The Storyteller's MASTERCLASS - from Jacob Z Klimaszewski | Jacob Klimaszewski | Skillshare

The Storyteller's MASTERCLASS - from Jacob Z Klimaszewski

Jacob Klimaszewski, Founder of a UK Creative Agency

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
7 Lessons (1h 33m)
    • 1. This is your Storytelling MASTERCLASS

      3:44
    • 2. Foundations - When, where, and whom?

      6:17
    • 3. Character darling! CHARACTER!

      10:45
    • 4. Narrative - What it is and how to tame it.

      25:37
    • 5. The Storyteller's Toolkit + Your First Draft

      10:03
    • 6. A Storyteller's Story

      23:37
    • 7. Textual Analysis + Profiting from your writing!

      12:57

About This Class

Welcome one and all! I'm Jacob, I've been writing for fifteen years on huge projects and am hoping to be published by 2019. Through my journey of storytelling, and my specialist training at film school - I'm going to take you on a journey that, no matter who you are, or where you come from, will end in you being able to write with passion - and create stories that are insightful, impactful and, above all, accessible.

We'll be looking at:

  • Story Premises - Where, When and Whom.
  • Character Development and Profiling - with live examples.
  • Narrative Theory, Character Arcs, Objectives and Conflicts - with examples from Film
  • The Lifestyle and Discipline of the successful writer.
  • Textual Analysis - Breaking down stories into their constituent elements - allowing for further study!

This class is for anyone who has written for work or pleasure in the past. The skills taught here are applicable for anyone working in Marketing, PR, Communications or Brand Management, to name a few.

This class is fun, educational, and allows you to go at your own pace. I hope to see you soon in class!!

