Chapter 14 - The Wonderful Wizard of Oz Masterwork Analysis

Hello and welcome to the StoryGrid Masterwork Podcast. We're part of a growing StoryGrid community that includes thousands of writers and editors from all over the world. We're dedicated to helping writers improve their craft through books, podcasts, courses, and online forums. In this StoryGrid Masterwork podcast, we'll be reading and analyzing great books to learn what makes them work so well. I'm your host, Bib Bailey. This season, we're reading the Wonderful wizard of Oz, L. Frank Baum's classic novel about a young girl's heroic journey. In each episode, I'll read you one of the book's 24 scenes and then we'll analyze the scene using storygrid tools and methods in order to understand how and why this story endures and still captivates readers more than a century after it was written. Editor and publisher Sean Coyne developed StoryGrid during 30 years in the storytelling business. He's applied his knowledge to dozens of best selling fiction and nonfiction stories and now shares what he's learned in the StoryGrid community. You'll find a full introduction to StoryGrid's method of analyzing scenes in the first episode of this series. Now let's review how we'll analyze today's scene. If you're already familiar with StoryGrid, you can skip ahead 1 minute 40 seconds to start listening to the scene. We use five first principles to analyze any story. First, we look at a story both as a whole and in smaller parts. In this podcast, we'll dissect the Wonderful wizard of Oz in parts, scene by scene. Second, we look for a change inside the world of the story, because all stories are about change. Third, we figure out how the change is linked to a universal human value such as safety, love, or justice. Fourth, we sum up the change in that human value in a single sentence called a story event. To find the story event, we ask four Socratic questions. These questions help us see what's actually happening in the scene, what the character's essential tactics are, and how they connect to the universal human value at stake. Fifth, when we know our story event, we look at how the scene is constructed by using what we call the the five commandments of storytelling. The five commandments we'll find in each scene of the Wonderful wizard of Oz the inciting incident, which kicks off the action. The turning point Progressive complication, An unexpected event that turns the human value at stake in the scene and gives rise to the crisis, which is a dilemma about how to confront the unexpected event. The climax which is the decision and action a character takes in response to the crisis, the resolution which is the outcome of the action of the climax. Now let's step onto the Yellow brick road with Dorothy and listen to this week's scene and analysis.

The Wonderful wizard of Oz by L. Frank Baum. Scene 14 the Winged Monkeys.

You will remember there was no road, not even a pathway between the castle of the Wicked Witch and the Emerald City. When the four travelers went in search of the Witch. She had seen them coming and so sent the winged monkeys to bring them to her. It was much harder to find their way back through the big fields of buttercups and yellow daisies than it was being carried. They knew, of course, they must go straight east towards toward the rising sun, and they started off in the right way. But at noon, when the sun was over their heads, they did not know which was east and which was west. And that was the reason they were lost in the great fields. They kept on walking, however, and at night the moon came out and shone brightly. So they lay down among the sweet smelling yellow flowers and slept soundly until morning. All but the Scarecrow and the Tin Woodman. But they started on as if they were quite sure which way they were going. If we walk far enough, said Dorothy, I am sure we shall sometime come to some place. But day by day passed away and they still saw nothing before them but the scarlet fields. The Scarecrow began to grumble a bit. We have surely lost our way, he said, and unless we find it again in time to reach the Emerald City, I shall never get my brains. Nor I my heart, declared the Tin Woodman. It seems to me I can scarcely wait till I get to Oz. And you must admit this is a very long journey. You see, said the cowardly lion with a whimper, I haven't the courage to keep tramping forever without getting anywhere at all.

Then Dorothy lost heart. She sat down on the grass and looked at her companions, and they sat down and looked at her. And Toto found for the first time in his life, he was too tired to chase a butterfly that flew past his head. So he put out his tongue and panted and looked at Dorothy as if to ask what they should do next. Suppose we call the field mice, she suggested. They could probably tell us the way to the Emerald City. To be sure they could. Cried the Scarecrow. Why didn't we think of that before? Dorothy blew the little whistle she had always carried about her neck since the Queen of the Mice had given it to her. In a few minutes they heard the pattering of tiny feet. And many of the small gray mice came running up to her. Among them was the queen herself, who asked in her squeaky little voice, what can I do for my friends? We have lost our way, said Dorothy. Can you tell us where the Emerald City is? Certainly, answered the Queen. But it is a great way off, for you have had it at your backs all this time. Then she noticed Dorothy's golden cap and said, why don't you use the charm of the cap and call the winged monkeys to you? They will carry you to the city of Oz in less than an hour. I didn't know there was a charm, answered Dorothy in surprise. What is.

