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S06 StoryStructure Revised2

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20 views48 pages

S06 StoryStructure Revised2

Uploaded by

nhidhss180815
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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STORY STRUCTURE AND THE

HERO’S JOURNEY
INTRODUCTION
Part 1
Story structure and the hero’s journey in
transmedia storytelling
• Getting to know storyworld and story
structure
• Familiarizing yourself with the hero’s journey
Learning Objectives
• Shape your ideas into
compelling and well structured
narratives and complex story
worlds
• Evaluate existing and emerging
technologies to share your story
with the world, and help your
audience participate in the
larger storyworld you create.
Storyworld
Story structure
The hero’s
journey
introduction
A New
Approach to
your favorites
stories
Welcome
STORYWORLDS
INTRODUCTION
What is a storyworld
• A storyworld is the fabric of details that make a
story believable. When there is a story set
somewhere contemporary and familiar we tend
not to notice the storyworld: we take it for
granted... it’s just kind of there. When the story
is set somewhere unfamiliar, like Hogwarts or
Mars or the jungle, then the storyworld is more
evident – in the costumes, the architecture, the
language, the props and so on.
• Storyworlds are most noticeable and most
important when there are many stories told
about the same characters or places or
objects or time period. This is because the
storyworld provides the foundation to
support the stories.
Mark J.P Wolf says in his excellent book Building
Imaginary Worlds: The Theory and History of
Subcreation:
• “Worlds, unlike stories, need not rely on
narrative structures, though stories are always
dependent on the worlds in which they take
place. Worlds extend beyond the stories that
occur in them, inviting speculation and
exploration through imaginative means”
It illustrates multiple stories inside a storyworld with
stories connected by possible narrative threads
• The storyworld then isn’t a story but it holds evidence
of stories and the elements from which stories are
made. Imagine excavating a garden and finding broken
clay pipes and coins: there’s no plot here but our minds
want to find significance in these items and we
speculate why the pipes & coins are here, who might
have used them, when did they leave them. Maybe they
imply a race of people or class of society... all of which
we hope will have more significance when we read a
story from this storyworld or discover more artefacts.
Storyworld Elements
• Figure 32 is an original illustration based on the ideas in
Mark J.P. Wolf’s book. We see a wide range of possible
elements that make up a storyworld and how these
elements infuse the stories and other “non- narrative
touchpoints”: these are objects or experiences that reveal
the storyworld but need not in themselves be part of a
narrative. For example maps, excavated bones, broadcasts
from a radio station, Tweets from a civic institution: they
reveal the world’s values and history and geography but
don’t necessarily deliver plot. When working on large
storyworlds, writers will create a “storyworld bible” to
document all these aspects of the world but maybe only
some aspects of the total world will be revealed in any
single story.
Robert Pattern: Getting_Started_in_Transmedia_Storytelli.pdf
PP 33-34
STORY
STRUCTURE
• “The story structure is the
foundation of the story,
cemented in the elements like
character, plot, conclusion,
emotion, universal truth”
Excerpt From: Miri Rodriguez;. “Brand Storytelling.” iBooks.
All stories have the same aim:
• To take the audience on a satisfying
emotional journey. Typically this requires that
we have empathy for the hero character and
want them to succeed...
• Let’s see different story structures.
<Reference: Robert Pattern
Getting_Started_in_Transmedia_Storytelling>
A linear story

