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How To Write Stories That Change The World - Pamela Jaye Smith [MYTH MASTERCLASS]

May 31, 2021
So thank you very much to Karen and David for having me. I met them a couple of years ago at one of the story conferences when they were interviewing various speakers and they had really good questions and I really enjoyed visiting with them and then we did another one when my romantic comedy book came out and once again you know how hmm you know how a Sometimes you watch interviews and you think what are you thinking why did you ask that but that's not the case with them they always ask wonderful wonderful questions and go straight to what's so helpful to those of us who are creating content so tonight's topic It's

myth

ical challenges, create

world

-changing

stories

, so first I want to know a little more about you so I can make some of the comments. more relevant to what you're doing, so let's see how many of you are

write

rs, okay, great producers, directors, actors, now actors, or no one admits it.
how to write stories that change the world   pamela jaye smith myth masterclass
We were here from Denmark to learn about acting in Hollywood show business etc. and that was quite interesting. Many of you have a specific cause that you support with some kind of involvement, be it equality, social justice, ecology. there's not a lot of money today and i guess most of us are here tonight because of two or three things, we realize we're in a big mess here on this planet and we want to do something about it and make positive

change

s and there's a interest in

myth

ology and classical storytelling tools and how we can put them all together short story about mythical challenges in 2011 i was at a conference about the future of history and global challenges facing the

world

and there is an organization called the Millennium Project and I think a number of places are referenced in the brochure and they, along with the United Nations, have identified 15 global challenges that we are all facing now and on one of the pages of the brochures there is a list of those 15 and when you go to their site web you will find links to all kinds of research and organizations that are dealing specifically with those now so storytellers know the bad news is that we have a lot of he problems, the good news is that there are a wide range of problems, one of them is international organized crime, so if you're writing a crime or espionage thriller, you could plug it in right there, it's a global challenge, it's a big problem the rich-poor gap because everyone bought your mega millions ticket talk about your rich-poor gap let's do another one percent right and certainly social justice and women's rights education moving on from murderous military dictatorships of MMD or countries ruled by demagogues to democracies oh, there's such a wide range of these challenges, so a few colleagues and I were at this conference on this here in Los Angeles and my co-founding partner said, "I have an idea, so we kind of huddled together." . and then he stood up and said we've decided to form an organization that helps people who want to address challenges to do so with storytelling.
how to write stories that change the world   pamela jaye smith myth masterclass

More Interesting Facts About,

how to write stories that change the world pamela jaye smith myth masterclass...

Yeah, they all thought that was a great idea. Our pilot project was at a high school in Reseda and they had a really good film communications department and they had a sister school in a couple of sister schools in Afghanistan, so we designed the class like what they're going to have tonight, but it wasn't really hands-on with the kids because they were just starting to learn about some of these concepts and they each picked one of the challenges and then one of the mythical themes to follow and they learned about all five are capable or their cleric scientist wizard and lover to put their characters in one of those categories or the other and then how to use symbolism to tell their

stories

, so they worked together with their fellow students in Afghanistan through the State Department and you know, Facebook videos etc. p with some really great shows, one of them is only two minutes, another one I think is about eighteen minutes and these projects that kids did we're winning awards so we saw that it really worked even with young people, especially with young people. youths. because you know they have a vested interest in making the future better, so you can visit our website and go to the video section and watch some of their own. one on water is not a game or water is not a contest it is only two minutes long it is very cute and no words are spoken but it conveys the idea that you can use these tools and you can tackle these problems in any style you want in whatever genre you want to get your point across, so how many of you have an interest in mythology?
how to write stories that change the world   pamela jaye smith myth masterclass
Before I'm here, okay, does anyone have a particular favorite realm of myth like Greco-Roman or Polynesian or a particular thing or is it a more generic interest, okay, because what you find when you get into the comparative mythology is that let me go back and say what myths are, myths are not just the dusty old stories of the greeks and romans, nor are they other myths. the religion of the people nor how a grade schooler once said that a myth is a female moth do you know that myths are the stories we tell ourselves to explain the world around us and within us those are the stories we we count ourselves to explain the world around us and the world within us and as a side note to both to justify the worlds we have created and one of the examples I use for that is the Aeneid, this epic poem by a trojan prince who leaves the burning ruins of troy after they were defeated by the greeks fights his way across the mediterranean having all kinds of adventures including a very tragic love affair with the queen of carthage and eventually reaches the kingdom because that is his destiny according to the gods and he found nds realm well that is a cool story it was commissioned by emperor augustus and augustus told the poet virgil we need a fun myth fundamental we need to justify our existence and we want to live up to the greeks so Virgil this wonderful wonderful poem and it's called the living dead and it's this fabulous journey with all kinds of adventures and monsters and trips to the underworld and really cool stuff very heroic and you know part of the point was yeah you greeks thought you were going to leave us in troy but we're behind and we're right next to it and we're going to be better than you and you know see more in history then the foundation myths are important the myths of the journey are important the myths of self discovery one that we will be talking about as a mythical topic tonight is the wake up call now let me also say as we go through this we need heroes we absolutely need more heroes today and i am Using a gender-neutral hero, keep in mind that by definition, a hero is someone who stands tall above the rest of th The crowd and who says wow! this isn't working let's do something about it and then lead a movement for

change

but think about this just its symbolism of them stepping up the hero rises above the crowd this can be dangerous too because then you are a target you know see more in the murders of people trying to make change and the establishment doesn't like it if it's once again ancient rome and wacky brothers who have been compared to the kennedy brothers who were long murdered by For the same reason, we find many echoes in the history and myth of what is happening today.
how to write stories that change the world   pamela jaye smith myth masterclass
How many of you have any hope that we can change any of these problems that we are facing? here's alright and we know we can i want to plant a seed in your minds we've seen a lot of feedback lately there's been a lot more than i think we need dystopian movies post-apocalyptic stories enough of the grim you occasional you just want to see those, i want I mean, it can be entertaining, you know, Ferry Road, okay, 30 minutes of history, two hours of great visual adventure, okay, and we like these things, but there's been so much of it that it seems to permeate the consciousness and some people say which brings about a sense of hopelessness but sometimes you have to explore the darkness to change it and rise above it so you don't know totally useless what's going on there with return stories come mostly cautionary tales like the Greek tragedies tell you what not to do because that's how it can go terribly wrong then you have the revolution and if any of you have studied history or just watch the news or have you read anything you see revolutions happen over and over and over again throughout history and in almost every place on the planet the problem with revolution is that your only revolution is like a pig in a spit you've been cooking your belly you've got a revolution now you're cooking the back well guess what's going to keep turning counterrevolutions and see more about the caravan of people coming from Central America some say part of the reason for that although there are certainly a lot of internal problems but part of it was because they got caught up in the counter revolution of the 80s and 90s that the United States was a part of okay so it's kind of like cynically I say it's like okay , it's the Empire Strikes Back, you know you go out and colonize what you do. you believe it will eventually happen and you see this over and over again in history and the fall of empires so revolutions are not necessarily a great idea for lasting change evolution is where we want to go so we want advance instead of doing it in a cyclical way. we want to move forward we want to get that heroic point of view once again and this is what I urge all of you to do as

