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Reelwriting.com’sFast & Easy Action Guides

Copyright 2012 Reelwriting.com & Reelwriting LLC. All rights reserved. This document is intended for individual use only. (v1)

Introduction and Overview

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These action guides were developed as part of the Reelwriting Academy Screenwriting Method. The Reelwriting Method is a structured approach to developing a screenplay that ensures a screenwriter will produce a script with a well thought out and layered story, that has relevant three‐dimensional characters, as well as deep and meaningful interwoven themes.

A screenplay written using the Reelwriting approach has a substantially greater chance of getting recognized by film producers, directors, agents and Hollywood insiders for it’s potential as a completed movie.

The purpose of these guides is to assist a writer with the development of their screenplays by creating a clear and concise approach to the story and character development process.

There are four essential steps in the Reelwriting Method that a screenwriter should complete BEFORE they begin the process of writing their screenplays:

Each step in the Reelwriting process is designed to help a writer create and develop an essential layer that would be required of a screenplay. Use of the guide ensures that a screenwriter considers and develops each essential part their screenplay stories prior to beginning the actual script writing process.

Some of the benefits of using these guides: ANY idea can be developed into a complete story, you can START from any point in the creative process, BREAK through writers block, STAY focused on essential story points, DEVELOP meaningful and relevant characters, and KNOW with certainty that your screenplay WILL work as a movie BEFORE you begin to write the screenplay.

For more information on using these Action Guides and the Reelwriting Method, please visit: www.reelwriting.com.

Core Elements Characters StructureScenes & Sequences

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Introduction and Overview

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The actions guides cover FOUR developmental steps that help a writer focus on the essential core components of any screenplay.

The first step is to identify and develop the eight Core Elements which are the building blocks for the rest of your screenplay. Next, a writer focuses on their principle characters and their development. Later the writer builds out the structural elements of their story and screenplay by identifying the key details of each act. Finally, a writer drills down into the details and minutia of each individual scene and sequence. ONLY after all four steps are completed does the writer begin to actually “write” the screenplay. Fortunately, by the time they get to this step the screenplay practically writes itself.

PLEASE NOTE: The Action Guides have been designed in a specific order and each individual step is designed to build on the previous step. That stated, a writer will oftentimes find themselves with ideas for other steps in the process. Every idea should be noted in its proper place and a writer may need to go through each step multiple times to achieve maximum results. (It is recommended that you use Plot Control Software in conjunction with these Action Guides, please visit www.plotcontrol.com for more information.)

Core Elements Characters StructureScenes & Sequences

CharacterizationSetting

Primary SituationPlot MotivationPrimary ObstacleResolution GoalPersonal Goal

Theme

ProtagonistLove InterestAntagonist

Theme‐Related CharactersSecondary Characters

SetupInciting Incident

Movement to Resolution1st Plot Turning Point

Act 2, Tier 1Midpoint SceneAct 2, Tier 2

2nd Plot Turning PointClimax

Resolution

PurposeMain PlotSubplotsOpeningsEndings

Four Essential Steps to Creating an Award Winning Screenplay

Step 1 Step 2 Step 3 Step 4

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Fi d Y SFind Your Story


Core Elements – Overview

CHARACTERIZATION

PLOT MOTIVATION

RESOLUTION GOAL

PERSONAL GOAL

SETTING

PRIMARY SITUATION

PRIMARY OBSTACLE

THEME

SUBPLOTS

Relevant character details.

Initial focus of actions: The logical and obvious path.

Second series of actions: Unforeseen “opposite” path that finally works.

Specific drive or desire unrelated to the Plot.

MAIN CHARACTER MAIN PLOT OR STORY

Thematic Gap

Relevant location details. World in which the story takes place.

Unique “event” that is taking place: Problem, Opportunity, Desire

Main obstacle preventing success: Complication, Failure, Journey

Reoccurring idea. Opposite concept to the Personal Goal.

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Core Elements – Part 1

CHARACTERIZATION SETTING

A great character is always relevant to the story and not just “interesting”. In fact, what makes a character truly interesting is how and why they are related to the story; so start with basic character details.

Identify how and why your main character is relevant to your overall story. These character details should be specific information that makes the character relevant.

Additionally, focus on general 'characteristics‘ about the character that brings out more of their personality as it pertains to the story and genre.

Setting is the arena or specific location in which the story takes place. In this context, you want to identify the place and relevant details about the place that are important to your overall story.

