Screenplay Structure format

You've asked for it, here it is.  I found this in my files so I'm not sure where I got it from, could be a workshop I attended years ago, but I do use it when brainstorming a new idea.  It really helps to get the idea out of your head and onto the page.

Screenplay Story Structure


HOW TO USE THIS STEP OUTLINE:

This is a suggested structure, with all your story points and illustrations already woven. You may use it as is, or adapt it.

The step titles and explanatory text present elements of conventional story structure that you may already be familiar with.

Each step may represent a scene, or more than one scene.

Add, Delete, or Move steps as necessary for your particular story.

You may delete the title, explanatory text and instructions in each step, once you understand them. However, it's advisable to print the Story Treatment report with this text first, before deleting it. You may want to keep the text (except for these instructions) in your reports to refer to when writing.

For simplicity's sake, the Main Character is also the Protagonist, making him/her a hero character. This need not be the case with all stories. Similarly, the Impact Character is also the Guardian.

Step #1 - Set-Up the Normal World

--Open with a visual image and event that sets the place, tone, circumstances, and theme of the film.

Step #2 - Introduce Main Character

--Present the Protagonist/Main Character in an occupation or activity that best defines him/her.

Step #3 - Main Character Goal

--Show the Main Character's personal goal and any obstacles to it.

--Dramatize any relevant backstory.


Step #4 - Inciting Incident

--An event or decision that sets the plot in motion, and tells the audience what the story will be about.

Step #5 - Introduce Love Interest/Partner/Relative

--Present the character whose ideas/methods conflict with those of the Main Character, but who has an influence on him/her throughout the story.

Step #6 - Central Question Raised

--Resolving the problem or situation presented here (based on the Inciting Incident) would bring the story to an end. An Antagonist character, directly opposed to the goal, is introduced.

Step #7 - Subplot Set-Up

--Main Character and partner disagree over their basic nature/way of doing things.

Step #8 - Subplot Set-Up

--Main Character and partner disagreement escalates into conflict.

Step #9 - Plot Point 1

--Event that turns the Normal World upside-down, propels the story in a new direction, raises the stakes, and defines the specific plot goal.

Step #10 - Reflection/Doubt

--Something happens to cause the Protagonist/Main Character to doubt his/her ability to achieve the story goal.

Step #11 - Rising Action

--Protagonist/Main Character feels compelled to make decisions/take action toward the story goal.

Step #12 - Raising The Stakes

--The Antagonist causes an event or decision which makes the goal harder to reach, and more dangerous for the Protagonist/Main Character.

Step #13 - Rising Action

--Protagonist/Main Character pursues the goal with increased vigor.

Step #14 - Rising Action

--Protagonist/Main Character escapes Antagonist's clutches.

Step #15 - Subplot Point 1

--Partner character goes out on a limb for Main Character, bringing them closer together and changing their relationship.

Step #16 - Rising Action

--Antagonist steps up opposition to the goal.

Step #17 - Subplot Reflection/Doubt
--Main Character holds back from the relationship with the Partner character.

Step #18 - Rising Action
--Antagonist goes after Protagonist/Main Character.

Step #19 - Subplot Development
--Partner character's actions cause a setback in the relationship with the Main Character.

Step #20 - Subplot Development
--Main Character mends rift with Partner character.

Step #21 - Rising Action
--Protagonist/Main Character seeks to bypass Antagonist.

Step #22 - Subplot Development
--Partner character makes effort to help Main Character.

Step #23 - Subplot Development
--Main Character's interest captured by another competing character, to dismay of Partner character.

Step #24 - Subplot Development
--Main Character and Partner character work together as a true team.

Step #25 - Subplot Raising The Stakes
--Main Character and Partner character relationship tested/questioned by other character trying to drive a wedge between them.

Step #26 - Rising Action
--Antagonist presses the issue.

Step #27 - Subplot Development
--Partner character proves worthiness to Main Character.

Step #28 - Raising The Stakes
--The Antagonist causes an event or decision which makes the goal seem impossible to reach, and makes disaster likely for the Protagonist/Main Character if he/she tries.

Step #29 - Subplot Development
--Main Character and Partner character relationship is comfortable, running smoothly now.

Step #30 - Subplot Point 2
--The ultimate test of the relationship. How far will Main Character and Partner character go to commit to each other...?

Step #31 - Subplot Reflection/Doubt
--Both Main Character and Partner character worry that their relationship will not work out.

Step #32 - Lowest of the Low
--Protagonist/Main Character is running out of time or options now. Achievement of plot goal seems impossible.

Step #33 - Plot Point 2
--Event that again propels the story in a new direction, speeds up the action, and asks the Central Question again. Protagonist/Main Character finds new sense of purpose.

Step #34 - Reflection/Doubt
--Main Character gathers strength and resources for the final push for the goal.

Step #35 - Rising Action
--The Antagonist marshals all his/her forces against the Protagonist/Main Character.

Step #36 - Rising Action
--It's "kill or be killed" now for the Protagonist/Main Character, who is tested to his/her limits by the Antagonist.

Step #37 - Plot Climax/Subplot Climax
--In a final struggle, the Protagonist/Main Character defeats the Antagonist to achieve the plot goal (or not), goes out on a limb for the Partner character, and answers the Central Question set up earlier.

Step #38 - Plot Resolution/Subplot Resolution
--Loose ends are tied up. Characters start to get on with their lives, now that order has been restored.

The #1 Mistake Writers Make When Entering Screenplay Competitions

The #1 Mistake Writers Make When Entering Screenplay Competitions


Most people think the #1 mistake writers make when entering screenplay competitions is poor writing. I think that is closer to #2. The #1 mistake is submitting a script that is not marketable which also means interesting. In the movie industry it’s CONCEPT, CONCEPT, CONCEPT. A great concept will beat out a better written low concept script in most cases. The thing is that all scripts are rewritten at some point so the concept has to be great before you even get to that point.

