{"id":4096,"date":"2011-09-25T21:18:22","date_gmt":"2011-09-26T01:18:22","guid":{"rendered":"http:\/\/www.scottedelman.com\/?p=4096"},"modified":"2011-09-25T21:18:22","modified_gmt":"2011-09-26T01:18:22","slug":"the-symmetry-of-how-stories-are-told","status":"publish","type":"post","link":"https:\/\/www.scottedelman.com\/wordpress\/2011\/09\/25\/the-symmetry-of-how-stories-are-told\/","title":{"rendered":"The symmetry of how stories are told"},"content":{"rendered":"

Dan Harmon, the creator of the TV series Community<\/em>, has a theory about the shape of stories, one which was shared in a profile<\/a> recently published in Wired<\/em><\/a>. It’s different from any other story shape I’ve seen, in that it’s circular, rather than the usual X-Y graph reflecting highs and lows, whether of fortune, or tension, or some other plot element.<\/p>\n

He says that when watching movies and TV, “I can’t not see that circle. It’s tattooed on my brain.”<\/p>\n

Here’s how he lays it out.<\/p>\n

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It makes for an interesting theory, but it’s not one I’m comfortable with accepting as the skeleton of story, due partially to the circle and partially the fact that I don’t see many of these numerical concepts as being universal.<\/p>\n

For example\u2014<\/p>\n

#3) Must the character always enter into an unfamiliar situation? What if he or she simply refuses to put up any longer with an ongoing situation and says “Enough!” But let’s say we allow that refusal to go on with the status quo to be an unfamiliar situation, at least metaphorically. That leads us to …<\/p>\n

#4) I don’t see adapting to that situation to be present in all stories. What about the stories that exist because the protagonist fails to adapt? And …<\/p>\n

#5 & 6) Must the protagonist always<\/em> get what he or she wanted and then pay a heavy price for it? Many times the character never gets what he or she wants, and pays a price for THAT. Or gets what he or she wants and pays no price at all. Also …<\/p>\n

#7) Must they really return to their familiar situations? I don’t think so. Often, stories result in the characters’ familiar worlds being shattered, and thus being unable to go back.<\/p>\n

I do strongly agree with #8, however, because the lack of the character “having changed” is a frequent failure of fiction. I’ve always agreed with the Bruce Sterling definition of a short story as being the most important moment in a person’s life. After that moment, the person is no longer the same. But while we agree there, I don’t really see the whole of Harmon’s arc, if I can properly call it an arc, since it’s a circle that implies an ending where it all began.<\/p>\n

I much prefer the shapes as offered up by Kurt Vonnegut, who can be seen in the video below charting out some familiar stories.<\/p>\n