The Art of Script Editing E-Book

Karol Griffiths

• Herausgeber: Creative Essentials
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 288

Veröffentlichungsjahr: 2015

Beschreibung

'A clear, insightful and sensitive look at the work of script editors and screen writers' - Hossein Amini: writer of Drive and writer and director of The Two Faces of JanuaryThe Art of Script Editing provides a comprehensive overview of this vital role, examining its responsibilities and functions during all stages of the development process, both in film and television. Detailing the nuts and bolts of the job, it looks at what's required and expected, how script editors assess a script, their approach to working with writers and producers, and their input during rewrites and pre-production, and up to a project's completion. It also examines the ways in which writers and producers can benefit from working with a professional script editor as they seek to refine and communicate their vision. The Art of Script Editing; A Practical Guide is a valuable resource for anyone developing a script no matter where they are in the process, for writers and producers interested in expanding their understanding of how a script is advanced, and for those pursuing a career in script development.

Leseprobe

‘A clear, insightful and sensitive look at the work of script editors and screen writers’ - Hossein Amini: writer of Drive and writer and director of The Two Faces of January

The Art of Script Editing provides a comprehensive overview of this vital role, examining its responsibilities and functions during all stages of the development process, both in film and television. Detailing the nuts and bolts of the job, it looks at what’s required and expected, how script editors assess a script, their approach to working with writers and producers, and their input during rewrites and pre-production, and up to a project’s completion. It also examines the ways in which writers and producers can benefit from working with a professional script editor as they seek to refine and communicate their vision.

The Art of Script Editing; A Practical Guide is a valuable resource for anyone developing a script no matter where they are in the process, for writers and producers interested in expanding their understanding of how a script is advanced, and for those pursuing a career in script development.

Karol Griffiths has been a successful script supervisor, script editor and development associate for over 20 years. She has worked with companies such as Warner Brothers, Universal, Disney, Paramount and Fox Studios, as well as Amblin Entertainment, The Coen Brothers, Working Title, Rajski Productions, Interscope Pictures, Sandollar Productions, Revelations Entertainment, BBC, ITV and La Plante Productions.

Karol currently runs her own freelance consultancy and is passionate about working with writers in all media formats. She is a reader for the BBC Writers Room and The Literary Consultancy in London, and has a Master of Fine Arts Degree from Yale School of Drama and a Script Development Diploma from NFTS.

creativeESSENTIALS

KAROL GRIFFITHS

THE ART OF SCRIPT EDITING

A PRACTICAL GUIDE

creativeESSENTIALS

In loving memory of my mother and father

ACKNOWLEDGEMENTS

In preparing this book, I sought out the support and expertise of some very talented and accomplished industry professionals; I am extremely grateful to Hossein Amini, Paul Mayhew-Archer, John August, Hayley McKenzie, Robyn Slovo, Ludo Smolski and Paul Matthew Thompson for generously sharing their treasured insights and valuable time, and helping me to investigate the joys and challenges of script editing and story development.

Additional thanks to...

Rebecca Swift for her kind support, guidance and friendship.

Lucy Scher for her valuable instruction during my transition to the United Kingdom.

Sven Angelbauer, Lisa Barr, Kathy Bell, Tarryn Campbell-Gillies, Martin Casella, Darin Elliott, Jean Kaye, Michael Sierton and Nancy Smalling for being such wonderful friends – and giving me the support and confidence to get through this crazy year.

My profound thanks go to Hannah Patterson and Ion Mills for inviting me to write this book, and for supporting me along the way; and to the dedicated team at Kamera Books, who have been fantastic: Claire Watts, Anne Hudson, Elsa Mathern, Jayne Lewis and Steven Mair.

Love and gratitude to my family: Pamela Merrick, Laurel Goldman, the Viriet family, the Siegel clan, Sue Gurley, Jane Goldberg, Lucy and Ollie, and ESPECIALLY to John – you are the most amazing husband in the world – thanks for being mine.

