This book is not about the future.
Praise the beauty of masterpieces that adorned our wonderful past.
All great stories of the future are born from subversion and betrayal.
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.
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.
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.
Do you know by any chance?
I just pulled it lightly, and that alone would work its magic to open up the passage.
--- From the "Recommendation" by film director Min Kyu-dong (Herstory, Everything About My Wife)

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.
Beginner travelers can easily be dazzled by the dazzling treasures.
I hope that through this book you will learn how to read maps and practice finding your own treasures.
It will definitely be a fun and happy trip.
And when you reach your destination and look back, you will realize that the path you have taken was meant for you.
--- From the "Recommendation" by film director Shin Yeon-sik (《1 Win》 《Dongju》 [screenplay])

Writing a story, creating a new world, is so hard.
Unlike the manufacturing process of industrial products, the beginning and end are unclear.
No one knows exactly where and how it begins, or when and how it ends.
But if you make up your mind and decide on a beginning and an end for your writing, the story will begin and end.
I will sit next to you, cheering you on and helping you complete this path to the end.
Think of it as a 'pacemaker'.
I know that way well.
I've completed the race many times, and I'm still starting again every day without stopping.
If you give us the signal that you are mentally prepared, we will depart right away.

--- From 'Entering'

I believe that the perfect combination of a stable plot and an active protagonist makes for a perfect story.
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.
That's the beautiful story I imagine.
Therefore, a character who does not move cannot be called the main character (in the story).
You need to move the main character in your writing right now.
Only then will the story come alive.
Shall we start moving strongly now? Ready, action!
--- From Chapter 3, “Protagonist (Character)”

In real life, very few people have a perfect plan.
The majority live their lives doing their best in the given environment.
The same goes for movies.
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.
So, I'm going to look at movies that feature protagonists who don't have any powerful plans of their own.
This is director Jang Joon-hwan's 《1987》(2017).
The 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).
Who among them has their own plans?
--- From Chapter 5, “The Principle of Formulas”

What if there were a deeper narrative beneath the expressive narrative? That's what Poetry is.
There is another layer of deep narrative beneath the deep narrative.
Here's why:
In the second half, Mija submits a poem she wrote and then disappears.
He hasn't shown up since.
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.
Who could it be?
--- From Chapter 6, “Surface Narrative and Deep Narrative”

Now, let's look at the various forms of the genre.
I will cut deep into the story before you with a sharp knife, carefully removing the flesh and fully revealing the shape of the bones.
If you go to a raw fish restaurant, there is a menu called Seodeori Tang.
It's a soup made by boiling fish bones.
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.
You can guess the level of the store by the technique of removing the bones and flesh.
From now on, I will be using a good knife like a top chef to cut through the flesh of each 'genre'.
And let's dismantle all the 'bones of the genre'.
These bones are the path, the plot, of the writing we must follow.
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.

--- From Chapter 8, “The Laws of Genre”

Just because you start writing doesn't mean you'll finish.
There's a reason why the writing never ends.
It means that there are still unresolved issues.
We've covered the root cause of the problem several times before, but there's still one issue we haven't addressed yet.
The following is a tribute to all the writers who are struggling with stagnant and repetitive stories.
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.
Please open a place that suits your situation.
--- From Chapter 12, "Checkpoint"

In this book, I explained all the stories by substituting them into the 'Oh's Formula'.
Readers, you may agree or disagree with this formula.
it's okay.
I, too, read the screenwriting books of the great writers, and was inspired by some parts and rebutted others.
Many people write their own stories in their own ways.
This book is my method.
I kept asking you guys if you had your own 'tool'.
"Story: Writing for Success" should be the tool to get there.
Don't worry or feel impatient if you don't have your own formula yet.
I, too, decided to write a book, and it took me 10 years to finally finish it.
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.
And you, the ones who stay up all night again today, hovering between these three words: plot, protagonist, and value, are the real winners.

--- From "Going Out"