The main reason people enter contests is to get noticed. The production companies who request to read the contest winners are looking for marketable material first, good writing second. What attracts them to want to read your concept is an interesting title and logline of the concept. They won’t know if it’s written well until after they have requested to read it. If you don’t have a great title and great logline hence great concept, they probably will never find out how great a writer you are. In contests, if your writing is great but the concept is not marketable, you may final but you probably won’t win. Even to garner the attention of an agent you need a marketable concept. For the Nicholls Fellowship competition, you definitely need both. Many dramas do win but I guarantee these aren’t your average dramas, there’s something definitely special about them. Just look at the winners that have been made into movies over the years.

In order to create a win-win situation, write a very good marketable script that you are passionate about! Save the low concept passion projects for after you have an established career and have made a name for yourself. When you get to that point, you can basically write what you want.

These are just my opinions so take what you can use and disregard what you can't. This works for me and I must be doing something right if I've won a screenplay competition and had 3 other entries make it to the finals. The thing is don't beat yourself up if you don't think your idea is high concept or totally marketable. This comes with practice. Plus, the industry is very subjective! No one knows what they want until they see it.

For more information regarding how to make your concept great, check out my book, The #1 Secret to Sell Your Screenplay to Hollywood.

Write right and write on!

Putting Your Protagonist in Conflict

10 Ways to Put Your Protagonist/Hero into Conflict


You must put the protagonist(s) in conflict with either his or her own environment or the environment of others to keep the story moving and interesting.  A story without conflict is flat and boring and won't sell.

Do this by creating one or a combination of the following situations:

1. Something changes in the environment.

2. Moving the protagonist from one environment to another.

3. Put the protagonist in an environment that is in conflict with other environments.

4. Put the protagonist in an environment he or she wants to change.

5. Give the protagonist an environment to conquer.

6. Put him or her in an environment he or she wants to escape.

7. Put the protagonist in an environment where he or she is not wanted.

8. Put the protagonist in an environment for which he or she is unsuited.

9. Change the protagonist's status quo in his or her environment.

10. Change the status quo of the environment.

Give the protagonist a chief motivating force with a tangible object. His or her response to the environment yields a determination to do something about it (the chief motivating force) to achieve some tangible objective. It helps if you exaggerate the protagonist's reaction to the environment.

Write right and write on.

Million Dollar Script sold by first timer

29-Year-Old Former Assistant Sells Million Dollar Script About Internet Datestalking


Emma Stone is reportedly in talks to star in a movie based on a screenplay about cyber datestalking written by a woman who, until last week, was Adam McKay's personal assistant. The script's called He's Fuckin' Perfect, and the writer is currently accepting applications for people interested in officially living vicariously through her.

The movie, like all movies, is about a good intentioned but overly neurotic young woman who just wants what's best for her friends. She diligently researches men online for others until she finds a guy who would be just right for her. There's one problem: she's all neurotic and doesn't think she's good enough for him! To fix this, she creates a fake internet persona that totally doesn't backfire. Things ensue!

The script's writer, 29-year-old Lauryn Kahn, reportedly sold her script to Fox 2000 pictures for between $1 million and $1.5 million. After finding out that she could finally afford to buy all of the happiness she's ever wanted, she quit her $40,000 per year assistant job to write scripts full time and be fanned by tan musclebound men who use only the finest palm fronds. In my imagination, Adam McKay is watching her wistfully as she waves goodbye. Goodbye, my love.

Anyway, the moral of the story is: never let go of your idiotic dreams. A million other people might have the same dream, but maybe one day you'll get lucky and the wheel of fortune will stop on you. Or you'll get unlucky and be the first person in your state to die of dysentery since the 1940's because of some expired cottage cheese you ate.

Emma Stone in talks to star in Lauryn Kahn Fox 2000 Spec [Deadline]

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Excerpted from the Jezebel.com blog post written by Erin Gloria Ryan

What is high concept?

This was taken from a literary agent's blog (http://literaryagentny.com/). This defines their idea of high concept in regards to story and books.  Works for movies, too. 

What is High-Concept?


•High-concept is a welcome slap-in-the-face for publishing professionals

who’ve been lulled to sleep by thousands of boring submissions (hey, it’s the truth).

•High-concept instantly communicates an idea and gives it context.

•High-concept is the difference between good and great.

•High-concept is taking something timeless and making it timely.

•High-concept is making something familiar and/or faded… fresh.

•High-concept is clever (but that doesn’t mean it isn’t also authentic).

•High-concept is standing out, getting everyone’s attention, creating curiosity.

•High-concept sometimes (but not always) means being bold, creating a spectacle,

and/or creating controversy.

•High-concept is memorable.

•High-concept is often newsworthy and media-friendly.

•High-concept gets people talking, sometimes shouting, other times whispering.

•High-concept is simply positioning or repositioning.

•High-concept is what Houdini created when he unchained himself from manacles

and escaped while hanging upside down 30 stories above the ground (but it’s not magic).

•High-concept is what P.T. Barnum used to fill his tents, employing the talents of

Tom Thumb (but you don’t have to be a clown or create a circus to do it).

•High-concept is embracing your role as both expert and entertainer or master of intrigue

and mystery (even if you’re just writing cookbooks).

•High-concept might mean using a metaphor to make the mundane seem magnificent.

•High-concept often bends (and sometimes breaks) rules and conventions.

•High-concept is arguably more important than the characters in a novel because

no one will ever meet (or care about) your characters without it.

•High-concept might capitalize on current trends (and sometimes creates new ones).

•High-concept understands that important themes, valuable content, and

a beautiful writing style aren’t always enough.