Berättelsens byggstenar

”Några besök på diverse bloggar och så hamnade jag på detta intressanta inlägg som jag tog mig friheten att kopiera. För att hedra bloggaren så finns länken här . Bloggen heter Writer Unboxed och bloggaren till detta inlägg heter Ray Rhamey. Ray berättar om att han deltog i en konferens, Write on the Sound Writers Conference, där en filmmanusförfattare vid namn Brian McDonald höll ett föredrag om berättelsens grundstruktur. (Allt vad jag nämner här finns länkat på inlägget hos Writers Unboxed). Jag har många böcker om skrivande och många äro de som plockar sönder …”

Taggar: handla böcker och köp böcker. Läs bokrecensioner om kultur och litteratur. Några besök på diverse bloggar och så hamnade jag på detta intressanta inlägg som jag tog mig friheten att kopiera. För att hedra bloggaren så finns länken här . Bloggen heter Writer Unboxed och bloggaren till detta inlägg heter Ray Rhamey. Ray berättar om att han deltog i en konferens, Write on the Sound Writers Conference, där en filmmanusförfattare vid namn Brian McDonald höll ett föredrag om berättelsens grundstruktur. (Allt vad jag nämner här finns länkat på inlägget hos Writers Unboxed). Jag har många böcker om skrivande och många äro de som plockar sönder berättandet och analyserar dess beståndsdelar, men jag har inte fått det så här kort och koncist framställt. Lysande! Att det ska till en filmmakare för att göra det begripligt. Ray: if you ever visit my blog – thank you very much for the writing tips! *** Here are the elements of a story. They are simple, yet I think this works. To tell your story, you simply (yeah, right) complete the sentences. 1. Once upon a time . . . The beginning, the setting of the scene, the introduction of a character 2. Every day . . . The life of the character as it is, and is about to be disrupted 3. Until this . . . Something happens, the inciting incident, that throws a character’s life out of whack 4. Because of this . . . The character reacts with an attempt to put her life back on track, but there are complications. 5. Because of this . . . The effort fails, and then the character tries again (there can be a series of these), and there are complications. 6. Until finally . . . The climax, the point in the story that the character achieves her goal 7. For every day . . . The resolution, the tying of things together (or not, if you have an ironic ending) that completes the story experience Mr. McDonald then had the audience fill in the blanks. I don’t write fast enough to get all of the ideas that were tossed out, but here’s an approximation. (Ray visar här nedan vad han skrev) 1. Once upon a time, Mary was a traffic cop in Boston at the intersection of Fourth and Fifth. 2. Every day she would direct traffic, rain or snow or heat wave, and dream of doing “real” police work. 3. Until a driver stopped his car in the middle of the intersection, walked to the car behind him, shot the driver, and then ran off. Mary stood frozen. 4. Because of this, Mary felt terribly guilty that she had done nothing. More than that, because she did nothing, there are those in the press who accuse her of being a part of the murder. 5. Because of this, Mary spends her nights tracking down the killer . . . and then the killer does it again, right at her intersection. Accusations reach a peak, and she is suspended from the force. 6. Until finally she locates the killer and follows him in her car to her old intersection. When he jumps out, gun in hand, and approaches another car, she runs him over and saves the day 7. She is awarded a medal and made a detective, and every day she lives her dream of being a real cop. It might be fun to see if you story has these elements. In terms of screenwriting, McDonald breaks these parts down this way: Once upon a time. . . Every day . . . ACT BREAK Until this. . . (the turning point) ACT BREAK Because of this (the middle) Because of this (the middle) ACT BREAK Until finally (climax) For every day … (resolution) ****

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