CONTENTS

Introduction: A Career in Script Development

RESPONSIBILITIES OF A SCRIPT EDITOR

STORYTELLING AND SCREENPLAY STRUCTURE

THE PRINCIPLES OF GENRE

THE SCRIPT REPORT

THE FIRST MEETING

ASKING THE RIGHT QUESTIONS

TREATMENTS, OUTLINES AND PITCHING MATERIALS

SCRIPT EDITING FOR TELEVISION

REWRITES

FORMATTING INFORMATION AND TECHNICAL ISSUES

PROFESSIONAL ADVICE

HOW TO GET STARTED AS A SCRIPT EDITOR

In Conclusion

Suggested Reading

Useful Resources

Glossary of Film Terms

INTRODUCTION

A CAREER IN SCRIPT DEVELOPMENT

Working in script development is a mercurial existence to say the least – a roller coaster ride with endless twists and turns. The highs are exciting, engaging and gratifying and the lows are equally potent, often filled with disappointment, sleepless nights and utter frustration. BUT when the process succeeds, it is undoubtedly one of the most satisfying and privileged roles in the entertainment industry.

The aim of this book is to demystify the process: to offer insight into how to find, nurture and foster screenwriters, to explain how script editors and development teams work with writers, producers and executives within the system, and to give writers an understanding of how they can most effectively work with a script editor and within a development team.

For writers, the development process can quickly become a confusing labyrinth. It might not seem like it, but screenwriting is a collaborative job, and although writers spend much of their time working alone, writing for film and television is ultimately all about working with others. The initial idea and first draft are just the beginning, because from that point onwards, everyone will have an opinion on how to develop the story. From inception up until the final polish, even into post-production and every step along the way, there will be outside input, comments, ideas and conflicting notes to navigate through. Just about everyone involved in the process will have an opinion or an agenda – even well-meaning friends and family will eagerly offer up comments. So, it’s no wonder that writers frequently become overwhelmed.

Filmmaking is an expensive and pressured business and decision makers need to be secure in the projects and scripts that they are responsible for selecting. So, it’s understandable that everyone has an opinion, because there is a lot at stake. From the entry-level readers on up until the executive producer – it’s their reputations, careers and possibly even money on the line. Even a low-budget, indie film is costly, time-consuming and takes a great deal of hard work to produce – so everyone wants to get it right.

Readers and development teams are inundated with piles of scripts. Their job is to filter out the unworthy, and to find a precious diamond in the rough. They worry constantly, desperate not to reject what might be a successful blockbuster and equally concerned about putting through a disappointing and expensive failure.

Agents are concerned with getting their writers work, but also with earning commissions. They often use their hard-earned insider information to influence writers into reworking ideas to fit a trend or brief – hoping to provide the type of script that producers say they are looking for.

At the producer level, there are other concerns: practicality, financial ramifications and market requirements. Again, these often lead to more notes for the writer. Studio executives and commissioners will have even more thoughts, such as attaching talent, and needing a balanced slate of projects. Maybe they only produce one drama feature a year, but are willing to consider a script if it’s tailored for specific talent they have a relationship with. The lead character may have been written as a 20-something ingénue, but the actor they have in mind is middle-aged – and so, the writer will once again have to consider making changes and possibly implement extensive revisions in the hopes of getting the film made.

Even when the script gets a green light and makes it into production, the development and collaboration doesn’t end. Elements continually evolve, constantly shift and change. At that juncture, creative talent has influence and yet more questions, concerns and rewrites need to be addressed – and are sometimes demanded.

Consequently, it can be a long and difficult journey getting a script ready for production and hard for a writer to know which direction to take while also trying to maintain the integrity of their vision along the way.

So what is a script editor’s role during all this?

I am asked this question regularly, and often even by people who work in the industry. The answer is quite simple, although the job is far from it.

The role of a script editor is to help the writer successfully tell their story in a way that connects with their intended audience.

Script editors are usually highly educated graduates, with extensive experience as script readers, and proven analytical skills in the art of storytelling. They work extremely closely with the writer and must have a comprehensive knowledge of the screenwriting theories used by writers and producers to guide their work. They are there to help the writer get through the development maze and to support the writing.

