According to Robert the formal definition of a story-
A story is a fact wrapped in an emotion that can compel us to take action and so transform the world around us.
داستان، حقیقتی است که در لفافه احساس پیچیده شده، ما رو وادار میکنه که کاری انجام بدیم، پس تغییر درخودمان و یا دنیای اطرافمون به وجود می آوریم.
PHAT: Passion, hero, antagonist, transformation.
اشتياق و علاقه شديد ، احساسات تند و شديد ، تعصب شديد
قهرمان ، دلاور، پهلوان داستان
هم آورد ، مخالف ، ضد ، رقيب ، دشمن
دگرسازي ، تغيير شکل ، تبديل صورت ، دگرگوني ، وراريخت ، تراديسي ، تبديل
We first get the concept of the world made up of four elements:
(Four roots) Earth, Air, Water, fire
Passion: Every powerful narrative has passion, the emotion that is wrapped around our story’s central fact. Passion is the fire that attracts the audience’s attention and draws it into the story. It makes a story personal. It makes us care.
Whenever we see a movie or read a novel, two souls work inside us. One reflects as critic soul and another involved soul, which tries to be part of the “story”. Passion encourages the involved soul.
Hero: All the passion in the world won’t do any good unless you have someplace to put it. That is where the hero comes in. It is the way the story is grounded in our reality. By hero, I don’t mean Superman or a grandmother who rushes into a burning building to save a baby, though these are examples of heroes, but the character in the story who gives the audience a point of view. This point of view has to be substantial enough that the story has “a leg to stand on’” but of a scale that allows us to identify with it. The hero is both our surrogate and our guide through the narrative. The hero’s vision of the world creates the landscape the audience enters.
Point to remember always – If the hero is too perfect, the audience rapidly loses interest.
[ Tell the story from the point of view of a single protagonist who is prototypical of the potential audience. – Steve Denning ]
Antagonist: For a story, problems are like air. They breathe life into the narrative. If no obstacles appear, the audience views the story as flat. A great problem, often personified as an identifiable villain, crystallizes the facts of the story and helps them come alive. It is very hard to find that focus without a good villain. Two-time Academy Award winner William Goldman says that every screenplay has to answer just three questions: “Who is your hero? What does he want? Who the hell is keeping him from getting it?”
Point to remember always: The purpose of the antagonist is not to create conflict, but to help clarify it.
Transformation: Transformation is the natural result of a well-told story. Our heroes take action to overcome their problems, and they and the world around them are changed. The audience feels satisfied when they see the hero emerge from the fires of hell a changed and better human being. Learning from the negative and moving on toward the good gives us all hope.
