Arcs & Act Structures | My Thoughts as a Completely Sane Person
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- Опубликовано: 1 июн 2024
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PATREON:
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CONTENTS:
00:00 - AHHHH
00:53 - Raycon (sponsored segment)
2:09 - on character arcs
13:33 - on acts
19:29 - the video is over 
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Go to buyraycon.com/lsm and use code BIRTHDAY to get 20 to 40%
off sitewide during Raycon’s Anniversary Sale! Brought to you by Raycon.
is that https or https?
why, bro? Raycons are shit!
Raycons are scams
@@NotEHcopCan you not read?
@@ginge641 is that read or read?
Now, imagine if I actually followed this advice rather than doing nothing at all 😢
Do it now. Put something on paper today
Just write dude
Just do it my guy
Do it bro. We believe in you!
GET YOUR MIND ON A GOOGLE DOCK RIGHT NOW, NO IS NOT AN OPTION
I love the Frappuccino sequence. 1, 2, 4, 3, 6, 8, 5, 10, 12, 9, 7, 14, 16, 11, and so on.
There are 3 people on the planet that will get this joke.
I’m two of them
what
I’m 6.
@@M97V It's integer sequence A280864, aka the "cup of coffee" sequence, aka "Lexicographically earliest infinite sequence of distinct positive terms such that, for any prime p, any run of consecutive multiples of p has length exactly 2"
SOMEBODY EXPLAIN THIS TO MEEEEEEEEEEE!!!
I’m also a fan of what can be callled the stubbornness arc- when a character,‘after rejecting a premise, CONTINUES to reject that premise that they need to change, and instead dig in their heels despite the downfall it brings. Some characters don’t learn- if they don’t, show us why, and watch the fire burn.
So kinda like Greek Tragedies
@@YEY0806 Some greek tragedies are about the character changing and the world no longer accepting them for that, leading to tragedy
you're like the one person who gives actionable writing advice
I love the way you explain things because you can verbalize and logically explain things that I stumble my way through with feeling. Like when I write I sit there and fiddle around with my outline until it "feels" right to me. But you can actually put words to how I feel. Great content! Big fan.
You mean instead of doing things intuitively, LocalScriptMan has multiple Templates based in some kind of logic to do his writing, which is very usefull.
Imagine LSMan reaches the end of act 2 and starts to upload complete opposite arguments to RUclips
Sometimes I don’t learn anything new in your videos. Sometimes I do. But sometimes it’s more of a confirmation that I’m not doing things wrong. Today was a confirmation day.
Same though I do get a little tired when he keeps making videos with the same advice about themes over and over again.
@@youcantbeatk7006If it sounds like he’s repeating himself, it’s because his advice branches out from the same fundamental perspectives about storytelling. The human body has principles about it that apply to pretty much every system and subsystem, and Local’s beliefs about storytelling all come from similar principles about screenplay writing. Sure, it might not be as entertaining than coming up with different theories and angles every video, but I think he’s trying to pivot from entertainment to education. I kind of like that for every one of his videos I have a solid understanding of what his ideal end result is and where he’s coming from
Edit- just want to be clear I’m not trying to be condescending or a dick. I apologize if it came off that way. I’m just trying to share my thoughts on your thoughts ykyk
@@diego_wagnerEven from an educational respective, repeating yourself isn't helpful.
@@youcantbeatk7006 Actually it is.
@@TomEyeTheSFMguy Not when it's a video. If you need repetition to help you learn, watch the video again. Bro doesn't need to make 4 videos repeating the same advice, almost verbatim at times.
The belief model for character writing is really nice, especially because when a character is going through a change like zuko in atla, its because the character comes up against a cognitive dissonance in some form. Cognitive dissonance is a conflict of beliefs, and this seems to be the core to creating well written character growth
I saw a couple of your videos a while back but only more recently found you again. I've become obsessed. Your videos and advice has been instrumental in giving my creative writing another go after putting it off for months. For that, I just wanna say I appreciate these a lot and hope you continue making videos for a long time to come. No pressure lol.
