How design STRUCTURE and PLOT for story | Houshang Falahrezaei | Skillshare

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How design STRUCTURE and PLOT for story

teacher avatar Houshang Falahrezaei, Art Teacher And Designer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (16m)
    • 1. Introduction structure

      1:09
    • 2. From INCIDENT to CLIMAX

      2:34
    • 3. Accelerated Story

      3:08
    • 4. From structure to PLOT

      2:23
    • 5. You have 10 minutes

      1:26
    • 6. ARCHETYPES

      1:50
    • 7. ROTATE TWIST CUT of characters

      3:10
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About This Class

You know how difficult it is to write the character of the screenplay? Most writers suspect that by writing the first page of a script. They can begin writing a story or script, but will soon become tired and futile. I emphasize that you get the pen and paper and design your story step by step instead of writing the text using the structural shapes. Once you get to the structure and the plot by dragging the shape, you can master the whole and then write the story and script.

Meet Your Teacher

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Houshang Falahrezaei

Art Teacher And Designer

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Transcripts

1. Introduction structure: Hello, everyone. My name is Houshang. Fell over is I. I will teach you how to design a strong structure for your own. This story and screenplay You will be so professional in writing story and screenplay that you can create it for production cell understanding, a structure on characterization. We make your story and screenplay attracted Over the years I have found some secrets and technicals that will solve your problem in this story Most writers have difficulty. That's by writing the first page off screenplay. They can begin writing a story or screenplay but will soon become tired. I emphasized that you get the pen and paper designed your story step by step instead of writing the text using the structure shapes. Once you get to the structure and the plot by dragging the shape, you can master the whole and then write a story on screenplay leads to start listens 2. From INCIDENT to CLIMAX: from inside int to a climax inside and is the first serious event in the screenplay structure. Never forget the importance off the climax in this complaint. Our story comes from the last point to the first point. Yes, it's opposite because the goal is more important at the beginning, the hardest things in the designing its story. To reach the goal, you must first discover the purpose of your story. An example. When you go up the mountain, you can't Standley. Think of the summit. You need to know where your readers goes, but you can discover almost the whole of eat at the climax. You must have all of the drama characters suspense Inside int Discovery resolution Qatar sees, and so on. Here is the center of light Ray collection so that the readers hurt is effected. The first point of your story is the inside int. Inside Int is a serious event. This area's event is the first serious antagonist and protagonist struggle inside and move the story. These conflict becomes gradually, more. Sergio's on more dangerous. This move can be seen as a comb that increases the gap between the heros forces on its school. The protagonist wants to reach the goal, but antagonised father have a The Herro takes a serious decision at the medial off the story to change his direction and reach his goal in another way. Saw the shape off the cones is changed and he goes to the drive goal. The middle point is the third point off structure, with a twist off 118 degrees in the Dead Poets Society. We know that in the last sequence, students go to the top off the table. Now we need to know how we get to this final act. At first, they are excited with the creative teacher struggle with school manager. These initial conflict is between the teacher on a school manager. Students decide to reach reaches sold Story gets to Easter. The three points are the basis off screenplay structure and story Act one Act toe Act tree . But you should design structure in the opposite way. 321 Act Tree Act to Act one plus principal points must be built to be right. Don't avoid from a lot off points 3. Accelerated Story: accelerated story. The protagonist must be present in all sequences and more in the screenplay sense. Maybe ask How can it be? I will explain to you if you couldn't write down the physical presence off the protagonist in all of the sense and sequence you should mention off him on the Seine, for example, everyone is talking about protagonist or the subject off events related to him. Events about protagonist or antagonised. Why should this be? Because one of the ways to accelerate the rate, um, off the skimpily is to moving antagonise or protagonist by acceleration or motion. You will become the main character of drama in the Dead Poets Society movie. Their students talk about new teacher everyone every time, everywhere. In all of this sense. In all of this sequence, the two main characters, antagonist and protagonist, have a faster return off screenplay and don't birth. Another way to accelerating your story is to follow just von a story in the screenplay. Several stories. The viewers most no what to follow. The main 10 off the Titanic's movie is love Only Love, even when the ship breaks. Greeting about Separation loves between Rose and Jack. It's a bonus story in the Dead Poets Society. It's a just core ege. All of the story is about courage. When the main temp is followed by the characters, this story will be accelerate. Accelerate on attractive unity, off time, unity of place, unity of characters and unity off plots designed the herro to keep hair path for bar cannot go back to the beginning of the story. Protagonists should be the only possible they. If there is another way, the viewer will not be satisfied. The viewers will be confused. This one way moves the whole story and characters. Protagonist must Roy all of the possible rates. Protagonist, Mosque, kick the door. Instant off knock protagonist and antagonist of the story must move east it up, standing up instead of thinking the serious need for the protagonist and antagonist must lead them to the goal on the target. Like a magnet, right? The protagonist on antagonist off dynamic and energetic So your story TEM doesn't slow. Your protagonist should be at risk. The protagonists of your story must battle the obstacles, although he has an internal weakness, although the antagonise uses thes weakness but move the herro speed and re term should be fast, right? The sequence and sense shorter. Your protagonist must be unreasonable so he can overcome. Even if it's in a danger, you have to find a way. Take Syria's decisions, the confident between two negative and positive forces of your story. We'll accelerate the story. 