What does a story need to be whole?

All right.

So what is the story?

Need to be whole.

What is the story?

Need to be considered complete.

You probably had to answer a question like this in,

like, third or fourth grade, and you probably looked at

something a little bit like this beginning middle and which

is true, right?

Everything needs to be getting in the middle.

And otherwise, it's not finished.

It doesn't feel finished.

Doesn't feel complete.

Um, so and you probably looked at it.

Children's story, maybe Goldilocks and the Three Bears.

So in a Goldilocks and the Three Bears, the beginning

our choose your train is that a young girl named

Goldie Loss decides to go for a walk in the

woods. Meanwhile, some bears who live in the woods decide

that they're gonna go for a walk while their breakfast

porridge is cooling.

The middle is after Goldilocks breaks into the house.

Um, she sits in their chairs, she eats up their

porridge and she eventually falls asleep in one of their

beds, which is like, pretty weird.

All right, then in the end, they will see each

other. It's pretty scary for everybody.

Goldilocks runs away.

The bears are all freaked out, but everyone's fine and

they live happily ever after the end.

Cool, right, It's true.

Yeah, that's all absolutely correct.

But you are in 10th grade, and you are ready

for more sophisticated approach to breaking down story structure.

Besides just a beginning, a middle and an end.

So let's take a look at how we can look

at that with a little more nuance.

This is a tool called Frank Talks Pyramid.

I'm Some of you might already be familiar with fried

times, period pyramid, but let's take a look at it

up close.

So Franklin Pyramid is a tool for looking at plot

structure or narrative structure or story structure.

There will sort of interchangeable in this case, and these

are the essential pieces of six essential elements.

So exposition that word might look familiar because has the

word exposed at exposition exposes the reader to the setting

and the characters, and maybe even some of the conflict.

So in golden Locks and the three bears are exposition

is that we're in the woods, and some bears have

made themselves a delicious breakfast in their cozy house, and

they decide to go for a walk.

Meanwhile, in the same woods.

A nosy little girl is also walking.

Okay, so next up and where that star is is

the inciting incident.

This is an incident and event.

A moment of decisions made, something that takes place in

the story that causes the story to truly start.

If I told you a story about how a girl

walked in the woods and also some bears walked in

the woods and, um, that was it and they didn't

run into each other and nothing happened.

Like, it's not a very good story, but in this

case, the moment that makes it truly interesting.

The moment that causes our story to start is that

Goldilocks breaks into the house.

This also introduces our conflict, and often the inciting incident

is introduction of conflict.

Next up, we have the rising action.

Rising action is the build up of the conflict.

Um, it's a build up of tension, and it's a

build up of complications in the story.

So as we travel through the story of Goldilocks and

the Three Bears Goldie Locks, she raises the conflict.

She's not supposed to be in the Bears house bears

are dangerous, breaking and entering is a crime, and yet

she is sitting in chairs.

She is eating a poor agents and she is lying

down in beds and that's like could cause intention, right?

Like it's a little scary.

What's gonna happen?

We don't know.

So now let's take a look at climax.

A lot of people think that the climax is the

most exciting part of the story, but that's not necessarily

true. The climax is a tipping point.

It's a point of no return in the story.

And yes, it is often the most exciting moment.

The story, but not necessarily in this case.

It is, though, Um, and the climax is so The

Bears have gotten home and started to look around their

house, and that's really the end of the rising action.

They walk in the room and they see Goldie locks

there and Baby Bear's bed and she and they yell

and she wakes up and she sees them and everybody

is so freaked out.

We don't know what's gonna happen.

That was the climax.

They can't unsee her.

She can't under scream.

She can't unhappy eating their porridge, so it is a

tipping point and and it really is bringing that conflict

that she's broken into the house.

I mean, they're forage to ahead.

This is the moment the conflict gets really riel.

Um, Alright, So next we have falling action.

The following action is, um it's like a slide that

takes us from that climactic moment to the end of

the story.

So in this case, the falling action is Goldilocks decides

to get the heck out of that house she gets

in the house.

And then the resolution is what ties everything up or

resolves. Hey, for a real word, uh, bully loves makes

it home and she stops breaking into houses before breakfast.