Thank you thank you. I will do my best
Dude, most useful writing advice I've ever seen and I don't write screenplays but novels.
the 3 act structure
the 4 act strucutre (Ki-Sho-Ten-Ketsu)
the 5 act structure
the 7 act structure
the 8 act structure (Pixar story spine)
the 9 act structure (3x3 = 9)
the 11act structure
the 15 act structure ("save the cat" story beats)
the 17 act structure ("the hero's journey" story beats)
the 27 act structure (3x3x3 = "27 chapters")
Rags to Riches (Rise)
Riches to Rags (Fall)
Rags to Riches to Rags (Icarus)
Riches to Rags to Riches (Rebirth)
Rags to Riches to Rags to Riches (Cinderella)
Riches to Rags to Riches to Rags (Oedipus)
[More in the comments]
I remember finding a video where a guy was trying to explain why kishotenketsu is the second coming of Christ, and it's why Japanese stories are better than Western ones, and blah blah blah. It's literally the same shit. I've been saying it for ages that story structures are observations not guidelines.
Rag-riches singularity ("And why are you anxious about clothing? Consider the lilies of the field, how they grow; they neither toil nor spin; yet I tell you, even Solomon in all his glory was not arrayed like one of these. But if God so clothes the grass of the field, which today is alive and tomorrow is thrown into the oven, will he not much more clothe you, O men of little faith?" Matthew 6:28-30)
That 4 part (not called "acts" at the time) breakdown predated the "three act" conception in the West. You'll find it in older books like William Foster-Harris's Basic Formulas of Fiction, where it was described as "situation, complication, crisis, and climax," and echoed by writers like James N. Frey who came up before the three act paradigm became standard in Western education around the 1960s. It just didn't get pushed out of favor in Japan like it did here.
The three act breakdown can be so _unhelpful_ to aspiring writers, though, that finding a working alternative probably does feel like a religious vision.
Goal orientated plot
1. Set a goal
2. Plan for it
3. Train for it
4. Act on it
5. Hit an obstacle
6. Improvise
7. Succeed
8. Lessons learnt / epilogue
Teamwork troubles plot
1. Set up
2. Obstacle
3. Fail due to poor teamwork
4. Argue about whose fault it is
5. Separate, try alone.
6. Fail alone, admit defeat
7. Fix teamwork (apologize)
8. Work together, succeed
9. Lessons learnt.
"Careful what you wish for" plot
1. Life before the wish
2. The wish
3. Everything goes well (for a bit)
4. It backfired
5. Stubborn
6. Admit mistakes
7. Fix mistakes / undo wish
8. Lessons learnt.
Every crime show
1. Find the body
2. Find clues
3. Follow a lead / find a witness
4. Find more clues
5. Solve the mystery
6. Final chase scene
7. Epilogue
Every hospital drama
1. Find the patient
2. Run some tests
3. Attempt a treatment
4. Run more tests.
5. Eureka moment
6. Final surgery/ medication
7. Epilogue
Every monster movie
1. Introduce the monster (lab escape, death in jungle, etc)
2. Introduce MC
3. Introduce side character №1
4. Introduce side characters №2+3+4...
5. Leave for adventure
6. The warning
7. Start adventure
8. Minor obstacle leads to minor mistake (Chekhov's gun)
9. Go deeper
10. Shit hits the fan. Split up.
11. Obstacle → attempt → failure → death → repeat
12. Regrouping reorganise.
13. Final showdown. Start.
14. Final twist (Chekhov's gun)
15. Final showdown. End.
16. After credits: The monster is still out there.
BONUS
Sub plot = the monster bleeds
Sub plot = you slept with my wife!
Sub plot = we need to save X
Sub plot = you knew / were the mole.
@@youcantbeatk7006 while I agree that the hype is overblown, I think the big thing about Kishotenketsu is less about the act structure itself and more about the fundamentally different emotional focus that it has as compared to western traditions of storytelling. The idea of a "plot that fundamentally does not need conflict" is a very new perspective rich with fresh ideas when infused with Western conventions.
Me as a physicist, I would science the SHIT out of ghost. Omg that's what every scientist craves. Something that is really hard to understand. 🎉
actually I think you would chatter teeth and knock knees together and shout with a pointed finger - "G-G-GHOST!!" then run out of the mansion screaming
@@celebalert5616 initially sure. But jump scares are not what changes your character.
@@4984christian or are they...? (Vsauce theme)
You’re genuinely more of a help than my film school
Haven't finished the video but I'm sold
Hell yeah
That advice about starting with an emotional roadmap instantly clicked! That's such a good idea, and it basically solves all my problems as a writer (okay, not all, not even close). I love writing for long stretches at a time, just getting really immersed in a story, but I immediately lose my drive if I've outlined the plot too much, but this frequently ends up in a mega-long, spiraling story with messed up pacing.
