Chapter 6 - 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 6 the Cowardly lion all this time Dorothy and her companions had been walking through the thick woods. The road was still paved with yellow brick, but these were much covered by dried branches and dead leaves from the trees, and the walking was not at all good. There were a few birds in this part of the forest, for birds love the open country where there was plenty of sunshine. But now and then there came a deep growl from some wild animal hidden among the trees. These sounds made the little girl's heart beat fast, for she did not know what made them. But Toto knew, and he walked close to Dorothy's side and did not even bark in return. How long will it be, the child asked of the tin woodman, before we are out of the forest? I cannot tell, was the answer, for I have never been to the Emerald City, but my father went there once when I was a boy, and he said it was a long journey through a dangerous country, although nearer to the city where Oz dwells. The country is beautiful, but I am not afraid so long as I have my oil can. And nothing can hurt the scarecrow while you bear upon your forehead the mark of the Good Witch's kiss, and that will protect you from harm. But Toto, said the girl anxiously, what will protect him?

We must protect him ourselves if he.

Is in danger, replied the tin woodman. Just as he spoke, there came from the forest a terrible roar, and the next moment a great lion bounded into the road. With one blow of his paw, he sent the scarecrow spinning over and over to the edge of the road, and then he struck at the tin woodman with his sharp claws. But to the lion's surprise, he could make no impression on the tin. Although the woodman fell over in the road and lay still, little Toto, now.

That he had an enemy to face.

Ran barking toward the lion. And the great beast had opened his mouth to bite the dog. When Dorothy, fearing Toto would be killed and heedless of the danger, rushed forward and slapped the lion upon his nose as hard as she could while she.

Cried out, don't you dare to bite Toto.

You ought to be ashamed of yourself. A big beast like you to bite a poor little dog. I didn't bite him, said the lion as he rubbed his Nose with his paw where Dorothy had hid it. No, but you tried to, she retorted. You are nothing but a big coward. I know it, said the lion, hanging.

His head in shame.

I've always knowed it. But how could I help it?

I don't know. I'm sure to think if you're striking a stuffed man like the poor scarecrow.

Is he stuffed?

Asked the lion in surprise as he watched her pick up the scarecrow and set him upon his feet while she patted him into shape again. Of course he's stuffed, replied Dorothy, who was still angry. That's why he went over so easily, remarked the Lion.

It astonished me to see him whirl around. So is the other one stuffed also?

No, said Dorothy.

He's made of tin.

And she helped the woodman up again.

That's why he nearly blunted my claws, said the Lion. When they scratched against the tin, it made a cold shiver run down my back. What is that little animal you are so tender of?

He is my dog, Toto, answered Dorothy.

Is he made of tin or stuffed?

Asked the Lion.

Neither. He's a meat dog, said the girl.

Oh, he's a curious animal and seems remarkably small now that I look at him. No one would think of biting such a little thing, except a coward like.

Me, continued the lion sadly. What makes you a coward? Asked Dorothy, looking at the great beast in wonder, for he was as big.

As a small horse.

It's a mystery, replied the Lion.

I suppose I was born that way. All the other animals in the forest naturally expect me to be brave, for the lion is everywhere thought to be king of beasts. I learned that if I roared very loudly, every living thing was frightened and got out of my way. Whenever I've met a man, I've been awfully scared, but I just roared at him, and he has always run away as fast as he could go. If the elephants and the tigers and the bears had ever tried to fight me, I should have run myself. I'm such a coward.

But just as soon as they hear.

Me roar, they all try to get away from me, and of course I let them go.

But that isn't right.

The king of beasts shouldn't be a.

Coward, said the scarecrow. I know it, returned the lion, wiping a tear from his eye with the tip of his tail.

It is my great sorrow, and it makes my life very unhappy. But whenever there is danger, my heart begins to beat fast.

