Transcripts
1. Introduction to Storytelling for Beginners: What's the secret? Unforgettable storytelling. Welcome to storytelling
for beginners, three structures and frameworks. Examples from three masterworks. So here's the thing. When you think about structure, There's a lot of confusion
for variety of reasons. The first reason is we don't know which structure to choose. How you need to do is
a Google search to see that there's so many
structures out there. And then the second
thing which is really hard to figure
out once you've actually told them to structure
how to apply it. What are some examples that can illustrate how the
structure works? Then the next thing is
really funny on where are you in your
storytelling journey, whether your first draft
or either tenth draft, you will need a different
structure to really help you. Really useful, wouldn't
it? If somebody would actually analyze
the pros and cons of the structure so
that you just have to know which one to use
when you need it. So here's the thing. I have actually gone through lots of different structures and chosen the top three that I think would be the
most useful to you. And so the tree structure that we're going to do it again, or the three-act structure. Stories circled by Dan Harmon and apply fundamentalist stories telling my story written in terms of the masterworks
wouldn't be looking at, and we're going to be looking at three of my favorite stories, which is Harry
Potter, Breaking Bad. And so by the end of this course,
this is what you're gonna get. You're gonna get a breakdown of all three storytelling
structures. You're going to
get an application across three masterworks. You're gonna get a
pros and cons lists so that now you know more
have to struggle with figuring out which
story structure to use depending on where
you are in your dream. For best results. I definitely advise you to actually know these stories because
otherwise you might just find that
doesn't make sense. I would also suggest that you practice the structure
before you check my answers because that will
actually give you a feel for what each of these
structures represents. And also if you're actually
currently working on a story, definitely use the
structure and see how it applies or doesn't apply. And tried to understand
why my name is Sabrina Monday and I'm a multimedia storyteller
for over a decade. I've been helping
people transform their lives using the art and science of storytelling
that helps entrepreneurs, non-profits businesses
all tell stories. I do this by using my
experience as a TV journalist, as a writer, a
filmmaker, performer, and somebody who's
really just been very, very passionate about
storytelling and all the different
genres that I have had, the honor, and exploring. I currently for story time tips on my YouTube channel
at subpoena pandas. So if you have any
questions or concerns, you just want to get
in touch, please do, because I would
love to hear from. Alright, so now let's get started and get
to less than one.
2. Structure #1: The Three-Act Structure: Okay, so we're starting off
with the three-act structure. Aristotle said that every story needs to have three
distinct parts, a beginning, a
middle, and an end. If you're familiar
with seeing the cat, which is a great resource on screenwriting by Blake Snyder. He says that it's actually
crisis, struggle, resolution. Others that I have
read her thesis, anti-thesis synthesis or
normal explosion, new normal. The point is that we're talking really about three distinct
energies in a story. Here's the thing. Actually, if you do a Google search on the
three-act structure, you will find many
different diagrams look like this that I
have just put together. But what I really wanted to do with narrow it down
so that they're just the most essential
elements that I think are absolutely key in
kneeling structure. As you can see, there is the
y-axis, which is attention. And there's the x axis, which is going to be a ton. And our story is going
to begin in act one. It's going to take us to
the end and then enact one. We have two points,
which is the setup, which is the area where we have all the information
about the character, their backgrounds,
setting, everything that we need to know for the
world to be established. Then there's going to be
something that happens which is called an inciting incident. This is where the
world gets pulverized. Verizon some way something hits against the wall,
has shake things up. Let's inciting incident,
which is going to carry us energetically into act two. Act two is actually
defined by two things. There's going to be a
movement of struggle. It's a rising app. And it gets to a point where in the mid points somewhere
things change dramatically. Think of it as a 180
moment. The mid points. That's going to take
us to what's called the dark night of the soul, which is this area crisis with character really has to
decide who they want to be. Once they've made that decision. We are carried over into act
three and we hit climax, which is the highest
energy point in the story. And after climax, all
the action has to fall. You cannot have
anymore rising action, climax because then
it's no more climate. So this part here is called the Denmark or the resolution. The resolution down here,
but this whole experience here is tying up loose ends. So as you've noticed there,
these two turning points. Turning points is a very
important concept in storytelling with
who is looking at me more detail in
another structure. But I just wanted to
emphasize it here for you so that you
realize that there are areas in a story which have to really lock
the story in place. And in the three-act structure, these would be those areas.
