Kate Wright Sequence#3 of 12 ?

Randall_Oelerich

Randall_Oelerich

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I am having difficulty fully grasping the 'Story Complication' element of Sequence #3 as discussed in Kate Wright's book on sequencing. Can anybody help me get clear on this? Below is Wright's description of sequence#3 elements, maybe give an example of this element in a well known movie/story? ~randall

Scene Sequence 3 : In classic storytelling terms, the protagonist is reluctant to accept the mission: The secret here is that the reluctance reveals the main character's flaw to the audience, but not necessarily to herself. In the context of the protagonist's newly revealed vulnerability, the storyteller then introduces the story complication. Caution, storytellers: This is more than a plot point! The story complication is a story point that reflects itself throughout the entire story: 1) it opposes the dramatic situation, 2) it contradicts the story concept, and 3) it platforms the protagonist's moral choice. It also gives momentum to the story, and necessitates introducing a new character who reflects the protagonist's vulnerability and featured character flaw. This new character, who usually reflects the theme, assists the protagonist in making, the difficult moral choice within the story, which the audience hopes is to accept the difficult path presented by the mission. This decision forces the protagonist to overcome internal conflict, embrace the difficult moral conflict, accept the goal or mission of the story, and enter the world where the story takes place.



 
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Sequences
Each scene is made up of a series of shots. Each sequence is made up of a series of scenes. Each sequence builds upon the next sequence to create story progression. Story progression occurs when story sequences build upon one another in a logical way, moving the story forward through character conflict. In a major motion picture, or studio picture, there are usually 12 sequences that build towards the final climax. The story moves forward in 12 major story beats, or film sequences, that reflect the 12-Sequence Story. Here is a shorthand summary:

My 2 cents: I'm not at all clear on what she is talking about but here's my take on it using Star Wars.

Star Wars: While searching for the run away droids Luke is attacked by Sand People. He's knocked out by one of them and saved by old Ben Kenobi.

1. The main character faces a strong moral dilemma in achieving a goal.


To go save the Princess, Rebellion & the Republic or stay on his Uncle's farm. Old Ben Kenobi offers Luke the opportunity. He refuses.


2. The antagonist poses opposition, both morally and to the goal.

The Storm Troopers, while searching for the droids murder Luke's Aunt & Uncle and burn the farm.

3. The main character confronts the major complication, but proceeds into the story.

Luke finds the his Aunt & Uncle murdered, his old life is over. He accepts Ben's invitation to save the Republic, fight the Empire and save the Princess.
1) it opposes the dramatic situation,

This choice will upset the natural balance of Luke's life. All he wanted was to get the Droids ready for the Harvest. Now look at the mess he's in.

2) it contradicts the story concept, and

I don't fully understand this statement. [I might be dead wrong for this whole thing according to her views.]


3) it platforms the protagonist's moral choice.

This choice makes a huge difference to the future of Luke Skywalker. He takes a side in the big Galatic conflict. The choice is to do nothing or join in the Rebellion. That's a very big moral choice.

It also gives momentum to the story, and necessitates introducing a new character who reflects the protagonist's vulnerability and featured character flaw.

Luke's flaw, is that he's young, innocent and not yet matured.

This new character, who usually reflects the theme, assists the protagonist in making, the difficult moral choice within the story, which the audience hopes is to accept the difficult path presented by the mission.

This could be Ob--one-Kenobi or Hans Solo. I think it's Ben the mentor.
Obi-one has maturity, wisdom, he's clearly on one side of getting involved, he's a warrior, a Jedi. Ben takes the hero's invitation because... that's what a hero does. He would never stay on his Uncle's farm and work while a huge war of great consequence is going on.

This decision forces the protagonist to overcome internal conflict, embrace the difficult moral conflict, accept the goal or mission of the story, and enter the world where the story takes place.Luke goes with Old Ben Kenobi. He chooses to go.


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4. The story moves into a new world, and the main character makes an achievement.

Luke joins Obi-one-Kenobi and they head into town to seek passage to Elderon. It's there they meet Hans Solo & Chewbacca while avoiding Storm Troopers

5. The antagonist takes control of the story, sets the counter-plot in motion.

The Death Star pulls Han's Space ship into it.

6. The main character moves forward, believing himself to be victorious, but finds the antagonist to be equal and opposing.
7. The main character restates the goal, with renewed conviction, but experiences his first setback.
8. The antagonist spins the counter-plot forward, and achieves momentum against the main character.
9. The protagonist experiences defeat at the hand of the antagonist, and loses his moral strength.
10. The protagonist loses the will to achieve his goal, but resuscitates his motivation and moral strength.
11. The protagonist restates his goal and summons up his moral courage. The antagonist restates his mission to destroy the protagonist, as well as his motivation and courage.
12. The protagonist and antagonist prepare for confrontation, but the protagonist experiences an epiphany of moral courage that gives him what it takes to defeat the antagonist. The story resolves with the protagonist understanding his life with renewed meaning and understanding.
 
