SUMMARY OF WEEK 1
U64006 Introduction to Screenwriting
Week 1 - Module contents & requirements • Screenwriters and industry, other jobs
with scripts• External factors and techniques• Script or Screenplay• Development process (ideas and
subjects)• Narrative form (story vs plot vs
structure)• Module handbook: content, requirements,
schedule, coursework, resources
– STORY DESIGN
Narrative paradigms (1): 3-act structure (Syd Field)
Close plotting
Analysis of narrative Case study: The Full Monty (Act 1)
SEMIOTICS OF CINEMA
Cinematic codes (film grammar and syntax) Narrative codes (story, plot, characters, etc.) Generic codes (genres, categories, corpuses:
form + content) Filmic codes (individual films)
ARISTOTLE
Drama = Action = someone doing something characters, settings, motivations and events
• Characters act, talk and face CHOICES characters’ will and nature (internal forces) + external forces flaws, errors and complications catharsis (change)
STORY VS. PLOT
Week 1 - Module contents & requirements
U64006 Introduction to Screenwriting
ARISTOTLE AND FILM NARRATIVE
• Characters + setting + motivation and goals = elements of the story (action)
• Structure (HOW the elements are organized together as a WHOLE)
• Aristotle on structure as a whole:
“A whole is that which has a beginning, a middle and a conclusion”
Too obvious?...
Week 1 - Module contents & requirements
U64006 Introduction to Screenwriting
3-ACT STRUCTURE
• Aristotle’s 3 acts
(quantitative parts of story discourse)
ACT Aristotle’s def. Donatus’s definition
1) Beginning = Prologue (Introduction)
2) Middle = Episode (Complication)
3) End = Epilogue (Resolution)
U64022 Intro to Screenwriting
3-ACT STRUCTURE
• Aristotle’s 3 acts
(quantitative parts of story discourse)
• Quantitative Relationship between duration of the story and the number of acts/turning points• One act: sit-com, short film, short story• Two acts: 1-hour TV series or movie (?), novella• Three acts (minimum): feature film, novel
U64022 Intro to Screenwriting
3-ACT STRUCTURE
• 3-Act Linear/Chronological one-story piece about single protagonist on a journey towards a goal (and, often, redemption)
• Most conventional/ prevalent/ streamlined/ basic/ safest model (ex. Juno, Star Wars, Tootsie, Full Monty, Die Hard etc.)
U64022 Intro to Screenwriting
3-ACT STRUCTURE
Not the only one: • Ensemble stories/multiple protagonists
(American Beauty, Traffic, Crash)• Several plotlines• Time-jumps/non-linear (Pulp Fiction, 21 Grams,
The Butterfly Effect)• Episodic• Flashbacks (Slumdog Millionaire, Atonement,
Citizen Kane)• Social agenda, pessimistic turn, etc.
Various models (ex. Homer’s Odyssey)
U64022 Intro to Screenwriting
4 MODELS
• Field’s 3-act paradigm (Aristotle)• Vogler’s 12-step hero’s journey• 7-step pattern (comedy)• Krevolin’s 15-step pattern (crime)
Simple TO complex TO very complex narratives
3-ACT STRUCTURE
• Film = movement (physical, emotional, spiritual) relevance/significance
• See def. of narrative = sequence of significant events (wk1)
U64022 Intro to Screenwriting
(Close) PlottingTerminology – Scene, Beat/Sequence, Section, Act
• Scene = Basic unit (same time, same location) in a script
• Beat (n scenes) = A step forward in the plot (ex. Little Red Riding Hood)
• How many beats? 30-40 (min.) / 70-80 (max)• Some (more significant) beats = plot points/turning
points
• Story points/Plot points = significant events (small but relevant crises, disruptions, reactions, etc.)
• Turning points = major events (in lives of characters), great emotion
NB - Beats within a scene when scripting?
