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.

7 Steps to Create a Sellable TV Pilot

You know how when you're trying to find a particular file on your computer and but can't find it even when using the "search" feature but then instead of finding what you were looking for you find something even better that you don't even remember saving?  That's the story regarding this blog post. I don't know the source, probably was some notes from a class I took years ago so I can't give full credit but I hope it helps anyone out there stuck in developing a TV pilot or a screenplay.

Write right and write on!

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7 Steps to Create a Sellable TV Pilot

Step 1: Watch and Read... A Lot


If you don't like to watch television, then hopefully you have the common sense not to write for TV. Because when you're a scriptwriter, it pays to watch a lot of television. Here are some tips on what to watch and what to look for when you're watching:

1. Don't just limit yourself to one genre or format. Watch a wide variety of shows.

Watch the ones at the top of the Nielsen ratings and the ones that aren't doing so hot.

Watch shows that have won writing Emmys.

Watch 30 minute shows and 60 minute shows.

Watch reality shows and see if a story line (yes there are story lines even in "reality" shows) that you can tweak into a funny sitcom.

2. Take notes on your reactions at first. Write down what you liked and disliked as a viewer: when were you bored, when did you laugh, when did you lose interest and start flipping through a magazine. What happened right before a commercial break, and were you itching to find out what happened next.

3. Once you've got a feel for what works for you as a viewer, try to get your hands on a couple of scripts. The ideal situation is to be able to read a script and then watch the episode, so try to find a series that's out on DVD. You can get free scripts online at the following websites:

Daily Script

Simply Scripts

Drews Scriptarama

4. Read the script, and then watch the episodes with the script at your side. Learn how what is written on the page translates to the screen.

Step 2: Pick a Genre

There are some rules that are true of any television show, but each genre also has its own conventions. Once you know what genre you want to write in, it's time to study that genre in depth.

1. Do your research. If your genre requires special knowledge, start studying. For example, if you really want to write police procedurals, it's a good idea to have a passing acquaintance with police regulations.

2. You need to know what's out there if you're going to stand out from the crowd. Start a list of shows that are in the same genre as yours. Try to watch as many of them as you can.

3. Figure out how your idea stands out from the crowd. How is it different from the shows already on the market? You need to be able to express this in a succinct sentence or two at the most, which is called a logline.

Your logline needs to differentiate you from all of the other shows on the market. It should be brief, to the point, and it should stress what's special about your show.

For example, if you want to write a show about crime scene investigators, you'll need to show agents and producers that it's different from the popular CSI franchise. This difference should be completely clear in your logline.

By developing your logline first, you have a chance to hone your idea and make it as unique and compelling as possible without going completely overboard. If you can't clearly state what makes your show special, how can you expect someone to buy it?



Step 3: Outline Your Plot

Telling a satisfying story in a single television episode is a lot more difficult than it looks. Not only are you limited by time, but you're also required to write scenes in acts that allow for commercials.

1. Get some ideas about the standard act structure for your genre. If everyone on air is using a four act structure and you want to use three, why? Rules can be broken, but you ought to have a good reason for doing it.

2. Some shows such as sitcoms don't follow a rigid act structure. So again, the key is to understand what is being done.

3. Once you've settled on a structure, outline your story.

Choose a format that works best for you: index cards, spiral bound notebooks, computer, crayon, whatever.

Write down the basic actions that will happen in each act.

Determine where the commercial breaks will lie and make sure that the action leading into the commercial is compelling enough to make viewers stay tuned.



Step 4: Develop Your Characters

A good character can really make or break a TV show, and some of the best shows have the most memorable characters. Tony Soprano. Raymond. Carrie Bradshaw. Make the most of your characters to add depth to your show.

1. You'll need lead characters, who will appear in almost every episode; supporting characters, who appear sporadically; and guest characters who reappear rarely if at all. Obviously, it makes the most sense to spend the bulk of your time developing the leads since they'll carry the show.

2. Take the time to develop a history. Leads should have some kind of history or backstory that helps to drive their actions and shapes who they are.

3. Keep a list of mannerisms, favorite phrases, and other details. Catchphrases can be very powerful tools when developing a character.

4. Although you might spend days or even weeks working on a character background, that doesn't mean that you need to cram all of that information into the script. The idea is to let small details leak out gradually. Think about it like getting to know a person in real life. If you learned everything about them in the first day, wouldn't you get a little bored?



Step 5: Write

A lot of people talk about wanting to be writers but never put their pen to paper or fingers to the keyboard. Don't let all of your hard work go to waste. Sit down and write.   I once met a girl at a networking event who said she was a screenwriter but when I asked how many scripts she had written, she was like, "Well, I haven't really written any scripts yet!"  Huh?  To make matters worst she had been "doing" it for almost 5 years!  That's not being a screenwriter.  Even if you haven't sold anything, you still should have written something to completion before you should say you're a screenwriter.  Duh!  But I've gone off topic...back to business.

1. Decide how often you want to write and then stick to your schedule. Whether your goal is to write every day or twice a week or to finish five pages no matter how long it takes, get it done.

2. There will be days that you don't want to write. The writers who make it in big this business are the ones who write anyway.

3. Writer's block is a reality you'll have to deal with. If a scene isn't working, put in a placeholder to remind you to go back and finish it later, and move on to another scene. The goal is to keep working; don't let a problem in page two keep you from moving on indefinitely.



