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Season 5 Episode 17 | Recorded May 26th, 2021

The Atomic Modalities of Story Structure

Bringing an appreciation of cycles to your next story

In this class, Jim discusses the new Atomic Modalities of story structure added to Subtext. Known previously under the banner of simply Modalities of Scene Structure, these classifications can now be found at every level within the narrative model. In this comprehensive overview, the Temporal Modalities of Growth (1), Expansion (2), Transformation (3), and Transcendence (4) take center stage.

NOTE: In the video Jim refers to the Modalities as Renewal, Living, Dying, Death--and while those may seem appropriate from a Linear viewpoint, the Holistic perspective rarely thinks in terms of re-birth and/or dying.

Live Transcription

00:00:06.000 --> 00:00:24.000 Hello, welcome to conflict corner, season two episode six, I believe, or it's by john cannot be with us here today. So I'm going to do an amazing show about something I had nothing planned but I have tons of talk about.

00:00:24.000 --> 00:00:36.000 So this would be a great opportunity to go through everything and discuss, even just using this in the last week, with people with writers has been an amazing.

00:00:36.000 --> 00:00:39.000 And the difference.

00:00:39.000 --> 00:00:50.000 Like somebody just said they said this is like the greatest thing that they've ever used when it comes to storytelling and something that was previously really dead, like the end of an act.

00:00:50.000 --> 00:01:05.000 It was the last act of the three and the fourth signpost, and it was completely dead, because it was investigation appraisal reappraisal doubt which are the most boring terms, and dramatic a model that you could possibly have.

00:01:05.000 --> 00:01:21.000 He actually like taking the new classifications of sin structure those, the potential resistance current in power, and then also the new, he hasn't done the new 1234 stuff.

00:01:21.000 --> 00:01:40.000 But, applying those to the actual story beats, just brought it all together to the fact where this is like really high level stuff but just to cut to, you know how usually you have the four beats, and then I want to share so just looking at me.

00:01:40.000 --> 00:01:46.000 If you come into something like investigation.

00:01:46.000 --> 00:01:53.000 Investigation appraisal rephrase on doubt right so usually especially if this is the last signpost of your story.

00:01:53.000 --> 00:02:00.000 This one will kind of set up the climax then these to play out the climax and it's almost like this one finishes it.

00:02:00.000 --> 00:02:10.000 And then this part is kind of like the aftermath of it so you need to see like how it all turned out, and it's usually quite boring, it's, it works fine but it's not, it's not amazing.

00:02:10.000 --> 00:02:25.000 So what he did when he went back over it he actually turn these into like really interesting amazing stuff like I can't quite use it but maybe I can take some of the storytelling and turn it around and use it as an example for next week, but taking, you

00:02:25.000 --> 00:02:43.000 know, I believe it was just potential resistance current empowered and just using those for each story be actually made it so that this last down part was the actual final climactic moment that like sealed everything and brought together as the most amazing

00:02:43.000 --> 00:02:54.000 thing I've ever seen was great. It was like, whereas like the first, second and third signposts are really really really strong but then the fourth one just, it just kind of ends, and people are like, really exhausted and just want to get it finished

00:02:54.000 --> 00:03:11.000 with this just made it just as strong as the first three, and gave it a life to it that was phenomenal. Really cool. So instead of this just being like the ending point that's the outcome and there's actually like some juicy bits in here that continued

00:03:11.000 --> 00:03:13.000 the entire thing.

00:03:13.000 --> 00:03:27.000 So, so what am I talking about when it comes to all this stuff. So, a long time ago, I wrote this article here about writing perfect scene structure with dramatic games before you get into this Can I just ask a clarifying question about what you were

00:03:27.000 --> 00:03:42.000 just saying, what, when you were saying that it originally like it wasn't originally working out that well or, you know, there was sort of that last piece of sort of data.

00:03:42.000 --> 00:03:45.000 Cut out Mike

00:03:45.000 --> 00:03:49.000 will be up to

00:03:49.000 --> 00:03:52.000 our students, you guys hear me OK now.

00:03:52.000 --> 00:03:54.000 We'll try it one more time.

00:03:54.000 --> 00:03:57.000 Shoot on getting messages that my.

00:03:57.000 --> 00:04:02.000 Yeah. Can you hear me now or. Yeah.

00:04:02.000 --> 00:04:03.000 Yeah.

00:04:03.000 --> 00:04:05.000 You're okay now.

00:04:05.000 --> 00:04:08.000 You just went okay well it's a minute.

00:04:08.000 --> 00:04:21.000 Yeah, I think it was something with my internet connection I might have to switch something but, but, yeah, I was just wondering whether it was this particular quad that you thought was causing the problem or it was just that was a problem in general

00:04:21.000 --> 00:04:27.000 for the end of the story and then the last week.

00:04:27.000 --> 00:04:44.000 Both because usually investigation appraisal reappraisal doubt end up in the last signpost, right, because if you look, if you go one step higher and you're looking at memory pre conscious subconscious so this usually ends up for a lot of times it ends

00:04:44.000 --> 00:05:02.000 up in the last part, and they're really super boring when it comes to at least for me now, it could just be my own personal opinion but this does not inspire, any kind of really cool storytelling whereas this gives me tons of storytelling, or if I went

00:05:02.000 --> 00:05:15.000 into obtaining I'm like oh yeah that's easy that's really awesome. You know people sacrificing themselves for the greater good looking at this is like, Oh, what is this.

00:05:15.000 --> 00:05:25.000 Okay. I wonder what's going on here. You know what we should try something different. okay let's change our mind. Well that worked out.

00:05:25.000 --> 00:05:28.000 There's nothing to it.

00:05:28.000 --> 00:05:32.000 Regardless of whether or not it's like some kind of independent really fun.

