Reelwriting.com s. Fast & Easy Action Guides

Reelwriting.com s Fast & Easy Action Guides

Introduction and Overview These action guides were developed as part of the Reelwriting Academy Screenwriting Method. The Reelwriting Method is a structured approach to developing a screenplay that ensures a screenwriter will produce a script with a well thought out and layered story, that has relevant three dimensional characters, as well as deep and meaningful interwoven themes. A screenplay written using the Reelwriting approach has a substantially greater chance of getting recognized by film producers, directors, agents and Hollywood insiders for it s potential as a completed movie. The purpose of these guides is to assist a writer with the development of their screenplays by creating a clear and concise approach to the story and character development process. There are four essential steps in the Reelwriting Method that a screenwriter should complete BEFORE they begin the process of writing their screenplays: Core Elements Characters Structure Scenes & Sequences Each step in the Reelwriting process is designed to help a writer create and develop an essential layer that would be required of a screenplay. Use of the guide ensures that a screenwriter considers and develops each essential part their screenplay stories prior to beginning the actual script writing process. Some of the benefits of using these guides: ANY idea can be developed into a complete story, you can START from any point in the creative process, BREAK through writers block, STAY focused on essential story points, DEVELOP meaningful and relevant characters, and KNOW with certainty that your screenplay WILL work as a movie BEFORE you begin to write the screenplay. For more information on using these Action Guides and the Reelwriting Method, please visit: www.reelwriting.com. 1

Introduction and Overview Core Elements Characters Structure Characterization Setting Primary Situation Plot Motivation Primary Obstacle Resolution Goal Personal Goal Theme Four Essential Steps to Creating an Award Winning Screenplay Step 1 Step 2 Step 3 Step 4 Protagonist Love Interest Antagonist Theme Related Characters Secondary Characters Setup Inciting Incident Movement to Resolution 1 st Plot Turning Point Act 2, Tier 1 Midpoint Scene Act 2, Tier 2 2 nd Plot Turning Point Climax Resolution Scenes & Sequences Purpose Main Plot Subplots Openings Endings The actions guides cover FOUR developmental steps that help a writer focus on the essential core components of any screenplay. The first step is to identify and develop the eight Core Elements which are the building blocks for the rest of your screenplay. Next, a writer focuses on their principle characters and their development. Later the writer builds out the structural elements of their story and screenplay by identifying the key details of each act. Finally, a writer drills down into the details and minutia of each individual scene and sequence. ONLY after all four steps are completed does the writer begin to actually write the screenplay. Fortunately, by the time they get to this step the screenplay practically writes itself. PLEASE NOTE: The Action Guides have been designed in a specific order and each individual step is designed to build on the previous step. That stated, a writer will oftentimes find themselves with ideas for other steps in the process. Every idea should be noted in its proper place and a writer may need to go through each step multiple times to achieve maximum results. (It is recommended that you use Plot Control Software in conjunction with these Action Guides, please visit www.plotcontrol.com for more information.) 2

Find Your Story

Core Elements Overview Relevant character details. MAIN CHARACTER CHARACTERIZATION MAIN PLOT OR STORY SETTING Relevant location details. World in which the story takes place. Initial focus of actions: The logical and obvious path. PLOT MOTIVATION PRIMARY SITUATION Unique event that is taking place: Problem, Opportunity, Desire Second series of actions: Unforeseen opposite path that finally works. RESOLUTION GOAL PRIMARY OBSTACLE Main obstacle preventing success: Complication, Failure, Journey Specific drive or desire unrelated to the Plot. PERSONAL GOAL THEME Reoccurring idea. Opposite concept to the Personal Goal. SUBPLOTS Thematic Gap 3

Core Elements Part 1 At the core of a truly great character is relevant Characterization challenged by the strange world of the Setting. CHARACTERIZATION Antagonistic Relationship SETTING A great character is always relevant to the story and not just interesting. In fact, what makes a character truly interesting is how and why they are related to the story; so start with basic character details. Identify how and why your main character is relevant to your overall story. These character details should be specific information that makes the character relevant. Additionally, focus on general 'characteristics about the character that brings out more of their personality as it pertains to the story and genre. Setting is the arena or specific location in which the story takes place. In this context, you want to identify the place and relevant details about the place that are important to your overall story. The Setting should always take the main character out of their Ordinary World. The Setting should present it s own unique challenges to the main character s progress and overall ability to address the Primary Situation. Setting should not be confused with the character's Ordinary World. The main character's Ordinary World, which is the world that the main character comes from, has more to do with Characterization, rather than Setting. Think about a Fish Out Of Water. When the fish is in the fish bowl, that s their Ordinary World, but when they are removed from it, that s the Setting. 4

