10MillionPlots.pdf

TEN MIITITION PHOTOPLAY

PL/OTS

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The Thirty-Seven Basic Dramatic Situations and Their Sub-Classes On this and the following pages wiII be found a complete list of the thirty-seven original dramatic situations with their sub-classes which have appeared in Fiction and. Drama. Accompanying many of the sub-classes are eoncrete illustrations of their application as well as suggestions for other variations.

Situation Number One "Rgscuett The elements necessary to constitute this situation are three in number. A Threatener, the Unfortunate, and the Rescuer. fn most mod.ern dramas the first is the villain; the second, the heroine; and the third, the hero. This does not signify, however, that there are not numerous other variations that could be used. The Threatener may be given a hundred difrerent motives for perseeuting the unfortunate. In fact he may be embodied. in as many difrerent guises himself. The same is true of the other two characters. No mod.ern story seems to be complete without this situation. Sub-classes of this situation whjch have appeared in the past in Drama and Fiction are:

(a) TIIE

CONDEMNED SA\IED BY A RESCUER. Scores of variations are possible under this head.

(b)

R,ESCUE BY FRIENDS F'R,OM A PR,EDICAMENT. "Friends" here might mean relatives or a sweetheart. (c) RESCUE BY STRANGERS WHO ARE GRATEFIII-/

GIVEN THEM BY THE UNFOR,TUNATE ONE.

FOR, FAVORS

Situation Number Two "Lost Loued Ones Recouered" a happy situation. It might be confused by the unanalytical

This is really rnind with situation Number One (Rescue), but a careful study will disclose the faet that vrhile they might both occur at the same time, we have two different situations. To the loved one who is delivered, the situation is Number One, while it comes under the head of Two to the one who effects the rescue.

(a) THE

RECOVERY OF A LOST ONE WHO IS LOST, IMPRISONED, DISEASED, OR IN DANGER OF ANY KIND WHATEVER,.

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TEN }IIIJIJION

PHOTOPIJAY PLOTS

Situation Number Three "A Miracle" An Act of Providence This is the added classification u'hich the Author of this work has plaeed by the side of the Original Thirty-six Dramatic Situations compiled by other writers. An effort to place it under Number One (Rescue) or Number Nineteen (Vengeance) has not resulted in a satisfactory conclusion, henee its addition to the thirty-six. A miracle of God constitutes sueh an awe-inspiring situation that it can hardly be classified rvith any other form of Deliverance or Vengeance. (a) TIIE DELIVERAI{CE OF OI\E FRO}'I DEATH OR MISFORTUNE BY AN ACT OF'DIVINE PROVIDENCE. (b) \rrsrrATroN oF PUNISHNIEI\T BY Ai{ ACT OF DIVINE PROVIDENCE.

Situation Number Four "EntreAty"

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The necessary elements or characters to constitute this situation are: The Supplicant, or one who pleads for something; The Persecutor, or the person or thing from which relief is sought; and- the Power to whom the plea is made.

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There may be a fourth character present in or friend who pleads for the Supplicant. Any situation in which some one pleads or makes an appeal for anything would come under this head. A man pleading with the woman he loved, for a return of his affections; an attorney making a plea to a jury for his client who is charged with a crime; a vanquished enemy begging his victorious adversary for mercy; a fallen \,voman pleading rvith the man who brought about her downfall for a chance to regain her self-respect; and many others that eould be suggested., come under the head of Situation number four. Sub-classes of situation number four which have appeared in drama and fiction in the past are:

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(a) AN APPEAIT TO OI'{E REITATIVE IN BEHAITF OF ANOTHER. (b) THE IJOYER, OF A WOMAN APPEAIJED TO BY HER, DAUGHTER OR, SON.