How does _every single one_ of your videos have at least one critical piece of advice in it!? My writing has improved so much since stumbling across your channel, it's insane.
"How does every single one of your videos have at least one critical piece of advice in it!?" For real. Like, who IS this guy?!
I support the frolicking movement. All mankind should frolic rather than simply walk. Yes, this is now a movement.
Michael Arndt has the most comprehensive breakdown of the thematic function of major story beats I've ever come across.
If you don't know, he wrote Toy Story 3 and Little Miss Sunshine. I was directed to his youtube channel from a comments section like this, and now I'm passing it on because he really is that useful.
Hey, a Macabre Storytelling reference!
If you're looking for more fellow storytelling technique analyzers here, you may find the channel 'schnee' a good use of your time. He's done a lot of videos on Arcane, so it might be a good excuse for you to talk more about that show if you ever get inspired to make a video from one of his (or otherwise have thoughts to share in response to how he talks about storytelling).
3 suggestions to watch from his channel:
- How Arcane Writes MORAL AMBIGUITY (9 Methods, 4 Rules)
- How a GREAT Show Uses a BAD Character | ARCANE (Marcus Analysis)
- How (NOT) To Write Madness | Arcane vs Game Of Thrones
So glad you're making these kind of videos, man. Need more pushback against traditional schools of thoughts on storytelling methods (not that they're necessarily wrong or unhelpful, but they're not the only ways to approach writing stories, and for many they're more a force * against * us than practical means for us to do what we need to do to make our stories a reality), since they're often treated as dogma, when really they're supposed to be guides to help us write the stories we'd like to see.
I'm so glad the schnee is getting some rep here. I love watching his arcane videos. These 2 should collaborate sometime, I think it would be a really insightful video.
SCHNEE MENTION
@@user-sh4ho8ci8d A LSM/schnee collab would be so awesome!
He has some great videos I like, especially The Repugnancy of Tony Soprano, but god his critique of The Last of Us Part II just feels like an incoherent rant.
fear not ! lucas has mentioned schnee wight quite a bit on his channel
I've heard some writers describe the externalization vs belief thing as: want vs ghost
The ghost being a wrong idea about how the world works or about themselves
In Rocky's case the want would be "to live a normal life" and the ghost would be "bc im a loser I shouldn't aspire to more"
Another great example of the hero trying to change his character but failing because the story demands his services: Unforgiven.
Had to stop the vid at 8:12 until I finished laughing. Your presentations are always a bright spot in a miserable world; the fact that they're informative (and so well presented) is just a bonus. I look forward to them more than you'll ever know. 🙏
“Your story will have a three act structure whether you try to give it one or not”, WELL THANK GOODNESS- I just have to find it now🤩
You, sir, are the only person I've ever heard who expresses an understanding of narrative that resonates with me. I've been developing my own mental models along these exact same lines, but you've clearly landed solidly on the ground I've been circling. Thank you.
A nugget of inspiration indeed. I’ve been developing a character, actually a series of characters based off of different (somewhat exaggerated) aspects of me. And I make them hate each other and then I use that to come to emotional clarity for myself since I have a chronic disconnect with myself, how I feel, and the validity and reasons for those feelings. So I use characters to bridge that gap (As I write this I add yet another item to my “do I have autism?” list.) But now those characters are less exclusively extensions of myself and I want to do things with them because they’re compelling to me. So they needs arcs. And I always have the best ideas when watching these videos. So thanks for helping things make sense!
There's actually a board game (if that's even the correct term) my friends and I enjoy playing sometimes called Microscope, where you basically establish a log line, beginning, and ending, then fill in the space between with ostensibly chapters and scenes. The key is that players have to take turns passing around the "focus", who gets to dictate what aspect of the story gets particular attention. It's always a blast and generates some really wild and interesting stories in that "exploratory vignette second act" way, highly recommend
Referring to the Fibonacci Sequence as "You know, that frappucino spiral... or whatever." was your "you can't handle the truth" or "you complete me" moment. I bravely refuse to ever watch further lest it diminish the impact. That said, the rest was good too.
I would categorize the Boxer as one of those series of vignettes where the main character meets different perspectives on the thematic question
(Minor spoilers ahead)
The thematic question is, I think, "what is the purpose of life?" and while the final confrontation is between the nihilistic Yu ("life doesn't really have a purpose") and J ("to experience the beauty of the world") but we meet plenty of other perspectives in between ("to achieve personal excellence", "to be the best person" (a more narcissistic answer), etc)
Sometimes all it takes for an old technique to work is for a smart guy to rephrase it for you.
