{"id":6093,"date":"2021-09-23T16:03:03","date_gmt":"2021-09-23T23:03:03","guid":{"rendered":"https:\/\/storymind.com\/blog\/?p=6093"},"modified":"2021-09-23T16:06:11","modified_gmt":"2021-09-23T23:06:11","slug":"free-story-structure-course-in-streaming-video","status":"publish","type":"post","link":"https:\/\/storymind.com\/blog\/free-story-structure-course-in-streaming-video\/","title":{"rendered":"Free Story Structure Course in Streaming Video"},"content":{"rendered":"\n
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Class One –\u00a0Introduction<\/p>\n\n\n\n

1. Introducing the Story Mind<\/a><\/p>\n\n\n\n

2. A Tale is a Statement<\/a><\/p>\n\n\n\n

3. A Story is an Argument<\/a><\/p>\n\n\n\n

4. The Dramatica Chart<\/a><\/p>\n\n\n\n

5. Dramatica & Short Stories<\/a><\/p>\n\n\n\n

6. Audience Reach<\/a><\/p>\n\n\n\n

7. Story Structure vs. Storytelling<\/a><\/p>\n\n\n\n

8. Writing Remakes<\/a><\/p>\n\n\n\n

9. The Story Mind (Revisited)<\/a><\/p>\n\n\n\n

10. The Four Throughlines (Part One)<\/a><\/p>\n\n\n\n

11. The Four Throughlines (Part Two)<\/a><\/p>\n\n\n\n

12. Bad Story Structure is No Joke<\/a><\/p>\n\n\n\n

13. Story Perspective<\/a><\/p>\n\n\n\n

14. The Story in Our Minds<\/a><\/p>\n\n\n\n

<\/p>\n<\/div><\/div>\n\n\n\n

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Class Two – Characters<\/p>\n\n\n\n

15. Introduction to Characters<\/a><\/p>\n\n\n\n

16. Dramatica Theory Overview<\/a><\/p>\n\n\n\n

17. Hero is a Four Letter Word<\/a><\/p>\n\n\n\n

18. Characters in “To Kill A Mockingbird”<\/a><\/p>\n\n\n\n

19. Characters vs. Players<\/a><\/p>\n\n\n\n

20. The 8 Character Archetypes (Part One)<\/a><\/p>\n\n\n\n

21. Objective & Subjective Characters<\/a><\/p>\n\n\n\n

22. The 8 Character Archetypes (Part Two)<\/a><\/p>\n\n\n\n

23. The 8 Character Archetypes (Part Three)<\/a><\/p>\n\n\n\n

24. Character Hand-Offs<\/a><\/p>\n\n\n\n

25. Subjective & Objective Characters<\/a><\/p>\n\n\n\n

26. Protagonist & Antagonist Archetypes<\/a><\/p>\n\n\n\n

27. Reason & Emotion Archetypes<\/a><\/p>\n\n\n\n

28. <\/a>Sidekick & Skeptic Archetypes<\/a><\/p>\n\n\n\n

29. Guardian & Contagonist Archetypes<\/a><\/p>\n\n\n\n

30. Uses of Archetypal Characters<\/a><\/p>\n\n\n\n

31. Archetypes in “Star Wars”<\/a><\/p>\n\n\n\n

32. Archetypes in \u201cWizard of Oz\u201d<\/a><\/p>\n\n\n\n

33. Character Dimensions<\/a><\/p>\n\n\n\n

34. Character Relationships (Part One)<\/a><\/p>\n\n\n\n

35. Character Relationships (Part Two)<\/a><\/p>\n\n\n\n

<\/p>\n<\/div><\/div>\n\n\n\n

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Class Three – Storyforming<\/a><\/p>\n\n\n\n