Is written inside the golden cap, replied the queen of the mice. But if you are going to call the winged monkeys, we must run away, for they are full of mischief and think it great fun to plague us. Won't they hurt me? Asked the girl anxiously. Oh, no, they must obey the wearer of the cap. Goodbye. And she scampered out of sight, with all the mice hurrying after her.

Dorothy looked inside the golden cap and saw some words written upon the lining. These, she thought, must be the charm, so she read the directions carefully and put the cap upon her head. Eppy, peppy khaki, she said, standing on her left foot. What'd you say? Asked the scarecrow, who did not know what she was doing. Hi lo ho lo. Hello. Dorothy went on standing, this time on her right foot. Hello, replied the tin woodman calmly. Zizzy zazy zic. Said Dorothy, who was now standing on both feet. This ended the saying of the charm, and they heard a great chattering and flapping of wings as the band of winged monkeys flew up to them. The king bowed low before Dorothy and.

Asked, what is your command?

We wish to go to the Emerald City, said the child, and we have lost our way. We will carry you, replied the king, and and no sooner had he spoken than two of the monkeys caught Dorothy in their arms and flew away with her. Others took the scarecrow and the woodman and the lion, and one little monkey seized Toto and flew after them. Although the dog tried hard to bite him. The scarecrow and the tin woodman were rather frightened at first, for they remembered how badly the winged monkeys had treated them before. But they saw that no harm was intended, so they rode through the air quite cheerfully and had a fine time looking at the pretty gardens and woods far below them. Dorothy found herself riding easily between two of the biggest monkeys, one of them the king himself. They had made a chair of their hands and were careful not to hurt her. Why do you have to obey the Charm of the Golden Cap? She asked.

That is a long story, answered the.

King with a winged laugh.

But as we have a long journey before us, I will pass the time by telling you about it. If you wish.

I shall be glad to hear it, she replied. Once, began the leader, we were a.

Free people living happily in the great forest, flying from tree to tree, eating nuts and fruit, and doing just as we pleased without calling anybody master. Perhaps some of us were rather too full of mischief at times, flying down to pull the tails of the animals that had no wings, chasing birds and throwing nuts at the people who walked in the forest. But we were careless and happy and full of fun, and enjoyed every minute of the day. This was many years ago, long before Oz came out of the clouds to rule over this land.

There lived here then, away at the north, a beautiful princess who was also a powerful sorceress. All her magic was used to help the people and and she was never known to hurt anyone who was good. Her name was Gaelette, and she lived in a handsome palace built from great blocks of ruby. Everyone loved her, but her greatest sorrow was that she could find no one to love in return, since all the men were much too stupid and ugly to mate with one so beautiful and wise. At last, however, she found a boy who was handsome and manly and wise beyond his years.

Gayelette made up her mind that when he grew to be a man, she would make him her husband. So she took him to her ruby palace and used all her magic powers to make him as strong and good and lovely as any woman could wish. When he grew to manhood, Quelala, as he was called, was said to be the best and wisest man in all the land, while his manly beauty was so great that Gaelet loved him dearly and hastened to make everything ready for the wedding. My grandfather was at that time the king of the winged monkeys, which lived in the forest near Geelet's palace, and the old fellow loved a joke better than a good dinner. One day, just before the wedding, my grandfather was out flying with his band when he saw Quelala walking beside the river. He was dressed in a rich costume of pink silk and purple velvet, and my grandfather thought he would see what he could do. At his word, the band flew down and seized Quelala, carried him in their arms until they were over the middle of the river, and then dropped him into the water.

