WEBVTT 1 00:00:03.666 --> 00:00:09.693 WEBTOON Advanced Story, Let's Start Like This 2 00:00:09.693 --> 00:00:12.366 GCC Academy 3 00:00:24.759 --> 00:00:28.402 How to Plan a Story and the Three-act Structure 4 00:00:28.980 --> 00:00:30.100 Hello 5 00:00:30.100 --> 00:00:32.228 I am a comic story writer 6 00:00:32.228 --> 00:00:34.759 and teach storytelling to students 7 00:00:34.759 --> 00:00:36.799 at ChungKang College of Culture's Comics Content School 8 00:00:36.799 --> 00:00:38.479 My name is Hyerim Yang 9 00:00:38.479 --> 00:00:40.139 In the previous lecture 10 00:00:40.139 --> 00:00:42.720 We covered how to find a subject 11 00:00:42.720 --> 00:00:44.520 and then discussed 12 00:00:44.520 --> 00:00:46.480 how to create characters 13 00:00:46.480 --> 00:00:50.400 Now, it's time to start creating the story 14 00:00:50.400 --> 00:00:54.279 Many people feel overwhelmed when starting a story 15 00:00:54.279 --> 00:00:57.160 But surprisingly, younger people tend to be more daring 16 00:00:57.160 --> 00:00:58.200 I mean, kids 17 00:00:58.200 --> 00:01:01.240 Like those in the first or second grade 18 00:01:01.240 --> 00:01:03.959 often have a lot of experience making 19 00:01:03.959 --> 00:01:06.279 their little books 20 00:01:06.279 --> 00:01:07.967 Or a story 21 00:01:07.967 --> 00:01:09.839 When you ask them, "Can you make a story?" 22 00:01:09.839 --> 00:01:11.607 "Oh, I've already made a few" 23 00:01:11.607 --> 00:01:12.959 They might say like this 24 00:01:12.959 --> 00:01:14.879 There are a lot of young kids 25 00:01:14.879 --> 00:01:17.239 who see themselves as writers 26 00:01:17.239 --> 00:01:21.480 However, this confidence tends to decrease as we get older 27 00:01:21.480 --> 00:01:23.720 For example, let's say a first grader says 28 00:01:23.720 --> 00:01:25.388 "I made a book!" 29 00:01:25.388 --> 00:01:27.559 and brings over a little book 30 00:01:27.559 --> 00:01:29.839 maybe just four pages 31 00:01:29.839 --> 00:01:32.720 To adults, it's really impressive 32 00:01:32.720 --> 00:01:35.279 But if a middle schooler sees it 33 00:01:35.279 --> 00:01:37.040 "What kind of book is this?" 34 00:01:37.040 --> 00:01:38.377 "What kind of story is this?" 35 00:01:38.377 --> 00:01:40.440 They might say like this and kill the vibe 36 00:01:40.440 --> 00:01:43.559 This could be a problem with our education system 37 00:01:43.559 --> 00:01:46.199 or maybe something else 38 00:01:46.199 --> 00:01:48.599 But in any case, the more experience people gain 39 00:01:48.599 --> 00:01:50.720 The more they feel the need to say 40 00:01:50.720 --> 00:01:52.519 This is not it 41 00:01:52.519 --> 00:01:54.760 This isn't just about stories 42 00:01:54.760 --> 00:01:56.239 It's also true for cooking 43 00:01:56.239 --> 00:01:58.680 Saying, "This is how a proper jjajangmyeon should be," 44 00:01:58.680 --> 00:02:01.559 or "This is what a proper something should be," 45 00:02:01.559 --> 00:02:04.720 is really a scary thing 46 00:02:04.720 --> 00:02:07.400 Who can define what 47 00:02:07.400 --> 00:02:08.679 a "proper" something is? 48 00:02:08.679 --> 00:02:11.720 Just because someone won the world jjajangmyeon competition 49 00:02:11.720 --> 00:02:14.440 doesn't mean they can truly distinguish the best jjajangmyeon 50 00:02:14.440 --> 00:02:16.080 It could be from the Chinese restaurant right in front of my house 51 00:02:16.080 --> 00:02:19.000 that I really enjoy 52 00:02:19.000 --> 00:02:20.759 and whenever I feel a bit empty inside, I think about that place 53 00:02:20.759 --> 00:02:24.119 That could actually be the true jjajangmyeon 54 00:02:24.119 --> 00:02:26.839 So, when it comes to storytelling, before you start this course 55 00:02:26.839 --> 00:02:30.815 I hope you approach it with a bit of generosity 56 00:02:30.815 --> 00:02:34.360 Many people think that following a set method 57 00:02:34.360 --> 00:02:36.000 is the only way 58 00:02:36.000 --> 00:02:37.759 to structure 59 00:02:37.759 --> 00:02:39.639 or write a story properly 60 00:02:39.639 --> 00:02:41.639 But that's not true 61 00:02:41.639 --> 00:02:45.119 The most important thing is what feels comfortable for the writer 62 00:02:45.119 --> 00:02:46.559 Just to be clear 63 00:02:46.559 --> 00:02:50.098 Writer is lazy and doesn't do this or that 64 00:02:50.098 --> 00:02:51.520 Doing nothing is the best 65 00:02:51.520 --> 00:02:52.960 I'm not saying that 66 00:02:52.960 --> 00:02:55.360 The process of writing and completing a story 67 00:02:55.360 --> 00:02:58.720 should feel comfortable for the writer 68 00:02:58.720 --> 00:03:00.880 It's really important 69 00:03:00.880 --> 00:03:04.080 Because what helps the story come to an end 70 00:03:04.080 --> 00:03:05.139 is the most important thing 71 00:03:05.139 --> 00:03:08.320 I was just playing around and didn't finish the story 72 00:03:08.320 --> 00:03:10.399 This doesn't mean like that 73 00:03:10.399 --> 00:03:14.600 What I'm saying is that if a method suggested by a great writer 74 00:03:14.600 --> 00:03:18.720 makes the process uncomfortable for me 75 00:03:18.720 --> 00:03:21.440 Where I feel drained after each day 76 00:03:21.440 --> 00:03:23.479 and dread continuing the story tomorrow 77 00:03:23.479 --> 00:03:26.039 It's so burdening for me 78 00:03:26.039 --> 00:03:28.600 Then that method may not be right for me 79 00:03:28.600 --> 00:03:30.360 At least, it's not the right method for that person 80 00:03:30.360 --> 00:03:33.759 A writer needs to feel comfortable with their work for it to flow well 81 00:03:33.759 --> 00:03:36.679 and when the work flows well, the story can be completed 82 00:03:36.679 --> 00:03:40.160 As I mentioned earlier, if a writer struggles 83 00:03:40.160 --> 00:03:45.000 and thinks that according to a certain method, they must summarize 84 00:03:45.000 --> 00:03:48.600 40 episodes of a long webtoon story every day to become an expert 85 00:03:48.600 --> 00:03:50.800 It's very tiring, difficult 86 00:03:50.800 --> 00:03:52.160 and often unfun work 87 00:03:52.160 --> 00:03:54.800 Of course, some people might enjoy it 88 00:03:54.800 --> 00:03:57.440 But for most of us, it would become a burden 89 00:03:57.440 --> 00:04:01.119 If someone says, "You have to do this to become a true writer," 90 00:04:01.119 --> 00:04:03.766 some might try to stick with it 91 00:04:03.766 --> 00:04:05.520 Like a bear wanting to be a human 92 00:04:05.520 --> 00:04:07.839 enduring it as if it were having garlic 93 00:04:07.839 --> 00:04:10.520 But many will just give up thinking 94 00:04:10.520 --> 00:04:12.220 If this is what it takes 95 00:04:12.220 --> 00:04:14.000 Maybe I can't be a writer 96 00:04:14.000 --> 00:04:15.830 Losing direction 97 00:04:15.830 --> 00:04:18.079 or losing motivation 98 00:04:18.079 --> 00:04:20.679 isn't caused by an easy or a good method 99 00:04:20.679 --> 00:04:22.920 The most important thing I want to say is that 100 00:04:22.920 --> 00:04:25.760 Writing a story is a process 101 00:04:25.760 --> 00:04:28.320 I often repeat this 102 00:04:28.320 --> 00:04:31.000 This process is like a journey 103 00:04:31.000 --> 00:04:34.200 A journey, after all, means the process of travel 104 00:04:34.200 --> 00:04:35.720 Depending on the length of the story 105 00:04:35.720 --> 00:04:38.640 