Transcripts

1. This is your Storytelling MASTERCLASS: Hey, can you read and Rice? If so, you awfully qualified to be a story. But of course you're not fully ready. Yes, that's where I can help. I'm Jacob Z Clean Vishnevsky and I've written pretty much everything from short stories to science fiction novels out of body experiences, poetry, screenplay on the future species. After riding for 15 years behind the scenes, I've developed a great sense off great characters, narrative arcs, hooks, payoffs and, of course, endings. In this class, we're gonna take four characters that I borrowed from a certain and explore all of the opportunities that those four characters could give us and understand the structural artistry behind narrative fearing, tone, setting on making money from your writing. Being a great storyteller isn't ball about creating fantastical new worlds and universes. It's also about turning a death by PowerPoint presentation into a heroic tale of sales champion tragic supply chain strategies, tragedies, tragedy on perhaps the great evil king or queen of your naughty competitors. Story is thought by many to be humanity's first currency, nor mats. It is believed, traveled between tribal villages of the very earliest steps of civilization on our planet. On exchanged stories about their travels for a place to sleep as a hot meal. It's an incredibly powerful form of communication, Andi. Ever since those ancient times, it's remains exceptionally important in the world. So this course has has all these all this script script that I wrote on I'm not good at memorizing scripts. Even though this'll is a class for complete beginners. By the end, you'll have a new insight into the value of creative writing for corporate communications. Marcus ing pr on If you take service potentially a new career as a writer 00 there you go. At the end of this class, you're gonna write a story of up to 500 words. Yes, que? Using the four catches that we borrowed from that plane, I'll take a peek and give useful feedback that can help you forward to begin sign up to skill share using the link below on. Don't be late. What? What's an online class? You copulate, Grace, win win. But seriously click the link and get your virtual bum in that virtual class chair because we got some learning to do. There's a fly on camera co star Mr Moth Way should have pride. It's better analyzing its characters and narrative to better black, black black What 2. Foundations - When, where, and whom?: you've done it, you've taken the plunge. Welcome to the storytellers. Masterclass for complete beginners. Or if you're an intermediate, that's fine, too. If you're an expert, then thanks for watching. That's great when starting out. Many writers see this as one of the most terrifying things in the world, but that's got script on it. But yeah, it won't bite unless you do some origami with it. Then it might bite. Depending on would create a cliche is a part from something we'll cover later on. In the course, The Axiom don't run before you can walk. And here that means building a foundation for your story, not out of brick and mortar, but out of places, times and people. The beautiful out of fiction is that there are absolutely no rules on the only boundary is that of your creativity. And I personally think that creativity is boundless anyway. So when it comes to a story that you might right, the first questions to ask are Where where is this story? Take place? Is it in the world we live in or somewhere else? When does it happen? Star Wars happened in our universe, just a very, very long way away in a very, very long time in the past and what other people like in that time in place. If your story is close to home, like many are, you could choose your knowledge of your contemporary life in your contemporary culture to build the universe that is as authentic as it is to you, your hometown, maybe even your streets. Maybe right now, maybe a few years ago or a few years in the future, unless you're going for some sort of parallel universe or a time paradox narrative. A story set in the contemporary could be infused with your personal life experience so you won't have to consult a story and or, ah, future ologists, I guess, to attempt to gain an understanding off the society in which people live. Because that understanding is what leads to rich characters on rich dialogue between them, everything that you need to make your story seem authentic. If your story is utterly removed from the contemporary on by that, I mean set in the ancient past or the distant future than authenticity isn't really going to be much volition because you want that. He's telling a story in a real place but telling a story in a universe you've made all your own Science fiction and fantasy are often group together because of this. But often they do reflect back on our own worlds in certain aspects such as avatar on alien in regard to corporate greed. So where, when and whom that's entirely up to you. Now let's talk about the story that we're gonna be writing together to show you the kind of thought processes that I'm gonna be putting into it. So I'm gonna give you the four characters that we borrowed from a play. Their names of Vladimir Estragon pot so and lucky. Now I'm going to establish my where, when on who? I don't want you guys to just follow along. Take your own premise, Andi. If you recognize the play from one of the characters, then one of the new challenges there's to invent something new from piece of work that you already know. First, let's examine what we've got here. Vladimir is a decidedly Russian name. Estragon is tarragon in French, and then we've got lucky on DPA Tsar, who without any research tool, sounds pretty Mediterranean or perhaps polish? Mm booming is a big part of writing. I find that whenever you have a big moment, something amazing is about to happen. But everyone's different, sort of. So this is what I'm gonna be starting with. Vladimir is a Russian double agent being chased by pot, sir, for treason. Estragon is the code name for French operative sent to save him and lucky I've left. There's a bit of a wild card, so we'll have to see what happens with him in later or her. It's to spy thriller the When is the Cold War era on the Where is Ah forest a few miles from an airport. So what did I pick that? Because it excites me that excites me on great stories often come from ideas that excite the writer because then the writing is fun. It's examining that exciting principal seeing wherever it goes rather than something you don't really care about, in which case you just need to keep typing on keyboard or, if you really old school doing doing your role, your hand right, which I think is fabulous. But you were so happy to type in anyway. Uh, right homework. It's time now to give these four names there. When, Where and who take your time on only settle for an idea that excites you. Of course, there's much more in a person or treasured object by name Rose by any other name and all that on. Before we get into narrative theory, we're gonna talk about character. What great ones are on what terrible ones. We'll cover that in the next video. For now, you've got your homework. Step to us, but I'll see you next time. 3. Character darling! CHARACTER!: listen to character, darling Corixa. Hello. Welcome back, ladies and gentlemen to the Storytellers Masterclass, We will know what a character is, right? It's Ah, guy or a lady who says the words and does the things right. Well, of course, characters do things, and some of them even do some of the same of words and things but their characters on. Then their characters take a bad movie. It might have bad effects. It might have a little music and terrible camera work, but what makes it really Paul awful boring, one dimensional placeholder characters as lifeless is a bit of plasterboard on a baking summer's day. In my view, characters and the art of writing them is the single most important part of story. You may have heard critics in film, television and theater remark on characters that you want to root for or can identify with , or just so engaging an inspirational. So the story there in takes a back seat, and there, in lies the power of character on why, in the context of stories, having it is more important than anything else. Have you ever gone people watching? Yes. No, of course, you have everyone has. If you haven't, if you really happened, you should, you know, sort that. Just sit in a park or town center and just watch the people go by. Of course you have. We will have on its enthralling, But why? It's a natural curiosity. Nothing invasive, nothing more. But it's still there. I wish to know and to understand and to uncover the hidden story behind someone you don't know. Behind the safety off, the observers chair that stories have bad characters, but very rarely does a good story have bad characters. Why? Because a story is the manipulation and framing off those characters. Take a seven Private Ryan. The film isn't about World War two. That incredible scene depicting the horrors of D Day isn't about D Day. It's about the soldiers. And even though a large part of that scene is void of dial, the character comes through from the expressions, body language and movement. Of course, now we're getting into film directing, and that is a whole nother course. I like to think of a bad character as being merely a tool for the narrative, an expression of the story rather than the story itself. You'll never get to know them. You'll never really care about them because they're nothing like you. That just words on a page with nothing to really consider on. Nothing to really think about. So what is a character