Can I have Branliest for the Correct Answer? Very often things like flashbacks, flash forwards, non-linear narratives, multiple plots and ensemble casts are regarded as optional gimmicks stuck into the conventional three act structure. They're not. Each of the six types I've isolated and their subcategories provides a different take on the same story material. Suddenly, one idea for a film can give you a multitude of story choices. What do I mean?
More than six ways to turn your idea into a film. Let's imagine that you've read a newspaper article about soldiers contracting a respiratory disease from handling a certain kind of weaponry. You want to write a film about it. Conventional wisdom says create one storyline with one protagonist (a soldier who gets the disease) and follow that protagonist through a three act linear journey. There's no question that you could make a fine film out of that. But there are several other ways to make a story out of the idea, and several different messages that you could transmit - by using one of the parallel narrative forms.
<span>Would you like to create a script about a group of soldiers from the same unit who contract the disease together during one incident, with their relationships disintegrating or improving as they get sicker, dealing with the group dynamic and unfinished emotional business? That would be a shared team 'adventure', which is a kind of group story, so you would be using what I call </span>Multiple Protagonist<span> form (the form seen in films like Saving Private Ryan or The Full Monty or Little Miss Sunshine, where a group goes on a quest together and we follow the group's adventure, the adventure of each soldier, and the emotional interaction of each soldier with the others). </span>
Alternatively, would you prefer your soldiers not to know each other, instead, to be in different units, or even different parts of the world, with the action following each soldier into a separate story that shows a different version of the same theme, with all of the stories running in parallel in the same time frame and making a socio-political comment about war and cannon fodder? If so, you need what I call tandem narrative,<span> the form of films like Nashville or Traffic. </span>
Alternatively, if you want to tell a series of stories (each about a different soldier) consecutively, one after the other, linking the stories by plot or theme (or both) at the end, you'll need what, in my book Screenwriting Updated I called 'Sequential Narrative', but now, to avoid confusion with an approach to conventional three act structure script of the same name, I term Consecutive Stories<span> form, either in its fractured state (as in Pulp Fiction or Atonement), or in linear form (as in The Circle). </span>
After reading the passage about Tantalus, we can conclude the following about him:
Tantalus most likely wished he had friends.
<h3>Who is Tantalus?</h3>
Tantalus is a Greek mythology character. As a matter of fact, it is from his name that the verb "tantalize" is derived. Tantalus was the son of the god Zeus with a nymph and, for that reason, he was friends with the gods and allowed in heaven.
However, Tantalus used his access to heaven to sin against the gods. He stole nectar and ambrosia from them to give to humans. He also killed his own son and served him for the gods to eat to test the gods.
For that reason, he was punished by being imprisoned in Hades, a mythological hell, where he could not reach the water and the food that were right in front of him.
<h3>What can we infer from the passage?</h3>
The passage says that the night Tantalus spent with fellow mortals was glorious. He was happy because he felt as if he had actual friends. With that piece of information, we can infer that Tantalus wished he has friends, that he craved this sort of intimacy with other mortals.