write

rs even if you are writing about someone who doesn't make it to at least know how they should look good then we need heroes, I hope you'll write them for us and I suggest you take a look at these 15 Global Challenges and maybe you're already writing a story that specifically addresses one of these or maybe you can work on it as a subplot or maybe you could even have a solo. character, there's a party and everyone's doing party stuff and then someone walks in and everyone's yes and someone says, well why are you so down and they can make a little speech and you've included it in your story and just the fact that making us more aware is going to help wake up more people and we need that to create world-changing stories, but it doesn't have to be the whole story about that particular issue, just yeah anywhere on the spectrum of a mention that's what the story is about so let's talk about three things here as far as mythic tools the main mythic tools as i s See our mythic themes and archetypes and symbols and this is what you will find working through all the best stories is that they will have a specific theme and what makes it a mythical theme is a theme that keeps being told over and over and over again.
Again, once again, with comparative mythology, the same stories are found, whether in New Zealand with the Maoris, in Northwest America, in Korea, or in Teutonic Egyptian myths, etc. We keep telling the same stories because the human experience is quite similar. Good news for you it's pretty global so just by tapping into these mythical themes you're going to get to something very deep within all of us as humans and that's the great news for storytellers who oh there's an article and I think it's in my last newsletter and maybe the one before, but that your brain in the story there's a lot of neuroscience going on that shows us how the story works and how it affects the brain as well in case you haven't already.
Know that you are different from other people The creative brain is physiologically different from the muggle brain so you know you can sit up a little more upright Know that you have a great brain and you really are different so we just want to use it to get the best out of it possible outcomes so let's take a look first then mythical themes and then we'll look at capacitive archetypes and then we'll look at symbols now we'll do a Q&A at the end. but if somewhere in here I say something that you don't quite understand, haven't made it clear enough or defined it well enough, please raise your hand and make sure I do and then we'll try to keep the questions for last. so we can keep moving forward but I want to make sure everyone understands and sometimes you know it's just the way you make a statement that's not entirely clear so that's okay, mythical themes and there are dozens of them. as you can see they are in your brochure and they range from the very personal my life is not going well i need to make some changes i am going to make the wake up call i really want to be in love i want to find a soul mate we have to get out of this place take the quest for the promised land and many, many, many more now, when I just go through this.
I have listed a number of stories in both myth and media that you can then follow along and add your own and start this collection. If you start thinking this way, what I wish we all would be better at is recognizing patterns and that's what storytellers do too. They work with patterns. and reading is that oh yes, I haveseen that one, yeah I see that one, okay and maybe you'll go back and watch a couple of movies in each of these categories and you'll start to recognize the patterns and then you'll probably find that you personally have an affinity for a couple of them over the others and that's yes, that's the kind of story.
I mean when we talk about appropriate topics for these 15 global challenges, again, almost any topic can include it, but some of the ones that are quite appropriate are these: don't ask, don't tell. or as I've started calling it now - it's the secret identity now hidden hidden in plain sight hidden under the camouflage cover my nose or whatever but it's one of my friends in the army who's in intelligence I used to say oh I'm don Don't worry , I'm just a rat in the pipes so they don't even know I'm there, but I'm there. Who can infiltrate?
Think whistleblowers or people who are investigative journalists. You know, we used to have that in the old days. so the secret identity there are some wonderful stories about this and part of the art c of the story is about someone going undercover and then how he gets found out or not and how he finds out what he needs to know and the dangers he faces just like any heroic deed it is heroic because there is resistance one of the laws of physics and metaphysics is form resists change is one of Newton's three laws a body at rest tends to stay at rest a body in motion tends to stay in motion so it always you will meet resistance and hear this over and over again in story workshops you will read it in books you will see it in what you are writing and in your own life to have drama I have to have conflict and conflict can come from a group setting specific antagonist of antagonists, your society, your culture, your own weaknesses, but again, the hero is the person who fights against it and rises above it, even if e just for a glimpse but often for you you know a longer time and it really makes things happen so don't ask you now its one of my favorites and if you haven't seen it its a lot of fun .
Galaxy Quest, yeah, isn't that great? It's a group of actors, a parody of the Star Trek series, right? And a bunch of actors are taken into space by a bunch of aliens who think it's real, the show is real and the captain is a real captain and the ship is a real ship and they've built the ship for their account from there as fans the aliens and have built the whole ship the actors realize they have to pretend to be their characters to achieve the goals that have been set for them so it's a really fun story about that theme with some very touching moments and a lot of good character development the characters form and change it's really good very well written you can take a look at it and it's very entertaining and there's a lot of great lines too yeah never give up never give up yeah and there are also a lot of love stories in there under the Don't As k Say no other good one and this I think is probably the iconic mythical theme is stealing fire from the sky Prometheus was one of the ancient ancient gods one of the ancient greek gods this is what happens over and over again in mythology you have the war in heaven where one group of gods take over they fight and take over the other you know look more in countries , empires, cultures, yes, galaxies, universes, this is what happens when you steal fire from the sky, Prometheus, who is one of the old ones.
Gods he's one of the titans look down he sees humans and we're tripping and you know how to learn things and but it's a little gloomy and it's a little cold if you're not in the tropics and when the sun goes down so are you. because it's dark and he says you know what these people need fire just think what they could do with fire well the problem with that is you're not supposed to take things from the sky and give them to earthlings it's like the main directive and Star Do the right walk Don't mess with their progress let them find out for themselves but Prometheus has a soft heart he is very idealistic and he wants to help these people he wants to help them improve their lives that's a Very heroic stance, but it's not supposed to. he knows it could be a problem if it's found out, but he chooses to do it anyway and this is one of those turning points in his story where he's reminded that it's against the law in this pantheon, he's not supposed to do that and he does it anyway, he realizes he may suffer for what he's going to do, but he does it anyway. don't trust yourself you know like the old 60's 70's movie line liberal limo like oh you rich people will come to our neighborhood and help us oh thank you so much we don't need you so a often resistance from the group you are with You arrive to help They don't trust you You come from outside What is your real agenda?
What are you really trying to get here? So even more opposition, even more drama and conflict for your character, so Prometheus does it anyway, he steals the fire. it narrows it down to humans and that's it you have light at night you have a barbecue you have you can you know burn fields burn forests and plant fields and all the things that fire brings us it's great for humans well this doesn't go unnoticed and then the gods go prometheus come here and say you knew what you were doing you knew there was going to be yeah yeah i know but they really needed it and look how well they're doing and then you can have someone say we didn't want them to do well we're trying to keep them enslaved , what were you thinking or something like that?
Great Rocky Mountains there the eastern end of the Mediterranean and every day an eagle came down and pecked at his liver and then every night it grew back and the next day the eagle came back again and pecked at his liver again every day recurring everlasting everlasting pain and hopelessness really tragic so there are some versions of this myth where Prometheus breaks loose and Hercules comes and saves him and there are some poems and stories written about that even in more modern times so check out Prometheus Unbound if you you're working on that kind of story and sometimes depending on the point you want to make let's do this division you have drama and you have drama that has a happy ending and drama that has a tragic ending hey greek tragedies once again are tales of warning so just make sure if you're making an expensive Neri tail and it doesn't end well for your hero and what they're trying to do, at least show us what it would look like the victory.