3. The Three-Act Structure - Harry Potter Example: So welcome to the first story. We're going to be looking
at Harry Potter, enact one. We are here too. We're normally hear. And act three year here. In act one will be first discover is that
there is a boy who lived. There is Harry Potter. His parents were killed by
someone named Voldemort. There's a wizarding world out there than exists alongside
the ordinary world. Then discover that hearing
is actually living with his aunt and uncle and
his cousin does v, who are horrible to
him and that he has no idea who he is and
where he was no longer. So this is, as you can see, the exposition, the
setting up of the scene. Now we're going to need
an inciting incident. The inciting incident
comes in the form of the letters and Harry
was he's from Hogwarts. These aren't able to open because of the resistance
by the, by the Dursleys. But once those letters
actually come in, his world is completely
changed forever. So that is going to
take us into x2 and y2. Everything that's
basically happening is going to be a confrontation between hearing and different manifestations
of Lord Voldemort. In the first book, the Lord
Voldemort, as Professor.
4. The Pros & Cons of the Three-Act Structure: So why would you want to
use a three-act structure? Well, the pros of using the structure are
really then it's easy. It's simple. It gives you an overview very quickly of how things
work in a story. You just have to think of the
first, second, third act. And an easy way to do
that is actually by thinking about the title
for each of the x, like we just did in
the previous video. We created a title
for each axis. So boy, who lived
the chosen one? The chosen one to see how easy it is to follow
through and think, okay, if I want to put an
element in the story, which part would fit into another great thing
about the structure that is very versatile. So you can usually stick it onto any other structure
that you're using so that you can get a zoomed
out perspective and doesn't lose everything
else that has got going on for it in reverse. Instead of zooming out, you can also use it to zoom in. So let's say you're working
on a particular sequence for a particular act
or particular beats. Within each of those honors, you can actually add a
three-act structure or a three point structure with
a beginning, middle, end. So it's a really useful organizational
tool in that sense. Now on the flip side, the con, about this method is that it's actually not very
detail oriented. For example, if
you wanted to know the connection between each
of these elements like the inciting incident and the climax or the inciting
incident and the midpoint. You will not get necessarily the information
from the structure. For that. Let's look at something
else. Look. So again, if you're looking for
a general overview, if you're looking for
just some kind of rhythm to break up what you
feel like it's not working. This is a great
structure to use.
5. Structure #2: Story Circle by Dan Harmon: Alright, so moving on to
our second structure, which is Story Circle
by Dan Harmon, who is accretive the
weekend morning show. There's a lot for us to
cover, so let's get into it. So how does this structure work? The hormone story circle is
actually eat part circle. And as you can see, there's
12345678 parts to it. One part on the right hand side is all focused on
stasis and denial, the vertical red line, whereas the left hand side is focused on change and awake. Basically, what you're
thinking about a story is that it's a journey from
darkness to light, from stasis, change from
denial to awakening. And what Dan Harmon has done
that is broken this down further into specific words. So each number has a word. First word is, you
need to go search. You go through a search,
lots of things happen. You find what you wanted, whether you like it or not, you pay the price. I really like that
term rather than take, I think it's much
more intuitive. You return. And that's
very important because you have to go and return and
you are changed in some way. Now, just to
illustrate to you how the previous structure and the three-act structure
is still relevant here. I have added in the act so that you can see that
actually one will be this whole part here between first establishing who you are, what you need from
the fact that you're going to cross over
the threshold to go. The second act is where most
of the things will happen. The third act is where
you actually return and you have to share whatever it is that
you have gotten. Your journey to discover.
6. Story Circle - Breaking Bad Example: Alright, now let's
see how the Dan homes three applies
to breaking that. We have one squared is brilliant chemist who ends up being a high school chemistry
teacher who is absolutely disregarded by
everyone including his family. And he now claimed that
he has terminal cancer. Given that it's already in
financial precarious position, this is a death sentence
for his family. And so Walter White needs money. Because he needs
money, he goes quest. While going on that
question, he comes to me, Jesse, with whom they become
chemistry and buddies. Creators of mesh had a myth in part as for the
search and the trials, Walter we see
actually evolves from going from having
to kill people, to save his family, actually enjoying the process
of killing people. So he starts off by Emilio, and then very quickly he's confronted with
two CO and then, and then suddenly Michael, he kills for actually no reason. And then as the
query progresses, we see that he actually wants to eliminate even just equal is pretty much the only person he really seems to care about. What Walter finds, his journey, that he is not who
he thought he was, he actually is the danger. And as a result of that, he paid the price, which is a he uses
his family, he loses, his brother-in-law, ends
up completely alone. That anyone at this point, Walter is in a crisis, is isolated,
everything is worked so hard core has
fallen out of path. And he's to decide
how he's going to return or if he's willing to. Richard. And I personally
returns, it seems like he's coming back
to exact revenge. But actually, as we
watch this scene, in particular where he
finally admitted to his wife that he
did it for himself. You see that he has changed. And so ultimately being
the danger that he is, he goes and kills everybody. And he also finally recognizes the damage that
he already did to Jesse. And I'm really suggesting we see that throughout the whole
story the character has gone from one area of stasis of denial to a new
place of a weekend.