I am a bit more clear on this, read Wright's book a bit more on this sequence (#3), and her example of Titanic helped. Rose, the protagonist, is in the dramatic situation of heading to America, engaged to marry a cad fiance and live a life she detests. Then along comes the story complication-- Jack, the new character (Leonardo DiCaprio), who complicates everything, forces Rose to rethink her entire moral choice of whether to marry someone she does not love (the cad), whether to marry for money which her family / mother sorely needs.
 
I don't know Kate's material but it sounds as the #3 item in question is basically the 25% turning point where ACT II starts.

In the case Of Titanic, as stated, it's where the story starts where Rose's life goes crazy, she meets Jack and real love takes hold.

In Star Wars Luke joins Old Ben Kenobi and his life goes crazy and he begins the hero's journey.

Now I'm curious and will have to read her book as well. ... thx! ... another book.
 
It is the same as what Chris Vogler calls "Refusal of the call" in The Writer's Journey. See his story points in this article.

http://filmschoolnow.com/gurus.html


Something happens in the story and the main character does not want to have to do anything to correct it. They want life to go back to the way it was prior to this event. So they try and ignore it...hoping it will go away or someone else will take care of the problem. But it isn't to be! They will have to take action to solve the problem. They will have to make a move. This first action they take launches them into Act 2 and the new world. You have to determine what happens or what causes them to finally take a simple action to solve the problem. They think this simple action will solve the problem, but they have no idea how difficult it is going to get.
 
Refusal of the call often happens prior to the 25% turning point.

In Star Wars, ( I'll use this as an example because George Lucas studied Joseph Campbell's work while writing Star Wars, therefor it follows the traditional hero's journey model.) Volger's work is based on Campbell's work.

In Star Wars, when Luke is saved by old Ben Kenobi and the R2D2 droid displays the holographic plea of Princess Leia, Luke learns Old Ben was a Jedi ... in which Obi-One-Kenobi offers Luke the opportunity to come along and save the Princess, join the Rebellion and restore the Republic. Luke refuses, he has to help his Uncle on the farm and then maybe he can attend the academy if he's lucky and anyway, he's just a kid, etc... all sorts of good valid excuses. Luke refuses the call to the Hero's journey. It's only after Luke returns home and sees his Aunt & Uncle's roasted bodies and the farm has been burned to the ground by th Empire'sl Storm Troopers that he accepts Obi's call. Now the real story begins. This is the 25% turning point when the Main character/hero's life comes unwound and things get interesting.
 
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Looking at other examples.
JAWS - Chief Brody and the Mayor thought the first victim was the result of a boating accident...they refused to think it was something worse...so they refused the call...refused to accept the mission that it could be worse. Let's get life back to normal and it will all go away. Things are great. Chief Brody had several things pulling on him...if he closes the beaches then the town will lose money, but then if he doesn't close the beaches someone could be killed again. Either choice was a tough choice and so he chose to think it was a boating accident and everything was great again. Then his worst nightmare came true. It turned out to be a shark and attacked again. Now he has to take action...he has to go into this new world of hunting down a killer shark...he has to close the beaches and risk the whole town going out of business from lack of vacationers.

Gladiator - Maximus refuse the call to go to Rome to save the empire...instead he wanted to return to his family...his wife and son so he refuses the call..refuses to accept the mission...then he is almost murdered by Commodus' men and his family is murdered. His old life is over...time to accept the call and he eventually ends up in Rome...which was the original refusal before Act 2.

Wizard of Oz - Dorothy wants to run away with Toto at the start...nobody pays attention to her...she doesn't feel loved...she won't let them take Toto away, so she decides to run away to a better place...but then she refuses the call...refuses the mission and as she is running back home the tornado hits. She lands in Oz...the new world with new rules and she must take action to get back home. It'll be easy to get back home...just follow the yellow brick road...piece of cake right? Except for the wicked witch, flying monkeys, etc. This film is probably the best textbook example for all these story structure points. The antogonist is actually an evil witch...she finds allies along the road to get her home and they all have flaws they wish to solve. Together they all get their wish and good triumphs over evil.

So we have a clear protagonist and clear antagonist in these examples. Makes it easy to like the hero and hate the anti-hero.

Anti-hero stories like Scarface are a bit different, but you can still find the same points in the script. Watching Tony's progression into the new world of drugs and big money. It all started with his hit on the man in the refuge camp...that was his acceptance of the mission...his big move...and him quitting his dishwashing job. It launched him into the new world.
 
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You're welcome. Your questions helped me figure it out too...and analyzing a couple of films always helps. We can take almost any film and find similar story points. Not to get too structured, but these are elements that make up a great story. Tough choices for the hero and life and death consequences always up the ante.
 
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