu au billet d’Ouardane sur la mauvaise utilisation du coaching, en lançant quelques pistes positives. Ça me permet aussi de redorer un peu le blason du coach; quand j’annonce à l’un de mes élèves écoliers qu’il sera coach, il se renfrogne toujours un peu sur son banc. Quelques remarques préliminaires: par "coach", j’entends le coach non-joueur dans le format "Match", le fameux 7e membre qui n’entre pas sur la patinoire; je pars du principe qu’il n’est pas le directeur des entraînements de l’équipe (ce qui est parfois le cas pour les équipes adultes). Dès lors, deux attitudes possibles: la première consiste à encourager le statu quo, en continuant à considérer le coach comme un simple porteur d’eau. Une autre alternative, c’est de se dire que Gravel et Leduc avaient bien pensé leur truc. Deux types d’impulsions: Like this: J'aime chargement…

hero's journey "A Practical Guide to Joseph Cambell’s The Hero with a Thousand Faces" by Christopher Vogler © 1985 “There are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before.” In the long run, one of the most influential books of the 20th century may turn out to be Joseph Campbell’s THE HERO WITH A THOUSAND FACES. The book and the ideas in it are having a major impact on writing and story-telling, but above all on movie-making. The ideas Campbell presents in this and other books are an excellent set of analytical tools. With them you can almost always determine what’s wrong with a story that’s floundering; and you can find a better solution almost any story problem by examining the pattern laid out in the book. There’s nothing new in the book. Campbell’s contribution was to gather the ideas together, recognize them, articulate them, and name them. This accounts for the universal power of such stories. 1.) 2.) 3.) 4.) 5.) 6.) 7.) 8.)

Plotting Made Simple KeyNote NF (New Features) download Restons Calmes ! (Dans la dignité) - Accueil Three-act structure Three- act structure Plot Line Graph by Wendell Wellman The three-act structure is a model used in writing, including screenwriting, and in evaluating modern storytelling that divides a fictional narrative into three parts, often called the Setup, the Confrontation and the Resolution. Structure[edit] The second act, also referred to as "rising action", typically depicts the protagonist's attempt to resolve the problem initiated by the first turning point, only to find him- or herself in ever worsening situations. Interpretations[edit] In Writing Drama, French writer and director Yves Lavandier shows a slightly different approach.[2] He maintains that every human action, whether fictitious or real, contains three logical parts: before the action, during the action, and after the action. SJ Murray, a documentary film maker, feature film writer, and professor at Baylor University, explores why the three act structure matters in her book, Three Act What? See also[edit] References[edit]

Unique Plots Plan du site - Comment Faire Un Film Si vous ne l’avez pas déjà fait je vous conseille de commencer par lire : Pour Commencer. Puis de continuer par les articles 2, 3, 4, 5 etc… Sujet : Les Bases de l’écriture 1) Les 10 étapes pour écrire un Film 2) La ponctuation 3) Apprendre le cinéma 4) Comment écrire un scénario vite ! 5) Le point de vue narratif Sujet : les bases de la réalisation 1) Les bases pour réaliser un bon film partie1 2) Les bases pour réaliser un film partie2 3) l’échelle des plans 4) Le plan séquence, comment, pour quoi ? 5) Le champ/ contre champ c’est quoi ? 6) Les raccords au cinéma c’est quoi ? 7) Les raccords au cinéma c’est quoi partie2 (montage, tournage) 8) La plongée et la contre plongée 9) La focale c’est quoi ? 10) Un mouvement de caméra c’est quoi ? 11) Le travelling 12) La direction d’acteur 13) Comment trouver son équipe de tournage ? Sujet : Les métiers du cinéma 1) Les métiers du cinéma Sujet : Apprendre à écrire un film/ un téléfilm 1) Scénario pour la TV ou le Cinéma ? 2) Voir des films, lire des scénarii