I wanted you to make this so bad. Thank you. I might edit/make another comment after I watch
6:50 i just came up with this on my own half a week ago for my main character and the side character with whom she gets introduced. It felt so liberating, everything just clicked into place somehow.
Because of this video, I now have a rough outline of my 3 act structure for an episodic series I've been trying to write for 2 years with no clear direction forward and a basic layout of my protagonist's core motivations. Bro you rule! Thank you for the insight and inspiration! 🙏🏽😁
Have you ever written a book about your writing theories? Because if not, you should consider it. This is incredible content.
Also, I appreciate the dracula flow reference at the end.
What I hate about Half Face is that his eye would never,
NEVER NEVER AS IN EVER
work as normal as it does. Like, it just hangs there on the inner muscles but there is no eyelid at all, no supporting structure... It would never hold in line with the second eye!
Hey Local, please read to the end. I am aware that you want a consistent brand when it comes to your channel. You want to surpass hollow media criticism, and instead ascend beyond that to analysing media with a purpose. I respect that, and I agree with that, and I do fully understand and agree with the idea that your other videos like the Avatar ones for instance do clutter up your channel, and muddy the purpose of it. However, they are still relics of the early days off the channel, and as someone who's been here since 12k, I don't want your other videos to be lost media. What other channels in similar situations have done is that they have simply unlisted the videos. Not made them private, but unlisted them. That way the videos can only be found via link, search won't work, nor will entering your channel page give you the ability to view them. You could create a playlist that you put on your channel with all the videos on it in the playlist tab and title it "old videos" or something similar. The avatar videos are intensely fascinating to me, and I absolutely loved your perspective on them. It would be excellent if I could view them again.
Definitely agree I’ve been here awhile and I’ve watched through all his videos but I was insanely confused when I couldn’t find some vids. Reminds me of Mamamax when he removed a ton of his vids however they’re in an unlisted playlist now.
Holy cow, this is actually the best writing advice I've ever heard! it's exactly what I've been looking for ever since I got bit by the writing bug in middle school but which no creative writing class ever managed to impart.
The satisfaction i got when i realized i wrote a story that included many of the things you mentioned without ever having watched this video or learned anything about act/emotional structures
This is by far the video of yours that I've watched the most times, I would absolutely adore more content specifically on plots, story structure, arcs, emotional journeys, all that stuff. As a bookwriter instead of a screenwriter, I found a lot of your stuff to be applicable, this being probably the most.
Every time you post I feel the itch to write more.
Thank you so much for your incredible videos! Every single one has added value to y life and the storylines in my head have never been better
ive always thought of the midpoint as the moment the protagonist goes from reactive to active
Marty McFly remains reactive throughout the entire first back to the future movie as far as i'm aware. After the midpoint, Lorraine asks him out to the dance, and he reacts by coming up with the plan for George to rescue her. Marvin breaks his hand, and he reacts by playing guitar on stage. Doc rips up the letter, and he reacts by going back 10 minutes early to warn him about the terrorists. The truth is action and reaction are such useless distinctions, everyone act is a reaction from a certain perspective. Why should that be a crux of how you write your story?
It would be so sexy if you did a video dedicated to story structure.
There's always such utility in your uploads for writers at large. I really appreciate that about what you try to create for the viewers. I'm not a screenwriter but even so, there's still a lot of value in your advice...and the secret MS Paint tutorials are always a solid bonus - wait, have I said too much?
I always think a lot about 12 Angry Men when it comes to arcs and acts. I feel like it speaks really well to your idea of how a character should react to their core beliefs being challenged, i.e. anytime anyone says anything to Juror No. 3.The climax being his monologue where he fully rejects everything that's happened over the past 90 minutes, insists on his own beliefs, realizes what's at the root of his beliefs, and ultimately relents.
I'm somewhat bummed that a decent number of vids have been deleted, but I completely understand the rationale. I wouldn't want people hearing my opinions on things from years ago too if I didn't still believe them.
Just a thought. Bringing a character who had an arc into a story where they don't have one for the purpose of being a static supporting character. Maybe that someone is now a mentor character who shows the new hero what they can be at the end of their arc. Just a thought.