00:05:32.000 --> 00:05:47.000 You know, character based, drama, or if it's something that's more action oriented this just to me does not inspire anything. So then, just by virtue of having that he was like really excited.

00:05:47.000 --> 00:05:50.000 It was great. It's like a complete night and day sort of thing.

00:05:50.000 --> 00:06:03.000 He's really super talented but putting those just the, the potential reasons for current car and then also the knowledge that ability and desire, just putting those on made a huge difference.

00:06:03.000 --> 00:06:21.000 So, what I'm talking about here are these beats here, I think. Did I answer that Mike, I did right absolutely I think I'm really getting, like part of it too is like you're almost getting by applying those other pieces of it, you're maybe like getting

00:06:21.000 --> 00:06:36.000 your, your mind closer to, you know, somebody that that might have just come up with it on their own sort of like, you know what I mean like it because I don't think there's necessarily anything wrong with this quad.

00:06:36.000 --> 00:06:53.000 way the mind works but but maybe it's sort of like the way we understand it consciously, it gives us trouble if we're trying to come up with ideas looking at these words right. Oh, for sure. Yeah, Yeah, cuz it's just and obviously suppose some of my bias

00:06:53.000 --> 00:06:57.000 to is, you know, whether or not that actually inspires anything.

00:06:57.000 --> 00:07:06.000 It's just to me it seems so weird that it happens at the end, it makes complete sense within the context of his story once you have it all worked out.

00:07:06.000 --> 00:07:13.000 Yeah, Levi says I have that sequence for one of my last time posts, but it works for me since I'm ready to mystery. Okay, so, yeah, for different genres I think it works well.

00:07:13.000 --> 00:07:22.000 And it could just be for me it's like not particularly interesting, only because these two are very similar.

00:07:22.000 --> 00:07:36.000 Almost the same thing and then it's almost like well we're just going to change our mind, but having this play out so that they create conflict but then they're also attached to those different elements like potential resistance and that kind of stuff.

00:07:36.000 --> 00:07:51.000 Really cool. So yeah, now we can only make a difference. Yeah. Oh, maybe I'll maybe I'll make up something, or we can do it together so you can see that that's like, Okay, so this is based on that original one that I've written, because you know there's

00:07:51.000 --> 00:08:00.000 some parts of dramatic in here where they have it all worked out. But they never really fully developed it so I took it upon myself to like okay let's figure it all this stuff out.

00:08:00.000 --> 00:08:15.000 And, and knowing now how to build a complete story form and all this stuff. I know that these are actually every single beat and a story that gets marked with, with one of these.

00:08:15.000 --> 00:08:38.000 Each quad has a complete set of these three sets. So, it could have knowledge attached to it, and potential attached to it. In the, the first part of a cycle, though, so this is SR CA, which is setup revelation conflict and aftermath.

00:08:38.000 --> 00:08:45.000 So this was the problem with the 1234 which is what I worked on with the last week. So based on.

00:08:45.000 --> 00:08:49.000 And I might likely be all over the place so feel free to interrupt me anytime.

00:08:49.000 --> 00:09:02.000 Based on the stuff that I did last week where I did potential resistance current an outcome, as I was going through writing up. I just thought it'd be fun to use Shashi because I was going through it and just go through and write out the different things

00:09:02.000 --> 00:09:11.000 that are attached to it was really clear that having an outcome there just doesn't work because you feel like it's the end.

00:09:11.000 --> 00:09:19.000 And so then that's why I switched it to power and then of course, in the forums you're talking about different ideas of different things to put to it.

00:09:19.000 --> 00:09:31.000 The same exact thing happens with the 1234 so unfortunately there's nothing in the original dramatic theory book anywhere. That really talks about what this means.

00:09:31.000 --> 00:09:47.000 And because the I'm sorry the spatial one, because potential resistance current and power are the spatial aspect of it right like so the upper right, ability part, this lower left, which is renewal.

00:09:47.000 --> 00:10:01.000 I'm sorry, just 1234, and is temporal, it just makes you think well this comes first, then this comes second. Then this comes third and then this comes forth, it just feels like, Oh, that's just the natural.

00:10:01.000 --> 00:10:06.000 That's what that means 1234. First second third and fourth.

00:10:06.000 --> 00:10:20.000 I'm having major deja vu I don't know if I did this last year what but some really crazy 70. So, and then when you think temporarily at least for me, I think in that so which one comes first and which one comes second which one comes third, that kind

00:10:20.000 --> 00:10:39.000 of stuff. But then when you look at something like the matrix. Right. And I have, I went through and did examples here. It actually shifts it shifts the way that the mind is going through it, such that the first one is four.

00:10:39.000 --> 00:10:44.000 And then two, three and then one so it just kind of flopped.

00:10:44.000 --> 00:10:46.000 The first one, the last one.

00:10:46.000 --> 00:10:54.000 And then you're like what the heck does that even mean, like I'm doing the fourth one first because it's all about getting some kind of meaning to it.

00:10:54.000 --> 00:11:04.000 And in the end, how's that actually going to help you generate really great story illustrations that actually connect to the meaning of the story so it's not just like a random thing.

00:11:04.000 --> 00:11:19.000 They actually move based on the same dynamics that are being applied to for potential resistance current outcome the same stuffs happening with the 1234 so they have just as much a meaning just a different kind of leaning.

00:11:19.000 --> 00:11:31.000 And then it was like okay well it's not just the sequential thing. It's actually something to do with understanding how time passes through a cycle.

00:11:31.000 --> 00:11:38.000 So what I came up with. And this is kind of just like a visual representation of it. And there isn't one.

00:11:38.000 --> 00:11:47.000 I mean in my head, I would think this part is the first part and then you go to three and then it comes down and then it dies and then it starts up again.

