WEBVTT

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WEBTOON Advanced
Stories, let's wrap it up like this

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GCC Academy

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Filling in the story in act 2

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Hello this is Hyerim Yang

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a cartoon story writer and

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a professor at Chungkang College of Cultural Industries

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teaching storytelling

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In the previous lecture

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we talked about how to start off a story

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If there is character and content

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what comes next is beginning and ending off the story

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and I said we should especially pay attention

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in how the protagonist changes from the beginning and at the end

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But a lot of you taking that lecture

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might have thought like this

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Yeah, I get that the protagonist must change

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But then what about the middle part?

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I think what comes in the middle is more important

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I think the middle is more fun

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Can we just skip that part?

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Today, we are going to talk about

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that act 2 that is between

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the fixed act 1 and act 3

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In the last lecture, I used the metaphor of a long trip for story making

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The start and the end are the important things for trips as well

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For example, if you prepared a lot for the trip

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and took off without forgetting about anything

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and got back safely

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that would be a good trip completed

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I used the expression 'good'

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but it's more like 'safely'

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Why do we travel?

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Do we travel to be safe?

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If you wanted to be safe

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you just wouldn't go on a trip in the first place

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We travel to have fun

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To enjoy

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The fun of traveling

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isn't in the departure or arrival, but in the process

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Stories as well, the fun part comes in act 2

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I usually use the cartoon One Piece as an example

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I think a lot of you

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would have read the cartoon One Piece

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In act 1, the protagonist Luffy

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claims that he'll become a pirate king

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Then what happens in act 3?

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The series isn't over

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No it's not

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It's not and I don't think it will easily but

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we know it already

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Luffy will become a pirate king or not

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If what I said feels to nonchalant

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it might be better for you to go back to the lecture stories-beginning

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Anyways, even though One Piece isn't over

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we know this

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Because beginning and end are bound to match

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Luffy said he'll become a pirate king in act 1

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so there's only yes or no

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But if I told someone

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'One Piece is a cartoon where Luffy becomes a pirate king or not'

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would sound very dispassionate

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and not fun either

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But the cartoon One Piece

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is loved world wide

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since the beginning of its publication

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Why would that be?

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Was the beginning so cool?

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It is

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I will become a pirate king

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But would that be the only reason?

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Or is it like 'I must find out if he becomes one or not'

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If that's so they could just wait until the ending is released

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The reason why people read it now

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is because the process is fun

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When we read One Piece

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Does he become a pirate king in this episode?

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Maybe in the next one? Not yet?

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We don't do this

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And to be more frank

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before I said this

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many of you would have forgot about

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where this story is heading towards

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What is One Piece about?

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If I asked this question

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not many would say that

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it's a story where a boy named Luffy

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goes through many things to become a pirate king

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What people usually say is

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Isn't it about pirates?

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Or adventuring in the ocean?

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Fighting?

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That's what they say

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Of course if I were interviewing you

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or a professor asked their student

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then the answer might be different

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but usually we think of that cartoon

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like that

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There isn't a pirate king in the readers' minds

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Don't you think this shouldn't be?

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I said that act 1 and 3 are the most important parts of the structure

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but pirate king isn't in the readers' minds?

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Isn't that a huge problem?

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Don't we have to talk about

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pirate king in every episode?

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The author shouldn't

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but for the readers, it doesn't really matter

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The author must remember

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that this is an adventure to become a pirate king

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The reader just needs the enjoy the process

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because then the author will

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take them to the end, act 3

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Publication of cartoons is a journey for the author

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but also for the readers

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The differences in these journeys

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is that the author needs to pioneer every step of it

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but that the reader just needs to follow the author

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And the reader can't reach where the author doesn't go

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That would be the biggest difference

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So the author must think

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where to go in that journey

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For example we're gong to part ways once we see

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the Statue of Liberty' must always be in the author's head

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so that the path isn't messed up

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The reader can forget about the Statue of Liberty

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They can just enjoy the process

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and be like 'Oh that's the Statue of Liberty'

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Is it over then?

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This is not a problem at all

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Readers don't go on the journey to get to the end

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and the same gores for cartoons

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So does he end up with her?

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Do they get married?

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Does this character become a cartoonist?

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This isn't their only interest

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but they read it because this part, this episode is fun

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I want you to think of a webtoon

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that you like right now

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If you try to think of you favorite part

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or what remains in your head the most

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it is likely that it isn't from act 1 or act 3

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When I say this

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you might think

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then why did you emphasize act 1 and 3 so much

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in the other lecture?

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I can give you a firm answer

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It's because we need to get back safely

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There are fun journeys

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and there are safe journeys

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and if act 2 take charge of the fun of it

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act 1 and 3 takes care of the safety

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It's the departure and arrival

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Of course fun and safety are

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just as important

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but to pick one

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getting lost

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or not being able to come back

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would make a fun journey

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of no use at the end

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But this is just my opinion

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and other writers

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might think, whatever if we don't get back

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having fun is the most important part

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and all that matters

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Or also even if you were going to go to Busan

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if there is a very cheap flight

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you can just take that flight

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from Gimhae airport

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which is also not bad

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Having fun is all that matters

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This could be for some

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I don't think that this is wrong

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A trip being executed as

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its original plan

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means safety, so arriving well

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coming first

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so that's why I said act 1 and 3

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are more important

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and the identity of my story

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When starting off the story

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I emphasized the word intention a lot

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The intention of my story

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Why am I telling this story

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and what is the identity of this story

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That is defined in act 1 and 3

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A story of a coward becoming a hero

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Something like that

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So in the beginning of a story

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the identity needs to be set up first

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to get help in filling up act 2

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Depending on if I'm going to Busan

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or I'm going to America

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where I should be tomorrow differs

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I think that would make it easier to understand

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As we were talking about 3 act plot

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I had mentioned the definition of act 3 by Syd Field

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Syd Field said that act 1, 2, and 3

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have their own roles

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which are setting, conflict, and resolution

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So in the beginning, the setting is introduced

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We see the word setting here and there

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but here let's define it as

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subject and character

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Because what we first had prepared was

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subject and character

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so let's think of it this way

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The protagonist is a middle schooler boy

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who thinks he's a timid coward

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But he's actually very righteous

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and has potential

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But then one day as he was trying to save a kid from a car crash

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he finds out his super power

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What's happening?

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Am I flying?

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But then government agents appear

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and say that they'll eliminate him

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Do you see the subject?

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Or the character?