This journey can be very long 106 00:04:38.640 --> 00:04:40.567 There are many types of travel 107 00:04:40.567 --> 00:04:42.440 There are day trips 108 00:04:42.440 --> 00:04:45.880 and year-long world tours 109 00:04:45.880 --> 00:04:48.760 where you invest all your savings 110 00:04:48.760 --> 00:04:52.000 The nature of the journey can change a lot depending on the path 111 00:04:52.000 --> 00:04:54.450 For example, if you 112 00:04:54.450 --> 00:04:57.720 use the same approach 113 00:04:57.720 --> 00:05:02.563 to writing a one-year trip as you would for a day trip 114 00:05:02.563 --> 00:05:05.000 It�셲 unlikely to be successful 115 00:05:05.000 --> 00:05:07.300 In this session, we�셪l learn 116 00:05:07.300 --> 00:05:09.839 how to plan a journey so you don�셳 lose your way 117 00:05:09.839 --> 00:05:12.839 This method can be used for 118 00:05:12.839 --> 00:05:14.359 both short and long journeys 119 00:05:14.359 --> 00:05:16.559 We'll learn that method 120 00:05:16.559 --> 00:05:19.000 And above all, we'll focus on 121 00:05:19.000 --> 00:05:21.119 how to take that first step 122 00:05:21.119 --> 00:05:23.959 You probably have a subject in mind that you selected 123 00:05:23.959 --> 00:05:26.119 by considering your target audience 124 00:05:26.119 --> 00:05:28.880 This subject will carry the writer's intention 125 00:05:28.880 --> 00:05:32.519 and a main character will carry that subject 126 00:05:32.519 --> 00:05:35.480 When you're starting to plan a story 127 00:05:35.480 --> 00:05:39.839 I would suggest beginning with deciding 128 00:05:39.839 --> 00:05:43.040 the starting and ending states of the main character 129 00:05:43.040 --> 00:05:45.658 Now, when we talk about starting and ending 130 00:05:45.658 --> 00:05:48.480 There's a common misunderstanding among aspiring writers 131 00:05:48.480 --> 00:05:51.160 They often think of it in terms of the character 132 00:05:51.160 --> 00:05:52.560 What do I mean by this? 133 00:05:52.560 --> 00:05:54.920 Starting and ending of the character 134 00:05:54.920 --> 00:05:56.539 The starting point of a character 135 00:05:56.539 --> 00:05:58.488 is when the character is born 136 00:05:58.488 --> 00:06:00.279 and the ending is when the character dies 137 00:06:00.279 --> 00:06:02.760 Some might think like this 138 00:06:02.760 --> 00:06:04.279 While such stories exist 139 00:06:04.279 --> 00:06:06.000 Like when a character is born in the first episode 140 00:06:06.000 --> 00:06:07.428 and dies at the end of the series with a conclusion 141 00:06:07.428 --> 00:06:09.600 like "it was a good life" 142 00:06:09.600 --> 00:06:12.920 But while such stories do exist 143 00:06:12.920 --> 00:06:14.809 There probably aren't many webtoons you've read 144 00:06:14.809 --> 00:06:17.600 that follow that kind of structure 145 00:06:17.600 --> 00:06:20.480 So here, we'll approach the idea of beginning and end 146 00:06:20.480 --> 00:06:24.279 as more of a framing concept 147 00:06:24.279 --> 00:06:28.839 The world of the story you create will be very broad 148 00:06:28.839 --> 00:06:31.178 While the story itself might be this big 149 00:06:31.178 --> 00:06:34.160 The world of the story will be much larger 150 00:06:34.160 --> 00:06:36.720 Within that world, the main character will live a long life 151 00:06:36.720 --> 00:06:37.760 or maybe not 152 00:06:37.760 --> 00:06:39.559 Some characters may have short lives 153 00:06:39.559 --> 00:06:41.588 But regardless of that 154 00:06:41.588 --> 00:06:45.079 You need to decide 155 00:06:45.079 --> 00:06:48.119 which part of that vast world and long timeline 156 00:06:48.119 --> 00:06:50.920 you want to focus on and turn into your story frame 157 00:06:50.920 --> 00:06:52.399 The world is very vast 158 00:06:52.399 --> 00:06:55.320 But when we take a photo 159 00:06:55.320 --> 00:06:57.119 We decide with a specific intention 160 00:06:57.119 --> 00:07:00.440 about which part to capture and from what angle 161 00:07:00.440 --> 00:07:03.760 That photo may not capture everything in the world 162 00:07:03.760 --> 00:07:05.519 But it doesn't need to 163 00:07:05.519 --> 00:07:09.480 What matters is that the intention behind that photo is clear 164 00:07:09.480 --> 00:07:12.399 Similarly, when determining the beginning and end of a story 165 00:07:12.399 --> 00:07:14.760 just like framing a photo 166 00:07:14.760 --> 00:07:16.079 there must be intention 167 00:07:16.079 --> 00:07:20.200 Why are we starting the story here and ending it there? 168 00:07:20.200 --> 00:07:23.839 That decision connects to the subject you've chosen 169 00:07:23.839 --> 00:07:26.771 It should be in a form that best showcases 170 00:07:26.771 --> 00:07:28.279 the subject of your story 171 00:07:28.279 --> 00:07:30.999 When you take a photo 172 00:07:30.999 --> 00:07:34.559 You often place the subject in the center to create a good shot 173 00:07:34.559 --> 00:07:36.559 I'm not a photography expert 174 00:07:36.559 --> 00:07:38.920 But these days, when I try to take a picture with my phone 175 00:07:38.920 --> 00:07:40.679 The camera tells me 176 00:07:40.679 --> 00:07:44.160 that putting an object in a certain spot will give me the best shot 177 00:07:44.160 --> 00:07:46.040 Sometimes, I don't like it 178 00:07:46.040 --> 00:07:48.200 But the point is to frame 179 00:07:48.200 --> 00:07:50.440 the story's beginning and end in a way 180 00:07:50.440 --> 00:07:53.160 that best displays the subject 181 00:07:53.160 --> 00:07:56.600 So, the subject becomes the basis 182 00:07:56.600 --> 00:07:59.119 for your story 183 00:07:59.119 --> 00:08:02.640 For example, let's say you decide to write a story 184 00:08:02.640 --> 00:08:05.359 about an asexual character 185 00:08:05.359 --> 00:08:08.839 The world is filled with romance 186 00:08:08.839 --> 00:08:10.359 There are many romance dramas 187 00:08:10.359 --> 00:08:14.440 and if you take romance out, a significant portion of the content industry 188 00:08:14.440 --> 00:08:17.519 would be gone 189 00:08:17.519 --> 00:08:22.600 So, if you decide to write a story 190 00:08:22.600 --> 00:08:25.318 about a protagonist who doesn't consider romance 191 00:08:25.318 --> 00:08:27.158 an important part of their life 192 00:08:27.158 --> 00:08:28.880 That's your intention 193 00:08:28.880 --> 00:08:33.320 Your goal is to portray this kind of character clearly 194 00:08:33.320 --> 00:08:37.359 And to go further, you could show that such a person exists 195 00:08:37.359 --> 00:08:39.559 and that some of your audience might identify with them 196 00:08:39.559 --> 00:08:41.828 This could lead to the idea that 197 00:08:41.828 --> 00:08:43.459 While it may seem like everyone in the world is living for romance 198 00:08:43.459 --> 00:08:44.640 That doesn't have to be the case 199 00:08:44.640 --> 00:08:47.440 You can think like this 200 00:08:47.440 --> 00:08:51.559 To make the subject work well 201 00:08:51.559 --> 00:08:54.440 What should the main character be like? 202 00:08:54.440 --> 00:08:57.239 In the beginning 203 00:08:57.239 --> 00:09:00.280 The character might not even know 204 00:09:00.280 --> 00:09:04.119 that they are asexual 205 00:09:04.119 --> 00:09:06.359 They might not understand the concept at all 206 00:09:06.359 --> 00:09:08.200 This could be their starting point 207 00:09:08.200 --> 00:09:11.799 Or, they might be in a state of denial, thinking 208 00:09:11.799 --> 00:09:14.559 There's no way I'm asexual 209 00:09:14.559 --> 00:09:16.440 I can still fall in love 210 00:09:16.440 --> 00:09:19.000 They might think like this 211 00:09:19.000 --> 00:09:20.838 They might not know they are asexual 212 00:09:20.838 --> 00:09:23.400 or even that the concept of asexuality exists so that they could start 213 00:09:23.400 --> 00:09:26.119 in a state of ignorance 214 00:09:26.119 --> 00:09:28.018 If the story starts this way 215 00:09:28.018 --> 00:09:30.359 Then how would it end? 216 00:09:30.359 --> 00:09:33.760 The character might come to accept that they are asexual 217 00:09:33.760 --> 00:09:36.919 After going through various experiences 218 00:09:36.919 --> 00:09:38.880 They might realize 219 00:09:38.880 --> 00:09:40.599 I'm asexual 220 00:09:40.599 --> 00:09:43.760 and I don't need to force myself to pursue romance 221 00:09:43.760 --> 00:09:47.159 Between this start and end, what happened? 