BEA Ignite2015 - Egan
•Download as PPTX, PDF•
0 likes•289 views
BEA Ignite shares the best peer-reviewed enterprise ideas for the classroom.
Recommended
More Related Content
What's hot
Viewers also liked
Viewers also liked (20)
Recently uploaded
Recently uploaded (20)
BEA Ignite2015 - Egan
- 1. Candace Egan California State University, Fresno Narrative Film Story Development: In-class Creativity Exercise with the Storymatic BEA IGNITE
- 2. Field Video Production Candace Egan Associate Professor Department of Mass Communication & Journalism California State University, Fresno candace@csufresno.edu MCJ 115 Field Video Production Narrative Story Development: The Storymatic Exercise
- 3. Field Video Production The Storymatic Exercise Wherein you pair up with your partner in crime for the Movie Opening assignment and storytelling mayhem ensues Inspired By: Brian Mooney The Storymatic.com A Wrecking Ball For Writers Block, http://archive.wired.com/geekdad/2012/02/storymatic
- 4. Field Video Production Step 1: Main Characters & Premise Protagonist & Antagonist Who are they? - Draw one gold card for each Describe the character for each • Gender, age, physicality What is their primary want/need (goal) in life? • Why?
- 5. Field Video Production Step 1: Main Characters & Premise Premise What’s the movie about? What’s the story action device? Narrative patterns used to guide plot Ron Layne and Rick Lewis Striving toward a goal Overcoming adversity Solving a mystery Solving a problem Bringing order to chaos- from confusion to understanding The journey Coming of age- from innocence to experience Personal growth The Seven Basic Plots Christopher Booker Rags to riches Overcoming the monster The Quest Voyage and return Comedy- Overcoming adversity Tragedy- Fall from grace to death Rebirth-from villain to redemption
- 6. Field Video Production Step 2: Conflict Source of conflict between two characters – Draw one copper card What’s the protagonist’s side of the conflict? What’s the antagonist’s side?
- 7. Field Video Production Step 3: Ending What happens to the protagonist after having gone through the story?
- 8. Field Video Production Step 4: Beginning of Story/Exposition Thing/person/skill that helps the protagonist Draw one card • Introduce early in story • Plays a key role in climatic events When and where do the characters live? What’s the mood of the story? Candace Egan
- 9. Field Video Production Step 5: Inciting Incident What is the inciting incident that propels the protagonist on a quest to achieve their goal (want/need)? Which is in direct opposition to what the antagonist wants.
- 10. Field Video Production Step 6: Rising Action Lock in First culmination Mid point culmination Third act twist
- 11. Field Video Production Step 7: Climax/Resolution Climax Confrontation with Antagonist Second copper card • Plays a key role in climatic events Resolution (See ending) Outcome of climax What happens to characters as a result of the climax?
- 12. Field Video Production What’s your story Opening sequence Inciting incident First culmination Mid point culmination Third act twist Climax Resolution Candace Egan
Editor's Notes
- Candace Egan 559-278-5070 candace@csufresno.edu
- A Wrecking Ball For Writers Block: The Storymatic Creates Stories, By Ethan Gilsdorf 02.17.12, Wired, http://archive.wired.com/geekdad/2012/02/storymatic/ The tool – if you want to call The Storymatic a tool – is the brainchild of Brian David Mooney, a guy who grew up in Western Massachusetts and assumed he would be a baseball player when he grew up. That hasn’t worked out yet (so far, anyway), so instead, Mooney became a writer of fiction, non-fiction, and poetry. Among his cool literary credentials and publications, his short stories have been presented by Leonard Nimoy at the Chicago Museum of Contemporary Art, Paramount Studios, and Jazz at Lincoln Center. He’s also taught creative writing at Marlboro College (Vermont) and the University of Massachusetts, and he’s been with The Putney School Summer Programs (in Vermont) since 1998. I had a chance to ask Mooney about where The Storymatic came from and what people are using it for, among other questions. Gilsdorf: Where did you get the idea for The Storymatic? Mooney: I like making up my own writing prompts and exercises. The Storymatic started as a prompt back when I was teaching fiction workshop at Marlboro College. Back then, it was a few slips of white paper in a lunch bag. The prompt went pretty well, so I took it to my high school summer classes at The Putney School Summer Programs. At Putney, I put it on colored construction paper and put the cards in a little box. For a few years, I kept tinkering and tinkering, and the prompt got bigger and bigger. Some of the kids wanted to buy The Storymatic from me in class, and when I told them there was only one Storymatic and it was all mine, they said I was an idiot for not making more than one and selling it. Finally, I took their advice. Gilsdorf: How do you think The Storymatic works? Is there something about randomness that makes us more creative? Mooney: I believe that stories are all around us, and we just need to let them find us. If I were a sculptor and you asked me where my work came from, I would say it was already present in the stone. That’s how I view things, and that’s the governing principle I had in mind in creating The Storymatic. I wanted to make something that opened the pipeline to stories that are already in the air around us. And I think it does exactly that. You draw the cards and you just know there’s a story there. How you tell it is up to you. It’s a little hard for me to view the cards as random, because so much thought went into them. But I know what you mean. The Storymatic encourages you to unite elements that you might not usually expect to go together, and it encourages you to see where those elements take you. That can seem random, I suppose. But it also kind of feels natural to me.