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The character is definitely there

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The protagonist is this kind of character

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and has this personality and such

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And there's also an event

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He finds out his superpower

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And there is also an issue there

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involving the government agents

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You could think that the subject of this story

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would be superpower

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and within that

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one where a superpower is considered illegal

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so the protagonist has conflict with the government

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You could read this out as well

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This is act 1, setting

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The next is act 2

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Act 2's role was conflict

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Conflict, let's take on the story we were talking about

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to imagine the second episode

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The protagonist just found out his superpower

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but government agents say

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they'll eliminate him

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The protagonist will fight against them

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since he doesn't want to die

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But it won't be easy

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When the protagonist is left in a dead-end crisis

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suddenly other people

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with superpowers show up

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For example on top of a building

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'That's enough!' as one person appears

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and stops the government agents

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and tell the protagonist

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'follow us if you don't want to die!' and save him

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'The government considers superpower as a threat'

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'so they'll try to kill you no matter what'

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'and we are also being chased by the government'

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The person will tell the protagonist

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these information

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And as this happens a new group

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the superpower friends will appear

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These friends

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might say something like

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We think that us having these superpowers

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must mean something

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So our goal is to help people

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Something like this

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It's good

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The protagonist will think

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Good, I also wanted to become someone that helps others

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 because he was timid in act 1

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and he was very self-conscious

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about that fact

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so he'll think, 'I'd love to help others'

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'with this power if I could'

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But to do that he needs to become a criminal

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as the government thinks of the friends as

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a group of criminals

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so them and him as well will be wanted

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and his family will also think he's committed some crime

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That bothers him

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And also the friends

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won't always be perfect

279
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Some of them might say

280
00:11:56.919 --> 00:11:58.629
'Hahaha I'm a hero'

281
00:11:58.629 --> 00:12:00.919
or say 'A hero can do this'

282
00:12:01.523 --> 00:12:05.403
and kills the government agents in a cruel way

283
00:12:05.403 --> 00:12:08.189
'Nobody can stop a hero'

284
00:12:08.189 --> 00:12:09.928
Then the protagonist might stop them

285
00:12:09.928 --> 00:12:11.840
saying 'that's not what a hero would do'

286
00:12:11.840 --> 00:12:14.559
I'm talking about very detailed stuff

287
00:12:14.559 --> 00:12:16.719
but from what I've just said

288
00:12:16.719 --> 00:12:19.960
It might just look like I'm saying whatever

289
00:12:19.960 --> 00:12:23.440
but there are many conflicts here

290
00:12:23.440 --> 00:12:26.840
First, the government wants me dead

291
00:12:26.840 --> 00:12:28.280
But I don't want to

292
00:12:28.280 --> 00:12:31.159
This is a conflict of life between me and the government

293
00:12:31.159 --> 00:12:35.159
Second, conflict between the friends and the government

294
00:12:35.159 --> 00:12:37.520
And among the friends

295
00:12:37.520 --> 00:12:39.799
some are saying 'we're heroes'

296
00:12:39.799 --> 00:12:43.599
'so whatever we do is fine and for the people'

297
00:12:43.599 --> 00:12:46.679
'we can destroy the government' and the protagonist

298
00:12:46.679 --> 00:12:50.119
feeling iffy about them, so not an outright

299
00:12:50.119 --> 00:12:53.159
conflict but an emotional conflict

300
00:12:53.159 --> 00:12:56.679
Lastly there is another very important conflict

301
00:12:56.679 --> 00:12:58.599
'What am I gonna do?'

302
00:12:58.599 --> 00:13:00.880
I have already found out my superpower

303
00:13:00.880 --> 00:13:04.440
but am I going to fight against the government

304
00:13:04.440 --> 00:13:07.359
with these friends and say that this is the right thing?

305
00:13:07.359 --> 00:13:09.679
But I can't just obey

306
00:13:09.679 --> 00:13:11.960
and die right away either?

307
00:13:11.960 --> 00:13:13.679
What should I do?

308
00:13:13.679 --> 00:13:17.520
This internal conflict, a conflict with oneself

309
00:13:17.520 --> 00:13:20.039
This is also a very important conflict

310
00:13:20.039 --> 00:13:20.840
or a struggle

311
00:13:20.840 --> 00:13:24.159
You can think of it as a struggle as well

312
00:13:24.159 --> 00:13:27.479
These various conflicts will keep happening in act 2

313
00:13:27.479 --> 00:13:30.400
The example I gave you will be just a tiny part of it

314
00:13:30.400 --> 00:13:31.919
and there will be much more

315
00:13:31.919 --> 00:13:34.679
Fight with this guy then be chased by this other guy

316
00:13:34.679 --> 00:13:37.359
then someone bullies the protagonist

317
00:13:37.359 --> 00:13:38.799
but then again they regret doing so

318
00:13:38.799 --> 00:13:40.559
The protagonist can't decided which is

319
00:13:40.559 --> 00:13:42.400
the right thing to do

320
00:13:42.400 --> 00:13:44.559
Many conflict will happen

321
00:13:44.559 --> 00:13:47.599
and the protagonist will grow

322
00:13:47.599 --> 00:13:51.000
but most of the time, this will lead to larger conflicts

323
00:13:51.000 --> 00:13:53.679
For example, this kind of episode could appear

324
00:13:53.679 --> 00:13:57.840
A secret agent is after the protagonist

325
00:13:57.840 --> 00:14:01.719
but then the agent gets in great danger

326
00:14:01.719 --> 00:14:05.520
The protagonist was going to just run away

327
00:14:05.520 --> 00:14:06.771
but then

328
00:14:06.771 --> 00:14:09.320
helps the secret agent

329
00:14:09.320 --> 00:14:12.280
that was after him trying to kill him

330
00:14:12.280 --> 00:14:14.359
But if this happens

331
00:14:14.359 --> 00:14:17.317
the superpower friends will say he betrayed them

332
00:14:17.317 --> 00:14:19.599
and get angry

333
00:14:19.599 --> 00:14:24.359
and maybe become enemies with both groups

334
00:14:24.359 --> 00:14:26.520
The group that was after the people with superpowers

335
00:14:26.520 --> 00:14:28.320
wanted to eliminated them from the beginning

336
00:14:28.320 --> 00:14:30.000
so the protagonist is an enemy to them

337
00:14:30.000 --> 00:14:32.559
and here the protagonist saved someone that is

338
00:14:32.559 --> 00:14:34.760
trying to kill the friends

339
00:14:34.760 --> 00:14:36.599
so he might be left completely alone

340
00:14:36.599 --> 00:14:39.039
if the friends say he's a betrayer

341
00:14:39.039 --> 00:14:43.719
This could be the highest point in all conflicts

342
00:14:43.719 --> 00:14:46.320
because how intense would the protagonist's internal conflict be

343
00:14:46.320 --> 00:14:47.960
Was my choice the right choice?

344
00:14:47.960 --> 00:14:49.440
What should I do?

345
00:14:49.440 --> 00:14:51.799
And there's also physical conflict

346
00:14:51.799 --> 00:14:54.159
The conflicts with both groups

347
00:14:54.159 --> 00:14:56.359
have intensified

348
00:14:56.359 --> 00:14:59.200
These conflicts

349
00:14:59.200 --> 00:15:01.479
explode at the end of act 2

350
00:15:01.479 --> 00:15:03.359
This explosion brings

351
00:15:03.359 --> 00:15:05.880
a decision to make for the protagonist

352
00:15:05.880 --> 00:15:09.440
The protagonist must make his mind

353
00:15:09.440 --> 00:15:11.200
Act 3 is resolution

354
00:15:11.200 --> 00:15:13.200
where the conflicts are solved

355
00:15:13.200 --> 00:15:17.119
A lot of people have this misunderstanding

356
00:15:17.119 --> 00:15:19.679
saying that they aren't good with act 3

357
00:15:19.679 --> 00:15:21.039
I hear this pretty often

358
00:15:21.039 --> 00:15:22.599
So when I ask them why

359
00:15:22.599 --> 00:15:26.960
they say that the protagonist always must become happy in act 3 in 3 act plots

360
00:15:26.960 --> 00:15:28.640
They must win

361
00:15:28.640 --> 00:15:30.520
So I ask them why

362
00:15:30.520 --> 00:15:33.811
For the conflict to be resolved, the protagonist must win or become happy

363
00:15:33.811 --> 00:15:35.479
Isn't that right?

