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Academy Board / Re: Writers' Corner
« Last post by LooNEY_DAC on May 18, 2024, 02:39:12 PM »Resurrecting this thread to vomit out my thoughts on a specific story type that seems to me to be denigrated or disregarded entirely in modern "how to write" literature et al, sparked by the declaration at a panel at a conference for writers that "the hero must choose to commit to the story"; being a natural contrarian, I immediately thought, "when did Dorothy make any such 'choice' in the movie The Wizard of Oz?" So here's some less-than-coherent thought on the matter.
Narratives of necessity
Narratives of necessity: protagonist is thrust into the situation of having to act; if they chose something, the choice seemed innocuous until they were too far in to go back, or the choice wasn’t a choice; singular objective (usually “survive”); only way out is forward/through; important thing is: they are home at the end, whether original or made (why “horror twist” ending is unsatisfactory and unsatisfying); NOT Hero’s Journey for protagonist (maybe for side character(s))
Usual structure: prologue showing “normalcy”; disaster strikes/the gauntlet is thrown; alternating challenges and downtime; the last hurdle; ending (see below)
Variations include: multiple protagonists w/potential group problems; no bad guy; multiple bad guys; pick up allies on the way; pick up bad guys on the way; split group so intercut between plot lines
Ending 1: Back home: the protagonist has overcome everything thrown at him and returned to where he was at the beginning (probably improved circumstances).
Examples: the Wizard of Oz; Finding Nemo; Back to the Future; Forbidden Planet; Nothing but Trouble; TRON; Escape from NY/LA; XXX; Return from Witch Mountain; Minority Report; Star Trek (films); the Prisoner; Speed; Predator; Jurassic Park; Sean of the Dead; Commando; the Terminal; Krull; Hakon Hakonsen
Ending 2: Still trying: the protagonist has overcome the current obstacles, but still needs to make their way home.
Examples: Flash Gordon; Lost in Space; Sliders; ST:Voyager; Nowhere Man; the Lost Continent
Ending 3: Here to stay: see subtypes below.
A: the protagonist has overcome all the obstacles, but finds a compelling reason to stay/return.
Examples: Lone Star Planet; The Time Machine (film); Kindergarten Cop; American Dreamer
B: there was never any chance of returning, just surviving/building a new life for themselves.
Examples: Buck Rogers; Lord Kalvan; Planet of the Apes (film); Terminator franchise; Total Recall; the Running Man; Bourne franchise; Charade; most robinsonades
C: the whole point was to get away.
Examples: the Horse and His Boy; Escape to Witch Mountain; the Mysterious Island; Swiss Family Robinson
Ending 4: Everybody dies: Either the final obstacle requires a heroic sacrifice or there’s a twist ending (usually unsatisfying and unsatisfactory).
Examples: Impostor; Phantom of the Paradise; most zombie movies
Well, there's as much as I've articulated on the matter. Does anyone else have thoughts they wish to share?
Narratives of necessity
Narratives of necessity: protagonist is thrust into the situation of having to act; if they chose something, the choice seemed innocuous until they were too far in to go back, or the choice wasn’t a choice; singular objective (usually “survive”); only way out is forward/through; important thing is: they are home at the end, whether original or made (why “horror twist” ending is unsatisfactory and unsatisfying); NOT Hero’s Journey for protagonist (maybe for side character(s))
Usual structure: prologue showing “normalcy”; disaster strikes/the gauntlet is thrown; alternating challenges and downtime; the last hurdle; ending (see below)
Variations include: multiple protagonists w/potential group problems; no bad guy; multiple bad guys; pick up allies on the way; pick up bad guys on the way; split group so intercut between plot lines
Ending 1: Back home: the protagonist has overcome everything thrown at him and returned to where he was at the beginning (probably improved circumstances).
Examples: the Wizard of Oz; Finding Nemo; Back to the Future; Forbidden Planet; Nothing but Trouble; TRON; Escape from NY/LA; XXX; Return from Witch Mountain; Minority Report; Star Trek (films); the Prisoner; Speed; Predator; Jurassic Park; Sean of the Dead; Commando; the Terminal; Krull; Hakon Hakonsen
Ending 2: Still trying: the protagonist has overcome the current obstacles, but still needs to make their way home.
Examples: Flash Gordon; Lost in Space; Sliders; ST:Voyager; Nowhere Man; the Lost Continent
Ending 3: Here to stay: see subtypes below.
A: the protagonist has overcome all the obstacles, but finds a compelling reason to stay/return.
Examples: Lone Star Planet; The Time Machine (film); Kindergarten Cop; American Dreamer
B: there was never any chance of returning, just surviving/building a new life for themselves.
Examples: Buck Rogers; Lord Kalvan; Planet of the Apes (film); Terminator franchise; Total Recall; the Running Man; Bourne franchise; Charade; most robinsonades
C: the whole point was to get away.
Examples: the Horse and His Boy; Escape to Witch Mountain; the Mysterious Island; Swiss Family Robinson
Ending 4: Everybody dies: Either the final obstacle requires a heroic sacrifice or there’s a twist ending (usually unsatisfying and unsatisfactory).
Examples: Impostor; Phantom of the Paradise; most zombie movies
Well, there's as much as I've articulated on the matter. Does anyone else have thoughts they wish to share?