Narrative and Character

Narrative Structures

A basic structure of stories are essentially the same, there are exceptions but generally there is a typical guide (of a few variations) of narrative structure. They are systematically designed around the notion that the audience wants ‘a good story’.

The Story Arc

The Story Arc is what you call the basic plot pattern that most stories follow. Any story arc organises the events of the story to make the readers curious about how the story will end.

1. Exposition – The introduction of the setting, characters and the problems they face.
2. Rising action – Characters struggling with problems.
3. Climax/ Crisis – The tensest moment of crisis.
4. Falling action – Movement from the climax toward the ending.
5. Resolution – Final outcome. How the story balances out (or doesn’t.)

The Shape of Stories – Kurt Vonnegut

Kurt Vonnegut’s short lecture on the ‘Shape of Stories’ says that the most common narrative structures in stories is where it starts off above average (in terms of success, happiness, wealth health etc.) and then someone gets into trouble and then gets out of it.

He explains that in the GI axis (shown below), the shape that stories take in the forms of curves. The shape of the curve is what matters, not its origin.

Key to the GI axis:

• B: Beginning
• E: End
• G: Good fortune
• I: Ill fortune

No. 1: Starts off about average, has a problem and then solves it.

No.2: is known as boy gets girl. At the start he meets the girl, they fit it off, have problems in-between and then have a happy ending (this is just on scenario, it works with others too).

No.3: The story of cinderella.

The Hero’s Journey – Joseph Campbell

Joseph Campbell developed the monomyth known as the ‘Hero’s Journey’.

The Story Circle in Eight Steps – Dan Harmen

The Top half of the circle represents the start and finish. The bottom half represents growth and change (the world that needs to be traversed in order to grow). The right side represents

The rhythm of the story is explained through duality:

Dualities are required in order for things to happen. The story or its characters must journey into the unknown and return with ideas in their most dramatic revolutionary form. Harmen explains how all stories can be described as a round about journey, on constant repeat.

Dan Harmen – “All life, including the human mind, and the communities we create, marches to the same specific neat. If the story marches to this beat, it will resonate. It will send an audience’s ego on a brief trip to the unconscious and back. The audience has an instinctive taste for that and they are going to say ‘yum‘.

The Basic Narrative Structure:

1. You – A character is in a zone of comfort.
2. Need – They need something.
3. Go – They enter an unfamiliar situation.
4. Search – They adapt to it.
5. Find – The get what they wanted.
6. Take – Pay a heavy price for it.
7. Return – They return to their familiar situation.
8. Change – Having changed.

This next paragraph is quoted from the Youtube video made by Will Schoder about the circle narrative quarters: Every Story is the Same – YouTube

“Each quarter has a important meaning in the story, crossing from one half to another is a major source of drama. From top to bottom you delineate the moment that the hero enters a new situation and is forced to adapt often struggling to do so. This usually means that the protagonist fights some external force. The bottom central line is defining the inner struggle of the hero. Once the hero crosses this dividing line, he or she finally faces and tires to overcome his or her inner flaws or problems.”

This circle uses die hard as an example., showing the ‘stubbornness’ of the character in how his experiences in the story impact his decisions.

Characters

Character Types

Protagonist – main character, the hero or the story driver (good or bad).

Antagonist – stand against/challenge the protagonist but can have something to learn or redeem.

Dynamic – Experience inner growth/change and learns.

Static – No growth or change, repeats actions, no lessons learnt.

Round – Developed, understood, life-like, deep reliability.

Flat – Undeveloped, one dimensional, minimal insight.

Example case study: Despicable me.

‘Gru’, the protagonist, is a 50-year-old bald man, the the world’s #1 villain, who plans to steal the moon. You could call him a redeemed supervillain as he ultimately is a good-dooer (even though he still thinks of himself as a villain). He ends up adopting, saving and protecting the three young girls and not stealing the moon. He is a dynamic and round protagonist, since he has complex thoughts, feelings, background and he changes from the start to the end with his experiences with the three young girls altering his character and ideals.

On the other hand, the actual villain of the movie is ‘Vector’, he is a static, round antagonist. He poses a threat to Gru and does not change within the movie. Although, you are able to understand him as a villain a little, with his father-son relationship being shown.

Continued Discussion About Character…

Advancing narrative through character. Character dimensions: animation promotes a broader definition of a ‘character’ than other media formats through the re-interpreting human form, applying anthropomorphism, inanimate objects to life with the plausibility for all to interact with each other.

