Into the Woods: How Stories Work and Why We Tell Them
| Book | Into the Woods: How Stories Work and Why We Tell Them |
| Format | Paperback |
| Language | English |
| This Edition Published | 2014 |
| Author | John Yorke |
| Cover/Jacket Design by | Matthew Young |
| First Published by | Penguin Books |
| Publisher | Penguin Books |
| Copyright Holder | John Yorke, The Willem de Kooning Foundation, Artists Rights Society (ARS), Design and Artists Copyright Society (DACS), Richard Ford (2), Bloomsbury Plc |
| Typeset by | Jouve (UK) |
| Printed by | Clays Ltd, Elcograf S.p.A. |
| Permissions | Rafael Behr, Guardian News and Media Ltd, National Gallery of Art, Faber & Faber Ltd, Tony Jordan, BBC, Volkswagen, The Estate of Arthur Hopcraft, Jed Mercurio, Brian Fillis, Bloomsbury Plc |
| Script/Screenplay by | John Milius, Francis Ford Coppola, Arthur Hopcraft (2), Jed Mercurio, Brian Fillis |
| Format | Paperback |
| Language | English |
| Location | United Kingdom |
| This Edition Published | 2014 |
| Copyright | 2013 |
| Copyright | 2010 |
| Pages / Font | 309 pages |
| ISBN 13 | 978-0-141-97810-9 |
| Barcode | 9 780141 978109 |
| Price | £9.99 |
| Impression/Printing No. | 015 |
| Chapters | Introduction
ACT I HOME
1. What is a Story?
2. Three-Act Structure
3. Five-Act Structure
4. The Importance of Change
5. How We Tell Stories
ACT II WOODLAND, DAY
6. Fractals
7. Acts
8. The Inciting Incident
9. Scenes
10. Putting It All Together
ACT III THE FOREST
11. Showing and Telling
ACT IV THE ROAD BACK, NIGHT
12. Character and Characterization
13. Character and Structural Design
14. Character Individuation
15. Dialogue and Characterization
16. Exposition
17. Subtext
ACT V HOME AGAIN, CHANGED
18. Television and the Triumph of Structure
19. Series and Serial Structure
20. Changes in Drama Series
21. Home Again
22. Why?
APPENDICES
I. Act Structure of Raiders of the Lost Ark
II. Hamlet - The Structural Form
III. Being John Malkovitch - The Structural Form
IV. My Zinc Bed - The Structural Form
V. The Godfather - The Structural Form
VI. First and Last Act Parallels: Some Further Examples
VII. A Lighting Guide to Screenwriting Gurus
Notes
Bibliography
Acknowledgements
Credits
Index Introduction
ACT I HOME
1. What is a Story?
2. Three-Act Structure
3. Five-Act Structure
4. The Importance of Change
5. How We Tell Stories
ACT II WOODLAND, DAY
6. Fractals
7. Acts
8. The Inciting Incident
9. Scenes
10. Putting It All Together
ACT III THE FOREST
11. Showing and Telling
ACT IV THE ROAD BACK, NIGHT
12. Character and Characterization
13. Character and Structural Design
14. Character Individuation
15. Dialogue and Characterization
16. Exposition
17. Subtext
ACT V HOME AGAIN, CHANGED
18. Television and the Triumph of Structure
19. Series and Serial Structure
20. Changes in Drama Series
21. Home Again
22. Why?
APPENDICES
I. Act Structure of Raiders of the Lost Ark
II. Hamlet - The Structural Form
III. Being John Malkovitch - The Structural Form
IV. My Zinc Bed - The Structural Form
V. The Godfather - The Structural Form
VI. First and Last Act Parallels: Some Further Examples
VII. A Lighting Guide to Screenwriting Gurus
Notes
Bibliography
Acknowledgements
Credits
Index Show all ▾ |
| Notes | Copyright © John Yorke, 2013 Printed in Great Britain p. 32 - 'Yummy Mummy Lit' satire, reproduced by kind permission of Rafael Behr and Guardian News and Media Limited p. 77 - Jackson Pollock, Number 1, 1950 (Lavender Mist), reproduced by kind permission of National Gallery of Art Images p. 84 and 158 - extracts from Apocalypse Now, screenplay by John Milius and Francis Ford Coppola, reproduced by kind permission of Faber and Faber Ltd p. 92 - extract from EastEnders, by Tony Jordan, reproduced by kind permission of the author and the British Broadcoasting Corporation p. 111 - 'VW Lemon', reproduced by kind permission of Volkswagen plc p. 115 - Willem de Kooning, Excavation, 1950, copyright © The Willem de Kooning Foundation, New York / ARS, NY and DACS, London, 2010 p. 123 - extract from Tinker Tailor Soldier Spy (1973), screenplay by Arthur Hopcraft, reproduced by kind permission of the estate of Arthur Hopcraft and the British Broadcasting Corporation p. 153 - extract from Holby City reproduced by kind permission of the British Broadcasting Corporation p. 157 - extract from Cardiac Arrest, screenplay by Jed Mercurio, reproduced by kind permission of the author and the British Broadcasting Corporation p. 165 - extract from The Curse of Steptoe, screenplay by Brian Fillis, reproduced by kind permission of the author and the British Broadcasting Corporation p. 200 - extract from Canada, by Richard Ford, reproduced by kind permission of Bloomsbury plc, copyright © Richard Ford and Bloomsbury plc |