Super heroes have been a mainstay of comic books very nearly years, in one form or another.
That Is The Question Every story has a beginning, a middle and an end.
In the beginning you setup your hero or heroine and his story, then you throw something at him that is a great source of conflict and takes him into a whole heap of trouble. After facing many foes and overcoming various obstacles the hero saves the day and wins the girl.
If only writing a movie was that easy The thing is, there are many forms of structure and some writers subscribe to one formula, while others subscribe to another.
Some try not to subscribe to any and see the whole idea of structure as "evil", feeling that a story should evolve organically without rules confining ideas or obstructing the creative flow. In the end, a story should dictate the kind of structure it follows or whether it shouldn't follow a structure at all.
There's no point trying to write a comedy and forcing the structure of a thriller upon it - it won't work. Well, theoretically it won't but I'm sure someone will find a way! Let your characters define the story and your story define your structure and then use a formula if necessary to tighten your script.
The trick is to initially let the ideas flow without paying too much attention to structure and then in your second pass begin to focus your story and separate the wheat from the chaff. This is essentially a more detailed Character Arc for your story's hero which is overlayed onto the more traditional three-act structure that many successful Hollywood movies such as Star Wars and The Wizard of Oz when analyzed appear to follow.
Ordinary World This is where the Hero's exists before his present story begins, oblivious of the adventures to come. It's his safe place. His everyday life where we learn crucial details about our Hero, his true nature, capabilities and outlook on life. This anchors the Hero as a human, just like you and me, and makes it easier for us to identify with him and hence later, empathize with his plight.
Call To Adventure The Hero's adventure begins when he receives a call to action, such as a direct threat to his safety, his family, his way of life or to the peace of the community in which he lives. It may not be as dramatic as a gunshot, but simply a phone call or conversation but whatever the call is, and however it manifests itself, it ultimately disrupts the comfort of the Hero's Ordinary World and presents a challenge or quest that must be undertaken.
Refusal Of The Call Although the Hero may be eager to accept the quest, at this stage he will have fears that need overcoming. Second thoughts or even deep personal doubts as to whether or not he is up to the challenge.
When this happens, the Hero will refuse the call and as a result may suffer somehow. The problem he faces may seem to much to handle and the comfort of home far more attractive than the perilous road ahead. This would also be our own response and once again helps us bond further with the reluctant Hero.
Meeting The Mentor At this crucial turning point where the Hero desperately needs guidance he meets a mentor figure who gives him something he needs.
He could be given an object of great importance, insight into the dilemma he faces, wise advice, practical training or even self-confidence. Whatever the mentor provides the Hero with it serves to dispel his doubts and fears and give him the strength and courage to begin his quest.
Crossing The Threshold The Hero is now ready to act upon his call to adventure and truly begin his quest, whether it be physical, spiritual or emotional.
He may go willingly or he may be pushed, but either way he finally crosses the threshold between the world he is familiar with and that which he is not. It may be leaving home for the first time in his life or just doing something he has always been scared to do.
However the threshold presents itself, this action signifies the Hero's commitment to his journey an whatever it may have in store for him.
Tests, Allies, Enemies Now finally out of his comfort zone the Hero is confronted with an ever more difficult series of challenges that test him in a variety of ways.
Obstacles are thrown across his path; whether they be physical hurdles or people bent on thwarting his progress, the Hero must overcome each challenge he is presented with on the journey towards his ultimate goal. The Hero needs to find out who can be trusted and who can't.
He may earn allies and meet enemies who will, each in their own way, help prepare him for the greater ordeals yet to come. Approach To The Inmost Cave The inmost cave may represent many things in the Hero's story such as an actual location in which lies a terrible danger or an inner conflict which up until now the Hero has not had to face.
As the Hero approaches the cave he must make final preparations before taking that final leap into the great unknown.If you print or download from this site, please consider making at least a $ donation through PayPal. Sandra Effinger [email protected] DropBox Access -- Binder from summer workshops ( pages), various lists and handouts housed on my r etired AP English page have been migrated.
An invitation will be issued to $ donors. NBC. Whenever you hear the word 'hero' you probably automatically put the word 'super' in front of it and pictures the Avengers beating up some alien things coming out of the sky over New York. Human history can -- and constantly does -- produce stories that are far more creepy and gruesome than any horror-movie hellbeast or latex-mask-sporting serial killer could ever aspire to be.
Super heroes have been a mainstay of comic books very nearly years, in one form or another. Some of the classics, such as Superman and Batman, go all the way back to the 's.
They are definitely super human. NBC. Whenever you hear the word 'hero' you probably automatically put the word 'super' in front of it and pictures the Avengers beating up some alien things coming.
A tragic hero is the protagonist of a tragedy in feelthefish.com his Poetics, Aristotle records the descriptions of the tragic hero to the playwright and strictly defines the place that the tragic hero must play and the kind of man he must be. Aristotle based his observations on previous dramas.
Many of the most famous instances of tragic heroes appear in Greek literature, most notably the works of.