The Setting should always take the main character out of their “Ordinary World”. The Setting should present it’s own unique challenges to the main character’s progress and overall ability to address the Primary Situation.

Setting should not be confused with the character's “Ordinary World”. The main character's Ordinary World, which is the world that the main character comes from, has more to do with Characterization, rather than Setting.

Think about a “Fish Out Of Water”. When the fish is in the fish bowl, that’s their Ordinary World, but when they are removed from it, that’s the Setting.

At the core of a truly great character is relevant Characterization challenged by the strange world of the Setting.

AntagonisticRelationship

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CHARACTERIZATION SETTING

IDENTIFY YOUR CORE ELEMENTS:AntagonisticRelationship

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PLOT MOTIVATION PRIMARY SITUATION

Plot Motivation indicates the initial actions required of the main character to overcome, resolve or achieve the Primary Situation.

The initial actions a character takes should always be very straightforward and very obvious. A character's Plot Motivation is always logical and the path the main character pursues should be the one that SEEMS to easily overcome, resolve or achieve the Primary Situation.

IMPORTANT TIP: Whether or not the main character SUCCEEDS or FAILS, the efforts still don't overcome, resolve or achieve that which is required by the Primary Situation. In other words, even if the main character is successful with these initial actions, they none‐the‐less don't work to resolve the Primary Situation.

The Primary Situation is the specific and/or unique event that is taking place in the life of the main character in your story.

The event taking place must always be out of the ordinary. It must yank the main character from his or her daily routine.

IMPORTANT TIP: This event should always be defined as a Problem, Opportunity or a Desire.

A story leaps off the page when the main character truly connects to the plot and the unique event that is taking place.

LogicalDirection

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PLOT MOTIVATION PRIMARY SITUATIONLogicalDirection

IDENTIFY YOUR CORE ELEMENTS:

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The Resolution goal is a second, unique effort made by the main character to overcome, resolve or achieve the Primary Situation.

To fully understand the Resolution Goal we need to go back to Plot Motivation. We mentioned that Plot Motivation always fails, whether or not the main character succeeds in that specific goal, and leaves the Primary Situation unresolved. Since that first effort did NOT work, a new angle or a SECOND EFFORT is always required. It is ALWAYS this SECOND EFFORT that actually succeeds in overcoming, resolving or achieving the broader goal dictated by the Primary Situation.

This SECOND EFFORT is always a different, unique or unforeseen effort on the part of the main character, and it is this effort that finally resolves the Primary Situation.

IMPORTANT TIP: In terms of trying to figure out a good Resolution Goal, you should always look for the conceptual opposite of the main character's Plot Motivation.

The Primary Obstacle is a complication, failure or journey that prevents the main character from EASILY overcoming, resolving or achieving the Primary Situation.

The Primary Obstacle is what makes most movies interesting. If not for this, the story would easily be resolved.

The story focus of Act 2 always revolves around the main character dealing with the Primary Obstacle.

It's important to identify an interesting and compelling Primary Obstacle, even more so than the Primary Situation.

IMPORTANT TIP: The Primary Obstacle indicates your first Plot Turning Point of Act 1 and the focus of Act 2.

RESOLUTION GOAL PRIMARY OBSTACLE

Layered stories and unforeseen endings are the key to writing a dynamic and exciting screenplay that will jump off the page.

UnforeseenSolution

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RESOLUTION GOAL PRIMARY OBSTACLEUnforeseenSolution


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PERSONAL GOAL THEME

The Personal Goal is a specific drive or desire of the main character that is not directly related to the Plot.

It is the pursuit of this drive or desire that most clearly defines them, because in movies it is always character actions and dialogue that reveals everything the audience knows. It is this fundamental drive or desire that most clearly defines who the character is as it relates to your story.

The Personal Goal comes out and is revealed when we first meet the main character at the beginning of a movie.

The Personal Goal should reveal something intrinsic about the main character. Typically, the Personal Goal represents a flaw (but not always).

IMPORTANT TIP: The underlying idea or value represented by the Personal Goal should be the conceptual opposite of the Theme.

The Theme is a concept or idea or commonality that is expressed throughout your movie. That means the same idea is expressed in the beginning, in the middle, and (yet again) at the end.

Theme is NOT the 'Subject Matter'. The Subject Matter is what a movie or screenplay is about, whereas Theme is a concept, idea or commonality that is expressed.