then, apart from someone who just do, does things and says things, It's a consciousness with ALS, the trappings, trimmings, hopes and floors. The story doesn't need to be about the hang ups and eccentricities of individual characters , but they need to be there, if only in your own mind as the writer, because trust me, it will show if they're not. I use consciousness as opposed to person because if you want to write in robots or space aliens, you're covered. Have a robot character just turned out to be one of the most famed movie characters off all time? Bear that in mind. Before we get to the Finex. Let's get to the function. We'll cover some of these topics in more detail in the next video covering narrative. But for now, let's bust outs and categories. Protagonist Protagonist is a fancy word for your main character, Max and Max Payne Lucy in Lucy, John McClane in Die Hard, the guy or gal whose journey is the central driving force, All the narrative. This will make sense in the next video, as in this gesture antagonised the antithesis of your protagonist, also known as the bad guy Cons. Group up in Die Hard can be in Django Unchained Great movie, Thes Room Grammys What they wouldn't They wouldn't be in this the Emperor. So to Palpatine in Star Wars. Basically, if you're protagonists wants something, then there is essentially one character stopping them from getting it. You've got yourself on antagonised jerks, supportive characters that aid or support the protagonist on their journey. Samwise deferred or the also comes to your solid snake. There could be one or a few of these guys. Gandalf is probably the most famous. Well, then some parts. He could be seen as a protagonist, but we're getting off topic. If the antagonised has characters helping him or her like you know, the bunch of terrorists and die hard, then they are supportive is to on last. But by no means least you've got your chorus. Maybe you give them dialogue. Maybe you don't, but they're there primarily to give authenticity on action to the setting Take the ground, Holden, Harry possible these guys course. Of course. As much as I like to prattle on about character, they are bound to your narrative to give them purpose goals and a path to follow again. Check out the next video for all things narrative in place, you'll often find a character sheikhs on the first few pages, listing all the characters and very simple descriptions of who they are on maybe where they come from. It is a very classical thing to see dating back centuries, but it's interesting to have a peek at. Of course, when you come to writing your story, you're not actually going to say who your characters are, at least not in such obvious detail. It's all about show and not tell examples, alluding to the character rather than just blurting out cold facts. But as a writer, you'll probably spend as much time thinking about your characters as you do dreaming up your narrative. It's good stuff, right? Ideas on a piece of paper, maybe even a little notebook for each character. You have help, maybe even a spreadsheet. However you want to do it. It's not for public consumption but it helps you to get to know your characters a little bit. So now let's have a look at this little spy thriller around developing. If you don't know what I'm talking about, head back to the previous video out of our four characters. Vladimir Pot So Estragon and lucky We're going to take a look at Vladimir, our double agent on the run. Now we've already established our premise that he's done latent on the run on that, our story takes place in a forest near an airport. We did that in the previous video. He's being chased by pot so on is hoping to be rescued by Estragon. We've got lucky is a wild cards not sure to do with them yet, But I'll come up with something from guaranteed. I'm gonna take Vladimir and ask some questions about the answers to these questions are going to help me give his character a little bit of weight, and later, when I'm drafting the pros, I can draw from that way to help me understand what he wants, how he might approach various problems, and how far will Vladimir go to escape? So hopefully by now you've got your own Vladimir. That was the homework for the previous video. As I go through the questions, I'm going to ask. Think about what questions you can ask to understand your own personal Vladimir. Just that little bit better. How old is Vladimir? We know from our own experience that a 20 year old will behave differently to a 40 year old who then will in turn believe differently to a 60 year old. How differently That's up to you. But we can reasonably make that judgment. I'm gonna ask myself why Vladimir became a spy on why he became a double agent. I'm also going to ask whether he became a spy willingly, or is he being caressed in some way one of the stakes here? We know that he's on the run, but if he's caught, is there anything other than his life that he stands to lose? Does that affect his motivation to escape? What are his relationships with the other characters in our premise? Does he know Estragon or pot so personally, or are they just names to him? Does he have a score to settle? If so, do those scores relate to the questions that we asked earlier on my personal favorites. The wild card question. Vladimir is looking up at the stars, his eyes glazed over. What is he thinking about? What keeps him up at night? The fun thing about these questions, which I call the character interrogative, is that one question may lead on to another on then another, then another ad infinitum. We're infinitum. Go on and on and on and on and on, like me when trying to coat a skill, fair video going off talk. Now it's time for you to put your Vladimir to the test and ask yourself, Who the hell are they on? What do they want? Just remember that there are no rules here. Go nuts on If you hit a wall, take your time. Just take your time. It will come to you because you were creative, after all. On. Even if you say you know, even if you've never considered yourself a creative, you are one. Next time we'll be looking at that OGA of storytelling narrative theory to get ready to sort your medals from your endings and keep those well clear of your beginnings. We'll see you next time 4. Narrative - What it is and how to tame it.: Hello. What? This? Yeah. Hello. Hello. How are you? I've got our next lesson here. Narrative What It is. That's how the statements in the beginning, there was spaghetti on for time. It was hot. Welcome bag. Ladies and gentlemen to the storytellers Muster class masterclass, dance, master classes about storytelling. What? I hope you had a smashing time getting to know your characters on. If you don't know what I'm on about, then go back to the last video and stop skipping ahead. Yep. Too eager narrative story. The beginning, middle and end. The flesh of the beast of stuff that happens, Events caused by characters or the universe is being awkward leading to your characters needing to do something in order to accomplish their goals. That's the definition of narrative that I just made up. Do you know what? I'm pretty happy with it. I hope you want to Also asterisk alert. This episode is gonna be focused on classical storytelling. If you're after experimental or non classical storytelling, then high fives all around for you. But that's not what you're gonna be getting here. If you're not sure what I'm on about your in the right place. So sit back, relax and let's hop to it. Classical narrative is often thought off, being invented or coming from. In theory, at least this guy Aristotle, Kubra Iwas, Cool, bro. He waas, Aristotle being all Aristotelian. He created a Siri's off pillars, the former framework that we can now use to standardize the narrative process, identifying key elements and describing them, allowing us to logically follow a narrative structure that keeps us on track when we're creating our characters and charting the future off them. Welcome to the wonderful and gorgeous world. Oh, narrative theory. By the end of this lesson, you'll be able with a little bit of patients, to take the vast majorities of story you've seen film, TV, theatre and literature on Break Them down to the constituent components like a classic car that you've disassembled for reasons unknown. Because while all good stories are unique little snowflakes, they are all following the same basic structure and the maid of water. Here is our narrative line. We're gonna be spending a lot of time with this little fellow, so get used to him at one end. We've got the first paragraph of our story, the first shot of our film on the first staging of our play. This is our beginning. This is where we meet our protagonist, get shown their world on begin to form our own initial judgments of who we are and what they're up to. Now it could be that this paradigm just goes on forever on a little day after normal day after a normal day. But that's not much of a story. Billy the paperboy gets picked up and that goes to school and then delivers his papers and goes back to rugby practice on, then goes to bed and then gets up and goes to school. Yada, yada, yada on infinitum in Finn item forever. We need our point of destruction. Also known as the inciting incident. Boom! New kid Brandon comes to school. Apologies. If your name is Brandon, you poor thing, It starts bullying Billy. He stole in all the papers and put a needle in the rug. People Bastard! The cozy little pre disruption world of this narrative has been well disrupted. Kicking our story into action. Let's take a few examples of disruption points for a few movies you will have hopefully seen. So we can really narrow down the idea of them and