{"product_id":"141014","title":"Story: Writing that Hits ","description":"\u003ccenter\u003e\u003cdiv style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/tmgdisk01.cafe24.com\/images\/vs\/4172\/sv\/WQtVOAtQ6CPsBWUg0u8fgY.png?v=1764980701\" style=\"max-width:100%;max-height:10px\"\u003e\u003c\/div\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\u003ccenter\u003e\n\n\u003cdiv style=\"width:95%\"\u003e\n\n\u003cdiv style=\"text-align:center;font-size:30px;font-weight:bolder;line-height:1.6em\"\u003e Story: Writing that Hits \u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"border-bottom:1px;border-bottom-style:dotted;border-color:;padding-bottom:20px\"\u003e\u003ccenter\u003e\u003ctable align=\"center\" width=\"100%\"\u003e\u003ctbody style=\"border:0px\"\u003e\n\n\u003ctr\u003e\u003ctd align=\"center\" style=\"line-height:1.2em;text-align:center;font-size:18px;color:black;font-weight:bold;padding-bottom:20px;\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\u003ctr\u003e\u003ctd style=\"text-align:center\"\u003e\u003cimg src=\"https:\/\/image.yes24.com\/goods\/93522655\/XL\" style=\"max-width:100%;height:auto\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\n\n\n\u003c\/tbody\u003e\u003c\/table\u003e\u003c\/center\u003e\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;{split_style6}padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e Description \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;word-break:break-all;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eBook Introduction\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003ctable\u003e\u003ctbody\u003e\u003ctr\u003e\u003ctd\u003e\u003cdiv\u003e\u003cdiv\u003e \u003cb\u003eA book with the charm to render existing writing books powerless!\u003c\/b\u003e\u003cbr\u003e - Analysis of scenarios filled with 21st century Korean films\u003cbr\u003e - A must-read recommended by current film directors and screenwriters.\u003cbr\u003e - The secrets of scenario structure revealed through the 'Five-Eight Formula'\u003cbr\u003e - The wisest and kindest answer about screenplays and writing\u003cbr\u003e\u003cbr\u003e Do writers read writing manuals? Of course. \u003cbr\u003eFamous authors like Stephen King and James Michener have published books on writing, and Haruki Murakami has detailed his writing habits in several essays.\u003cbr\u003e Also, presidential secretaries, journalists, publishers and magazine editors, and people who write for a living in various professions have published books on writing.\u003cbr\u003e Of course, the writing discussed in 『Story: Writing for Success』 is not novels or essays, but the visual industry, namely, film and drama writing.\u003cbr\u003e However, the author is also significant in that he takes care not only of writing techniques but also of the attitude and mindset toward writing.\u003cbr\u003e\u003cbr\u003e \"Story: Writing for the Box\" is the result of the author's long experience and passion as a film director and screenwriter. \u003cbr\u003eThis is the answer to the questions: why must screenwriting manuals be boring? Why must South Korean writers study from Hollywood film manuals? How long must we analyze Citizen Kane, made in 1941? And why isn't there a book that offers a helping hand, saying, \"Let's write together!\" rather than, \"Start writing on your own!\"\u003cbr\u003e Film director Min Kyu-dong commented that the book is like Ariadne's thread, a must-read for Theseus (writers) who are trapped in the maze of blocked writing.\u003cbr\u003e The author concisely analyzes all the movies in the world using the 'Oh (Ki-Hwan) formula' he developed, while not losing sight of the movie's message or the author's thematic consciousness.\u003cbr\u003e The reader's question, \"Will I be able to write a good screenplay after reading this book?\" is completely resolved after closing the book.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003c\/div\u003e\u003c\/div\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/tbody\u003e\u003c\/table\u003e\n\u003cdiv\u003e\u003cul\u003e\u003cli\u003e You can preview some of the book's contents.