To save the reputation of the mother, the plea is made to the lover to

to her. (c) THE APPEAL OF OI{E POWER TO ANOTHER I}{ BEHALF OF THE SUPPIJICAI\TT. Example: 'Where the ruler of one country interced.es with that of another for executive clemency for a subject who has been convicted. of an offense. (d) AN APPEAIJ F'OR REFUGE BY THE SHIPWRECKED. Example: The appeal of one who is lost or stranded in any manner would come und.er this sub-head. cease his attentions

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AN APPEAIT FOR, CHARITY FRONI OI'{E WHO HAS DISGRACED HIS OWN PEOPIJE AND BEEN CAST OFF,.BY THEM. Example: The most common illustration of this situation used, in modern literature is probabty that of the girl who has been betrayed by her lover and consequently been driven from home by an irate father and who then appeals to some one for refuge.

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PARDON, HEAIJING OR DEI]IYERANCE SOUGHT. Example: Pardon sought from the Law, for a crime committed; 9r from i friend for an offence. Healing of either body or spirit sought from a Healer. Deliverance from any manner of predicament sought by the supplicant. THE SOT.,ICITATIOI.{ FOR THE SURRENDER OF A CORPSE OR, RELIC. Example: The case of a woman who has been convicted. of a erime and imprisoned, pleading with the authorities for permission to see the corpse of her baby; or a wife who pleads with the minions of the law for a photograph of her husband who is to be executed.

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AN APPEAI] NIADE BY A FUGITIVE FOR, REFUGE AGAINST AN ENEMY. This situation is susceptable to numerous variations.

(i)

SEEKING ASSISTANCE TO FACIIIITATE THE PER,FOR,MANCE OF'A PIOUS DUTY WHICH HAS BEEN FORBIDDEN. Example: A person who has been forbidden to worship God aecording to the dictates of his own conscience and who appeals for a. place of refuge in whieh to do so. A REFUGE rN WHrCH TO DrE SOUGHT. Example: A warrior who is mortally rvounded seeks refuge in the cabin of a frontiersman.

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Situation Number Five

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"Loue's Obstacles" \Yhile this situation probably in its more serious aspect is a dramatic one, It is the one which affords more material for straight eomedy than any of the oihers. Reference is made here to the always interesting love afrair between a ]-oung couple which has to contend. with a gruff old daddy, a stern mamma, or an old maid aunt. It is the subterfuges invented by the loving eouple to outwit the opposition, and the ludricous positions in which they plaee themselves, that affords the comedy. The dramatic versions that have been used. are:

(a) A UNION BETWEEN EQUAIJITY OF' R,ANK.

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I.,OVERS PREVENTED

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UNION BETWEEN r_,OVERS PREVENTED By TI{EIR rNEQUALITY OF FORTUNtr. A UIUON BETWEEI{ LOVERS PREYET{TED BY ENEMIES. A UI',[ION BETWEEN LOVERS PREVENTED BY A PREVIOUS ENGAGEMENIT OF THE GIRI-/.

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(e) (f)

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A UNION BETWEEN LOVtrRS PREVENTED BY AN IMAGII$ARY

MARRIAGE OF OIVE PAR,TY. A ur\roN BETWEET\ LOVERS PREVEI{TED TIO}{ OF RELATIVES.

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A UNION BETWEEI.{ LOVERS PREVENTED BY A IJACK OF CONGEI.IIALTY BETWEEN THEM.

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OOI$GENIAL RELATTONS BETWEEN HUSBAND MADE IMPOSSIBLE BY PARENTS-IN-I,AW.

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Situation Number Six "Riualry of Unequals" This situation is not only susceptible to dramatic development but to cornedy and pathos. What is more pathetic than the struggle of a hero or heroine against apparently overwhelming odds ? Still the manner in which the handieapped one " puts it over " on his adversary may be made very amusing. Here we have comedy-drana. While rivalry between equals, might be said to be a situation, it is not a dramatic one. It is the fact that one appears at a disadvantage that makes it a clramatic situation. We have had: (a) RIVALRY BETWEEM RICH MAN AND A POOR OI{8. (b) RTVALRY BETWEEN A IIAN WHO IS HONORED At\D ONE WHO

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RIVALRY BETWEEN A l\iAN OF POWER AND A PRETENDER. RrvALRy BETWEETS A i\TONARCH AND OI\{E OF INFERTOR RAI.{K.