U64022 Intro to Screenwriting
(Close) Plotting
Terminology – Scene, Beat/Sequence, Section, Act
• Section = groups of beats (like chapters) (15-22 ?), usually pegged to or climaxing on a plot point/turning point
• Act = usually 3 (or 4), main pattern/movements
Close plotting (see def. of narration) = how to combine,condense and arrange beats to give shape/structure to story
• Can have more than one plotlines) sequence of events
• See diagrams
U64022 Intro to Screenwriting
PLOT & STRUCTURE
• Structural models placing plot points to elicit emotion (scene/act breaks at moment of extreme emotion) second guessing the audience reaction
• Carefully calculated narrative devices Controlling/Directing audience emotions (ex. build up suspense, delay a crucial line, etc.) laugh, weep, gasp, etc.
• Good structure = Good timing
U64022 Intro to Screenwriting
3-ACT MODELACT 1
Set-up
1. Hook
2. Normality / Protagonist(s) (setting / exposition)
3. Disturbancea. set-up
b. payoff
Response to disturbance
4. Plan (delays due to Antagonists… until Helpers found / slow build-up to...)
Turning Point #1
5. Surprise / shock (climax 1)… that turns into… a. Decision / ability to act
b. Obstacle / limitations / dangers goal
U64022 Intro to Screenwriting
3-ACT MODEL
ACT 2
Complicating Action 1
6. Main storyline finally takes offa. Skills, training, tools to face the challenge
b. Subplot(s) (emotional/relationship story line – themes explored)
7. Complication(s) 1 – Pinches, twists, turns
8. Mid-Point (perhaps after first confrontation w/Antagonist) – not ready
U64022 Intro to Screenwriting
3-ACT MODEL
ACT 2
Complicating Action 2
9. Complication(s) 2 - Pinches, twists, turns/reversalsa. More obstacles/barriers
b. Surprises / Revelations
c. Subplot(s) (explored further, if more than one start to play out)
d. Highs and lows
Turning Point #2
10. Climax 2a. Confrontation
b. Death moment
c. Decision to (re)act (also marks start of Act 3)
U64022 Intro to Screenwriting
3-ACT MODEL
Total – Around 20 plot points BUT
• Some = 1 beat• Some = several beats• Some (e.g. Plan, Complicating Actions) =
longer sections to be further split in smaller chunks
• Bold = spine of story
U64022 Intro to Screenwriting
3-ACT MODEL (in detail)
(Opening) Hook• Sets tone, genre, protagonist, style, mood• Functional beat to capture viewer from min. 1• Antecedents of the story, what’s going on?
Setting (Beginning, Exposition) = Normality • Where / When / Who• Sketch quickly main traits and info (characters
and world)• Do not be too expository or describe too much
(scatter info on characters throughout the script)
• Attention and expectations
U64022 Intro to Screenwriting
3-ACT MODEL (in detail)
Disturbance (Inciting incident / Catalyst)a) Changes/Disrupts/Unbalances/Upsets status quo
(Good disturbance – verb of movement, change, disruption)
• Can be apparently harmless (but leads to serious trouble) OR outright violent
b) It happens TO or it is caused BY the protagonist forces protagonist towards new direction
• Raises main question/conflict/problem goal
Two events needed = setup + payoff• Jaws: Setup a shark eats a swimmer and her
body washes on the beach• Payoff the sheriff discovers the corpse (may
be delayed)
U64022 Intro to Screenwriting
3-ACT MODEL (in detail)
Plan – Protagonist’s initial response to disturbance
a. Usually refuses, doubts, first obstacles
b. Delays (“mislead” the audience) (but no hanging around)
c. Personal level of story (subplots / secondary character / themes started)
d. Help
e. Plan starts (change of mind)
U64022 Intro to Screenwriting
3-ACT MODEL (in detail)(enf of) First act Turning Point – Major shock
a. protagonist (audience) unaware surprise
b. usually one recognizable/physical event (not sequence of events, not a feeling)
c. life changing
d. protagonist final response to disturbance (decision to act vs central problem)
e. the film takes off
Story elements – Character(s) + problems + goal + journey
Action – Consequences of disturbance (chain of reactions)
About – Disturbance + TP1 (essence and appeal of the film – action, not themes)
U64022 Intro to Screenwriting
3-ACT MODEL (in detail)
Complicating Actions 1 & 2 – Plot sections not plot pointsa. Journey into new world: character has an
agenda but finds obstacles (but not a loose sequence)
b. Consequences/obstacles
c. Logical, real BUT unusual/unexpected more conflict, more emotional and physical endurance
d. Different (not different versions of same)
• Midpoint
U64022 Intro to Screenwriting
3-ACT MODEL (in detail)CA2 – Increasing seriousness downward
progression
(end of) Second act Turning Point – Death/Black moment (physically and/or metaphorically)a. One scene/short sequence -
recognizable/physical event (not a feeling)
b. Usually both action line and relationship line hit rock bottom in TP2
c. What has to be lost? Loved ones, credibility, dignity, money, life, safety, good name, etc.?
