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菲里塔格將佢個模型(菲里塔格模型)建基於衝突嘅概念:佢指出,故仔往往係基於唔同角色(尤其係主角同對立角色)之間嘅衝突-邪惡嘅大魔王想用黑暗力量統治世界,主角勇者想保護世界和平等等[3];第一個章節過後,讀者要對每個角色同佢哋嘅動機有基本嘅了解,然後每個角色嘅動機會引致佢哋做出某啲行為-魔王想令黑暗力量籠罩世界,而勇者想要驅除黑暗力量,呢兩個動機彼此互相對立,令勇者同魔王之間發生衝突;衝突會逐漸升溫,最後達致成個故仔最大型嘅衝突-魔王同勇者分別號召咗各自嘅人馬,打一場大戰。喺最大嘅衝突過後,勇者打低咗魔王,身心俱疲嘅一眾角色收拾大衝突造成嘅破壞。如果將呢個過程用一條線-Y 軸大致代表故仔嘅緊張程度,而 X 軸代表時間-畫出嚟嘅話,會大致出一條向上升再下降嘅線[15][16]。
以莎翁嘅明著《羅密歐與朱麗葉》[歐 16]為例,羅密歐與朱麗葉成段情節起碼有兩段子情節-羅密歐同朱麗葉之間嘅戀情(子情節 A),以及佢哋兩個家族之間嘅仇恨(子情節 B)-兩件事同時發生,而且會互相影響;羅密歐同朱麗葉墮入愛河,但佢哋家族係世仇,佢哋屋企人冇可能會同意佢哋結婚(子情節 B 影響子情節 A),而同時兩個家族如果知道羅密歐同朱麗葉相愛實會好嬲,令緊張程度升級(子情節 A 影響子情節 B),兩個家族之間嘅衝突升級會引致一場大衝突,例如其中一方一怒之下殺咗另外嗰個家族嘅其中一個成員(一件大事),呢件事令兩個家族之間嘅仇恨升到最高點,同時亦都會搞到羅密歐同朱麗葉嘅處境變到更加惡劣(件大事同時影響兩個子情節)-子情節各自嘅發展同相互影響令個故仔變得更加錯綜複雜,又令故仔世界變得更加像真[26][29]。
極度巧合[歐 22]係指情節嘅進展源於一啲極之巧合嘅事,例如三個角色 A、B 同 C 行入一個森林入面,A 咁啱撞到 B,同 B 講一啲 C 唔知嘅嘢,而 C 又咁啱喺樹後面(A 同 B 唔知佢喺度)聽到嗮 A 講嘅嘢,而呢樣嘢影響 C 及後嘅行動(令 C 做作者想佢去做嘅行動)。成段情節嘅發展都源於極度嘅巧合。有文學學者認為,極度巧合係廿一世紀初文壇仲未擺脫到嘅一種「低級情節裝置」[38]。
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↑ 3.03.1Freytag, Gustav (1900) [Copyright 1894], Freytag's Technique of the Drama, An Exposition of Dramatic Composition and Art by Dr. Gustav Freytag: An Authorized Translation From the Sixth German Edition by Elias J. MacEwan, M.A. (3rd ed.), Chicago: Scott, Foresman and Company.
↑Freytag, G. (1896). Freytag's technique of the drama: an exposition of dramatic composition and art. Scholarly Press.
↑ 5.05.15.2Ansen Dibell, Ph.D. (1999-07-15). Plot. Elements of Fiction Writing. Writer's Digest Books. pp. 5 f. ISBN 978-0-89879-946-0. Plot is built of significant events in a given story – significant because they have important consequences. Taking a shower isn't necessarily plot... Let's call them incidents ... Plot is the things characters do, feel, think or say, that make a difference to what comes afterward.
↑Goatly, A. (2004). Corpus linguistics, systemic functional grammar and literary meaning: A critical analysis of Harry Potter and the Philosopher’s Stone. Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies, (46), 115-154.
↑Fenske, C. (2008). Muggles, monsters and magicians: A literary analysis of the Harry Potter series (Vol. 2). Peter Lang.
↑Wiliam, D. (1997, September). Relevance as MacGuffin in mathematics education. In British Educational Research Association Conference, York, September 1997.
↑Valentine T. Bill (1987), Chekhov: The Silent Voice of Freedom, Philosophical Library.
↑Niazi, Nozar (2010). How To Study Literature: Stylistic And Pragmatic Approaches. PHI Learning Pvt. Ltd. p. 142.
↑Handley, Miriam (January 1999). "Shaw's response to the deus ex machina: From the Quintessence of Ibsenism to Heartbreak House". Theatre: Ancient & Modern, January 1999 Conference.
↑Ryan, M. L. (2009). Cheap plot tricks, plot holes, and narrative design. Narrative, 17(1), 56-75.
↑ 39.039.1Booker, C. (2004). The seven basic plots: Why we tell stories. A&C Black.
↑Gervás, P., León, C., & Méndez, G. (2015). Schemas for narrative generation mined from existing descriptions of plot. In 6th Workshop on Computational Models of Narrative (CMN 2015). Schloss Dagstuhl-Leibniz-Zentrum fuer Informatik.
↑Steven Espinoza; Kathleen Fernandez-Vander Kaay; Chris Vandar Kaay (20 August 2019). We All Know How This Ends: The Big Book of Movie Plots. Laurence King Publishing.