364
00:15:35.479 --> 00:15:37.039
It's actually not

365
00:15:37.039 --> 00:15:40.239
The resolution here has a very firm definition

366
00:15:40.239 --> 00:15:43.200
so it just means that the conflict is gone

367
00:15:43.200 --> 00:15:46.559
That it's no longer a conflict

368
00:15:46.559 --> 00:15:49.960
For example the protagonist might die

369
00:15:49.960 --> 00:15:52.880
or they could become very unhappy

370
00:15:52.880 --> 00:15:57.479
but they will have made a certain decision

371
00:15:57.479 --> 00:16:00.039
As the largest conflict occurs at the end of act 2

372
00:16:00.039 --> 00:16:02.280
the protagonist must make a decision, I mentioned

373
00:16:02.280 --> 00:16:03.760
What am I at the end of the day?

374
00:16:03.760 --> 00:16:05.679
What is it that I want?

375
00:16:05.679 --> 00:16:07.086
Things like this

376
00:16:07.086 --> 00:16:12.400
But the protagonist might choose to die

377
00:16:12.400 --> 00:16:15.320
For example the friends

378
00:16:15.320 --> 00:16:19.320
Let's say that the friends have been preparing a weapon

379
00:16:19.320 --> 00:16:22.479
that can kill all the secret government agents

380
00:16:22.479 --> 00:16:24.880
to overtake them

381
00:16:24.880 --> 00:16:26.599
and that the protagonist knows this

382
00:16:26.599 --> 00:16:29.039
And he can't just let this be

383
00:16:29.039 --> 00:16:32.080
so he goes to his enemies

384
00:16:32.080 --> 00:16:34.840
and wants to tell them about this

385
00:16:34.840 --> 00:16:37.840
but if he does that, he's betraying the friends

386
00:16:37.840 --> 00:16:40.280
So he contemplates

387
00:16:40.280 --> 00:16:45.400
and finally chooses to risk his life

388
00:16:45.400 --> 00:16:47.719
and go see the secret agents

389
00:16:47.719 --> 00:16:51.000
that are about to be killed

390
00:16:51.000 --> 00:16:52.679
and tell them that they won't be able

391
00:16:52.679 --> 00:16:54.479
to survive the attack

392
00:16:54.479 --> 00:16:56.440
but nobody believes him

393
00:16:56.440 --> 00:17:01.520
and his life falls in danger

394
00:17:01.520 --> 00:17:02.919
and he might also die

395
00:17:02.919 --> 00:17:04.640
So the protagonist ends up dying

396
00:17:04.640 --> 00:17:07.000
but we had a foreshadow

397
00:17:07.000 --> 00:17:10.439
in act 2, for example

398
00:17:10.439 --> 00:17:13.760
where he saved the secret agent

399
00:17:13.760 --> 00:17:16.560
That agent holds the protagonist as he's about to die

400
00:17:16.560 --> 00:17:18.920
and asks why did you come here, you didn't have to do this

401
00:17:18.920 --> 00:17:20.599
you didn't have to do this

402
00:17:20.599 --> 00:17:22.880
and the protagonist says

403
00:17:22.880 --> 00:17:24.640
everyone run away, there's a bomb here

404
00:17:24.640 --> 00:17:28.079
and the agent's heart falls apart

405
00:17:28.079 --> 00:17:30.719
but tells him that they'll make everyone escape

406
00:17:30.719 --> 00:17:32.199
and let's say the protagonist dies

407
00:17:32.199 --> 00:17:34.160
smiling, feeling relieved

408
00:17:34.160 --> 00:17:35.199
The protagonist died

409
00:17:35.199 --> 00:17:36.719
Is this a resolution?

410
00:17:36.719 --> 00:17:37.520
It is

411
00:17:37.520 --> 00:17:40.719
Because the protagonist made his choice

412
00:17:40.719 --> 00:17:43.319
and died the way he wanted to

413
00:17:43.319 --> 00:17:46.040
So the timid boy in act 1

414
00:17:46.040 --> 00:17:50.800
and the protagonist who died because he wanted to save people

415
00:17:50.800 --> 00:17:52.959
even knowing no one would believe him

416
00:17:52.959 --> 00:17:54.439
are completely different persons

417
00:17:54.439 --> 00:17:56.439
He's died but

418
00:17:56.439 --> 00:17:57.496
Every time I say this

419
00:17:57.496 --> 00:17:59.920
I feel like I've become a sociopath

420
00:17:59.920 --> 00:18:00.839
The protagonist died

421
00:18:00.839 --> 00:18:03.839
but that doesn't really matter for the story

422
00:18:03.839 --> 00:18:05.560
It is important, the readers will be sad

423
00:18:05.560 --> 00:18:07.199
but apart from that

424
00:18:07.199 --> 00:18:10.077
what's important in terms of the story is that the protagonist has changed

425
00:18:10.077 --> 00:18:12.560
and left as a changed person

426
00:18:12.560 --> 00:18:14.439
so in the readers' minds

427
00:18:14.439 --> 00:18:18.199
the protagonist's decision will be left as a meaningful one

428
00:18:18.199 --> 00:18:20.719
You can also save him if you want to

429
00:18:20.719 --> 00:18:22.680
When the protagonist is in danger

430
00:18:22.680 --> 00:18:25.280
the agent comes and saves him

431
00:18:25.280 --> 00:18:28.040
and says "what are you doing here?"

432
00:18:28.040 --> 00:18:30.254
"Everyone here will die soon"

433
00:18:30.254 --> 00:18:32.520
'Isn't that a good thing for you?'

434
00:18:32.520 --> 00:18:35.479
"I never wanted anyone to die"

435
00:18:35.479 --> 00:18:37.839
He could say something touching like this

436
00:18:37.839 --> 00:18:41.280
then the agent, whose only goal was to kill the protagonist

437
00:18:41.280 --> 00:18:42.439
might ally the protagonist

438
00:18:42.439 --> 00:18:44.719
and try saving everyone

439
00:18:44.719 --> 00:18:46.640
But what's important is

440
00:18:46.640 --> 00:18:49.839
that the situations have changed from act 1

441
00:18:49.839 --> 00:18:51.160
More specifically

442
00:18:51.160 --> 00:18:55.079
that the protagonist has lost or gained something

443
00:18:55.079 --> 00:18:58.160
In the dying scenario, he lost his life

444
00:18:58.160 --> 00:19:01.668
but became a true hero in everyone's heart

445
00:19:01.668 --> 00:19:02.880
instead of a timid boy

446
00:19:02.880 --> 00:19:05.839
Or no one knows he's the hero that saved

447
00:19:05.839 --> 00:19:07.959
the whole world

448
00:19:07.959 --> 00:19:10.439
but gained a happy life

449
00:19:10.439 --> 00:19:11.560
with many friends

450
00:19:11.560 --> 00:19:13.479
This is also okay

451
00:19:13.479 --> 00:19:16.800
If there's nothing that's a problem anymore

452
00:19:16.800 --> 00:19:20.040
that makes a good act 3

453
00:19:20.562 --> 00:19:24.146
Finishing the story after concreting act 2

454
00:19:24.560 --> 00:19:25.400
Act 2

455
00:19:25.400 --> 00:19:28.160
is a process from act 1 to 3

456
00:19:28.160 --> 00:19:29.920
Like the example I just gave you

457
00:19:29.920 --> 00:19:31.880
the timid protagonist becomes a hero

458
00:19:31.880 --> 00:19:32.920
How?