d. Decision to fight back hope / suspense dynamics to engage audience
U64022 Intro to Screenwriting
3-ACT MODEL (in detail)
(Third Act) Build Up + Climax – Answers main question from Disturbancea. dilemma resolved (or not
b. protagonist wins or loses
c. must be SEEN on screen
d. beware of anticlimax
Resolutiona. quick, economical
b. no second ending
c. can coincide with abrupt end of climax
U64022 Intro to Screenwriting
3-ACT MODEL
STORYLINES/PLOTLINES
• Main plot/Action line/Foreground story/Plot A
Vs.• Subplot(s)/Relationship line/Background
Story/Plot B
• Both Main and Subplot(s) have their own 3-act inner structure (developed throughout the overall 3-act structure) and alternate.
More on action and relationship lines in wk 3 (Characters)
U64022 Intro to Screenwriting
3-ACT STRUCTURE - Summary
• ACT I – SETUP, pp.1-30• What? Setting + info (hero)• How?
• Inciting incident conflict action/goal• Plot point #1 (end of Act I – pp.25-27)
• ACT II – CONFRONTATION, pp.31-90• What? Obstacles and problems • How?
• Reversals, recognition, suffering• Mid-point (p.60)• Plot point #2 (end of Act II – pp.85-90)
• ACT III – RESOLUTION, pp.91-110(120)• What? Climax resolution• How? Initial problem solved/unsolved, goal
achieved
U64022 Intro to Screenwriting
3-ACT STRUCTURE – General pattern
1.Conflict: the hero takes on a problem
2.Crisis: the hero can’t solve the problem
3.Resolution: the hero solves the problem
U64022 Intro to Screenwriting
THE FULL MONTY – ACT 1• SEQ 1 Sheffield then and now (sc. 1-2; 4’, 0’-to-4’) Set-up of
the story: ANTECEDENTS + EXPOSITION (setting, intro characters, social background, intro main theme)
• SEQ 2 Men’s dignity (sc. 3-6; 3’45”, 4’-to-8’) Characters’ backstories, intro subplot 1 (Dave), themes added/reinforced: EXPOSITION/SETTING cont’ed.
• SEQ 3 No job, no custody (sc. 7-9; 5’10”, 8’-to-13’) INCITING INCIDENT: conflicts, challenge and antagonistic forces declared
• SEQ 4 New friends (Lomper joins) (sc. 10-12; 8’10”, 13’-to-21’) Possible goal (solution to problem) declared, HELP and first attempts/DELAYS
• SEQ 5 Gerald joins (sc. 13-17; 8’50”, 21’-to-30’) Help needed, refusal/delay, intro subplot 2 (Gerald), first confrontation and climax 1 major TURNING POINT 1, one antagonist turned into ally ready for Act 2 to take on challenge
U64022 Intro to Screenwriting
THE FULL MONTY – ACT 1
U64022 Intro to Screenwriting
5 10 15 20 25 300
Hook Setting Disturbance Plan/delays Crisis/climax 1
TP1
HOMEWORK FOR WEEK 3
• Finish watching The Full Monty (All students)
• Analyse and prepare presentation of The Full Monty – Acts 2 & 3(Booked students – as per seminar presentation schedule)- Grab splash screen- Use slideshow in any format (PPT, DOC, PDF, JPG, HMTL), story on memory stick- Analyse narrative structure PER meaningful beats/sequences- Include brief description + narrative function + other observations- Time your presentation to max. 20’ (whole film presentation)
U64022 Intro to Screenwriting