Theme always impacts the main character specifically in relation to their Personal Goal.

IMPORTANT TIP: The Theme should be the conceptual opposite idea of the main character's Personal Goal.

Every main character must have a major deficiency and true character depth expresses itself when that deficiency is revealed by the Theme.

ThematicGap

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PERSONAL GOAL THEMEThematicGap


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Core Elements – Subplots

Subplots are always the storylines that express the Theme of the plot, and how the Theme relates to the main character's Personal Goal.

Explanation: Nearly all successful movies start with the main character having some type of Personal Goal. As the main character moves through the story he or she is exposed to and influenced by other characters that represent the Theme.

The goal as a writer is to identify a relevant Personal Goal that truly expresses the core and essential desire of the main character, as it relates to the story you are telling. Underlying that desire needs to be a link to a thematic idea or “value”; identifying this thematic idea or value is a critical step to building a deep, relevant and meaningful character.

Once you identify the underlying thematic idea or value, the next step is to identify the conceptual opposite thematic idea or value. Ask yourself, “What is the opposite concept or idea?” It is the opposite idea or value that will help to define your Theme.

Once you have identified both your Personal Goal and the Theme, you have identified the Thematic Gap. The Thematic Gap is the conceptual space between what the main character “values” at the start of a movie and what the story introduces into their life.

So what does this have to do with SUBPLOTS? All subplots revolve around these two Core Elements, the Personal Goal and the Theme. Your subplots must express these two ideas. All the storylines in your movie that are not directly related to Primary Situation or Primary Obstacle MUST be about either the Personal Goal or the Theme.

SUBPLOTS

The true heart and depth of a movie does NOT come from “well developed” characters or a dynamic and interesting plot… rather the

heart and soul of a movie is found in its subplots.

PERSONAL GOAL THEME

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Core Elements – Subplots

SUBPLOTS

PERSONAL GOAL THEME

IDENTIFY YOUR SUBPLOTS:

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C Y ChCreate Your Characters


Character – Overview

PROTAGONIST

THEME‐RELATED CHARACTERS

LOVE INTERESTANTAGONIST &

COHORTS

CO‐WORKERS

MAIN CHARACTER

BARTENDERS TAXI DRIVERS ETC.

The Protagonist is the MAINCHARACTER of your story.

A story is ALWAYS told from the Point‐of‐View of the Protagonist.

The Love Interest is the character that most closely connects the Protagonist to your story on a “personal level”. The MAIN SUBPLOT always revolves around this character.

The Antagonist is the “main adversary” and typically the cause of the Primary Situation. All of the Antagonist's assistants and cohorts fall under this category. (Many great movies DON’T have an antagonist.)

All of the other Primary Characters in a movie are related to the Theme. These characters either support or contradict the Protagonist’s Personal Goal.

PRIMARY CHARACTERS

SECONDARY CHARACTERS

Secondary Characters in a movie are not directly related to the Primary Situation, the Primary Obstacle or the Theme, rather they are only a function of the Setting.

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The Protagonist

PROTAGONISTThe Protagonist is the MAINCHARACTER of your story.

A story is ALWAYS told from the Point‐of‐View of the Protagonist.

With few exceptions, every story is about a specific MAIN CHARACTER, and it is the Main Character’s personal experience that isbeing related in any given story. The “personal experience” that is being related is that which associates itself to the PrimarySituation, because at the most basic level, a story is simply when a “unique event” occurs in the life of your Main Character. Nowwhat is the “unique event”? The unique event is the Primary Situation.

Of course, to create a truly memorable and exciting character, he or she needs to be RELEVANT to the “Primary Situation”. Goodstories are not about “random” individuals (even if it were to appear that way on the surface), rather the more significant thePrimary Situation is to your Main Character, the better, deeper and more meaningful your story will be. WHY? Because the audiencelives vicariously through your Main Character. The audience identifies with the Main Character's needs and desires, hopes anddreams, problems and achievements.

There are TWO levels to which the Main Character relates to your story. The first is how he or she is related to the Primary Situation,and the second is by way of their Personal Goal and the Theme.

Your MAIN CHARACTER must be the driving force of your story, and needs to have a significant vested interest in its outcome. Forgood or bad, they must be driven to overcome, achieve, or resolve the Primary Situation.

At its most basic level, a story is simply when a “unique event” occurs in the life of your main character.