We need to know how they lost. you know Now Moses standing and looking towards the Promised Land but he can't go there or Kevin Costner on the sailboat at Waterworld knowing he's not going to go and land and be on land and it's really hard to compare Kevin Costner in Waterworld to Moses and already you know, but still, and that quest for the Promised Land, you want to show us what victory would look like, so we're very sad when it doesn't happen and how this can work for your creatures world-changing stories so the people in your audience can be ok I see why that didn't work I'm going to try it I'm going to do it differently I know what not to do There are probably a lot of other things that could go wrong, but I'm inspired to pick up that staff to accomplish that mission so even a tragedy can inspire other people to move on so you're stealing fire from heaven, now one of the movies that kids, high school kids, stole away. theme of fire from heaven and as one of the children said when I was ta Talking like this today, says sir, it's like Robin Hood, yes, yes, that's the story of Robin Hood.
Steal from the rich. The gods give it to the poor. Humans, either to learn. ok like Dead Poets Society stealing fire from heaven is the Robin Hood story and they made a really effective compelling drama on that so once again watch their video if you get a chance so another one is the wake-up call you find. in a lot of stories it's something that presumably we all do at various points in our lives anyway, so it's more of a psychological story thing because I mean, just think if any of you have children or grandchildren or were ever a child that you know there are points along your development where things change and you start to realize it's not just me who's here you know around age 2 2 to 3 years you start to realize there's a world around you that it's not you and it's not mine Mmmy and then you hit puberty and it's a whole different wake up call you know oh gee now what's going on what's all this so you go out to higher ed or college world of work or romance and a profession and you are always lucky to wake up to these next steps and that can be very good to close the drama now it can also for the individual character and how they leave what they used to do the problems inherent in a story like that is your old habits come back and try to pull yourself back so its that inertia again and the problem with that and when i was studying wonderful classes in the physics of metaphysics and there was a lot of physics there and the teacher was saying now you gave yourself Realize this when you decide to change and not do something else, so let's say maybe you've been working as an assistant director and you say, but I really want to be a line producer and I'm not going to do any more commercials, she said look and see, usually there will be three tempting ffers to go back and do the first publicity job again and you have to stand your ground and say I don't do that anymore.
I'm a line producer sir unless of course you really need the money and then you take the job but usually there will be even saying a friend of mine we were at a party and some cute guy was chatting to her and the party I was done and I said well Paula what do you think of George he seemed interested in you and there was a long pause and she said oh yeah he's handsome he's smart he's smart he's funny he's the kind of mistake he used to commit you yeah yeah so your character in the wake up call theme will go back to the old ways or just think. how hard it is to break a habit so you're supposed to work out 30 minutes a day and you do it for a couple of days and then the 3rd day and 4th day it's not that much it's hard to change patterns and this is something that your character and a wake up call have to face now the wake up call is a wonder I also started for a hero and just look at some of the examples there Arthur with the sword in the stone thought he was just a simple peasant living with the Sir Guy's family and then he finds out that he is the King what or Luke Skywalker doesn't know who he really is so that discovery of waking up to who you really are and it's often said that the world and our lives would be such a different place if everyone recognize and be brave enough to begin to live as we really are the vast potentials within each of us the ability, particularly as artists, to tap into those higher realms of creativity. ity and inspiration and tearing them down, that's your job, by the way, as creative people, you're naturally wired to pick up from creative inspiration some I'd say spiritual realms and bring them through your unique and specific personality and then interpret those ideas and spread them to the rest of the world.
I've people and particularly as storytellers, so throughout that attention-grabbing theme, these kinds of things can very well play out in your story and show how the range of a person's perception goes from what is just everything about me until I know that this is a pretty good group and we're doing well here together and so the reason we're all here at this meeting is because we also have a broader perspective on the global challenges in the world, so show your characters change from the near to the far to the global and it will really inspire us like we were inspired by Luke Skywalker like we were inspired or at least amazed by the special effects in the Matrix ok that was a really good callout story of care you think you think you actually are oh no oh now I just started working as a VR consultant and wow that's pretty amazing and offers so many methodologies and effective that affect you physiologically even more than the screen ratio of one to ten 100 where it's one to ot away when your smartphone is two feet away when your computer screen is five feet instead of ten feet away distance if you're watching a TV from your couch and then if you're in a theater it could be 50 or 100 feet away and you experience the narration and visuals differently depending on where the screen is played and as storytellers keep in mind that one of my favorite movies was Lawrence of Arabia and when people started being able to watch movies on cell phones and it was gone, why would you want to say you're going to lose half?
It's going to be just little ants down there. doing something in 70mm that goes without saying and now virtual reality and I urge you if you haven't experienced it yet to try experiencing the goggles because it's going to require a different kind of storytelling simply because the way you can do the way you that you can't make cuts and the way you have tomake the flow of images you had a question that is a good question and I think I will investigate more on that, but the answer is yes from what we are finding; now is that many of the virtual reality experiences have been integrated into the system so that the glasses know where you are looking. then they can move important images to that place and there's a well, every day there are new developments in technology and in this storytelling, but yeah, it's much more, I think you're right, much more theatrical than filmic because you don't. have the cuts and the same way you do otherwise but I'm still exploring it so we'll talk more about that and certainly if any of you have any good suggestions on where to learn more about that I'd be interested in listening because there's a lot out there but it's all' it's a developing art form and it's very exciting ok now another really effective mythical theme is twins it's ok to have both sides of a situation or a conflict plz example, if you're doing, say, the rich-poor gap, you have one and obviously, they don't have to be physically related twins, but that whole concept of good as in the dark night was a really good example of the concept of twins in work, okay, so also the heat of the movie that is with De Niro. and the other guy who is the other guy in it Pacino thank you very much yes Pacino and De Niro and it's a story of twins and this can be really effective in bringing out in the dialogue and in the places where your characters live the differences that you know one of they live in a castle the other lives in a peasant shack and yet they represent two sides of a conflict of a story so you can really use that a lot and what is effective in your story arcs is where you have let's say what at the beginning of the story let's see what is left ok at the beginning of the story a character from here and the others from here throughout the story they intersect and take opposite positions and that can be very interesting where the good it gets corrupted and the bad girl lights up so you can do a lot with the twins thing and then you also know that within us we have at least one other personality more like many more probably but the twins thing too who can be internal and external and it gives you a really good opportunity to raise questions about climate change or technology or the edge of conflict and you because dramas conflict if you have some twin thing there you have a good opportunity for conflict now also note that i should mention that you don't necessarily just have one theme unless it's a short film for a longer story and certainly if you're going into a tv series you can have your main theme and then your secondary theme and then a theme for romance or one more time if i It's a tv series depending on how long it lasts you can work a lot of themes under your main theme but there will be an overarching theme ok twins are good.
