One way to make a story pop out of the ordinary is to endow characters with qualities (or as Truby calls them, “values”) which provide immediate contrast when compared to other characters. Obviously it is more effective if these disparate attributes are presented in the same scenes.
Think of all the great dynamics that have arisen in film history as a result of such contrasts. Think of all the great lines of dialogue that have arisen naturally from that opposition.
Young:Old Good:Evil City:Country Adult:Child Big:Small Rich:Poor drunk:ɹǝqos Beautiful:Ugly Smart:Stupid Faithful:Unfaithful Believer:Unbeliever Mortal:Immortal Criminal:Law Abiding Boss:Employee Success:Failure Master:Servant uǝɯoʍ:uǝɯ Love:Hate Male:Female Negative:Positive Clean:Dirty Superior:Inferior Dead:Alive Black:White Intimate:Platonic Friend:Enemy
Think of all the great dynamics that have arisen in film history as a result of such contrasts. Think of all the great lines of dialogue that have arisen naturally from that opposition.
Young:Old Good:Evil City:Country Adult:Child Big:Small Rich:Poor drunk:ɹǝqos Beautiful:Ugly Smart:Stupid Faithful:Unfaithful Believer:Unbeliever Mortal:Immortal Criminal:Law Abiding Boss:Employee Success:Failure Master:Servant uǝɯoʍ:uǝɯ Love:Hate Male:Female Negative:Positive Clean:Dirty Superior:Inferior Dead:Alive Black:White Intimate:Platonic Friend:Enemy
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