WESTERN/EASTERN stories take place in a harsh hostile, wide-open landscape.SOCIETY and WAR stories are set against a big canvas with either a widescope external setting or internal landscape.HORROR stories unfold within conventional or mundane settings with fantastical elements and a literal or metaphorical labyrinth.In ACTION stories, the setting must be a disturbed, unbalanced physical and social environment that gives rise to a threat to life.When the story is set in a single location, we can explore the internal landscape of the AVATARS more extensively. A less varied setting tends to support multiple layers of similar conflicts. For example, an expansive landscape with multiple locations sets up a wider range of external conflict. LocationĮvery context has the potential for external and internal conflict, but the reach and characteristics of the location impact the scope of the problems explored in a story. We call conventions related to the context selective because they narrow the field of potential big-picture problems addressed in our stories. In the POP ( PROPOSITION OF POSSIBILITY) analysis, this is also called the CONTEXT. Selective constraints are elements of the setting, or arena, that help define the problem in a story and put the core need at stake. Genre conventions help us focus and filter problems and solutions through two broad categories of constraints: selective constraints and enabling constraints. Genre Conventions set up genre audience expectations and create the potential for specific change in the OBLIGATORY MOMENTS of a story. Without specific genre conventions, the reader will be confused, unsettled, or bored and quit reading. Genre conventions are specific requirements for the story’s ALTERNATE WORLD, AVATARS, and catalysts that create conflict and enable solutions.
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