\u003cbr\u003e \u003cspan\u003ePreview\u003c\/span\u003e\n\n\u003c\/li\u003e\u003c\/ul\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eindex\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e  \u003cdiv\u003eRecommendation 1 (Film Director Min Kyu-dong)\u003cbr\u003e Recommendation 2 (Film Director Shin Yeon-sik)\u003cbr\u003e Entering\u003cbr\u003e Before reading this book 1: Book structure\u003cbr\u003e Before reading this book 2: Characteristics of the book\u003cbr\u003e\u003cbr\u003e \u003cb\u003e01 Theory of Story\u003c\/b\u003e\u003cbr\u003e 1.\u003cbr\u003e Story: How to Write a Screenplay\u003cbr\u003e 2.\u003cbr\u003e Scenario Guide \u0026amp; Scenario Master\u003cbr\u003e 3.\u003cbr\u003e What is a Scenario \u0026amp; Scenario Workbook\u003cbr\u003e 4.\u003cbr\u003e Save the Cat!: 8 Rules for Writing a Hit Movie Screenplay\u003cbr\u003e 5.\u003cbr\u003e The Secret of Poetry \u0026amp; Storytelling\u003cbr\u003e 6.\u003cbr\u003e Essential elements\u003cbr\u003e\u003cbr\u003e \u003cb\u003e02 Plot\u003c\/b\u003e\u003cbr\u003e 1.\u003cbr\u003e Act 3\u003cbr\u003e 2.\u003cbr\u003e A plot is a plan\u003cbr\u003e\u003cbr\u003e \u003cb\u003e03 Main Character\u003c\/b\u003e\u003cbr\u003e 1.\u003cbr\u003e Find the main character\u003cbr\u003e 2.\u003cbr\u003e The protagonist's actions\u003cbr\u003e 3.\u003cbr\u003e past, present, future\u003cbr\u003e 4.\u003cbr\u003e The Thinker vs.\u003cbr\u003e Action taker\u003cbr\u003e 5.\u003cbr\u003e The protagonist is a man of action\u003cbr\u003e 6.\u003cbr\u003e Action is the main character\u003cbr\u003e\u003cbr\u003e \u003cb\u003e04 Concept of formula\u003c\/b\u003e\u003cbr\u003e 1.\u003cbr\u003e Oh Gi-hwan's formula\u003cbr\u003e 2.\u003cbr\u003e triangle of plot\u003cbr\u003e 3.\u003cbr\u003e The protagonist's formula\u003cbr\u003e 4.\u003cbr\u003e The antagonist's formula\u003cbr\u003e\u003cbr\u003e \u003cb\u003e05 Principle of the formula\u003c\/b\u003e\u003cbr\u003e 1.\u003cbr\u003e The plan is completed\u003cbr\u003e 2.\u003cbr\u003e The setting rushes towards the climax.\u003cbr\u003e 3.\u003cbr\u003e 'Attack Point 1' and 'Attack Point 3' are twins.\u003cbr\u003e \u003cbr\u003e\u003cb\u003e06 Surface narrative and deep narrative\u003c\/b\u003e\u003cbr\u003e 1.\u003cbr\u003e Bohemian Rhapsody\u003cbr\u003e 2.\u003cbr\u003e \"monster\"\u003cbr\u003e 3.\u003cbr\u003e \"helminth\"\u003cbr\u003e 4.\u003cbr\u003e Exit\u003cbr\u003e 5.\u003cbr\u003e \"city\"\u003cbr\u003e\u003cbr\u003e \u003cb\u003e07 Application of the formula\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e \u003cb\u003e08 Laws of Genre\u003c\/b\u003e\u003cbr\u003e 1.\u003cbr\u003e The formula of the genre\u003cbr\u003e 2.\u003cbr\u003e Melo\u003cbr\u003e 3.\u003cbr\u003e Human\u003cbr\u003e 4.\u003cbr\u003e sports\u003cbr\u003e 5.\u003cbr\u003e horror\u003cbr\u003e 6.\u003cbr\u003e thriller\u003cbr\u003e 7.\u003cbr\u003e Undercover\u003cbr\u003e 8.\u003cbr\u003e Caper\u003cbr\u003e 9.\u003cbr\u003e Action\u003cbr\u003e 10.\u003cbr\u003e calamity\u003cbr\u003e 11.\u003cbr\u003e Genre Summary\u003cbr\u003e\u003cbr\u003e \u003cb\u003e09 Story Creation\u003c\/b\u003e\u003cbr\u003e 1.\u003cbr\u003e The foundation of creation\u003cbr\u003e 2.\u003cbr\u003e hero\u003cbr\u003e 3.\u003cbr\u003e value\u003cbr\u003e\u003cbr\u003e \u003cb\u003e10. The order of creation\u003c\/b\u003e\u003cbr\u003e 1.\u003cbr\u003e The protagonist's formula\u003cbr\u003e 2.\u003cbr\u003e Value setting\u003cbr\u003e 3.\u003cbr\u003e Setting and climax\u003cbr\u003e 4.\u003cbr\u003e Main antagonist setting\u003cbr\u003e 5.\u003cbr\u003e Setting up a sub-antagonist\u003cbr\u003e 6.\u003cbr\u003e Surface narrative and deep narrative\u003cbr\u003e 7.\u003cbr\u003e Cross-check\u003cbr\u003e 8.\u003cbr\u003e Story Writing\u003cbr\u003e\u003cbr\u003e \u003cb\u003e11 Writing by Genre\u003c\/b\u003e\u003cbr\u003e 1.\u003cbr\u003e Melo\u003cbr\u003e 2.\u003cbr\u003e Human\u003cbr\u003e 3.\u003cbr\u003e horror\u003cbr\u003e 4.\u003cbr\u003e thriller\u003cbr\u003e 5.\u003cbr\u003e Caper\u003cbr\u003e 6.\u003cbr\u003e Action\u003cbr\u003e 7.\u003cbr\u003e Drama creation\u003cbr\u003e\u003cbr\u003e \u003cb\u003e12 checkpoints\u003cbr\u003e 1.\u003cbr\u003e Once the first act is complete, the first draft can be completed.\u003c\/b\u003e\u003cbr\u003e 2.\u003cbr\u003e Subplot\u003cbr\u003e 3.\u003cbr\u003e Edit completed\u003cbr\u003e 4.