222 00:09:47.159 --> 00:09:48.400 Simply put 223 00:09:48.400 --> 00:09:49.719 The character changed 224 00:09:49.719 --> 00:09:51.239 They didn't know, but then they did 225 00:09:51.239 --> 00:09:53.039 They didn't accept it, but then they did 226 00:09:53.039 --> 00:09:56.039 This kind of change 227 00:09:56.039 --> 00:09:58.440 is the story's beginning and end 228 00:09:58.440 --> 00:10:02.840 The moment they denied 229 00:10:02.840 --> 00:10:05.520 being asexual 230 00:10:05.520 --> 00:10:07.599 and the moment they accepted it 231 00:10:07.599 --> 00:10:10.559 That's your story's frame 232 00:10:10.559 --> 00:10:12.080 Let me give you another example 233 00:10:12.080 --> 00:10:14.679 Let's say 234 00:10:14.679 --> 00:10:17.559 there's a character who hates studying 235 00:10:17.559 --> 00:10:19.919 I really hate studying! 236 00:10:19.919 --> 00:10:22.520 But the ending of this story is that 237 00:10:22.520 --> 00:10:26.960 This character ends up really liking studying 238 00:10:26.960 --> 00:10:29.280 So, the beginning is a protagonist who hates studying 239 00:10:29.280 --> 00:10:31.880 and the end is a protagonist who loves studying 240 00:10:31.880 --> 00:10:35.880 In between, something meaningful must happen to bring about that change 241 00:10:35.880 --> 00:10:37.840 You may not understand it fully yet 242 00:10:37.840 --> 00:10:39.760 But when planning your story 243 00:10:39.760 --> 00:10:41.679 You first need to 244 00:10:41.679 --> 00:10:43.520 look at your character's starting 245 00:10:43.520 --> 00:10:45.799 and ending points 246 00:10:45.799 --> 00:10:48.840 objectively 247 00:10:48.840 --> 00:10:51.230 I mentioned that there's something 248 00:10:51.230 --> 00:10:52.760 in between the beginning and end 249 00:10:52.760 --> 00:10:54.719 That something is change 250 00:10:54.719 --> 00:10:57.280 If you're unsure where to begin with your story 251 00:10:57.280 --> 00:11:00.159 I recommend asking yourself this question 252 00:11:00.159 --> 00:11:03.520 How does the protagonist change? 253 00:11:03.520 --> 00:11:05.039 What is the starting state of the protagonist 254 00:11:05.039 --> 00:11:08.200 and what is the ending state after going through the process of change? 255 00:11:08.200 --> 00:11:10.559 It may seem like I'm repeating something simple 256 00:11:10.559 --> 00:11:13.798 But this is actually what is referred 257 00:11:13.798 --> 00:11:15.719 to as the three-act structure in storytelling 258 00:11:15.719 --> 00:11:18.080 If you're interested in storytelling 259 00:11:18.080 --> 00:11:19.479 You've probably heard of the three-act structure 260 00:11:19.479 --> 00:11:21.840 at least once 261 00:11:21.840 --> 00:11:22.760 When people talk about it 262 00:11:22.760 --> 00:11:25.640 some might think, 'Oh, that person must have learned something,' 263 00:11:25.640 --> 00:11:28.839 or 'That's something really impressive' 264 00:11:28.839 --> 00:11:32.359 But in reality, it's very simple 265 00:11:32.359 --> 00:11:35.679 That's what I just mentioned 266 00:11:35.679 --> 00:11:37.719 To explain it a bit more specifically 267 00:11:37.719 --> 00:11:39.559 What are insects made of? 268 00:11:39.559 --> 00:11:41.799 We learned this in elementary school 269 00:11:41.799 --> 00:11:44.280 They're made up of the head, thorax, and abdomen 270 00:11:44.280 --> 00:11:45.760 And plants? 271 00:11:45.760 --> 00:11:48.840 They're made up of the root, stem, and leaves 272 00:11:48.840 --> 00:11:51.880 When we hear this, we might want to argue 273 00:11:51.880 --> 00:11:52.980 Aren't there insects 274 00:11:52.980 --> 00:11:54.679 that don't have a head, thorax, and abdomen? 275 00:11:54.679 --> 00:11:56.239 What about spiders? 276 00:11:56.239 --> 00:11:57.840 Or what about flowers in plants? 277 00:11:57.840 --> 00:11:59.599 We want to say like this 278 00:11:59.599 --> 00:12:03.268 But even if those are exceptions, we generally say 279 00:12:03.268 --> 00:12:04.880 insects are made of the head, thorax, and abdomen 280 00:12:04.880 --> 00:12:07.200 and plants are made of the root, stem, and leaves 281 00:12:07.200 --> 00:12:09.000 So, a story 282 00:12:09.000 --> 00:12:12.679 is made up of a beginning, middle, and end 283 00:12:12.679 --> 00:12:14.080 What does the beginning mean? 284 00:12:14.080 --> 00:12:15.719 It's when there's nothing before it 285 00:12:15.719 --> 00:12:18.320 and something happens after it 286 00:12:18.320 --> 00:12:20.320 The middle has something before 287 00:12:20.320 --> 00:12:21.880 and something after 288 00:12:21.880 --> 00:12:23.520 And the end? 289 00:12:23.520 --> 00:12:24.559 There's something before 290 00:12:24.559 --> 00:12:26.960 but nothing after 291 00:12:26.960 --> 00:12:31.320 It might sound like a boring word game 292 00:12:31.320 --> 00:12:33.719 but Aristotle said this 293 00:12:33.719 --> 00:12:37.919 and it's exactly stated in Chapter 7 of Poetics 294 00:12:37.919 --> 00:12:40.760 He's talking about the three-act structure 295 00:12:40.760 --> 00:12:44.510 Poetics is often considered 296 00:12:44.510 --> 00:12:46.719 the foundation of storytelling 297 00:12:46.719 --> 00:12:49.679 It was written about 2,000 years ago 298 00:12:49.679 --> 00:12:53.599 and because the title is Poetics, you might expect it 299 00:12:53.599 --> 00:12:55.090 to be about poetry 300 00:12:55.090 --> 00:12:57.359 The original Greek title 301 00:12:57.359 --> 00:13:00.520 roughly translates to 'The Art of Writing Poetry' 302 00:13:00.520 --> 00:13:02.479 But after multiple translations 303 00:13:02.479 --> 00:13:04.119 the Greek became English 304 00:13:04.119 --> 00:13:06.039 and then it became Poetics in English 305 00:13:06.039 --> 00:13:09.159 and 'Si-hak' in Korean 306 00:13:09.159 --> 00:13:13.000 So, why does this book on writing poetry matter to us? 307 00:13:13.000 --> 00:13:15.119 In Aristotle's time, the "poetry" he referred to 308 00:13:15.119 --> 00:13:16.960 was actually epic poetry 309 00:13:16.960 --> 00:13:18.440 And epic poetry was often performed 310 00:13:18.440 --> 00:13:19.840 as a play 311 00:13:19.840 --> 00:13:21.960 So, this is essentially 312 00:13:21.960 --> 00:13:24.640 a method for creating a play 313 