This rabbit hole gets deeper and deeper the more I bite off. I am not sure if it is more and more accurate (although it is not all off base) since it takes most of my concentration to follow along. I am still on part one The Elements of Structure. This 200 page introduction is basically where the stuff is defined and explained. Then you get to go to part two The Art of Storytelling with has as its subsections: Storyforming, Storyencoding, and Storyweaving.
I just read in their FAQ of the online version of their book that the theory book is the easier part, the real learning curve is the program itself. Fuck me, really? Why do I always study so hard for stuff that has no degree attached to it, but could never find the go to get an useful degree in something. From what I have covered so far, if the program does what they say it does, your story idea will be pretty airtight, but hell, wouldn’t it be easier to be crucified?
Take a look at the beast at the end of this link.
It is really fun at the same time. I have most of The Fountainhead analyzed to this model as I understand it thus far. Atlas Shrugged is a great little puzzle for this theory. I have it as either a straight archetype story (leaving out many characters) or as a three story story where each main character has their own sidekick archetype. I can really only speak of archetype characters in this theory, the complex characters are a little confusing.
The archetypes are easily identifiable characters that are common to many other theories. Complex characters are unique to authors, although they have a schema for it, I balk at such a thing. It works a little against my grain. I would not want to create a character with some formula (an archetype escapes this being, in essence, a formula of itself). I can see that one could, like I mentioned in relation to story last week, check the viability of their character – whether internally or in relation to the story – through the theory or the program.
I just have a real problem, and perhaps it is merely paranoia on my part, with constructing a story or character through blueprint. It seems like a giant apple tree, would you have the restraint to see your organic creation brought to the fullness of your creative powers before subjecting it to the cold rigor of story analysis? It would seem that Hollywood writers and writers in general have a reason not to shoot off too earlier as they have humans to please. I.e., you do not want to crap on the editor’s desk….
I have to go to bed.