TEACHIN G PLOT STRUCTU RE Through Short Stories Plot is the literary element that describes the structure of a story. It shows the a causal arrangement of events and actions within a story.
TYPES OF LINEAR PLOTS Plots can be told Flashback In Media Res .Chronological . . Order (in the middle of things)
when the story starts in the middle of the action without exposition PYRAMI D PLOT STRUC TURE THE MOST BASIC AND TRADITIONAL
FORM OF PLOT IS PYRAMID-SHAPED This structure has been described in more detail by Aristotle and by Gustav Freytag. PLOT COMPONENTS CONFLI CT
Conflict is the dramatic struggle between two forces in a story. Without conflict, there is no plot. Types of Conflict Interpersonal Conflict Human vs Human Human vs Nature
Human vs Society Internal Conflict Human vs Self THE THREE ACT STRUCTURE 10 % of Film 50 to 75% of Film
10 to 20% film THREE ACT STRUCTURE The 3-act structure is an old principle widely adhered to in storytelling today. It can be found in plays, poetry, novels, comic books, short stories, video games, and the movies. It was present in the novels of Conan Doyle, the plays of Shakespeare, the fables of Aesop, the poetry of Aristotle, and the films of Hitchcock. Its older than Greek dramaturgy. Hollywood and Broadway use it well. Its irrefutable and
bullet-proof, so to speak. THREE ACT STRUCTURE Though quite simple, the 3-act structure has proven to be a valuable weapon in the arsenal of any screenwriter. Yes, there are alternatives
to telling a story. But the 3-act structure is a highly accepted and greatly successful method. In a nutshell, the 3 acts are labeled as: Act I: Setup Act II:
Confrontation Act III: Resolution ACT I: THE SETUP THE FIRST ACT IS WHERE ALL THE MAJOR CHARACTERS OF THE STORY ARE INTRODUCED, PLUS THE WORLD WHERE THEY LIVE IN, AND THE CONFLICT THAT WILL
MOVE THE STORY FORWARD. THE REASONING AND LOGIC OF THE STORY IS DEFINED. THIS EARLY IN THE SCRIPT, ANYTHING IS POSSIBLE. ACT I MUST ALSO PRESENT A STRONG HOOK AN EXCITING SCENE EARLY IN THE SCRIPT THAT GRABS THE AUDIENCES INTEREST AND HOOKS THEM.
THE SECOND ACT IS BY FAR THE LONGEST, ENCOMPASSING HALF OF THE MOVIE AND TAKING PLACE BETWEEN THE FIRST AND THIRD ACTS. LIST OF INCIDENTS THAT EITHER HELP OR OBSTRUCT PROTAGONIST FROM GETTING WHAT HE WANTS. ACT II:
CONFRONTATION / RISING ACTION THE LAST ACT, ACT III PRESENTS THE FINAL CONFRONTATION OF THE MOVIE, FOLLOWED BY THE DENOUEMENT. THIS ACT IS USUALLY THE SHORTEST IN LENGTH BECAUSE QUICKLY AFTER THE SECOND TURNING POINT OF THE SCRIPT, THE MAIN CHARACTER IS FACE TO FACE WITH THE VILLAIN OR JUST ABOUT. SHOWDOWN ENSUES AND THEN CONCLUSION. (THINK ABOUT WHAT TYPE OF RESOLUTION - GOOD GUY WINS, BAD GUY WINS, CLIFFHANGER, CYCLICAL, TOTALLY
UNEXPECTED.) ACT III: RESOLUTION STORY VS. PLOT Story: message that is delivered to the reader
Plot: the things that take place within the story make up the plot Conflict: key element of WHAT
MAKE SA GOOD STORY STORY IDEA DEVELOPMENT YOUR CHARACTER S JOURNEY Characters Types
Generating Ideas for a Good Sh ort Film 50 High Stake Plot Ideas! How to come up with a movie i dea Short Story Generator
HOW TO BRAINSTORM IDEAS MOVIE GENRES MASH UPS https://multimedia.journalism.ber keley.edu/tutorials/picking-rightmedia-reporting-story/ https://www.shortoftheweek.com
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