7. The Pros & Cons of Story Circle: So why do you want to use
stories circled by Dan Harmon? Well, the first reason
is really because it's a watered down version of the hero's journey, which
you might have heard of. The hero's journey, is an 11-point journey not
tell by Joseph Campbell, which tries to explain how all the different stories around the world have these
11 elements in common. It's very complex,
it's very detailed. And sometimes I frankly don't think it works
because they have many honors that I do not
believe applied to all stories. And that is not a formula that reading wants to
lock yourself into. And that's what this structure
is actually really great because it's very versatile. And actually Dan Harmon
calls it the story embryo because rather than
locking you in, it just tells you, first
of all, even a story here. If you just call these
eight points there, a story that can make sense and does it
have changed in it? Another thing that I love about this structure is a symmetry. So let's go back so that I can show you a little bit more. As you can see, there
is a u and then there's a finer like
there is a need. There is the paying the price. For example, in the EU, we see that Walter
White is completely the opposite of this
character that ends up in terms of the need. We see that for money, he pays this price. In terms of going. We see that at first he's on his journey and it's
really exciting. But when he returned, he is
a totally different person. The searches and the trials
that he goes through, this suggests that he's going
to become worse and worse, but he actually ends up
becoming relatively better. And it says that he actually
ends up becoming honest. He stops telling a
story of the good guy. What I love about the
symmetry that really locked into place with that
be in your face. It's very discrete. It's only
when you actually analyze things and put it
together that he said these things connect. And that's very, very
satisfying for human gradients. And what's great about
the structure, again, is that you can use it in
different units of stories. Whether you're telling
one act and you can still put the story circle within that act to see
that it's evolving in the wage should you can
also put it in a sequence, you can also put it
across multiple apps. So it's very useful
to get an overview, to get a micro view and switching here and there
depending on where you are. Now the con, of this, just like the
three-act structure, is the detail, while there is more detail in the structure, is still not as detailed as you might need if you're
on your tenth draft, for example, you might
need something a bit more detail in a
bit more nitpicky. So for that, stay tuned because we're
going to be checking that out in the next video.
8. Structure #3: The 5 Commandments of Storytelling: Alright, so now we're going to look at the five commandments of storytelling taken
from story. Great. Story was actually created by Sean Coyne was an editor and
let's look at many, many, many stories and tried to
figure out which are the areas that require more work for the story to be the
best it can do it. I approach this structure is
to think about everything, almost everything
as a turning point or potential turning point. And a great way to understand the turning point is by looking at this quote by black slider, who looks Save the
Cat and who is definitely a go-to
person for all things, screenwriting, turn, turn, turn. The plot doesn't
just move ahead, thins and intensifies
as it goes in, must go forward faster and with more complexity to the climax. So really the idea is about something turning
as it's moving. And so you can imagine that it's got a different momentum. It's not just going up, which a lot of people
tend to think, especially beginner
storyteller, that they just have to
keep moving, moving. It's about getting
this part to be pushed and pushed and pushed
and having to go up as well. So it's multiple energies that are going at a higher speed as you're going up towards climax and having to
resist big returns. Another way of
thinking about this as actually by looking
at what's called the emotional color wheel
or shifts in value. So thinking about
new story that you like or just comes to mind, and how different parts of the story make you
feel differently. And why they do. That is because
within the story, the writer or the
creator has put in different shifts in value. So normally, this is what a story grid story
would look like. As you can see, it's extremely complex, it's
extremely detailed. And I'm very happy
to tell you that that's not what
we're going to be looking at today because that would take at
least five hours. Instead, what we're going
to be looking at are the five commandments of
storytelling by Sean Coyne. The first is the
inciting incident. The second is a turning point, progressive complication, which is a very
complicated title. Christ, third thing is a crisis. Fourth is the climax, and the fifth is a resolution.