(e) (f) (s) (h) (i)

RIVALRY BETWEET{ Oi{E WHO HAS BEEI$ CONQUERED AND THE COr{QUERER. RIVALRY BETWEEN ONE WITH SUPERNATURAIJ POWERS AND AI\T ORDINARY }TAN. RIVALRY BETWEEIV Al{ IMMORTAL AND A MORTAI-,. RTVALRY BtrTWEEN TWO WHO ARE EQUAI-, WITrr rHE EXCEPTION THAT ONE HAS BEEI{ GUILTY OF A CRIME. RTVALRY BETWEEN TWO MEN, ONE OF WHOM HAS I{OT THE

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RTVALRY BETWEEIT rWO I[EN, BOTH OF WHOM HAVE BEEI{ THE HUSBAND OIi'A DIVORCED WOMAN.

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RTVALRY BETWEEN A "VAMPIRE" AND A MODEST WOMAN. RrvAI.,Ry BETWEEI{ A VICTORIOUS \\TOMAN AND ONE WHO IS A PRISONER. RIVAL,RY BETWEEN A WOMAN OF HIGH POSITION AND A LESS FORTU]VATE ONE.

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(n) RIVALRY BETWEEN ONE OF ROYAL BLOOD AND A SLAVE. (o) RrvALRy BETWITEN ONE OF ROYAL BLOOD AND A SUBJECT. (P) RIVALRY BETWEEN ONE WIIO IS IMMORTAI, A N D T H E (q) (r) (s)

A MORTAI/. RIVALRY BETWEEN THE TWO WIYES OF

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A POLYGAMOUS HUSBAI{D. RIVALRY BETWEE}{ THE MEMORY OF A SUPER,IOR \ryOMAN AND A PRESENT WIFE OR MISTRESS. RIVALRY BETWEEN TWO IMMORTALS, ONE OF WIIOM IS I\IORE POWERFUL THAI{ THE OTHER. Situation Number Seven "Riuclr y Betu: een Kinsmen"

Rivalry betrveen kinsmen might lead to enmity (No. 16) thence to a crime by one and revenge at the hands of another (No. 19). Here we would have a combination of three situations. (a) ANY SITUATION WHERE THERE IS RIVALRY BETWEEN TWO MEMBERS OF A FAMILY, FOR A},IY CAUSE WHATEVER, COMES UNDER THIS HEAD. It might be for the love of a woman or man, for position, for authority, for a desired object, or for an aceomplishment.

Situation Number Eight

"A Mystery" All situations rvhere there is a mystery involved come under this head. Detective stories, psychological problems, lost treasures, etc., introduce the enigma. fn stories t'here the enigma is to play an important part, it should be introduced early in order to sustain interest and suspense. Its solution should be reserved for the climax. Examples that have been used: (a) BEING CONIFROI{TED WITH DEATH UI\iLESS A LOST PERSOI{ IS FOUI{D. (b) REING CONFRONTED WITH DEATH UIVLESS A PROBLEM IS

(c) (d) (e) (f)

SOL\TED. The problem may eonsist of any one of a hundred things. THE LOVER OF A \\rOI,IAl{ IS REQUIRED BY HER TO

FIND THE SOLUTION TO A PROBIEM. EFFORTS PUT I'ORTH TO DISCOVER THE NAME OR IDENTITY OF ANOTHER. EFFORTS I\IADE TO DISCOVER THE SEX OF ANOTHER. These last two enter into the case where a mysterious person whose identity or sex is unknown, is introdueed into the story. BEING CONFRONTED WITH THE PROBLEM OF DISCOVERII\G THE TRUE MENTAL CONDITION OF ANOTHER.

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Situation Number Nine

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"Louing an Enemy"

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The first thing that comes to our mind. when this situation is named. is the story of Romeo and Juliet. As will be seen from the number of variations below, which have been used, a wealth of plot material is offered by Num-

ber Nine. (A) HATRED OF' THE IJOVED ONE LO\rER.

