Story Dev Elopement Strategies

 STORY DEVELOPEMENT STRATEGIES  STORY ARCHETYPES 1. Cindrella-virtue eventually recognized 2. Archilles-the fatal flaws 3. Faust-the debt that catches up with the debtor 4. Tristan-the sexual triangle 5. Circe-the spider and the fly 6. Romeo and juliet-star crossed lovers who either find or loss each other 7. Orpheus- the gift that is lost and searched for 8. The hero woho cannot be kept down 9. David and goliath- the individual against the state,community,system,etc 10.The wondering jew- the presecured traveler who can never go home  Fictional themes 1. Revenge 2. Survival 3. Money 4. Power 5. Glory 6. Self awareness 7. Love

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The Hero’s Journey SITUATION Supplication

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Deliverance Crime pursued by vengence Vengence taken for kindred

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Pursuit Disaster

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Falling pray to cruelty or misfortune Revolt Daring enterprise Abduction

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The enigma Obtaining

Enmity of kinsmen Rivalry of kinsmen Murderous adultery

ELEMENTS A procecutor, a suplicant, a power in authority whose decision is doubtful An unfortunate, a threatener, a rescuer An avenger and a criminal Avenging kinsmen, guilty kinsmen, remembrance of the victim, arelative of boath Punishment and fugitive A vanquished power, a victorious enemy or a messenger An unfortunate, a master or a misfortune Tyrant and conspirator A bold leader, an object, an adversary The abductor, the abducted, the gaurdian Interrogattor, seeker, and problem A solicitor and an adversary who is refusing, or an arbitrator and oppsing parties A malevolent kinsmen, a hated or reciprocallyhating kinsman The preferred kinsman, the rejected kinsman,the object. Two adulters, a betrayed husband and wife

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Madness

Madman and victim

Fatal imprudennce

The imprudent, the victim or the object lost The lover, the beloved, the revealer

Involuntary crimes of love Staying of a kinsman unrecognized Self sacrificing for for an ideal

The slayer the unrecognized victim

Discovery of a dishonor of a loved one Obstacles to love

The discoverer, the guilty one

An enemy loved

The beloved enemy, the lover, the hater

Ambition

An ambitious person, a thing coveted, an adversary A mortal, an immortal

The hero,the kinsman,the “creditor” or the person Or thing sacrificed Self sacrificing for for an ideal The hero, the ideal, the “creditor” or the person or thing sacrified All sacrified for a passion The lover, the object of the fatal passion, the person or thing sacrified Necessity of sacrificing loved ones The hero, the beloved victim, the necessity for the sacrifice Rivalry of superior and inferior The superior rival, the inferior rival, the object Adultery A dicieved husband of wife, two adulteres Crimes of love The lover, the beloved

Conflict with a god Mistaken jelousy

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Erroneous judgment

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Remorse Recovery of a lost one Loss of loved ones

 ETHICS OF REPRESENTAION  CHARECTERS

Two lovers, an obstacle

The jelous one, the object of whose position he is jelous,the supposed accomplice,the cause or the author of the mistake. The mistaken one,the victim of the mistake,the cause or the author of the mistake,the guilty person The culprit,the victim of the sin,the interrogator The seeker, the one found A kinsman slain,a kinsman spectator, an executioner

1. CLASS: what class or classes do they come from? How are differences handled? How are other classes represented 2. WEALTH: Do they have money? how is it regarded? How do they handle it? Wjat is taken for granted? Are things as they shoud be, and if not, how does the film express this? 3. APPEARANCES: are appearances reliable or misleading? How important are appearances? Do the charecters have difficulty reading each others appearances? 4. BACKGROUND: Is there any diversity of race or other background and how is this handled? Do other races or ethnicities have minor or major parts? 5. BELONGINGS: do we see the charecters work or know how they sustain their lifestyle? Do their clothes, appliances, and cars belong with their charecters’ bread winning ability? What do their belongings say about their tastes and values? Is any one in the film critical of this? 6. TALISMANS: are there important objects, and what is their significance? 7. Do the charecters seems killed and expert enough? Or they capable of sustaining the work they purportedly do? 8. VALUATION: for what are charecters valued by others charecters? Does the film question this or cast doubt on the inter charecter values? 9. SPEECH: what do you learn from the vocabulary of the each? What makes the way each thinks and talks different from others? What does it betray? 10.ROLES: what roles do charecters fall into, and do they emerge as complex enough to challenge any stereotypes? 11.SEXUALITY: if sexuality is present, is there a range of expressions and how is it portrayed? Is it allied with effection, tenderness, and love? Or s it shown as desembodied lust? Is it true to your expieriance? 12.VOLITION: who is able change his or her situation and who seems unable to take action? What are patterns behind this? 13.COMPETENCE: who is competent and who not? What determines this?  ENVIRONMENT 1. PLACE: do we know wherecharecters come from and what values are associated with their origins? 2. SETTINGS: will they look credible and add to what we know about the charecters? 3. TIME: what values are associated with period choosen for the settings? 4. HOME: do the charecters seem at home? What do they have arround them to signify and journeys or accomplishments they have made? 5. WORK: do they seem to belong there, and how is the work place portrayed, what does it say about the charecters?  FAMILY DYNAMICS 1. STRUCTURE: what structure emmerges? Do charecters treat it as normal or abnormal? Is anyone critical of the family structure? 2. RELATIONSHIPS: how are relationships between member and between generations portrayed? 3. ROLES: are roles in the family fixed or do they develope? Are they healthy or unhealthy? Who in the family is critical? Who is branded as “good” or “successful” by the family, and who “bad” or “failed”?

4. POWER: could there be another structure? Is power handled in a healthy or unhealthy way?what is the relationship of earning money to the family?  AUTHORITY 1. GENDER: which gender is shown to have the most authority, does one gender dominate, and if so why? 2. INITIATION: who is initiates the events in thefilm, and why? Who resolves them? 3. RESPECT? How are figures which power depicted? How are institutions and institutional power depicted? Are they simple or complex, and does the script reflect your expieriance of the real thing? 4. CONFLICT: how are conflicts negotiated? What does the film say about conflict and its resolution? Who wins and why? 5. VIOLENCE: who is violent and why? What does it say about your values that you let them settle something this way?  IN TOTAL 1. CRITICISM: how critical is the film toward what its charecters do or dont do? How much does it tell aboutwhat’s wrong? Can we hope to see one of the charecters coming to grips with this. 2. APPROVAL/DISAPPROVAL: what does the film approve of, and is there anything risky and unusual in what it defends? Is the film challenging audiances assumptions and expectations, or just feeding intothem? 3. WORLD VIEW: if this is a microcosm, what does it say about the balance of forces in the larger world of which it is a fragment? 4. MORAL STANCE: what shape does the films belief system take in relation to privilege,willpower,tradition,inheritance,power,initiative,god,luck,coinci dence,etc.? Is this what you want.