So, I've been thinking about story
structure a lot today (a 10 hour shift will do that), specifically
ADVENTURE! stories.
A lot of this comes from the above
image from Darwyn Cooke's revival of Will Eisner's The Spirit
(which is a good, pulpy read, by the way)
Action.
Mystery. Adventure.
Those
are great criteria, but I'd like to tweak it a little bit for heroic
ADVENTURE! stories since “adventure's” already in there.
Action. Mystery. Romance. Those are my
three pillars of ADVENTURE!
Action
This is the meat of the matter.
Fisticuffs, shootouts, missile dropkicks, swordfights, car chases,
dogfights, dudes jumping away from exploding buildings. Stuff
happens. Exciting stuff. Stuff that the hero consciously chooses to
partake in. Heroes and villains take actions. Even traveling to an
exotic location counts here as a conscious choice because that often
triggers a bunch of other actions. Indiana Jones choosing to go to
Egypt is an action that leads to all kinds of crazy events. The exact
opposite is inaction, which is how you end up with low budget 50's
Sci-Fi movies where you get 20 minutes of screen time (or more) spent
sitting around in a room talking.
Mystery
Mystery
is what the hero has to solve or deal with. How do we blow up the
Death Star? Where's One-Eyed Willy's treasure buried and how do we
get there? What's magic and how do you becomes a wizard? This is
where Wonder comes into play, because mystery doesn't have to be the
plot itself, but also plot devices. Magic items, alien technology,
arcane lore, forbidden rituals, secret societies. Not all mysteries
are solvable, but the hero needs to be curious enough to investigate
it.
Romance
At
the surface level, this involves smoochin', but its so much more than
romantic love (or the kind you clean up with a mop and bucket). I
mean Romance closer to the chivalric sense. These are the ideals that
the hero and others hold dear. Yes, love for a man or woman, but it
can also be the love for their memory and a search for justice
against their killer. It could be love for a dream or country that
drives someone to self-sacrifice in atonement for betraying someone.
If you don't care about (or at least understand) the hero's
motivation, you're not going like the hero. If you don't like the
hero, you're going to hate the story.
These
are deliberately broad terms that aren't set in stone for me yet.
After all, its entirely possible for a story to have all three
pillars and still leave me flat, like James Cameron's Avatar
(it comes down to the execution of the material, but that's an
analysis for another time), and I think its entirely possible for a
movie to be deficient in one or all of the categories and still be
great. (The
Producers
is one of my favorite movies of all time and there's very little
ADVENTURE! to be had at all).
Still,
I think this is part of why there's a sudden interest in the old pulp
masters like Robert E. Howard and Leigh Brackett. Because those
stories are filled to bursting with it.
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