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The Protagonist

The Core Elements of Characterization, Plot Motivation, Resolution Goal and the Personal Goal apply SPECIFICALLY and EXCLUSIVELYto your Main Character. Utilizing the Core Elements ensures that you will create a RELEVANT and DEEP three‐dimensional characterthat will burst off the pages of your screenplay.

In building your Character, you can begin at ANY point and with ANY of the Core Elements. Start by identifying each Core Elementand how that component part of your Main Character relates to the overall story you are telling. Be sure ensure that they connect toeach of the other Core Elements, including those of the Plot.

Finally, you want to create real and relevant character depth. Once you have established the Core Elements, you can now developthe specific details and nuances of your character, while clearly knowing how the character details are relevant to the overall storyyou are telling.

Use the Core Elements as your guide as you work through the questions on the following pages. This allows you to experiment andbe imaginative while you can stay on the right track with your Main Character’s development.

You may also discover new information that requires you to rethink your Core Elements, or you may need to jump ahead to the nextsection, to get down some details about your Love Interest. Now is the time to make sure your Main Character is clearly defined andthat your whole story works on every level, NOT when you sit down to write the screenplay.

CHARACTERIZATION PLOT MOTIVATION RESOLUTION GOAL PERSONAL GOAL

The more your Main Character relates to your overall story, the deeper, better and more three‐dimensional he or she becomes.

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Name:Age:Sex:Describe their general appearance:

Describe their personal goal / desire & WHY they want it:

Describe why they are related to the primary situation:

Describe their ordinary world / day‐to‐day life:

Describe the setting & how it impacts them:

PART 1Protagonist

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Protagonist Write a brief historical description:(Pay attention to details that will be relevant to your story.)

Write a detailed description of your character:(Pay special attention to details and traits that will be relevant to your story.)

PART 2

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The Antagonist

A TRUE Antagonist is ALWAYS linked to the Primary Situation.

Perhaps the biggest misconception in screenwriting (and storytelling in general) is that a story needs to be about a Protagonist battling orcompeting against an Antagonist. This notion is false. The truth is a Protagonist is ALWAYS dealing with a “unique situation” that we define asthe Primary Situation. The true goal of the Protagonist is to overcome or resolve that Primary Situation.

So what is the REAL role of the Antagonist? In nearly all movies that have an Antagonist, the Antagonist is a driven and motivated character whois trying to “achieve” some result. The Antagonist's desired result is the REAL problem, because if it were achieved it would be detrimental tothe Protagonist. That is where the conflict between the Protagonist and Antagonist comes from. It is what the Antagonist wants TO DO orACHIEVE, and why, that makes them who they are. In other words, it is the Antagonist's “goal” that is the REAL problem.

The Antagonist is actually a function of the Primary Situation. Here’s an example: Imagine a James Bond film in which a criminal was going todetonate a nuclear weapon in a major city. The criminal is definitely the Antagonist, but it is the potential of the nuclear bomb going off that isthe Primary Situation. In such a movie, what is the real motivation for James Bond? To stop the criminal or to stop what the criminal is trying todo? In such a movie, stopping the criminal would be secondary to stopping the bomb from going off.

The Antagonist’s “goal” must always link to the Primary Situation. Often times, the Antagonist is the underlying cause or driving force behind thePrimary Situation, in that they are driving the Primary Situation to exist at all (as seen in the James Bond example).

Also,MANY successful movies DON’T have an Antagonist. The reason is sometimes the Primary Situation has no underlying driving force, ratherthere is just “chance” or unique situation occurring in the life of the Protagonist. For example, in the action movie Armageddon there is anasteroid headed towards the Earth, and there is no “antagonist”. Does this mean there are no “bad characters”? Absolutely not; there candefinitely be bad characters, but they will be related to the Theme, not the Primary Situation. (See “Theme‐Related Characters”.)

A movie is NOT about the Protagonist battling or competing against the Antagonist… this is a HUGE misconception.

ANTAGONIST & COHORTS

PRIMARY SITUATION

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Antagonist Love Interest Theme‐ Related Character


Describe their personal goal / desire & WHY they want it: (The Antagonist’s should relate to the Primary Situation. The Love Interest & Main Relationship Characters should relate to the Theme. )

Describe how & why they are related to the protagonist:

Describe their ordinary world & how it is impacted by the protagonist:

(This may be in the context of the actual story itself.)