9. #1 - The Inciting Incident: So the inciting
incident is a bowl of chaos that throws the
character's life out of balance. So this is a point where
nothing can ever be normal. Again, there are three things that I want you to
think about when it comes to the inciting incident, which I've color-coded so that it's easy for you to understand. The first is when
it occurs in pink, what kind of incident? It is in green, and how it is not random. It cannot be random and
it has to connect to the end in an inevitable
and surprising. So let's just go back
here for a second. Because in pink, I've basically highlighted
when it occurs. So either it occurs immediately as soon
as the story begins. We'd occurs in medias res in
the midst of all the action, or it occurs in a delayed ways. We've got a lot of exposition. And then finally,
that thing happens. Then why does it happen? Does it happen because of
something that somebody did? Is if, for example, a
husband that decides to divorce his wife and
the wife goes on this journey to
figure out who she is or is it coincidental where to strangers just
happened to bump into each other and things
happen from there? Or is it ambiguous where
we don't really know and we may have to discover
it as the story progresses. The most important thing I
would like you to remember is that your inciting
incident cannot be random, meaning that it has to connect to the end
of the story in a surprising and inevitable
went. Why is that? Well, it really has to
do with psychology. We just love loops. Human brain loves circles, it loves things
that come together. And so even if you provide even a discrete indication that there is a connection between
the beginning and the end. We will love it.
10. #2 - Turning Point Progressive Complications: So this brings us
to the second which is turning point,
progressive competition. This is where we
enter rising action and things get more
and more complicated, making more and more difficult
for us to reach the goal. This is also what
the initial strategy that character tries to adopt becomes more and more unlikely
to yield positive results. And it actually
makes things worse. They don't change course. And if you find the terminology training quite
progressive complication really complicated,
don't worry about it. I do too. I find it very confusing actually,
sorry, Sean Coyne. I will just use
TurningPoint, turning point. Turning points. Meaning that this is a part of the story which has
lots of turning points. All I'm going through this
in chronological order. I would suggest that
you start off by identifying the turning
points in your story. Just think about all
the different shifts in W. That's something
too complicated, don't worry, you'll figure
it out once it gets example after this video. So the first thing you want
to look at is the obstacle by the inciting incident
and find out whether it's a negative obstacle, meaning that it's
an external events. Something that's
beyond the ability of the character to rectify it. For example, if
somebody else gets to promotion that the
character wants, that is outside
of their control. So that's a negative
event. Or is it an affordance situation here? The character, she
gets what they want. They wanted the promotion, but they end up not
being happy about it. So even though they get what they want it, it's
not what they need. That obstacle is going to be read by the inciting incident. The second thing is to look
at the initial strategy, because every
character will have an initial strategy to deal
with whatever has happened, to deal with the
inciting incident. That initial strategy,
as we already said, has to fail, but don't
make it feel on purpose, tried to give them a real
valid strategy and just make the turning points so difficult that they
are forced to change. The next thing you
want to look at is in the rising of this text, because this is a part
of rising action. So six have to rise. And one thing you can
do is read them from 0 to 101 question you want
to ask yourself is, is there a risk of death? Because the risk of death
is always pushes the. Another tip you can use is what emotional color wheel
doesn't go through. Is there a different
color here that you can assign to what has happened? And now we're looking at the nature of the
turning points. So turning point can be
active or regulatory. An active turning
point is when an event happens or the
characteristics and action. Rather the tree turning
point is when there's new information or old
information that resurfaces. So it's basically
information versus action. What quality describes
a turning point? And now look, turning point actually has to be irreversible. The turning point
has to fundamentally change the world
for the character so that even if the lead of this point, they
are forever changed. And then the final two things
you wanna think about is does this turning point
connected inciting incident? And does it exhaust all
existing tactics or not? So if you're feeling a bit
overwhelmed, don't be. This is the part that is
most challenging his church up just because there's so
many moving parts to it. But just think about it and it's turning
points that you're identifying and then qualifying based on all these
different criteria.