Core Elements Part 1 IDENTIFY YOUR CORE ELEMENTS: CHARACTERIZATION Antagonistic Relationship SETTING 5

Core Elements Part 2 A story leaps off the page when the main character truly connects to the plot and the unique event that is taking place. PLOT MOTIVATION Plot Motivation indicates the initial actions required of the main character to overcome, resolve or achieve the Primary Situation. The initial actions a character takes should always be very straightforward and very obvious. A character's Plot Motivation is always logical and the path the main character pursues should be the one that SEEMS to easily overcome, resolve or achieve the Primary Situation. IMPORTANT TIP: Whether or not the main character SUCCEEDS or FAILS, the efforts still don't overcome, resolve or achieve that which is required by the Primary Situation. In other words, even if the main character is successful with these initial actions, they none the less don't work to resolve the Primary Situation. Logical Direction PRIMARY SITUATION The Primary Situation is the specific and/or unique event that is taking place in the life of the main character in your story. The event taking place must always be out of the ordinary. It must yank the main character from his or her daily routine. IMPORTANT TIP: This event should always be defined as a Problem, Opportunity or a Desire. 6

Core Elements Part 2 IDENTIFY YOUR CORE ELEMENTS: PLOT MOTIVATION Logical Direction PRIMARY SITUATION 7

Core Elements Part 3 Layered stories and unforeseen endings are the key to writing a dynamic and exciting screenplay that will jump off the page. RESOLUTION GOAL The Resolution goal is a second, unique effort made by the main character to overcome, resolve or achieve the Primary Situation. Unforeseen Solution PRIMARY OBSTACLE The Primary Obstacle is a complication, failure or journey that prevents the main character from EASILY overcoming, resolving or achieving the Primary Situation. To fully understand the Resolution Goal we need to go back to Plot Motivation. We mentioned that Plot Motivation always fails, whether or not the main character succeeds in that specific goal, and leaves the Primary Situation unresolved. Since that first effort did NOT work, a new angle or a SECOND EFFORT is always required. It is ALWAYS this SECOND EFFORT that actually succeeds in overcoming, resolving or achieving the broader goal dictated by the Primary Situation. This SECOND EFFORT is always a different, unique or unforeseen effort on the part of the main character, and it is this effort that finally resolves the Primary Situation. The Primary Obstacle is what makes most movies interesting. If not for this, the story would easily be resolved. The story focus of Act 2 always revolves around the main character dealing with the Primary Obstacle. It's important to identify an interesting and compelling Primary Obstacle, even more so than the Primary Situation. IMPORTANT TIP: The Primary Obstacle indicates your first Plot Turning Point of Act 1 and the focus of Act 2. IMPORTANT TIP: In terms of trying to figure out a good Resolution Goal, you should always look for the conceptual opposite of the main character's Plot Motivation. 8

Core Elements Part 3 IDENTIFY YOUR CORE ELEMENTS: RESOLUTION GOAL Unforeseen Solution PRIMARY OBSTACLE 9

Core Elements Part 4 Every main character must have a major deficiency and true character depth expresses itself when that deficiency is revealed by the Theme. PERSONAL GOAL The Personal Goal is a specific drive or desire of the main character that is not directly related to the Plot. It is the pursuit of this drive or desire that most clearly defines them, because in movies it is always character actions and dialogue that reveals everything the audience knows. It is this fundamental drive or desire that most clearly defines who the character is as it relates to your story. The Personal Goal comes out and is revealed when we first meet the main character at the beginning of a movie. The Personal Goal should reveal something intrinsic about the main character. Typically, the Personal Goal represents a flaw (but not always). IMPORTANT TIP: The underlying idea or value represented by the Personal Goal should be the conceptual opposite of the Theme. Thematic Gap THEME The Theme is a concept or idea or commonality that is expressed throughout your movie. That means the same idea is expressed in the beginning, in the middle, and (yet again) at the end. Theme is NOT the 'Subject Matter'. The Subject Matter is what a movie or screenplay is about, whereas Theme is a concept, idea or commonality that is expressed. Theme always impacts the main character specifically in relation to their Personal Goal. IMPORTANT TIP: The Theme should be the conceptual opposite idea of the main character's Personal Goal. 10