00:11:47.000 --> 00:12:08.000 But it really doesn't matter what, where you attach your understanding of which part of the cycle you're looking at as far as a quad, just the idea that these four moments in time, are, are attached to the cycle itself, but don't necessarily talk about

00:12:08.000 --> 00:12:26.000 the beginning or ending, they just talked about the direction and things are going. So, I don't know if there's a better way to describe direction, as there are with this renewal living and dying and death, because you can like in my head I was thinking

00:12:26.000 --> 00:12:32.000 like the Four Seasons or you can any kind of thing that has a cycle that continues.

00:12:32.000 --> 00:12:36.000 then you can apply some sort of subjective notion to it.

00:12:36.000 --> 00:12:49.000 And My only problem with that is, I want to make sure everything's completely objective and so that's why I left in the numbers, so that you have both because it's really these two together.

00:12:49.000 --> 00:13:01.000 It's not just this isn't always about being reborn and this isn't just about living it's more like an understanding of what it's like to ride that cycle.

00:13:01.000 --> 00:13:15.000 So what's interesting in terms of the matrix is that it begins with a death, which is 100%, what happens in that first signpost, and the fact that he's already dead.

00:13:15.000 --> 00:13:35.000 And then ends with a renewal rebirth, which is like when I saw that I got super excited because that's the meaning of the matrix which is very different from the experience that you would have in something like a typical Marvel, or Star Wars linear action

00:13:35.000 --> 00:13:47.000 adventure film where the understanding is always the beginning, is that new direction, the renewal sort of thing. And that the end is when you get rid of.

00:13:47.000 --> 00:14:05.000 It's very much abandoning or killing off that old part of you to go into the new direction. And there's a sense, which is why the 1234 always just feels like oh first, second, third and fourth, there's a sense that, that death is the end of it, and really

00:14:05.000 --> 00:14:19.000 there's nothing else to really consider, which is why it doesn't feel like a cycle it just feels like a complete thing, because you go 1234. So when it comes to linear mindset stories.

00:14:19.000 --> 00:14:26.000 Every single quad should just be 1234 it will never be out of sequence,

00:14:26.000 --> 00:14:43.000 the linear mind, never thinks that it's like it should always be. It is then there's something wrong with the way that I'm calculating it so that that and I thought I thought that might be something that I might have seen in one of the examples I just

00:14:43.000 --> 00:14:59.000 wanna make sure so if you ever come across a linear story that is not 1234, please let me know because that's absolutely, how it should be. Because, sorry Jim Do you mean 1234 in the signposts or in any part of it, even if it's like a thematic movement

00:14:59.000 --> 00:15:11.000 that isn't 1234.

00:15:11.000 --> 00:15:19.000 I'm almost in my head, my understanding of it should just be 1234 because theoretically that makes sense.

00:15:19.000 --> 00:15:25.000 That's certainly what I programmed into it. So if that's not what's happening and then I need to fix that.

00:15:25.000 --> 00:15:38.000 And really, the only thing that should shift is a holistic story because yeah you manipulate time, right, and like Mike says here, the seasons analogy makes so much sense matrix starts owner, like, totally.

00:15:38.000 --> 00:15:57.000 So it really, you know, you don't really have to think of death, living die You can think of winter, summer, fall, spring right so it's just whatever you, you get that gets that that understanding of what it means to go on a cycle and effect that it never

00:15:57.000 --> 00:16:10.000 really ends, it's just always going through it, then you should be good I think my story has one instance but it's more holistic care so I'm not sure if it's an issue.

00:16:10.000 --> 00:16:20.000 Know like programmatically. The time stuff the one to do is not linear story it's done at the end. So, it should just be.

00:16:20.000 --> 00:16:24.000 So that's obviously what I'm fixing this afternoon.

00:16:24.000 --> 00:16:27.000 Whereas for a holistic story.

00:16:27.000 --> 00:16:30.000 It's the.

00:16:30.000 --> 00:16:35.000 The materials of the knowledge that that stuff gets put at the end.

00:16:35.000 --> 00:16:53.000 And that has to do with the blind spot than the different mindset, so I will fix that for sure but the idea is that that 1234 It's a very simple linear just goes through that season begins with a birth, and then it ends with a death and that's the end

00:16:53.000 --> 00:17:05.000 of it right so more holistic minded people don't believe death is the ending of something that's always the beginning of something else which is, I just think it's so cool that this happens in the matrix.

00:17:05.000 --> 00:17:23.000 And then another cool one that I thought of is the sixth sense, only because if you look at if you compare the Sixth Sense story form, which I think.

00:17:23.000 --> 00:17:28.000 And you look at can do the dramatic a version of this.

00:17:28.000 --> 00:17:36.000 So if you look at this right change start your holistic decisions based on the success good right so those eight dynamics.

00:17:36.000 --> 00:17:42.000 The matrix has the same exact dynamics. Change start with your mistake decisions based on success.

00:17:42.000 --> 00:17:54.000 The only thing that's different. When it comes to the difference between the matrix and the success, obviously, is where the actual motivation is the problem of it.

00:17:54.000 --> 00:18:14.000 So, in six cents. The mainstream character is in the mind quad and influence characters up here in the universe plot but if you see this is the same plot progression that Neil has in the matrix right so it's summer.

00:18:14.000 --> 00:18:21.000 Wait, no, I'm sorry, this would be the death part right so winter.

00:18:21.000 --> 00:18:41.000 Yeah winter, summer, fall, and then spring or death, living and dying, and then rebirth, it's, it's the same progression. All these progressions with the same for the different through lines dependent on the domains.

00:18:41.000 --> 00:18:44.000 It's just that the main character influence character switched.

00:18:44.000 --> 00:18:57.000 So what that does is that gives you a really cool thing that you can understand what it means to go through these cycles are really good example of what that differences, like so.

00:18:57.000 --> 00:19:02.000 Look at the matrix here to subdue her holistic see it's the same exact thing.