A script editor will examine the script and provide an analytical overview of the work. They will identify any problem areas and assess where the script is working and where and why it is not; and they aim to help the writer get on, stay on track.

A good script editor will simplify the process, helping the writer improve their script with minimal confusion or stress, and also, hopefully, make it a gratifying experience. They will provide well-thought-through notes in a respectful, practical and attentive way, without involving their egos, keeping the writer and the story their top priority.

A script editor is not, at least when they are script editing, a writer. They do not write, or rewrite; they provide feedback, guidance, encouragement and constructive criticism. They are not there to come up with the story, but to get the very best out of a writer in the same way a coach or mentor would. Their job is to manage writers and ensure they stay focused and adhere to the project’s brief.

Script editors can come on board at any point during the process. Often they are hired directly by the writer to discuss and organise ideas, outlines, story and character arcs or any other elements the writer wishes to have help with prior to a draft being written. They sometimes begin later in the process, frequently just as the first draft is completed and prior to the submission process, providing the writer with a safe and objective assessment of the script along with suggestions for improvements.

They are regularly hired on behalf of a producer, a production company, a commissioner, or a writing team to assist the writer and the script during its development. There are no rules as to when the script editor joins the team, but whenever they do, their job is to support the writer and the script and assist in getting it ready for production.

On a long-running television show the job requires added skills as each show has its own way of working and the script editor becomes a vital link between the writers and the show’s producers. A script editor on a television show is a member of the production team and has many responsibilities, including finding new writing talent, working with script writers developing storyline and series ideas, and ensuring that scripts are suitable for production. The script editor will work closely with the writer at each draft of the script, giving the writer feedback on the quality of their work, helping them meet the needs of the project, ensuring that the writing reflects the style, tone and nature of the show, and suggesting improvements where needed. They will make sure the practical issues of the show, such as show continuity and running time (length of the show), are maintained. Unlike the writers, script editors will usually be full-time members of the production team, working closely with the producer.

No matter what the genre, the format or the content, the objective and challenge during the script development journey is always the same – creating a workable draft while supporting the writer and producer’s vision. The intention of this book is to provide information and tools required for the journey.

RESPONSIBILITIES OF A SCRIPT EDITOR

The script editor’s job is to read and analyse the script – give clear and strong notes and help the writer find their best version of the script.

WHAT SKILLS DOES A SCRIPT EDITOR NEED?

Having a passion for storytelling is a prerequisite for anyone in development, and that is even truer for script editors. Script editors must immerse themselves in stories, read loads of screenplays and books, watch plenty of films, and see tons of theatre. They must virtually dive inside a story and examine it from all angles, so it is crucial that they love reading, love watching stories unfold, and are highly knowledgeable about how storytelling and film structure work.

A script editor is comparable to an auto-mechanic. An auto-mechanic has to know how a car works in order to help customers care, repair, or maintain a vehicle. They are knowledgeable about all kinds of makes, years and styles of cars and they understand how cars are built and operate. In the same way, a script editor has to know how stories work, how they are built, in order to help writers successfully craft them.

Script editors must be diplomats, tactful, responsive and respectful. They must be good listeners and enjoy working with people. Having good communication skills is essential. Script editors must be able to substantiate their opinions with valid arguments within the context of the filmmaking process, and their opinions should be focused on assisting screenwriters and producers realise the potential of their screenplays. They must be able to communicate clearly, both in writing and in conversation, their thoughts, criticisms and opinions about the work and be able to provide clear, objective opinions and give detailed explanations of their reasoning. A script editor must always remember that they are there to help the writer find their own answers… not to tell them how to write their story.

Script editors must understand the numerous development stages a project will undergo with regard to its particular format, and be aware of the different ways that genre and writing style affect an audience. They must be proficient in the crafting of a strong synopsis and premise line, as well as evaluating the contents required in a reader’s script report including: the structure, tone, character, plot, action, dialogue, genre and style of the writing. Equally important is the use of dramatic tools, such as dramatic tension, irony, viewpoint, and suspense.