36. Introduction to Storyforming<\/a><\/p>\n\n\n\n

37. 8 Essential Writing Questions<\/a><\/p>\n\n\n\n

38. Character Resolve – Change or Steadfast Part 1<\/a><\/p>\n\n\n\n

39. Character Resolve – Change or Steadfast Part 2<\/a><\/p>\n\n\n\n

40. Character Growth – Start or Stop<\/a><\/p>\n\n\n\n

41. Character Approach – Do-er or Be-er<\/a><\/p>\n\n\n\n

42. Character Mental Sex – Male or Female<\/a><\/p>\n\n\n\n

43. Dramatica Terminology<\/a><\/p>\n\n\n\n

44. Story Driver – Action or Decision<\/a><\/p>\n\n\n\n

45. Story Dynamics in “Jaws”<\/a><\/p>\n\n\n\n

46. Story Limit – Time Lock or Option Lock<\/a><\/p>\n\n\n\n

47. Empathy, Sympathy & Mental Sex<\/a><\/p>\n\n\n\n

48. Story Outcome and Judgment<\/a><\/p>\n\n\n\n

<\/p>\n<\/div><\/div>\n\n\n\n

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Class Four – Theme<\/p>\n\n\n\n

49. Introduction to Theme<\/a><\/p>\n\n\n\n

50. Theme and the Dramatica Chart<\/a><\/p>\n\n\n\n

51. Motivations, Evaluations, Methods & Purposes<\/a><\/p>\n\n\n\n

52. Levels of the Story Mind<\/a><\/p>\n\n\n\n

53. The Four Points of View<\/a><\/p>\n\n\n\n

54. The Four Throughlines<\/a><\/p>\n\n\n\n

55. Story Perspective<\/a><\/p>\n\n\n\n

56. The Four Story Domains<\/a><\/p>\n\n\n\n

57. Story Domain Examples<\/a><\/p>\n\n\n\n

58. The Four Story Concerns<\/a><\/p>\n\n\n\n

59. The Four Story Issues<\/a><\/p>\n\n\n\n

60. The Four Story Problems<\/a><\/p>\n\n\n\n

61. Story Issues & Arguments<\/a><\/p>\n\n\n\n

62. Introduction to Premise<\/a><\/p>\n\n\n\n

63. Signposts & Journeys<\/a><\/p>\n\n\n\n

64. The 28 “Magic” Scenes (Part One)<\/a><\/p>\n\n\n\n

65. The 28 “Magic” Scenes (Part Two)<\/a><\/p>\n\n\n\n

66. The 28 “Magic” Scenes (Part Three)<\/a><\/p>\n\n\n\n

67. The 28 “Magic” Scenes (Part Four)<\/a><\/p>\n\n\n\n

68. The Thematic Conclusion<\/a><\/p>\n\n\n\n

69. From Premise to Conclusion<\/a><\/p>\n\n\n\n

70. How to Write Theme<\/a><\/p>\n\n\n\n

<\/p>\n<\/div><\/div>\n\n\n\n

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Class Five – Story Encoding<\/p>\n\n\n\n

71. <\/a>Introduction to Encoding<\/a><\/p>\n\n\n\n

72. Structural Story Points<\/a><\/p>\n\n\n\n

73. Advanced Story Points<\/a><\/p>\n\n\n\n

74. Encoding Domains & Concerns<\/a><\/p>\n\n\n\n

75. Encoding Issues & Problems<\/a><\/p>\n\n\n\n

76. Encoding in “The Fugitive” (Part One)<\/a><\/p>\n\n\n\n

77. Encoding in “The Fugitive” (Part Two)<\/a><\/p>\n\n\n\n

78. How to Break Structure<\/a><\/p>\n<\/div><\/div>\n\n\n\n

<\/p>\n\n\n\n

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Class Six – Plot<\/a><\/p>\n\n\n\n