Meanwhile, the bears invest in a home alarm system, one

hopes, and that is the thrilling tale of Goldie Lost

and the Three Bears on Fridays Pyramid.

So it's pretty easy.

Um, it's pretty easy to take apart a fairytale on

a Friday ties on for attacks Pyramid, because they're so

linear on DSO shows this style of pyramid because this

one really does represent how this story our works, right.

We have a little bit of exposition.

There's bears walking in the woods.

Goldilocks is walking in the woods on and then you'll

see that the rising action is the longest part.

The rising action.

She's trying out the stuff.

She tries this when she doesn't like it.

She tries that when she just like it, she tries

this one.

That's really good, Um, and that that takes the longest.

And in most books and movies and stories, the rising

action takes up the bulk of the storytelling because that's

the interesting stuff.

Um, and then the falling action is quite short because

typically, falling action is short and resolution tends to be

pretty short.

Um, all right, here's another way.

You'll see it.

Sometimes It's written all Jaggi like that to indicate that,

you know, the rising action isn't necessarily a smooth line.

The falling action isn't necessarily a smooth line.

The climax isn't necessarily one single moment.

It might be a couple of moments, or like that,

all of the above if you just want to put

everything together.

So, like I said, fairy tales are easy, but more

complex stories or heart.

So let's take a look real quick at the Veldt.

So you read the felt a couple weeks ago, Um,

so in develop because it's a short story, some pieces

air compressed and the exposition and the inciting incident kind

of both happened at the same time.

Very beginning the story starts out.

Lydia is telling George that she's worried about the nursery.

She's worried about that The kids are spending too much

time and it that it's getting weird on that.

They're getting into some dark stuff in there and what

this does.

It exposes some characters, right?

Exposes George and Lydia, Mom and dad.

Uh, it exposes their Children who were the other characters,

and it exposes that the nursery might be a problem,

which is the conflict.

George doesn't think it's a big deal.

That's another part of the conflict, right?

All right, so then the rising action is built.

Intention. As we see the kids being pretty weird with

the nursery on, the parents are starting.

George starts to come around it.

It's getting pretty freaky, um, and that they even started

bringing that psychologist and start to come talk to them

and help them.

So that's the rising action.

The climax is when George decides to unplug the whole

house, just like the psychologist has suggested, he says, I'm

done. We're done unplugging the nursery.

This is too weird.

This is not healthy.

Um, you might be thinking, but wait, isn't the lion

attacked the climax?

That seems pretty wild.

That seems pretty climactic.

And you're right that it does seem climactic.

Um, it seems really exciting.

This is the story where that it's a really good

example of how the climax is not always the most

exciting Prezi.

Um, in this case, remember, climaxes a tipping point.

And this is that point of no return once he

says out loud were done where unpleasant house were unplugging

the nursery There there will be no more nursery for

the Children anymore.

He can't go back.

And that's what causes the rest of the story.

Um, so So that moment, when he made that decision,

recent said those words, That's it.

That's the climax, The falling action.

The part that leads us towards our resolution is is

the way the Children react.

George made his decision.

George and Lydia made their decision.

No more nursery on the Children make.

There's the Children and the nursery versus George and Lydia.

There's a final battle.

A mayor may not involve lions.

That's sort of confusing what actually happens.

But that lion attack, that's the falling action that's bringing

us towards resolution.

All right, so how do you find a resolution?

How do you resolve story?

How do you live happily ever after?

In a world where the parents got eaten by computer

lions may in developed.

The resolution is when the psychologist comes back to the

house, he sees the Children eating, and he sees the

lions eat it, and and the parents were just sort

of gone.

And so this is just the end.

This is the new normal.

Um, the parents were gone, and the Children and the

lions air doing the same thing, which I think also

is a way of rape.

Bradbury asserting his moral A lot of times, this is

where the moral shows up.

He asserts his moral of the story.

Right? Um, suddenly this moment, where the Children, the lions

are parallel.

So either suggesting that the Children and their technology have

become dangerously close or suggesting that it's the Children who

are the dangerous camps in the story.

Um, which is what I've always thought about Children.

I don't know about you guys.

All right, so now you're gonna try it.

What does a story need to be whole?

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