00:19:02.000 --> 00:19:08.000 Same exact plot progression here every domain has the same exact plot progression.

00:19:08.000 --> 00:19:17.000 It's just that the different perspectives of switched, which is super cool, because if you compare the two of them, which I've done here.

00:19:17.000 --> 00:19:20.000 So this is

00:19:20.000 --> 00:19:31.000 the little kid in the sixth sense this is his plot progression here with what the Bruce Willis characters going through in the middle of they're doing the same exact thing.

00:19:31.000 --> 00:19:47.000 So the living dying. Right. It's just they've lost their two experiences of it's such that the kid begins in place where it's just completely surrounded by death, right, and ends up in a place where he's like reborn and renewed and he's like on the ledge

00:19:47.000 --> 00:19:49.000 and it's got the sword.

00:19:49.000 --> 00:20:06.000 And it's just like you can tell he's been like reborn whereas the Bruce Willis character goes from being re reborn into a new place that he refuses, he's got like a new thing to focus on which is this kid like it's a way to, to make up for you know how

00:20:06.000 --> 00:20:20.000 he messed up with the previous patient, but then ends up with an actual death at the end, so that their flops are connected in the middle. But then their cycles are just slightly off.

00:20:20.000 --> 00:20:32.000 I just thought that's a really, really great way to understand the meaning of that right that the meaning of those cycles so that you can then apply it to your story and at the end.

00:20:32.000 --> 00:20:41.000 That's the whole point of this is just to be able to apply it to pass your quick question please. You ask me these questions.

00:20:41.000 --> 00:20:48.000 Is this trash i doing these, where would, where would we find

00:20:48.000 --> 00:20:51.000 these new

00:20:51.000 --> 00:21:04.000 components to the story. That'd be something subtext provides for us on the basis that we have the premise, sort of nice for him now.

00:21:04.000 --> 00:21:15.000 There's two ways you can do it, you can either rebuild the whole thing if you want to personally. If you just come into here.

00:21:15.000 --> 00:21:19.000 With a loose on it again.

00:21:19.000 --> 00:21:20.000 To edit that out, you're gonna have to cut that out.

00:21:20.000 --> 00:21:31.000 You're gonna have to cut that out. Just know how much you love that editing.

00:21:31.000 --> 00:21:34.000 All right.

00:21:34.000 --> 00:21:36.000 that was somebody else's thanks.

00:21:36.000 --> 00:21:46.000 Okay, so let's look at, okay so Sasha is asking, oh well what. So you can either rebuild the whole thing from scratch, if you want to, which is totally legit.

00:21:46.000 --> 00:21:59.000 Once you've built it, it doesn't, it's no skin off subjects they're just going to grab the thing that's already been built, and then give you the thing, or if you've already got it going on, and you just want to see.

00:21:59.000 --> 00:22:01.000 I think this one already because it.

00:22:01.000 --> 00:22:11.000 Okay cool is a great example. So this one doesn't have it yet so let's say you're already in the middle of the story and you're working on it. And it's not showing up here right so if I open this up, you'll see that it's not.

00:22:11.000 --> 00:22:17.000 It would usually be here you could see what his house progress attached to it.

00:22:17.000 --> 00:22:22.000 So all you have to do is just add this here.

00:22:22.000 --> 00:22:33.000 And all I'm doing is, at the time of adding this in there I just go ahead and calculate what it should actually be, and then add it to this one so that you can see it here.

00:22:33.000 --> 00:22:38.000 So here you have the actual B, which is progress.

00:22:38.000 --> 00:22:54.000 You have the material element which is the situation activity mentality and stance, and I'm playing around with. I really liked mentality, a kind of light stands, just to get away from way of thinking, just as nothing to me.

00:22:54.000 --> 00:22:57.000 creatively.

00:22:57.000 --> 00:23:10.000 And then they'll so those are the you know the basic material ones of the substance of what the beat is about. This is the spatial one which I talked about before, which most people are familiar with which is the resistance.

00:23:10.000 --> 00:23:16.000 And then I change this to reflect the new stuff that I just did this last week.

00:23:16.000 --> 00:23:25.000 And then, so you have it here you can see this so this is the first be of Lion King, which for Simba is activity.

00:23:25.000 --> 00:23:32.000 This is kind of his resistance which is him, essentially, always going on doing whatever the heck he wants to increase in trouble.

00:23:32.000 --> 00:23:40.000 And then I guess a while ago he was actually born in this one so that would be way of understanding that.

00:23:40.000 --> 00:23:46.000 And then if you go was curious what I wonder is but.

00:23:46.000 --> 00:23:59.000 And then again, if you want to do the second one would have this situation. So this is when he gets ostracize potential living kind of doing things his own way.

00:23:59.000 --> 00:24:12.000 Do you see how it like it, it makes just the past, which is the stuff that he's been through like getting rid of past or dealing with the guilt of what it is that he's deal with it gives it oh ok so now it's about situations and his actions like it's

00:24:12.000 --> 00:24:25.000 ostracize, The potential for it is he's always had this drive, or motivation this leaving tendency to do whatever the heck he wants to and don't run away and do things differently.

00:24:25.000 --> 00:24:32.000 And then, you know, like living it up, out in the desert. That's how I would interpret that kind of Madonna.

00:24:32.000 --> 00:24:34.000 Yeah, I couldn't. Exactly.

00:24:34.000 --> 00:24:45.000 So that's, that's how I would interpret that right, and I would it be great you know i'm sure as people go through you oh I have a really great, another understanding of this, these are pretty clear.

00:24:45.000 --> 00:24:59.000 It's like pretty obvious this stuff, at least for me is a little more difficult to latch onto it's more like kind of out of the corner of your eyes sort of thing just because it's not something that you frequently, think about.