11. #3 - Crisis: Now all those turning
points that we just went through half to this
point called the crisis. The crisis is where
the character has to choose their most
important value. And that value has
to be chosen amongst incompatible options
with meaningful sticks. So what this means is that we have to get into a
situation of a dilemma. It has to be dilemma. You cannot have
everything you want. The first thing to do is we need to look at what
are the options. The second thing is then to rate each of those options
are looking at this text where the cost, benefit and risk of
each of those options. You want each of those options
to be mutually exclusive. And you normally have
two case scenarios. Either you get the
best bad choice, meaning that you have
to choose amongst the devil and the deep leucine. Or you have
irreconcilable goods, meaning that maybe
you have to choose the love of your life
versus your career. You can't have both. And of course it has to
matter to the character. It has to be a very
difficult choice for them.
12. # 4 - Climax: Now that we've gone
through the crisis, which actually
establishing that dilemma, we can finally move into climax. Climax is going
to be the highest energetic points in your story. Here are what qualifies
climates have the decision that is reached raised by the
binary in the crisis. And you have an action
based on that binary. So there are two things. The third thing is that it also, the climax has to fulfill the promise of
inciting incident. There's a connection between a climax and then
inciting incident. And then it has to
be complicated. It cannot be easily,
can be simple, it has to be hard. It has to target us
to make us wonder, is this really going
to work out or not? So that element of doubt is
extremely important climax. Otherwise, what's the point? And it has to be a
whole unit of storage. What do I mean by that? I mean that you can
actually think about it being a whole structure
in and of itself. So a whole three-act structure
who tell a whole climate. It's not just one aspect
that we're looking for. Then what you really
want to think about is who this character is. So what options
do they not take? That's just as valid as the
ones that they do take. And what did those reveal
about this character? And that essentially was
feed and inform us about whether this character
is purely aerobic. Meaning that if they change, if they change from
the beginning to the end of the story,
they are heroic. If they actually refused
to change their antigen, they're not actually
gone on a journey that qualifies them
into being a hero.
13. #5 - Resolution: Now finally, we're at
the resolution where the last part of this
story structure, this is the result of
the character's actions and decisions in the climax. And it is characterized
by falling action. And what you really
want to make sure you don't do here is repeat what already happened in the
claimants because we already saw it and we already read
it. We already got it. You just want to tell
us what it means and how the world view has
shifted and what are the effects of what has
happened in climates. And then the three things
you want to think about when it's coming to
resolution time, because this is the
end of your story. This is what you're
leaving everybody with. How does it tie to the
inciting incident? So remember the loop we
talked about previously? How do we bring
everything together? How does it tie? That is also the part of the story
which tells us what are the value of the story based on what the
character values? And is it a cautionary, is it a prescriptive or is it a mix of both kinds of tail? So now that we've gone through
all of those five parts, we're actually going
to look at how they apply in a Latin
in the next video.
14. The Inciting Incident in Aladdin: Alright, so let's look at
the five components of storytelling in
Disney's Aladdin. The inciting incident
in Aladdin is actually delayed because we
first get introduced to a Latin as a street rat. We get introduced to Jasmine as a princess who wants love. We get introduced to GFR,
who's looking for the lamp. And it's only later that we actually enlightened
and Jasmine in the marketplace and realize that this is what has changed both of
their wills forever. They're in love and they
wants me to get them. It's coincidental because it happened because
Jasmine randomly from the pelvis and
just happened to be in the marketplace at
the same time as in Latin. This inciting incident
is not random. Indeed. It ties to the end of the story where they
end up being together. Sorry for this parlor. If you haven't watched
the movie, which you should have watched it if
you're watching this video. So it ties to the end of
the story in a way that's surprising because he ends up being street grad
who marries princes. And it's inevitable because
that is what we were promised from the first
long sentence again.
15. Turning Point Progressive Complications in Aladdin: Onwards, we're just going to go through all the
turning points, except when we really need to review the obstacle and the
nature of the obstacle. But otherwise, I'm really
going to be focusing on the training points, the emotional color wheel, and whether or not it
exhausts all is a singer. So the first thing we're
going to start off with is the inciting incident. What is the inciting incident? Is the following.