\u003cbr\u003e Socialization of my writing\u003cbr\u003e\u003cbr\u003e Before closing this book\u003cbr\u003e Going out\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eDetailed image\u003c\/b\u003e \u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cdiv\u003e\u003cimg src=\"https:\/\/image.yes24.com\/momo\/TopCate3174\/MidCate008\/317371528(1).jpg\" border=\"0\" alt=\"Detailed Image 1\"\u003e\u003c\/div\u003e\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003eInto the book\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e This book is not about the future. \u003cbr\u003ePraise the beauty of masterpieces that adorned our wonderful past.\u003cbr\u003e All great stories of the future are born from subversion and betrayal.\u003cbr\u003e Most masterpieces are born from a path different from normal expectations, and for that reason they survive for a long time and become established as classics.\u003cbr\u003e What's interesting is that these masterpieces were only possible after fully digesting the past concepts and principles embroidered in this book and unfolding their own visions on unfamiliar paths.\u003cbr\u003e In that sense, 『Story: Writing for Box Office』, unraveled by a current South Korean film director, may be the Ariadne's thread that we Theseuses desperately need to find a way out of the labyrinthine wall of blocked writing.\u003cbr\u003e Do you know by any chance?\u003cbr\u003e I just pulled it lightly, and that alone would work its magic to open up the passage. \u003cbr\u003e--- From the \"Recommendation\" by film director Min Kyu-dong (Herstory, Everything About My Wife)\u003cbr\u003e\u003cbr\u003e By establishing various perspectives and theories on scenario structure, it provides a clearer picture of the treasures each writer must seek for when writing a new scenario.\u003cbr\u003e Beginner travelers can easily be dazzled by the dazzling treasures.\u003cbr\u003e I hope that through this book you will learn how to read maps and practice finding your own treasures.\u003cbr\u003e It will definitely be a fun and happy trip.\u003cbr\u003e And when you reach your destination and look back, you will realize that the path you have taken was meant for you.\u003cbr\u003e --- From the \"Recommendation\" by film director Shin Yeon-sik (《1 Win》 《Dongju》 [screenplay])\u003cbr\u003e\u003cbr\u003e Writing a story, creating a new world, is so hard.\u003cbr\u003e Unlike the manufacturing process of industrial products, the beginning and end are unclear.\u003cbr\u003e No one knows exactly where and how it begins, or when and how it ends. \u003cbr\u003eBut if you make up your mind and decide on a beginning and an end for your writing, the story will begin and end.\u003cbr\u003e I will sit next to you, cheering you on and helping you complete this path to the end.\u003cbr\u003e Think of it as a 'pacemaker'.\u003cbr\u003e I know that way well.\u003cbr\u003e I've completed the race many times, and I'm still starting again every day without stopping.\u003cbr\u003e If you give us the signal that you are mentally prepared, we will depart right away.\u003cbr\u003e\u003cbr\u003e --- From 'Entering'\u003cbr\u003e\u003cbr\u003e I believe that the perfect combination of a stable plot and an active protagonist makes for a perfect story.\u003cbr\u003e The plot is the plan, and it is responsible for the overall skeleton of the story. The protagonist must take powerful actions within that plan and advance steadily toward a single goal.\u003cbr\u003e That's the beautiful story I imagine. \u003cbr\u003eTherefore, a character who does not move cannot be called the main character (in the story).\u003cbr\u003e You need to move the main character in your writing right now.\u003cbr\u003e Only then will the story come alive.\u003cbr\u003e Shall we start moving strongly now? Ready, action!\u003cbr\u003e --- From Chapter 3, “Protagonist (Character)”\u003cbr\u003e\u003cbr\u003e In real life, very few people have a perfect plan.\u003cbr\u003e The majority live their lives doing their best in the given environment.\u003cbr\u003e The same goes for movies.\u003cbr\u003e There are protagonists who live with strong will and plans, but there are also protagonists who do their best in a given environment and situation.\u003cbr\u003e So, I'm going to look at movies that feature protagonists who don't have any powerful plans of their own.