summary of week 1 u64006 introduction to screenwriting week 1 - module contents & requirements...

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


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


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


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.)


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)


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 (Syd Field’s “paradigm”)


3-ACT STRUCTURE

• Film = movement (physical, emotional, spiritual) relevance/significance

• See def. of narrative = sequence of significant events (wk1)


(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?


(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


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


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


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


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)


3-ACT MODEL

ACT 3

11.Build-up

12.Big climax

13.Resolution


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


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



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)



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)


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)



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


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



(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


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)


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


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


CASE STUDY

THE FULL MONTY - ANALYSIS OF ACT 1


SEQ. 1 – Sheffield then and now

Antecedents

(setting c’ed)

Ref. only


SEQ. 2 – Men’s dignity


SEQ. 3 – No job, no custody


SEQ. 4 – New friends

12


SEQ. 5 – Gerald joins

14

14

15

16

17

17a

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


THE FULL MONTY – ACT 1


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)


summary of week 1 u64006 introduction to screenwriting week 1 - module contents & requirements...

Documents