The best script editors provide their clients with diverse perspectives on their work, ensuring the writers consider the varied ways an audience might view the story while also considering the potential commercial market for the film. They should stay abreast of the current trends in production, incorporating into their reports an appraisal of how the project might fare in the intended market.

A script editor should continually be meeting and working with writers, developing a list of talent they respect and want to work with. Part of a script editor’s value is their knowledge of and relationships with screenwriters. A script editor must stay knowledgeable about the current and available writing talent, which means reading script after script, keeping abreast of films and television shows and actively looking for new writing talent. It also means developing relationships with literary agents so that, when a broadcaster, independent film or TV company, or a producer, asks for suggestions about screenwriting talent for a project, they are able to provide strong ones.

For a television series, a script editor is also responsible for making sure that the logic and continuity of each script and story is maintained. As there are regularly numerous writers on a continuing series, and multiple stories being developed at a time, the script editor is often the only person available who knows the details of the show’s ‘bible’ (history), and to a large degree the responsibility for story consistency falls upon them.

Strong negotiation and interpersonal skills are required to navigate through the development process and a script editor must be capable of liaising effectively among writers, researchers, producers and development executives. They must mediate effectively between the screenwriter’s creative ideas and the requirements of the project. Helping the writer stay focused on the agreed nature of the work and aware of the kind of film that producers and financiers expect to be delivered is essential.

To work effectively, script editors must be present at all script development meetings to ensure that all parties share the same vision for the project, keeping a record of all notes and decisions made.

Script editors can be hired at any point of the development process, even well before a script has been written. A writer might hire them directly for creative support, or they might be brought on board by a producer, a development team or production company.

Making a film or television show is an expensive venture. Time and money are critical factors and production companies and producers cannot afford to waste either.

Script editing can vary enormously depending on the writer’s personality and needs, and on the type of project being done. For example, developing original material is very different to working within an existing series or on commissioned work. Original work is a very creative process. Writers often need help clarifying their ideas and shaping their sense of story and characters. To that end, writers will often engage a script editor in the early stages of the process to discuss ideas, and help map out or outline their projects.

MOST IMPORTANTLY: A good script editor never imposes their ideas onto a project, but helps the writer cultivate their own ideas.

Script editors are hired to energise, motivate, and help writers tell the stories that are meaningful to them in a way that connects with their intended audience. It is also essential to help writers find ways to tell their stories in a format and style that is likely to be commissioned. There is no foolproof formula for success, but the odds greatly increase for writers who are clear about the story they are telling, know who they are writing for, and how best to reach their intended audience.

STORYTELLING AND SCREENPLAY STRUCTURE

Although this is not a book about screenwriting or story structure, understanding the building blocks of script construction is absolutely necessary for a script editor, and frankly essential for anyone in development at all, including script readers.

It’s important to be aware that writers, especially experienced ones, will have their own methods of organising their work and so it’s not helpful – or, in fact, the script editor’s place – to try to change or impose ways of working onto them. Instead it is important that script editors be knowledgeable about the many different ways in which a screenwriter might approach their work so as to be able to adapt accordingly.

Screenplay paradigms exist to guide and support a writer’s existing story. The story idea should come first, before the application of any method. Methods only exist to support the story, and writers should be encouraged to break the rules if it will strengthen their script.

STRUCTURE

I realise that the word ‘structure’ can sound very intimidating, but it shouldn’t. Structure is the spine of the story, meaning how the script is built and the way in which the parts of the script function together.

Structure is the escalation of conflict, the cause and effect of events in a story.

A script editor must understand the nature of screenplays, and the effect that different types of narratives and genres will have on audiences. They must be able to give objective opinions about the writing and provide detailed explanations of their comments and reasoning, offering effective guidance on how to resolve any problems.