get an understanding of the establishment we see before everything gets messed around. V for vendetta, cracking film Love it. I'm not sure whether our protagonist is e V or V in this film. Technically, it's TV, but you could certainly argue it's the other way around. From a classical perspective, it's e V as she's the one who has our world disrupted by somebody else. We see even in this dystopian vision of London going about her destry p in London a life before she gets accosted by some rather unpleasant fellas, Your protection. This is Excuse me, May, since my uncle is very so sick, Uncle, is it? Would you think that willing Bollocks. What? I think I made a mistake. I shouldn't be out after curfew. I know that you could look after us before getting back to you. See my friend Aires, Kind of sick that you will Real sick. Bad case. The blues. You conceal them. Don't touch me, Willie. Kid, He's got close. She just threaten us. She did that. She did. You know that makes sense. It means that we exercise our own judicial discretion and you get to swallow it. Cut your finger minute. She's getting a picture. Please. I didn't know I'm sorry. Oh, yeah. You know that you will be by sun up. If you're not a serious piece of arsenal London, you should only be sourced. Do this and I want you to get a sweat. Please. What do you think that's spare the rod, spoil the tithe? Drop, swoop and stab and incomes be help sustaining fortune with his steel which smoked with bloody executed way to blame in this tis too much proved that with devotions, visage, embers, action We do sugar. Who then takes her to watch the blowing up off the old Bailey directly exposing her to the revolutionary movement that B is directly inciting. So let me simply add that it's my very good honor to meet you. And you may call me V. Are you like a crazy person? I'm quite sure they will say so. But to whom might I ask my speaking? I'm easy. If he e the of course you What does that mean? It means that I like God, do not play with dice and do not believe in coincidence are you had? I'm fun next year. Oh, I really played my part. But tell me, do you enjoy music? E v? I suppose you see, I'm a musician of sorts and on the way to give a very special performance. What kind of musician? Percussion instruments in my specialty. But tonight I intend to call upon the entire orchestra for this particular event and would be most honored if you could join me. I don't think so. I think I should be getting her. I promise you it will be like nothing you've ever seen. Afterwards, you'll turn home safely. All right. More perfect stage. Could not be asked for. I don't see any instruments. Your powers of observation continue to serve you. Wait. It is to Madam Justice that I dedicate this concerto in honor of the holiday. She seems to have taken from these parts. And in recognition of the imposter that stands in her stead. Tell me, do you know what day it is? Even, um, November the fourth. Not anymore. Remember, remember the fifth of November. The gunpowder, treason and plot. I know of no reason why the gunpowder treason should ever be forgot. First over to Yes, yes, streams. Listen carefully. Can you hear it now? The Bross I can hear she wouldn't be involved in any way more advanced in the course of the film. These guys on most critically wouldn't be in this position. Harry Potter and the Philosopher's Stone literary party was in his house with the awful Does Lee people does? Lee? If your name or last name does Lee, I'm sorry. Deeply sorry. Completely unaware of his wizarding past all heroic eight film future. Then along comes a Now. Let's also consider that UN conceived that is not deliberately planned by a conscious force can also cause our disruption, incident or inciting incident. This is most commonly seen in disaster films, where everything is hunky Doory until boom. A big old asteroid appears atomic. Get him. So when the rogue comet hit, the asteroid belt sent shrapnel right for us. For the next 15 days, The Earth's in a shooting gallery, Even if the asteroid itself hits the water still hitting land little flash, boil millions of gallons of sea water and slam into the ocean. Bad rock. Now, if it's a Pacific Ocean impact, which we think it will bay. It'll create a tidal wave three miles high. Travel 1000 miles an hour covering Californian washing up in Denver. Japan's going Australia's wiped out. Half the world's population will be incinerated by the heat blast in the rest of freeze to death. Nuclear winter? Well, actually, this is Israel as it gets. Oh, the bloody planets align and subterranean water starts boiling in 2012 levy planets. Disruption points. The thing that happens that makes our protagonists need to do something in order to achieve their objectives. Let's hold up a minute and talk about objectives. Objectives are important as they are. The crystallized purpose for your character doing what they are doing on whether achieved or not will most likely form the outline of whatever ending you have planned for this little saunter into story town. That's a copier on phrase by me. Hopefully, characters. Objective is to achieve something or prevent something from happening. Usually that something is being planned by the antagonists. Think of bond films, for example, analysing that objective. Breaking it down into smaller parts means we can assess the scene by scene goals off that objective. Let's take an example for the spy short story that I'm developing based on our characters from us. Some play Vladimir is on the run. He needs to escape the chasing pot. So he's near an airport, perhaps seeking commandeer Plane does even know how I know the answer, and so will you at the end of the into the course. So his goals at the moment could be to get to the airport undetected whilst evading pot so and not getting lost. Which, of course, would go against his 1st 2 goals. Pot. So his pursuer and the antagonised of this narrative has goals that are diametrically opposed to the protagonist, fulfilling the role as the antagonise. So take everyone. Vladimir's goals on his objective. Turn it on its head and you pretty much got pots. Those dolls right there. We've still got two other characters to figure out, but leave that to me now. Let's talk about narrative arcs, also referred to as the character journey. Narrative arcs referred to the change a character makes throughout the course of the story . Let's take one of my favorite films, Constantine. See you. If you don't like it, you need to go sort yourself, John Constantine starts his journey is a selfish, misanthropic dick whose only real motivation is to kill enough demons to get back in God's good graces by himself, a place in heaven that his world at the beginning of our line, he's still trying to buy your way into heaven. What about minions of Set Back? That Alone should give team my times if I told you that's not the way this works when I served him enough. It is only the usual self sacrifice, belief, pulling demons and little girls. Who's that for everything you've never done You. You're never done yourself, earn your way back into his good graces after interactions with supportive and are hidden antagonised. By the end, he does something the John in the beginning would never do. Abandoned his self serving interests in order to save another, you're willing to give up your life. So she called Fine. It's done. In the end, he unwittingly gets what he was wanted anyway, and so the messing goes through. The greatest gift you can give yourself is giving, the more. The point is, the John Constantine has changed radically from where he started to where he ended because of the narrative taking place around on being pushed forward by him. That's his ark. A phrase that you would have heard before is the climax. It functions in much the same way as a musical crescendo and could be interpreted in many different ways. Ah, final battle of grand revelation of rebirth. But always the final struggle, however expressed, is our protagonists. Efforts to achieve their final objective. Darth Vader turns against the emperor. John Constantine makes a critical sacrifice of a critical moment, even realizes her power. A story can have many climactic moments marking key turning points in your characters. Journeys Vendetta, for example, has to Evie's rebirth. Listen, T thing. The most important moment of your life. They took your it took the worst thing only left You found something else, something that mattered more because with you, unless you gave you finished your death. But if you know what you felt, I suppose, Yes, honey, you got it right. - And also that's the name of the soundtrack track That's just so good. It was on the interstellar trail on the explosive final victory off these sedition ist movement. Remember, narrative is synonymous with journey At least in my humble opinion, here's an exercise. Take one of your favorite stories from literature, theatre, film or TV and identify the key journey made by the protagonists. And no, you cannot use any of the examples, the dive or used that's cheating. Stop trying to shape how they are different at the end. To help me were the beginning. Have their beliefs and values changed? How so and why did they achieve their original objective? Or did that objective change as their character did? Now pause the video, grab a note pad and get thinking Now that we've got some of the key pillars of narrative theory out of the way, let's look at some of the optional sign posts that writers off news on All is lost. Moment is a function of a character's worst fears coming to pass. We the as the audience see tragedy before the scene on our protagonist seems further from their objective