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HATRED OF THE MAN BY THE FAMII-,Y OF HIS SWEETIIEART.

HATRED OF THE FATHER OF THE MAI{ BY THE F'AMILY OF HIS SWEETIIEART. (e) THE IIIAN IS THE EI.{EMY OF A PARTY TO WHICH HIS BELOVED BEL,ONGS. (f) TIIE MAN IS THE SLAYER OF IIIS SWEETIIEART'S FATIIER. (s) THE WOMAN IS THE SLAYER OF TI{E FATHER OF HER SWEETHEART. (h) THE WOMAN IS THE SLAYER, OF THE BROTFIER OF HER, SWEETHEART. (i) A WOI\IAN WHOSE HUSBAND HAS BEEN SITAIN AND WHO HAS SWORN TO AVEI{GE HIM, FINDS HERSEI-.,F IN LOVE WITII TIIE MAN WIIO COMMITTED THE MURDER. (j) A woMAN WHOSE TJOVER HAS BEEN STJATN AND WHO HAS SWORN TO AVENGE HIM, FII{DS HERSEITF IN IJOVE WITII

TIIE SLAYER. (K) TITE MAN IS THE SIJAYER HEART.

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THE WOMAN IS THE DAUGHTER, OF THE MAN WHO SIJEW IIER LOVER'S FATHER. (m) FORGIVENESS TO A PERSON wHO HAS BROUGHT MISFORTUNE TO ONE.

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Situation Number Ten "Sacrificing One's Self for an lileal" In the opinion of the author this is the most noble impulse that ever animated a human being, with the exeeption of that which prompted. the Savior to give up his life for the salvation of the world. Such a sacrifice is unattended by selfish motive.

(a) (b)

IJIFE SACRIFICED FOR THE SAKE OF OI.[E'S WORD. LIFE SACRIFICED FOR, THE SUCCESS OF ONE'S PEOPLE.

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(c) SACRIFICE OF LIFE FOR FILIAL PIETY (Duty to God or parents). (d) SACRIFICE OF LIFE FOR OI{E'S FAITH (Christian martyrs). (e) SACRIFICE OF BOTH LOVE AND LIFE FOR, ONE'S FAITH. (f) sACRrFrcE oF BOTH LOVE Al{D LrFE FOR A CAUSE. Example: The physician rvho voluntarily contracts a loathsome disin order to help rid humanity of its teruors. (g) LOVE OR LIFE SACRIFICED TO INTERESTS OF'STATE

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(Patriotism).

(h) RT. OF

SACRTFTCE OF WELrr BErNc TO DUTY. Example: The nurse or physician who ministers to the victim of

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(i)

THE SACRIFICE OF HONOR FOR FAITH.

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Situation Number Eleven "Sacrifice of One's Self for Kindred (or loued, one)."

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This situation is replete with possibilities for dramatic plots. Ilerein lies the glorious example which never fails to stir a responsive chord in the human heart, no matter how hardened it may have become. There are certain motion picture stars who almost invariably show a preference for stories eontaining this situation, for the reason that it enables them to enlist every bit of sympathy that the spectator is capable of giving them. It was this situation in ' ' Tess of the Storm Country " that made Mary Pickford famous.

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(a) THE SACRIFICE OF LIF'E FOR THAT OF A REIJATIVE

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THE SACRIFICE OF LIFE FOR THE HAPPII.{ESS OF A REI.A. TIVE OR FRIEND. THE SACRIF'ICE OF AMBITION FOR THE HAPPII{ESS OF THE LIFE OF A PAREI{T. THE SACRIFTCE OF LOVE FOR A pAREr{T'S LIFE.

(d) (e) THE SACRIFICE OF LOVE FOR THE SAKE OF A CHILD. (f) THE SACRIF'ICE OF'HAPPINESS FOR THE SAKE OF A LOVED ani-

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ONE WHERE THE SACRIFICE IS CAI]SED BY UNJUST IIAWS.

