This was superb. I love the hero’s journey and thought I really knew it until this talk. I’m right in the middle of my third act in a current screenplay and this helped light the way in a big way.

@TheStoryDepartment

Ай бұрын

Pleased to hear! Cheers, Karel

The call to adventure is the opening of the wound👍

@TheStoryDepartment

Жыл бұрын

Never heard it put that way, but it makes perfect sense!

I'm late but thank you for giving us your knowledge. This is more than a gem. I am really grateful and thankful for people like you existed for giving me free knowledge.

@TheStoryDepartment

2 жыл бұрын

Glad it was helpful!

Thank you for sharing your knowledge.

Dude! How dope is this. For free! Thank you mate.

@TheStoryDepartment

3 ай бұрын

Glad you like it! I'm giving the story insights away for free, but encourage you to train yourself in format and style by checking out the Immersion Method (my.scriptwriting.courses). Have you watched today's video about Sicario yet? Cheers, Karel

Thank you so much!!!!

@TheStoryDepartment

3 ай бұрын

You're welcome! Now, why not subscribe!? :) Cheers, Karel

thanks!!!!!

@TheStoryDepartment

2 жыл бұрын

You're welcome!

This was great! I’m new to writing and self teaching craft. I’ve been focused on getting a handle on many of the different story structures with the goal of tackling a novel for a first project. Ultimately I think I will create a hybrid of structures with the various components that speak to me. I happened upon eight sequence on another channel and even though it was presented as a structure for writing screenplays, I figured one could use it to write a novel as well. Then on yet another channel, I saw 8 sequence mapped on top of 3 act which blew my mind. But now, I’ve found your fabulous breakdown mapped with Hero’s Journey- and you even gave tons of examples for each sequence! I’m over the moon! Eight sequence spoke to me the minute I discovered it; but I’m understanding it so much better now that I’ve watched your video. It so happens that hero’s journey is appropriate for my story premise. I’m going to attempt a romantic thriller so I’m also focusing in on genre specific story beats / structure. Thriller seems to have as an inciting incident the crime or the body being discovered etc. whereas the inciting incident for romance is the couple meeting for the first time (meet cute). So I’m ALSO trying to get a handle on how to combine the two genres. I feel like eight sequence is going to help me tremendously with that as well as overall pacing. Essentially doubling the number of plot points should help keep things moving and prevent a mushy middle. I’m so glad I found this video because it’s really helpful to now know what should be happening in each sequence - especially those in Act 2 since it’s clearer instinctively what the Act 1 and Act 3 sequences need to accomplish. Sorry this is so long but my last comment is to thank you for giving an energy factor for each sequence! This is definitely the first instance I’ve ever seen of that information being provided and I love it! Instructors don’t talk about what the energy of a scene or chapter or sequence should be at all. You do! If you have time, I’d greatly value any advice you have on resources I could consult about combining genres as well as your thoughts about whether 8 sequence is well suited for use in writing novels. Thank you, Sir! Best of luck to you for your future endeavors and for your channel here on You Tube.

@TheStoryDepartment

9 ай бұрын

I'm pleased you enjoyed the video! You can certainly apply this to novel writing. But I would recommend giving yourself ample freedom initially, and only look at the sequential structure once you have a full draft structure/outline, or even manuscript. And when you combine genres, the story points don't necessarily fall at the same time. In other words: the meet cute in the romance doesn't need to happen around the same time as the crime discovery. It is possible, but absolutely not a necessity. Determine what your main genre is, and have that dictate the main structural beats. Look at IN BRUGES, which has a meet cut inciting incident for Ray, which I believe happens before Ken's inciting incident (the call from Harry). Good luck!