Search for the promised land. We've talked a bit about that before. and this is usually a much larger story because it's not just about one individual, but about a group of people that you know are seeing more in immigration around the world right now for various reasons, people are being displaced and they have to go find another place to be for sheer survival and sometimes you gamble for economic advantage and sometimes just for the adventure now as we are often reminded that America is a young country and all who we weren't here when the europeans started to arrive we are immigrants so you know, to get an idea of ​​the perspective of this with immigrants because most of us have met at one point or another and many times it was just for adventure, so the search for the Promised Land can be a journey of a group of people for various reasons and then they achieve it, how many of them achieve it, what are the results and along the way you can put many barriers, conflicts coughs and challenges to make it so? it's a great opportunity it also gives you a lot of opportunities to use symbols and again think Mad Max fury road and you know the wide open spaces and they head out to what was once a fertile green land and when they arrive there is nothing there and that symbol of that seer open wasteland is just hopeless, hopeless and they had to turn around and go back which is kind of a twist in finding the Promised Land theme it didn't end like most of them do in that sense , they really played with that theme and I think they did a good job of saying what do you do if when you get there it's gone and it's quite dramatic so you see in a way like because it's like they have to go back to where they started well and I feel like Wizard of Oz it's the whole idea that there's no place like home so it's weird to be looking for something that you actually started you know that's a good question um right off the bat I'd say not exactly because well oh nwhich she was forced to. being lost being an immigrant being a scout because of the tornado it's ok we're definitely going to write this down and think about it some more thanks and that's a wake up call story for me particularly because there were three fellows who realized they had everything inside of them all the time ok another is war in heaven so a lot of what is going on behind these global challenges are battles of ideals and agendas and if its like the cold war communism vs capitalism , yes it's like the Peloponnesian wars with Sparta against Athens two different lifestyles the Athenians were very it was kind of like Beverly Hills versus boot camp yeah because Sparta was very austere and it's the warrior thing and we are hard and yes h but it changed the course of history that the war went on for 23 years and it changed everything that has been compared in military parlance to a battle between a whale and an elephant because one of them had a large army in the end the other had a great Navy and just so you know this war in the sky roamed all over the place geologically so we're kind of seeing it in politics today not just here but all over the world where different people's view of how it should be the world is on trial and battle lines are being drawn no i think it should be this way and this is how everyone should act and this is what should happen well no it should be this way and this is how everyone should act and this is how it should happen and you have understood that dichotomy that conflict once again your hero rises above the conflict rises to a position where they can see the concept and that is where you can start to make changes if you need to people fighting in the trenches you absolutely need people to sign up i If they can and they do go out and vote the way they choose but we will get changes when we get past the conflict and not get caught up in it and can see the concepts and then start making changes that from that different perspective another is going native now this is sort of the reverse of the wake up call but not really but you have an individual entering a culture they are unfamiliar with but eventually becoming a part of that and then the opportunity for you when you are talking about stories that can change the world is that this new person in the situation has to learn about that culture so you have a perfect opportunity think about avatar and think why was it so popular is it one from these underlying mythical themes of going native, you know you've got Jake, who comes from the military arm of a system of extractive capitalism and he enters an interconnection where all is won and we are with the system of nature and it is explained and shown to h me and he experience it and as we watch it we learn to put your character in a unique stranger in a strange land situation and many science fiction stories are about this because it's a perfect setup to show us a system and show us how people can or can't adapt or bring change so take a look at some of these stories listed there under a native and you can see how you can use this to your advantage in a story you want to tackle let's say maybe technology then you have someone who doesn't know anything about technology going into a system and as they learn about it, as it's explained to them, they'll be able to see more of the fall than the people who drank the kool-aid or plugged in the technology or whatever so that you once again have the opportunity to get an outside perspective and then that pers Ona, depending on how you're setting up your story, that person can change by going native like Jake was in Avatar or they can come in and they can change the system by introducing something new to it yeah sorry I just want to make sure that going native isn't on the brochure fees some thanks it's not on the one you would have oh okay and certainly if any of you want to take some of the extra brochures if you have other people who would like to have the information feel free to do so yeah now one last thing and then we'll take a little break from the quest for the holy grail in a sense that's what you're doing you're looking for answers that will solve the kingdom's problems the holy grail serves the kingdom or let's say the group the empire does whatever and in your quest that's why we're told our job is to be like Parsifal and he was the gentleman who really wanted to find the Holy Grail and he wanted to be a better person than he was. e was and he wanted to serve and all the knights came out but together with him was Galahad who was very young and an innocent Knight and he was looking for light and purity and h was pure and the third one was gala hey um Gawain and he was a party boy and it's like an adventure well winch and fight dragons drink some and it will be so much fun oh and if we find the holy grail that's good too so they go out they have all their adventures what's interesting for us as storytellers is that in the end from his quest the Grail now appears Galahad because he is pure he is brought to the light Gawain can't even see the light he probably has a bad hangover and he's just what uh I don't get it Parsifal sees the light from the Grail but it's still of the earth so it doesn't get carried away by the light their job is to be the door and that's our job as artists that's their job as storytellers is to be the gateway because a lot of people can't see the light but they could see you and you are is e pivot point that doorway that is once again receptive to the higher cause to the lower down you are at that point where you can see it and you can point it out and you can explain it to people and then the hope is in the myth and with our own work , then others will start to see it too and of course we need to be humble about it and not think we have the only answer and the only light but that's the mythical position of the storyteller is to be like parts of everything so on that note We'll take a little break for breaks' sake and then we'll come back and talk about the ark. paths and about symbolism and then we will have the question and answer session ok thanks ok so we have talked about mythical topics and now I want to tell you something about something important that you should have in your story and that is mythical statements and there is a page there in your booklets for mythic statements and yes subtext is absolutely important you don't want your dialogue to be direct however there are three moments in a story where you need someone to say specifically what is going on and those three mythical statements are the thematic statement what is the story about the mission statement what the hero is supposed to do and the lesson statement what the hero learns hero so thematic statement the mission statement and the lesson statement now you know you're supposed to write the beginning of your story as a hologram of the story so we know pretty quickly if it's u a comedy a drama is science fiction how are we supposed to think about it I think the best example of that for me is from the first Star Wars movie and I mean the first one that came out, forget about that other confusing numbering system, so you're sitting there and it's this big star field and the writing's going on and there's this little ship you don't know how big it is but the ship comes flying and it's going to go in and out and you're going okay we're in the space ok i get it and then the theater starts to rumble and the surround sound is shaking the place and behind you to the right comes the bow of a ship and it goes and gets bigger and bigger and bigger and bigger and goes after that little one and at which point you know, ah, David and Goliath in space, the brilliantly done holographic opening tells you what the story is about from the beginning, yes I certainly will and I'll give you some examples, yes, all three are the myth, the statement t emmatics what the story is about and that usually comes in the first act and pretty early for us to know what the story is about because we've all seen a lot. we've read so much we know so much we're exposed to so much it needs us to immediately focus on your story the second is the mission statement what the hero is supposed to be doing now that it will usually come in the first too you know it's used for use these strict paradigmsof page numbers which is like page 10 ok when the hero gets the quest ah now I have to go and do XYZ and then that's what starts the course and then the third is the entla lesson statement Epiphany when the hero learns what he is really meant to learn and it is often not the same as the mission statement it is something usually internal and it is something we are supposed to apply to ourselves personally also the magical statement is the big theme the mission statement is the goal the mission and then the lesson statement is the epiphany or the lesson the hero learns over the course of the story now whether or not his protagonist wins once again he still has to learn the lesson even if he doesn't they achieved victory even if they couldn't accomplish their mission, so the lesson statement is usually found at the end of the story;