than they have ever bean. Evie is captured by government forces, so it seems in film and TV. You can often identify the orders lost moment if there is one, because directors and cinematographers treated very similarly music will air bond begin to swell. Time might slow and you'll see a face, usually with a teary I'll to defeat snapped from the jaws of victory. On the Next time you see it, you'll smile smugly and thing. Yeah, I know what's going on here. One way to examine a narrative art for character is to graph their optimism or happiness. It sounds silly, I know, but by doing it you can identify roller coastal wave form as characters have their worlds disrupted. Stakes raised setbacks in Jordan on Finally, hopefully, objectives met. Now let's talk about acts. You might have already heard off the three act structure that is rampant in contemporary storytelling. It comes from classical storytelling, the idea of acts being a rough way to divide a storyline into key groupings of action, each defined by a particular stage and the journeys of the characters or perhaps the condition off the world in which they live is a very, very old idea. You probably first come across it described plainly in place where acts have been used to divide this story and provide intermissions and set changes in such for hundreds and hundreds and hundreds of years keeping active mind, they can act as useful marking tool for analyzing meaning. Breaking down a narrative Oh yeah, I talked about the establishment, which is the world as it is before our point of disruption or inciting incident. This is often the dominant force in the first act of this story on needs. The Your on needs the audience into both the world on the characters as they appear. The first act often ends just after the inciting incident, as we are exposed to the characters objectives and see our first seeds off conflict seats of conflict. Since the conflict sees a conflict, the struggle was we know our protagonist and are antagonised first coming into view. The second acts is often referred to as escalating action. Where we see our character reacting toe are inciting incident on beginning to move towards their objective in whichever way they see fit. And finally, the third axe contains our climax on, however it plays out the resolution. Either the world is restores to its pre disruption state or our protagonist achieves their objective. Assuming the objective isn't to just go back to the way things were together, they form the beginning middle and end structure to which we all become so accustomed. And by understanding that tenets of narrative theory, you can channel your ideas and creativity into a model that is demonstrably compelling, entertaining on above all compatible with our culture and style of absorbing information. But remember that narrative theory is just only on will ever be a guideline as you understand it more and more. Never be afraid to try and bend it there for Break it there. Remember our blank page. There are no rules. Thanks for watching this lesson. Next time we'll be talking about doing some of the writing itself and some key points to consider when putting pen to paper in The Wonderful World off drafting. In the meantime, see if you can chart the narrative for one of your favorite stories. You can do a logical list of actions personally went here, person B shot person. See because Lover Block that's also known as a step outline or a narrative line. Do you want for the narrative as a whole? From the perspective of the uninvolved observer that's you, on another for the protagonist charting their changing world on how they identify and chase their objectives. Thanks for watching, and we'll see you next time 5. The Storyteller's Toolkit + Your First Draft: Welcome back. Hopefully, by now you'll have a rough idea or flash of inspiration on what to do with the four characters we're gonna be working with. Remember Vladimir Estragon pot? So on. Lucky if you haven't yet, don't worry. It'll come. Just give it a bit of time. Or maybe rewatch some of the videos previously Today we're gonna be talking about the storytellers tool kits, which is my fancy pants way of presenting some of the key psychological and physical aids that you can use to get you on your way there. Not complicated on, nor all of them will work for every person. Take your pick or invent your own. Whether you're planning a short story or an epic saga, you're gonna need to start writing at some point. Nobody has a big enough memory to memorize the script, to store all of your ideas in a neat and orderly fashion. So that's why we have notebooks. And that's why we have hard drives. Whether you're a Genesis, stage your initial concepts, staring at your first blank page drafting or first work, or even looking back a completed set of writing. You'll need to be in a particular mindset with a particular set of rules and a particular philosophy. Rules, you say? I thought there were no rules, Absolutely. But these aren't rules for your story. These rules for you. Rule number one sort of schedule. What does storytelling and writing take apart from the Bloods and the sweat of the writer? Time Actual riel Time, Time you've set aside. For example, when I was typing these words recently, it was a Monday and that Monday had do skill share course writing on my calendar. Big Red Box. Can't miss it. You might have heard that the axiom of writing a little bit every day spot on. Of course, what's a little bit is is down to you. But like any solitary profession, doing your writing requires a peppering a professional discipline. Rule number two. Know yourself. This one is just generally a good idea, but it is absolutely, positively. Don't you dare deny it critical for the creative arts. Creativity requires a sense or peace. Some might even call it serenity, where you could just imagine daydream taken, idea and let it play out. See what happens. No wrong and no right, just something going on inside your own head. The grandfather off realistic acting known as method acting Constantin Stanislavsky referred to this as the creative state off mind. Feel free to give it a Google. It's a cracking concept. Try to identify when ideas just seem to pop in your head passes when you're walking around doing the laundry, maybe taking a shower. Maybe it's in the gym or the swimming pool. Maybe your muses only come knocking when you're at the bus stop. Whatever works for you. What ever get the idea? Whatever gets the ideas popping is your life blood identifies and make sure you keep doing it for me. It's listening to film soundtracks when I'm walking what you want. Rule number three You are doing a riel thing, but I was 1/6 form here in Merry old England. You might call it in the higher grades of high school in the US or or something else. I can't list all the different educational systems of the world in this video. I could if it was a subject of video. Maybe that would be into handled skill share. I'm getting sidetracked. But when I was 1/6 form here in merry old England. I took all arts subjects apart from English language, which was a hoot. Linguistics hoot, wonderful buries waas on Sadly, will be this idea that the creative arts of some sort of luxury past time for people who can't get all refused toe work Riel jobs like making piping or something. Now don't get me wrong. Piping is bloody important. But so is off Whatever form it may take, confidence is absolutely critical in creating something from nothing. So take it from me, you're learn it. Tutor that writing a story is as valid as any other vacation. Any of the profession on drives human progress forward to a degree up there with the best of them. If somebody tells you different, tell them to sod off. Rule number four You you Oh, bloody amazing, you know, kills a riser writing on having a voice in the back of your head That's telling you that what? Your writing is rubbish. We will talk about the drafting process in a little bit. But remember And if you can't remember, then just keep rewinding. This video that your ideas are golden you're writing is fabulous on the only person able to tell your story is you. You'll be savage to yourself later during the editing stages. But when you're writing your first draft, there's only you to impress. So take ideas in new directions. Throw characters to whatever shenanigans come to mind, see what happens, experiment and know that what you are doing right there is absolute genius. Big pat on the back for you. Rule Number five. Don't Stop the music. This one's pretty simple and pretty short. When you started your committed finish it. I don't care if you tired. I don't care if you've just adopted or given birth to 40 Children. I don't care if you just become the president of the United States. You've started, so you'll finish 10 minutes a day on our day. Whatever you can do, do it. Roll number six. Writing Time is secret. We talked about sorting a shed RL finding the time and getting into the right headspace to dream up some cracking narratives and characters. But it's all for North. If you spend half the time on Facebook or picking up your pinging phone or sell, writing time is sacred. Writing time is sacred. Writing time is sacred, wherever you do is try your darndest to make sure you're not interrupted and you can shut the world out for business. You're inventing an entirely new world so you don't be bogged down by the old one. Some writers turn off the WiFi and unplug the phone line, closed the curtains, do whatever it takes to make sure that when they're writing there is a bubble of antisocial Go away around them because you're writing and writing Time is sacred. Rule number seven. Don't overthink