[{"data":1,"prerenderedAt":694},["ShallowReactive",2],{"\u002F2019-09-04-the-story-solution-note":3},{"id":4,"title":5,"body":6,"date":672,"description":12,"extension":673,"meta":674,"navigation":677,"path":689,"seo":690,"stem":691,"tags":692,"__hash__":693},"blogs\u002F_legacy\u002F2019\u002F2019-09-04-%e3%80%8athe-story-solution%e3%80%8b%e7%ac%94%e8%ae%b0.md","《The story solution》笔记",{"type":7,"value":8,"toc":660},"minimark",[9,13,21,24,27,31,34,65,68,71,74,77,100,103,106,109,112,115,120,123,128,131,134,137,140,143,146,149,152,155,158,161,164,169,174,177,182,187,192,195,200,203,208,211,214,217,220,223,226,229,232,258,261,264,267,270,273,276,279,282,285,288,291,294,297,300,303,306,309,312,645,648,651,654,657],[10,11,12],"p",{},"这本书的副标题很恐怖，感觉上有点像是《7天学会Java编程》。",[10,14,15,16,20],{},"内容的话其实还算正统，介绍了一些基础之后推广了",[17,18,19],"strong",{},"英雄目标序列","创作工具。",[10,22,23],{},"介绍的创作方式是，首先要为故事找到一个主题，而这个主题就是主角发现自我的旅途：",[10,25,26],{},"为了——你必须——",[28,29,30],"h2",{"id":30},"人物",[10,32,33],{},"作为主角的人物必须引发观众的共鸣，作者给出了九个要素：",[35,36,37,41,44,47,50,53,56,59,62],"ul",{},[38,39,40],"li",{},"勇气",[38,42,43],{},"不公平的伤害",[38,45,46],{},"本事",[38,48,49],{},"幽默",[38,51,52],{},"善良",[38,54,55],{},"身处险境",[38,57,58],{},"受到朋友和家人的深爱",[38,60,61],{},"努力",[38,63,64],{},"执着",[10,66,67],{},"人物改变需要吸引观众，就需要必要的赌注。而最好的表达方式，就是生死攸关。无论这是字面意义上的还是隐喻意义上的。",[10,69,70],{},"另外需要注意的是，改变必须由主人公发起，一个被动的主人公很难吸引观众。",[28,72,73],{"id":73},"冲突",[10,75,76],{},"作者将冲突分为两个层次：来自外部世界的冲突和情感、内心等个人的冲突。对于冲突，需要：",[35,78,79,82,85,88,91,94,97],{},[38,80,81],{},"冲突必须激烈",[38,83,84],{},"冲突必须可见",[38,86,87],{},"冲突必须凶险",[38,89,90],{},"冲突必须不断发展和升级、带给主人公更多的挑战",[38,92,93],{},"冲突必须令观众意外",[38,95,96],{},"冲突必须令人信服",[38,98,99],{},"冲突必须以有意义的方式解决",[10,101,102],{},"为了让故事的冲突拥有足够的戏剧效果，一个看似不可战胜的对手是最好的。",[10,104,105],{},"冲突是所有剧本的心脏和灵魂。",[28,107,108],{"id":108},"人物要素",[10,110,111],{},"电影中的每一个人物只能来自于这个类型清单。",[10,113,114],{},"这里有个问题，就是一个人物的类型是由最终故事中的行为来决定的，而有时候在故事发展过程中，却是可以伪装的。",[10,116,117],{},[17,118,119],{},"主人公",[10,121,122],{},"还有一些派生的种类：非传统英雄、悲剧英雄、搞笑式英雄、催化剂英雄",[10,124,125],{},[17,126,127],{},"对手\u002F反