There are many theories on screenplay structure and I recommend that anyone interested in script development read up on, and become familiar with, as many as possible. As with any creative form, there are numerous schools of thought, all with valid points of view and valuable insights and tools. Which method (if any) a writer chooses to use is an individual preference, and irrelevant in terms of the final outcome. What is important is that a script editor be knowledgeable about the different forms, and able to work and communicate within them. Simply put, it helps if you and the writer speak the same language and use terminology that you both clearly understand.

Personally, I do not suggest that a writer limit themself to any set of rules or any one paradigm. It is a wholly personal decision. Trying to force a specific form can be very constraining and the writer has to work within their comfort zone. However, I do believe that understanding the components of story structure can also be very liberating, and can in many ways give the writer greater freedom, as well as saving them precious writing time. Nevertheless, writers must acquire their own practice and it’s up to the script editor to be informed and adaptable to meet their needs.

We will now move on to a brief overview of the structure of storytelling and screenplay writing. Please note that, as we discuss the different components of the work, various terminologies will crop up and I will do my best to explain these as we go along. I have also included a glossary of terms at the back of this book.

BRIEF OVERVIEW

Storytelling has been essential since the dawn of humankind and is one of the most important things that we do. Story gives us history, perspective, the ability to share our knowledge, to process experiences, to dream, and so much more.

So, how do stories work?

First, we have to have a storyteller. That is a vital role and the storyteller must have something to say. Whether the story is simply for entertainment value or contains a message or moral, the storyteller – that is, the writer – must have something they want to convey.

I know this sounds obvious – but you’d be surprised how frequently scripts get written without the writer having a clear idea what it is they really want to say.

Stories require characters. Characters are usually people, but they can also be animals or any number of other creatures or beings, even inanimate objects. Most of us have seen animation films where the characters are not human, but are nevertheless vital characters (think of the teapot in Beauty and the Beast or the Hal 9000 computer in 2001: A Space Odyssey).

In the story at least one of the characters must take a journey. The type of journey that the character takes – be it physical or emotional – is what defines what kind of story (genre) it is, and how the story will be organised. It is also crucial that the audience cares, empathises or can identify with the main character in some way.

Most stories involve some kind of change – and how the character copes with change is what defines them. Equally important is conflict. Conflict is the reason people engage in stories. Without conflict (a struggle or battle) there is no story, but simply a series of events.

Stories need to be organised or structured in a way that gives the audience everything they need to know when they need to know it, while also keeping them interested in finding out what happens next. The most prevalent theory of screenplay structure is the three-act structure based on the three-act paradigm, inspired by Aristotle’s Poetics. This structure is based on the observation that all stories have a beginning, middle and end.

It is true that, often, screenplay timelines are manipulated and jumbled, but even so they contain a beginning, middle and end, and although there are successful writers and teachers who rebuff this approach, there is still no denying that it is, and has been, the most prevalent method to date.

In its simplest terms the three-act structure breaks down into: act one – the beginning (the set-up); act two – the middle (conflict/confrontation); and act three – the end (the resolution).

These three acts correlate to the audience’s emotional experience. In the beginning, the audience is introduced to the characters and becomes emotionally involved with them. During the middle, the emotional commitment is strengthened by rising tension and expectation. The end brings the audience’s emotional involvement to a reasonable and (hopefully) satisfying conclusion.

THE THREE-ACT STRUCTURE IN GREATER DETAIL

ACT ONE – THE SET-UP

Act one is the beginning – it’s where the story takes off. It introduces the main character(s) and the world they live in and answers the questions who, what, where, when and how. It deals with location, setting and tone, presenting the main character’s goal and the story question.

In act one we learn about the character(s), see them in action and discover what their situation is, what they are up against and what motivates them. Here we also learn what skills they have and what they lack.

The main character (also known as the protagonist) is usually troubled or flawed. Their need or flaw is present from the very beginning of the story, but they lack the ability, desire or need to change. They are usually stuck in their situation and are unable to change until they are forced to.

The set-up culminates in a dynamic on-screen event that incites the characters’ desire/need to take action. This on-screen event is known as the inciting incident and is what kick-starts the story.