Step 6: Use the Right Format

Script formatting software is available and makes the process as easy as possible, but of course there's a cost associated with most programs. You can also hand-format. Whatever you do, make sure that you follow the conventions. Otherwise, you reduce your chances of success.

1. If you really plan to pursue screenwriting as a career, formatting software is worth the investment. The most popular programs include:

Celtx free software

Final Draft

Movie Magic Screenwriter

There are many other programs that use word macros but still present a professional looking script.  When I first started writing scripts more than 10 years ago, I purchased one for just $30 and used that thing for years.  Even had my first option of a script I wrote using a $30 program.  Now I use final draft but aside from the bells and whistles, it's not all that much better than the $30 program I used to use. (I don't remember the name so please don't email me asking what it is.)

2. If you're determined to format by hand, you'll need a scriptwriting format book or website. You can find a lot of resources online these days. The rules are too long to list here, but here's a sample of what you'll need to do:

Scenes are numbered and start with what's called a slugline: the location and time of day.

Scenes start with FADE IN:

Character names are capitalized.

Dialogue is capitalized and double spaced.

I say this to say DO NOT DO IT!  Please don't try to format by hand.  Give up a month's worth of Starbucks and invest in a cheap program.  They have so many these days that you shouldn't have to torture yourself like that.  Drop the coffee and buy a software program!

Step 6: Revise Until Your Head Spins

By all means, celebrate when you finish the first draft of your script. You deserve it; you've made it a lot further than most people ever do. Unfortunately, this is also where the real work of revision begins.

1. First, you'll need to focus on the big stuff.

Does the plot make logical sense?

Does tension increase as the plot moves forward?

Is there a satisfying resolution?

Are the technical details accurate? Look them up; you need to know for sure.

Is it the right length?

Do your commercial breaks hit at the right place page wise?

2. Now it's time to fine tune.

Tighten your dialogue.

Make sure every word counts. Cut out the excess.

Proofread for typos and grammatical mistakes.

3. For help with revisions, why not join a critique group or writer's group. Other writers can help point out problems and potential solutions that you're just too close to your work to see clearly.   Be sure to choose a group with positive, supporting people.  I've been apart of a group that only wanted to tear people down one verb at a time. 

Good luck and never stop believing in the dream.

Write right and write on!

The Secret to Writing Screenplays

I believe the secret to writing screenplays is being prolific in writing them.  The more you write, the better you get, just like with any other craft.  Below is an article written by Martin Acuna that explains the road to prolificity.  Take note and write write write write. He also has a free newsletter that you can sign up for that has other great screenwriting tips and tips for breaking into the industry.  Be sure to check it out.  The more you write, the better your chances of having the million dollar screenplay and also when someone asks, "What else do you have?", you won't come up empty handed. 

Write right and write on!

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The Importance of Being Prolific


by Marvin V. Acuna

Terry Rossio (co-writer of the Pirates of the Carribbean franchise) believes that

a trait of successful screenwriters is... Prolificacy.

Here are his specific thoughts:

PROLIFICACY

Consider this: in the afterward of Stephen King’s book Different Seasons, he
explains how the four stories in the volume came about. Each one was written
after he had completed writing one of his novels.

He writes, “...[I]t’s as if I've always finished the big job with just enough gas
left in the tank to blow off one good-sized novella.” So he wrote The Body
after Salem's Lot. Apt Pupil after The Shining. Rita Hayworth and the

Shawshank Redemption after The Dead Zone. And Breathing Method after
Firestarter. Now just stop and think about this. Here's a writer who, after
finishing a bestselling novel, has the ability to sit down and knock out a
masterfully written novella in a matter of days. And three of these
“afterthoughts” have been adapted into major motion pictures.

Now that's prolific.
I often meet screenwriters that become obsessed with one screenplay and devote
years of their time and energy to it. Some spend more than a decade on one.
Other writers expend precious energy awaiting responses to query letters or
submissions. Months go by and the only additional writing done is focused on
follow-up letters or emails asking the horrid question: Have you read my script?

In my humble opinion, if you are spending that kind of time on one screenplay,
writing is a hobby, not a profession.

If screenwriting is a hobby for you, then it doesn't matter. But if you are truly
committed to screenwriting as a professional endeavor, then generating content
should be a ritual, a tradition, an absolute must.

Hobby or profession? Only you know the truth.

This is a competitive profession. It requires that you play your A-game even if you
are not yet an A-lister.

I've worked with various screenwriters who have written an entire spec and then
through the process discovered a character or an idea that was worthy of further
exploration. They have no issue discarding the screenplay and beginning a new
one based on their new discoveries.

Other writers submit their completed works and while they await feedback from
their representatives or the market itself, they begin work on the next screenplay.

Is it easy? No. It's not supposed to be easy. If it were easy everyone would be
doing it.

Being prolific has numerous benefits. Beyond amassing an inventory of material
and developing a necessary habit, I believe you hone, shape and refine your skills
as a screenwriter.

I know many industry professionals who would agree with literary manager Jewerl
Ross, who said “I sell writers, not scripts.” He expects his clients to generate
content, to be prolific. Three to four screenplays a year is the minimum.

With these criteria in mind, let's bring all of this back to you. While not everyone
can be Stephen King, are you at least setting the table for your success? I've said
this before, but this is an industry where talent alone won't carry you across the
threshold to screenwriting stardom.

Instead, it takes that rare combination of talent, passion, and joyful hard work.
In other words, being prolific. My hope is that you have already incorporated this
necessary screenwriting trait into your writing routine, or you see the value in it
and will start applying it immediately.

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