However, my favorite movie of all time is Apocalypse Now, it's exceptionally mythical and they mix everything up. and it all happens at the beginning of the story and first we hear from captain Willard about what he learned and he says everyone gets everything they ask for I asked for a quest and for my sins he gave me one and he says it's no coincidence that I was the guardian from Colonel Kurtz's story because telling his story is telling my story from the beginning like you expect now what's going to happen and then we have the mission and he goes to the trailer where the general and the CIA guy are in Harrison Ford and he gets your mission and your mission is to go up the river to find Colonel Kurtz, who is acting beyond all reasonable human responsibility, he has become a god is how it has to end, so your mission is to finish off the Colonel commando, end extreme prejudice, go get it out, so the thematic statement is given right after that and the general says that there is a conflict in every heart between the rational and the irrational and the good. it doesn't always win sometimes the dark side overcomes what lincoln called the better angels of our nature every man has his breaking point and that's his thematic statement you know it's a battle between light and dark ark and it happens both here and out now on your own i suggest you read the mythical statements from lord of the rings and there on that page of examples if we were showing clips it would show the clip but then we would all be crying it's so fabulous but it's about the story and the darkness and once again the storytellers mission is just brilliant so it comes down to the themes ok let's talk about the characters and character arcs. familiar with archetypes we've got some young mentions here and a lot of archetypes a lot of them you know the orphan the lover the martyr the mother the king the warrior this that that's alright and that's alright , that's great. the deeper aspects of many various spiritual systems what are called the paths to enlightenment the five calves of enlightenment and those five paths are the path of the warrior the path of the clergy the path of the scientist the magician and the lover and a Any archetype you can be under any of those paths, so you can have a martyred lover, you can have an orphaned scientist, etc., but these are more overreaching and I call them ARK paths and it is so much more. unwieldy like all the different archetypes because it gives you a clear and concise way to create your characters to take them through changes and have dramatic conflicts between characters now i'm going to explain using war your ARK path and then the conceptual explanations will apply to the other four as well and then you have information in your booklets about the various aspects what is useful for us as storytellers is that each of the paths has three levels and this is actually consistent across most cultures their systems of initiative Freemasonry you have the apprentice entered and then you have the adept and then the master you have primary school secondary school secondary school is ok you have a bachelors masters gree phd three steps is pretty typical and another one of those numbers that comes up a lot , so take a look at the warrior, the steps are the soldier, the warrior and the monarch, what we are interested in that one here when it is building. your characters are the effect think of an upside down pyramid and the first step is that lowest step and think of the soldier or even with the clergy the novice is ok you don't know much you're just starting you're taking orders you're not thinking by yourself and you don't have much of an influence on the world around you you're on this little lower level here and that's where you start building your rake on the rocks that you're doing the drills where you're learning how to use your weapons etc. ., it's about learning and hopefully it's also about dedicating yourself to promotion, so that's a great opportunity for your character to learn things and then get promoted if you want. next level that middle level is WH ere most will live and second level because not everyone makes it to the top level it's rarer but there's a broader effect on the world around them so where soldier level doesn't have a lot of influence, the warrior level yes and the warrior is a leader they are at the forefront of the charge they are the ones who can assess the battlefield make decisions at that moment what we people on the front line of the protests should do there they are the ones that are strategizing and making all the plans for what is going to happen and this is also general with the other ARCA pass and they know what they are doing and I am excited about it.
I know, yes, I know what I'm doing. trained I'm a trained professional okay and the next step is more rarefied and that's the monarch, the ruler, the general, the empress, the deity who commands armies, you know a lot of those from Egyptian mythology . that hierarchy and well almost always and where, the thing to remember with that also is that they have a wide range of influences in the world below and around them so how would they visualize that in their stories as simple as if I were in the soldier level and all of you out we can also be two separate groups small companies and then when we are at the warrior level there will be more people and then at the monarch level you will be looking down on the big crowd so think about it in terms of the extent of their blocking of a scene is close is medium is a wide shot and the influence that people have on them a very good example of a character in the path of the warrior who when doing the climb in the fall has a fall first is what we see and that's in Gladiator because at the beginning of that story russell crowe is a general and probably will be an emperor but he's in the top right but he gets captured he plummets all the way to the bottom and the rest of the story is about him making his way back through the levels and that can be very very effective so wherever you put your characters at the beginning of the story they push their way up they are at level two and they're really satisfied, and they're tempted or beaten, maybe they'll become refugees. been a doctor on the scientific path then and the war comes to their country now there is a refugee now they are nothing how do they recover well in Gladiator Russell Crowe used his talent and his determination and the help of some friends he made along the way and he goes back up and in his last actions he does something that is very high level, he makes a personal sacrifice for the good of the Republic, the Empire, so when you talk about character change and growth, think about moving through those levels as well each of the paths has three focuses: the emotional, the mental, and the synthesized, and I saw this really in action when I was in a think tank for the military and several of the people that we were were working on the warrior spirit and bringing mythology to the armed forces, etc. this was during the Clinton administration right after the wall came down, it was a peace dividend and everyone was, you know, let's see what else we can do with the military because we.
I'm not fighting the Cold War anymore, okay, that was fine for a while, but during that time it was interesting to see which of the Warriors, and these were mostly officers, leaned more toward the emotional, passionate, and idealistic and which ones leaned more towards the rational, analytical, strategic and yet they were all on the path of the warrior and which ones were synthesized and those were typically the generals and some of the more well known high ranking ones because that's how you get there to the being able to synthesize both those paths so that's another sticking point for you you have characters let's say one that is on top one that is on bottom are at odds with each other someone on emotional path someone else it's on the rational path, they're at odds with each other and then how do you resolve that throughout your story considering we're talking about stories that can change the world? to give them some of those speeches, some of those positions and conflicts, a wonderful cauldron to put different ingredients in and stir it up and the heat comes on and wow, you can make some amazing things happen so make sure you keep your conflict going. keep in mind that one of the reasons again why we have these issues is because people have different agendas, whether it's the gap between rich and poor, whether it's international crime and all the way to education, who gets educated, who no, people have different agendas so that they can have those agendas come out on those three levels or in the three paths and you know, hopefully your characters, your protagonists and some of the others, synthesize and enter to say the superior bou . standard between the second level and that higher level yes, ask, there are a lot of anti-heroes, right, our workers, very good, okay, good question, you must have a straight path for the protagonist because many anti-heroes, for example, are very much in the army. of them are warriors yes that is the nature of your question yes I think especially today that many of the most compelling stories in my opinion where like you you don't want them to win but you do somehow because you become emotionally attached to that so I guess I'm just trying to understand how that would be okay an anti-hero is still a hero but they go against the establishment right they're against the system that's what makes them anti, they are rebels and that's where.