it. Um, I using too many adjectives. Does my audience really care that Timothy, the piano prodigy, has a birthmark of Catherine Zeta Jones on his right thigh? Do I need to describe the exact hue of the sky at 8 47 PM? Who cares? As I said, Everton comes later. And so if you're writing and you catch yourself second, guessing yourself while writing the first draft dismissed the thought and carry on. If you can't dismiss it, it's time for a cup of tea or coffee or juice or whatever You want a drink and there are my seven rules. They're amalgamated from my own experience, as well as comments made by some of the most famous authors in history. Given a Google, if you're interested in learning more now, we come to the process of actually writing the words. This is called drafting. Why is it called drafting? Because no matter how long you spent on it, no matter how long it is, how many awards it's gotten, it is never ever finished. Just like our universe isn't finished when we go to sleep. At least that's how I viewed it. There's probably some juggernaut to has a different in fancy of you, but hey, I'm afraid you're stuck with me in script writing. You've got D ones de Tuesday threes, Defour's etcetera, etcetera. These are the drafts, and they can vary enormously between versions, so D wanted a first draft E three is your third draft. Writers have been known to and often do completely rewrite their entire work because of a flash of inspiration or a critical floor identified in the editing process, either by themselves, all by whoever is asking them to write it. We publish that or movie producer. We've talked about the first draft already. Far. It will go for it. Just get it down on paper and see we've got I'll be looking at your ongoing projects and giving feedback as you progress in the next lesson you're here. My short story, what I've done with Vladimir Pot So Estragon and Lucky and then in the video after will break it down into its constituent parts, a process known as textual analysis. So keep riding, Best of luck, and I'll see you next time. 6. A Storyteller's Story: Welcome back, ladies and gentlemen, to the storytellers. Mosca class, We've already learned that analysis is breaking something down into its constituent parts. Allowed us to study and learn from those parts and how they fit together. This is a lesson five. I wouldn't really call it a lesson, because it's mainly just my story s. So it's gonna be a little bit of an audiobook episode in the next video. We'll break it down and use some textual analysis. So for to that, before we begin as we're going through, try to define the inciting incident The protagonist and antagonised Any supportive characters. But most importantly, I need you to be in space. That is quiet. Solitary on a bubble with good WiFi. Stop the video needed. Let's get ready. Okay, ladies, gentlemen, close your eyes. Andi, enjoy my short story. Or do you book? I can't remember what I was thinking that morning. Or even if I was thinking the only things I do remember or of a forest in perfect stillness illuminated by the Arctic son in the clearings Onda golden dusting of light below the canopy. I remember pain in my lungs in my shoulder on the constant brushing of pine needles against my face, each one depositing droplets of dew on my face. I remember that particularly as I was in the belief that every drop represents a new pine, another step forward progress in that final race. The beginning of this story was never written by me, but rather by politicians making decisions before I was born, my parents making decisions before I was born. That night, after some months of musing, reading and hearing my colleagues talk about their assassination missions, the Satanic Americans and the ever growing nuclear rocket force of the Union, I perhaps committed suicide. I dared to dream that maybe, just maybe, our enemies are our enemies only because important people wish it so. A dream I shared with my sister that night. As I showed her the copies of the war plans. I had secret ID out of the KGB. After 23 years of our parents constant indoctrination, I gambled everything on my sister's confidence. I showed her the microfilm. I told her what was on it, and she wept, her face sunken and hidden. I could feel blood rushing away from my skin and brain horror But after a moment she turned to face up to meet mine with a tear soaked smile. She had felt the same way since she was very young, politically critical as early as 12 years old, on been in trouble a couple of times for vandalism with the police. Perhaps why are parents were much harder on us both since then, and Papa insisted I joined state security. In a turn. She was smiling as she finally felt ready to share her darkest secret for the first time, she stood up, silently, towed to the dresser and retrieved a small knife that I knew Mama had been looking for for weeks. The mattress of her bed was pushed up against the wall, exposing a sewn wound on the bottom. She cut it open and reached inside. I remember how I couldn't help worrying. She was about to be pointing a gun at me or even maybe, that our parents would storm in for some reason or another. Out came her hand holding an envelope. It looks battered birth. I didn't really wish to know what my sister had been doing on her mattress. She used the knife to open the envelope and then passed it to me. It was a map of the Northwest, with us in Moscow, at the bottom right corner and a place called Kuusamo in Finland, a few inches from the opposite corner, the Finnish town was circled in red and in English, second Wednesday of thirties Tinkerbell with gleaming eyes. She out poured her plan in shouted whisper, her enthusiasm startling and both stirring and optimism inside me. She had already interpreted the message on the place. Cruce Imo had an airport built only a year ago, Onda on the second Wednesday in a month, with only 30 days a plane would take defectors to NATO countries. I asked her where she got it. She said it didn't matter. I insisted that it did. She never answered the question. She asked me what Tinkerbell might mean to which I replied, I had no idea because I didn't. I could read a few words of English and speaking OK, but German was my official assigned language of the KGB. I'd never heard of Tinkerbell. I didn't sleep. It'll that night Was the map a fake? Was my sister lying to me? Why wouldn't you tell me where she got it. Did she make it herself? Why would she do that? As the sky turned to black and then darkest blue and beyond, I knew that this was something I couldn't forget and certainly not ignore. That morning, I called in sick to work. After I told Mama that the neighbor needed to see her urgently. The description of my explosive symptoms met no resistance from the office. I grabbed my bag filled with all the money I had on the map. I opened the front door knowing that I'd never return on. Although it fills me with grief. My connection to my parents had been stolen by those same people who had stolen the minds of the many Russians who toiled along the streets. I walks to the train station, praying to God to not encounter any of my colleagues and boarded a train to Leningrad. My sister, she had left a note under my bedroom door. I'll make my own way. I love you, Vladimir. I felt conflicted my head telling me that she wasn't coming with me lead to suspicion that this was all her plan and I was completely reliant on it. Led to more suspicion but my heart and the fact that she was the only other who felt like I that I had ever met and then not arrested or killed all that death weighed particularly heavy that morning. The train arrived in the city in the early evening to head north. I would need transport. I'd consider taking another train to Murmansk. But my paranoia, now that the shoe was on the other foot, led me to develop an allergy to trains. I've heard of people being poisoned and trained toilets and not being found for hours, all of them defectors or enemies of the party. I left the station bag in hand on bought food, water and cigarettes from aggressive. Nearby, a sign behind the cashier spoke of a van for sale, bad condition but reliable. He saw me looking at it and asked whether I needed a van. I said, I need transport. Yes, 2000 rubles. I gave him the cash. He threw me. The keys told me it was parked behind the store. Brown, dirty, rusted upholstery, Toran and cigarettes stubbed out on the passenger seat. But it moved and it was fully fueled. I took out the map, seeing that I would need to cross into Finland avoiding any border crossing points. After that, I thought everything should get easier. After a pissed I got moving and was soon out in rural northern Russia, the endless fields of trees, empty roads, cold and rain are sore. Only five cars over six hours. But then came the sixth. I was planning to stop and sleep. It was probably around midnight on Wednesday. The 23rd on the September winds and darkness was certainly creeping southward from the Arctic. The car behind black with windshield tinted the same. No face in the mirrors, keeping a distance that seemed quite deliberate. This is being the second time I had suspected someone following me. The first turned out to just be my nerves in paranoia, but this looked riel. I was about an hour to the border, but I knew I couldn't drive through one of the checkpoints and about 20 meters behind me, the Mercedes I couldn't see the registration. Government cars always have a certain kind of plate. At some point, I would either have to crash the checkpoint or try to find another way. The airport Kuusamo should be somewhere near the border. According to the hand drawn map. The checkpoint