For new writers, an understanding of story structure is essential.
Yet, today, this is almost impossible due to the enormous variety of conflicting theories and views. The scene is filled with controversy and confusion. Three act, five act, nine act, no act… which is it? How does it matter? What will it get you? Writers need to get on with the important work of writing great stories.
This essay is intended to get a handle, once and for all, on story structure. So much has already been written on the subject that the new writer investigating her/his craft is confronted with literally hundreds of volumes of conflicting information and theory, ranging from authorities proclaiming structure as “God” to others arguing that structure is a myth. It is interesting how the subject has begun to take on the trappings of religion. The “guru” fervor has reached an all-time high.
In order to deal with all the confusion, we’ll have to go to some effort to lay a foundation, before advancing an approach to story structure that applies to the length and breadth of storytelling. From there, the rest of the text is devoted to testing the idea against some of the most well-discussed, “structure-less” films in cinema history.
Table of Contents
- Structure: A Dissent - I
- Grok"-ing Structure
- Story
- Structure: A Dissent - II
Objectives and Key Themes
The objective of this essay is to provide a clear and comprehensive understanding of story structure in film, cutting through the conflicting theories and approaches that often confuse new writers. It aims to establish a working definition of structure applicable to all narrative films.
- Defining story structure in film
- Differentiating between plot and emotional/intellectual levels of story
- Examining the transformative nature of good stories
- Analyzing “structure-less” films
- Developing a multi-level model of story structure
Chapter Summaries
Structure: A Dissent - I: This chapter tackles the widespread confusion surrounding the concept of story structure in screenwriting. It argues that many existing definitions are inadequate and proposes a new, more comprehensive definition of "structure" that is applicable to all narrative films. The chapter emphasizes the need to establish a clear definition of "story" before delving into its structure, arguing that a good story is inherently transformative for the characters and/or the audience. It uses examples from scientific articles and screenwriting books to highlight the current inadequacy of existing theories.
Grok"-ing Structure: This section delves deeper into the nature of structure, aiming to dispel common misconceptions. It asserts that a true understanding of story structure requires moving beyond simplistic plot-based analyses, to encompass a deeper emotional and intellectual level. The chapter highlights the importance of transformative experiences within the narrative for both the characters and the audience, suggesting this transformation as a key element of a successful story. It establishes a foundation for the subsequent analysis of various films, suggesting a model that encompasses all narrative films.
Story: This section focuses on defining what constitutes a "story" in the context of film. It critiques existing dictionary definitions as insufficient for screenwriting, proposing a definition that encompasses a wider range of narrative films. This definition emphasizes causally-linked events unfolding over time, the presence of at least one primary character undergoing an internal transformation, and the overall transformative effect on both the character and the audience. This serves as a crucial platform for understanding the subsequent discussion of story structure.
Keywords
Story structure, film narrative, transformative experience, plot, emotional/intellectual level, multi-level model, screenwriting, narrative film analysis.
Frequently Asked Questions: A Comprehensive Language Preview of Story Structure in Film
What is the overall objective of this essay?
The essay aims to provide a clear and comprehensive understanding of story structure in film, resolving the conflicting theories and approaches that often confuse new writers. It seeks to establish a working definition of structure applicable to all narrative films.
What are the key themes explored in the essay?
Key themes include defining story structure in film; differentiating between plot and emotional/intellectual levels of story; examining the transformative nature of good stories; analyzing “structure-less” films; and developing a multi-level model of story structure.
What topics are covered in the "Structure: A Dissent - I" chapter?
This chapter addresses the confusion surrounding story structure in screenwriting. It argues against inadequate existing definitions and proposes a new, more comprehensive definition applicable to all narrative films. It emphasizes defining "story" before analyzing its structure and highlights the transformative nature of good stories, using examples from scientific articles and screenwriting books to illustrate the inadequacy of current theories.
What is the focus of the "Grok"-ing Structure" section?
This section delves into the nature of structure, moving beyond simplistic plot-based analyses to encompass deeper emotional and intellectual levels. It emphasizes transformative experiences within the narrative for both characters and the audience as key elements of successful stories. It lays the groundwork for analyzing various films using a model encompassing all narrative films.
What is discussed in the "Story" section?
This section defines "story" in film, critiquing existing dictionary definitions as insufficient for screenwriting. It proposes a definition encompassing a wider range of narrative films, emphasizing causally-linked events unfolding over time, a primary character's internal transformation, and the overall transformative effect on both the character and the audience. This serves as a foundation for understanding story structure.
What are the key chapters covered in this preview?
The preview includes "Structure: A Dissent - I," "Grok"-ing Structure," "Story," and "Structure: A Dissent - II".
What are the keywords associated with this essay?
Keywords include: Story structure, film narrative, transformative experience, plot, emotional/intellectual level, multi-level model, screenwriting, and narrative film analysis.
What type of audience is this essay intended for?
While not explicitly stated, the essay's focus on clarifying complex concepts and its use of examples suggest it is geared towards students, aspiring screenwriters, and anyone interested in a deeper understanding of film narrative structure.
What is the overall approach of the essay to the topic of story structure?
The essay takes a critical and analytical approach, challenging existing theories and proposing a new, more comprehensive framework for understanding story structure in film. It emphasizes the importance of both plot and the emotional/intellectual impact on the audience and characters.
Where can I find the full essay?
This information is not provided in the preview. Contact the publishing company for more information.
- Quote paper
- Lee Matthias (Author), 2019, Story Structure in Film. The Multi-Level Model, Munich, GRIN Verlag, https://www.grin.com/document/458649