"I hope you found a nugget of inspiration" no sir, I found a whole meal /pos
I just wanted to say that this video in particular helped me crystalize and reframe a personal observation I used to hold.
which boiled down too "Man I make for a terrible protagonist" and this really explained for me why I was wrong about that and that it's just I don't work as a arc based character. And yes I know characters are not people but experimenting with self insert fics was why I came to that conclusion.
Great stuff, I really dig your "insights as entertainment" format your going for.
Finished this once, chewed on it for a minute or so. Almost immediately started it over, because something you’ve said has sparked this nagging ghost of a thought tickling at the back of my brain. And then, bam! Five minutes in, I’ve suddenly got this massive epiphany regarding one of my protags beliefs, lies, wants, the whole shebang.
After that, everything shifts just a hair to the right, scenes and plot threads and characterizations and all these vague intuitions prodding me along now aligning themselves like this fucking beauty of a constellation, and suddenly I can see the beating heart of my story coming into focus.
It’s been a pretty good day already, Local, but you just MADE it. Thank you so much for the help!
Also, nice heel kick
Gonna get baked and watch this ngl
Nice
“You know the Frappuccino spiral”
Me: starts thinking their is some kind of social incident
“Where the numbers are the sum of the two prior”
Me: oh the Fibonacci sequence.
Then I realize that’s the Frappuccino spiral you were talking about and I’m just a math geek
Genuinely some of the best character/act structure writing advice I have ever seen,
Thanks LSMan.
This has cleared so much up for me, the shift in language really makes a world of difference, thank you for this 🙏🙏🙏
Thank you so much, im tired of other writing gurus telling me all characters need the same things to be interesting. To me its about what your story is about and if that arc falls in line with the story you wanna tell. All stories are different and not all great movies are great for the same reasons.
If you want more amazing perspectives on this style of writing the acts and structure, Craig Mazin dropped some straight gold on the John August podcast ep 403. Ironically, his deeper points didn’t fully hit me until I watched multiple of LocalScriptMan videos. Now my top two favs.
It's amazing that you are able to put together this clear a deconstruction, with such confidence, at your age.
Your YT character is coming along, too. It'll be very interesting to see your journey here over the coming years.
I want you to know that this and other videos of yours have given me the help I needed to *actually* plot things. For the first time in *ever* I have something I can consider to be approaching a plot. I have a couple of barebones story beats. I have an arc or two. They're on the level of complexity of the examples you used (which is to say it's nowhere near the book I want to write) but the fact that it's anything at all has me so freaking jazzed. Thank you so much.
Sir John Act-Structure may not have invented the act structure, but he did borrow heavily from the earlier writing of J. Earl Plot-Devise in his 1684 treatises on literature, and Duke S Machina's work in 1632 on how to save your hero from the corner you may have pointed them into.
I’d love for you to talk about static characters as main characters, like Snow White etc.
Also interesting writing stories: third graders have to be able to read any folktale, myth, or fable from any culture and discern its characters (and their traits), settings (both time and place), conflict (internal and external), solution, and theme (which is typically a lesson at this age). And they need to be able to do this by September.
So I thought, since I like writing, what better way to get students to understand these story elements they’ve been studying than to have them use those story elements to write their own story. So we studied internal conflict (which I simplified as something you want that you don’t have) and external conflict (which I simplified as something that is stopping you from getting what you want) and we studied how conflicts and their solutions reveal whatever theme or lesson the author wants to teach. And then we started writing and something very interesting happened.
Third graders have very interesting lessons to teach it turns out. Some examples of morals I’ve learned from their fables are:
-beat up your enemies
-be nice to everyone
-listen to your mom but not your dad
-don’t trust thieves
-always change, never stay the same
-steal
Needless to say, I do not write the same anymore. And they all passed.
When I was younger I had this story I loved. recently I've revisitied, and I have had so much fun, and have felt so good with what I've done, and i can tell a large part of it is stuff i have learned from this video, mainnly theme. the first story had tons and tons of plots and characters, and it was messy, but now I have a central theme and it has done a lot of good in making it all tell something I think is pretty frickin cool.
So, thanks. Thanks for helping me love writing again 👍
This is probably the most useful video on character arcs I’ve come across. It’s clear, easy to follow with great examples and is helping my planing process of my writing a whole lot
So are you saying sir John Actstructure was a fraud when he wrote his famous work on act structure in 1704?
10:18 There are other options.
One option is that the character is undergoing multiple charater 'arcs' simultaneously and they go forward in some, but not others. They might even be influencing one another or be mutually exclusive.