00:13:24.640 --> 00:13:27.159 In his book Poetics 314 00:13:27.159 --> 00:13:29.039 Aristotle explains that a story is made up of 315 00:13:29.039 --> 00:13:30.960 a beginning, middle, and end 316 00:13:30.960 --> 00:13:34.400 The whole story has a beginning, a middle, and an end 317 00:13:34.400 --> 00:13:36.679 The end, the conclusion 318 00:13:36.679 --> 00:13:39.559 Over time 319 00:13:39.559 --> 00:13:42.520 many scholars and researchers 320 00:13:42.520 --> 00:13:44.320 have added meaning to this simple idea 321 00:13:44.320 --> 00:13:47.200 This isn't to discuss 322 00:13:47.200 --> 00:13:48.640 why these scholars did that 323 00:13:48.640 --> 00:13:51.799 But rather, most of the profound teachings from ancient times 324 00:13:51.799 --> 00:13:53.840 have been given deeper meaning 325 00:13:53.840 --> 00:13:55.840 by later scholars 326 00:13:55.840 --> 00:13:58.919 For example, teachings from Confucius 327 00:13:58.919 --> 00:14:01.479 or famous philosophers 328 00:14:01.479 --> 00:14:04.119 are often expanded upon by later scholars 329 00:14:04.119 --> 00:14:07.919 who try to bring out the speaker's original intent 330 00:14:07.919 --> 00:14:11.039 Similarly, the three-act structure 331 00:14:11.039 --> 00:14:12.640 we know today 332 00:14:12.640 --> 00:14:15.000 is not necessarily what Aristotle originally said 333 00:14:15.000 --> 00:14:17.798 but what later scholars added 334 00:14:17.798 --> 00:14:19.400 It can be said like this 335 00:14:19.400 --> 00:14:22.239 For instance, there's a researcher named Syd Field 336 00:14:22.239 --> 00:14:25.239 whom we covered in another lesson 337 00:14:25.239 --> 00:14:29.599 He was a scholar focused on writing plays and screenplays 338 00:14:29.599 --> 00:14:31.799 In the three-act structure 339 00:14:31.799 --> 00:14:34.640 he defined specific roles 340 00:14:34.640 --> 00:14:38.479 for the beginning, middle, and end 341 00:14:38.479 --> 00:14:41.574 Aristotle said that a story is made up of 342 00:14:41.574 --> 00:14:43.559 a beginning, middle, and end 343 00:14:43.559 --> 00:14:47.559 But Syd Field suggested that the beginning should serve as the role of setting 344 00:14:47.559 --> 00:14:50.640 The middle should serve as the role of conflict 345 00:14:50.640 --> 00:14:53.840 and the end should serve as the role of resolution 346 00:14:53.840 --> 00:14:56.520 That's what he suggested 347 00:14:56.520 --> 00:14:58.039 Even if you hear this briefly 348 00:14:58.039 --> 00:15:01.200 What I mentioned earlier from Aristotle 349 00:15:01.200 --> 00:15:04.280 The beginning is when there's nothing before and something after 350 00:15:04.280 --> 00:15:05.640 and the middle is when there's something before and after 351 00:15:05.640 --> 00:15:07.569 It is more specific 352 00:15:07.569 --> 00:15:10.520 and helpful, don't you think? 353 00:15:10.520 --> 00:15:12.679 This part will be covered in more detail later 354 00:15:12.679 --> 00:15:15.520 But for now, let's return to the three-act structure 355 00:15:15.520 --> 00:15:19.080 The beginning and end states you defined earlier 356 00:15:19.080 --> 00:15:21.880 correspond to Act 1 and Act 3 357 00:15:21.880 --> 00:15:25.760 Let's say there's a story about someone who has never been in a relationship 358 00:15:25.760 --> 00:15:28.359 explores all kinds of relationships 359 00:15:28.359 --> 00:15:30.159 and ultimately realizes that 360 00:15:30.159 --> 00:15:34.159 what they needed wasn't romance 361 00:15:34.159 --> 00:15:36.520 Can you break this down into a three-act structure? 362 00:15:36.520 --> 00:15:38.599 I'll give you about 3 seconds 363 00:15:38.599 --> 00:15:40.955 So pause the video and reflect for a moment 364 00:15:43.440 --> 00:15:44.640 3 seconds have passed 365 00:15:44.640 --> 00:15:46.520 Now, which part is Act 1? 366 00:15:46.520 --> 00:15:48.599 Act 1 reveals 367 00:15:48.599 --> 00:15:50.200 the character's setting 368 00:15:50.200 --> 00:15:52.640 showing that they've never been in a relationship 369 00:15:52.640 --> 00:15:55.960 Act 2 would cover their journey through all kinds of relationships 370 00:15:55.960 --> 00:15:57.960 exploring different types of romance 371 00:15:57.960 --> 00:16:01.000 Finally, in Act 3 372 00:16:01.000 --> 00:16:03.880 the character realizes that romance isn't what they actually needed 373 00:16:03.880 --> 00:16:05.599 All of this fits within those three acts 374 00:16:05.599 --> 00:16:08.039 Act 1 is when they've never been in a relationship 375 00:16:08.039 --> 00:16:10.000 Act 2 is when they explore various relationships 376 00:16:10.000 --> 00:16:12.000 and Act 3 is when they realize that 377 00:16:12.000 --> 00:16:13.599 romance wasn't the answer 378 00:16:13.599 --> 00:16:17.320 Does the concept of Acts 1, 2, and 3 feel clearer now? 379 00:16:17.320 --> 00:16:21.159 You might be thinking 380 00:16:21.159 --> 00:16:24.039 This is useful for short stories 381 00:16:24.039 --> 00:16:28.080 But what about the webtoon I'm writing, which will be 200 or 300 episodes long? 382 00:16:28.080 --> 00:16:30.760 How can something like that be summarized in just one line? 383 00:16:30.760 --> 00:16:31.719 I'm assuring that 384 00:16:31.719 --> 00:16:34.368 even if it's not a 100-episode webtoon but a 1,000-episode one 385 00:16:34.368 --> 00:16:36.400 It can still be summarized like that 386 00:16:36.400 --> 00:16:38.679 And even the story I mentioned earlier 387 00:16:38.679 --> 00:16:40.159 where a character who has never been in a relationship 388 00:16:40.159 --> 00:16:43.119 explores all kinds of romance 389 00:16:43.119 --> 00:16:45.579 and ultimately realizes that 390 00:16:45.579 --> 00:16:47.479 romance isn't what they need 391 00:16:47.479 --> 00:16:50.520 can easily be extended to over 100 episodes 392 00:16:50.520 --> 00:16:52.799 Why is that? 393 00:16:52.799 --> 00:16:56.119 What will take up most of episode 100? 394 00:16:56.119 --> 00:16:58.239 If you think beyond just the concept of 395 00:16:58.239 --> 00:16:59.719 Acts 1, 2, and 3 396 00:16:59.719 --> 00:17:02.159 You might realize that 397 00:17:02.159 --> 00:17:05.000 most of the story will focus on the protagonist 398 00:17:05.000 --> 00:17:08.319 exploring all kinds of relationships 399 00:17:08.319 --> 00:17:11.920 There will be a lot of story material within that 400 00:17:11.920 --> 00:17:13.079 In comparison 401 00:17:13.079 --> 00:17:16.959 Act 1 and Act 3 might not take up much space at all 402 00:17:16.959 --> 00:17:18.119 But don't be mistaken 403 00:17:18.119 --> 00:17:20.680 What I'm referring to here in terms of "space" isn't the importance of those parts 404 00:17:20.680 --> 00:17:22.280 but the length of the story 405 00:17:22.280 --> 00:17:24.119 The length of Act 1 and Act 3 might not be much 406 00:17:24.119 --> 00:17:26.959 but in terms of storytelling value, they are extremely important 407 00:17:26.959 --> 00:17:30.760 Since we're in the stage of starting the story 408 00:17:30.760 --> 00:17:33.599 won't explain Act 2 just yet 409 00:17:33.599 --> 00:17:36.599 which will be filled with all sorts of interesting plot points 410 00:17:36.599 --> 00:17:38.959 That's something we'll cover again later 411 00:17:38.959 --> 00:17:40.160 So, for now 412 00:17:40.160 --> 00:17:43.280 Let's focus on Acts 1 and 3 413 00:17:43.280 --> 00:17:46.119 If you're thinking 414 00:17:46.119 --> 00:17:47.959 How can you summarize such a long story 415 00:17:47.959 --> 00:17:49.920 in such a short space? 