A love of Jasmine and there's an obstacle to that because the princess
can only marrying a prince. In the Latin is this treatment. It's a negative obstacle, is initial strategy is to forget the first turning
point that we get in relation to that hasn't
been learning, it's caught, put in prison, and then sent off to the k. In terms of states, we want to read this at the lower scale just because we know we need to
build our way up. So we're putting a three-year, I've put it in red to mark
the emotional color wheel, meaning that it is negative. Dangerous situation. I've also put in
information whether it's active or regular tree. Active. It means that it's
obviously caused by events external to the character or it's by the
character themselves. And if it's regulatory,
it's based on information, whether it's all information
that resurfaces or new information that tells us
something about the store. It's an irreversible situation
because he's in prison, which connects to the
inciting incident. It exhausts all syntactic. Yes, he's got no other choice. He has to grow as true. So that takes us to the next
turning point when he's betrayed by GFR and
stuck in a cave. The emotional color
wheel is still rent. We're still in danger zone. And it does exhaust
all the syntactic. The next turning
point is when you mix the Ginnie Mae gets rescued
any promises and his third, which now you notice, Emotions, Color Wheel
changes, color. It's green. It's an,
a positive place. It's active. And it's irreversible
because there's a real possibility for
him to be with Jasmine. Does it exhausts all
existing tactics? No, it actually opens
up new tactics. The third turning point
is when you actually uses his wishes to
become a prince. And so now we're getting
a great place to. It's green. It's irreversible
because it's first which has been used
and he has to left. Although technically
he just has one because he promised
the genius third, which does it exhaust
all as a syntactic know. The next turning
point is when you actually lies to the printer. And this changes as
from a green to orange, because now for the first time we're actually exposed to an allotted that is not sincere, That is not good. It is active. He betrays her trust. So that is irreversible
because it exhaust all exists. Tactics know, basically as long as there
is a wish available, he has a tactic, it's not
exhausted, he has options. Now, nutrient point is when
you're far tries to kill him and they're giving move into
the red states increase. There's a risk of death. And it's obviously irreversible because if somebody
tries to kill you, I think can you live with a trauma for the
rest of your life? Does not exhaust of
existing tactics because the genie actually
comes and rescues him, which is next turning point. Multiple color wheel changes
again into a positive place. It's irreversible because now he actually has one wish list, although technically
he has 0 wishes left because he's supposed
to honor his third, which turning point is when Aladdin exposes,
everybody, sticks rise. We're seeing the positive
reversible because GFR is out of the way and
now he's actually on the way to being
with Jasmine, the salts and now gives if Jasmine promises to
make consultants. So things like a
really fast food, It's amazing green
place where at an active, it's irreversible. I mean, he's got
everything he wants, but now we go back to the
obstacle and reevaluate. Because now there situation of affordance where
he's getting what he wants but not what he needs. Now you'll notice that the
emotional color wheel has changed because Latin is considering reneging on
his promise to gene. So we're in an orange again, we're allowed is dishonest. It's irreversible
because he's losing the trust of all those
that are posed to him. When he tries to tell Jasmine is quickly declared salts
and some mistakes rise. In this negative space, even though there is
no concept of death, the stakes have
risen dramatically because there is dishonesty. There is the fact
that you will be probably found out very soon. It is active. Does it exhausts all
existing tactics? Technically, no, because it's still has access to
that third wish. Now though, GFR is still the lamp and exposes them and send them to
the ends of the earth. So all is lost. Now we're in really the red, red zone and things
are irreversible. Jasmine knows there
is no way that he can do with her and he
has no more wishes. So complications, I've
exhausted all existing tactics. We are at a new place, which we have never
been in before. Now the obstacle is negative, it's an external obstacle. The initial strategy of
using the Wishes is dead. The turning point in the
narrative to return. And we are in an orange zone because there is a
high risk of death. But it is not quite there yet. In the building phase is active. It's irreversible
because everybody who actually trust to
help a lot in space, it's pulverized from his, from Abu to the
carpets to Jasmine. And he really has no other
tactics that he can use. Next turning point in
battles with GFR alone. Now we're obviously in
the red where the 9.7, high risk of death
is irreversible. You cannot pretend
to be anything else other than what he knew. There was no other option. All existing tactics
are exhausted. This is where he tricks too far and wins by being himself. So it's irreversible. Gfr is out of the picture again. All existing tactics
have been used. Everything is done. He has one in his own way. And now we're back to the inciting incident
and the obstacle is, again negative Latin
as a street rat. He's no longer prints. But it's a turning
point when he finally tells jazz and that he can
pretend to be something. And this takes, as you can see, you increase even though we're no longer
in the dead zone. We're in an orange zone. It's active. It's irreversible
because it's actually accepted to lose her, even though he has
one lonely she left. This is what he has
chosen to be for himself. The next turning point is
when you freeze the genie. Now Accenture this
positive happen space. It's irreversible because he
has no moral wishes left. This is its, he's back
to where you started. But now the final turning point, which makes everything
so much easier than only the father had
done this at the beginning, that it changes the law. We're at ten in the green. It's active. It's irreversible because now Latin and Jasmine are
together for ever. So congratulations for making it this far and sticking around. Now what do we actually do is
go back and look at crisis, climax and resolution
in more detail.