ahead it to final FCA was 20 minutes or so away. I had to check the car behind. I had to know. I pulled over and turned off the lights and engine. The car just sped past, but just a zit did. I turned on the lights and saw the plates. Government. I had been discovered. I don't know how or by whom, but a government car was tailing me. I took a moment to just just breathe and think his objective was to stop me from escaping the that I was sure. As for the plan now, my options were limited. He was now speeding ahead of me. I wondered whether he would stop near the checkpoint or perhaps even take charge there. I couldn't take the risk, but I couldn't turn back, and I couldn't abandon the truck and go on foot. After this crescendo of impossibility, my heart sank. But I knew I had to find a way. I decided to continue towards the checkpoint. I was low on fuel anyway, so going around the checkpoint or heading into northern Russia would have been pointless. The road in front of me rolled beneath. I see, and under a bright moon every mile closer to some sort of showdown. The price for my freedom. Perhaps there was a queue of three or perhaps four cars ahead of me. Lights off, engine running. I did the same. I looked for a man in a special uniform and I waited. A few minutes went by and a call was let through. Well, moved up and then I saw him. The car in front of me had turned on his lights, and a man in a special uniform shouted at the driver to turn them off. His name was Pato. Well, I mean, it wasn't but that was his code name for field operations of the KGB. We were both in the same training class and even close friends for time before a woman got involved. But that's another story. Was he trying to stop me or trying to help me? Did he deliberately passed me by, as opposed to killing me on the spot and burning the truck one more time? A leap of faith The next two cars will look through quite quickly. Then I arrived at the barrier, I rolled down the window, my heart audibly tapping. And there we were, face to face again. Out! He shouted as he walked away from the door and I got out. Turn around. I did, and I also wondered why he was speaking in English, as I was confident that only I was able to understand it and not the guards. He patted me down. And then I felt something being slipped into my coat pocket and then finally whispered Airport 5 a.m. Gate 19. He then told the guards to let me pass in Russian. I got back into the truck and crossed the border into Finland airport. 5 a.m. It was now 22 1 Wednesday morning, and so as I drove, I looked for Kuusamo on every sign I could see nothing. For several miles and several miles more, I found a gas station but paid a higher price than advertised, as they don't normally accept rubles. But I had enough to fill the tank, take a piss and get some more food and water. It was 2 20 in the morning, driving down this road until I found a sign for Kuusamo. Elated, I pulled over it. Read Kuusamo, 732 kilometers. What? I shouted to myself. I could never get there in time Pot. So had a powerful car. Which means maybe he could, but not me. Certainly it was then that part so appeared and he spent passed along the road that led to the capital Helsinki. I knew they had an airport there. That must be what he meant. And so I sped along the road to Helsinki trying to stay awake and on the road. Helsinki Airport, 4:40 a.m. I was in the almost deserted terminal and I found Gate 19 going to Kuusamo, which a local map showed was far, far in the north of the country. I spit on and tore up the map I had been given. I bought a one way ticket to Kuusamo and boarded the plane. When the gate opened at 5 a.m. It was a small plane, perhaps only 40 seeds, but I could see a bald head. I recognized two rows ahead of me. After the plane took off, he rose and sat in the empty seat next to me. Hello, Vladimir It's good to see you. Will I be getting off this planet alive? I replied, looking at me straight in the eye, Only a yard or so for my face, Putzer said softly. We will talk after that. You are either dead on paper or dead for you. We arrive in an hour. So let's play a game, ask you a question and he wants a truthfully before I know if you are lying, then you can ask me anything and I will do the same. What's this? My intellectual last supper? Why did you come here? He said, because a map came into my possession. Maps come into your possession frequently. At least they did. I'll ask again. Why did you come here? Because I want to flee the union. And I found a way out. Thank you. Now it was my turn. How did you know that I was running so quickly? Why? Why you in particular, like all KGB field operatives that are audio transmission devices in every room in your house, every room in mine, an analyst pop to tape and your name into the entry of the Internal security office. And then they sent me because of our personal friendship. Satisfied? I nodded waste. You heard my sister. That's another question. But fine. Yes. Your sister went dark that very morning. And despite the agency's best efforts, we don't know where she is. If you do, you should tell me. I don't noticing how the rules of this so called game are already getting quite flexible. He looked at my eyes, my face in my hands. I took a breath and said, No, you don't, Do you? Okay, Vladimir, Here's the crunch point. Why have you betrayed the union? This, I felt, was my only possible chance at survival. We had been taught the value of argument, particularly in interrogation. I knew the KGB sent him directly because of our friendship before he said it standard practice, empathy being the veil over the dark face of espionage. I told him about my feelings of the world we live in being not of our own, making our enemies fabricated in the threat created, not out of genuine danger, but in order to assure allegiance to the party that we were not free. We were not true communists. We were murdering true communists every day for standing up to the Emperor as I saw him finally, that I was not about to betray state secrets. I just wanted to be free. There was a long silence and a sore woman on the row opposite. Looking at us, we had obviously created a whisper theater on the plane and had a ground audience of one. You're lying to me. Give me your bag. I did so and he got the microfilm. I had secret it out. I forgot I had that in there. To be perfectly honest. More of a crime of passion than subterfuge. He took it and placed it in his pocket. Do you have any questions for me, Vladimir? Last johns. I was sure I was a dead man. Have you made your decision? I have. Enjoy your flight, Vladimir. He got up and return to his seat. I slept the rest of the journey. I don't know how, but my brain just shut down from the panic and the stress and exhaustion and fear. I did not dream. I woke, grabbed my bag and left the plane to enter Kuusamo Airport. The sun now filled a cloudless arctic sky and I struggle to remember what the word was Father Bell. Drink it something like that in the terminal. I was looking at the departure board for anything that sounded like the word I had for gotten. Next thing I knew, I felt a gun pressed into my back. Walk with me, Vladimir Not so said. Sure, I was about to die. I just began to submit. We silently walked out of the building and onto a road. Outside. There were fields Onda, forest of pine. We walked through the forest, the gun still pressing in my back, shrouded by the trees pot. So told me to get onto my knees and pray. I did. And then he pointed the gun at my head and said goodbye. A click. Vladimir shot dead by KGB for treason. Body burned on site remains buried, he said while writing on a form. Then they looked at me. Be free. Beyond the pines, there is an airstrip, a man in yellow overalls wearing a cap with a fairy on it. He will ask you where you want to go. You will say second start the right and straight on till morning. Repeat it three times I did, looking at his watch, he said, Get moving and never, ever turn back. I ran through the pines do marking progress as it slid onto my face from the needles, my lungs burning as Iran. I remember curiously thinking whether my truck would be all right in Helsinki on, then silently laughed at how insignificant that was. Now I ran and ran and ran until finally the pines cleared on There it waas, a white plane and a man in yellow overalls. Everything looked almost brand new. Where do you want to go? Started the ride told the way to morning. I replied. Close enough, he said in a heavy French accent. Then I boarded the plane and sat next to you. You know, I already knew the parts where I was there. My sister said, Stop saying things like that, Vladimir, my sister said, Oh, and there we are. I hope you've enjoyed it. I've deliberately included errors in my story as well as any story. What if you can find them in the next class, will be taking my story apart, piece by piece, analyzing its characters and narrative to better understand. The techniques are used to describe settings and to bolster the story. Also, did anything disappoint you? Was anything left unresolved, Jonah down and think about what this story could have done to avoid such tragic disappointment. I want you to try your best to do that ourselves, using everything we've learned so far by now. Hopefully, some of you will have finished drafting. But for the rest of you until next time, keep bloody writing. 