416 00:17:49.920 --> 00:17:52.680 I have a training method I'd recommend 417 00:17:52.680 --> 00:17:55.439 Since you're likely very interested in webtoons 418 00:17:55.439 --> 00:17:57.160 you're listening this lecture 419 00:17:57.160 --> 00:18:00.319 So, you've probably seen many long webtoons by now 420 00:18:00.319 --> 00:18:02.199 A great exercise would be summarizing 421 00:18:02.199 --> 00:18:05.119 those long webtoons into the three-act structure on your own 422 00:18:05.119 --> 00:18:08.119 What's important here is that I'm talking about completed webtoons 423 00:18:08.119 --> 00:18:11.199 If the webtoon is still ongoing, Act 3 hasn't happened yet 424 00:18:11.199 --> 00:18:14.040 So it might not be suitable for this kind of summary training 425 00:18:14.040 --> 00:18:18.520 But if the webtoon is complete 426 00:18:18.520 --> 00:18:19.959 You can analyze it 427 00:18:19.959 --> 00:18:21.959 by looking at the protagonist's starting state 428 00:18:21.959 --> 00:18:24.839 ending state, and the changes that took place 429 00:18:24.839 --> 00:18:27.839 Of course, there might be stories you can't analyze 430 00:18:27.839 --> 00:18:29.400 But as I said earlier 431 00:18:29.400 --> 00:18:31.760 There can be exceptions in insects 432 00:18:31.760 --> 00:18:34.199 and plants 433 00:18:34.199 --> 00:18:37.548 However, if the story has a well-established three-act structure 434 00:18:37.548 --> 00:18:40.987 Huh, it's actually a much simpler structure than I thought 435 00:18:40.987 --> 00:18:42.839 You'll likely think like this 436 00:18:42.839 --> 00:18:46.359 Even if the adventure in the middle is spectacular and amazing 437 00:18:46.359 --> 00:18:48.560 If you simplify the story 438 00:18:48.560 --> 00:18:50.839 It could be the tale of a coward who becomes a hero 439 00:18:50.839 --> 00:18:52.400 Act 1: the protagonist is a coward 440 00:18:52.400 --> 00:18:54.079 Act 3: the protagonist becomes a hero 441 00:18:54.079 --> 00:18:55.319 What has changed? 442 00:18:55.319 --> 00:18:59.400 The protagonist gains courage, regains self-esteem 443 00:18:59.400 --> 00:19:01.560 and becomes someone who empowers others 444 00:19:01.560 --> 00:19:04.359 Through this transformation 445 00:19:04.359 --> 00:19:06.079 They become a different person 446 00:19:06.079 --> 00:19:09.319 It could be a story about someone who lacked confidence and regained it 447 00:19:09.319 --> 00:19:12.640 Someone who didn't believe in love but ended up living for it 448 00:19:12.640 --> 00:19:16.479 or even a story where childhood friends became romantic partners 449 00:19:16.479 --> 00:19:19.359 These stories can be summarized very simply 450 00:19:19.359 --> 00:19:22.119 By practicing this exercise with other works 451 00:19:22.119 --> 00:19:24.880 The structure of your own story will become much clearer 452 00:19:24.880 --> 00:19:26.959 In Act 1, I can show the protagonist's initial state 453 00:19:26.959 --> 00:19:29.000 like this 454 00:19:29.000 --> 00:19:33.049 In a story where the protagonist is set up as a coward 455 00:19:33.049 --> 00:19:35.809 you'll see how the character's fear is portrayed 456 00:19:35.809 --> 00:19:37.719 Then you'll think 457 00:19:37.719 --> 00:19:40.359 I can insert an event like this into my own story 458 00:19:40.359 --> 00:19:42.520 And for the final episode 459 00:19:42.520 --> 00:19:45.239 you'll understand how to wrap up 460 00:19:45.239 --> 00:19:47.520 with an impactful scene 461 00:19:47.520 --> 00:19:50.359 This is a completely different concept from plagiarism 462 00:19:50.359 --> 00:19:53.000 The more work you engage with 463 00:19:53.000 --> 00:19:55.839 the more your own creativity will rise 464 00:19:55.839 --> 00:19:59.520 So, I hope you're not afraid of analyzing 465 00:19:59.520 --> 00:20:01.680 other people's works 466 00:20:01.680 --> 00:20:03.359 Additionally, one misconception 467 00:20:03.359 --> 00:20:05.920 many readers have is that 468 00:20:05.920 --> 00:20:09.280 writers create stories sequentially 469 00:20:09.280 --> 00:20:12.800 When I was a reader, I thought the same way 470 00:20:12.800 --> 00:20:16.560 For example, you might think a writer writes episode 1, then episode 2 471 00:20:16.560 --> 00:20:19.965 then episode 3 472 00:20:19.965 --> 00:20:23.359 and the ending is carefully crafted at the very end 473 00:20:23.359 --> 00:20:25.640 So, for instance, if the story is completed at episode 50 474 00:20:25.640 --> 00:20:28.119 the writer writes episode 49 and then worries about episode 50 475 00:20:28.119 --> 00:20:30.680 People mostly think like this 476 00:20:30.680 --> 00:20:32.640 This seems natural 477 00:20:32.640 --> 00:20:35.119 because readers read the story in that order 478 00:20:35.119 --> 00:20:39.119 Especially with webtoons nowadays, since they are serialized 479 00:20:39.119 --> 00:20:41.400 and released week by week 480 00:20:41.400 --> 00:20:43.599 It makes sense to think the writer works this way 481 00:20:43.599 --> 00:20:45.828 But I can say with certainty that for a writer 482 00:20:45.828 --> 00:20:48.040 It's very difficult to write the story this way 483 00:20:48.040 --> 00:20:49.599 Remember when I compared this 484 00:20:49.599 --> 00:20:52.719 to a journey at the beginning of this class? 485 00:20:52.719 --> 00:20:56.467 There can be trips 486 00:20:56.467 --> 00:21:00.040 where you set out without knowing the destination 487 00:21:00.040 --> 00:21:02.920 but for most journeys, there is some sort of goal 488 00:21:02.920 --> 00:21:06.359 For example, you might know you'll return home in ten days 489 00:21:06.359 --> 00:21:09.000 or head to Busan 490 00:21:09.000 --> 00:21:12.800 If you're writing episode 1 and then wondering about episode 2 491 00:21:12.800 --> 00:21:15.959 It's like setting out on a journey with a backpack but thinking 492 00:21:15.959 --> 00:21:17.640 I don't know where I'm going 493 00:21:17.640 --> 00:21:19.599 That kind of journey 494 00:21:19.599 --> 00:21:21.599 can be enjoyable 495 00:21:21.599 --> 00:21:24.640 But it can't be called a systematic journey 496 00:21:24.640 --> 00:21:26.439 At least there should be a purpose 497 00:21:26.439 --> 00:21:30.479 I want to finish this trip 498 00:21:30.479 --> 00:21:32.640 without spending any money 499 00:21:32.640 --> 00:21:35.280 and return home 500 00:21:35.280 --> 00:21:37.199 I want to visit Haeundae in Busan 501 00:21:37.199 --> 00:21:39.280 and dip my feet in the water 502 00:21:39.280 --> 00:21:40.880 I don't mind where I go 503 00:21:40.880 --> 00:21:43.000 but I want to make sure I travel for a week 504 00:21:43.000 --> 00:21:45.719 The clearer the purpose is 505 00:21:45.719 --> 00:21:47.653 The easier it will be to continue the journey 506 00:21:47.965 --> 00:21:51.549 How to Start a Story 507 00:21:51.959 --> 00:21:53.719 Who? Me 508 00:21:53.719 --> 00:21:55.319 When writing a story, what's important is that 509 00:21:55.319 --> 00:21:56.959 the writer feels comfortable 510 00:21:56.959 --> 00:21:58.479 If the writer is comfortable, continuing the journey 511 00:21:58.479 --> 00:22:01.319 and finishing it well becomes easier 512 00:22:01.319 --> 00:22:05.439 I've mentioned that the basic structure of a story consists of a beginning and an end 513 00:22:05.439 --> 00:22:08.800 and that there should be changes in between 514 00:22:08.800 --> 00:22:10.199 However, a common question arises 515 00:22:10.199 --> 00:22:12.800 Does the protagonist really have to change? 