00:24:59.000 --> 00:25:11.000 But just to get in the, you know, the moon every four weeks goes through the cycle so if you want to think of full moon New Moon waxing waning same sort of thing.

00:25:11.000 --> 00:25:18.000 We're going to jump back in, however you want to interpret cycles.

00:25:18.000 --> 00:25:37.000 Whatever for that fit for you. That's the most important thing. Just wanted to get away from the 1234 because in a screenwriting arms are in a very good an application where you have ordered it seems like 1234 and means first, second, third and fourth,

00:25:37.000 --> 00:25:49.000 also did which is kind of fun is, I took the same format that the original dramatic and definitions we're in for like potential resistance.

00:25:49.000 --> 00:26:02.000 Current in power in the original theory book, and I wrote these explanations, as if they were an actual part of the theory, so that this would be like the long definition of it.

00:26:02.000 --> 00:26:17.000 And then, these would be the short definition so you can quickly. Oh reminded like oh okay that's what is going on here, in this place.

00:26:17.000 --> 00:26:37.000 It's just, you know, it's like getting into the flow of your narrative so that you understand what it is that this particular quad that you're taking right so if a story is simply, you know, just, this is life right and then you're just taking one chunk

00:26:37.000 --> 00:26:42.000 of it, to,

00:26:42.000 --> 00:26:46.000 to understand what it is that you're talking about to understand life.

00:26:46.000 --> 00:27:04.000 Then, knowing that flow where it is in the cycle progression was cyclical progression is can give you just another angle, to be able to go to actually write up the stuff that you're, you're doing to help you work on your story.

00:27:04.000 --> 00:27:06.000 Awesome.

00:27:06.000 --> 00:27:08.000 Yes.

00:27:08.000 --> 00:27:10.000 Thank you.

00:27:10.000 --> 00:27:15.000 See you. Are you, are you excited by this.

00:27:15.000 --> 00:27:17.000 Just a little bit.

00:27:17.000 --> 00:27:20.000 Because, because I'm very excited.

00:27:20.000 --> 00:27:26.000 Yeah, forever as I was, you know, always told like, I don't really need that it's too much.

00:27:26.000 --> 00:27:37.000 And it could be slightly off, you know, like I said, the one to the four should be the same in linear I had to look and see why that's messing up.

00:27:37.000 --> 00:27:56.000 But what I mean, to me it's exciting because if you look at stuff like save the cat or hero's journey. They always put the dynamic aspect of a cycle in the third signpost, which it seems like so far the ones that I've seen are always in the third signpost

00:27:56.000 --> 00:28:12.000 is the actual dying part of the cycle what I've identified is the dying aspect of it so the dark night of the soul or the ordeal. So it's almost like they're recognizing the cycle part of it, but it's not.

00:28:12.000 --> 00:28:22.000 It confirms it but at a, what I would consider a more intentional perspective like a more purposeful part it's not just, I'm seeing this and it's there, it's.

00:28:22.000 --> 00:28:25.000 This is what should be here and, oh look that's what's there.

00:28:25.000 --> 00:28:31.000 So that's why they're seeing that because for the most part of dying.

00:28:31.000 --> 00:28:46.000 Number three part of the cycles, and the third part, and how holistic narratives, play with the starts the starting and ending of the cycle because it's not really.

00:28:46.000 --> 00:28:51.000 It's not a fundamental nature of fundamental aspect of that way of thinking.

00:28:51.000 --> 00:28:57.000 It could be, you know, the time shifting thing is not as important.

00:28:57.000 --> 00:29:09.000 And then the last thing I was thinking was because linear is always, it should always be for so there's always death at the end. That's why there's always like a huge body count at the end of linear movies one way or another.

00:29:09.000 --> 00:29:24.000 Because the only way they can explain a cycle is everybody dies. I don't know there's just another thought I had that was throwing out there so whether or not you have a linear holistic story you could take that the way that you.

00:29:24.000 --> 00:29:31.000 You want me doesn't necessarily have to be people dying, but it is a part of me that's dying off so that you can.

00:29:31.000 --> 00:29:40.000 Well actually linear it's because that's it. In order to fix things you have to kill this part off rest of them like the matrix and you have to like kill that part off so that you can then be reborn.

00:29:40.000 --> 00:29:44.000 It's totally different meaning to it.

00:29:44.000 --> 00:29:52.000 So yeah, past you talk one of the questions so these progressions.

00:29:52.000 --> 00:29:59.000 they be applicable to all the

00:29:59.000 --> 00:30:22.000 through lines. So for example, let's say, in the sixth sense whole cycle as death. Number four, as the sort of in the first 25% of the story. So is that applicable not just a call back to the, The overall story, the relationship story.

00:30:22.000 --> 00:30:29.000 Every so what happens is if you look at the entirety of the dramatic a model so if I'm looking at.

00:30:29.000 --> 00:30:33.000 Let's just do cold here right so let's do cool.

00:30:33.000 --> 00:30:36.000 If universe psychology.

00:30:36.000 --> 00:30:54.000 Right. So calls here in Universal past progress we can.

00:30:54.000 --> 00:30:57.000 up for call it goes

00:30:57.000 --> 00:31:04.000 for what, I'm sorry. Yeah, 4231. Right.

00:31:04.000 --> 00:31:13.000 And then wait, what do you mean you need to change the order

00:31:13.000 --> 00:31:19.000 And then you would not want me to go away.

00:31:19.000 --> 00:31:21.000 No.

00:31:21.000 --> 00:31:24.000 Yeah.

00:31:24.000 --> 00:31:32.000 So then it does so it does it at the same post level, then at the breakdown level or the variations, it does the same thing as what you're seeing here white.

00:31:32.000 --> 00:31:39.000 Well, I'm sorry, this isn't really accurate, I should maybe just to make this clear.

