Opening Statement
The main intention of my MA course is to fully verse myself with the systems and practises of storytelling. The reason I want to learn the system of storytelling is because I wish to one day be a games designer, more specifically a games designer who works in content creation for CCP games. Luckily I already work for CCP, however for the moment I am an Associate QA tester, which is good as it gives me time to know the company and learn how to properly design a story.
I know that the most people consider creative writing more of an art then a design process, I would agree with that consensus. However there definitely seems to be a hint of process to the story. I have played a lot of storytelling games, such as Dungeons and Dragons and White wolf's Worlds of Darkness and if there is anything that this hobby has taught me is that there are always preconceptions to how a story must end. As Mort Rainey, the schizophrenic serial killer writer said in David Koepp's adaptation of Stephen King's 'The Secret Window' "Its all about the ending, that's all people really care about". I believe this is a by product of the expectations a reader has for a story, if a reader makes their way to the end of a book that means that are invested in the story and wants to see how it ends. They don't want to be left with a sense of unfulfillment as if the story hadn't so much ended as their ability to view it, even worse they do not want to have a story end in a way that seems wrong or meaningless.
To start off my research I will contact the different elements of CCPgames to find out how my research could better benefit the company I work for. The company owns White Wolf and has taken the World of Darkness IP into an MMO franchise, meaning that I might be able to look into how the company should take the franchise further. I shall make a series of enquiries to the company to find out what their plans are for the continuation of the project, then find out how my work can benefit it. While I await response from the company however I shall read up on storytelling and continue to design stories and games using what I learn.
First steps
I have been reading into the process of
storytelling, specifically a book called 'The seven basic plots: why we tell
stories'. The book is very interesting, albeit most of the book seems to be
endless examples of how all stories can be traced back to seven basic plot lines
that all stories seem to be based on (well at least the first 200 pages have
been). So many people have at some point seem to have heard this theory, I will
try to surmise it here:
Basically stories can be traced back to 7 basic plots:
1 - Overcoming the monster Example: David and Goliath
2 - Rags to riches Example: Cinderella
3 - The Quest Example: Watership down
4 - Voyage and return Example: Alice in wonderland
5 - Comedy Example: Loves labours lost
6 - Tragedy Example: Carmen
7 - Rebirth Example: The snow queen
Each of these Basic plots is identified by 5 identifiable stages, I will try to explain these 5 stages for each of the seven basic plots in following posts.
Basically stories can be traced back to 7 basic plots:
1 - Overcoming the monster Example: David and Goliath
2 - Rags to riches Example: Cinderella
3 - The Quest Example: Watership down
4 - Voyage and return Example: Alice in wonderland
5 - Comedy Example: Loves labours lost
6 - Tragedy Example: Carmen
7 - Rebirth Example: The snow queen
Each of these Basic plots is identified by 5 identifiable stages, I will try to explain these 5 stages for each of the seven basic plots in following posts.
Overcoming the monster
As you may already have guessed from the
title the overcoming the monster plot focuses around a central protagonist being
forced to face down a personification of evil. All of these parametrise can be
interpreted in a variety of different ways, this plot by no means has to have
violence for example. There is also a 'dark' version of this plot, where the
story centralises around the monster, or a person who becomes the
personification of evil and it eventually leads to his downfall. The
identifiable stages of a overcoming the monster plot are as follows:
1) Anticipation stage: In the first stage of the story the reader is usually made aware of some great evil monster, possibly from a distance, however sometimes the reader is also given a glimpse of the great evils destructive power. The story then progresses as the evil casts a shadow over a community or in some other way threatens the peace, the protagonist of the story is given a call to confront this evil.
2) Dream stage: The protagonist begins his journey of preparation to confront the great evil that threatens the heroes world, they encounter a reasonable amount of success along the way however the overall mood is anticipation of the dangers they will soon be facing.
3) Frustration stage: The protagonist comes face to face with his great monster and even after the protagonists preparation they seem insignificant compared to the awesome power of the monster. Eventually the protagonist will seem to fall under the power of the monster, the story shall seem to only have one outcome.
1) Anticipation stage: In the first stage of the story the reader is usually made aware of some great evil monster, possibly from a distance, however sometimes the reader is also given a glimpse of the great evils destructive power. The story then progresses as the evil casts a shadow over a community or in some other way threatens the peace, the protagonist of the story is given a call to confront this evil.
2) Dream stage: The protagonist begins his journey of preparation to confront the great evil that threatens the heroes world, they encounter a reasonable amount of success along the way however the overall mood is anticipation of the dangers they will soon be facing.
3) Frustration stage: The protagonist comes face to face with his great monster and even after the protagonists preparation they seem insignificant compared to the awesome power of the monster. Eventually the protagonist will seem to fall under the power of the monster, the story shall seem to only have one outcome.
