Post by account_disabled on Nov 26, 2023 9:23:12 GMT
With the lineup this summary becomes more extensive and more technical. Chronologically, the setlist comes after the plot, which in turn comes after the idea. It is what separates us from the actual writing of the story. Some time ago I gave the example of the Betrothed , whose idea is simplified in a single line: a marriage between two commoners in 17th century Italy is hindered by a lord. The plot is obviously longer, because we should summarize in one page at least everything we have to tell, talking about Don Abbondio who receives orders not to celebrate the wedding, Renzo and the lawyer Azzeccagarbugli, the intervention of Fra Cristoforo and the Nun of Monza, of the kidnapping of Lucia and the Unnamed, of the plague and the happy ending.
And what is the point of the lineup, then, if with the plot we already know everything we have to write? The plot is a condensation of the story . Let's take an example. In the plot we read that Don Abbondio is forbidden to celebrate the wedding, but we still don't know how. The ladder then comes to our aid. As? Where to start? I always start Phone Number Data from the fateful questions. In the example of Don Abbondio one could be: who orders the priest not to marry Renzo and Lucia? Fair question and easy answer: it can't be Don Rordigo, because he wouldn't get his hands dirty or take the field openly. He sends his henchmen, of course. How many? Four or five? But no, he's a priest, two are enough.
And how do they order him not to marry the two sweethearts? With a phrase that has now become historic: this wedding doesn't happen, not tomorrow, not ever let's talk about the questions. What are they for, really? To identify some essential points to the story : the protagonist's desire or the triggering incident : or in any case what starts the events. the inevitable consequences : if our protagonist carries out an action, a reaction will follow. Which? And of what size? the tools and skills to carry out the mission: how does the protagonist manage to save the world? What weapon does he need and what physical and mental skills? the obstacles and enemies along the way: otherwise the story would be too banal. the number of actors involved : if Manzoni had fielded 5 good people, instead of just 2, he would have pulled a stunt.
And what is the point of the lineup, then, if with the plot we already know everything we have to write? The plot is a condensation of the story . Let's take an example. In the plot we read that Don Abbondio is forbidden to celebrate the wedding, but we still don't know how. The ladder then comes to our aid. As? Where to start? I always start Phone Number Data from the fateful questions. In the example of Don Abbondio one could be: who orders the priest not to marry Renzo and Lucia? Fair question and easy answer: it can't be Don Rordigo, because he wouldn't get his hands dirty or take the field openly. He sends his henchmen, of course. How many? Four or five? But no, he's a priest, two are enough.
And how do they order him not to marry the two sweethearts? With a phrase that has now become historic: this wedding doesn't happen, not tomorrow, not ever let's talk about the questions. What are they for, really? To identify some essential points to the story : the protagonist's desire or the triggering incident : or in any case what starts the events. the inevitable consequences : if our protagonist carries out an action, a reaction will follow. Which? And of what size? the tools and skills to carry out the mission: how does the protagonist manage to save the world? What weapon does he need and what physical and mental skills? the obstacles and enemies along the way: otherwise the story would be too banal. the number of actors involved : if Manzoni had fielded 5 good people, instead of just 2, he would have pulled a stunt.