516 00:22:12.800 --> 00:22:14.520 This kind of questions are asked 517 00:22:14.520 --> 00:22:16.920 This is a great question 518 00:22:16.920 --> 00:22:20.520 When I hear it, I'm happy to explain it thoroughly 519 00:22:20.520 --> 00:22:23.000 This question comes up 520 00:22:23.000 --> 00:22:25.199 because it's hard for people to change 521 00:22:25.199 --> 00:22:27.520 So why talk about it so easily? 522 00:22:27.520 --> 00:22:28.280 I understand 523 00:22:28.280 --> 00:22:32.199 Honestly, I can't even recall 524 00:22:32.199 --> 00:22:34.086 a major change in my life right now 525 00:22:34.086 --> 00:22:35.800 if you asked me to 526 00:22:35.800 --> 00:22:38.959 But this is where things get a bit mixed up 527 00:22:38.959 --> 00:22:42.119 Yes, it's indeed hard for people to undergo change 528 00:22:42.119 --> 00:22:46.280 But that's exactly why the change 529 00:22:46.280 --> 00:22:49.479 is valuable in your story 530 00:22:49.479 --> 00:22:52.239 In reality, we live without much change 531 00:22:52.239 --> 00:22:54.359 from yesterday to today or today to tomorrow 532 00:22:54.359 --> 00:22:57.760 However, if you reflect this reality directly in the story 533 00:22:57.760 --> 00:23:00.680 where the protagonist also lives 534 00:23:00.680 --> 00:23:02.160 without any change 535 00:23:02.160 --> 00:23:04.000 I'm the same today, the same tomorrow 536 00:23:04.000 --> 00:23:05.800 I'm a coward today, and I'll be a coward tomorrow 537 00:23:05.800 --> 00:23:07.766 and the story will end with me still being a coward 538 00:23:07.766 --> 00:23:10.880 There's no reason for the readers to pay attention 539 00:23:10.880 --> 00:23:13.880 This is because it mirrors our everyday life 540 00:23:13.880 --> 00:23:16.400 It might sound a bit lonely 541 00:23:16.400 --> 00:23:19.500 But I believe that, as humans, we fundamentally 542 00:23:19.500 --> 00:23:20.839 yearn for change 543 00:23:20.839 --> 00:23:23.160 'Someday, something good will happen' 544 00:23:23.160 --> 00:23:25.040 'Someday, something interesting will happen' 545 00:23:25.040 --> 00:23:28.040 'There will be change in my life,' that's what we believe 546 00:23:28.040 --> 00:23:29.560 And sometimes, those changes do occur 547 00:23:29.560 --> 00:23:34.599 When they do, we experience a huge emotional transformation 548 00:23:34.599 --> 00:23:37.800 We watch stories to witness those changes 549 00:23:37.800 --> 00:23:40.839 We watch comics, webtoons, dramas, and movies 550 00:23:40.839 --> 00:23:43.189 not to see our everyday lives 551 00:23:43.189 --> 00:23:44.599 but to experience something more 552 00:23:44.599 --> 00:23:46.560 The same goes for webtoons 553 00:23:46.560 --> 00:23:49.599 If you've thought of a story 554 00:23:49.599 --> 00:23:51.760 written the beginning and the ending 555 00:23:51.760 --> 00:23:53.280 and there's no difference between them 556 00:23:53.280 --> 00:23:55.160 Like, the beginning is "I am lazy," 557 00:23:55.160 --> 00:23:57.319 and the end is "I am lazy" 558 00:23:57.319 --> 00:23:58.752 Then you might need to 559 00:23:58.752 --> 00:24:01.920 reconsider the story 560 00:24:01.920 --> 00:24:04.439 I'll explain this in two parts 561 00:24:04.439 --> 00:24:07.257 First, if there is truly no change 562 00:24:07.257 --> 00:24:08.920 in the protagonist 563 00:24:08.920 --> 00:24:11.760 Then, as I mentioned earlier 564 00:24:11.760 --> 00:24:14.520 the story might lack value 565 00:24:14.520 --> 00:24:17.839 But here's a more hopeful thought 566 00:24:17.839 --> 00:24:20.961 It's more likely that you just 567 00:24:20.961 --> 00:24:23.719 didn't notice the change 568 00:24:23.719 --> 00:24:27.319 How could I, as the writer, not notice the change? 569 00:24:27.319 --> 00:24:28.479 Well, it's possible 570 00:24:28.479 --> 00:24:31.839 Writers often don't fully realize the changes in their own stories 571 00:24:31.839 --> 00:24:33.800 Let me give you an example to explain 572 00:24:33.800 --> 00:24:36.640 Let's say the protagonist 573 00:24:36.640 --> 00:24:40.640 starts with no romantic partner 574 00:24:40.640 --> 00:24:41.760 Okay? 575 00:24:41.760 --> 00:24:44.560 In the end 576 00:24:44.560 --> 00:24:46.119 They're still single 577 00:24:46.119 --> 00:24:47.920 Don't have a romantic partner 578 00:24:47.920 --> 00:24:50.160 Does that mean the story has no value? 579 00:24:50.160 --> 00:24:53.319 Actually, we have to look closer 580 00:24:53.319 --> 00:24:55.599 The middle of the story might involve 581 00:24:55.599 --> 00:24:58.849 the protagonist having a relationship, breaking up 582 00:24:58.849 --> 00:25:01.359 and then ending up single again 583 00:25:01.359 --> 00:25:03.171 In this case, the protagonist who starts as single 584 00:25:03.171 --> 00:25:06.280 is same single at the end? 585 00:25:06.280 --> 00:25:10.359 It may feel a bit awkward because the "single" situation is repeated 586 00:25:10.359 --> 00:25:14.000 But the "single" at the beginning, when the protagonist hasn't experienced a relationship 587 00:25:14.000 --> 00:25:16.900 is not the same as the "single" at the end 588 00:25:16.900 --> 00:25:19.319 after they've experienced a relationship and a breakup 589 00:25:19.319 --> 00:25:24.319 Even though both single me at the start 590 00:25:24.319 --> 00:25:26.239 I mean, the protagonist 591 00:25:26.239 --> 00:25:30.400 And the single me at the end 592 00:25:30.400 --> 00:25:32.439 would likely say different things 593 00:25:32.439 --> 00:25:34.920 and make different choices 594 00:25:34.920 --> 00:25:37.280 For example, at the beginning 595 00:25:37.280 --> 00:25:41.199 If someone confesses their feelings to me, I would think 596 00:25:41.199 --> 00:25:43.680 You like me? Of course, let's start dating 597 00:25:43.680 --> 00:25:46.280 But by the end of the story 598 00:25:46.280 --> 00:25:48.319 I would probably pause and reflect on my own feelings 599 00:25:48.319 --> 00:25:51.760 before making a decision 600 00:25:51.760 --> 00:25:55.319 The protagonist hasn't changed regarding being single 601 00:25:55.319 --> 00:25:57.839 But it has transformed significantly 602 00:25:57.839 --> 00:26:01.640 They have gone through a meaningful change 603 00:26:01.640 --> 00:26:05.160 The process of that change, with its ups and downs, takes place in Act 2 604 00:26:05.160 --> 00:26:08.199 This part of the story is a crucial part of the narrative 605 00:26:08.199 --> 00:26:11.160 How well it's depicted 606 00:26:11.160 --> 00:26:14.319 will determine how convincing the protagonist's transformation 607 00:26:14.319 --> 00:26:16.640 in Act 3 will be 608 00:26:16.640 --> 00:26:19.040 There's a person named Christopher Vogler 609 00:26:19.040 --> 00:26:20.800 who is well-known for writing his screenplays 610 00:26:20.800 --> 00:26:23.119 and more famous for 611 00:26:23.119 --> 00:26:25.880 advising or editing 612 00:26:25.880 --> 00:26:28.280 others' scripts 613 00:26:28.280 --> 00:26:30.839 He became famous for his work 614 00:26:30.839 --> 00:26:34.199 on the "12 Stages of the Hero's Journey" 615 00:26:34.199 --> 00:26:36.920 While working in Hollywood 616 00:26:36.920 --> 00:26:41.239 Vogler attended a lecture by a mythologist named Joseph Campbell 617 00:26:41.239 --> 00:26:43.959 As I mentioned earlier, Campbell 618 00:26:43.959 --> 00:26:45.959 is known for studying myths 619 00:26:45.959 --> 00:26:49.000 He discovered that many myths from around the world 620 00:26:49.000 --> 00:26:52.000 shared common elements 621 00:26:52.000 --> 00:26:54.079 So, whether Greek, Roman 622 00:26:54.079 --> 00:26:56.599 Korean, or Filipino 623 00:26:56.599 --> 00:27:00.280 they have a common element 624 00:27:00.280 --> 00:27:02.560 Based on this, Campbell developed his theories 625 00:27:02.560 --> 00:27:04.959 Christopher Vogler realized that 626 00:27:04.959 --> 00:27:07.800 the concept could also be applied to 627 00:27:07.800 --> 00:27:09.439 Hollywood screenplays 628 00:27:09.439 --> 00:27:11.880 He thought like that, so he developed 629 00:27:11.880 --> 00:27:14.040 Joseph Campbell's theories 630 00:27:14.040 --> 00:27:17.000 which eventually became the famous "12 Stages of the Hero's Journey" 631 00:27:17.000 --> 00:27:19.479 I won't explain the entire of that here 632 00:27:19.479 --> 00:27:21.920 But according to "12 Stages of the Hero's Journey" 633 00:27:21.920 --> 00:27:25.280 the protagonist enters a new world in Act 1 634 00:27:25.280 --> 00:27:28.560 and by the end of Act 3, they return with the "elixir," 635 00:27:28.560 --> 00:27:32.340 This is a direct translation 636 00:27:32.340 --> 00:27:35.119 It is written "elixir" 637 00:27:35.119 --> 00:27:37.920 which means they return with a reward or some form of accomplishment 638 00:27:37.920 --> 00:27:40.479 Here's something important to note 639 00:27:40.479 --> 00:27:43.839 While in Act 1, the protagonist enters a new world 640 00:27:43.839 --> 00:27:46.319 and faces many adventures 641 00:27:46.319 --> 00:27:48.400 By the end 642 00:27:48.400 --> 00:27:50.439 They don't necessarily become the ruler of the new world 643 00:27:50.439 --> 00:27:54.520 or live in wealth and luxury 644 00:27:54.520 --> 00:27:57.599 Instead, the protagonist returns to the place they came from 645 00:27:57.599 --> 00:28:01.040 This return is the final part of the Hero's Journey 646 00:28:01.040 --> 00:28:04.800 It might sound a bit empty 647 00:28:04.800 --> 00:28:07.640 But when we look at actual works 648 00:28:07.640 --> 00:28:09.560 We realize it doesn't mean 649 00:28:09.560 --> 00:28:12.479 the protagonist's adventures were for nothing 650 00:28:12.479 --> 00:28:15.474 For example, let's say at the beginning 651 00:28:15.474 --> 00:28:17.417 the protagonist is a humble shepherd 652 00:28:17.417 --> 00:28:19.920 He lives an ordinary life 653 00:28:19.920 --> 00:28:21.959 with their sheep 654 00:28:21.959 --> 00:28:24.040 Then, a messenger arrives 655 00:28:24.040 --> 00:28:26.880 and tells him he is the chosen hero 656 00:28:26.880 --> 00:28:29.680 The messenger gives him a sword and tells him to embark on an adventure 657 00:28:29.680 --> 00:28:31.760 How can I do something like that? 658 00:28:31.760 --> 00:28:34.719 But he goes on to become a hero, face countless challenges 659 00:28:34.719 --> 00:28:36.599 Defeat powerful enemies 660 00:28:36.599 --> 00:28:40.040 and resist all temptations 661 00:28:40.040 --> 00:28:41.560 This would be Act 2 662 00:28:41.560 --> 00:28:44.880 In the end, he returns to being a shepherd 663 00:28:44.880 --> 00:28:46.800 Because he said he'll return 664 00:28:46.800 --> 00:28:50.959 If we continue this story structure 665 00:28:50.959 --> 00:28:53.599 Act 3 would show 666 00:28:53.599 --> 00:28:55.239 the protagonist who became a shepherd again 667 00:28:55.239 --> 00:28:57.640 lying in a field of grass, smiling alone 668 00:28:57.640 --> 00:28:59.239 and the story would end there 669 00:28:59.239 --> 00:29:01.439 So, what is Act 1? The humble shepherd 670 00:29:01.439 --> 00:29:04.239 What is Act 3? The same shepherd 671 00:29:04.239 --> 00:29:06.319 Yes, the shepherd is the same 672 00:29:06.319 --> 00:29:09.719 But is this just any shepherd? 673 00:29:09.719 --> 00:29:13.000 This shepherd has endured incredible adventures as a hero 674 00:29:13.000 --> 00:29:15.880 defeated powerful foes 675 00:29:15.880 --> 00:29:19.000 and resisted all temptations 676 00:29:19.000 --> 00:29:21.839 This ending holds its emotional weight 677 00:29:21.839 --> 00:29:23.119 This character could have been a king 678 00:29:23.119 --> 00:29:25.160 could have lived a life of luxury 679 00:29:25.160 --> 00:29:27.880 and could have had many other choices 680 00:29:27.880 --> 00:29:30.920 But they rejected them all and ended up here, smiling 681 00:29:30.920 --> 00:29:32.199 We know it 682 00:29:32.199 --> 00:29:34.040 While other characters in the story might wonder 683 00:29:34.040 --> 00:29:36.000 What has this person been doing for the past year? 684 00:29:36.000 --> 00:29:38.560 I don't know, he just disappeared and is back herding sheep 685 00:29:38.560 --> 00:29:40.400 Whatever 686 00:29:40.400 --> 00:29:42.479 We, the readers, know 687 00:29:42.479 --> 00:29:43.959 We know he is the hero 688 00:29:43.959 --> 00:29:48.400 the shepherd who saved the world 689 00:29:48.400 --> 00:29:50.400 That's a huge transformation 690 00:29:50.400 --> 00:29:52.560 I often hear one common question 691 00:29:52.560 --> 00:29:56.307 I think it's too forced for the protagonist to change 692 00:29:56.307 --> 00:29:58.400 How can a coward become a hero? 693 00:29:58.400 --> 00:30:00.560 Can't others change? 694 00:30:00.560 --> 00:30:03.359 But in a story, it's not just the protagonist who changes 695 00:30:03.359 --> 00:30:05.839 In long-form comics 696 00:30:05.839 --> 00:30:07.479 as you well know 697 00:30:07.479 --> 00:30:09.179 many characters besides the protagonist 698 00:30:09.179 --> 00:30:10.880 play significant roles 699 00:30:10.880 --> 00:30:13.239 These characters can be divided into main and supporting roles 700 00:30:13.239 --> 00:30:16.119 and many undergo changes 701 00:30:16.119 --> 00:30:20.479 For example, the antagonist 702 00:30:20.479 --> 00:30:23.079 might be moved by the protagonist's bravery 703 00:30:23.079 --> 00:30:25.449 and save his life 704 00:30:25.449 --> 00:30:27.680 Saying, "I'm your ally now," 705 00:30:27.680 --> 00:30:29.760 or "I won't interfere with what you're doing anymore" 706 00:30:29.760 --> 00:30:31.520 This can happen 707 00:30:31.520 --> 00:30:37.680 Or perhaps a character who was the protagonist's biggest ally 708 00:30:37.680 --> 00:30:41.160 might suddenly become an antagonist, saying, "I'm sorry, but I can't betray my father," 709 00:30:41.160 --> 00:30:42.959 and switching sides 710 00:30:42.959 --> 00:30:45.160 Countless changes can happen to characters 711 00:30:45.160 --> 00:30:47.920 and some of these changes could form 712 00:30:47.920 --> 00:30:50.839 their three-act structure centered around that character 713 00:30:50.839 --> 00:30:55.040 If we expand on the character I just mentioned 714 00:30:55.040 --> 00:30:58.560 At the beginning, the son of the Demon King 715 00:30:58.560 --> 00:31:02.760 holds a deep grudge against his father 716 00:31:02.760 --> 00:31:05.920 who is the Demon King and decides to live a life of justice 717 00:31:05.920 --> 00:31:07.560 That could be the starting point 718 00:31:07.560 --> 00:31:13.199 In the middle, he becomes a companion of the hero and pursues the path of justice 719 00:31:13.199 --> 00:31:14.119 I can't do this 720 00:31:14.119 --> 00:31:16.599 I can't betray my father 721 00:31:16.599 --> 00:31:19.239 He thinks like that and changes his heart 722 00:31:19.239 --> 00:31:22.400 But at the end, he could think 723 00:31:22.400 --> 00:31:23.812 But at this last moment 724 00:31:23.812 --> 00:31:26.079 I want to do the right thing 725 00:31:26.079 --> 00:31:29.079 He stops his father's sword 726 00:31:29.079 --> 00:31:31.160 from striking his friend, the hero 727 00:31:31.160 --> 00:31:33.160 and as he bleeds, he says 728 00:31:33.160 --> 00:31:34.920 I was a good guy, right? 