459
00:19:32.920 --> 00:19:35.680
The answer to that is in act 2

460
00:19:35.680 --> 00:19:37.760
Act 2 is a step where the plausibility

461
00:19:37.760 --> 00:19:41.199
to the ending is being accumulated

462
00:19:41.199 --> 00:19:43.560
How do we make the ending plausible?

463
00:19:43.560 --> 00:19:45.199
Events

464
00:19:45.199 --> 00:19:48.719
For example

465
00:19:48.719 --> 00:19:51.359
there is a protagonist who just loves fighting

466
00:19:51.359 --> 00:19:52.359
Act 1

467
00:19:52.359 --> 00:19:53.800
He gets into many conflicts

468
00:19:53.800 --> 00:19:55.319
and faces many enemies

469
00:19:55.319 --> 00:19:56.680
These type of genre

470
00:19:56.680 --> 00:19:58.119
Are you the strongest of this school?

471
00:19:58.119 --> 00:19:59.359
I'm from that school

472
00:19:59.359 --> 00:20:00.599
Let's see who's the best

473
00:20:00.599 --> 00:20:01.680
So they fight

474
00:20:01.680 --> 00:20:04.479
and others as well

475
00:20:04.479 --> 00:20:07.920
So he becomes the best one in this town

476
00:20:07.920 --> 00:20:09.319
of Seoul

477
00:20:09.319 --> 00:20:12.079
So act 2 is full of fights that the protagonist loves

478
00:20:12.079 --> 00:20:13.880
Those are there

479
00:20:13.880 --> 00:20:16.239
and in act 3

480
00:20:16.239 --> 00:20:21.319
the protagonist stares into a sunset

481
00:20:21.319 --> 00:20:24.680
and says

482
00:20:24.680 --> 00:20:26.359
Fighting was never fun to me

483
00:20:26.359 --> 00:20:27.439
Everything feels useless

484
00:20:27.439 --> 00:20:28.800
and the story ends

485
00:20:28.800 --> 00:20:31.719
Will readers understand this?

486
00:20:31.719 --> 00:20:33.680
So if they question what is this ending?

487
00:20:33.680 --> 00:20:35.520
the author says well, it's a plot twist

488
00:20:35.520 --> 00:20:37.599
This happens time to time

489
00:20:37.599 --> 00:20:40.040
but this isn't considered a plot twist

490
00:20:40.040 --> 00:20:42.239
Readers are confused

491
00:20:42.239 --> 00:20:43.680
The author might say that's it

492
00:20:43.680 --> 00:20:45.319
I wanted to leave the readers confused

493
00:20:45.319 --> 00:20:46.880
This happens

494
00:20:46.880 --> 00:20:51.359
but this is more of a scam

495
00:20:51.359 --> 00:20:53.880
and I think this makes no sense

496
00:20:53.880 --> 00:20:54.980
It isn't a problem

497
00:20:54.980 --> 00:20:57.959
to write such an act 3

498
00:20:57.959 --> 00:21:00.959
A protagonist who is a good fighter, act 1

499
00:21:00.959 --> 00:21:03.319
after many conflicts, act 2

500
00:21:03.319 --> 00:21:06.119
realizes that fighting is useless, act 3

501
00:21:06.119 --> 00:21:07.280
Great

502
00:21:07.280 --> 00:21:10.160
let's say they wanted to write such a story

503
00:21:10.160 --> 00:21:12.719
But then in act 2, what they

504
00:21:12.719 --> 00:21:15.479
should have done to build plausibility is

505
00:21:15.479 --> 00:21:16.680
What did the protagonist do?

506
00:21:16.680 --> 00:21:19.000
Fighting many people and becoming even stronger

507
00:21:19.000 --> 00:21:20.040
Fighting is fun

508
00:21:20.040 --> 00:21:23.400
The protagonist shouldn't have been like this

509
00:21:23.400 --> 00:21:27.400
It should have made the protagonist more and more exhausted for some reason

510
00:21:27.400 --> 00:21:30.400
When new people to fight appears

511
00:21:30.400 --> 00:21:32.959
they aren't happy, rather sick of it

512
00:21:32.959 --> 00:21:35.760
This should have been there in act 2

513
00:21:35.760 --> 00:21:38.959
Or other people's advises

514
00:21:38.959 --> 00:21:40.239
Are you good?

515
00:21:40.239 --> 00:21:42.039
What?

516
00:21:42.039 --> 00:21:43.520
You look tired

517
00:21:43.520 --> 00:21:46.199
I'm the best in this town and I look tired?

518
00:21:46.199 --> 00:21:47.000
And then

519
00:21:47.000 --> 00:21:48.160
says something like "Say that again!"

520
00:21:48.160 --> 00:21:49.680
so that people are like, "Something's wrong with him"

521
00:21:49.680 --> 00:21:52.040
These should have been there

522
00:21:52.040 --> 00:21:54.319
so that the feeling of loss in act 3

523
00:21:54.319 --> 00:21:58.199
seems plausible

524
00:21:58.199 --> 00:21:59.920
So the author actually

525
00:21:59.920 --> 00:22:02.439
didn't show any internal conflict

526
00:22:02.439 --> 00:22:05.400
and just say "It was there, I just didn't mention it"

527
00:22:05.400 --> 00:22:07.560
I'm sorry but what's not shown in the story

528
00:22:07.560 --> 00:22:09.079
can't be considered existent

529
00:22:09.079 --> 00:22:10.920
So this is why act 3

530
00:22:10.920 --> 00:22:13.599
must be determined before act 2

531
00:22:13.599 --> 00:22:16.040
One more important thing

532
00:22:16.040 --> 00:22:20.000
Act 2 must have deeper conflicts as it progresses

533
00:22:20.000 --> 00:22:22.359
and problems more complicated

534
00:22:22.359 --> 00:22:23.739
This can be tricky

535
00:22:23.739 --> 00:22:25.560
because any author

536
00:22:25.560 --> 00:22:27.199
try their hardest

537
00:22:27.199 --> 00:22:28.800
in where they're working on

538
00:22:28.800 --> 00:22:31.359
I think this conflict is very serious

539
00:22:31.359 --> 00:22:33.760
I think this problem is very difficult to solve

540
00:22:33.760 --> 00:22:36.040
But if the protagonist solved it

541
00:22:36.040 --> 00:22:39.560
then there must be more challenging conflicts

542
00:22:39.560 --> 00:22:40.920
But this isn't easy

543
00:22:40.920 --> 00:22:42.760
Because they already used

544
00:22:42.760 --> 00:22:45.599
their strongest one in the previous episode

545
00:22:45.599 --> 00:22:48.920
So at the end of act 2 the largest conflict will unfold

546
00:22:48.920 --> 00:22:50.839
and make the protagonist make a decision

547
00:22:50.839 --> 00:22:52.520
Like I just said

548
00:22:52.520 --> 00:22:54.239
If I don't tell them

549
00:22:54.239 --> 00:22:56.280
for example two thousand

550
00:22:56.280 --> 00:22:58.680
government agents will die

551
00:22:58.680 --> 00:23:01.363
Will you remain quiet? Like this

552
00:23:01.363 --> 00:23:03.479
There must be a big decision to be made

553
00:23:03.479 --> 00:23:04.680
and this will be the starting point

554
00:23:04.680 --> 00:23:07.479
of the climax of this story

555
00:23:07.479 --> 00:23:11.439
But this is tricky because

556
00:23:11.439 --> 00:23:15.719
the protagonist won the best tennis player of his town

557
00:23:15.719 --> 00:23:18.479
and then of the town next to his

558
00:23:18.479 --> 00:23:20.520
and then of the city

559
00:23:20.520 --> 00:23:23.400
and finally became the best in the country

560
00:23:23.400 --> 00:23:25.040
Author is then lost

561
00:23:25.040 --> 00:23:28.239
He's already the best, what more challenge should I give him?