\u003cbr\u003e This is director Jang Joon-hwan's 《1987》(2017). \u003cbr\u003eThe main characters of this film include Director Park (played by Kim Yun-seok), Chief of the Public Security Bureau (played by Ha Jung-woo), Yeon-hee (played by Kim Tae-ri), and Lee Han-yeol (played by Kang Dong-won).\u003cbr\u003e Who among them has their own plans?\u003cbr\u003e --- From Chapter 5, “The Principle of Formulas”\u003cbr\u003e\u003cbr\u003e What if there were a deeper narrative beneath the expressive narrative? That's what Poetry is.\u003cbr\u003e There is another layer of deep narrative beneath the deep narrative.\u003cbr\u003e Here's why:\u003cbr\u003e In the second half, Mija submits a poem she wrote and then disappears.\u003cbr\u003e He hasn't shown up since.\u003cbr\u003e The person reciting the poem written by Mija is not Mija herself, but a girl who is presumed to be the person who died and floated down the water at the very beginning of the film.\u003cbr\u003e Who could it be?\u003cbr\u003e --- From Chapter 6, “Surface Narrative and Deep Narrative”\u003cbr\u003e\u003cbr\u003e Now, let's look at the various forms of the genre. \u003cbr\u003eI will cut deep into the story before you with a sharp knife, carefully removing the flesh and fully revealing the shape of the bones.\u003cbr\u003e If you go to a raw fish restaurant, there is a menu called Seodeori Tang.\u003cbr\u003e It's a soup made by boiling fish bones.\u003cbr\u003e Just by looking at the bones, anglers can tell at a glance whether a lot of flounder was sold the day before or a lot of red sea bream was cut.\u003cbr\u003e You can guess the level of the store by the technique of removing the bones and flesh.\u003cbr\u003e From now on, I will be using a good knife like a top chef to cut through the flesh of each 'genre'.\u003cbr\u003e And let's dismantle all the 'bones of the genre'.\u003cbr\u003e These bones are the path, the plot, of the writing we must follow.\u003cbr\u003e The reason I placed genre analysis in the second half of the book is to add a \"plot map\" called \"genre formula\" to the story theory we've learned so far.\u003cbr\u003e\u003cbr\u003e --- From Chapter 8, “The Laws of Genre”\u003cbr\u003e\u003cbr\u003e Just because you start writing doesn't mean you'll finish. \u003cbr\u003eThere's a reason why the writing never ends.\u003cbr\u003e It means that there are still unresolved issues.\u003cbr\u003e We've covered the root cause of the problem several times before, but there's still one issue we haven't addressed yet.\u003cbr\u003e The following is a tribute to all the writers who are struggling with stagnant and repetitive stories.\u003cbr\u003e These are elements that can be referenced at every stage by everyone, from amateur writers just starting out to professional writers who are about to submit a finished copy of a contracted piece.\u003cbr\u003e Please open a place that suits your situation.\u003cbr\u003e --- From Chapter 12, \"Checkpoint\"\u003cbr\u003e\u003cbr\u003e In this book, I explained all the stories by substituting them into the 'Oh's Formula'.\u003cbr\u003e Readers, you may agree or disagree with this formula.\u003cbr\u003e it's okay.\u003cbr\u003e I, too, read the screenwriting books of the great writers, and was inspired by some parts and rebutted others. \u003cbr\u003eMany people write their own stories in their own ways.\u003cbr\u003e This book is my method.\u003cbr\u003e I kept asking you guys if you had your own 'tool'.\u003cbr\u003e \"Story: Writing for Success\" should be the tool to get there.\u003cbr\u003e Don't worry or feel impatient if you don't have your own formula yet.\u003cbr\u003e I, too, decided to write a book, and it took me 10 years to finally finish it.\u003cbr\u003e Is that any consolation? The most important thing is your attitude toward writing, the direction you like to pursue, and your determination to see it through to the end.\u003cbr\u003e And you, the ones who stay up all night again today, hovering between these three words: plot, protagonist, and value, are the real winners.\u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e --- From \"Going Out\"\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cdiv\u003e\u003ch5\u003e \u003cb\u003ePublisher's Review\u003c\/b\u003e\n\u003c\/h5\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e \u003cb\u003eLee Joon-ik, Min Kyu-dong, Heo Jin-ho, Yoon Je-kyun, Jang Hang-jun, etc.