The Oedipal Structure

I love the feel of death. Feeling it slip past me as it leaves someone’s body. I love taking life, feeling the blade dig in, the crisp tearing sound as the tip glides through the flesh. It’s an art. Dead people are so different to how you expect. On television or in films, when they’re just alive people lying down, but dead people are not just alive people lying down. They’re objects; you can own them. I like making people into objects. I like turning them into works of art. Separating them out and putting them back together in all the wrong order. Creating monstrosities, freaks of nature, the three-armed man, the woman with the backwards face, the small, little child who’s chin connected straight to the chest, with no neck left.

1. Overcoming the Monster

2. Rags to Riches

3. The Quest

4. Voyage and Return

5. Rebirth

6. Comedy

7. Tragedy

“Rags to riches” (rise).

“Tragedy,” or “Riches to rags” (fall).

“Man in a hole” (fall–rise).

“Icarus” (rise–fall).

“Cinderella” (rise–fall–rise).

“Oedipus” (fall–rise–fall).

I personally favour the Oedipal structure, which I think some of the best fiction uses, and creates some of the most engaging and memorable narratives. Most dystopian fiction - 1984, Brave New World, A Clockwork Orange (although not in the American version) - use this kind of structure. These in particular have endings that have always stuck with me. "Winston loved Big Brother." "Over the arch of the door way, dangled a pair of feet." "I was cursed all right." 

A story is always someone who wants something.

Film/TV Show where a character really wants something:

Game of Thrones: Cercie Lannister

The Walking Dead: Shane

Inglorious Basterds: Hans

Mr Robot: Elliot

The Seagull: Kontantin

Dr Faustus

Sherlock: Moriarty

Macbeth

also, Lady Macbeth

Othello

also, Iago

ACT ONE

- Call to arms

- Honeymoon / dream stage

ACT TWO

- Increasing complications (backstory of characters likely explored here)

ACT THREE

- Crisis

- Resolution