7. Textual Analysis + Profiting from your writing!: Hello, ladies and gentlemen. And welcome to this final lesson on textual analysis. Thank you very much to all of you who have put so much time and effort into learning in this class on now you want you feeling a little bit relieved That's coming to an end. I'm looking forward to seeing what you've all done based on our four names. Estragon. Lucky Pot! So, Vladimir, in this lesson, we're going to look at the story that I told you in the previous one. We're going to cover the characters. They're arcs. And the narrative in detail will look hooks, payoffs on the climax, although I'm hoping that you've identified a few of those already. So let's begin where we should. At the beginning, you may have noticed that the first paragraph does not describe the first act of the story . In fact, it offers a glimpse of the final act in this case after the climax. But we'll get to that later. This is the hook a piece of writing designed to get the reader to keep reading. The motivation for doing so in this case is to discover what are as yet unnamed protagonist was racing from on door to the heavy descriptions. Lay it on this layer. The heavy descriptions led onto the scene help allow the reader to visualize that first scene, meaning bell. Visualize the rest of them. So that's one the establishment. There are two inciting incidents. There are two inciting incident in the opening act of our story, the moment where Vladimir steals the microfilm containing Soviet war plans and when he shares it with his sister, a character who turns out to be rather lucky, don't you think? But the most important part off the first act is how it deviates a little bit from the classical storytelling method. The ultimate destruction in Vladimir's life is Vladimir's life itself, living in a nation he has no faith in living under leaders, he is convinced a lying to him. Throughout the story, Vladimir makes several references toe horrific scenes of murder on brutality that he has been witnessed two or even part off. Particularly important is that he feels his story is never written by him. He desires freedom to find his own way and live his own life. A many climax also takes place in the end part of the first acts the moment when his sister takes a knife and turns away from him. Let's take a look at the character and narrative arc for the first acts. We'll do this for the second on final act as well. So the ultimate disruption happens before the story itself, on environmental disruption to the character, then his inciting incident caused by his decision to steal state secrets, gambling everything by sharing what he has done with his sister on. Then finally, the end of the first acts his decision to leave home and try to get to Kuusamo. Vladimir has perhaps for the first time in his life, made a decision that contradicts both his parents on his superiors. He's lied, Stolen on plans to flee is making his move now because of the inciting incidents that gave him an environment that made it possible skilled lying to the KGB and, most importantly, belief, however tenuous in his sister. But pot so is already present in the first acts by proxy. We learn that later that the first act includes him through the use of a surveillance device in Lucky's Bedroom Act to the action. The second lacks takes Vladimir to some Petersburg Leningrad in 1980 something where he buys a vehicle and heads north to cross the border into Finland. He is quite suspicious, but because of his background he is particularly skilled on identifying security agents here. For the first time, we see Vladimir and pot, so cross paths indirectly on. Then later directly another mini climax here, where Vladimir is identified. But because of their prior relationship, on exception is made. The message slipped into Vladimir's pocket, allowing the story to go on. The usage of language allows pots Otik. The usage of different languages allows pot, so to take complete control of the flow of information. The checkpoint, which tells us both that he has the authority to take command but can secretly work against the state right under the watching eyes off its own guards. How did you feel about Potter at this point? Still the antagonised. Now that the two characters have interacted for the first time, let's take a look at their objectives. Vladimir's primary objective to get to Kuusamo is the same pot SOS objective is to stop Vladimir from leaving Finland on recovering the stolen materials secrets it from the KGB in Act one at any cost, there isn't all is lost moment Shortly after the checkpoint where Vladimir discovers it would be impossible to drive to Kuusamo by the end of the day on the next rescue plane, there wouldn't be arriving for over a month. But then we find our antagonised directly aiding our protagonist by clearly driving past him towards health Sink E. This leads to an important realization regarding the note that pot so slipped in his pocket . It wasn't Kuusamo. It was Helsinki, where Vladimir boards a plane to Kuusamo on DWI. Shortly, Discover is accompanied by pot. So by the end of act sue, we know that something is disrupting pot. Sirs Objective leaving at three unpredictable Paul so could have salt arrested him at the checkpoint or on the road to the checkpoint. But he didn't. Why? Because that's why we have an act. Three. Act three begins on the plane and has one of several days. Ex Mariner moments. The France is Latin for God in the machine. In the context of writing and storytelling as a whole, it's used to describe a part of the character environment or an event that comes out of nowhere and solved the problem. In this case, it is that pot so knows with perfect accuracy. If Vladimir is lying to him as the conversation progresses in the recounting of the scene, we conceive Vladimir's fourths on interpretation of this interaction as either his final conversation or perhaps with a little hope, his final chance. Now, of course, the climax comes in Kuusamo. The click Paul so abandons his original objective on merely fakes its completion. What made him change his mind? Your guess is as good as mine and, of course, the pine needles, the plane, a bit of humor. And then the finale. The framing device for the entire story was Vladimir telling his sister off his travels on , then a little bit of humor to leave everyone with her fulfilling Andi happy ending East tricks. Now there is one Easter egg in this story that allows you to determine exactly which year the story takes place. In an act to Vladimir accounts in Act two, Vladimir accounts that in the morning of the 23rd a Cold September wind was blowing in from the Arctic Wednesday, the 23rd of September that could be 1981 or 1987. But as Vladimir Remark, the airstrip looked almost brand new. It's 1981. Did you see that? Feel proud? If you did, Easter eggs add re read value on our little bit of fun That can deepen the readers connection to the world of the story, which can in turn, help visualization errors. Onda omissions. I didn't really have time to visit Russia or research the policies and methods of the KGB in writing this short story on. Most likely, neither will you. So that's why artistic license is a thing. In reality, war plans probably wouldn't even be stored in the KGB building. That hurts authenticity. I could have picked agent code names or Code Cyphers instead. Also, I seriously doubt that a KGB officer would just be given the day off sick without a visit to confirm it. I just didn't know I tried to make travel times from some Petersburg, which, of course, was Leningrad in 1981 to Helsinki. Somewhat realistic. But if any of you are living in Russia or Finland, let me know if I got it wrong or somehow, inexplicably right. Historical stories require a great deal of research into the environment to be authentic to the learning reader. And such readers are likely to form quite a large part of the audience for such a work. But I'm a writer, not a publisher. I just trust my gut. The based on a true story method is excellent, and I have plans for such a work. Interviews with surviving participants is a facet. Interviews with surviving participants in a fascinating story allow artistic license in a world that waas riel but grounded in observable facts. On this concludes the analysis off my story, and I can't wait to see yours. We made a change. I'm gonna give you up to 1000 words to play with, but try not to make it blows it. You don't have to describe every footstep, but do focus on your characters, your narrative on any Russian Cold War defector. Stories are off the table. I am afraid finally, ladies and gentlemen, let's talk about making money from writing first and foremost as a career fiction novelist . Write a manuscript and is it editors again get friends and family to read it, then edit it, then edit it again and then send it Toe publishes who are accepting unsolicited Manu scripts. That means stories that they haven't specifically asked you to send short stories outside of being in anthologies when you're probably already famous, have great value to, especially if you are looking to get a literary agent. This is a middleman or a middle woman between you and the publishes anything from novels to screenplays, advertising, copy and everything in between. They'll want to see a variety of work, different styles and different modes for different audiences. But even if you choose not to go down this path, your new skills that storytelling can make you a star parties incredible presenting on world class at public speaking. Because all of the things considered everyone loves a good story, and now you know what one is on? How to create it. Don't forget your homework. Do expect a story and don't stop rising. If you know anyone who you think would benefit from bolstering at their creative muscles, then do let them know about this class. I've been Jacobs equi Manchevski. Thank you for watching the Storytellers masterclass right here on skill share