4)Nightmare stage: The final confrontation begins, the protagonist seems unbelievably outmatched by the might of the monster, until at the last moment comes the 'reversal'
5)The thrilling escape from death and the death of the monster: At the final moment the monster is dealt a fatal blow, the protagonist escapes from the clutches of death and the protagonist reaps the rewards, fame, fortune, love and liberation for his people.
These stages can be found in every overcoming the monster plot line, their order may however change. There is of course a dark version of this story, where either the protagonist becomes the monster or the protagonist was the monster all along, in these stories the events go very similarly however the story focuses on the monster's effects on the story, shrouding the protagonist to show the blindness to the protagonist that is the monsters weakness.
Rags to Riches
Rags to riches seems to be deeply linked into our collective subconscious, perhaps something that we all wish for ourselves or maybe a metaphor for growing up. Apart from the most simple of the stories rags to riches usually break down into 5 identifiable stories:
1) Initial bad life followed by the 'call': We are introduced to the protagonist in a starting 'lower state', this is shown primarily by the protagonist being surrounded by 'dark figures' who constantly demean them and scorn them. This situation ends with the character being called in some way out into the wider world.
2) Out into the world, initial success: Although this new movement in their life may be somehow fraught with new challenges the protagonists shall gain some amount of success, they may even be able to outstrip some former dark figures in his life. They may even meet for the first time their love interest, however in some way it will be made clear that their success is not complete
3) The central crisis: All of a sudden everything goes horribly wrong, the shadows of the oppressors return and the fortunes the protagonist has amassed all are taken away from the protagonist, they are left powerless and unable to change his/her fortunes anymore, this is the lowest point in the story.
4) Independence and the final ordeal: The crisis is finally over when the protagonist (still unfulfilled) finds a sense of inner strength and Independence. This continues to reward the protagonist until they are put to a final trial, usually with dark figures or malevolent forces blocking the protagonist from his true goal, only when this final obstacle has been overcome can the shadows that loom over the protagonist be resolved.
5) Final union, completion and fulfilment: The protagonist finally gains a form of recognition for their work, they will either gain the love of their life, succeed to some sort of 'kingdom' or gain the wealth and fame that they deserve. This signifies perfect fulfilment and a final happy ending.
There is of course many ways to interpret these ideas and in some cases even other ways to structure these events, but most likely the story shall play out like this. There is a dark version of this story where the events carry out very much the same, however the means for his desire for gain are purely egotistical, all of his adversaries become victims to his own monstrous ambitions until finally the protagonist is left in a void with his hollow and worthless accomplishments.
The Quest
One of the most aptly named and obvious of the basic plots, the story focuses on a selfless and noble protagonist being pulled toward an all important goal which always becomes bigger then their own goals, this goal drags the protagonist onwards in such a way that the protagonist cannot feel satisfied or sated until they manage to complete their tasks.
The basic rundown of a quest plot line goes as so:
1) The Call: The happy atmosphere of the hero's life is shattered and an element of oppression is flung all around him, possibly his land is taken over. They may be given some sort of supernatural vision of what they must do
2) The journey: The protagonist and his group set off across life-threatening and horrific ordeals, each of these ordeals shall end in a thrilling escape from death for the protagonist but not necessary for his companions. Along the way they will probably receive help and advice from a wise old figure, or even a love interest, they may even transcend death through extreme effort.
3) Arrival and frustration: The protagonist arrives within sight of his goal but they find that they are far away from reaching the end of his story and is left feeling unfulfilled. They then sees a series of monolithic obstacles between him and his final goals.
4) The final ordeals: The protagonist has to face the final set of of goals (usually 3) the final one usually the most threatening of all, these final challenges prove the true worth of the protagonist and identify all of his true strengths.
5) The Goal: After a last thrilling escape from death the hero's goals are finally met, they save the kingdom, win the heart of a love interest and more importantly vanquishes the evil threat that they had vowed to.
There is a dark quest version of this story, best personified in the famous story Moby Dick, where captain Ahab pursues the white whale for no other reason then to destroy it. He is the central dark figure, opposed to the life of Moby Dick, he is willing to sacrifice anything to get what he desires and eventually after a long series of ordeals where he proves himself truly without repentance he causes his own destruction.
Voyage and return
Another iconic plot line documents the protagonist's progression from their normal world into another alternate world, then the story follows their slow progression back to their previous world. Weather or not the story is a happy or light story depends on weather or not the journey to the alternate world brings a revelation to the protagonist, if not the story is likely the 'Dark' variant of voyage and return.
1) Anticipation stage: The story begins with the protagonist in some way open to a shattering new experience, their consciousness is restricted in some way, possibly young and inexperienced with limited worldly experience. whatever the reason may be they find their way out of their normal world into a larger world full of wonder.
2) Dream stage: At first this new world is engaging and puzzling, the world is very much a new adventure to the protagonist, however they can never feel truly at home there and it haunts them.
3) Fascination stage: Gradually the nature of the adventure moves from a feeling of adventure to frustration and oppression. A shadow begins to intrude, which becomes increasingly alarming.