PERSONAL GOAL Core Elements Part 4 IDENTIFY YOUR CORE ELEMENTS: Thematic Gap THEME 11

Core Elements Subplots The true heart and depth of a movie does NOT come from well developed characters or a dynamic and interesting plot rather the heart and soul of a movie is found in its subplots. PERSONAL GOAL THEME SUBPLOTS Subplots are always the storylines that express the Theme of the plot, and how the Theme relates to the main character's Personal Goal. Explanation: Nearly all successful movies start with the main character having some type of Personal Goal. As the main character moves through the story he or she is exposed to and influenced by other characters that represent the Theme. The goal as a writer is to identify a relevant Personal Goal that truly expresses the core and essential desire of the main character, as it relates to the story you are telling. Underlying that desire needs to be a link to a thematic idea or value ; identifying this thematic idea or value is a critical step to building a deep, relevant and meaningful character. Once you identify the underlying thematic idea or value, the next step is to identify the conceptual opposite thematic idea or value. Ask yourself, What is the opposite concept or idea? It is the opposite idea or value that will help to define your Theme. Once you have identified both your Personal Goal and the Theme, you have identified the Thematic Gap. The Thematic Gap is the conceptual space between what the main character values at the start of a movie and what the story introduces into their life. So what does this have to do with SUBPLOTS? All subplots revolve around these two Core Elements, the Personal Goal and the Theme. Your subplots must express these two ideas. All the storylines in your movie that are not directly related to Primary Situation or Primary Obstacle MUST be about either the Personal Goal or the Theme. 12

Core Elements Subplots IDENTIFY YOUR SUBPLOTS: PERSONAL GOAL THEME SUBPLOTS 13

Create Your Characters

Character Overview MAIN CHARACTER The Protagonist is the MAIN CHARACTER of your story. PROTAGONIST A story is ALWAYS told from the Point of View of the Protagonist. PRIMARY CHARACTERS ANTAGONIST & COHORTS LOVE INTEREST THEME RELATED CHARACTERS The Antagonist is the main adversary and typically the cause of the Primary Situation. All of the Antagonist's assistants and cohorts fall under this category. (Many great movies DON T have an antagonist.) The Love Interest is the character that most closely connects the Protagonist to your story on a personal level. The MAIN SUBPLOT always revolves around this character. SECONDARY CHARACTERS All of the other Primary Characters in a movie are related to the Theme. These characters either support or contradict the Protagonist s Personal Goal. CO WORKERS BARTENDERS TAXI DRIVERS ETC. Secondary Characters in a movie are not directly related to the Primary Situation, the Primary Obstacle or the Theme, rather they are only a function of the Setting. 14

The Protagonist At its most basic level, a story is simply when a unique event occurs in the life of your main character. The Protagonist is the MAIN CHARACTER of your story. PROTAGONIST A story is ALWAYS told from the Point of View of the Protagonist. With few exceptions, every story is about a specific MAIN CHARACTER, and it is the Main Character s personal experience that is being related in any given story. The personal experience that is being related is that which associates itself to the Primary Situation, because at the most basic level, a story is simply when a unique event occurs in the life of your Main Character. Now what is the unique event? The unique event is the Primary Situation. Of course, to create a truly memorable and exciting character, he or she needs to be RELEVANT to the Primary Situation. Good stories are not about random individuals (even if it were to appear that way on the surface), rather the more significant the Primary Situation is to your Main Character, the better, deeper and more meaningful your story will be. WHY? Because the audience lives vicariously through your Main Character. The audience identifies with the Main Character's needs and desires, hopes and dreams, problems and achievements. There are TWO levels to which the Main Character relates to your story. The first is how he or she is related to the Primary Situation, and the second is by way of their Personal Goal and the Theme. Your MAIN CHARACTER must be the driving force of your story, and needs to have a significant vested interest in its outcome. For good or bad, they must be driven to overcome, achieve, or resolve the Primary Situation. 15

