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In addition to several passages covering the work of characterization, a large chapter is dedicated entirely to the character arc, the potential for psychological transformation for one of the characters. The author proposes tools to justify such a transformation and analyzes some twenty works from
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is a practical handbook on how to write a narrative. Yves
Lavandier’s ambition is to help authors who want to tell a story convey their thoughts and their universe in an accessible way. For this he proposes a method that starts from the meaning the author wants to communicate to arrive at the
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considers the objective-obstacle pairing to be the basic pattern of story, and to follow the fractal principle. In
Lavandier’s view, narrative is the combination, at different scales, of thousands of objective-obstacle pairings and of their resulting mechanisms: the protagonist, the inciting
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issue 609 (January 2014), Jean-Philippe Guérand writes: "Constructing a Story is a veritable guide of writing know-how in which the author prods his reader and pushes the emerging screenwriter to give his best with sections such as 'Be ferocious to your protagonist' or 'Make the audience
251:) is a treatise on conceiving and writing stories for the cinema, the theater, television, and comic books, but also for novels, albeit to a lesser degree. The English edition, translated by story consultant Alexis Niki, was published in May 2017 by Le Clown & l’Enfant.
455:"The chapter on creating story and character arcs is unique", writes screenwriter and novelist Ann Kimbrough, "I’ve never seen anyone break down arcs in this manner. I found it very useful as a writer of any medium. It’s a MUST READ part of the book."
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also praised the
English translation of the book, saying "it does an excellent job of laying out the core and the advanced concepts of dramatic storytelling and how they apply to telling tales on the screen."
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complete narrative via the steps of the pitch, the foundations, the milestones, the step outline, and the treatment. The general principle of
Lavandier’s approach is: "
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points out that contrary to many other analyses, the protagonist (Dustin
Hoffman) is not actually characterized as a chauvinist who needs to learn to respect women.
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simple, logical, and more importantly, natural: before the action, during the action, after the action."
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Jack
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decided to extract the book’s most useful chapters and to create two stand-alone books:
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incident, the three-act structure, the climax, etc. The author uses the 1968 film
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that differs to that of many
English-speaking theorists and that he considers "
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529:"MEET THE READER: Something to Learn - The Craft of Screenwriting"
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participate', and is applicable to both cinema and television."
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the specific angle of the character arc. Among these are:
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You don’t build a house starting with the wallpaper.
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474:"Numéro 609 - Seul contre tous de Gaspar Noé"
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390:. In his analysis of the beginning of
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554:"Constructing a Story – Book Review"
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