4) Nightmare stage: The shadow becomes dominating and it seems to pose a serious threat to the protagonists survival.
5) Thrilling escape and return: When the threat that is overbearing the protagonist becomes far too much to bear they make a thrilling escape form their near certain death and arrive back where they started, then the important definitive question is asked.
'Did they learn anything from their adventure? or was it all just a dream'
Comedy
One of the most complicated of the basic plots simply because it has to span a lot of different possibilities. The basic incarnation of comedy plot focuses around revelation, the humour was derived from the characters being unaware of something that was seemingly obvious to the audience. Unlike the other plot lines comedy breaks down to two key stages, which are separated by revelation.
Dark Light
1) One or more characters are trapped in They either go through a change of
a dark state of ignorance or arrogance heart or are exposed and punished.
Which casts a shadow over others.
2) The identity or true nature of one or Their true identities or nature are revealed.
more characters is hidden or unclear.
3) Lovers are still in a state of uncertainty: Each lover is united with his or her
e.g they are separated by misunderstanding 'Other half'
or are still in the process of pairing off.
4) Families are divided and things are Families are reunited and everything
'Not as they should be'. is restored to its proper place.
A lot of things in the comedy plot are a lot less certain when compared to the the other plot lines, however there is one thing that is always certain in a comedy. A true happy ending cannot be reached until every individual in the story discovers who they are or is punished for not reaching this revelation.
Due to the transient nature of the comedy plot line it is hard to sum it up so simply, because its very nature means that it has to cover a variety of different situations. It is true however that a comedy will always have these story elements:
1)We see a little world in which people have passed under a shadow of confusion, uncertainty and frustration, and are shut off from one another.
2) The confusion gets worse until the pressure of darkness is at its more acute and everyone is in a nightmarish tangle.
3) Finally, with the coming of light things not previously recognised, perceptions are dramatically changed. The shadows are dispelled, the situation is miraculously transformed and the little world is brought together in a state of joyful union.
Just to confound the plot of comedy further unlike all of the other plots there is no 'dark' version of comedy per Se, because if you attempt to make a dark comedy you are left with a tragedy. Likewise tragedy does not have a light version, it becomes a comedy.
Tragedy
Tragedy is almost as complex and diverse as comedy, seeing as any plot out of the seven can be a tragedy. Tragedy traditionally ends with its protagonists left alone in a void created by their own hubris or actions, leading ultimately to their deaths, it is rare to find a tragedy that doesn't at least imply these things.
The plot of a tragedy can be broken down into these five stages, however there are many variations:
1) Anticipation stage: The protagonist is in some way incomplete or unfulfilled and his thoughts are turned towards the future in hopes of some unusual gratification. Some objects of desire or course of action presents itself, and his energies have found a focus.
2) Dream stage: The protagonist becomes in some way committed to his course of action and for a while things go almost improbably well for the hero. He is winning the gratification he had dreamt of, and seems to be 'getting away with it'.
3) Frustration stage: Almost imperceptibly things go wrong. The protagonist cannot find a point of rest, he beings to experience a sense of frustration, and in order to secure his position may feel compelled to further 'dark acts' which lock him into his course of action even more irrevocably. a 'shadow figure' may appear at this point, seeming in some obscure way to threaten him.
4) Nightmare stage: Things are now slipping seriously out of the hero's control. He has a mounting sense of threat and despair. Forces of opposition and fate are closing in on him.
5) Destruction or death wish stage: Either by the forces the protagonist has aroused against them self, or by some final act of violence which precipitates their own death the protagonist is destroyed.
This is by no means the only way in which a tragedy plot can be defined however it does show the key stages which most tragedy stories must have, an unfulfilled protagonist shall be tempted into dark acts which will eventually leave the protagonist utter damnation and eventual death.
The plot of tragedy has also been based around the divided self, the story shows a reasonable and kind protagonist who has certain flaws in her personality which create a 'dark' version of this character, this dark compulsion causes the seemingly nice and kind individual to follow the plot of a tragedy. The story can also monitor the characters transformation from a seemingly kind and reasonable person into a monster in any of the other stories.
Rebirth
The final of the seven basic plots, the theme of rebirth can take many forms, however it will always follow the same sequence of events.
1) A young protagonist falls under the shadow of a dark power.
2) For a while, all may seem to go reasonably well, the threat may even seem to have receded.
3) But eventually it approaches again in full force, until the protagonist is seen imprisoned in a state of living death.
4) This continues for a long time, until it seems that the dark power has completely triumphed.
5) Finally the protagonist comes to a miraculous redemption, when the imprisoned figure is redeemed by the characters with which they have developed the most close relationships with.
The rebirth plot bases itself solely on the relationships between the protagonists and those most dear to them. The dark version of this plot would follow the protagonist as he falls under the power of a dark entity, and although they may get many chances to be revived by their past relationships, their actions before they fell under the dark power cause these people to fail them.