A lot of your heroes come from the rebel side, the ones that once again stray away from the established way of doing things, absolutely anti-heroes, I think they're really important and particularly today because if we don't do anything if we don't rebel in some way way against the status quo against what's going on we're not going to change anything so we probably need more anti-heroes which is interesting and some of us were discussing this recently and someone said well the anti-hero often does the right thing unintentionally and then what? what happens to them when suddenly they've done the right thing and spent all their time trying to be the resistance to be the rebel? it can give them a real emotional dilemma when that happens, and again, keeping in mind the principle that even if it doesn't happen to the protagonist or antagonist, we need to know what might happen, so we always want to know what that goal is.
What would heaven look like? What would it be to win and your antihero can be? I think it's really effective in pointing out the flaws in a system that they have. They have carte blanche to do so. That is your job as an anti-hero. inking has some idea of ​​what he's doing so they can be very effective in bringing out the theme and lessons in a story and he's right they are usually the most interesting one of my favorite anti-heroes is in an old walter hill movie and it was calls Streets of Fire Diane Lane is in it and it came out I think in '82 maybe it's a rock and roll fable Willem Dafoe Diane Lane is fabulous we see it like twice a year and we know all the lines and it's oh it's so much fun Streets of Fire check it out and Michael Perret is the anti-hero because he's got this wonderful line where he says yeah, sort of like I'm not a hero, I'm the type of person that other guys can do jobs like this perfect anti-hero, so I What you also need to keep in mind with your ARCA pass is the keyword and your mission and again this is in your brochures but I'll just go over the one for the Warriors because I think it's so important once again if we're working on making stories that can change the world the work of the Warriors and this has been distorted as much lately as it does cyclically throughout history, but the mission of the Warriors is to protect and defend the weak and innocent, not the stupid and the lazy, but to protect and defend the weak and the innocent and also to promote the good, the true and the beautiful, go out and fight for it and then also promote it and recover the path of the warrior towards his ideal core, brave and honorable, that would be a wonderful thing to see and we certainly need it and certainly a lot of people who are officially in the military are very idealistic and they're trying to do these things and often they're up against a corrupt system and, you know, they see more in the reality and of course many movies so as you go through theseother ways. keep in mind you want your characters to really identify with the mission so also keywords the keyword for the warrior is purpose they have a goal they have a mission and they have to stay on purpose the path of the clergy is all about breaking away of matter, it's about disconnecting from the material world and the key word is purity and he's doing the fasts he goes and living in a cave in Hamas for a month at a time and eating cold rice and yak. butter, okay, it's the austerities, right, it's the sacrifices now, the clergy path, like all paths, there's a specter and it can go wrong and part of the downside of the clergy path is that you can sacrifice a lot and flog yourself and then decide everyone else. it should increase too and if you're not living up to my inner ideal then maybe you shouldn't be living as if everything in the past could go wrong but the path of the clergy has a tendency to improve as Monty Python says no one waits for the Spanish.
Inquisition, but there it is, so you have to note that the path of scientists seems really interesting to me because the upper level of the path of the curious student scientist wants to know everything. Scientists are very expert at what they do. They are coding. they're exploring the seas, they're breaking down the genomes, but the top level of the scientific path is the philosopher because you're taking that innate curiosity and tendency to look for patterns and look for cause and effect and prove it. outside and just think about some of the wonderful books that are written or have just been seen Neil deGrasse Tyson, right, he's a philosopher and many of those advanced scientists are interested in consciousness, the cosmos is their intelligence elsewhere, the big questions and the path of scientists. it's about the process if you're writing code and you don't have absolutely all the commas and quotes in the right place it's not going to work, the process needs to be exact and also when I teach the actors it's ok if you are on a scientific path, you need everything to be very clean and aligned, and the process is really important, so they act differently and if you're doing novels, you can dig into that, but certainly your character. the actors can be given some dialogue and direction that will help in that portrayal the magician once again you are all magicians because you are storytellers the definition of a magician is someone who sees patterns that others cannot see and creates patterns where none existed before they see patterns that others can't see creates patterns where none existed that's a wizard by the mere act of writing you're creating patterns that weren't there now you may be following old patterns as a mythical theme and using our unique Bie able knows unless you're a hack writer or you were hired to be hackish for this project ok but it will always come through your unique personality and you know if you have taken any writing course where they give you an assignment you know how to write your first pet about everyone's stories are different even if everyone had a calico cat the stories are going to be different because it comes through you so you're creating patterns that didn't exist before and and that's your job and the key word for the wizard is performance because typically if someone is a wizard it's that they're very open and wide and extravagant and flashy and they'll wear you without capes and exotic jewelry and maybe have oh wait a minute Harry Potter , you can learn a lot about magicians just by reading and watching those movies but it is about magicians performance and their goal is to gain control of the scene and unseen forces so the fifth of these paths is the lubber path I find this an interesting one, of course, the key word is passion, what else would be fair on the first level?
You have the admirer or the fan and they are on their own. Your character wants to be in love. They long to be in love, but they are alone. and that drive drives that longing that drives them through the story so the first level is all about wishing wanting the stalkers dark side ok its found in the path of the lover but its that dark side of lower level on the second level on the path of lover you have relationships so first you have a single then you have relationships either it's two people or you're in a poly situation or a menage toes whatever but there's a relationship on the upper level again although you have lonelier of a position that is where you find because remember this is the level of the monarch the level of the High Priestess the philosopher that is where you will find your Goddesses and gods of compassion like Queen Isis of the Egyptian pantheon the Virgin Mary Quan Yin in Anna Cara you know, just look at the mother goddesses above, they may have consorts, but it's not about them in relation to an equal, it's about them in relation to all those whose vi das encompass an influence, so in the path of the lover you go from a singleton to in a relationship with a single person but who influences and brings together within his area of ​​​​influence many many other people and once again think about these five paths , the three levels and the three I get close and I realize those are all opportunities for dramatic conflict and often I find using the good old three by five cards can be really helpful and I know the latest version of the final draft also has the card breakdown program which can be very effective. also depending on if you would like to handle cards or see it on a screen, but think about the conflicts that you can generate just by the very nature of the characters you are creating and that those conflicts are wonderful opportunities again to get your message out about one of the challenges globals or some other problem you see and then what solutions can be found now when it comes to