The Protagonist The more your Main Character relates to your overall story, the deeper, better and more three dimensional he or she becomes. CHARACTERIZATION PLOT MOTIVATION RESOLUTION GOAL PERSONAL GOAL The Core Elements of Characterization, Plot Motivation, Resolution Goal and the Personal Goal apply SPECIFICALLY and EXCLUSIVELY to your Main Character. Utilizing the Core Elements ensures that you will create a RELEVANT and DEEP three dimensional character that will burst off the pages of your screenplay. In building your Character, you can begin at ANY point and with ANY of the Core Elements. Start by identifying each Core Element and how that component part of your Main Character relates to the overall story you are telling. Be sure ensure that they connect to each of the other Core Elements, including those of the Plot. Finally, you want to create real and relevant character depth. Once you have established the Core Elements, you can now develop the specific details and nuances of your character, while clearly knowing how the character details are relevant to the overall story you are telling. Use the Core Elements as your guide as you work through the questions on the following pages. This allows you to experiment and be imaginative while you can stay on the right track with your Main Character s development. You may also discover new information that requires you to rethink your Core Elements, or you may need to jump ahead to the next section, to get down some details about your Love Interest. Now is the time to make sure your Main Character is clearly defined and that your whole story works on every level, NOT when you sit down to write the screenplay. 16

Name: Age: Sex: Describe their general appearance: Protagonist PART 1 Describe their personal goal / desire & WHY they want it: Describe why they are related to the primary situation: Describe their ordinary world / day to day life: Describe the setting & how it impacts them: 17

Write a brief historical description: (Pay attention to details that will be relevant to your story.) Protagonist PART 2 Write a detailed description of your character: (Pay special attention to details and traits that will be relevant to your story.) 18

The Antagonist A movie is NOT about the Protagonist battling or competing against the Antagonist this is a HUGE misconception. ANTAGONIST & COHORTS A TRUE Antagonist is ALWAYS linked to the Primary Situation. PRIMARY SITUATION Perhaps the biggest misconception in screenwriting (and storytelling in general) is that a story needs to be about a Protagonist battling or competing against an Antagonist. This notion is false. The truth is a Protagonist is ALWAYS dealing with a unique situation that we define as the Primary Situation. The true goal of the Protagonist is to overcome or resolve that Primary Situation. So what is the REAL role of the Antagonist? In nearly all movies that have an Antagonist, the Antagonist is a driven and motivated character who is trying to achieve some result. The Antagonist's desired result is the REAL problem, because if it were achieved it would be detrimental to the Protagonist. That is where the conflict between the Protagonist and Antagonist comes from. It is what the Antagonist wants TO DO or ACHIEVE, and why, that makes them who they are. In other words, it is the Antagonist's goal that is the REAL problem. The Antagonist is actually a function of the Primary Situation. Here s an example: Imagine a James Bond film in which a criminal was going to detonate a nuclear weapon in a major city. The criminal is definitely the Antagonist, but it is the potential of the nuclear bomb going off that is the Primary Situation. In such a movie, what is the real motivation for James Bond? To stop the criminal or to stop what the criminal is trying to do? In such a movie, stopping the criminal would be secondary to stopping the bomb from going off. The Antagonist s goal must always link to the Primary Situation. Often times, the Antagonist is the underlying cause or driving force behind the Primary Situation, in that they are driving the Primary Situation to exist at all (as seen in the James Bond example). Also,MANY successful movies DON T have an Antagonist. The reason is sometimes the Primary Situation has no underlying driving force, rather there is just chance or unique situation occurring in the life of the Protagonist. For example, in the action movie Armageddon there is an asteroid headed towards the Earth, and there is no antagonist. Does this mean there are no bad characters? Absolutely not; there can definitelybe badcharacters, buttheywill be relatedto the Theme, not the Primary Situation. (See Theme Related Characters.) 19

Name: Age: Sex: Describe their general appearance: Antagonist Love Interest Theme Related Character PART 1 Describe their personal goal / desire & WHY they want it: (The Antagonist s should relate to the Primary Situation. The Love Interest & Main Relationship Characters should relate to the Theme. ) Describe how & why they are related to the protagonist: (This may be in the context of the actual story itself.) Describe their ordinary world & how it is impacted by the protagonist: (This will be some part of the Setting. ) 20