79. Introduction to Plot<\/a><\/p>\n\n\n\n

80. Static vs. Progressive Plot Points<\/a><\/p>\n\n\n\n

81. Goals & Consequences<\/a><\/p>\n\n\n\n

82. Requirements & Forewarnings<\/a><\/p>\n\n\n\n

83. Dividends, Costs, Prerequisites & Preconditions<\/a><\/p>\n\n\n\n

84. The Story Goal<\/a><\/p>\n\n\n\n

85. Plot Points and the Dramatica Chart<\/a><\/p>\n\n\n\n

86. Progressive Plot Points<\/a><\/p>\n\n\n\n

87. The Magic Number Seven<\/a><\/p>\n\n\n\n

88. Act Progressions<\/a><\/p>\n\n\n\n

89. The Structure of Act Progression<\/a><\/p>\n\n\n\n

90. The 28 “Magic” Scenes Revisited<\/a><\/p>\n\n\n\n

91. Multi Appreciation Moments<\/a><\/p>\n\n\n\n

<\/p>\n<\/div><\/div>\n\n\n\n

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Class Seven – Storyweaving<\/p>\n\n\n\n

92. Introduction to Storyweaving<\/a><\/p>\n\n\n\n

93. Exposition<\/a><\/p>\n\n\n\n

94. Expectation<\/a><\/p>\n\n\n\n

95. Context<\/a><\/p>\n\n\n\n

96. Interpretation<\/a><\/p>\n\n\n\n

<\/p>\n<\/div><\/div>\n\n\n\n

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Class Eight – Genre<\/p>\n\n\n\n

97. Introduction to Genre<\/a><\/p>\n\n\n\n

98. The Four Modes of Expression<\/a><\/p>\n\n\n\n

99. The Genre Chart (Part One)<\/a><\/p>\n\n\n\n

100. The Genre Chart (Part Two)<\/a><\/p>\n\n\n\n

101. The Genre Chart (Part Three)<\/a><\/p>\n\n\n\n

102. The Genre Chart (Part Four)<\/a><\/p>\n\n\n\n

103. The Genre Chart (Part Five)<\/a><\/p>\n\n\n\n

<\/p>\n<\/div><\/div>\n\n\n\n

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Class Nine – Story Reception<\/p>\n\n\n\n

104. Introduction to Reception<\/a><\/p>\n\n\n\n

105. Author as Audience<\/a><\/p>\n\n\n\n

106. Who Are You Writing For?<\/a><\/p>\n\n\n\n

107. Writing For Disposable Tribes<\/a><\/p>\n\n\n\n

108. Writing for Ethnic Groups, Women, Men & Children<\/a><\/p>\n\n\n\n

109. Bias & Propaganda<\/a><\/p>\n\n\n\n

110. Reception of Characters, Plot, Theme & Genre<\/a><\/p>\n\n\n\n

111. Audience Expectations<\/a><\/p>\n\n\n\n

112. Subplots<\/a><\/p>\n\n\n\n

113. Hidden Meanings in “Citizen Kane”<\/a><\/p>\n<\/div><\/div>\n\n\n\n

<\/p>\n

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Class One –\u00a0Introduction 1. Introducing the Story Mind 2. A Tale is a Statement 3. A Story is an Argument 4. The Dramatica Chart 5. Dramatica & Short Stories 6. Audience Reach 7. Story Structure vs. Storytelling 8. Writing Remakes 9. The Story Mind (Revisited) 10. The Four Throughlines (Part One) 11. The Four Throughlines (Part Two) 12. Bad Story Structure is No Joke 13. Story Perspective 14. The […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true},"categories":[1],"tags":[],"class_list":["post-6093","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p36xpN-1Ah","jetpack_likes_enabled":false,"_links":{"self":[{"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/posts\/6093","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/comments?post=6093"}],"version-history":[{"count":2,"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/posts\/6093\/revisions"}],"predecessor-version":[{"id":6105,"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/posts\/6093\/revisions\/6105"}],"wp:attachment":[{"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/media?parent=6093"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/categories?post=6093"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/storymind.com\/blog\/wp-json\/wp\/v2\/tags?post=6093"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}