16. The Crisis in Aladdin: Okay, now looking at crisis, we see that there
were two options, either to tell the
truth or to live. If you were to tell the truth, the costs would have
introduced Jasmine. The benefit would
have been to be honest and Trudeau himself
and to free Genie. The risk would have
been very high though, because of the law. If he allied with the cost would have
been to betray Jasmine, betray the genie, just
become a really bad person. The benefit would be
that you'd get to keep Jasmine for a little while. The risk would be
that it would be unsustainable because you
only had one wish left. Obviously, these are
mutually exclusive choices, and this falls into the category
of the best bad choice. Because neither of the
choices are great. What he wants an either. Obviously, this matters
to him a great deal because he really loves Jasmine.
17. The Climax in Aladdin: So now in primates,
we're looking at the decision raised
by the crisis, the binary that he has
to choose between. And he chooses to be
himself and tell the truth in terms of actually decides to fight like a real street rat. Does it fulfill the promise
of the inciting incident? Yes, it does. You actually
accept that he has lost Jasmine made a decision on
that inciting incident. Is it complicated? Yes. Because it involves giving
up on what he cares about most is the
whole unit of story. And yes, there's
an entire battle. It doesn't just
happen right away. It builds up through
multiple stages. What options does not take? So he does not take the option
of relying on the genie, but on relying on himself. What does it reveal?
The character reveals that he has changed. You have decided to
really be himself. And so therefore, it is, it is not anti heroic. He is not resistant
to changes in race.
18. The Resolution in Aladdin: So now we've made it
to resolution and we get to see whether
or not it works out. So does it tie to the
inciting incident? Yes, he actually
accepts two Jasmine, it means losing itself. Does it tie to the crisis? Yes, it chooses to be honest to stop pretending to
be someone else. And he chooses to
the free the GE, wondering his work, is it cautionary prescriptive on both? It is prescriptive because it is a Disney story after all, and it's telling
us to be yourself. And then you are worthy
of just as you want.
19. The Pros and Cons of the 5 Commandments of Storytelling: You want to use the pipe
command as a storytelling. The pros are that it's
definitely more detailed than the three-act structure is
more detailed in Story Circle, it really tells you
the relationships between different
parts of story. You really need to think about connecting things
across the store. I really loved the
fact that it focuses on turning points because
I think that that's an aspect that we don't get from other storytelling structures as much roll-out at the time were told to just keep
the story moving forward without
actually thinking about how to make an unexpected,
surprising, delightful. Now the column has
this structure is that it is more complex. It definitely requires
thinking about a lot more elements
than you would be thinking about
when you're using the three-act structure
or story circle. And then there is
confusing terminology like the turning point,
progressive complication. It's just extremely complicated. And it makes you wonder actually sometimes how do you use
it? Where do you start? What is the turning point is
the inciting incident and turning point was the climax
and we turning point. And so in order to actually
deal with that pinpoint, I would suggest you
always start off by identifying all the
turning points in your story. Don't worry about the
names that they have yet. And start in crisis in
a point that you know, is very high-energy because that's an easier
point to identify. Another con, I think
depending on where you are in your
storytelling journey, is that it can stifle creativity if you're thinking
about the story, is very detailed way right away. I would say that the best way to use this structure
is once you're already multiple drafts in and you've tried
different structures, and now you're just
looking for ways to connect different parts of
your story to each other, then it makes sense to you. But don't use this structure
when you're just starting out on your first draft,
on your fifth draft, even because it might
make you feel very unblocked very quickly and prevent you from
actually telling the best story you can tell.
20. Next Steps: Congratulations for
coming this far. Look at what you have
done for yourself. You have learned about three
structures and frameworks. You have learned
about how they are applied across
three masterworks. You have learned about
the pros and cons of each of them and when to use
them in your storytelling. So that you now have
a beginner's toolbox for all your storytelling means. Bravo. Thank you so much
for tuning into this course on
storytelling instructors, and I really hope
it has been helpful to you and provide you resources so that you feel confident to tell all the
stories you want to tell.
Saprina Panday, Multimedia Storyteller