(g)

THE SACRIFICE OF LIFE AND HONOR FOR THE I_,IFE OF A LOVED OIVE. LIBERTY SACRIFICED FOR THE SAKE OF A LOVED ONE. HoI\roR SACRTFTCED FOR THE SAKE OF A LOVED ONE.

(h) (i) (J) I.,OVE AI{D HONOR SACRIFICED

FOR THE SAKE OF' A FRIEND.

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PHOTOPIJAY PIJOTS

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Situation Number Twelve "Posse ssed of an Arnbition"

DISASTROUS RESULTS OF A DAI\TGEROUS AMBITIOI{ WATCHED AND GUARDED AGAINST BY A PATRIOT FRIEND. TIIE DISASTROUS RESULTS OF A DAI\GEROUS AMBITIOI''{ WATCHED AND GUARDED AGAINST BY ONE WHO IS UNDER OBLIGATION TO THE AMBITIOUS ONE. DAr{GERous AMBTTTO}.I BY A MEMBER OF opposrrrolv ro A.WILIJ BE AFFECTED. A PARTY WHICH

(b) THE (c) (d) (e) (f)

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Webster's definition of ambition is, "Eager desire of superiority, power, honor, or fame. " This is a d.ramatic situation on account of its tend.eney to precipitate disaster for the one affected or for his or her friends and loved ones.- While it spurs some to deeds of glory, it also hardens the heart of others to the point of eruelty toward their fellow man. There is always present one o" -ori obstacles to ihe achievement of an ambition. Hence the presence of this situation invites many others r,vhich quickly shape themselves into a, dramatic plot. An exampte of this is shown in the case of the Kaiser who became possessed. of a desire to rule the whole world, and which resulted in the greatest drama in the history of the earth, with the exeeption of the life and crucifiction of our Savior. Thus we have had: (a) THE DISASTROUS RESULTS OF A DANGEROUS AMBITIOI{ WATCI{ED AI{D GUARDED AGAINST BY A KINS}IAN.

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ONE WHO IS POSSESSED OF' A REBELLIOUS AMBITION TO OVERTHROW EXISTII{G AUTHORITY. CRIME BEINIG HEAPED UPON CRIME BY AN AMBITION AI{D

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POSSESSED OF AN AMBITION TO MURDER ORDER TO II{HERIT WEALTH OR POWER.

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Situation Number Thirteen "Fatal Indiscretion" Indiscretion means imprudence, lack of good judgment. When any eharacter in a story commits an act or takes a step of any kind, which on its face is unrvise and vrhich gets him or her into a eomplication, we have the situation of Fatal Indiscretion. The girl who likes to "take a chance," the clerk who "borrows" the bank's funds for a promising speculation, the fool who points the "I didn't knorv it was loaded" gun at a friend, and the fellow who "steps

on the throttle " to see just how fast an auto will go, are all inviting this situation. Curiosity plays an important part in this situation. The effect of fatal imprudence as shown by past drama and fietion are: (a) MISFORTUNE OF THE IMPRUDENT OI.[8. (b) DISHONOR, OF THE IMPRUDENIT ONE.

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(c) LOSS OF A LOVED ONE. (d) DEATH OF THE TMPRUDEIVT Or.{8. (e) THE DEATH OF A RELATM, LOVER, OR.FRIEND. (f) IrrsFoRTUr{E TO A LOVED Ol{8.

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Situation Number Fourteen

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Three elements are present here: Punishment, the fugitive who is fleeing from same, and the object of the pursuit.

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UNDER THIS HEAD COMES THE SITUATIOI{ WHERE ANY ONE IS PURSUtrD BY AI{OTHER FOR AI\Y REAI] OR FANCIED

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PURSUIT OF ANYOI.IE IN ORDER TO PERSECUTE THE]VI BEA MALIGNAI{T POWER, ALSO COI\IES UI\\rDER THIS IIEAD. Example: The case of a reformer who is pursued. by immoral interests, or a secret service man who is pursued by a band of robbers.