00:31:39.000 --> 00:31:51.000 But anytime you have a quiet. I'm just trying to get across, like in any through line anytime you have a quad you're going to have either 1234, so if I break this down right let's do that.

00:31:51.000 --> 00:31:56.000 Let's do this. can I think if I break this down there.

00:31:56.000 --> 00:32:01.000 Oh, that's wrong. So, they should actually be different.

00:32:01.000 --> 00:32:04.000 That's interesting. Oh, yeah.

00:32:04.000 --> 00:32:05.000 And he said it was actually a very good.

00:32:05.000 --> 00:32:16.000 It's actually been a very very room. Now, this is just a printing, Erica. So these being got broken down into instinct says interpretation of emotion.

00:32:16.000 --> 00:32:28.000 But if you went down into the actual beats, you'll see that this is the potential Reno instinct, as the first one, senses. As a second one

00:32:28.000 --> 00:32:32.000 interpretation has three here.

00:32:32.000 --> 00:32:37.000 And then condition has four.

00:32:37.000 --> 00:32:48.000 So you should see that reflected here this is just the way to fix something, and then take these so then if you broke down in state,

00:32:48.000 --> 00:32:56.000 and likely get the same bug so that's the same bug there but each of these.

00:32:56.000 --> 00:33:00.000 Oh, I apologize. it doesn't have the actual.

00:33:00.000 --> 00:33:08.000 I have to add that in here but these are the same thing is we'll have 1234, it shouldn't be 1234 not reasonable four times.

00:33:08.000 --> 00:33:17.000 Yeah, I think it might do if you try the main character might be different. I don't know I have the same thing on my latest objective story, one, two.

00:33:17.000 --> 00:33:23.000 And let's see, I'm sure it's the same back Yeah, that's right.

00:33:23.000 --> 00:33:24.000 Yeah.

00:33:24.000 --> 00:33:33.000 But yeah, every single time you have a set of four, right, it's going to go through and have a 1234, so then cycles within cycles.

00:33:33.000 --> 00:33:41.000 It's just that the signpost leveling see it much more clear, just because it's the bigger pieces.

00:33:41.000 --> 00:33:49.000 So that's why the smaller you get if you kind of tweak it and it's not quite working out the way you want it to.

00:33:49.000 --> 00:34:06.000 It's not going to have a huge impact on the story because nobody's going to notice it it's like so small and you're like not even seeing that. It's when you get it the bigger pieces that if you don't follow what's here, you might end up making things

00:34:06.000 --> 00:34:21.000 a little wonky because it's going to be really obvious because the mind takes the whole story it breaks it up into four. And so if you don't have those four it's going to be really obvious it's like, oh, this.

00:34:21.000 --> 00:34:26.000 Maybe a little bit at the next level down the breakdown stuff here.

00:34:26.000 --> 00:34:30.000 But at the very bottom, you know if you get it wrong.

00:34:30.000 --> 00:34:41.000 Or if you get it off. What it is, by that time I have a feeling if you're that detailed you're, you're going to follow this order anyways and so it's it's going to look out for you.

00:34:41.000 --> 00:34:46.000 Either way,

00:34:46.000 --> 00:34:53.000 That's it for this stuff.

00:34:53.000 --> 00:34:59.000 Questions, what is it. Oh yeah. Wait a minute.

00:34:59.000 --> 00:35:11.000 Oh, we can keep going right show you an example as the show, although I wonder if it's not gonna work just because she might have sort of a question or a thought like.

00:35:11.000 --> 00:35:24.000 Do you think I'm thinking that sees, I'm sorry the temporal appreciation discuss what you're calling them.

00:35:24.000 --> 00:35:38.000 It's almost like a way of potentially adding tension to your story that you may not have considered before but I can almost just like pictured in my head it's almost obvious like imagine you have.

00:35:38.000 --> 00:35:46.000 I don't know like a like a rom com or something you know some story where there's a roadmap. And in the third out of four signposts.

00:35:46.000 --> 00:35:56.000 You're showing their romance is kind of like getting better like it's like okay this this is the time they're actually like going out and having fun and kissing and stuff like that.

00:35:56.000 --> 00:36:10.000 But you can almost sense that if that's happening you know if it was building up to that and that stuff didn't really start happening until the third signpost, you can sort of just feel that like, there's tension being built almost just because you know

00:36:10.000 --> 00:36:24.000 that even though it seems on the outside that things are getting better, that there is some kind of subtext of like, you know, there's problems here like bubbling up under the surface, because that's like, And obviously I'm thinking like a linear person

00:36:24.000 --> 00:36:29.000 like you know because that would be the dying aspect I guess right.

00:36:29.000 --> 00:36:44.000 Does that make sense what I said or. Oh, that's why I'm smiling because this is how holistic people ruin movies for linear people on. They know the special so like some cycles are some parts of the cycle be out of order like exactly what you're saying.

00:36:44.000 --> 00:36:53.000 It's like, are we getting this dying part here which means, this is going to end in death right like that's the last cycle.

00:36:53.000 --> 00:37:07.000 Once you have the first two you likely know what that last one so that's how they can predict it, because the cycle is something that's always going like even though this is going like this you know it's that actually 3d it's going like this sort of thing,

00:37:07.000 --> 00:37:12.000 which is essentially just a circle going up through the quad, that's what's happening.

00:37:12.000 --> 00:37:30.000 So it's this. It's just being able to predict exactly what you say and that's where you get that tension, which is not really a part of this dramatic model because it's it's the part in the dynamics, but it's like the closest thing, you can get to it.

00:37:30.000 --> 00:37:37.000 And then that's why they're able to predict, because the potential resistance current an outcome or very much.

00:37:37.000 --> 00:37:53.000 That's just what these things are. If you notice, if you do AZ pattern right and a quad where you go potential resistance current empower, which I believe.