• Next slide represents a linear story. The


blocks could be pages of a book, chapters of
a book, episodes in a TV series and so on. The
important thing to note is that the audience
only has one path through the story: start
with episode one and end at episode three.
<Reference: Robert Pattern
Getting_Started_in_Transmedia_Storytelling PP27- 31>
A linear story
Branching narrative
Although this can work really well in the right
circumstances, there are two big drawbacks:
1. The author may have to write a lot of
content that may never get seen. For example,
in previous slide the audience has chosen the
path to end point C. This means that the
content written for end points A and B is never
read - unless the audience restarts the journey
of course which is sometimes the goal
2. When this approach is used in interactive
videos, the timing of the decision points and
actual choices offered are key authorial
decisions. Many interactive movies don't quite
work because viewers who want to "sit back"
are frustrated at having to click to move
forward and those who like to "sit forward"
(e.g. enjoy interactive entertainment - like
games) are equally frustrated at the long
periods of doing nothing except laying back to
watch.
A hybrid story
• Next slide shows a hybrid – a linear story that
pretends to be branching narrative. The
audience is offered a choice at the end of each
scene but regardless of their decision the story
branches to the same next scene.
• The interactive story is part of a two hour crisis
simulation in which participants are being
evaluated on their teamworking and decision-
making skills
Story on rails
Another hybrid story
• Next slide shows another hybrid which is chosen to call a
“dynamic” story. You’ll notice that there are branches
but the branches get closed down before they multiply
too much. This balances the need to offer decisions that
have consequences while minimizing the production of
“unseen” content.
• Note how the emotional state of the hostage takers is
tracked and this affects how the story is told. In the
opening scene they are nervous but in one path a
bungled attempt to kill them with a sniper leaves them
hostile. Their mood is carried into the last seen shown
here and will affect how they communicate with players.
A dynamic story
• Of particular interest to transmedia
storytellers is the "open storyworld" as shown
in next slide. In the open storyworld,
characters, things and places hold information
that the audience must discover through
investigation or exploration. The large dots in
my illustration are those entities that the
audience can investigate and the smaller dots
represent the information held.
An open storyworld
An open storyworld
• The open storyworld is often described as "non-
linear storytelling" because the audience is free to
explore those entities in any order - meaning that
there isn't a single linear sequence or order that the
audience has to follow. However, the audience’
experience of the story is always linear because at
this time of writing, time only flows in one direction
(at least for storytellers not working at subatomic
levels). So regardless of how we encounter the
pieces of the story our experience is always linear.
An open storyworld
• Next slide shows how an open storyworld can be
used to create engagement between episodes of
a TV series or web series. Rather than have the
audience wait a week for the next episode they
can explore the open storyworld at their own
pace. Even if someone watches all the episodes
back-to-back the open storyworld experience will
still be valid... although future video episodes
might contain plot spoilers for the open
storyworld if it's intended to play between
episodes.
An open storyworld with linear media
Open storyworld
• One way to imagine this structure is as the
audience being a passenger on a train from
London to Manchester (See next slide). With
linear storytelling the passenger doesn’t get to
move around the carriages – he’s strapped to a
seat and will experience the journey the same
way as everyone else. With participatory
storytelling – using the open world approach
described above – the passenger is free to
roam around the carriages.
Participatory storytelling
THE HERO’S
JOURNEY
INTRODUCTION
Introduction
• In books like The Hero with a Thousand Faces,
The Power of Myth, and The Inner Reaches of
Outer Space, Campbell reported on the
synthesis he found while comparing the myths
and legends of many cultures. The Hero’s
Journey was his all-embracing metaphor for the
deep inner journey of transformation that
heroes in every time and place seem to share, a
path that leads them through great movements
of separation, descent, ordeal, and return.
The Campell’s model
Case Study
• A case study is chosen
by the teacher or from
practice 1, 2 of the
group
Discussion
• What we can learn
from a case study
• Best practices
• Take-aways
Summary
• Getting to know storyworlds and story
structure
• Familiarizing yourself with the hero’s journey
Resources
• Robert Pattern. Getting Started in Transmedia
Storytelling
• Max Giovagnoli. TRANSMEDIA STORYTELLING.
Imagery, Shapes and Techniques
QUESTIONS?
SOCIAL
CONSTRUCTIVISM
PART
Edunext
• How to structure your Story ?
Presentation of group NN and all
members answers in Edunext
Preparation for the next section
• If you want to express the hero’s
journey, how do you do? Give an
Example to make it clear!
See you!

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