Write a brief historical description: (Pay attention to details that will be relevant to your story.) Antagonist Love Interest Theme Related Character PART 2 Write a detailed description of your character: (Pay special attention to details and traits that will be relevant to your story.) 21

The Love Interest A Protagonist is most influenced by those closest to them. Love Interest The Love Interest is the second most important character in a movie. Theme Primary Obstacle The Love Interest in a properly written movie is a central and required character. This character should NOT be thought of as secondary or gratuitous. When done correctly, the Love Interest is the character that adds the potential for tremendous depth, because it is this character that most clearly and dramatically represents the Theme Core Element in a movie. In fact, the Love Interest is the character that has the biggest personal impact on the Protagonist. The storyline about the relationship between the Love Interest and the Protagonist is ALWAYS the MAIN SUBPLOT. It is critical to understand the distinction between all the subplots (including the Main Subplot ) and the MAIN PLOT. The Main Plot is the storyline which has the Protagonist trying to resolve or overcome the Primary Situation and, as an extension of the Main Plot, the Primary Obstacle. Subplots are completely different, since they must relate to the Theme and Personal Goal. Some subplots will contrast the Personal Goal and suggest that it is misplaced and wrong, other subplots will seemingly support the Personal Goal and suggest to the Protagonist that he or she is correct in their core belief or desires. Of all the subplots in a movie, the MAIN SUBPLOT always revolves around the Love Interest. The Love Interest, and their storyline (the Main Subplot), is the character and storyline that most clearly expresses the Theme of a movie. The expression of the Theme should reveal and contrast the underlying issues surrounding the Protagonist s Personal Goal. It is this exploration of the thematic issues that creates real threedimensional depth for both the Protagonist and story overall. Additionally, it s the conceptual gap between the Protagonist s Personal Goal and the Core Element of the Theme creates the Thematic Gap, and the Thematic Gap is what allows for the main character to change and experience a Character Arc. So what is the Protagonist s Character Arc? A character arc is a personal or fundamental change that a Protagonist undergoes as they interact with and are influenced by the story of a movie. Specifically, it is the storyline of the Love Interest (and other Theme Related characters) that provides the maximum amount of influence on the Protagonist, and that influence is expressed as a part of the SUBPLOTS NOT THE MAIN PLOT. 22

Theme Related Characters ALL subplots revolve around a Theme Related Character. Theme Related Characters All Theme Related Characters express an aspect of the Theme or support the Personal Goal. Primary Situation Setting The Protagonist of a movie interacts with many characters beyond the Antagonist and the Love Interest. The most common type of character they will interact with is a Theme Related Character. As the name suggests, these are characters which express some aspect of the Theme. Just like the Love Interest, these characters will also express something that either reinforces the Theme Core Element or reinforces and supports the Protagonist s Personal Goal. Also, just like the Love Interest, these characters will typically develop a specific relationship with the Protagonist, and that relationship and its storyline will be a unique subplot, although these relationships are typically not as meaningful or deep as that of the Love Interest. Theme Related Characters will usually have a connection to either the Primary Situation or the Setting. These story Core Elements are the reason for the specific Theme Related Characters appearing and participating in the movie. As the Main Character deals with the Primary Situation, he or she will inevitably interact with these other characters. It is the interactions with these characters that creates the relationship to the Main Character. The depth of the relationship between these characters and the Protagonist is expressed by having the relationships revolve around the Theme Core Element and the Protagonist's Personal Goal. 25

Secondary Characters CO WORKERS BARTENDERS TAXI DRIVERS ETC. Many characters in movies are only there as a function of the Setting. These are characters that fill in the space of the world in which the movie takes place, namely the Setting. These characters have little to no interaction with the Protagonist. Sometimes these characters rise to the level of Theme Related Characters. This means that they have enough interaction with the Protagonist, that the context of the relationship becomes relevant beyond the Protagonist just dealing with the local surroundings. In ALL such cases, these characters should be considered as a minor subplot, so that their interaction with the Protagonist incorporates concepts of the Theme Core Element or the Protagonist s Personal Goal. A writer should strictly limit the total amount of the Secondary Characters that are in a screenplay. 32