562
00:23:28.239 --> 00:23:30.359
Then he could go to the international league

563
00:23:30.359 --> 00:23:33.160
Then he becomes the world champion

564
00:23:33.160 --> 00:23:34.920
Then what?

565
00:23:34.920 --> 00:23:36.920
This story was about the protagonist

566
00:23:36.920 --> 00:23:38.719
becoming the world's best player with tennis

567
00:23:38.719 --> 00:23:39.920
but he's already the best

568
00:23:39.920 --> 00:23:41.319
Then should I just end it here?

569
00:23:41.319 --> 00:23:42.920
Just end the story I mean

570
00:23:42.920 --> 00:23:45.160
But I don't want to

571
00:23:45.160 --> 00:23:48.280
You will have read many cartoons

572
00:23:48.280 --> 00:23:51.400
so you would have seen cartoons with this type of conflicts

573
00:23:51.400 --> 00:23:53.560
Oh, the author is dragging the story

574
00:23:53.560 --> 00:23:56.599
Or to exaggerate a little

575
00:23:56.599 --> 00:24:00.079
actually tennis was a universal sport

576
00:24:00.079 --> 00:24:04.280
Mars' tennis champion came to Earth

577
00:24:04.280 --> 00:24:06.319
Then the readers will be like

578
00:24:06.319 --> 00:24:07.680
Was this planned from the beginning?

579
00:24:07.680 --> 00:24:08.880
thinking that it was made up after

580
00:24:08.880 --> 00:24:10.959
So when designing conflicts

581
00:24:10.959 --> 00:24:13.400
you must realize that there must exist a deeper conflict

582
00:24:13.400 --> 00:24:16.560
and prepare gradually deepening

583
00:24:16.560 --> 00:24:20.000
conflict elements

584
00:24:20.000 --> 00:24:24.760
There will be a question asking for a decision

585
00:24:24.760 --> 00:24:27.479
given at the end of act 2

586
00:24:27.479 --> 00:24:29.359
But this part is actually the most

587
00:24:29.359 --> 00:24:31.520
difficult part for the author

588
00:24:31.520 --> 00:24:33.319
Along my lectures

589
00:24:33.319 --> 00:24:36.000
I don't think I said 'this is hard'

590
00:24:36.000 --> 00:24:38.359
I said, "The author can do whatever they want"

591
00:24:38.359 --> 00:24:40.520
"What works for you is the best"

592
00:24:40.520 --> 00:24:42.760
But this part is difficult

593
00:24:42.760 --> 00:24:46.920
Because the type of question to be asked

594
00:24:46.920 --> 00:24:48.520
is something like

595
00:24:48.520 --> 00:24:52.239
Will I accept the immoral public power trying to harm me?

596
00:24:52.239 --> 00:24:53.560
Then I die

597
00:24:53.560 --> 00:24:56.479
Then will I become a righteous outlaw?

598
00:24:56.479 --> 00:24:58.199
Can an outlaw be righteous?

599
00:24:58.199 --> 00:25:00.599
What defines rightness?

600
00:25:00.599 --> 00:25:02.280
What does

601
00:25:02.280 --> 00:25:07.000
justice mean?

602
00:25:07.000 --> 00:25:09.400
Or even though they betrayed and left me

603
00:25:09.400 --> 00:25:11.719
still love this person

604
00:25:11.719 --> 00:25:12.760
Should I fight for my life

605
00:25:12.760 --> 00:25:14.520
for that person?

606
00:25:14.520 --> 00:25:16.880
Will I just ignore them?

607
00:25:16.880 --> 00:25:19.959
Will I live a peaceful but coward life?

608
00:25:19.959 --> 00:25:23.319
A risky but brave life?

609
00:25:23.319 --> 00:25:25.599
Will I stay quiet

610
00:25:25.599 --> 00:25:27.239
for the safety of my family?

611
00:25:27.239 --> 00:25:29.760
Or even if I'm turned away from my family

612
00:25:29.760 --> 00:25:31.040
Live as myself?

613
00:25:31.040 --> 00:25:32.573
These things

614
00:25:32.573 --> 00:25:35.319
This isn't just about one story

615
00:25:35.319 --> 00:25:40.031
but rather just examples of the final decision

616
00:25:40.031 --> 00:25:42.119
Even if it's not something like

617
00:25:42.119 --> 00:25:44.520
is it the world or me

618
00:25:44.520 --> 00:25:47.680
any decision to be made by an individual

619
00:25:47.680 --> 00:25:49.280
For example

620
00:25:49.280 --> 00:25:53.319
how much responsibility should I take

621
00:25:53.319 --> 00:25:56.719
for the huge crime I committed as a middle schooler

622
00:25:56.719 --> 00:25:58.880
A question very difficult to give an answer

623
00:25:58.880 --> 00:26:01.560
and something that penetrates one's values

624
00:26:01.560 --> 00:26:05.959
It's also something great for a debate

625
00:26:05.959 --> 00:26:07.459
but the answer to this

626
00:26:07.459 --> 00:26:10.199
will be just as difficult for the author to give

627
00:26:10.199 --> 00:26:12.599
The reason why we say this is hard

628
00:26:12.599 --> 00:26:15.880
is because I also have many stories that I couldn't put out

629
00:26:15.880 --> 00:26:17.800
because I couldn't answer these questions

630
00:26:17.800 --> 00:26:19.199
Like what I just said

631
00:26:19.199 --> 00:26:22.680
For example, the protagonist that committed a huge crime back in middle school

632
00:26:22.680 --> 00:26:24.839
should do what has an adult?

633
00:26:24.839 --> 00:26:26.160
They should pay for their crime

634
00:26:26.160 --> 00:26:27.119
How?

635
00:26:27.119 --> 00:26:28.239
How much?

636
00:26:28.239 --> 00:26:29.800
What's right?

637
00:26:29.800 --> 00:26:31.479
These things

638
00:26:31.479 --> 00:26:34.079
It reaches very philosophical topics

639
00:26:34.079 --> 00:26:36.239
So what does the protagonist decide on doing

640
00:26:36.239 --> 00:26:39.040
I'll save them even if I die

641
00:26:39.040 --> 00:26:41.959
I'm no longer their partner

642
00:26:41.959 --> 00:26:43.337
and they forgot about me

643
00:26:43.337 --> 00:26:46.827
but I still want to risk my life for who I love

644
00:26:46.827 --> 00:26:48.680
This answer is actually

645
00:26:48.680 --> 00:26:50.640
the answer of the author in the protagonist's body

646
00:26:50.640 --> 00:26:54.119
We call this the theme of the story

647
00:26:54.119 --> 00:26:57.719
So the last question

648
00:26:57.719 --> 00:27:00.800
must be something that's always in the author's heart

649
00:27:00.800 --> 00:27:03.760
If you think there really is no answer to this question

650
00:27:03.760 --> 00:27:06.599
then you could leave that story away for a moment

651
00:27:06.599 --> 00:27:09.040
or you can also keep asking the question

652
00:27:09.040 --> 00:27:13.079
to the protagonist while publishing

653
00:27:13.079 --> 00:27:15.239
What is justice?