symbolism we are talking about a visual medium here and there are three levels of simile one is the personal emotional level look its another set of three and the next level it's situational and then conceptual, so once again we go from close to farther up to the highest level of observation and you'll see there. a list of movies and details for each of these just using avatar again on the emotional level for the symbolism you have jake in the wheelchair he is immobilized to some degree and that wheelchair symbol also tells us about his psychological state, it's not a whole person is emotionally disabled due to losses and whether you know the loss of his brother the loss of his own mobility self-confidence, so it's an excellent symbol for that personal emotional level, so on a situational level you have an avatar again you have the community of the Navi versus the community of the extraction capitalists who are there to violate the planet and the machines and the tools versus nature and that situation of nature versus the union made by the man is the inherent conflict that situational conflict and you see with the helicopters and the flying dragon creatures it's ok one is a symbol of nature, the other one is a symbol of technology, it is very obvious that it is really effective and then on a conceptual level very well done with the cinematography and the art direction I think it was the trees where we have been seeing the family trees the trees but towards the end we see how deep the connection to the trees goes and how complex the interconnectedness is and it is that interconnectedness of all life and ultimately many would say that is what we are trying to realize in our own wake-up calls, that's one of the concepts that will help us address any of these global challenges are global because they affect everyone because we're all interconnected, so the solutions also have to be global because we're all interconnected and I think that's one of the biggest challenges in the challenges is how to get everyone to go along with it you have ten people and nine of them say hey that's a g Great idea, let's do it, but the tenth person is the one with the bank account, guess what's going to happen, what a tenth. the person wants it to happen until you can have a revolution or a return, everything falls apart or our favorite focus evolution, so live up to that sense of interconnectedness and remind yourself once again that's what a hero does: they stand above the crowd and see things other people didn't see patterns they become magicians they create patterns they influence more people around them and hopefully cause very very positive change so think about these three levels of emotions , there is another movie I suggest you watch if you haven't and even if you have watch this symbolism and that's the Bertolucci movie be conformist it's brilliant brilliant Lucchese bear can't go wrong there but in the conformist the symbolism is used so exquisitely on every level and you'll see examples there in the booklet but if you can get the conformist on the dvd there's a wonderful special features section that could be made available t also on stream but get into symbolism there is a very good article on symbolism by Bertolucci and it is brilliantly done and as writers and filmmakers it can be very inspiring so we have now covered the need for heroism and I hope everyone you write wonderfully. heroes for us how to use mythical themes and we've discussed some of them that may be particularly relevant to this type of storytelling that has a message and I do this and I suggest you could do this too just by going through those 15 challenges and say well what mythical theme I think it could fit under this very well that will once again and more easily work with the mythic themes and recognize patterns and start using them we talked about the mythic statements that every story needs the thematic statement the mission statement and the statement of the lesson and then we take a look at our able to cook life in styles of interaction with life the way of the warrior the way of the clergy the p The story of the scientist of the magician and the lover and how each of them has three levels and three approaches and how can you use those four story arcs and character arcs and internal and external conflict and then symbolize the t There are three levels of the emotional, the situational. and the conceptual and then how you can use them once again to reveal the problems that you're trying to address and show us the possible solutions, so what we'll do now is have a question and answer time and anyone who has a particular question. yeah going back to your holy grail example parts of all the warriors of the younger innocents between and then the lover or the drunk gives this guy and the batter the right just because he wanted to connect it to that story so basically it's a person who ascends holds the door person who is a bit shady look of lover alcohol lover too true yes well done yes yes Galahad is on the path of the clergy he is the purity innocent analyze the ball is the warrio Has a purpose and yes the path Gawain's lover is a bit on the dark side of that passion, but seriously, you have to have fun.
You are on a mission in search of the Grail. Things aren't always fun, but yes. other comments you ask yes and Patricia Clarkson and I was wondering apart from the gap between rich and poor about a person who is a widow and goes to a town to open a bookstore and change this is kind of how the town is very curious about this child, she's older, she's got two books that maybe I think she could have filmed better, so Mrs. Patricia Clarkson is sort of the director of the Arts Council, a rich woman, very charming, quite socially adept and makes her people do it. making an offer and she doesn't want this woman there and it's a fascinating look apart from the gap between rich and poor.
I'm kind of someone who wants to live their passion vs someone else who's been Gary established in the city and how that shakes up the block car rt just wondering other than the Bridgeport gap regardless of their topics and really yes , I have not seen the bookstore, yes, I have not seen that it could be that you could have some fire from heaven stealing there if the woman who comes and is opening the bookstore is bringing like Lolita new ideas opening literary concepts bringing gosh maybe we have to look beyond the borders of our small town so that there can be an education and learning is often in the way of stealing fire from heaven because look at the first thing oppressive regimes do is burn books and kill to the intellectuals, so Harden and the journalists are right, anyone who can think of we can't allow it, so there could be some of that there too and maybe not on the vicious scale. of the murders of MMD military dictatorships, but it seems that this could be one of them, yes, and I have left it to verify it, thank you, other comments, questions, yes, oh, I'm sorry, because yes, yes, sir, go ahead.
Okay, so what's the coming-of-age hero's journey? Would it be as if he had done as a warrior? Those two explore that new world. there and also a native theme because he is an individual entering another society oh yeah learning something about a group that is very very different from him just look at it like Dances with Wolves yeah okay someone from a culture differenttotally going into another and then we learn more about that culture that they go into, so right off the bat it sounds like something you might think of as an edge to the mythic theme like that, good luck with that, see?
It's the good thing about science. fi and fantasy are, by their very nature, give us the chance to inspect our reality and get a different perspective on it. it's look she went first and then we'll come to you oh, okay, quick question, do you think there are stories that instead of harming health? hmm good question, are there stories that hurt rather than help address these issues? with bad things and there are no consequences and not just for them because sometimes it's okay if we know that at some point they're going to get theirs, but where is there not even redemption offered or there's no hope and hope is crushed now what would it be some of those?
You might ask and now this is just personal you know I appreciate that a lot of people like him just can't do the horror movies and I can't do the horror books that he was reading was one of the books on alien abductions put aside the fellowship of the drivers book i think it was about alien abductions years ago and i was actually going to go to a party and meet him and i thought god trafficked was a good idea to read the book well i had to. reading it in the day time at night i had to put it in the freezer to even sleep it was so disturbing so i think some of the stories that offer no hope of redemption or change can be hurtful and are often the stories they are telling telling us just shut up that's the way it is they can't protest there's no point standing up there's no point thinking it could be different that's the way it is it's always been that way shut up shut up sit down he just gets everything he wants yeah that dude died and then we'll keep making all this money and then i left that phone thinking about what i'm supposed to feel now you know you should be cut in the world to get what you want lolita make sure the question or just in terms of that character what did he really do? but then I guess then my question is to go back to what she was.