(This will be some part of the Setting. )

PART 1

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PART 2

Write a brief historical description:(Pay attention to details that will be relevant to your story.)



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The Love Interest

The Love Interest is the secondmost important character in a movie.

The Love Interest in a properly written movie is a central and required character. This character should NOT be thought of as secondary orgratuitous. When done correctly, the Love Interest is the character that adds the potential for tremendous depth, because it is this characterthat most clearly and dramatically represents the Theme Core Element in a movie. In fact, the Love Interest is the character that has the biggest“personal” impact on the Protagonist.

The storyline about the relationship between the Love Interest and the Protagonist is ALWAYS the “MAIN SUBPLOT”. It is critical to understandthe distinction between all the “subplots” (including the “Main Subplot”) and the “MAIN PLOT”. The Main Plot is the storyline which has theProtagonist trying to resolve or overcome the Primary Situation and, as an extension of the Main Plot, the Primary Obstacle. Subplots arecompletely different, since they must relate to the Theme and Personal Goal. Some subplots will contrast the Personal Goal and suggest that it ismisplaced and wrong, other subplots will seemingly support the Personal Goal and suggest to the Protagonist that he or she is correct in theircore belief or desires.

Of all the subplots in a movie, the MAIN SUBPLOT always revolves around the Love Interest. The Love Interest, and their storyline (the MainSubplot), is the character and storyline that most clearly expresses the Theme of a movie. The expression of the Theme should reveal andcontrast the underlying issues surrounding the Protagonist’s Personal Goal. It is this exploration of the thematic issues that creates real three‐dimensional depth for both the Protagonist and story overall. Additionally, it’s the conceptual “gap” between the Protagonist’s Personal Goaland the Core Element of the Theme creates the Thematic Gap, and the Thematic Gap is what allows for the main character to change andexperience a “Character Arc”.

So what is the Protagonist’s “Character Arc”? A character arc is a personal or fundamental change that a Protagonist undergoes as they interactwith and are influenced by the story of a movie. Specifically, it is the storyline of the Love Interest (and other Theme‐Related characters) thatprovides the maximum amount of influence on the Protagonist, and that influence is expressed as a part of the SUBPLOTS… NOT THE MAINPLOT.

A Protagonist is most influenced by those closest to them.

Love InterestTheme

Primary Obstacle

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PART 1

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PART 2




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Theme‐Related Characters

All Theme‐Related Characters express an aspect of the Theme or support the Personal Goal.

The Protagonist of a movie interacts with many characters beyond the Antagonist and the Love Interest. The most common type ofcharacter they will interact with is a “Theme‐Related Character”.

As the name suggests, these are characters which express some aspect of the Theme. Just like the Love Interest, these characterswill also express something that either reinforces the Theme Core Element or reinforces and supports the Protagonist’s PersonalGoal. Also, just like the Love Interest, these characters will typically develop a specific relationship with the Protagonist, and thatrelationship and its storyline will be a unique subplot, although these relationships are typically not as meaningful or deep as that ofthe Love Interest.

Theme‐Related Characters will usually have a connection to either the Primary Situation or the Setting. These story Core Elementsare the “reason” for the specific Theme‐Related Characters appearing and participating in the movie. As the Main Character dealswith the Primary Situation, he or she will inevitably interact with these other characters. It is the interactions with these charactersthat creates the relationship to the Main Character.

The depth of the relationship between these characters and the Protagonist is expressed by having the relationships revolve aroundthe Theme Core Element and the Protagonist's Personal Goal.

ALL subplots revolve around a Theme‐Related Character.

Theme‐Related Characters

Primary Situation

Setting

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PART 1

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PART 2




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PART 1

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PART 2




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PART 1

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PART 2




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Secondary Characters

Many characters in movies are only there as a function of the Setting. These are characters that fill in the space of theworld in which the movie takes place, namely the Setting. These characters have little to no interaction with theProtagonist.

Sometimes these characters rise to the level of Theme‐Related Characters. This means that they have enough interactionwith the Protagonist, that the “context” of the relationship becomes relevant beyond the Protagonist just dealing with thelocal surroundings. In ALL such cases, these characters should be considered as a minor subplot, so that their interactionwith the Protagonist incorporates concepts of the Theme Core Element or the Protagonist’s Personal Goal.

A writer should strictly limit the total amount of the Secondary Characters that are in a screenplay.

CO‐WORKERS BARTENDERS TAXI DRIVERS ETC.