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Situation Number Fifteen "Rebelliort" Our elements here are: A tyrant, the conspirator and obstaele, or one revolts. This situation must necessarily begin rvith a eonspiraey, which ieads to action-revolt. The sub-classes are: (a) COI{SPIRACY BY Ol{E INIDIVIDUAL. In which he plans u'ith himself to revolt. (b) THE CONTSPTRACY OF SEVERAL n{DTVTDUALS. In which more than one are engaged in the plot. (c) THE REVOLT OF THE OI\E INDIVIDUAIJ. Whose influence or example involves others. (d) THE STMULTAiVEOUS REVOLT OF MANY. As in the case of a labor strike. 'who :harce is

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Situation Number Sixteen " Enmity Betut een Kinlmen" At first glanee this situation would appear to be similar to number twenty, "Kinsman Avenged Against Kinsman." It is very difrerent, as we shall see. In the case of number twenty the kinsman who is the avenger is an innocent party, whereas under the heading of "Enmity Between Kinsmen," both parties may be equally guilty. And again, there may be enmity, and no revenge taken.

(a) (b)

UNDER, THIS HEAD COMES

ANY SITUATION WHERE

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MEMBER, OF'A FAMII,Y HATES ANOTIIER,, ONE IS HATED BY SEVERAIJ OTHERS OR, WHERE THE ENMITY IS MUTUAIJ BETWEEN TWO MEMBERS.

II.{FANTICIDE, OR THE MUR,DER, OF AN INFAI{T, IS CIJASSI. FIED UNDER THIS HEAD.

Situation Number Seventeen "Effort to Obtain" Any situation where an effort is mad.e to secure a concession of any kind through other means than entreaty, comes under this head. It differs from that of entreaty in that ruse, force or eloquence may be used as a means of obtaining the desired end. The supplicant is one r,vho bares his heart and occupies a position of abjeet humility, or, in other word.s, throws himself on the mercy of the one to whom the appeal is made. The intentions of the Solicitor, who seeks to obtain, il&y on the other hand, be questionable. (a) RUSE OR FORCE USED IN AN EFFORT TO OBTAIN AN OBJECT" (b) PERSUASIVE ELOQUENCE USED IN AN EFFORT TO OBTAI5 AN OBJECT. (c) ELOQUENCE USED UPOI\I A THIRD PERSOI{ OR ARBITRATOB IN AN EFFORT TO GAIN A}{ OBJECT WHICH IS POSSESSED BT AN ADVERSARY. Example: Trvo persons fall into a dispute over the possession of a' object and a disinterested party is called in to be the jutlge.

Situation Number Eishteen "Daring Effort This heading is self-explanatory. IJnder it comes all situations where or+ or several individuals set out to perform some hazardous undertaking. (a) AN ADVENTUROUS EXPEDITION. Example: Into the wilds of a forest for big game.

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DARII.{G EFX'ORT TO OBTAIN A BELOVED WOMAI{.

A DESIRED OBJECT OR PERSOI{ BEII{G CARRIED R,ECAPTURING A DESIRED OBJECT. DNGAGII{G II{ A COMBAT OR FIGHT. ENGAGTNTG rN WAR.

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EXPLORATION PARTY.

Situati": n"*ber Nineteen 'Vengeancerr The elements are three in number: The Criminal or Guilty One, the Avenger, and the Crime Committed. This situation very frequently is combined-with number one in the drama. The two must not be confused., however. Vengeance is often meeted. out to the eriminal at some time after his intended victim has been rescued. Sub-classes having been used include:

(a) A SITAIN PARENT OR ANCESTOR, AVENGED. (b) A SIJAIN CIIIIJD OR, DESCENDANT AVENGED. (c) A SLAIN WIFE OR HUSBAND AVENGED. (d) A SIJAIN MISTRESS AYENGED. (e) A SITAIN OR INJURED FRIEI{D AVENGED. (f) A DISHONORED CHILD AVENGED. (g) A DISHONORED OR INSUITTED WIFtr AVENGED. (h) A SISTER WHO HAS BEEN SEDUCED AVENGED. (i) INTENTIONAIT II.IJURY AVENGED. (J) AN ATTE}IPTED SLAYING AVENGED. (l