ACT 1 Rising Action

ACT 2 Rising Action

ACT 3 Falling Action

• Beginning – Life as it was...

• Set up – Story question.

• Inciting incident/Catalyst

• Call to Action/Adventure

• Turning point

• Climax ACT ONE

• End of the beginning – beginning of the Middle

• Life torn apart

• Obstacles

• Confrontation

• First culmination

• Midpoint – Big Twist – Turning point.

• Trials/obstacles/disaster/crisis

• Inciting incident (Hook)

• Plot point

• End – Falling Action.

• Life Renewed – for better or worse.

• Climax. The Final Battle.

• Showdown.

• Wrap up.

• Denouement

Notes

• Strong opening Image

• Strong opening Scene

• State the Theme

• Introduce characters / Introduce the problem

• Establish point of view, genre, style etc.

• Establish main character’s situation, and the premise.

• Show what needs to change.

• First Problem – meet supporting characters/antagonist

• Debate and find a solution

• Solution doesn’t work or disappears – added conflict and problem worsens

• Life will never be the same.

Notes

• Moral dilemma and doubt.

• Will protagonist get what is needed?

• Seek a new way

• Obstacle

• Obstacle – stakes intensify

Notes

• Outcome – win or Lose?

• Story question Answered.

• No going back – what will the future bring?

• Letting go of the emotional battle – facing reality.

• Denouement

• Final Risk

• Resolution.

• Final Image

• Tag or bridge if necessary

The inciting incident is the moment when the dramatic conflict is presented. It’s the first pronouncement of the predicament to come, and is usually delivered in a very visual and formidable way.

An inciting incident generally happens in one of the following ways:

• A new and critical piece of information is given to the main character.

For example, The Doctor is a film about a successful and arrogant heart surgeon who learns the value of life after he develops a life-threatening illness that forces him to be a patient.

The inciting incident is the moment the doctor discovers that he, himself, is ill.

• An event forces the main character into conflict.

For example, in The Impossible, we are shown a happy family on vacation; then a tsunami strikes.

The tsunami striking is the inciting incident.

• A series of small events accumulates and forces the main character on a journey.

In Planes, Trains and Automobiles, Neal Page, a high-strung executive, tries to get home for Thanksgiving dinner, but events accumulate that prevent him from being able to travel easily, and he is forced on a life-changing trip with Del Griffith, a homeless shower-curtain-ring salesman.

The inciting incident in Planes, Trains and Automobiles is that Neal’s flight is cancelled and he must find an alternative way to get home for Thanksgiving.

As you can see, the inciting incident significantly changes the characters’ life and story. That is the moment the story really begins.

The inciting incident sparks two important questions:

• What does the character need?

• What is preventing them from getting it?

These two questions define what the conflict of the story is.

In Jaws, what does Sheriff Brody (the main character) need?

To save his community from the killer shark.

What is preventing him from doing that?

His boss, the mayor, won’t allow him to close the beach.

The characters’ attempts to deal with the inciting incident lead to a second and more dramatic situation, known as the first turning point.

The first turning point is where the main character is shoved deeper into the heart of the story and realises there is no turning back. It signals the end of the first act and ensures life will never be the same again for the character. It also raises a dramatic question that will be answered in the climax of the film.

The first turning point of Thelma and Louise comes when Louise shoots a man who is on the verge of raping Thelma. This action completely changes the course of the story. Up until then, Thelma and Louise have been on a recreational road trip, taking a break from their tedious lives; but when Thelma kills the man, they become criminals and everything changes.

The dramatic question is usually directed in terms of the protagonist’s call to action. For example, in Jaws – will Sheriff Brody kill the great white shark and save his community? Or in The Matrix – will Neo face the challenges of the Matrix and accept that he is the one? In The Impossible – will the family survive the devastating tsunami? Will Neal Page make it home for Thanksgiving? Will Thelma and Louise get their normal lives back?

The answer to the dramatic question is not always a ‘yes’. Sometimes the power of a story is that the answer is ‘no’.