@nikkinewbie6014

9 ай бұрын

@@TheStoryDepartment Thank you so much for taking the time to reply! I greatly appreciate it! Your guidance that the genre specific beats don’t have to happen at the same time is reassuring. I had anticipated weaving my way back and forth between the two genres in a very “cause and effect” type of manner, so that the “matching” or congruent genre beats would not necessarily happen in the same scene or even the same sequence. I now feel like that’s a valid approach per your guidance. What you also seem to be saying is to choose the more prevailing genre and hit those beats for sure but to feel less obligated to hit ALL of the other genre specific beats? I’ve been watching screenplay instruction videos as I mentioned and I’ve gleaned that the jargon differs a little from that of writing novels. Trying to speak to you in your (screenplay writing) language, my female lead is a true love interest in that she is central to the premise of the story and she is the point where the two genres intersect. The way she comes to the story is tied to the thriller / crime aspect but that isn’t known until later in the story. At least this is how it’s playing in my head so far. So I don’t feel like the romance is “just” a B story subplot; but structurally, maybe that is how I have to approach it. It will be interesting for me to move forward because if I HAD to choose one of the genres to take lead, the overall theme is most exemplified by the love story that develops between the two characters and the parallel wounds they both have to heal in order to be together. The thriller aspect requires the forced close proximity trope which grows into the romance that then raises the stakes exponentially when it becomes clear that the female lead was the intended target all along - even though it appears to the reader that she is in the setting by chance. It’s not chance, she was lured to the setting. So I’m off into the weeds now but I’m super excited to rewatch your video and append the initial notes I took. I’ll fold in your response and keep working on internalizing the concepts so that I feel comfortable enough in my grasp of them to “let go” of them here and there to better serve my story. You have to know the rules to know how and when they can or should be broken, right? Lastly I wasn’t expecting you to say to draft a manuscript first before taking into account eight sequences. I guess it makes sense though to get my story down and then go back and overlay eight sequence to see how close I’ve come to writing in the ebb and flow of tension and building towards a climax for the sequence. Hopefully, I’ll get close to executing these concepts organically as I write - but as a first timer, I’m anticipating having to do some heavy editing in subsequent drafts. I’m fine with that. It’s all about creating my process. What I really want to try to incorporate in my outline is the main story goal being divided into smaller steps / goals that make up the sequences in a way that the reader can not only track but be compelled to follow the discernible “stages” of the crime investigation and the romance as those storylines run concurrently and then finally intersect at just the right time to twist the plot and change the game going forward! 😂😂 I feel like I’m getting really close to starting my outline. I’ve been brain dumping and “pantsing” scenes just to get them out of my head - but it will be interesting to revisit those scenes and put them through the gauntlet of “good scene” craft to see how far they fell short 😂. I have taken so much of your time but I want to thank you sincerely for your reply! I will keep it in mind going forward and refer to it when I start my outline for sure!

I'd actually love to hear further thoughts and breakdown on the call to adventure in Lion. I'm writing a project with a similar dynamic and structure, but am struggling to clarify the call to adventure when what kicks off the journey of the protagonist is them being taken away from their day to day life against their will. In other words, the journey doesn't begin with a conscious and active "yes" from the protagonist, they didn't choose to go on the adventure, but rather they are separated or kidnapped against their will. Can you talk more about the moment in Lion where you see the protagonist answering the call? Hope my question makes sense. Trying to guard against passivity.

Amazing break down! I've been studying the Hero's Journey too and it seems like (at least in Vogler's version) the Ordeal or Inmost Cave moment is the midpoint in the movie. Did I get this wrong, or does the 8 sequence approach just organize it differently? Thank you!

@AA-nx8ki

2 жыл бұрын

Vagina gives angina

This... might be the hardest thing I've ever done in my life...

@TheStoryDepartment

3 ай бұрын

getyarn.io/yarn-clip/86ac49c5-d932-4759-bfff-acfd55e451b0

Thank you for the class! I'm wondering if the last sequence traits can be applied to the stories where the protagonist fails and everything ends very badly for him?

@TheStoryDepartment

10 ай бұрын

That's a really good question but unfortunately, I can't give you a simple answer, I'm sorry! But study some film noir examples, and you'll probably find the answer yourself...

Do you do consultations? Thank you!!! Big help!

@TheStoryDepartment

3 ай бұрын

Hi Crystal, Yes, I do consultations. When I'm too busy, I will introduce you to my team (who have all been trained by me, and some are better than me!). Check out thestorydoctor.net, and if you can't find what you need, then send me a message here: www.thestorydepartment.com/contact-us Happy to help! Cheers, Karel PS: I saw you're a ranch owner - did you see the series of videos on the Sicario script by Taylor Sheridan?

Great stuff. Can you tell me what you have written?

@TheStoryDepartment

Жыл бұрын

Thank you. I've written a bunch of stuff, but I mostly co-write. Check my IMDb profile. I'm most proud of De Winkeldetective, which I wrote age 17. ;) With DANGER CLOSE, for the first time I applied the techniques I was teaching at the time. The script landed the hottest Australian director at the time, and became the biggest budget Aussie indie.

Great video. How do I get a copy of the overview of the 3 acts? Would appreciate an email address. Thanks 😁

@TheStoryDepartment

2 жыл бұрын

You really have to do the work yourself, and understand first how acts work. Models and overviews are handy as a reminder, but you can't really learn the basics from it. The 3-act model can be found everywhere on the web. Perhaps check out my general video about story structure here: kzread.info/dash/bejne/hHp4qbuBoazXpJM.html

Sir I hv learnt a lot..need to revise a lot to get all these stuff into the system. Plz share the email.

@TheStoryDepartment

5 ай бұрын

Great to hear! Send me a message here: www.thestorydepartment.com/contact-us

People that make videos this long and dense without time stamps has a special place in hell 😅

@TheStoryDepartment

7 ай бұрын

That's why KZread kindly creates the list of "Key Moments"! Just scroll down to see them! Most of my videos contain a request for users to add the time stamps in the comments, as I'm offering this for free and lack the time/resources to do what you're asking.