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ROLE / PART: Name:Age:Sex:Describe their general appearance:

Describe their ordinary world & function in that world: (This will be some part of the Setting. )

Describe their relationship to the protagonist: (How is this character relevant to Protagonist? How does this character impact the Protagonist? Note: “Why?” is not so important here. It should be obvious why this character is involved because they are part of the Setting.

Briefly describe the character’s details: (Pay special attention to details that will be relevant if revealed in this script.)

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Build Your Structure


Resolution

Visual Timeline – Overview

Opening Scene

Setup Movement to Resolution

Act II: Tier One Act II: Tier Two

Thematic Gap Climax

1st Plot Turing Point

Midpoint Scene

2nd Plot Turning Point

ACT I ACT II ACT III

90 Page Screenplay1) Setup: First 5 to 15 pages2) Inciting Incident: Occurs on page 5 to 153) Movement to Resolution: Runs approx. 30 pages4) 1st Plot Turning Point: Occurs on page 20 to 305) Midpoint Scene: Occurs around page 456) Thematic Gap: Runs approx. 15 pages7) 2nd Plot Turning Point: Occurs on page 60 to 708) Climax: Runs 15 to 25 pages9) Resolution: Runs 2 to 10 pages

120 Page Screenplay1) Setup: First 5 to 15 pages2) Inciting Incident: Occurs on page 5 to 153) Movement to Resolution: Runs approx. 45 pages4) 1st Plot Turning Point: Occurs on page 25 to 305) Midpoint Scene: Occurs around page 606) Thematic Gap: Runs approx. 30 pages7) 2nd Plot Turning Point: Occurs on page 85 to 958) Climax: Runs 15 to 30 pages9) Resolution: Runs 2 to 10 pages

Core Screenplay Structure

Inciting Incident

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The SetupTypically runs 5 to 15 pages. Establishes WHO the story is about & WHAT the story is about. Important to also establish the foundation of the Main Subplot. Also important to identify the Personal Goal.

Inciting IncidentTypically occurs 5 to 15 pages into a screenplay. This is the initial interaction or “collision” between the main character and the Primary Situation. This scene or short sequence functions as a “Call‐to‐Action” for the protagonist. Typically appears as one of three things: Problem, Opportunity or Desire.

Movement to ResolutionTypically runs 25 to 45 pages. This is the initial and specific course of action or steps the main character takes in order to resolve the Primary Situation. This should be the most obvious and logical path to overcoming, achieving or resolving the Primary Situation.

First Plot‐Turning PointTypically occurs 25 to 30 pages into a screenplay. This scene or sequence launches Act II. This is the first MAJOR shift in a screenplay as well as the introduction of the Primary Obstacle. At this point one of three specific types of events takes place that becomes the critical focus of Act II: Complication, Failure or Journey.

ACT II

Visual Timeline Act IOPENING SCENE

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The Setup Inciting Incident

Movement to Resolution First Plot‐Turning Point

ACT II

Visual Timeline Act IOPENING SCENE IDENTIFY:

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Act II: Tier OneTypically runs 10 to 30 pages. Main character continues Movement‐to‐Resolution while now dealing with the Primary Obstacle.

Midpoint Scene/ShiftTypically occurs near the middle of a screenplay. This is a critical scene or short sequence at which point the main character either “succeeds” or “fails” in their Movement‐to‐Resolution. The key thing is that they have NOT resolved the Primary Situation. No matter the outcome of this scene, what they “thought” would work, DID NOT WORK.

Act II: Tier TwoTypically runs 10 to 30 pages. This is typically a series of scenes and short sequences that focus on the Subplots and the Thematic Gap. The Main Subplot is primarily expressed at this point. The Personal Goal and Theme get their main expression at this point in a screenplay.

Second Plot‐Turning PointTypically occurs 60 to 90 pages into a screenplay depending on the length of Act II. This scene or sequence ends Act II and launches the final Act. (This scene is often compared to the first Plot‐Turning Point and described as a “major shift” in the action, that is completely wrong). Rather this is the moment of clarity for the main character when they learn or realize EXACTLY what they need to do to resolve the Primary Situation.