Another is that we don't get to see the resolution, the story builds up to a point and then cuts away before we can see it.
Another is that it's left ambigious and audience members are divided/uncertain about how the character ended up.
Another is that the 'main character' doesn't get an arc at all, but causes the 'supporting characters' to have one. This one is weird because now the 'main character' is the 'supporting character' so our vernacular breaks down, but in practice it works quite well (see paddington bear).
And in fantasy and scifi there are even more options. Maybe the character is split into two, with two versions going in different directions. Maybe there is a time travel element, where to achieve their arc they must undo their arc etc etc.
I feel that when trying to use the concept of a narrative arc as a tool to help you write, these are all just the same types of arcs that he described, but with the narrative structure cropped differently around them.
@@jackfrenchpresents Maybe with e.g. the time travel one, but not with e.g. the cut-away or ambiguity ones, those are narratively different.
All interesting ideas and points, but if you are trying to disprove something he said, you dropped the ball HARD.
Undergoing multiple arcs is irrelevant to what constitutes an arc itself. Everyone will learn more than one thing in their life, and having multiple chances to change in different ways doesn't change the fact that there's just two types of arcs themselves. As he said, either there is change by the end or there isn't, and if one arc ends with regression, no amount of interaction with the other arc changes that.
Not seeing the resolution doesn't mean there isn't one, and since the author knows what that resolution is, it's still the same story. The same goes for ambiguous endings, though if the writer him/herself doesn't have a clear cut idea for how the story ends, then it's not a real ending.
If the main character doesn't have an arc at all, then it's a static character, something he acknowledged.
If a character is split in two, it is now *two* separate characters, and if they have different arcs then they are separate. If they fuse back at the end, they become one character again. If there is a change in a different direction then it's the first example he gave, and if there isn't change then it's either a regression or static.
This was really helpful! I write Visual Novels, and they have branching structures with multiple endings. It’s important to me that each ending exist as an emotional foil for the others, rather than just being defined by the presence of different plot points. It’s very fun to get to have your cake and eat it too, in that you get to explore the same story becoming tragic or heroic, based on how the protagonist approaches their own growth.
Anyway, what you said about act one being an emotional status quo rather than just a world one is helping me to figure out how to handle the start of my story: even as plot events are progressing right off the bat, if my structure is based around EMOTIONAL development, the important foundations can be laid in how the protag is engaging with events, rather than the events themselves.
Thank you for another insightful video!
Really love these videos
They're really useful for thinking about how character arcs work in a more practical way than some books I've read because you use some good clear examples
You also have some incredibly funny charts lol
Keep up the good work
"they can playfully tickle each others feet in the bath" but itll be censored on this channel, ill tell you that
Thanks for making this video, despite writing for years and thinking my writing is pretty strong I never used act structure the conventional way and never planned to space my scripts out using acts.
LocalScriptMan needs to sell a course where he explains everything you need to write a good script in a step-by-step format. It’ll make him a lot of money, too. A course like that would be a dream come true!
“Keep on smoking them Sequoia Banshee boogers…”
Is… is that from Dracula flow!?
Besides that, I appreciate your content and giving your thoughts. The more I watch you, the more I want to write and put your advice to work. But I am definitely going to put that “sandboxing” method to the test. It sounds like more my style!
Thank you Local Script Man. Your videos always manage to give me inspiration and ideas, even when the ideas aren't related to the video I think it comes from the energy you bring
Thank you, thank you so much for your videos. They have been so helpful in giving me insight into how to make my ideas tangible. Yours are the only videos on writing where I actively pause the video because what you said prompted me to apply it to my story, like the practice section of a school textbook. This video alone made me step away for 15 minutes because I had a breakthrough about my midpoint and had to write it all down. Now I've got a core element to work towards in the first half and build off of in the latter. Thank you so so much. I know you get these comments a lot and I'm only adding to the pile but seriously, thank you. For something that means so much to me to the point it's sometimes the only reason I get up out of bed, thank you so so much for sharing your advice the way you do.
This dead ass cured my writers block thank you
Thank you for this, I had quit gaming to write and I'm on a writing fever. I have an easy time creating worlds, plots, and twists but man, Characters are hard for me. Your videos are helping me better flesh them out so thank you.
Please, bro. Play "Lisa: the painful" if you havent already. Its main character; Brad, is one of the most human characters Ive ever experienced in anything, ever. Please dont look up anything about it if you can, just play the thing blind.