派",[10,129,130],{},"相比其他任何人物，对手是主人公最强劲的敌人",[10,132,133],{},"对手不应该是一队人马或一个概念，而应是个体",[10,135,136],{},"一个看似无法击败的强大对手",[10,138,139],{},"对手深信自己的述求，并认为对抗和阻止被高估的主人公是正确的事情",[10,141,142],{},"心理学上，对手可以正是主人公自己的另一面",[10,144,145],{},"对手可能会指使帮凶对抗主人公",[10,147,148],{},"主人公不应该成为自己的对手，否则无法建立可见的和引人注意的冲突。",[10,150,151],{},"自然灾难不是对手",[10,153,154],{},"对手可以是一个伪装的“变形者”",[10,156,157],{},"对手并不总是一个恶人",[10,159,160],{},"对手即便在故事中处于支配地位也不能替代主人公",[10,162,163],{},"当浪漫成为主要情节，则爱恋对象成为对手",[10,165,166],{},[17,167,168],{},"爱恋对象",[10,170,171],{},[17,172,173],{},"导师",[10,175,176],{},"可以有负面导师，可以有多个导师。",[10,178,179],{},[17,180,181],{},"伙伴",[10,183,184],{},[17,185,186],{},"边界护卫",[10,188,189],{},[17,190,191],{},"其他盟友人物",[10,193,194],{},"对照盟友、喜剧盟友、帮手-追随者盟友、有望成为救星的盟友（一般不会成功）、助威的盟友、深陷险境的盟友",[10,196,197],{},[17,198,199],{},"对立人物",[10,201,202],{},"对手代理人、独立的麻烦制造者、反派的小喽啰",[10,204,205],{},[17,206,207],{},"氛围人物",[28,209,210],{"id":210},"结构",[10,212,213],{},"电影故事结构的十大基本要素：",[10,215,216],{},"第一幕——故事建置段落",[10,218,219],{},"第二幕——冲突递增的发展段落",[10,221,222],{},"第三幕——情节解决段落",[10,224,225],{},"引发事件——第一幕中开始这一特定故事的时刻",[10,227,228],{},"惊人意外#1——结束第一幕并开始第二幕的意外事件，把主人公推进一个全新的世界",[10,230,231],{},"中间点——在这重要的场景组合中可能包括以下特征：",[35,233,234,237,240,243,246,249,252,255],{},[38,235,236],{},"在基调和风格上，中间点的感觉都不同于剧本其他部分，并常有配以音乐的转场蒙太奇",[38,238,239],{},"中间点场景作为情感或行动层面的无路可退的临界点",[38,241,242],{},"主人公于对手的冲突变成个人恩怨",[38,244,245],{},"伙伴第一次作为一个真正的团队精诚联手",[38,247,248],{},"常包括一个事实上或隐喻上的揭露",[38,250,251],{},"中间点几乎总是包含人物成长的第二大步",[38,253,254],{},"常伴有倒计时来增强焦虑",[38,256,257],{},"常有事实上或隐喻上的死亡和重生时刻",[10,259,260],{},"第二幕高潮——戏剧性行动逐渐增强，主人公期盼的胜利近在咫尺",[10,262,263],{},"惊人意外#2——令人惊讶的戏剧反转，通过打碎主人公的求生计划来结束第二幕并开始第三幕（偶尔可以是好消息）",[10,265,266],{},"必须场景——主人公和对手之间的第三幕决战时刻，这将彻底解决最主要的情节问题",[10,268,269],{},"结局——解决所有未了结的情节问题和关系",[28,271,272],{"id":272},"人物成长",[10,274,275],{},"人物成长场景的三个场景全部发生在第二幕",[10,277,278],{},"场景1：表达",[10,280,281],{},"主人公表达（有意或无意的）束缚他的情感包袱的本质，必须通过行为和态度来达到，而不是让主人公直接说出来。",[10,283,284],{},"场景2：斗争",[10,286,287],{},"在中间点，主人公终于对抗他的自我孤立和创伤心态——但是这次尝试没有成功。",[10,289,290],{},"场景3：克服",[10,292,293],{},"主人公终于克服和战胜了孤立的情感防御体系。",[10,295,296],{},"在第三幕之初，虽然情感防御可能重现，但他很快意识到人物成长是根深蒂固的——他已经不再是从前的自己，而是一个最终能实现故事情节目标的更加成熟的人。",[10,298,299],{},"这三个场景构成了第二幕中的情感故事线。",[28,301,302],{"id":302},"英雄目标段落",[10,304,305],{},"一个英雄目标段落通常是2～4个场景，在段落内，主人公追求一个短期的有形目标，向着实现故事中最终胜利跨前一步。