ACT III

FROM ACT IVisual Timeline Act II

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Act II: Tier One Midpoint Scene/Shift

Act II: Tier Two Second Plot‐Turning Point

ACT III

FROM ACT IVisual Timeline Act II

IDENTIFY:

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ClimaxTypically runs 10 to 25 pages. This is the sequence in which the main character finally comes face‐to‐face with the Primary Situation and deals with it directly. Success or failure at this point means everything to the main character ‐ now that the Thematic Gap and subplots have played themselves out, everything is on the line for the main character. This is also where the antagonist (or main adversary) or antagonizing element truly flexes its muscles and tries to prevent the main character from overcoming the Primary Situation.

ResolutionThis is typically a short scene or sequence that shows how things work out (or don’t) for the main character now that Primary Situation has been overcome. Typically, the focus of this portion of a screenplay is the Thematic Gap and subplots.

FROM ACT II

Visual Timeline Act III

END

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Climax Resolution

FROM ACT II

Visual Timeline Act III

END

IDENTIFY:

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Scenes & Sequences


Scene OverviewWhat is a SCENE?

Scenes are the “building blocks” of sequences.A scene is an event or series of events that takes place in a single continuous block of time at a single location.A scene can be very short, conveyed in a single shot, or can be an extended series of shots that take place over a long period of time.Most scenes will be part of a SEQUENCE:

SEQUENCE

(A series of RELATED scenes creates a sequence.)

Scene Scene Scene Scene Scene

ONLY include scenes that are required and relevant to the story as a whole.ONLY include character actions and dialogue that are required for a given scene.Be sure to understand WHY a scene is required for your story.Start with the broader sequences and then identify scenes that will be required.Start a scene as close to the RELEVANT actions and dialogue as possible.End a scene as soon as the RELEVANT material is finished.Layer each scene with as many “storylines” as possible.

Basic Rules of Scene Building:

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Sequence Overview

Setup Act 2, Tier 2 Climax

ACT I ACT II ACT III

1) Setup: Scene or short sequence that establishes what and who your story is about. (Primary Situation, Characterization, Personal Goal, Plot Motivation)

2) M.T.R. (Movement to Resolution): The initial series of actions the Protagonist attempts. (Primary Situation, Plot Motivation)

3) Act 2, Tier 1: Focus shift from the Primary Situation to the Primary Obstacle. (Primary Obstacle, Plot Motivation)

4) Act 2, Tier 2: Focus shift to the Thematic Gap. (Theme, Personal Goal, Primary Obstacle, Resolution Goal)5) Climax: Final “confrontation” between the Protagonist and Primary Situation. (Primary Situation,

Resolution Goal)6) Resolution: Final scene or sequence showing how the Protagonist has been affected. (Personal Goal,

Theme)

There are at least 5 to 6 major sequences:

Resolution

1 2 3 4 5 6

What is a Sequence?Sequences are the “building blocks” of a movie.A sequence is a series of related scenes strung together that convey related character actions and/plot elements.A sequence determines the RELEVANT character actions and dialogue that should take place in the SCENES.Typically there are 5 to 10 sequences in a movie.As a writer you must identify the broader sequences within your story.

M.T.R. Act 2, Tier 1

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Structural Segment / Sequence (e.g. “Setup”):

Describe the overall “Focus” or Purpose for this sequence:

Identify the Opening Scene & Ending Scene to this sequence:

Identify specific information and events that are required to take place in this sequence:

Identify subplots and their related Themes that are relevant to this sequence:

(What information must be conveyed to the Main Character, Other Characters or even the Audience in order to complete this sequence?)

(How do you introduce this as a new sequence and how do you show that this sequence is ending and transitioning to the next one?)

Identify character actions and the nature of dialogue that will advance the sequence:

Make a list of potential Scenes for this sequence:

PART 1: Sequences

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Scene Name / Slugline (e.g. “Library”):

Describe the overall “Focus” or Purpose for this Scene:

Identify the Opening & Ending to this scene:

Identify specific information and events that are required to take place in this scene:

Identify subplots and their related Themes that are relevant to this scene:

(What information must be conveyed to the Main Character, Other Characters or even the Audience in order to complete this scene?)

(How do you introduce this scene in terms of character actions / dialogue / visual images and how does it end?)

Identify character actions and the nature of dialogue that will advance this scene and the related subplots / thematic elements:

PART 2: Scenes

(How does it advance the broader Sequence?)

(How can you layer multiple story lines into this scene?)

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Documents

Reelwriting.com’sreelwriting.com.s3.amazonaws.com/reel/Fast and Easy... · Fast & Easy Action Guides. ... The first step is to identify and develop the eight Core Elements which