- Plot, Theme, the Narrative Arc, and Narrative Patterns, by Ron Layne and Rick Lewis, English & Humanities Department, Sandhills Community College, September 11, 2009. http://www.sandhills.edu/academic-departments/english/film/narrativearc.html Story Framework (Narrative Patterns) | Summary of Narrative Patterns The following list summarizes some of the major narrative patterns or devices used in motion pictures to move the plot and develop the theme, especially those made by the American film industry. In all of these narrative devices, the director and screenplay author may also use parallel stories and parallel editing to contrast the way different characters attempt to reach their goals or overcome obstacles. Striving toward a goal Overcoming adversity Solving a mystery Solving a problem Bringing order to chaos (from confusion to understanding) The journey Coming of age (from innocence to experience) Personal growth The Seven Basic Plots, by Christopher Booker , Wikipedia, http://en.wikipedia.org/wiki/The_Seven_Basic_Plots Overcoming the Monster The protagonist sets out to defeat an antagonistic force which threatens the protagonist and/or protagonist's homeland. Examples: Perseus, Theseus, Beowulf, Dracula, War of the Worlds, Nicholas Nickleby, The Guns of Navarone, Seven Samurai and its Western-style remake The Magnificent Seven, James Bond, Star Wars: A New Hope, and Die Dollar Die: Fall of the American Colossus.[2] Rags to Riches The poor protagonist acquires things such as power, wealth, and a mate, before losing it all and gaining it back upon growing as a person. Examples: Cinderella, Aladdin, Jane Eyre, Great Expectations, David Copperfield.[2] The Quest The protagonist and some companions set out to acquire an important object or to get to a location, facing many obstacles and temptations along the way. Examples: Iliad, The Pilgrim’s Progress, King Solomon's Mines, Watership Down.[2] The Wizard of Oz, The Lord of the Rings, Harry Potter and the Deathly Hallows, "Tenacious D and the Pick of Destiny" Voyage and Return The protagonist goes to a strange land and, after overcoming the threats it poses to him/her, returns with nothing but experience. Examples: Odyssey, Alice in Wonderland, Goldilocks and the Three Bears, Orpheus, The Time Machine, Peter Rabbit, Brideshead Revisited, The Rime of the Ancient Mariner, Gone with the Wind, The Third Man.[2] "Chronicles of Narnia" Comedy Light and humorous character with a happy or cheerful ending; a dramatic work in which the central motif is the triumph over adverse circumstance, resulting in a successful or happy conclusion.[3] Examples: A Midsummer Night's Dream, Much Ado About Nothing, Twelfth Night, Bridget Jones Diary, Music and Lyrics, Sliding Doors, Four Weddings and a Funeral, Mr Bean Tragedy The protagonist is a villain who falls from grace and whose death is a happy ending. Examples: Breaking Bad, Macbeth, The Picture of Dorian Gray, Carmen, Bonnie and Clyde, Jules et Jim, Anna Karenina, Madame Bovary, John Dillinger, Romeo and Juliet, Julius Caesar.[2] Rebirth The protagonist is a villain or otherwise unlikable character who redeems him/herself over the course of the story. Examples: Sleeping Beauty, The Frog Prince, Beauty and the Beast, The Snow Queen, A Christmas Carol, The Secret Garden, Peer Gynt.[2], Life Is a Dream, Despicable Me
- Plot: 5 Key Moments http://thescriptlab.com/screenwriting/structure/the-outline/51-plot-five-key-moments 1. INCITING INCIDENT Often called the point of attack, the inciting incident is the first premonition of impending trouble, dilemma, or circumstance that will create the main tension of the story. It usually falls at the end of the first sequence. But it can sometimes appear in the first few minutes of a film.
- Plot: 5 Key Moments http://thescriptlab.com/screenwriting/structure/the-outline/51-plot-five-key-moments 2. LOCK IN The protagonist is locked into the predicament that is central to the story, which occurs at the end of Act One, This lock in, therefore, propels the protagonist into a new direction in order to accomplish his/her new objective throughout the second act 3. FIRST CULMINATION The first culmination generally occurs around the midpoint of the second act and is a pivotal moment in the story but not as critical as the Lock In or Main Culmination. Consider the first culmination as the second highest or second lowest point in Act Two, the second highest hurdle to be faced. 4. MAIN CULMINATION The final culmination occurs at the end of the second act and brings the main tension to a close while simultaneously helping to create a new tension for Act Three. 5. THIRD ACT TWIST The twist is an unexpected turn of events in the third act. Without a twist, the third act can seem too linear and predictable. It can also be the last test of the hero.