00:37:53.000 --> 00:38:06.000 Oh I have pictures are well that's a big gap.

00:38:06.000 --> 00:38:10.000 Oh cool, so potential resistance current and outcome. Right.

00:38:10.000 --> 00:38:12.000 Yeah.

00:38:12.000 --> 00:38:24.000 And if you look at those definitions I have here, and also the original ones that Melanie wrote potential and resistance are reliant on each other they're, they're like, almost connected.

00:38:24.000 --> 00:38:29.000 I don't have the original definitions here but if you looked it up.

00:38:29.000 --> 00:38:36.000 Potential and resistance, you know, work together, which is why you're there companions.

00:38:36.000 --> 00:38:42.000 And if you look at the definitions for current and power currents the flow of the process and power is the effect of a process.

00:38:42.000 --> 00:39:06.000 And so those are connector, which makes sense because linear companions are the most important, right, for what I did with the cycle thing it just made sense, because it goes like this, that the one in four, or the renewal and death are dependent upon

00:39:06.000 --> 00:39:07.000 each other.

00:39:07.000 --> 00:39:20.000 Because, holistic time. So what I did is I matched the dependent pairs so that's why your definitions for renewal and death are really similar.

00:39:20.000 --> 00:39:38.000 And then it almost looks like I just copied and pasted living and dying, which I did, and just kind of adjusted it a little bit, because these two are dependent upon each other, the same way that these two one in four dependent on each other, which is

00:39:38.000 --> 00:39:59.000 a really great way to be able to get both the dependent pairs, and the companion pairs of a quad within the entire thing. And then, I guess, if you look at situation activity mentality and since those would be the dynamic person get dynamic pairs.

00:39:59.000 --> 00:40:07.000 material, you get companion pairs here. And then you get dependent pairs here.

00:40:07.000 --> 00:40:20.000 Cool. And then this last one, the last relationship or the for into one or the one into for the vertical sort of direction.

00:40:20.000 --> 00:40:27.000 So you can kind of see that this storytelling part of it which I don't usually deal with because it's like to me so art.

00:40:27.000 --> 00:40:29.000 artists driven regionally.

00:40:29.000 --> 00:40:31.000 It's interesting.

00:40:31.000 --> 00:40:36.000 I don't know how much benefit you get out of using it, I could be totally wrong.

00:40:36.000 --> 00:40:39.000 But that would be that last relationship.

00:40:39.000 --> 00:40:43.000 And so that's what you're seeing and all those different things.

00:40:43.000 --> 00:40:53.000 So it's really cool because it's all purposeful and then when you see it play out and examples, it's like, it's really neat to be able to see it all worked out.

00:40:53.000 --> 00:41:00.000 And the writer, this morning was like this is the greatest thing ever, you know.

00:41:00.000 --> 00:41:18.000 Wish you know it's the cost ratio to universities very different. And then some other people that I've worked with over the weekend just doing that was like, no, it makes complete sense how that all fits together so I can't wait to hear what everybody

00:41:18.000 --> 00:41:20.000 says about it.

00:41:20.000 --> 00:41:35.000 Exciting gym because when you see it broken down in the dramatic classes and are once a month you're like wow that work but then now that you've formulated the program to be able to enhance that experiencing by seeing it.

00:41:35.000 --> 00:41:48.000 Because like you'll get like his first three cycles. Well the first one was great, and then went back and did one two and three, those are great but then the fourth is like is just the thing going anywhere.

00:41:48.000 --> 00:41:52.000 It's kind of life as he recognized that to intuitively.

00:41:52.000 --> 00:41:58.000 And then once so then if you hadn't had those three strong ones the fourth one's written for you.

00:41:58.000 --> 00:42:05.000 In the same way that it's predictive the cycle things are you done those three then the fourth has to be this thing.

00:42:05.000 --> 00:42:22.000 You're just not picking up on it, and then so you just fill in the blanks with what shows you, and it just inspires you know a completely different level of creativity and eating different ideas that come up to my end just because this isn't this isn't

00:42:22.000 --> 00:42:23.000 what I expected.

00:42:23.000 --> 00:42:34.000 Or is it is what you expected but not what you do. So then it's a way of knowing what it is that's actually supposed to be there.

00:42:34.000 --> 00:42:37.000 So yes, it's very exciting.

00:42:37.000 --> 00:42:43.000 I just have to make sure there aren't any bugs.

00:42:43.000 --> 00:42:58.000 Yeah, I went back in and recap everything so everybody's story should have it, but you know if if you are in linear and it's not 1234 like you know and, yeah, That's obviously something that needs to be fixed.

00:42:58.000 --> 00:43:17.000 And you need it like you said that's not just for the site signposts is it that's for like if, if you've got the thematic sequence within a within an act of say I've got one that's basically going for 231 here in a linear linear story is interesting.

00:43:17.000 --> 00:43:20.000 Yeah, because if you think about it so you know that big those towers.

00:43:20.000 --> 00:43:27.000 Yeah, they do all the slippy sort of turning thing rotating and flipping thing that goes on.

00:43:27.000 --> 00:43:31.000 And then once that's done, Then I just run through.

00:43:31.000 --> 00:43:37.000 Well, originally I ran through the whole model and tried to apply them but everything shut down because too much information. Exactly.

00:43:37.000 --> 00:43:54.000 So I didn't do it at runtime there's a way to do it so that it just does it depending on what kind of story you have the same port side of it but when it comes to like breaking down, I just do it within that context because when you do that for and you

00:43:54.000 --> 00:44:18.000 you know which ones you're dealing with so then you just apply those and send it out. So yeah, it should be so it's like you know if you think about the blind spot so for holistic the blind spot is the knowledge right so I'm not bad for going to

00:44:18.000 --> 00:44:28.000 be right. so knowledge ability to clarify. So for the holistic knowledge is the blind spot. So you think about it, was the last thing that's applied to a story.

