Article / Structure
What is structure, and why should I give a %&#@?
In the simplest of terms, it’s organization. If you prefer a more challenging answer, then go read up on Aristotle and the Greek ‘goat songs’.
ARISTOTLE
To tell a story really well, you need a framework in which to present it to your audience. You need a sequence of events that makes sense. A cause and effect. The beginning, the middle, and the end. Simple, right? You wish!
The most tried-and-true method of course is the three act structure. Act one introduces your charatcers and sets up the story. I like to call this coming through the front door. Act two is the meat and potatoes. You’re moving through the animal house with regrets you ever came here, and fanning hopes of finding a way out. Act three, or — exiting through the back door with most of your parts still intact — brings everything to a satisfactory conclusion. usually!
This structure has been around for a few thousand years now, on papyrus anyways, and has certainly proved its worth. But it isn’t the only approach. I do however recommend you master it before blazing new trails. The solid foundation will make your Indiana Jones forays into the unknown a much more pleasant experience.
There are several opinions as to when one should introduce the PLOT POINTS, those pesky things that move the story from one act to the next. Some argue that strict adherence to a specific page number is best, while others argue that a percentage based on the total number of script pages is paramount to good writing. For example, one might say page 28 is where the first plot point must be introduced, while others will argue for the 25% mark. Little too scientific for me, and one should never need to use a calculator when writing.
After reading stacks of How To books and articles, scribblings on bathroom walls and other regurgitations, I’ve come to the conclusion that, based on a standard 120 page screenplay, one should try to make your first plot point land SOMEWHERE between pages 27 and 30. My personal comfort zone is to introduce it by page 29, and wrap it up by page 30. Some stories dictate slight adjustments. Your call.
Before we go on, I’d like to backtrack to the INCITING INCIDENT. Here again many opine as to where this should fall. Page 12. No, page 11. Nonsense! Always on page 14. Each story will differ in its rhythm, so give it a page tolerance for christ’s sake.
My comfort zone is SOMEWHERE between 11 and 14. Fifteen minutes into a film and I want things to be pretty clear as to what’s happening.
The inciting incident (AKA Catalyst and Call to Action) is the first clue you give your audience as to what all this drama is about. You introduce what your charcter/s is/are after, and what might be messin’ with that goal (A good example of an inciting incident is when Alex Browning has his premonition right before take off in Final Destination).
Think of it like this; You’re having company over for the holidays. Oh what joy! The initial greetings are usually good-natured whether genuine or not, that is until the one freak nobody invited shows up. There was proabaly good reason not to invite them in the first place, and now the conflict begins. This is your inciting incident.
OTHER GUESTS
Uncle Lester! What a — surprise!
(then whispers)
Shit!
From the inciting incident to the first plot point, we build the inevitable conflict. Logic gives way to chaos. Nervous eyes twitch. Fiendish plans are laid. Promises are broken. And Lester has found the undergarment drawer. Again.
Thanks for coming, Lester !
Please pass whatever the hell you’re eating.
Everybody settles in. Alcohol numbs the grown-ups while sugar infuses the little people with irrational exuberance. A real match made in hell. Pecking orders are establish by way of seating arrangments. Seven or more adult males try to start a cozy fire, while seven or more females make metal notes on each other’s accessorizing skills. ‘Wrong shade of pink, ya hussy!’
So just what is this first plot point supposed to do? Simple. End the salutations, and get on with what humans do best – pick a fight. Just ask any Soap Opera!
Now comes the first plot point and the move to act two. The conflict? Hey, it’s Christmas, and expactations are ripped on octane. As always, who gets what and why is on everyone’s mind. First on the agenda is divying up the big bird, and deciding who gets the drumsticks. In a matter of a just few minutes, we will finally have some worthwhile hissy fits. Dark sides emerge. The first blood is drawn. And Lester anounces plans to build a ten-legged turkey. Again.
Since act two is the longest, and USUALLY accounts for half or more of the screenplay, it’s best devided into two parts. In part two of act two, you want to escalate the conflict. Pump it up! It is here you want to create the kind of conflict our mothers warned us about, or in many cases nurtuted, encouraged, and often rewarded. In other words, it’s time to open the gifts. The second blood is drawn.
No need to dwell on the embarassing moments that follow. We’ve all seen them. If you need a visual, this is where Sissy Spacek unleashers her fury in Carrie.
At some point, one or more of the main characters is going to pull their head out of their ass put an end to this horseplay. End of act two.
We now move to act three, which more or less should land on or around page 90.. It’s now time for the apologies, the rolaids, and promises to do it all again next year. Lester got what he came for, and everyone else will simply exchange their curiously inapprorpriate gifts come dawn.
But wait! What about the weird twist at the end? That last page freak out! Just don’t make it expected or contrived.
Why dogs bite their owners
What is your purpose in life as a screenwriter?
Most important thing to remember is that you are part of a collabrative process, and that directors, actors, set designers, musicians, accountants, and crews all use the screenplay to do their part. The screenplay must therefore be written with all the players in mind, and written ‘visually’ so all the players get your point.
Think of the screenplay as a recipe, or better yet, a blueprint. Once this blueprint is out of your hands, a lot of other people will be depending on it for accuracy, logic, and a clear vision as to its cinematic value.
Links for reading more on structure
http://www.usu.edu/markdamen/ClasDram/chapters/041gkorig.htm
http://www.screenplaymastery.com/structure.htm
Leave a Reply