654
00:27:15.239 --> 00:27:17.560
Is what I think is justice justice?

655
00:27:17.560 --> 00:27:19.880
Then can I act against public power

656
00:27:19.880 --> 00:27:22.119
because that's what I think is just?

657
00:27:22.119 --> 00:27:25.400
But the character grows and the author grows as well

658
00:27:25.400 --> 00:27:28.599
so when that question actually needs to be answered

659
00:27:28.599 --> 00:27:31.000
there might be an answer

660
00:27:31.000 --> 00:27:32.880
But this depends on the situation

661
00:27:32.880 --> 00:27:36.645
so many authors suffer this problem

662
00:27:36.645 --> 00:27:40.479
Another tip for making act 2

663
00:27:40.479 --> 00:27:42.160
I sometimes hear this

664
00:27:42.160 --> 00:27:43.740
You use

665
00:27:43.740 --> 00:27:47.520
3 act plot as you teach webtoons?

666
00:27:47.520 --> 00:27:51.680
So they're saying that 3 act plot is for plays or movies

667
00:27:51.680 --> 00:27:54.400
I did mention that it started from plays

668
00:27:54.400 --> 00:27:57.837
When Aristotle first mentioned it it was about plays

669
00:27:57.837 --> 00:28:00.959
especially about tragedy

670
00:28:00.959 --> 00:28:03.640
and that developed with movie scenarios

671
00:28:03.640 --> 00:28:05.479
Syd Field that I mentioned

672
00:28:05.479 --> 00:28:07.800
was also someone who studied movie scenarios

673
00:28:07.800 --> 00:28:09.550
It's just that

674
00:28:09.550 --> 00:28:13.040
so it won't fit webtoons

675
00:28:13.040 --> 00:28:15.680
I want to say that that's partly true

676
00:28:15.680 --> 00:28:17.760
but also partly wrong

677
00:28:17.760 --> 00:28:21.880
First, it is true that 3 act plot was born 2,000 years ago

678
00:28:21.880 --> 00:28:25.680
based on plays and it developed for movies

679
00:28:25.680 --> 00:28:28.319
And there are huge differences in the storytelling methods

680
00:28:28.319 --> 00:28:31.000
of movies and webtoons

681
00:28:31.000 --> 00:28:32.560
Specifically

682
00:28:32.560 --> 00:28:36.040
how long is a movie usually?

683
00:28:36.040 --> 00:28:38.599
About an hour and a half to two hours

684
00:28:38.599 --> 00:28:41.439
Maybe 3 hours if longer

685
00:28:41.439 --> 00:28:44.332
But how many episodes are there usually for a webtoon series?

686
00:28:44.332 --> 00:28:47.199
That's difficult to answer

687
00:28:47.199 --> 00:28:50.199
There's ones with just one episode, maybe three, also ten

688
00:28:50.199 --> 00:28:53.199
Also ones with more than 400, 500 episodes

689
00:28:53.199 --> 00:28:55.560
The storytelling methods of webtoons with 12 episodes

690
00:28:55.560 --> 00:28:58.719
and 400 episodes can't be the same

691
00:28:58.719 --> 00:29:01.079
What would the difference be

692
00:29:01.079 --> 00:29:02.839
among act 1, 2, and 3?

693
00:29:02.839 --> 00:29:04.719
Let's say it's ten episodes to make it easy

694
00:29:04.719 --> 00:29:07.640
A ten episode webtoon and 400 episode webtoon

695
00:29:07.640 --> 00:29:09.920
This one is 40 times longer

696
00:29:09.920 --> 00:29:12.640
Then do you think act 1 of 400 episode webtoon

697
00:29:12.640 --> 00:29:16.800
is 40 times longer than that of the 10 episode one?

698
00:29:16.800 --> 00:29:19.160
That sounds like it must be at least

699
00:29:19.160 --> 00:29:22.920
about 10 to 20 episodes for act 1

700
00:29:22.920 --> 00:29:25.760
But this isn't how we write webtoons

701
00:29:25.760 --> 00:29:28.599
What differs is act 2

702
00:29:28.599 --> 00:29:30.079
Let me make a kind of weird metaphor

703
00:29:30.079 --> 00:29:34.079
You know belt fish right?

704
00:29:34.079 --> 00:29:37.184
Do you know that belt fish as gifts in holiday seasons

705
00:29:37.184 --> 00:29:39.199
are very big?

706
00:29:39.199 --> 00:29:40.848
Even if they're not holiday gifts

707
00:29:40.848 --> 00:29:43.280
they are very long if they're expensive

708
00:29:43.280 --> 00:29:44.839
Like this

709
00:29:44.839 --> 00:29:48.640
The head and tail look pretty similar

710
00:29:48.640 --> 00:29:51.800
to what we see in the supermarket

711
00:29:51.800 --> 00:29:55.119
The head isn't twice as long if the fish is twice as long

712
00:29:55.119 --> 00:29:57.040
Do you get what I'm saying?

713
00:29:57.040 --> 00:29:59.160
It just the middle that's longer

714
00:29:59.160 --> 00:30:00.479
It would be the same for snakes

715
00:30:00.479 --> 00:30:02.800
Small snakes have this big head

716
00:30:02.800 --> 00:30:05.199
and also long snakes have this big head

717
00:30:05.199 --> 00:30:08.520
Same for act 2, so act 2 becomes that longer

718
00:30:08.520 --> 00:30:10.119
just like the body becoming longer

719
00:30:10.119 --> 00:30:12.880
So many wonder how to make the act 2

720
00:30:12.880 --> 00:30:14.599
for very long webtoons

721
00:30:14.599 --> 00:30:16.560
I get what you're saying

722
00:30:16.560 --> 00:30:18.880
and also that conflicts must gradually build up

723
00:30:18.880 --> 00:30:21.079
But to do that

724
00:30:21.079 --> 00:30:24.000
I feel like more than 20 episodes would be hard

725
00:30:24.000 --> 00:30:27.359
Here 3 act plot again comes in handy

726
00:30:27.359 --> 00:30:29.000
As you're reading long webtoons

727
00:30:29.000 --> 00:30:32.359
the readers refer to certain parts as

728
00:30:32.359 --> 00:30:34.800
this part, this episode

729
00:30:34.800 --> 00:30:36.760
The author, officially

730
00:30:36.760 --> 00:30:39.599
Here, this part starts

731
00:30:39.599 --> 00:30:41.479
or 'past' episode begins

732
00:30:41.479 --> 00:30:44.439
or 'ex boyfriend episode begins here'

733
00:30:44.439 --> 00:30:46.719
Sometimes the author states this officially

734
00:30:46.719 --> 00:30:48.419
but most of the time, the readers themselves

735
00:30:48.419 --> 00:30:50.800
name them like those

736
00:30:50.800 --> 00:30:52.719
and if it's about school life

737
00:30:52.719 --> 00:30:55.800
things like picnic episode, finals episode

738
00:30:55.800 --> 00:30:58.439
For romance, valentines episode

739
00:30:58.439 --> 00:31:00.199
These things will be there

740
00:31:00.199 --> 00:31:03.880
If it's about sports, the name of the opponent

741
00:31:03.880 --> 00:31:06.439
like Slam Dunk

742
00:31:06.439 --> 00:31:07.959
There will be parts like that

743
00:31:07.959 --> 00:31:11.520
This match won't end in one episode

744
00:31:11.520 --> 00:31:14.039
and until the protagonist team reaches the final