00:44:28.000 --> 00:44:32.000 It's like I don't know what it is I'm holistic I don't know.

00:44:32.000 --> 00:44:36.000 I don't deal with knowledge, it's like the last time I deal with.

00:44:36.000 --> 00:44:40.000 Whereas for the linear.

00:44:40.000 --> 00:44:50.000 The idea of a cycle or that things have progressed that way, is the blind spot. And so then that gets put at the end.

00:44:50.000 --> 00:44:55.000 And then it's just blossoming beginning. So you do all that stuff.

00:44:55.000 --> 00:44:58.000 Do you remember the script.

00:44:58.000 --> 00:45:03.000 A couple years back, with Nicholas stage for the empirical massive with.

00:45:03.000 --> 00:45:13.000 Massive with. I think that's a, I mean, that seems to pop into my head only because the.

00:45:13.000 --> 00:45:18.000 The Nicholas Cage card goes through.

00:45:18.000 --> 00:45:24.000 It's almost clear as day when he received his progression through remembering.

00:45:24.000 --> 00:45:26.000 Death dying.

00:45:26.000 --> 00:45:29.000 Living. and then,

00:45:29.000 --> 00:45:42.000 wherever they both. Appreciate you one. Yeah, so just compare it to Malcolm's progress in the sixth sense but I think it matches it to a team.

00:45:42.000 --> 00:45:56.000 I'm just suggesting that that's also really good script to perhaps superimposes on will reflect on, because I, because I think it works really well and that's in that Nicolas Cage story.

00:45:56.000 --> 00:45:59.000 I'll take a look at it it's it's been a while since I read.

00:45:59.000 --> 00:46:01.000 I see, sir.

00:46:01.000 --> 00:46:07.000 Yeah, no, I think we came up with a story form for that in the writers room like we actually went through it. Yeah.

00:46:07.000 --> 00:46:11.000 And isn't it supposed to come out on Netflix soon like I thought they were.

00:46:11.000 --> 00:46:14.000 I thought that's almost do it yeah it's it's.

00:46:14.000 --> 00:46:21.000 I don't know when it's how it to be out but that's a very good one I think.

00:46:21.000 --> 00:46:28.000 So, in your face about the temporal stages that you described.

00:46:28.000 --> 00:46:29.000 Yeah.

00:46:29.000 --> 00:46:31.000 The MC capture.

00:46:31.000 --> 00:46:35.000 Yeah, the meaning to get them up here.

00:46:35.000 --> 00:46:44.000 The old stuff I'm sorry not the old but all those blacklist ones because there were a bunch that had complete stories and we've been really great to have them up here.

00:46:44.000 --> 00:46:51.000 And I, you know, it'd be interesting to be able to have all these little elemental things here.

00:46:51.000 --> 00:46:55.000 But because it's so computational heavy it's just not something.

00:46:55.000 --> 00:47:10.000 It's something that you can just get in your stories, because I'll just do that on an individual, because the amount of people that want that are a lot smaller than perhaps even this is probably way too much for most people, but that's why it's not, you'll

00:47:10.000 --> 00:47:20.000 never see it in here just in the context of your story as you're going through and building it.

00:47:20.000 --> 00:47:22.000 Cool.

00:47:22.000 --> 00:47:27.000 Think that's it I don't see any other things here.

00:47:27.000 --> 00:47:35.000 Yeah, so definitely give it a try out, I wanted to say something to when it comes, specifically in conflict corner.

00:47:35.000 --> 00:47:46.000 So now you have all these things right, you have like potential resistance current come in 1234 me know a living die in depth and then situation activity, mentality.

00:47:46.000 --> 00:47:55.000 When you go through and just because the conflict corner thing is very much, piece by piece on purpose, that's fine.

00:47:55.000 --> 00:48:15.000 But make sure when you work with these needs that you think of the whole context of four at once. That's where this comes from this only has meaning as an intelligent potentially know in relation to these other three.

00:48:15.000 --> 00:48:31.000 Right, so it's never just by itself. So I just want to make sure because sometimes in conflict or you can kind of get lost with, I have a feeling that might change now that this is here, because this almost forces you to think in terms of actually.

00:48:31.000 --> 00:48:48.000 Yeah, because it forces you to think in terms of this as a piece of something bigger, as opposed to just isolated by itself. Yeah, that that temporal thing is great for me it's like a huge broad brushstroke of energy that sweeps through that whole leg,

00:48:48.000 --> 00:49:06.000 I kind of, I feel it I don't think this bit I I fail is a huge. And I think that's what I was kind of always aware of in my stories anyway and so it's to see it actually written like this is really kind of okay so this is this big swell that I feel and

00:49:06.000 --> 00:49:11.000 this is what's happening so it's it's been really cool.

00:49:11.000 --> 00:49:19.000 Let's say every week something seems to crop up at the moment that you've added the subtext which just opens it out, even more so fantastic.

00:49:19.000 --> 00:49:24.000 Well actually, I'm going to quote you on that because that was a great explanation of it.

00:49:24.000 --> 00:49:38.000 That's exactly like a swell sort of feeling and not think about it too much but just kind of the feeling of how it flows and how it's part of a bigger picture as opposed to just being isolated by itself, which you can get with just like, this is just

00:49:38.000 --> 00:49:41.000 the future. It's perfect.

00:49:41.000 --> 00:49:45.000 So I'm going to end on that because that was a great way to end it.

00:49:45.000 --> 00:49:51.000 And then if I have your permission, I'm going to copy and paste that into the definition.

00:49:51.000 --> 00:49:54.000 Good.

00:49:54.000 --> 00:50:24.000 All right, so then tomorrow we'll do five and six of secession I'm super excited because I have my new Apple 4k so I can watch it in 4k with my new cable that came today so I can actually see it.