随后，主人公发现新情况的某种形式的新信息，这标志当前目标的结束并带出一个新的短期的行动目标——由此开启下一段英雄目标段落。",[10,307,308],{},"按照幕来划分的话，第一幕固定为6个目标段落，第二幕由中间点分割为前后6个目标段落。第一幕结束的目标段落HGS#6为惊人意外#1，而第二幕结束的HGS18为惊人意外#2。",[10,310,311],{},"这里的目标段落仅涉及主人公参与的剧情部分，不计算任何次要情节。也就是说，在HGS#1前面可以有一个开场的次要情节的情节钩子之类的。实际上加上这一点后，HGS本身就只是一条模糊的主线而已。",[313,314,315,320,323,326,329,332,337,340,343,346,351,354,357,360,363,366,371,374,377,380,383,386,391,394,397,400,403,408,411,414,417,422,425,428,431,434,437,442,445,448,451,454,457,462,465,468,471,474,479,482,485,488,491,496,499,502,505,508,511,516,519,522,525,528,531,534,537,542,545,548,551,554,559,562,565,568,571,576,579,582,585,588,593,596,599,602,605,610,613,616,619,622,627,630,633,636,639,642],"blockquote",{},[10,316,317],{},[17,318,319],{},"HGS#1",[10,321,322],{},"给观众呈现一小段主人公当前的日常生活",[10,324,325],{},"给观众迅速喜欢主人公的理由，即便是探讨人性阴暗面的剧本中的非传统英雄",[10,327,328],{},"让观众第一次看见主人公的情感保护壳",[10,330,331],{},"建立主人公追求的短期目标的方向，即使是上班，这样我们可以认识在追寻中遭遇一些不公平的伤害和危险的主人公",[10,333,334],{},[17,335,336],{},"HGS#2",[10,338,339],{},"核心的冲突以总体的方式呈现，同时推动故事发展的情节开始",[10,341,342],{},"引发事件也最常出现于此，作为故事的催化剂事件",[10,344,345],{},"主人公特定的情感伤痛的第一个暗示常在次显露",[10,347,348],{},[17,349,350],{},"HGS#3",[10,352,353],{},"主人公面对历险召唤",[10,355,356],{},"新的情节提升人物登场",[10,358,359],{},"故事节奏加快",[10,361,362],{},"爱恋对象初次登场，或已出场的人物的爱情功能得以建立并挑战主人公的情感",[10,364,365],{},"针对主人公的陷阱已布好",[10,367,368],{},[17,369,370],{},"HGS#4",[10,372,373],{},"继续呈现新人物和关系发展",[10,375,376],{},"通常导师人物会登场，此前如果仍未登场的爱恋对象或伙伴则也该出场",[10,378,379],{},"随着主人公追求他的总体目标，节奏进一步加快",[10,381,382],{},"主人公被迫冒险",[10,384,385],{},"主人公掉入HGS#3中布下的陷阱",[10,387,388],{},[17,389,390],{},"HGS#5",[10,392,393],{},"主人公的主要渴望得以揭示",[10,395,396],{},"重新考虑历险召唤中存在的任何危险的可能，主人公随时有可能拒绝召唤",[10,398,399],{},"主人公陷入之前设好的陷阱——除非这已经在HGS#4中发生了",[10,401,402],{},"主人公必须在HGS#4或者HGS#5进入陷阱，因为在HGS#6中，陷阱机关必须生效",[10,404,405],{},[17,406,407],{},"HGS#6",[10,