1 - Narrative Program
This is the basic scheme, with a core of intrigue consisting of three functions: subject, object, and assignee, in which the subject will make a contract with an object, and will suffer interference from the recipient in fulfilling this contract. Each character, as a subject, will need a Storytelling Program to carry out this affective journey intrigue in three acts.
This "contract" corresponds to the first act, and the second act is called manipulation, because characters must gain competence to perform a performance related to the initial contract. The third act is related to the sanction of the truth, the judgment on the fulfillment of the contract.
First Act Second Act Third Act
Contract Manipulation Sanction
(Competency / Performance)
Intrigue is formed from the struggle for the possession of values contained in objects, because the object is attractive to the subject for its value, and the destination is attractive because it is a giver of knowledge and power that the subject needs to execute his Narrative Program in a series or movie. Every character will need a Narrative Program with which to work the dramatic curves.
2 - Sender
The Sender scheme, often responsible for the intrigue between the subject and the object, is a giver of knowledge and power.
The Sender, like the Damage, are characteristics intrinsic to the heroes of comics and other modern fables, like those of Disney and equivalents.
There are at least four types of Senders, those that are “persuasive”, we also have the “transcendent”, in addition to the “self-Sender” and the “social” Sender.
3 - Extraordinary Event
The event from the point of view of narrative structure: for strong scenes to promote turning points, there needs to be an extraordinary event in the character that shakes him from the point of view of action, freezing his cognition, and exposing only the your suffering, at a time when the character's way of acting and existence will change.
The event is extraordinary only if it is concessive, if it is unforeseen, surprising, and causes a "damage" and a "fracture" in the soul of this character. It is a stop in time, the character has no notion of the world of things and, when he returns, is different from when he began this event. Changing a character from a virtualized to an updated state in Existential Simulacrum is operated by "Extraordinary Events."
4 - Surprise
The event from the point of view of the character structure: a waiting character expects the expected and the unexpected arrives. Without warning, an object suddenly arrives and completely hits the feel of the character, because he was caught off guard. The character is surprised, because the unexpected is concessive, was not expected to happen, but it happened.
5 - Existential Simulacrum
The Existential Simulacrum is a scheme in which the character generates in his imagination a need for empowerment of his soul, in which the first act is "virtualized", because there is only one "want", the second act is the phase of a character. “Updated,” struggling to acquire “knowing” and “power,” then entering the “accomplished” phase in the third act.
First Act Second Act Third Act
Virtualized Actualized Realized
Wanting Knowledge Power
The empowerment phase is generated through Existential Simulacrum, as a phase before realization, in which the character anticipates an unrealized realization, a concession, but it can also be a phase that the character performs after realization, in which events occurred are put into memory.
Waiting - Surprise / Break - Admiration / Perception - Passion
The character has a scheme for showing how Surprise works through what occurs to him after the Extraordinary Event, when he regains cognition, and can marvel at this object or have a sense of the reality that treats this object. Admiration x Perception is the core of the Surprise that, when faced with an unexpected object, opens up a concession of the expected, a concessive junction with this object.6 - Damage and Fracture
The scheme of damage is to endow the character with suffering. Damage is what the character feels he has suffered during the occurrence of an Extraordinary Event, whether through action or a compromising sensation, which terribly affects his passions. The damage can be physical, as in the case of "broken" characters from "Game of Thrones", or in the soul, as is the case with Jon Snow, whose damage is being "bastard", causing him a strong passion for revolt and rebellion because of this damage.
Damage opens a fracture in the character that needs to be remedied, just as the damage caused by the damage must be settled. Suffering is that which gives soul to the character, it is the sensitive and invisible goal that moves the search for the potentialization of the soul in its Existential Simulacrum. The superhero scheme includes damage and suffering. It is the damage that makes heroes “super” and suffering is what gives her soul to sensitize the viewer.7 - Cholera and Revenge
Among the tense passions that affect the character is "anger". A character comes out of a calm to choleric state within seconds. Already the passion of “revenge” is tense, but slow, longer, requires a strategy to be executed and a “hate”, generator of revenge that needs to be settled. The character is seized by anger due to an accumulation of events that culminate in an explosion.
The scheme of passions affecting the character is measured by its intensity (anger is more intense than "boredom") and extensiveness ("hate" and "rancor" lingers longer in the character than "anger", which is fleeting). ), and its temporality, if referred to the present as "anger" and "anger", and to the past as "guilt" and "remorse", or to the future as "fear" and "fear" .
The scheme of revenge is a strategic journey of settling a misconduct, caused by damage, and of settling the passion of “hatred” that causes suffering to the character. The avenger has several characteristics. In addition to the damage to your soul from an Extraordinary Event in the past, there is also an obligatory “disguise” because every revenge narrative calls for a surprise at the end.
The scheme helps the writer create authentic vindictive characters, such as those who need to "hide" the desire for revenge, and even more, hide their hatred. It demonstrates how the same example used in the "Medea" and "Hamlet" revenge path is also used in the strategic narrative of "Game of Thrones."