\u003cbr\u003e Admiration from current film directors and screenwriters\u003cbr\u003e “Easy, fun, sharp, and useful!”\u003cbr\u003e\u003c\/b\u003e \u003cbr\u003e\"Will I be able to write a good screenplay after reading this book?\"\u003cbr\u003e The author's plan regarding the reader's question\u003cbr\u003e\u003cbr\u003e If you chose \"Story: Writing for Success,\" you are likely a film or TV screenwriter, or an aspiring writer.\u003cbr\u003e Even if you are not a film major, you may be a student who wants to systematically read film texts, or you may have a desire to write something even in the midst of a busy daily life.\u003cbr\u003e Above all, you must have wondered, 'Will I be able to write a good screenplay after reading this book?'\u003cbr\u003e To this, the author confidently answers, \"After reading this book, you will be able to create a screenplay.\"\u003cbr\u003e Just as a good movie needs a solid plot, a good book also needs a well-built plot.\u003cbr\u003e The plot of this book is the table of contents.\u003cbr\u003e\u003cbr\u003e Chapter 1, 'Theory of Story', concisely summarizes the contents of existing story theory and writing books.\u003cbr\u003e Through this, we examine the basic elements of scenario theory. \u003cbr\u003eChapter 2, 'Plot' and Chapter 3, 'Protagonist' cover the basic theory of story.\u003cbr\u003e And from Chapter 4, ‘The Concept of the Formula’ to Chapter 7, ‘Application of the Formula’, the internal cycle of the story is explained.\u003cbr\u003e From the plot triangle that supports the world of the story, to the causality between the setting and the climax, and the connection between attack points 1 and 3, it ultimately proves that the story is a living organism.\u003cbr\u003e Chapter 8, 'The Laws of Genre', is the answer to the question of what form and structure all stories in the world have.\u003cbr\u003e We have explained the shape and format of each genre through 10 genres.\u003cbr\u003e Through this, you can become familiar with various basic narrative rules of various genres such as melodrama, human, sports, horror, and action. \u003cbr\u003eIt also covers what types of stories were preferred in each era, how the form of stories changed over time, and what genres are preferred in today's video industry.\u003cbr\u003e Chapter 9, 'Story Creation', Chapter 10, 'The Order of Creation', and Chapter 11, 'Writing by Genre', examine the entire process of story creation in detail.\u003cbr\u003e Chapters 9, 10, and 11, which correspond to the third act of the film, connect 'theory' and 'creation' in a way that no other story theorist or creative writing book has ever shown.\u003cbr\u003e Before you know it, you'll find yourself closing the book, predicting the future of the story and making plans for how you'll enter the film industry.\u003cbr\u003e\u003cbr\u003e \u003cb\u003eAll films across genres, nationalities, and series\u003cbr\u003e Solve it with 'Oh (Ki-Hwan)'s formula'\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e 'Oh (Ki-Hwan)'s Formula' put forward the author's name. \u003cbr\u003e(He is the first person in South Korea to receive a doctorate in screenwriting.) If you look closely, it is the sum of two formulas.\u003cbr\u003e First, there is the protagonist's formula, which is completed with two circles and one arrow, and then there is the antagonist's formula, which is completed with three circles and three arrows.\u003cbr\u003e Through this formula, the author analyzes a variety of films, from popular films like [Midnight Runners] and [Exit] to art films like [Poetry], and films that capture both popularity and artistry, such as [Parasite], [The Host], and [Architecture 101].\u003cbr\u003e Also, various genres such as action, melodrama, thriller, caper, undercover, sports, and human can be solved with this one formula.\u003cbr\u003e In a word, it is versatile.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e The protagonist formula is a formula about the protagonist (character) who leads a movie from beginning to end.\u003cbr\u003e That is, it is responsible for the beginning and the end of the story.\u003cbr\u003e The direction of the arrows from left to right represents the protagonist's actions. \u003cbr\u003eOn the other hand, the antagonist's formula is responsible for fun and value.\u003cbr\u003e Because a story without an antagonist is boring.