OPTIONAL SYNOPSIS OF BEGINING OF STORY IF YOU REALLY WANT ONE (A FEW SPOILERS)
We are in a post apocalyptic land called Olathe, a giant dessert where the days and nights can stretch weeks, but not always. Most importantly, however; all the women are gone.
The chaotic land ruled by warlords and perverts inhabit the person we play as, Brad. One day when Brad is going about his buisness, he finds a baby, laying alone on the ground. Brad brings the baby home where he and his three friends live. There, the four realize that the baby is a girl. Altough, due to personal reasons, Brad refuses to let this fact be known to the world. He decided to raise the baby as his daughter, his three friends acting as uncles if they want to.
All four agree, and Buddy (the baby) starts growing up.
One day, when Brad is coming home, Buddy and two of his friends are gone, the one remaining dead at the scene.
This prompts Brad to go out into Olathe, and find Buddy, finding himself in all sorts of strange and crazy situation and dilemmas.
AMAZING GAME PLEASE PLAY PLEASE
Your videos are literally a game changer ❤
Been reading a book about classic structures for scenes, motivations and overall arcs. Excited for this one!!
Thank you for inspiring me and giving me the ability to believe I could write. I have a story idea I've been exploring, have some ideas sorted out, and a tentative first chapter.
This video was the missing piece to get my noodle churning with new ideas on how to move forward and contextualize the random scenes I've thought of already.
Thank you for sharing your methods.
Your advice is fantastic. It's practically aligned with my perspective on writing (we must have similar sources), but your understandings allow me to draw new connections I hadn't before. Thank you.
just what i needed as i loosely plan story scenes using the three act structure as a vague guide, thankyou!
Was rewatching this video, and I wondered, have you ever considered making a template similar to your character map sheet for story arcs and acts???
this is exactly the video topic i needed. thank you!!
The Frappuccino spiral absolutely sent me. Good show.
every single video has had advice i needed. the whole fuckin catalog. ive rewatched almost all of your vids at least once. you are genuinely the best resource for writing on all of youtube
Oh, FINALLY! I’m so glad you made this
Your advice had been revolutionary to my writing. Thanks so much man
you are very helpful sir, never stop making these
After watching this video, I now have 3 pages of A5 with a bunch of writing I feel confident with, and I thank you for the theories lining up my long planted ideas and personal theorising about story stuff.
The problem whenever I line stuff up though is that once it’s done, I gotta do it all over again… man…
Thanks for your insights! Looking forward to your next video!
3:07 thats just the plot of gravity
The midpoint is the one bit i always struggle with. No one seems to be able to explain exactly what it should involve, how it should change the story, whether it is a 'point' at all or scene or several scenes, or give any concrete examples of a midpoint in action either. If anyone has any examples of a good solid midpoint in a movie i'd love to hear them.
Midpoints are where you're supposed to just be entertaining for the sake of it. If you're writing a drama, write a lot of dramatic events and subplots. If you're writing a comedy, action, horror, or something skeptical based, just put in scenes for those things and context behind them. The mid point can be hundreds of episodes, or it can be a few seconds, it really just depends.
@@youcantbeatk7006 that's not a specific plot beat you're describing though, that's just the story lol. When people talk about the midpoint they usually seem to be referring to a pivotal moment in the protagonist's journey. It's often described as a reversal, a big win or lose for the hero, a moment that encapsulates the theme... any or all of the above. I'm just not sure why it's talked about at all when it doesn't really seem to exist as a 'point' at all, certainly not in the same way the act 1-2/2-3 breaks happen.
@@doovstoover9703Don’t listen to youcantbeatk7006-a midpoint should never just „be entertaining for the sake of it“, that’s not the point. The midpoint is supposed to be THE big emotional turning point for a character; the midpoint is always a twist, the moment where the internal conflict and therefore external goal of the protagonist shifts. However, in some stories you’ll see the twist only being used to change the external goal or to surprise the audience. Not something I would recommend. A midpoint-twist should first and foremost be meaningful for the protagonist. It doesn’t have to be surprising or shocking for the audience. Hell, most of the time they’re pretty predictable for example look at the midpoint in Toy story 1: Buzz realizes he is a toy. That’s it. We, the audience, know this all along, it’s neither surprising nor shocking, still it turns Buzz' world upside down and shifts the goal.
When talking about arcs: This is the moment where the character accepts his truth (or new believe) (positive arc), shows the people around him his truth (flat arc) or rejects the truth (negative arc).