729 00:31:34.920 --> 00:31:37.560 Don't say that and hold on 730 00:31:37.560 --> 00:31:39.139 I was really happy when I was with you 731 00:31:39.139 --> 00:31:40.640 before dying 732 00:31:40.640 --> 00:31:42.479 In this case, he's not the protagonist 733 00:31:42.479 --> 00:31:44.719 but has his own three-act structure 734 00:31:44.719 --> 00:31:45.959 Do you understand? 735 00:31:45.959 --> 00:31:48.680 However, it's important to note that 736 00:31:48.680 --> 00:31:51.080 he should not become 737 00:31:51.080 --> 00:31:53.719 the story's center 738 00:31:53.719 --> 00:31:55.880 For example, let's say 739 00:31:55.880 --> 00:31:59.719 the Demon King's son, who we'll call Cheolsu 740 00:31:59.719 --> 00:32:02.160 Isn't this name fine? 741 00:32:02.160 --> 00:32:04.760 Cheolsu goes through an even greater change than the protagonist 742 00:32:04.760 --> 00:32:07.040 He initially chooses justice 743 00:32:07.040 --> 00:32:08.520 but struggles with the decision 744 00:32:08.520 --> 00:32:10.400 and chooses justice 745 00:32:10.400 --> 00:32:12.160 It's a powerful change 746 00:32:12.160 --> 00:32:15.520 All the readers focus on his choice 747 00:32:15.520 --> 00:32:17.820 and the entire story shifts based on his betrayal 748 00:32:17.820 --> 00:32:20.479 If that happens 749 00:32:20.479 --> 00:32:23.160 Then, honestly 750 00:32:23.160 --> 00:32:25.824 The writer might not realize it, but, likely 751 00:32:25.824 --> 00:32:28.880 Cheolsu has already become the story's true protagonist 752 00:32:28.880 --> 00:32:33.040 Now, we've talked about how to start a story 753 00:32:33.040 --> 00:32:34.890 One of the biggest obstacles 754 00:32:34.890 --> 00:32:37.479 writers face when they begin a story 755 00:32:37.479 --> 00:32:42.280 is the tendency to want to write it sequentially, step by step 756 00:32:42.280 --> 00:32:46.599 This might be because when we study something else 757 00:32:46.599 --> 00:32:48.400 Finishing the first semester of the first year 758 00:32:48.400 --> 00:32:49.920 Then the second semester 759 00:32:49.920 --> 00:32:51.560 We studied like this 760 00:32:51.560 --> 00:32:54.110 So, you might think that stories should also 761 00:32:54.110 --> 00:32:56.079 be written sequentially like that 762 00:32:56.079 --> 00:32:58.800 However, this approach is like 763 00:32:58.800 --> 00:33:01.800 trying to build a 10-story building 764 00:33:01.800 --> 00:33:02.880 on an empty lot 765 00:33:02.880 --> 00:33:05.640 It's like trying to build a 10-story building 766 00:33:05.640 --> 00:33:08.599 by stacking one brick at a time 767 00:33:08.599 --> 00:33:11.040 Do you think it will reach 10 stories? 768 00:33:11.040 --> 00:33:12.719 I don't think so 769 00:33:12.719 --> 00:33:15.839 When actually building a large structure like a 10-story building 770 00:33:15.839 --> 00:33:19.079 Though I'm no expert in architecture 771 00:33:19.079 --> 00:33:21.040 Even I, a layperson think that 772 00:33:21.040 --> 00:33:23.040 you'd first need a plan 773 00:33:23.040 --> 00:33:25.640 You would need to lay the foundation according to the plan 774 00:33:25.640 --> 00:33:28.079 and then build the framework 775 00:33:28.079 --> 00:33:31.079 Only after that would you proceed 776 00:33:31.079 --> 00:33:33.439 to construct the building step by step 777 00:33:33.439 --> 00:33:35.040 For example, if you have an empty lot 778 00:33:35.040 --> 00:33:36.920 and start placing one brick 779 00:33:36.920 --> 00:33:40.439 after another without any plan 780 00:33:40.449 --> 00:33:43.479 You won't know what you're actually building 781 00:33:43.479 --> 00:33:46.479 The longer the journey, the more important it is 782 00:33:46.479 --> 00:33:48.359 to understand what you're doing 783 00:33:48.359 --> 00:33:50.520 and where the end of the path is 784 00:33:50.520 --> 00:33:51.719 In the next session 785 00:33:51.719 --> 00:33:53.920 We will cover the part we didn�셳 touch on today 786 00:33:53.920 --> 00:33:56.119 Earlier, I said we'll skip Act 2 787 00:33:56.119 --> 00:33:57.880 for now 788 00:33:57.880 --> 00:34:00.520 To fill Act 2 789 00:34:00.520 --> 00:34:02.520 We first need Act 1 and Act 3 790 00:34:02.520 --> 00:34:05.040 so this time, we focused on those 791 00:34:05.040 --> 00:34:07.920 In the next session, we'll discuss 792 00:34:07.920 --> 00:34:10.100 how to fill Act 2 and finish the story 793 00:34:10.100 --> 00:34:11.170 Thank you 794 00:34:12.306 --> 00:34:13.406 How to Plan a Story and the Three-Act Structure How to Plan a Story You need to define the protagonist's 'starting state' and 'ending state' 795 00:34:13.406 --> 00:34:14.562 The beginning and end of the story should be defined with intention The start and end should be structured in a way that best showcases the main theme of the story 796 00:34:14.562 --> 00:34:15.810 Three-Act Structure A story consists of a beginning, middle, and end To summarize a long story, it's helpful to practice summarizing long webtoons using the three-act structure 797 00:34:15.810 --> 00:34:16.910 For completed webtoons, you can analyze the protagonist's starting state, ending state, and the changes that occurred Practicing with other works will gradually clarify the structure of your own story 798 00:34:16.910 --> 00:34:17.732 At the very least, there should be a clear purpose from the start, and the clearer the purpose, the easier it becomes to continue the journey 799 00:34:17.732 --> 00:34:18.832 How to Start a Story Does the protagonist have to change? Change is valuable and significant, which is why it adds worth to the story Readers won�셳 be interested in stories with no change in the characters 800 00:34:18.832 --> 00:34:19.832 Changes in Characters Other Than the Protagonist In long stories, many characters besides the protagonist play significant roles, and many of them undergo changes 801 00:34:19.832 --> 00:34:20.882 Supporting characters can have their three-act structure, but they should not become the focus of the story 802 00:34:20.883 --> 00:34:21.932 How to Start a Story Start like building a structure: Design - Lay down the foundation - Build the framework - Construct 803 00:34:21.932 --> 00:34:22.732 As a writer, it's important to know 'what you are doing now and where the end of the path leads' rather than writing the story in 'a strict, sequential order'