Character movements should convey the necessary action pertinent the narrative but the attitude, emotion or mood in which the action the action is performed will contextualise and emphasise the narrative objective and most importantly connect the characters predicament to the audience.

What is on the screen is always driving the narrative. The character is always performing. Where the character isn’t performing, WHAT is driving or developing the narrative?

This could be the establishing shot, the title sequence or credits at the end, the street view that shows exposition etc.

Archetypes

Hero’s Journal Archetypes: All of these roles need to be fulfilled, therefore, often single character could take on multiple roles. The role or character does not have to be a person, but an object even.

Hero – The protagonist or central character that are somehow separate from the ordinary world. The hero completes the quest and restores the ordinary world’s balance. We as the audience experience the journey through the eyes of the hero. The hero answers the challenge and perhaps sacrifices themselves for the service of the journey at hand.

Mentor – Provides motivation, insight and training to help the hero.

Threshold Guardian – Protects the special world and its secrets from the hero. Provides essential tests to prove a hero’s commitment and worth.

Herald – Issues challenges and announces the coming of significant change. Can make their appearance anytime during a journey, but often appears at the beginning of the journey to announce a call to adventure. A character may wear the herald’s mask to make an announcement or judgement. The herald does not need to be a person. It can be an event or force: the start of a war, a drought or famine, an ad in a newspaper, a moon or the wind appearing showing foreboding or even music.

Shapeshifter – Keeps the audience on the on their toes, messes up balance. (e.g. Jacob in Twilight). The shapeshifter’s mask misleads the hero by hiding a character’s intentions and loyalties. The shapeshifter’s alliances and loyalty is uncertain, and the sincerity of his claims is often questionable. This keeps the hero off guard.

Shadow – The opposite of the hero, not necessary good or bad. This the character that contrasts the hero, they can have opposite personality, appearance, hobbies etc. Could be the romantic interest. Can represent our darkest desires, our untapped resources, or even rejected qualities. Frequently sees himself as a hero, and the story’s hero as his villain. The hero’s enemies and villains often wear the shadows mask. The physical force is determined to destroy the hero and his cause.

Trickster – Relishes the disruption of the status quo, turning the ordinary world into chaos with their quick turns of phrase and physical antics. Although they may not change during the course of their journeys, their world and its inhabitants are transformed by their antics. The trickster uses laughter (and ridicule) to make characters see the absurdity of the situation, and perhaps force a change.

Allies (sidekicks) – Represents the virtues of the hero. Can be individual or a team. They are a support system that can give what they hero lacks. Helps the hero complete the journey.

Creating a Character’s Personality

When creating a character you should establish the personality or demeanour within the film or scene. `develop an appropriate biography or personality trait for the scene or story.

Emotional Characteristics. Strength/weaknesses:

• Introvert or extrovert?
• How does the character deal with anger?
• With sadness?
• With conflict?
• With change?
• With loss?
• What does the character want out of life?
• What would the character like to change in his/her life?
• What motives the character?
• What frightens the character?
• What makes this character happy?
• Is the character judgmental of others? Is the character judgmental of others?
• Is the character generous or stingy?
• Is the character generally polite or rude?

Common Hero Types/Tropes:

Chosen one – Only the hero can do this task, for example, saving the world. (e.g. Po from Kung Fu Panda, Harry from Harry Potter or Emmet Brickowski from The LEGO movie).

Unordinary Power – has some sort of power or ability that allows them to fulfil their task, whether that is a super power or just money.

Tragic backstory – The protagonist is driven or affected by a tragic backstory. This trope can be one of the most relatable for the audience as they connect with how the protagonists backstory may be meaningful, dramatic, vengeful, or restorative of justice.

Antihero – (or the lost souls: lack of morality, humanity and law) Not the generic kind, chivalrous and courageous. Could be grouchy, bitter, unheroic and possibly with evil characteristics. An antihero may begin as a neutral party or a less evil villain who conflicts with the real antagonist. Eventually, they may experience something that changes them into being a more good and heroic protagonist.

The lonely hero – This is the type that resembles the idea of the classic hero, as this is the type of hero which can stop their opposing force on their own. They may be aided by a team, however, they will do the final push in the mission by themselves. They may be the one who sacrifices the most to reach the goal.

The group hero – Team of protagonists working together for the same goal. No one character could make progress without the other.

Underdog – They start off as nothing and with nothing and yet they overcome many obstacles successfully. The underdog is usually strong, brave and resolute throughout their struggles against a cruel world or cruel people.

Idols – The best representatives of humanity in terms of wealth, fame, intelligence or beauty. Their profession will be a representation of these qualities that pertain to the subjective character.