409,410],{},"陷阱机关启动，困住主人公",[10,412,413],{},"惊人意外#1发生",[10,415,416],{},"主人公追求的贯穿第二幕的特定的行动目标变得清晰",[10,418,419],{},[17,420,421],{},"HGS#7",[10,423,424],{},"主人公绞尽脑汁寻觅良策，独立应对或与他人合作",[10,426,427],{},"主人公担起电影特定的情节目标，这需要相当的挣扎和努力",[10,429,430],{},"主人公的内心冲突显现……",[10,432,433],{},"……和揭示出电影的主题",[10,435,436],{},"新人物走进主人公的挣扎，他必须开始辨别敌友",[10,438,439],{},[17,440,441],{},"HGS#8",[10,443,444],{},"对手的力量得到展现",[10,446,447],{},"风险增高",[10,449,450],{},"主人公经受训练或得到教导来掌握前路斗争所需的特定技能",[10,452,453],{},"盟友和敌人进一步确立",[10,455,456],{},"当主人公或他的亲近之人言语间表达出他内心的情感问题时，人物成长的第一步时常出现",[10,458,459],{},[17,460,461],{},"HGS#9",[10,463,464],{},"推高紧张度和提升节奏或故事力量的行动迸发或情感强烈的时刻出现",[10,466,467],{},"主人公展现他的身体能力",[10,469,470],{},"主人公冒险一搏，却事与愿违",[10,472,473],{},"主人公考虑放弃",[10,475,476],{},[17,477,478],{},"HGS#10",[10,480,481],{},"主人公受挫倍遭打击",[10,483,484],{},"主人公咨询新的导师",[10,486,487],{},"一个出人意料的行动障碍突然出现",[10,489,490],{},"主人公没有出现的次要情节的旁切场景展开",[10,492,493],{},[17,494,495],{},"HGS#11",[10,497,498],{},"主人公接近对手的虎穴或权力中心",[10,500,501],{},"冲突变得越发激烈",[10,503,504],{},"主人公和对手的代理人的战斗爆发",[10,506,507],{},"风险和紧迫性都猛烈飙升",[10,509,510],{},"由导师提供培训、指导或咨询的最后机会",[10,512,513],{},[17,514,515],{},"HGS#12",[10,517,518],{},"主人公到达无路可退的十字路口，一旦跨过便无回头的可能性",[10,520,521],{},"人物成长的重要的第二步出现，此时主人公直接对抗阻碍他实现自我目标的内心冲突",[10,523,524],{},"同伙伴的搭档关系正式确立，加深了彼此的承诺",[10,526,527],{},"基调和叙事风格不同于电影中的其他任何部分",[10,529,530],{},"倒计时开始",[10,532,533],{},"事实上或象征性地卸下伪装，内在真心得以揭示",[10,535,536],{},"以事实上或象征性的死亡和重生的出现来代表主人公幼稚的结束和成熟的开始",[10,538,539],{},[17,540,541],{},"HGS#13",[10,543,544],{},"主人公带着重拾的勇气向前挺进",[10,546,547],{},"一个新的难题突然出现",[10,549,550],{},"主人公再一次拿起他那破损的自我保护和孤立的内心情感保护壳",[10,552,553],{},"主人公和对手之间的冲突已经变得极为私人的额外证据出现",[10,555,556],{},[17,557,558],{},"HGS#14",[10,560,561],{},"节奏略微放缓和为主人公提供了一个沉思时刻",[10,563,564],{},"爱恋对象或伙伴，或者甚至是主人公自己带出他此刻尚不愿意面对的内心的冲突问题",[10,566,567],{},"一个挑战主人公的重要的新想法出现",[10,569,570],{},"重要的新想法为在HGS#15中即将出现的第二个行动迸发做好了铺垫",[10,572,573],{},[17,574,575],{},"HGS#15",[10,577,578],{},"行动迸发中的行动或能量，又或戏剧冲突让事件骤然激烈起来",[10,580,581],{},"主人公体验到胜利的假象，或至少相信他能和对手平分秋色，所以他的终极目标看起来也不是遥不可及",[10,583,584],{},"主人公短暂的安全感转瞬即逝",[10