reading through the forum, see reference to multiple storyforms in one story.
is there some general tutorial on how that works? I mean, does that mean subplots? ensemble stories? multiple main characters? or what.
Michael
My understanding is that every story can only have a MC, but does not affect more than one MC with one novel(or film), because each novel(or film) is usually a collection of multiple stories. The steps,first for each story to create a complete StoryForms, The next weaving process, and then different StoryForms story points woven together, to become a complete story.
Whether the primary or secondary plot, depending on your own needs. Each story can be equally important, can also be secondary are different, but the StoryForms of every story should be complete. The difference is in the StoryWeaving stage, you can emphasize a story to let it become the main plot, and let it become a subplot.
I am a novice, just my personal experience. For reference.
我的理解是，每一个故事只能有一个MC，但这并不影响在同一部小说（或电影）中有一个以上的MC，因为每部小说（或电影）通常都是多个故事的集合体。具体操作的步骤，首先为每一个故事创建一个完整的StoryForms，接下来在编织的过程中，再把不同的StoryForms中的故事点编织在一起，形成一个完整的故事。
是否是主要情节或者次要情节，取决于自己的实际需求而定。既可以每一个故事都是同等重要的，也可以主次有别，不过每一个故事的StoryForms都应该是完整的。所不同的是，在StoryWeaving阶段，你可以强调某个故事让它成为主要的情节，也可以淡化某个故事让它成为次要情节。
我是新手，只是我的亲身经历。供参考。
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I’m curious how a multi-season show would work in which you have one storyform per season, then one overarching storyform tying them together. If your player in the perspective of MC is the same in both storyforms, might the change in storform be quite confusing? Where in some scenes the MC is Concerned with one thing, or has one type of problem — and in other scenes has completely different concerns/problems?
Yes, it can be potentially confusing. Therefore, it is incumbent on the author to be clear on which story is explored at any given time. Writers frequently use obvious (to the audience) triggers to indicate a change of subject matter. For example, in the original Star Wars, the effort is to get the Death Star plans to the Rebellion to exploit any weaknesses found. The film also has the Han Solo/Jabba the Hut substory, where Han owes Jabba a lot of money.
In the scene where Luke, Han, Chewie, and the robots are waiting around for Obi-Wan to turn off the tractor beam, Luke discovers that Princess Leia is about to be terminated and wants Han to help him save her. Han, as Skeptic (Disbelief/Oppose) predictably refuses. Luke, aware of Han’s substory, changes tactics and approaches Han (the MC of the substory) and tells him Princess Leia is rich and he’ll be rewarded if he rescues her. At no point is Jabba the Hut mentioned in the scene, but the switch to the substory is inferred by the change in both Luke’s behavior (temptation) and Han’s behavior (pursue).
They leave the room and we’re back into the main story.
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great explanation of how that works.