Perhaps you have heart disease, said the tin woodman. It may be, said the lion, if you have, continued the tin Woodman, you Ought to be glad, for it proves you have a heart. For my part, I have no heart, so I cannot have heart disease. Perhaps, said the lion thoughtfully, if I.

Had no heart, I should not be a coward.

Have you brains? Asked the Scarecrow.

I suppose so.

I've never looked to see, replied the Lion.

I'm going to the great Oz to.

Ask him to give me some, remarked the Scarecrow, for my head is stuffed with straw. And I am going to ask him to give me a heart, said the Woodman. And I'm going to ask him to send Toto and me back to Kansas, added Dorothy.

Do you think Oz could give me courage?

Asked the cowardly Lion.

Just as easily as he could give.

Me brains, said the scarecrow. Or give me a heart, said the tin Woodman. Or send me back to Kansas, said Dorothy.

Then if you don't mind, I'll go with you.

So, said the lion, for my life.

Is simply unbearable without a bit of courage.

You will be very welcome, answered Dorothy, for you will help to keep away the other wild beasts. It seems to me they must be more cowardly than you are if they allow you to scare them so easily. They really are, said the lion, but.

That doesn't make me any braver, and as long as I know myself to be a coward, I shall be unhappy.

So once more the little company set off upon the journey, and the lion walking with stately strides at Dorothy's side. Toto did not approve of his new comrade at first, for he could not forget how nearly he had been crushed between the lion's great jaws. But after a time he became more at ease, and presently Toto and the cowardly lion had grown to be good friends. During the rest of that day, there was no other adventure to mar the peace of their journey. Once, indeed, the tin Woodman stepped upon a beetle that was crawling along the road and killed the poor little thing. This made the tin Woodman very unhappy, for he was always careful not to hurt any living creature. And as he walked along, he wept several tears of sorrow and regret. These tears ran slowly down his face and over the hinges of his jaw, and there they rusted. When Dorothy presently asked him a question, the tin Woodman could not open his mouth, for his jaws were tightly rusted together. He became greatly frightened at this, and made many motions to Dorothy to relieve him, but she could not understand. The lion was also puzzled to know what was wrong. But the scarecrow seized the oil can from Dorothy's basket and oiled the Woodman's jaws so that After a few moments he could talk as well as before. This will serve me a lesson, said he, to look where I step, for if I should kill another bug or beetle, I should surely cry again, and crying rusts my jaw, so that I cannot speak. Thereafter he walked very carefully with his eyes on the road, and when he saw a tiny ant toiling by, he.

Would step over it so as not to harm.

The Tin Woodman knew very well he had no heart, and therefore he took great care never to be cruel or unkind to anything. You people with hearts, he said, have something to guide you, and need never do wrong. But I have no heart, and so I must be very careful. When Oz gives me a heart, of course, I needn't mind so much.

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?

Dorothy, Toto, the Scarecrow, and the Tin Woodman confront a lion on their way down the Yellow Brick Road's darkest section.

What is the essential tactic of the characters? That is, what macro behaviors are they.

Employing that are linked to a universal human value?

Dorothy defends Toto after the Cowardly lion tosses aside the Scarecrow and the Tin Woodman. Question number three 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?

All four allied characters are threatened until.

Dorothy confronts the lion, who quickly confesses to being a coward. 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. So scene by scene, the value shift.

Is clear, unsafe to safe.

Question number four 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 defends Toto from an attack by a lion. Now let's examine how the scene abides the five Commandments of storytelling.

What's the inciting incident.

A lion jumps onto the yellow brick road.

What's the turning point? Progressive complication.

Dorothy smacks the lion on the nose. What's the crisis?

It's a best bad choice. If the lion attacks, he may get hurt even worse.

If he doesn't attack, he'll be considered.

A co. What's the climax?

The lion backs off.

What's the resolution?

The lion confesses he's a coward and then joins the group to see if.

He can get the wizard of Oz.

To grant him courage.

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 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 prettiest.