omplex Story Analysis: Multiple Episodes/hapters Multiple Protagonists Alan Manning BYU Linguistics
antagonist problem protagonist love interest solution protagonist flips to blue Basic Story onflict Resolution Short stories tend to emphasize (in this order) 1. Problem derived from the setting of the story. 2. Solution or lack thereof. 3. haracters who solve or suffer. Novels tend to emphasize (in this order) 1. haracters developing through 2. Series of problems stemming from the setting of the story. 3. Series of answers culminating in solution to main problem.
Short stories are like insects smaller shorter exoskeleton. problem question shorter development solution answer Novels are like vertebrates larger longer backbone. A B D E F G H I N one two three four last F-A-D question = raised and resolved in one B-E-G question = carries over to next question = central conflict to be solved Each needs to raise each question type.
Dickens hristmas arol exemplifies minimum effective novel(la) backbone. A B D E F G H I J stave one stave two stave three stave four stave five A=Just how miserable/stingy/doomed is Scrooge? Marley says very! B=What? ME Ghosts are coming? =How will Scrooge save himself? D=What caused Scrooge to become what he is? Misplaced innocence! E=What s the NEXT Ghost going to be like? F=What are current consequences of Scrooge s life? Poor Tiny Tim! G=What s the NEXT Ghost going to be like? H=What are the future consequences of Scrooge s life? Dead Tiny Tim! I=an human nature and the future be changed? J=What are the results of Scrooge s changed life? Tear-jerkingly happy!
haracters can be developed in more detail thanks to a longer novel/movie/series backbone. antagonist problem protagonist love interest solution protagonist flips to blue Basic Story onflict Resolution antagonist problem protagonist & sidekick(s) protagonist(s) flip to blue Bigger Story
haracters can be developed in more detail thanks to a longer novel/movie/series backbone. Even Bigger Story antagonist problem antagonist problem neutralized onflict Resolution
haracters can be developed in more detail thanks to a longer novel/movie/series backbone. Even Bigger Story antagonist problem antagonist problem neutralized onflict Resolution
haracters can be developed in more detail thanks to a longer novel/movie/series backbone. Minor characters can support work of main characters. BUT organization and number of main protagonists should be constrained. Past Ghost lost fiancee lost sister [Past auses] Scrooge s Nephew and his wife [Future Effects] Future Ghost Scrooge at the end Scrooge at start Marley s Ghost Scrooge s current fate Present Ghost Bob ratchit Tiny Tim ratchit Family [Present Effects]
haracters can be developed in more detail thanks to a longer novel/movie/series backbone. Minor characters can support work of main characters. BUT organization and number of main protagonists should be constrained.
haracters can be developed in more detail thanks to a longer novel/movie/series backbone. Minor characters can support work of main characters. BUT organization and number of main protagonists should be constrained.
haracters can be developed in more detail thanks to a longer novel/movie/series backbone. Minor characters can support work of main characters. BUT organization and number of main protagonists should be constrained. [Emotional Issues] [Enigmatic Leader] [Power Outfits]
Plot Analysis is more crucial than ever in novels: Each should touch on the core conflict and foreshadow in some way the core resolution. situation BEFE problem antagonist problem protagonist love interest solution protagonist flips to blue Setting onflict Resolution Level 3 bystander to fight loyalty or law clever use of law Level 2 ongoing fight focused fight physical defeat Level 1 no fight conflicting perceptions problems left hanging ore rule: Level must RISE or STAY THE SAME, not drop from setting to conflict to resolution.
Make sure the core plot type aligns with recurring themes throughout the novel. 1-1-1 = creation crazy grotesque problems that don t quite get solved Napoleon Dynamite 1-1-2 = coming of age somebody figuring out how life works Oliver Twist 1-2-2 = adventure 2-2-2 = rivalry 1-1-3 = self-discovery 1-2-3 = temptation/fall 2-2-3 = puzzle 1-3-3 = discovery 2-3-3 = sacrifice 3-3-3 = atonement peace disturbed by bad guys but the good guy defeats them new fight erupting between longstanding enemies somebody deciding who they are and who/what they trust somebody opening the wrong box accidentally somebody following clues in spite of physical danger somebody figuring out how to use laws to their advantage somebody paying a huge personal cost to defeat enemies somebody paying a huge personal cost to resolve a paradox Star Wars IV: a new hope Bourne Identity A hristmas arol Ghost Busters Sherlock Holmes Back to the Future Wrath of Khan Matrix
Keep track of the following as you read: Basic story: an the whole novel be compellingly previewed in a sentence? Orphan raised by cruel relatives discovers he has a scholarship at a boarding school for wizards where he uncovers a plot to re-embody the undead evil wizard who killed his parents. Old but forever teenaged vampire falls in love with a human girl, then has to perpetually protect her from both his own bloodlust and his undead associates. Home-loving hobbit embraces his wild side and joins a gang of dwarves in their quest to reclaim a dragon-guarded treasure. NOTE: main character, to be interesting, must embody some kind of paradox. Used to really like hristmas Scrooge Now hates hristmas
Keep track of the following as you read: Novel Outline: Does each address at least three questions? F-A-D: one question raised and answered. B-E-G: one question hanging at the end of each. : core conflict touched on, truly resolved at end. next book in series (bad form) A B D E F G H I N one two three four last NOTE: a few other subplots are possible but MUST NOT distract from main backbone questions. next book in series (good form)
Keep track of the following as you read/view a story: haracter Purpose Does each main character have a distinct function and purpose? The most repeatable stories have exactly one main character shadowing each main script element. Does each minor character stay minor and either serve the main characters or the backbone questions of the novel? distracted sidekick main character mirror driving force judge pattern setter focused sidekick Remember that any story has raw material with potential. But the actual execution is rarely if ever perfect. The point of this mode of discourse analysis is to identify flaws that make a story less than it could be or identify structural features that explain its success.