Ying that's like what if but I think Lolita was so successful because it was designed in such a way that we learned something yeah what we can do just based on beautiful prose yeah yeah minute these days still ain't like riding around like I have one. new question on the same same thing again where HP Lovecraft's work oh yeah you know a mythological basis but you've read a lot he seems to always try really hard to make the protagonist seem super super normal and competent. and then slowly, you know, there are forces outside that are a little bit overwhelmed and then sometimes they make it out alive, sometimes they let you know with scars, but that's one of the I love his work personally and that mythology of Holden who has the myth.
I grew up around it, but I was wondering the same thing where I don't know, eat that format as much as I like, that style would be particularly useful for writing stories that help change the world and these parts. I was wondering if you could because in the end it's pretty much the same, well what do you do? There is a giant meatball that is going to eat the whole universe. You're not crazy, but yes? Lovecraft is a good example of whether we can find any sense of redemption in his characters, his stories and he's a bit difficult at times, like he was Matthew McCormack, who wrote No Country for Old Men.
Yes, his stories are grim. dark Oh, one more time, can you? The question is: can you write that kind of story and have it address any of these issues? and even if it seems like a futility let's just say transnational organized crime and the guy just did some digging into that and I blew my hair back to find out how much was going on and but did you know there's a mafia force and you? oh yeah yeah look up the arena mob it's really interesting yeah so if you show us a situation in one of those dark bleak stories and you think what would be a good symbol for that situation and maybe we'll say that you're using sand mob we're making this up as we go maybe someone is an investigative journalist investigating sand mobs and comes to a place where people are being buried by sand anyone trying to protest is buried by her and it covers it so it could be a situational symbol that you could use so you can work that out without being preachy jump to another concept here or let's say it's part of the alphabet of the story it's easy and think about a pie chart and what is the percentage in your story if you were drawing the pie chart of your story?
How much is entertainment? How much is education? This is what I want to do and how much of it is pure expression. Take a look at your five favorite movies and draw the pie chart and make sure one of them is something the director is very lenient on. and it's about them and you can tell it's all on the screen they're all nodding it's like we've all seen those movies yes and sometimes and it's perfectly fine it's 95% entertainment and maybe they know 2% education and 3% enlightenment some of the transformers movies contain a bit of a message but mostly it's just entertainment and that's fine but for the kind of stories that could change the world you want to have a bit for education and enlightenment and you always want some of that to be your personal expression so that you understand that we're getting this story and you also have to make it entertaining or no one will see it so it's a flexible pie chart but play with it. bite into it can be very enlightening for yourself as a writer to see what you are doing and you had a question or a comment is easy yes entertainment education illustration and expression yes I have read a lot about the archetypes themselves and just wanted to think in you.
Sometimes I have a very difficult time choosing a net happiness and I wonder if sometimes, because of the way I should look at these archetypes, I thought that the antagonist is the dark side of whatever hero archetype I chose. so that's just developing it's almost like he's doing the story of something internal like he just wants to hear his thoughts on that like finding the antagonist to be the hero's scream id yeah and that's pretty cool . point that we want in our antagonists some equality of function and ability against the protagonist, otherwise you have Bambi against Godzilla and that story does not last very long, so yes, they may be talking about the archetypes or let's say the paths of the arc, you can have them in the scientists the middle level of the scientist path and one of them in the dark and the other in the light so you can put one of them in the middle of the scientist path and the other one is a mage who its still in the middle path so they are pitted against each other because one is about process the other is about performance they have different goals and yet they are on the same level now pick the antagonist it's really complicated.
Something I deal with quite a bit in the power of the dark side book, but it's one of the most challenging aspects of doing good writing is having appropriate antagonists and also keeping in mind that the antagonist as a character is only one part. of that because there is also the internal problem, the situational problem, the social, the global, the nature, but yes, that other person with whom you are facing your protagonist may be that you can use archetypes effectively by having them in different different aspects of the same level in different paths or let's say some on the mental side of a path and the others on the emotional side and then there will be conflict there but there will be that sense of balance because once again if it's you don't put a light weight on it ring with a heavyweight I mean okay sure Pamela but I think sometimes we forget about that and make one of them stronger or weaker than the other and then there is no competition and we would love to have a world where it's not just drama but we're still in a world full of drama and conflict so we still have to deal with it but yeah good question yeah yeah that's interesting you know that's that's interesting e, the theme of duty versus desire, I usually tend to think of it as being within a person, but I think what you're saying is that you drew it in such a way that the mother is about duty and the girl is about desire , and then you.
I have the theme of duty versus desire in two individuals even though h are very close and they're bringing it up as if the conflict is like in the same area where the antagonists and the protagonists are almost the same person right because it's like if that's what you're saying about duty versus desire? interesting, thanks, someone should take note of that. Oh, could we just go ahead and have the drawing because some of you may have to go? Jeanette oh well so you can choose any of the books there and of course there are others available if anyone else wants to buy one and it's all available online too oh and if one more time if you're in the signing up for the mailing list for the newsletter.
I'm also open to suggestions on topics to cover, so if you see something that you think would be something that would be helpful if you had a mythological focus. to that end, please feel free to submit ideas for newsletter articles. I would love to know of your prognosis even involuntary. I guess it's not really a romantic theme song about the arrangement, but I wonder if you could talk about maybe it's just that the writer is kind of a prognosticator and the criticism they get eventually the public finds out they were right, okay I guess what you're describing there is the ARK path of the magician because remember the definition of the magician is one who sees patterns others don't and that's what futurists are that's what those writers who envision what the next step will be if we continue down this path or if you put these things together this is likely to happen so a wizard ark path position is very important and then go back once again to Newton's law of inertia when you come up with new ideas first thing what you get is what resistance is that yes as the board would say resistance is useless or r as they say in the Hitchhiker's Guide to the Galaxy if you haven't read the book it's fabulous so yes the future the person who sees the f future is generally disbelieved because here again other people can't see it so they think you're crazy or just intuitively woowoo but that's not reality that's fantasy oh that's a good story but that it could never happen so that's where i would rank them now as to a particular topic you might as well be under fire steal from heaven because you're bringing something the group doesn't have and some people there are resisting and you probably might as well have a little bit of a wake up call there because someone is actually doing the wake up call and we're the people that need to be woken up but also the pluto cave the whole idea is they came out of the cave and they're like come on like be free and are fighting for rights form resists change thats just the nature of reality and yes anyone trying to prod off our comfo table spaces and fear change is a survival mechanism we are supposed to fear change it can kill you but you are not going to progress unless you make some changes and those who see it first are often feared I would also say because if that were true then we might have to change and what would that look like yeah just on top and just on the front but that's your job as storytellers is to get it right thank you all so much i really seem learned a lot thank you and thank you so much to film bravery for all you do it's a wonderful job and best of luck to all of you and not to keep you posted on what you're working on.
I'd like to know how you're applying these wonderful old classic mythic story tools to what you're doing and what problems you're tackling, so go for it. I'd be interested to know how everything goes. No problem. I enjoyed it from the beginning. personal myth consultation that helps people figure out what r route is what their ark route is and how best to use it

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