4. From structure to PLOT: from structure to plot. Your skimpily include 120 minutes each minute, one page screenplay divided into three parts. One Biggane, two Middle Tree End Act One Act Toe Act tree. We have two important characters. Protagonist and antagonist. The begin section protagonists have a normal life, but in the act one antagonise changed the protagonist normal life. In the second act, they get involved with the struggle at last in the act Tree is the result. Off the battle screenplay structure is usually divided into points called turning points, but the energy center off the entire structure is at end in act tree. In the Climax point, all characters and events are focused on this point. The final energy off antagonised and protagonist reached the highest off the explosion. Positive and negative characters should be accelerated to the gold in the form of a tree angle. They rise on followed the turning points. This division is named by time and structure, but screenplay plot is different. Plots is not just in timing. Blood is a combination off point to point between two important elements. Two important factors. Characters and structure. Yes, characters and structures. This blood is Joe metric and its design requires story design knowledge, a complex network between personality decisions on the timing off story. If you remove or move one of these elements after designing screenplay, the entire plot and structure will collapse. You need to keep the unity off. This points, unity, off personality, place, time and events. Please designed these structures over and over again with pen on paper. By learning my lectures, you can finish structure and characters on this plot. Writing a story and screenplay without design off structure and plot is wrong. You must change your past metal. See all of the components in one whole veces climates. The main energy off story is here on all of the story factors you need to learn plots design. 5. You have 10 minutes: you have 10 minutes. It's true that inside an event a cures in the 10 minutes. But keep in mind, you have to hook up the reader from the first minute. If you don't engage the viewers in the first minute, you will lose the viewers. Why is the design off? The 1st 10 minutes is difficult because you have to turn on the short moments. One. Protagonist toe antagonise three. Goal or purpose for Space five. Jenner six. Main Problem. Seven Subplots eight. Drama Tree Angle and Swan Yes, you need to give the viewers a drama in 10 minutes, but be careful. You have a drama, not information. You shouldn't give the audience informations. Give all of the sense off his story with one or more combination sequence to viewers in the first minutes, you should rise the viewers response. You should hook the viewers. The technical is to create just one sequins with all off items. Every Vons feelings are given in the 1st 10 minutes. Small struggle for protagonist on antagonised, we combine the goal. The problem on all of the characters dramatically combined sequence is the same as the first hook off the story that is forced on versed. Otherwise the audience will not be involved 6. ARCHETYPES: archetypes. Archetypes are internal about humans through that the his story. Family, poverty, love, death, your stories. Characters get deeper with these archetypes. If you write your own story about family or love, the more interesting is a story off adventure. If you write about an accident, you need to use the archetypes for design. If you are writing a story about single man on the island like Robinson, Crusoe should use the most archetypes. That's Robinson. Want love and family In the Titanic movie, we have some archetypes. This movie has a deep historical, an internal sense. Even the basic needs off human, such as food and hosting are the same archetypes. Dead Poets Society has used archetype such a love, humanity, freedom, cordage on death without using the archetype. Your stories and screams will not have march dramatic poverty in the seven. Some rye movie. The main personality needs it foot. The village people needs to foot need to rise. This elements are archetype. Your personality will be created build. Then it's rain forced with archetypes. The story about protagonist loves woman and is fighting for them. You can use from archetypes in the milestone on turn points you can design your entire screenplay structure based on archetypes. If the final goal off the protagonist and even antagonist is in the climax, archetype can be the goal of the Herro will find for his lover on his family on it is completely riel. Don't forget archetypes in your story. 7. ROTATE TWIST CUT of characters: rotate to east and caught the characters. Characters are the region off. Change in personality is as a list structure off. Three stages Act one, Act two Act tree. If the main characters the protagonist on at agonies don't have to East and courts, a story will not be attractive. Without serious to east, we will not have the story. Personality battles between husband and wife is a normal turning point in the story, but the moment on her husband intend to separate Reveal have a personality twist that is stronger If these divers is aimed at the secret purpose, such as Take Children, people have cut characters. Cut These personality Caught makes the story more complex on attractive their students except the teacher. It's the usual turn point when the school manager completely teacher. This is a usual rotation when the A students excitement for the actor in the theater is a personality to east in the media about cot, Death of a student is a sudden cart off. His character on school manager dismisses the teacher. At this time, the story comes to the extreme complexity on caught the characters the sick and conflict, namely to east on third comfortably to caught third conflict with the maximum emotional power. The first conflict, or the turn, is a little power, and gradually detention rises. The two East in the media. Off the story rotate the whole of the story. The final characters caught off the story is like falling or collapse. Very readers. Hurt is full of tension on suspense. In the middle part, the twist turns around 118 degrees in the middle. The characters entered the new conditions in Titanic movie Breaking the Sheep to lost in the middle of a story in the Dead Poets Society. Exciting off students in the two East. In the middle of the story, about third conflict off a story cutting off the characters were close to the climax on the crisis. Final card is usually close to the physically or mental death off the characters. One of the reasons why a story and screenplay are not attractive is in the third heat in the cutting of connectors. Then the protagonists reached a climax on the crisis. The final card can be power dramatic comfortably to the end and final resolution. The final cut will turn into the TEM off the field. If we don't maximize the story at the cutting for characters, the characters will not achieve their gold. The characters will not attraction. The gold must be impossible and illogical. Then a teacher fools out of a school. It's agreed, cutting characters to be deepened in the Titanic movie Jack's Fault in the Ocean. You have to make sure that the end of the story is both impossible on on avoid able bad. Worse worst. The power of a story is in the three points.