John Truby
John Truby
#### A Legendary Story Analyst
As a renowned story analyst, author, and professor, John Truby has left an indelible mark on the world of literature and storytelling. His work has been widely acclaimed for its depth and insight into the structure and function of stories across cultures and genres.
Full Name and Common Aliases
John Truby's full name is John Gregory Truby. He is commonly referred to as John Truby, although some sources may also use his middle initial, G.
Birth and Death Dates
Unfortunately, there is limited information available on John Truby's birthdate. However, it is reported that he was born in the United States, and his current status is active, but no specific date of passing has been found.
Nationality and Profession(s)
John Truby holds American nationality and is a professional story analyst, author, and professor. Throughout his career, he has taught at various institutions and worked as a script consultant for film and television productions.
Early Life and Background
Little information is available on John Truby's early life and background. However, it can be inferred that his interest in storytelling was developed from an early age. His experiences growing up likely influenced his understanding of the human condition and the universal themes present in stories across cultures.
Major Accomplishments
John Truby's most significant contributions to the field of story analysis are his work on the 22 story patterns, which he outlined in his book "The Anatomy of Story". These patterns have been widely adopted by writers, filmmakers, and industry professionals seeking to craft compelling narratives. His other notable achievements include:
Developing a comprehensive approach to storytelling that combines insights from psychology, anthropology, and literary theory.
Writing several influential books on story analysis and screenwriting, including "The Anatomy of Story" and "Into the Woods".
Teaching at various institutions, including Yale University and New York University.Notable Works or Actions
Some of John Truby's most notable works include:
"The Anatomy of Story: 22 Steps to Becoming a Master Storyteller" (2009): This book provides an in-depth analysis of the story patterns that underlie successful narratives. Truby identifies and explains the underlying structures, themes, and character arcs that make stories compelling.
"Into the Woods: A Five-Act Journey into the Heart of Story" (2010): In this book, Truby applies his story pattern analysis to a range of classic fairy tales, exploring how these timeless narratives capture universal human experiences.Impact and Legacy
John Truby's work has had a profound impact on the world of storytelling. His insights have influenced generations of writers, filmmakers, and industry professionals seeking to craft compelling narratives. The widespread adoption of his 22 story patterns is a testament to the power of his ideas. As a result, stories that reflect these patterns are more likely to engage audiences, evoke emotional responses, and leave lasting impressions.Why They Are Widely Quoted or Remembered
John Truby's enduring influence can be attributed to several factors:
Innovative approach: His work combines insights from multiple disciplines (psychology, anthropology, literary theory) to provide a comprehensive understanding of the storytelling process.
Practical applications: The 22 story patterns outlined in his book offer writers and filmmakers concrete tools for analyzing and crafting compelling narratives.
Widely accessible: Truby's writing is clear, concise, and engaging, making complex concepts accessible to readers from various backgrounds.
John Truby's legacy as a pioneering story analyst continues to inspire new generations of storytellers. His work serves as a reminder that stories have the power to captivate, educate, and transform us – and that understanding their underlying structures can unlock creative potential.
Quotes by John Truby
The central theme of a story is often crystallized by a moral choice the hero must make, typically near the end of the story. Theme is your view of the proper way to act in the world. It is your moral vision, and it is one of the main reasons you are writing your story. Theme is best expressed through the structure of the story, through what I call the moral argument.
KEY POINT: The basic action should be the one action best able to force the character to deal with his weaknesses and change.
A character with certain weaknesses, when being put through the wringer of a particular struggle, is forged and tempered into a changed being.
Stories don’t show the audience the ‘real world’; they show the story world. The story world isn’t a copy of life as it is. It’s life as human beings imagine it could be. It is human life condensed and heightened so that the audience can gain a better understanding of how life itself works.
Genres are types of stories, with predetermined characters, themes, worlds, symbols, and plots. Genre plots are usually big, emphasizing revelations that are so stunning they sometimes flip the story upside down. Of course, these big plots lose some of their power by the fact that they are predetermined. The audience knows generally what is going to happen in any genre story, so only the particulars surprise them.
6. SELF-REVELATION The battle is an intense and painful experience for the hero. This crucible of battle causes the hero to have a major revelation about who he really is. Much of the quality of your story is based on the quality of this self-revelation. For a good self-revelation, you must first be aware that this step, like need, comes in two forms, psychological and moral.
Subplot is not one of the twenty-two steps because it’s not usually present and because it is really a plot of its own with its own structure. But it’s a great technique. It improves the character, theme, and texture of your story. On the other hand, it slows the desire line – the narrative drive. So you have to decide what is most important to you.
Tristram Shandy isn’t a story with a main plotline interrupted by digressions. It is a story of digressions interrupted by what appears to be a main plotline.
The classic strategy for dramatizing the hero’s moral line is to give him a moral flaw at the beginning and then show how his desperation to beat the opponent brings out the worst in him. In short, he has to get worse before he gets better. Slowly but surely, he becomes aware that his central moral problem comes down to a choice between two ways of acting.
The multistrand plot is clearly a much more simultaneous form of storytelling, emphasizing the group, or the minisociety, and how the characters compare.