By the end of the first act two things must be accomplished:

• The protagonist must be deeply rooted in the conflict that prevents them from getting what they want/need and must be fully committed to their journey.

• The audience must be engaged in their predicament and know what is at stake in the story.

ACT TWO – THE DEVELOPMENT/CONFRONTATION (THE MIDDLE)

Act two tends to give writers the most trouble. It is the longest of the three acts and is difficult to get right, but it is also the heart of the film. It contains the end of the beginning and the beginning of the end of the story, and must progress logically. Act two is where the essential action (drama, battles or romance) takes place and where we are given (shown) what has been promised in act one. For this reason, act two is also sometimes called the confrontation.

In act two the relationships introduced in act one are further developed and they should contribute to the main action, whether they help or hinder the protagonist. As the plot intensifies, further complexities are also presented and the protagonist struggles to reach their goal or overcome the obstacles/conflicts that stand in their way. Act two is generally propelled by the main character’s decision to take action and it’s where the consequences of that decision start to unfold.

As the protagonist attempts to resolve the problem initiated by the first turning point, they find that the situation progressively worsens. The character has not yet acquired the skills to deal with the obstacles that confront them and must learn new skills and gain a higher sense of self-awareness in order to resolve their predicament.

As the protagonist attempts to resolve the problem initiated by the first turning point, they find that the situation progressively worsens. The character has not yet acquired the skills to deal with the obstacles that confront them and must learn new skills and gain a higher sense of self-awareness in order to resolve their predicament.

The second act is usually divided into two parts delineated by the midpoint. The midpoint is another turning point that again increases the stakes, either by making it even more difficult for the character to get what they need or by making it more important that they do. The midpoint is often referred to as a reversal because it forces the main character to create a new plan. What they were doing isn’t working and whatever way they were planning to resolve the situation is disrupted and becomes no longer an option. The obstacles have intensified or the antagonist (rival/opponent/enemy) has increased the pressure.

As the stakes escalate, it becomes even more difficult for the main character to get what they want and need. If they are indecisive or confused about what to do then something must happen by the midpoint of the script to make their new goal clear. The main character will often attempt to return to the world from which they came, but will discover that there is no going back, and that they must face the conflict in order to progress.

In Thelma and Louise, the two protagonists realise that, with the police on their tail, they cannot return home and live a normal life. They have to keep running, and so they drive towards Mexico.

In Jaws, the midpoint comes when the mayor refuses to close the beach for the Fourth of July weekend and Brody’s son just barely escapes being attacked. These events raise the stakes for Brody and motivate him to force the mayor to hire Sam Quint to hunt and kill the shark.

Throughout the second act the character’s problem must continue to escalate as the story action intensifies.

At the end of act two (the second-act break) there is a second turning point – a pivotal moment when the story once again changes direction and the stakes are increased. The story should again state the dramatic question.

For Jaws – will Brody ensure that the shark is killed and save the community?

Sometimes a time limit, or ticking clock, is introduced. All seems lost for the protagonist – it’s their lowest point – until new information propels them towards the climactic conclusion.

ACT THREE – RESOLUTION (THE END)

Balance is restored. Act three must provide clear scenes/events that build to the climax, delivering a resolution. In act three the main character’s story and all subplots should be resolved and the dramatic story question should be answered.

This act is usually the shortest in length and it is where the required confrontation between the opposing forces takes place. Here the main character is face to face with the villain and the final showdown ensues.

The climax is the scene or sequence where the main tensions of the story are brought to their most intense point and where the dramatic question is answered.

The resolution leaves the protagonist with a new sense of themselves, who they really are, what they can accomplish, and also gives the audience an understanding of what the importance and meaning of the journey has been.

• The character must have an extreme want or need.

• Their goal should be difficult, but ultimately possible to achieve.

• The story should be about a character that the audience can care about.

• The story should create full emotional impact and audience connection.

• The story should come to a satisfying conclusion – even if it’s not a happy ending.

THE BUILDING BLOCKS – SCENES