Common Villain Types/Tropes:

Information from Top 10 Classic Villain Archetypes – YouTube

The bully – An antagonist that is not necessary evil but acts like a bad person. Usually acting not to gain anything, but to achieve a feeling of satisfaction of power.

The reluctant villain: the “I’m-a-villain-but-really-don’t-want-to-be” -The poor souls that are unwillingly forced to commit evil deeds by others of their situation (e.g. the son of a gangster). They may need to commit crimes or follow others commands, but their morals are still that of a hero. They either try to or can’t find a way out of this life, but ultimately being a villain is not their choice. (example: Nebula from the MCU or Edmund in Narnia).

Villain-to-hero – the ones that used to fight on the side of bad but switch at some point. They undergo redemption in their story arcs, and end up siding and /or aiding the protagonist. This does not necessarily mean that they will stay on the protagonists side, but that is usually the case.

Fallen hero – Used to fight on the side of good. Whether they return to the side of good or not, the audience can’t help but feel sympathy or something for them as they can see a light side to them.

The beast – (all types of monsters or animals)This villain is not filled with hatred or evil, but driven by instinct such as an animal. For example, hunger or protecting something. Lack regret or remorse.

The terrorist – fighting for an ideal or belief, and will do anything to achieve their goal. Willing to sacrifice anything, even themselves or threatening others lives. More often then not, they are fanatics that have taken their actions too far.

Evil with style/ sass master – These often have a strong sense of swagger or snark. They may show a resting face smirk or walk away from an explosion in slow motion. (e.g. Miranda Priestly from Devil wears Prada, Loki from Thor, Bethazar Brat from Despicable me),

Dragon – Not the mastermind, but perhaps the second in command. He is the one doing the dirty work, he opposes the protagonist and presents challenges to overcome, the immediate threat.

Vengeful – This type generally has a clear goal which is revenge. Typically they do not care about who they hurt as long as they get their revenge, even themselves. They are destructive of almost everything, although they may have a hamartia to this aim that stops them in their tracks (e.g. the protagonist provokes their sentimental button).

Unhinged/Chaotic evil – Simply doing bad things because the can. They are a unpredictable force of chaos that makes them a terrible threat. They do not usually have a large goal to achieve, but sometimes a motive could be to send a message they want to say about society. Can be disturbed, creepy or psychotically unstable (e.g. The Joker).

The machine – devoid of human emotion, they cannot be reasoned with, have a single-minded focus and kill whatever they want. Lack regret or remorse. Ability to think critically and rationally.

The equal – The equal and exact opposite of the protagonist. He poses so much of a threat just because he can be so closely compared to the hero. Their motives and morals may even be the same just slightly distorted.

The mastermind – The ultimate villain, always multiple steps ahead of the hero as the evil genius. (e.g. Moriarty from Sherlock Holmes: A Game of Shadows). The mastermind has orchestrated everything that the hero has had to overcome even his successes.

The self-serving coward (lowkey, not common) – This villain’s role simply poses a threat as their actions are a detrimental impact to the protagonists journey. “Every man for himself” is their motto, in life-threatening situations, this villain would run first, sacrifice others to save himself as their first priority is their own life even if others die for them. Examples of these characters in films are Nedry (the computer technician) from Jurassic Park or Beni from The Mummy.

Key Considerations

Determine anatomical details and physical fluidity required for the character (e.g. squash and stretch). Develop appropriate design and movement planning.

Identify all the actions your character performs in your piece. Determine character movement, camera action and dialogue/audio. This is best done in storyboard format.

Design the actions and emotions that drive the narrative. Plan a storyboard and animatic production stages.

Design audio to support the performance and action of your character/s. Audio drives and narrative, determine timing and enriches character action and performance:

• Character dialogue.
• Action sound effects.
• Situation atmosphere.
• Music.
• Off screen audio.
• Scene transition.

Clearly frame or stage the characters performance in a scene. Design, stage and layout the action of each scene.

Making Your Own Narrative and Character Set up – Questions to Ask Yourself

Do I have a good story? Does it read, engage and surprise?

Before you introduce a character, you must know EVERYTHING about it first. E.g. how it would walk onto the screen, their inner thoughts etc.

One image on the screen is a whole story in itself.

Do I have the means to convey the story? How will the structure and treatment of the production tell the story? e.g. will one of the roles be completely off screen. Do you have enough characters and roles or too many so that your message is lost?

You need conflict and contrast. Action and reaction.

Who will perform? How will the design, movement, staging and performance of the characters drive the narrative.