Yo folks, let’s start today’s
discussion on another pattern of thinking and writing which consists of the
view of Robert McKee, one of the greatest teachers of screenwriting (and
possibly writing, I would say), on structure of scripts. Clearly indicating that
experience is overestimated, studying and reading materials as well as social
observation constitute a greater power for the author of the book, who has
created The Narrative Triangle, meaning, 3 different types of plot and
structure.
In this triangle exists the entire set of the cosmology of
screenwriters, and writers I would say and their multi-level visions of what
they dream, hope and act for. For you to understand your position in this
universe you have to study the coordinates of this map, make the comparison
with your work and let it direct you to the point at which you can share with
other… writers, the same vision with yours. Robert McKee suggests that behind
policies around funding, awards and distribution there is a cultural gap which is
being reflected at the edges of this triangle named hyper-plot, mini-plot and
anti-plot. Hyper-plot consists of global cinema including Hollywood. Even to
Hollywood, someone who is being directed to the other sides, shrinks the
audience!
Simply put, it rises doubts to the nature of intellectuality. Through
hyper-plot the protagonist confronts mainly outside forces of competition. One
of the most important aspects, before moving on, suggests the notion of
non-cohesive reality. People jumping from one reality to another, one behavior
to another, so as the narrative events jump without sequence as well, leading
to a sense of absurdity… Based on coincidence and not causality maybe? But let’s
view this concept analytically:
Hyper-plot: Causality,
Closed finale, Linear time, Outside conflicts, One protagonist, Cohesive
reality, Active protagonist
Mini-plot: Open finale,
Inner conflicts, Multiple protagonists, Passive protagonist
Anti-plot: Coincidence, Non-linear
time, Non-cohesive realities
Closed finale and open
finale simply mean that all questions related with the story and all feelings
provoked are being answered or not answered (at an open finale). The audience
leaves having experienced a balanced story, no doubt, no sense of unfulfilled.
Outside versus inner
conflicts, mean that at hyper-plot even though characters face outside forces, emphasis
is being put at problems with their personal relationships, social institutions
or forces of nature!! Contrary, to mini-plot even though the protagonist faces
outside forces, with the environment maybe, it’s a psychological battle
confronting emotions and thoughts.
Even though many of you
understand linear with non-linear narrative, this aspect of the triangle
contradicts at hyper-plot circular narrative or in medias res. What we’ve been
saying about intellectuals, meaning, an in medias res narrative begins from
the middle and circulating around it. Or perhaps making circles.
Active versus non active
protagonist suggests that the active one follows his desires by conflicting outside
people and the world surrounding him. The non-active one even though being inactive
from an outside point of view, follows his desire inwards, conflicting elements
of his personal nature.
Last but not least,
causality versus coincidence, points that causality has consequences,
consequences bread new consequences, even though anti-plot suggests a sense of
coincidence and randomness, that breaks causality chains and leads to a
scattered reality including absurdity.
I hope you enjoyed this
analysis!
