Log In
Or create an account ->
Imperial Library
Home
About
News
Upload
Forum
Help
Login/SignUp
Index
Title Page
Contents
About the Author
Introduction
Into the Woods
Act I: HOME
1: What is a Story?
The Essential Building Blocks
Dark Inversions
2: Three-Act Structure
What is Structure?
The Three-Act Form
3: Five-Act Structure
Three-Act and Five-Act Structure
Freytag’s Pyramid
The Midpoint
Five Acts versus Three Acts
4: The Importance of Change
The Change Paradigm
Christopher Vogler and the Hero’s Journey
The Importance of the Midpoint
5: How We Tell Stories
The ‘Midpoint’ in Two Dimensions
Multiple Protagonists
The Story Shape
Act II: WOODLAND, DAY
6: Fractals
7: Acts
Questions and Answers
8: The Inciting Incident
The Deferred Call
9: Scenes
Turning Points
Come in Late, Get out Early
10: Putting It All Together
First Acts
Second Acts
Third Acts and Midpoints
Fourth Acts
Fifth Acts
Fractal Structure and Change
Act III: THE FOREST
11: Showing and Telling
The Kuleshov Effect
Act IV: THE ROAD BACK, NIGHT
12: Character and Characterization
The Basic Principles
Characterization
The Psychological Basis of Characterization
The Importance of Paradox
13: Character and Structural Design
14: Character Individuation
Ego Defence Mechanisms
The Origin of Neurotic Conflict and the Rubber Duck
15: Dialogue and Characterization
Characterization through Dialogue
16: Exposition
Conveying information other characters don’t know
Conveying information all other characters do know
17: Subtext
Act V: HOME AGAIN, CHANGED
18: Television and the Triumph of Structure
Single Films
Serials (in America ‘Mini-Series’)
Series
19: Series and Serial Structure
Serial Structure
Series Structure
20: Change in Drama Series
21: Home Again
The Importance of Theme
‘All Television is Storytelling’
Subverting the Norm
22: Why?
The Societal Reason
The Rehearsal Reason
The Healing Reason
The Information Retrieval Reason
The Panacea Reason
The Procreation Reason
The Psychological Reason
Why Do We Tell Stories?
Appendices
Appendix I. Act Structure of Raiders of the Lost Ark
Appendix II. Hamlet – The Structural Form
Hamlet – A Brief Synopsis
Appendix III. Being John Malkovich – The Structural Form
Appendix IV. My Zinc Bed – The Structural Form
My Zinc Bed – A Brief Synopsis
Appendix V. The Godfather – The Structural Form
The Godfather – A Brief Synopsis
Appendix VI. First and Last Act Parallels: Some Further Examples
Appendix VII. A Lightning Guide to Screenwriting Gurus
Notes
Bibliography
Credits
Acknowledgements
Follow Penguin
Copyright Page
Footnotes
Act I: HOME
2: Three-Act Structure
Page 27
4: The Importance of Change
Page 50
Page 52
Act II: WOODLAND, DAY
7: Acts
Page 79
10: Putting It All Together
Page 104
← Prev
Back
Next →
← Prev
Back
Next →