Thanks for this video, dude, really appreciate it. Your ideas here are spot-on. Thinking more about core character beliefs as what drives a character is definitely brilliant. And, as you say, combining this with the central theme and creating characters as "branches" from the central theme, it really starts jelling as an awesome plot generating device.
I run roleplaying games and this stuff is absolute gold for writing adventure and character-driven stuff.
Thanks so much for your contribution. This has sparked so so many ideas for my games. :)
The Sopranos is an excellent example of "vignette" storytelling in the second Act if you could call it. The entire show is episodic and unlike Breaking bad, it doesn't feel planned from the beginning. The episodes are almost always are built up just to represent an obscure aspect of Tony's personality, a different perspective of a mafioso, small character development with one of the side characters, many of which are not central to the story as a whole yet provide an expansive perspective on the entire world they live in.
Often times it feels like they think "what's an aspect of this world" and make it an episode.
Could you make a video with a break down of how to find your philosophical question or premise? Or examples of such from other notable films? Trying to pin this concept down in my mind, and feel like my writing will improve quite a bit once I can wrap my brain around this concept.
Everytime I'm struggling with a new issue with my story, you upload a video which perfectly addresses that, you are a prophet.
So many people define a negative arc like “they embrace the lie they’ve been believing” and a positive arc like “they identify the lie and change”. What if it’s not a lie, what if it’s just another philosophy? I don’t like how so many authors feel they have to take sides by the end of their book. I try to present both sides as fairly as possible and make it clear that delineating the truth may not even be possible.
I have my antagonists being 100% nihilists, wanting to tear down the lie that they believe meaning is, so everyone can see and embrace their truth. This may sound harsh but, they’re in an age where nihilism might be the most rational position and the people they kill mostly wanted death anyways. We’ve discovered everything there is to discover about the universe and physics, we’re trapped below light speed, petering out as a species. In this case, the optimist heroes trying to create change might very well be so forceful that they border on terrorism, cramming down hope on a people that hate hope.
Maybe I will pick a side eventually, but I don’t feel I have to. The reader could pick their own sides. Technically, neither are demonstrably better in the real world so why must it be in fantasy?
Did you know: Shakespeare did NOT write his plays in five acts. The five act structure was applied in the 18th century by some academician who's name presently escapes me. Wherefore what name that hides in the shadows. Forgotten not, but abandoned by a favored wind... anyway.
i found your channel today and i'm binge watching your videos because they're really good and helpful with my creative writing class assignment! keep the good work! can't wait to see you blow up!
“you can do any Shakespeare play in space”
*looks at “Gundam: the Witch from Mercury”, which is pretty much “The Tempest” in space with giant robots*
MY GOD SOMEONE ELSE SAID IT!
"Enneagram, Enneagram ..." Was waiting for this :D
I appreciate your perspective... Hopefully these tips help me write my visual novel
One of the few channels where I will hit the like button before even watching - your videos are awesome and so helpful! thank you :)
Be interested to see you do a video on how to write sequels/follow ups to your original story. I personally lean on the 'upside down reversal' method
He did in is Adventure TIme/episodic storytelling video IIRC. IMO the way to make a good sequel is to just make a good story with enough holdovers from the previous installment to be considered a part of the same thing.
@@youcantbeatk7006 Aye, makes sense. I remember him briefly discussing Aliens in an older video and how that was a great sequel due to how the ending of the first film allowed for the plot in the second to be reset.
I think the reversal method is good as it allows for the story to remain familiar but new at the same time. Empire Strikes Back being a prime example.
The first act effectively serves as a mini repeat of the plot of ANH but with the context flipped, so that by the second act the plot already has progressed organically from the familiar into the unfamiliar.
Edit: I suppose I would be interested in ScriptMan's method as I wonder if the themes would be the same. Do you create a new theme to focus on in the sequel, or is it just a continuation of themes from the original with new perspectives/characters?
@@Onezy05 Personally, I feel like the exploration of themes in the first installment should be completed. Sequels can call back to them but I'd personally prefer when sequels tell their own story and retread little.
@@youcantbeatk7006 Yeah, those were kind of my thoughts. The central theme should be explored and answered in the given work, not multiple works. Something new should be brought to the table.
Though, obviously sometimes that's dependant on a character arc and how it was left at the end of the original. An idea is also turning that arc upside down - the truth they discovered at the end of the original becomes a new lie and status quo, which they have to learn from and reconcile in the sequel.