745
00:31:14.039 --> 00:31:16.880
with that team is all that team's part

746
00:31:16.880 --> 00:31:20.800
This itself is a small 3 act plot

747
00:31:20.800 --> 00:31:24.079
Let's say it's a two game match

748
00:31:24.079 --> 00:31:26.199
with this certain team

749
00:31:26.199 --> 00:31:27.560
and they lose

750
00:31:27.560 --> 00:31:30.160
This is a tiny part of act 2

751
00:31:30.160 --> 00:31:32.479
but we're going to see this as 3 acts

752
00:31:32.479 --> 00:31:35.040
Act 1, the protagonist is very arrogant right now

753
00:31:35.040 --> 00:31:38.040
because they won so easily in the previous game

754
00:31:38.040 --> 00:31:40.560
Act 2, the game is very intense

755
00:31:40.560 --> 00:31:44.239
but the protagonist makes mistakes

756
00:31:44.239 --> 00:31:45.920
but gets things together

757
00:31:45.920 --> 00:31:48.359
as a teammate said something

758
00:31:48.359 --> 00:31:52.479
Are you going to finally realize when the game is already over?

759
00:31:52.479 --> 00:31:54.040
You need to show your strength right now

760
00:31:54.040 --> 00:31:56.400
and after hearing this

761
00:31:56.400 --> 00:31:59.359
even though they are already losing in the game

762
00:31:59.359 --> 00:32:01.199
they try their very best

763
00:32:01.199 --> 00:32:03.479
to catch up the gap

764
00:32:03.479 --> 00:32:07.199
But in act 3, they lose

765
00:32:07.199 --> 00:32:10.719
The protagonist learns a lesson and waits for the next match

766
00:32:10.719 --> 00:32:12.560
It seems to be over but it's not over

767
00:32:12.560 --> 00:32:14.359
because they're waiting for the next match

768
00:32:14.359 --> 00:32:17.199
They seem to have lost in this tournament

769
00:32:17.199 --> 00:32:18.920
That's true, I made them lose

770
00:32:18.920 --> 00:32:21.800
But this isn't the end of this protagonist's story

771
00:32:21.800 --> 00:32:23.920
There will be another match

772
00:32:23.920 --> 00:32:26.920
and since this protagonist has learned a lesson, they will have grown

773
00:32:26.920 --> 00:32:31.400
And there's also another hint of conflict

774
00:32:31.400 --> 00:32:33.359
because they lost because of the protagonist

775
00:32:33.359 --> 00:32:36.280
There was a good teammate that helped them learn their lesson

776
00:32:36.280 --> 00:32:38.669
but there will also be others

777
00:32:38.669 --> 00:32:40.439
that hates the protagonist

778
00:32:40.439 --> 00:32:42.989
Then this is a hint of a conflict

779
00:32:42.989 --> 00:32:44.359
within the team

780
00:32:44.359 --> 00:32:47.703
So what's important here is that this episode itself

781
00:32:47.703 --> 00:32:50.439
constructs a small 3 act plot

782
00:32:50.439 --> 00:32:53.654
This small 3 act plot could last

783
00:32:53.654 --> 00:32:57.439
10, or 15 episodes

784
00:32:57.439 --> 00:33:00.239
Many of these episodes gather

785
00:33:00.239 --> 00:33:03.199
to construct act 2 of the whole story

786
00:33:03.199 --> 00:33:05.359
We call it fractal structure

787
00:33:05.359 --> 00:33:08.059
For example tiny triangles gather

788
00:33:08.059 --> 00:33:09.677
to create a larger triangle

789
00:33:09.677 --> 00:33:10.898
Same for a snowflake

790
00:33:10.898 --> 00:33:13.439
Many snowflake gather to build a larger snowflake

791
00:33:13.439 --> 00:33:16.889
Just like that, many small 3 act plots gather

792
00:33:16.889 --> 00:33:18.383
to create a large act 2

793
00:33:18.383 --> 00:33:20.959
which again becomes a part of a large 3 act plot

794
00:33:20.959 --> 00:33:23.680
Think of that structure

795
00:33:23.680 --> 00:33:25.930
and that will help you build

796
00:33:25.930 --> 00:33:27.520
act 2

797
00:33:27.520 --> 00:33:29.760
for a very long webtoon

798
00:33:29.760 --> 00:33:33.439
Lastly I have something that I really want to tell you

799
00:33:33.439 --> 00:33:36.268
Many people try to make act 2

800
00:33:36.268 --> 00:33:39.359
very dense and detailed

801
00:33:39.359 --> 00:33:42.319
and you can do that if it's not that long

802
00:33:42.319 --> 00:33:44.219
But if you're trying to make

803
00:33:44.219 --> 00:33:47.000
a 100 or 200 episode long webtoon

804
00:33:47.000 --> 00:33:50.850
having every little detail of act 2

805
00:33:50.850 --> 00:33:53.119
and then getting into publishing it

806
00:33:53.119 --> 00:33:56.319
is nearly impossible

807
00:33:56.319 --> 00:33:57.839
It's possible for act 1 and 3

808
00:33:57.839 --> 00:33:59.789
That's why I told you to

809
00:33:59.789 --> 00:34:02.800
create act 1 and 3 first

810
00:34:02.800 --> 00:34:05.599
This can stay fixed even when the story becomes long

811
00:34:05.599 --> 00:34:08.840
The protagonist is lonely, at the end, they are not

812
00:34:08.840 --> 00:34:11.719
But act 2, it is difficult to have the details

813
00:34:11.719 --> 00:34:14.169
For example, there can be an event that

814
00:34:14.169 --> 00:34:16.520
seemed alright in the planning step

815
00:34:16.520 --> 00:34:18.470
but as you actually proceed the story

816
00:34:18.470 --> 00:34:20.040
things might not add up

817
00:34:20.040 --> 00:34:22.159
I also experience that time to time

818
00:34:22.159 --> 00:34:23.919
I was going to put this event here

819
00:34:23.919 --> 00:34:25.869
but now that the protagonist has grown

820
00:34:25.869 --> 00:34:27.560
they wouldn't make this kind of a mistake here

821
00:34:27.560 --> 00:34:29.479
Then I should scratch this event

822
00:34:29.479 --> 00:34:31.879
Or a side character that you thought

823
00:34:31.879 --> 00:34:33.919
wasn't that important

824
00:34:33.919 --> 00:34:36.120
but this character

825
00:34:36.120 --> 00:34:39.280
keeps saying quite good lines

826
00:34:39.280 --> 00:34:41.239
And they become closer to the protagonist

827
00:34:41.239 --> 00:34:43.280
Hmm? Will the protagonist date this character?

