Storytelling for Beginners: 3 Structures and Frameworks with Examples from 3 Masterworks | Saprina Panday | Skillshare
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Storytelling for Beginners: 3 Structures and Frameworks with Examples from 3 Masterworks

teacher avatar Saprina Panday, Multimedia Storyteller

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction to Storytelling for Beginners

      2:27

    • 2.

      Structure #1: The Three-Act Structure

      2:39

    • 3.

      The Three-Act Structure - Harry Potter Example

      2:58

    • 4.

      The Pros & Cons of the Three-Act Structure

      1:35

    • 5.

      Structure #2: Story Circle by Dan Harmon

      1:43

    • 6.

      Story Circle - Breaking Bad Example

      2:03

    • 7.

      The Pros & Cons of Story Circle

      2:38

    • 8.

      Structure #3: The 5 Commandments of Storytelling

      2:10

    • 9.

      #1 - The Inciting Incident

      1:42

    • 10.

      #2 - Turning Point Progressive Complications

      3:02

    • 11.

      #3 - Crisis

      1:03

    • 12.

      # 4 - Climax

      1:30

    • 13.

      #5 - Resolution

      1:04

    • 14.

      The Inciting Incident in Aladdin

      0:56

    • 15.

      Turning Point Progressive Complications in Aladdin

      7:02

    • 16.

      The Crisis in Aladdin

      0:48

    • 17.

      The Climax in Aladdin

      0:54

    • 18.

      The Resolution in Aladdin

      0:31

    • 19.

      The Pros and Cons of the 5 Commandments of Storytelling

      1:54

    • 20.

      Next Steps

      0:33

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About This Class

If you have been struggling with structuring your stories, this class is for you!

Why take this class?

A quick google search for story structure will give you SO many results and diagrams. And while that's a great thing, it also makes it very confusing and overwhelming when you're looking for an answer to fix your story. 

There aren't enough examples that clarify how to use the structure you chose. Sure, a three-act structure sounds simple enough but is it really that simple? Do you find yourself having doubts about whether it truly fits? I get it. This is why in this course we are going to feed you some proper examples.

Different structures work for different reasons and at different times. Depending on whether you're on your first draft or your tenth, a different structure can help. Wouldn't it be helpful to know which one and why? 

What will we explore?

In this class, I'll be sharing my favorite stories and structures so that you can tell your stories better.  Together we'll explore:

  • Three Structures and Frameworks I've chosen specifically for you;
  • How they apply across three masterworks - Harry Potter, Breaking Bad and Aladdin;
  • How you can use them at different stages of your storytelling journey.

We'll also get you to practice using these structures in your own favorite stories and the ones that you are creating.

Is this class for me?

Absolutely, 100% yes! All are welcome. You don't need to be a professional storyteller to take the class.  All you need is the willingness to learn, take risks and have fun! You will need however to spend some time watching/reading Harry Potter, Breaking Bad, and Aladdin. Tough right?

Alright, let's do it!

I can't wait to see what you create!

Stay in touch:

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Meet Your Teacher

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Saprina Panday

Multimedia Storyteller

Teacher

Hello, I'm Saprina and I'm a multimedia storyteller who has lived in over 17 countries, from Somalia to Iran, Russia to Syria, with a background in law and political science from the US, the UK and France. 

For over a decade, I've been helping people around the world transform their lives using the art and science of storytelling to navigate the complexities of working in diverse environments amongst other challenges.

In this endeavor, I bring to the table my skills as a TV journalist in Paris; a published writer – you can see some of my work in Scroll India, Global Voices, the Kathmandu Post, the Record Nepal or France 24; a filmmaker – my first dramedy pilot for a web series won nominations at film festivals in London, Seoul and Berl... See full profile

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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.