ROLE / PART: Name: Age: Sex: Describe their general appearance: Describe their ordinary world & function in that world: (This will be some part of the Setting. ) Describe their relationship to the protagonist: (How is this character relevant to Protagonist? How does this character impact the Protagonist? Note: Why? is not so important here. It should be obvious why this character is involved because they are part of the Setting. Briefly describe the character s details: (Pay special attention to details that will be relevant if revealed in this script.) 33

Build Your Structure

Visual Timeline Overview Opening Scene Setup Inciting Incident Midpoint Scene 1 st Plot Turing Point 2 nd Plot Turning Point Act II: Tier One Act II: Tier Two Movement to Resolution Thematic Gap Climax Resolution ACT I ACT II ACT III Core Screenplay Structure 90 Page Screenplay 1) Setup: First 5 to 15 pages 2) Inciting Incident: Occurs on page 5 to 15 3) Movement to Resolution: Runs approx. 30 pages 4) 1 st Plot Turning Point: Occurs on page 20 to 30 5) Midpoint Scene: Occurs around page 45 6) Thematic Gap: Runs approx. 15 pages 7) 2 nd Plot Turning Point: Occurs on page 60 to 70 8) Climax: Runs 15 to 25 pages 9) Resolution: Runs 2 to 10 pages 120 Page Screenplay 1) Setup: First 5 to 15 pages 2) Inciting Incident: Occurs on page 5 to 15 3) Movement to Resolution: Runs approx. 45 pages 4) 1 st Plot Turning Point: Occurs on page 25 to 30 5) Midpoint Scene: Occurs around page 60 6) Thematic Gap: Runs approx. 30 pages 7) 2 nd Plot Turning Point: Occurs on page 85 to 95 8) Climax: Runs 15 to 30 pages 9) Resolution: Runs 2 to 10 pages 36

OPENING SCENE Visual Timeline Act I The Setup Typically runs 5 to 15 pages. Establishes WHO the story is about & WHAT the story is about. Important to also establish the foundation of the Main Subplot. Also important to identify the Personal Goal. Inciting Incident Typically occurs 5 to 15 pages into a screenplay. This is the initial interaction or collision between the main character and the Primary Situation. This scene or short sequence functions as a Call to Action for the protagonist. Typically appears as one of three things: Problem, Opportunity or Desire. Movement to Resolution Typically runs 25 to 45 pages. This is the initial and specific course of action or steps the main character takes in order to resolve the Primary Situation. This should be the most obvious and logical path to overcoming, achieving or resolving the Primary Situation. First Plot Turning Point Typically occurs 25 to 30 pages into a screenplay. This scene or sequence launches Act II. This is the first MAJOR shift in a screenplay as well as the introduction of the Primary Obstacle. At this point one of three specific types of events takes place that becomes the critical focus of Act II: Complication, Failure or Journey. ACT II 37

OPENING SCENE Visual Timeline Act I IDENTIFY: The Setup Inciting Incident Movement to Resolution First Plot Turning Point ACT II 38

FROM ACT I Visual Timeline Act II Act II: Tier One Typically runs 10 to 30 pages. Main character continues Movement to Resolution while now dealing with the Primary Obstacle. Midpoint Scene/Shift Typically occurs near the middle of a screenplay. This is a critical scene or short sequence at which point the main character either succeeds or fails in their Movementto Resolution. The key thing is that they have NOT resolved the Primary Situation. No matter the outcome of this scene, what they thought would work, DID NOT WORK. Act II: Tier Two Typically runs 10 to 30 pages. This is typically a series of scenes and short sequences that focus on the Subplots and the Thematic Gap. The Main Subplot is primarily expressed at this point. The Personal Goal and Theme get their main expression at this point in a screenplay. Second Plot Turning Point Typically occurs 60 to 90 pages into a screenplay depending on the length of Act II. This scene or sequence ends Act II and launches the final Act. (This scene is often compared to the first Plot Turning Point and described as a major shift in the action, that is completely wrong). Rather this is the moment of clarity for the main character when they learn or realize EXACTLY what they need to do to resolve the Primary Situation. ACT III 39