828
00:34:43.280 --> 00:34:46.439
It might seem like nonsense but this does sometimes happen

829
00:34:46.439 --> 00:34:47.939
Sometimes a side character is

830
00:34:47.939 --> 00:34:50.719
suddenly given an important role

831
00:34:50.719 --> 00:34:53.000
Since this wasn't my initial plan

832
00:34:53.000 --> 00:34:54.550
I'm never going to do that

833
00:34:54.550 --> 00:34:56.439
Some authors think this way

834
00:34:56.439 --> 00:34:58.208
but for long webtoons

835
00:34:58.208 --> 00:35:00.239
you can be a little flexible

836
00:35:00.239 --> 00:35:02.539
because long publications

837
00:35:02.539 --> 00:35:05.919
are like a year long backpacking trip

838
00:35:05.919 --> 00:35:07.969
No matter how much you prepare

839
00:35:07.969 --> 00:35:11.120
for a year long backpacking trip

840
00:35:11.120 --> 00:35:13.199
unexpected things are bound to happen

841
00:35:13.199 --> 00:35:20.760
For example, I will have an espresso

842
00:35:20.760 --> 00:35:24.476
with two sugar cubes in it at a cafe

843
00:35:24.476 --> 00:35:27.080
in front of this place at 7:30 am of the 72nd day

844
00:35:27.080 --> 00:35:29.439
Will this work? It'd be nice if it does

845
00:35:29.439 --> 00:35:30.589
But for example

846
00:35:30.589 --> 00:35:34.479
just one late arrival of a train messes that up

847
00:35:34.479 --> 00:35:36.040
or just one overbooked hotel

848
00:35:36.040 --> 00:35:37.840
Everything gets delayed

849
00:35:37.840 --> 00:35:41.919
And stories cover very much longer

850
00:35:41.919 --> 00:35:47.473
time horizons than this one year trip

851
00:35:47.473 --> 00:35:49.448
so it's impossible to prepare

852
00:35:49.448 --> 00:35:51.439
for every situation

853
00:35:51.439 --> 00:35:53.745
So the best the author can do

854
00:35:53.745 --> 00:35:55.800
is act 1 and act 3

855
00:35:55.800 --> 00:35:57.360
This won't change

856
00:35:57.360 --> 00:36:00.679
and the method I recommend for act 2 is

857
00:36:00.679 --> 00:36:05.000
just preparing the direction that can connect act 1 and act 3 plausibly

858
00:36:05.000 --> 00:36:08.399
and the large events for conflicts to appear

859
00:36:08.399 --> 00:36:10.479
The gradual events

860
00:36:10.479 --> 00:36:12.719
That is enough rough preparation

861
00:36:12.719 --> 00:36:14.360
I said rough

862
00:36:14.360 --> 00:36:17.280
but I of course don't mean that you don't have to put any effort in

863
00:36:17.280 --> 00:36:19.130
This event, for example

864
00:36:19.130 --> 00:36:21.459
the favorite teammate of the protagonist

865
00:36:21.459 --> 00:36:23.679
was actually a spy from their enemy

866
00:36:23.679 --> 00:36:25.080
This is enough

867
00:36:25.080 --> 00:36:27.120
but a lot of you

868
00:36:27.120 --> 00:36:28.720
Then how would the protagonist

869
00:36:28.720 --> 00:36:31.320
find out that they were a spy?

870
00:36:31.320 --> 00:36:33.360
Does the protagonist find a letter?

871
00:36:33.360 --> 00:36:35.860
Then was that letter hidden under a drawer?

872
00:36:35.860 --> 00:36:37.520
This is not needed

873
00:36:37.520 --> 00:36:40.800
This you can think about a bit later on

874
00:36:40.800 --> 00:36:43.120
But as you're planning

875
00:36:43.120 --> 00:36:45.719
sometimes you come up with

876
00:36:45.719 --> 00:36:48.199
certain lines or scenes

877
00:36:48.199 --> 00:36:51.679
This line would be nice in this story

878
00:36:51.679 --> 00:36:53.080
Or some specific scene

879
00:36:53.080 --> 00:36:57.095
For example what I just said

880
00:36:57.095 --> 00:37:01.639
the line when the protagonist finds out the spy

881
00:37:01.639 --> 00:37:05.840
A villain smiling as they say 'thank you for believing in me all along'

882
00:37:05.840 --> 00:37:07.000
If this comes to mind

883
00:37:07.000 --> 00:37:10.560
don't try to put that into the story

884
00:37:10.560 --> 00:37:14.159
I think it's better to just have that written down somewhere else

885
00:37:14.159 --> 00:37:15.120
If you put this

886
00:37:15.120 --> 00:37:19.040
into a long plan

887
00:37:19.040 --> 00:37:22.120
then the author gets too hyper-fixated on that

888
00:37:22.120 --> 00:37:23.679
It's similar to this

889
00:37:23.679 --> 00:37:25.000
You're trying to cook something

890
00:37:25.000 --> 00:37:26.919
and you have such fresh

891
00:37:26.919 --> 00:37:29.560
angelica at home

892
00:37:29.560 --> 00:37:30.879
A type of vegetable

893
00:37:30.879 --> 00:37:32.560
Angelica is good

894
00:37:32.560 --> 00:37:34.652
but if any dish you cook

895
00:37:34.652 --> 00:37:36.502
must have angelica in it

896
00:37:36.502 --> 00:37:39.080
it's hard to focus on cooking itself

897
00:37:39.080 --> 00:37:42.439
Just like that, keep that as is

898
00:37:42.439 --> 00:37:45.840
and don't let the detail tangle you up

899
00:37:45.840 --> 00:37:47.959
when you're designing the structure

900
00:37:47.959 --> 00:37:50.280
That helps the writer much more

901
00:37:50.280 --> 00:37:52.919
I briefly mentioned

902
00:37:52.919 --> 00:37:56.239
the plan of the whole story

903
00:37:56.239 --> 00:38:00.439
now is time to concretize the plan

904
00:38:00.439 --> 00:38:02.719
We started a story

905
00:38:02.719 --> 00:38:06.000
and finished it off by filling in act 2

906
00:38:06.000 --> 00:38:10.199
Now it's time to put this story into a specific format of a project book, a plan

907
00:38:10.199 --> 00:38:12.600
and share it

908
00:38:12.600 --> 00:38:14.320
We'll look into writing that

909
00:38:14.320 --> 00:38:16.600
in the next lecture

910
00:38:16.600 --> 00:38:17.966
Thank you

911
00:38:18.480 --> 00:38:19.830
Filling in story in act 2
Filling in story
Must focus on how protagonist changes in the middle of the beginning and the end of the story

912
00:38:19.830 --> 00:38:21.180
Author must remember the destination of the story but readers don't need to 
As the reader enjoys the process of the story they will be lead there

913
00:38:21.180 --> 00:38:22.530
Act 2s role: Conflict
Conflict between protagonist and side character
Conflict between protagonist and environment
Internal conflict of protagonist

914
00:38:22.530 --> 00:38:23.876
Act 3's role: Resolution
The meaning of resolution: It means that 'the problem disappears' or 'it no longer poses an issue'
The role of the third act is to ensure that a problem no longer exists

915
00:38:23.876 --> 00:38:24.829
Concretize act 2 and finish off the story
Concretize act 2
Act 2: a stage where plausibility to the ending is accumulated

916
00:38:24.829 --> 00:38:25.871
Protagonist's internal conflict must be shown enough for act 3's ending to be plausible
Act 3 must be determined before act 2, as the second act should progressively deepen conflicts and complicate the problem

917
00:38:25.871 --> 00:38:26.857
At the end of act 2, protagonist must face the largest conflict and a decision to make, which is the beginning of the climax of the story

918
00:38:26.857 --> 00:38:27.853

Storytelling method of webtoons
Long webtoons can have 3 act plots in act 2 episodes

919
00:38:27.853 --> 00:38:28.862
Fractal structure: many episodes can gather to construct act 2 of the whole story
Write down any scenes or dialogue that come to mind in a note, rather than incorporating them directly into the story