Swim out, my fine fellow, cried my grandfather, and see if the water has spotted your clothes. Quelala was much too wise not to swim, and he was not in the least spoiled by all his good fortune. He laughed when he came to the top of the water and swam into shore. But when Gaelette came running out to him, she found his silks and velvet all ruined by the river. The princess was angry, and she knew, of course, who did it. She had all the winged monkeys brought before her, and she set it first that their wings should be tied and they should be treated as they had treated Chellala and dropped in the river. But my grandfather pleaded hard, for he knew the monkeys would drown in the river with their wings tied and. And Quelala said a kind word for them also, so that Gaelet finally spared them, on condition that the winged monkey should ever after do three times the bidding of the owner of the golden cap. This cap had been made for a wedding present to Quelala, and it is said to have cost the princess half her kingdom. Of course, my grandfather and all the other monkeys at once agreed to the condition. And that is how it happens that we are three times the slaves of the owner of the golden cap, whosoever he may be.

And what became of them? Asked Dorothy, who had been greatly interested in the story.

Qelala, being the first owner of the golden cap, replied the monkey, he was the first to lay his wishes upon us, as his bride could not bear the sight of us. He called us all to him in the forest after he had married her, and ordered us always to keep where she could never again set eyes on a winged monkey, which we were glad to do, for we were all afraid of her. This was all we ever had to do until the golden cap fell into the hands of the Wicked Witch of the west, who made us enslave the winkies and afterward drive Oz himself out of the land of the West. Now the golden cap is yours. And three times you have the right to lay your wishes upon us.

As the Monkey King finished his story, Dorothy looked down and saw the green shining walls of the Emerald City before them. She wondered at the rapid flight of the monkeys, but was glad the journey was over. The strange creatures set the travelers down carefully before the gate of the city. The king bowed low to Dorothy and then flew swiftly away, followed by all his band. That was a good ride, said the little girl. Yes, and a quick way out of our troubles, replied the lion. How lucky it was you brought away that wonderful cap.

Now let's use Storygrid first principles to analyze the scene a Story event is an active change of a universal human value for one or more characters. As a result of conflict, one character's desires clash with another's or an environmental shift changes the value positively or negatively. A working scene contains at least one story event to determine a scene. Story Event Answer these four Socratic questions.

What are the characters literally doing? That is what are their micro on the ground actions?

Walking back to the Emerald City, the group gets lost. Question number two what is the essential tactic of the characters? That is what macro behaviors are they employing that are linked to a universal human value?

They are following their instincts about heading east and back to the Emerald City, but they then lose faith until they reason out a solution. Question 3 what universal human values have changed for one or more characters in the scene? Which one of those value changes is most important and should be included in the story grid spreadsheet?

When in doubt, the story grid rule of thumb is to highlight the value that best aligns with the progress of the global human value at stake in the story. The Wonderful wizard of Oz is an action story which has a global value at stake of life death. Throughout the story grid spreadsheet, we'll track the ways life is threatened or enhanced scene by scene. The value shift is clear for the scarecrow, tin woodman and witch Lost to found. Question number 4 what story event sums up the scene's on the ground actions, essential tactics and value change? We will enter that event in the story grid spreadsheet. Dorothy uses the first of three cap wishes to get a ride to the Emerald City from the winged monkeys. Now let's examine how the scene abides the five commandments of storytelling. What's the inciting incident? The four travelers set out for the Emerald City. What's the turning point? Progressive complication. The Queen of the field mice tells them about the magical cap and the connection to the winged monkeys. What's the crisis?

It's a best bad choice. Trusting the winged monkeys is dangerous, as they were the ones who took them to the Wicked Witch of the West's castle. Not trusting them will keep them lost. What's the climax?

Dorothy calls in her first wish. What's the resolution?

The monkeys take them to the Emerald City. Thanks for listening and please join Dorothy, Toto and me on the next leg of our fantastic journey. If you're writing or thinking about writing a story about a heroic journey, you'll be interested in Sean Coyne's upcoming online seminar devoted to helping writers understand and use the heroic journey in their own work. It's a macro and micro examination of why these stories speak to us so compellingly, and how to use the heroic journey to level up Your writing using StoryGrid specific tools. It includes a trip to the Shire to do a macro analysis of J.R.R. tolkien's the Hobbit, with a few detours to Oz and Emerald City along the way. Go to www.storygrid.comhero to find out more. We'd love to see you there. This has been Bib Bailey for the Story Grid Masterwork podcast. I'll see you next time. My pre.