FROM ACT I Visual Timeline Act II IDENTIFY: Act II: Tier One Midpoint Scene/Shift Act II: Tier Two Second Plot Turning Point ACT III 40

FROM ACT II Visual Timeline Act III Climax Typically runs 10 to 25 pages. This is the sequence in which the main character finally comes face toface with the Primary Situation and deals with it directly. Success or failure at this point means everything to the main character now that the Thematic Gap and subplots have played themselves out, everything is on the line for the main character. This is also where the antagonist (or main adversary) or antagonizing element truly flexes its muscles and tries to prevent the main character from overcoming the Primary Situation. Resolution This is typically a short scene or sequence that shows how things work out (or don t) for the main character now that Primary Situation has been overcome. Typically, the focus of this portion of a screenplay is the Thematic Gap and subplots. END 41

FROM ACT II Visual Timeline Act III IDENTIFY: Climax Resolution END 42

Scenes & Sequences

Scene Overview What is a SCENE? Scenes are the building blocks of sequences. A scene is an event or series of events that takes place in a single continuous block of time at a single location. A scene can be very short, conveyed in a single shot, or can be an extended series of shots that take place over a long period of time. Most scenes will be part of a SEQUENCE: Scene Scene Scene Scene Scene SEQUENCE (A series of RELATED scenes creates a sequence.) Basic Rules of Scene Building: ONLY include scenes that are required and relevant to the story as a whole. ONLY include character actions and dialogue that are required for a given scene. Be sure to understand WHY a scene is required for your story. Start with the broader sequences and then identify scenes that will be required. Start a scene as close to the RELEVANT actions and dialogue as possible. End a scene as soon as the RELEVANT material is finished. Layer each scene with as many storylines as possible. 43

Sequence Overview What is a Sequence? Sequences are the building blocks of a movie. A sequence is a series of related scenes strung together that convey related character actions and/plot elements. A sequence determines the RELEVANT character actions and dialogue that should take place in the SCENES. Typically there are 5 to 10 sequences in a movie. As a writer you must identify the broader sequences within your story. There are at least 5 to 6 major sequences: 1 2 3 4 5 6 Setup M.T.R. Act 2, Tier 1 Act 2, Tier 2 Climax ACT I ACT II ACT III Resolution 1) Setup: Scene or short sequence that establishes what and who your story is about. (Primary Situation, Characterization, Personal Goal, Plot Motivation) 2) M.T.R. (Movement to Resolution): The initial series of actions the Protagonist attempts. (Primary Situation, Plot Motivation) 3) Act 2, Tier 1: Focus shift from the Primary Situation to the Primary Obstacle. (Primary Obstacle, Plot Motivation) 4) Act 2, Tier 2: Focus shift to the Thematic Gap. (Theme, Personal Goal, Primary Obstacle, Resolution Goal) 5) Climax: Final confrontation between the Protagonist and Primary Situation. (Primary Situation, Resolution Goal) 6) Resolution: Final scene or sequence showing how the Protagonist has been affected. (Personal Goal, Theme) 44

Structural Segment / Sequence (e.g. Setup ): Describe the overall Focus or Purpose for this sequence: PART 1: Sequences Identify specific information and events that are required to take place in this sequence: (What information must be conveyed to the Main Character, Other Characters or even the Audience in order to complete this sequence?) Identify the Opening Scene & Ending Scene to this sequence: (How do you introduce this as a new sequence and how do you show that this sequence is ending and transitioning to the next one?) Identify subplots and their related Themes that are relevant to this sequence: Identify character actions and the nature of dialogue that will advance the sequence: Make a list of potential Scenes for this sequence: 45

Scene Name / Slugline (e.g. Library ): Describe the overall Focus or Purpose for this Scene: (How does it advance the broader Sequence?) PART 2: Scenes Identify specific information and events that are required to take place in this scene: (What information must be conveyed to the Main Character, Other Characters or even the Audience in order to complete this scene?) Identify the Opening & Ending to this scene: (How do you introduce this scene in terms of character actions / dialogue / visual images and how does it end?) Identify subplots and their related Themes that are relevant to this scene: (How can you layer multiple story lines into this scene?) Identify character actions and the nature of dialogue that will advance this scene and the related subplots / thematic elements: 46