\u003cbr\u003e That is, it completes the story.\u003cbr\u003e The reason there are three circles is because of the three-act structure, which develops the story by connecting the acts together.\u003cbr\u003e The 'formula of five' is a living organism with internal rules and flow, just like the properties of writing.\u003cbr\u003e Detailed explanations of the narrative layers and genre-specific writing tips are all included in the book.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e \u003cb\u003eStill struggling with the unresolved issue\u003cbr\u003e For the writer\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Some films are loved by the public and critics alike, while some scripts remain on the writer's desk their entire lives, never to be released into the world.\u003cbr\u003e Why? The truth is, anyone can write a story.\u003cbr\u003e Just think back to writing a diary in elementary school.\u003cbr\u003e If you were forced to write it, a letter to your lover would be good too.\u003cbr\u003e So writing is not inherently difficult. \u003cbr\u003eSo the answer to the question, \"Can I write?\" is, \"Write right now!\"\u003cbr\u003e However, this is a superficial question and answer.\u003cbr\u003e Just as there are surface narratives and deep narratives in movies, there are also deep difficulties in screenwriting.\u003cbr\u003e The problem that really makes it difficult for creators is writing stories that 'other people like'.\u003cbr\u003e This is the deep and fundamental difficulty.\u003cbr\u003e\u003cbr\u003e The author's answer can be summarized as follows:\u003cbr\u003e First, 'writing' means thinking of something that is not currently in my head, organizing it in advance, and then writing it.\u003cbr\u003e Second, we must distinguish between ‘writing’, which involves organizing and writing in advance, and ‘typing’, which involves starting without thinking.\u003cbr\u003e Third, the item must be described by four elements: the protagonist, the protagonist's purpose, the protagonist's plan, and the antagonist.\u003cbr\u003e Fourth, items are like living things.\u003cbr\u003e Born small and whole, growing up to be fully formed.\u003cbr\u003e Fifth, for an item to grow well, it must have an end. \u003cbr\u003eAn endless item is not an item, it is simply an idea.\u003cbr\u003e This cannot be completed.\u003cbr\u003e Sixth, you should start writing when the process is clear and the ending scene is clear.\u003cbr\u003e Seventh, if you are going to publish something out into the world, you must secure positive feedback from others before you begin writing in earnest.\u003cbr\u003e The author encourages the reader with all his might, saying, “The world is waiting for your writing!” \u003cbr\u003e\n\n\u003c\/div\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cdiv style=\"width:95%;padding-top:20px;padding-bottom:20px\"\u003e\n\n\u003cdiv style=\"text-align:left;font-size:16px;font-weight:bold;padding-bottom:20px\"\u003e GOODS SPECIFICS \u003c\/div\u003e\n\n\u003cdiv style=\"text-align:left;font-size:14px;line-height:1.6em;\"\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePublication date:\u003c\/strong\u003e October 29, 2020\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003ePage count, weight, size:\u003c\/strong\u003e 460 pages | 690g | 154*225*25mm\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN13:\u003c\/strong\u003e 9791165792268\u003c\/div\u003e\n\n\u003cdiv style=\"width:100%;margin-bottom:5px;line-height:1.6em;font-size:14px\"\u003e - \u003cstrong\u003eISBN10:\u003c\/strong\u003e 1165792265 \u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\n\u003c\/div\u003e\n\n\u003ccenter\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003ccenter\u003e\u003ctable\u003e\u003ctr\u003e\u003ctd style=\"height:10px\"\u003e\u003c\/td\u003e\u003c\/tr\u003e\u003c\/table\u003e\u003c\/center\u003e\n\n\u003cspan\u003e\u003c\/span\u003e\n\n\u003c\/center\u003e\n\n\n\u003c\/center\u003e","brand":"LIBRAIRIE COREENNE","offers":[{"title":"Default Title","offer_id":43894932635690,"sku":"141014","price":28.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0683\/2750\/5962\/files\/6757cde2ee04e61451a94a38466eb55b.jpg?v=1765452243","url":"https:\/\/librairie.coreenne.fr\/en\/products\/141014","provider":"LIBRAIRIE COREENNE","version":"1.0","type":"link"}