,586,587],{},"牢固的感情关系可以激励主人公闯过行动迸发",[10,589,590],{},[17,591,592],{},"HGS#16",[10,594,595],{},"戏剧能量继续抬升，不是作为更多的动作冲突，而是作为冲突的强度持续上升",[10,597,598],{},"主人公对自己的能力和判断感到信心满满，并重新投身到终极的现实目标",[10,600,601],{},"主人公对核心的故事冲突发现了一些新的视角",[10,603,604],{},"人物成长的第三步可以发生在此，主人公战胜了他的内心冲突",[10,606,607],{},[17,608,609],{},"HGS#17",[10,611,612],{},"为与对手或对手的代理人在第二幕的高潮中摊牌决战做好了最后的准备",[10,614,615],{},"对手的力量以主人公最为个人的方式得以再一次证明",[10,617,618],{},"倒计时接近零点，或致命危险步步逼近",[10,620,621],{},"当主人公怎么他为何与众不同时，他的勇气的力量得以展现——通常通过战胜他的内心冲突的人物成长的第三步",[10,623,624],{},[17,625,626],{},"HGS#18",[10,628,629],{},"一个比常规更长的段落——有时候会长达10分钟或以上",[10,631,632],{},"第二幕的高潮到达了冲突与行动的顶点——但这没有彻底解决故事的核心问题",[10,634,635],{},"主人公展现成长的新自我",[10,637,638],{},"主人公相信自己已经战胜了内心冲突",[10,640,641],{},"惊人意外#2带给主人公整个故事中最大的反转——通常是消极的",[10,643,644],{},"在浪漫喜剧中，感情中核心的谎言或欺骗常州惊人意外#2中得到揭露，背叛的痛苦让恋人看似彻底分手",[28,646,647],{"id":647},"第三幕",[10,649,650],{},"如果惊人意外#2是积极的，基本上只会有两个序列，一个作为必备场景，一个是结局场景。",[10,652,653],{},"如果相反的，那么主人公则在受到打击后进入最后的决战的必备场景，这样就会需要将HGS#19作为缓冲，然后才有必备场景和结局场景。",[10,655,656],{},"如果需要四个场景的话，通常都是为了对次情节进行回收，或者需要一些额外的准备。",[10,658,659],{},"通常第三幕不会太长，否则会破坏叙事结构和观众的情感预期。",{"title":661,"searchDepth":662,"depth":663,"links":664},"",2,3,[665,666,667,668,669,670,671],{"id":30,"depth":662,"text":30},{"id":73,"depth":662,"text":73},{"id":108,"depth":662,"text":108},{"id":210,"depth":662,"text":210},{"id":272,"depth":662,"text":272},{"id":302,"depth":662,"text":302},{"id":647,"depth":662,"text":647},"2019-09-04","md",{"layout":675,"status":676,"published":677,"author":678,"author_login":680,"author_email":681,"wordpress_id":682,"wordpress_url":683,"date_gmt":684,"excerpt":685},"post","publish",true,{"display_name":679,"login":680,"email":681,"url":661},"风铃","flinkor","flinkor@foxmail.com",2684,"\u002F?p=2684","2019-09-04 14:59:18 +0000",{"type":7,"value":686},[687],[10,688,12],{},"\u002F2019-09-04-the-story-solution-note",{"title":5,"description":12},"_legacy\u002F2019\u002F2019-09-04-%e3%80%8athe-story-solution%e3%80%8b%e7%ac%94%e8%ae%b0",[],"k8IRJYqwfJPVFiYOON19tr0QKmv4FIEtHJwdyirc9mI",1788763182529]