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Nine Act Structure:
Act 0: Someone Toils Late into the Night.
Act 1: Start with an image.
Act 2: Something bad happens.
Act 3: Meet the hero (and the opposition).
Act 4: Commitment.
Act 5: Go for the wrong goal.
Act 6: The reversal.
Act 7: Go for the new goal (it doesn't go as planned).
Act 8: Wrap it up.
Act 0: Someone Toils Long Into the Night
A good story is a train wreck. A good train wreck involves two well-built
trains speeding toward each other from far away. The farther away, the more
spectacular the impact. Time is the basis of legitimate conflict. Bad guys
are not made overnight, and often have at least ten years of brewing conflict
before the opening curtain. In all cases it is the nemesis (and sometimes
also the protagonist) who has been working steadily for years and years,
getting ready to execute the big plan. There may be centuries of turmoil
and vested interests (prehistory), but the Nemesis is always a self-appointed
individual. Often, a seminal incident happened ten years prior to spark the
conflict.
Act 1: Open with an image.
The first major image it establishes arena and tone almost always expansive
and sweeping to set the scene.
Act 2: Something Bad Happens.
If it doesn't happen in the first four minutes, you've started the story
too soon. A legitimate act two involves the nemesis either beginning the
siege or making a critical error. Often a murder or a crime in which someone
is killed, or at the least - something mysterious or tragic. While mystifying
at first, it will become crystal clear by act 6.
Something quite bad in the first ten minutes that foreshadows the ensuing
conflict. The catch of the yarn that unravels the sweater. The bad guy in
action. This incident is separate and distinct from the bumps of the
protagonist in act three.
Act 3: Meet the Hero.
Who is going to fix the problem? Someone who has an unfulfilled need that
just happens to be related. The hero's objective is set. (Dorothy's need
is to satisfy her wanderlust and find her place in the world) Situation
establishes both a basis for a normal life and the qualifications for
extraordinary performance. The hero at first, refuses the call; the circumstances
require a long-shot, but with what time permits, the hero assembles the allies
and tools for the coming journey.
This is also the time to meet the opposing team. If we meet the mastermind
in this act, we rarely find out he is bad - just powerful. Sometimes
during this setup-period we meet the front man, who does the dirty
work of the mastermind, who will remain behind the scenes until the very
end of act 5.
The character development in Act three typically has three bumps, during
which the protagonist accellerates down the tracks toward the collision.
Each bump puts the protagonist one rung higher on the ladder that leads to
the diving board of act 4. [ "Three bumps and a push will get your protagonist
over the railing and into the pool with the bad guys."]
Act 4: Commitment.
The one-way door past which there is absolutely no turning back. This is
usually one scene that serves as a door to act 5.
Lets say you are standing at the rail of a ship - if someone pushes you over
they probably had a pretty good reason for pushing you. If you jump off
voluntarily, you do it because being in the water is a better choice than
being on the ship.
There are two kinds of pull, the kind where you jump to get away from someone
on board, and the kind where you jump to help someone in the water. There
are also two kinds of push, the kind where the pusher is malevolent, and
the kind where the pusher does it intentionally for your own good.
Act 5: Go for the wrong goal.
Increasing complications leading to the low point because the hero
doesn't have all the facts yet. (May involve 'the creature in the forest'
who aids the protagonist or the front man.) Between complications, the
hero uncovers pieces of the backstory but the nemesis has the upper hand
so act 5 ends at the protagonist's lowest point.
Act 6: The reversal.
When things are at their worst the bad guy reveals (or the hero discovers)
the last clue. This scene often takes the form of a history lesson, often
told at gunpoint, during which we pick up the final piece that completes
the puzzle. This single piece of backstory usually takes the form of a seminal
incident. Now act 2 makes sense. It can involve flashbacks. The history lesson
reveals the (weakness in the) mastermind's plan and legitimizes the conflict
just in time for the hero to save the day.
Revelation of the seminal incident that started everything and the Achilles'
heel of the nemesis, leading to a change of goal.
Act 7: Go for the new goal.
Now the clock is ticking or the cops are getting close. After realizing the
real situation, the hero comes up with a new plan. It usually takes a few
minutes to put the plan in action, and there is usually a change of venue
at this point. It is always a see-saw, with the hero and the nemesis trading
advantages. It never goes as planned, but with a bit of luck the hero defeats
the bad guy in the climax. Includes incredible luck, help, strength, or magic;
favors repaid, a plan that is whispered or kept secret, and the new goal
achieving the objective.
Act 8: Wrap it up.
Now the cops show up. Tie up loose ends. Lean and mean is the rule here;
resist the temptation to put in six endings. With the main conflict resolved,
leave most of the ramifications for the audience to piece together on their
way home. Coming back to where the film started, a feeling of accomplishment
and rebirth, the world restored to normal rather than exiting on the heights
of ecstasy.
* * * * * * * * * * * * * * * * * * * * * *
Georges Polti's
thirty six situations:
Supplication;
Deliverance;
Crime pursued by vengeance;
Vengeance taken for kindred upon kindred;
Pursuit;
Disaster;
Falling prey to cruelty or misfortune;
Revolt;
Daring Enterprise;
Abduction;
The enigma;
Obtaining;
Enmity of kinsmen;
Rivalry of kinsman;
Murderous adultery;
Madness;
Fatal imprudence;
Involuntary crimes of love;
Slaying of kinsman unrecognized;
Self-sacrifice for an ideal;
Self-sacrifice for kindred;
All sacrificed for passion;
Necessity of sacrificing loved ones;
Rivalry of superior and inferior;
Adultery;
Crimes of love;
Discovery of the dishonor of a loved one;
Obstacles to love;
An enemy loved;
Ambition;
Conflict with a God;
Mistaken jealousy;
Erroneous judgment;
Remorse;
Recovery of a lost soul;
Loss of loved ones.
It should be remembered that these situations are not plots.
Plots are developed from situations. And that is where the hard work and
imagination of the writer takes over.
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PLOTTING:
Polti's 36 Dramatic Situations
1. Supplication: Persecutor, Suppliant, Authority Figure
2. Deliverance: Unfortunate, Threatener, Rescuer
3. Crime Pursued by Vengence: Criminal, Avenger
4. Vengence taken for Kindred upon Kindred: Avenger, Guilty Remembrance,
a Relative of
Both
5. Pursuit: Punishment and Fugitive
6. Disaster: Vanquished Power, Victorious Enemy, Messenger.
7. Falling Prey to Cruelty or Misfortune: Unfortunate, Master
8. Revolt: Tyrant, Conspirator
9. Daring Enterprise: Bold Leader, Object, Adversary
10. Abduction: Abductor, the Abducted, Guardian
11. Enigma: Interrogator, Seeker, Problem
12. Obtaining: Solicitor, Adversaryor Arbitrator& Opposing
13. Enmity of Kinsmen: Malevolent Kinsmen, Reciprocally Hated Kin
14. Rivalry of Kinsmen: Preferred Kinsman, Rejected Kin, Object
15. Murderous Adultry: TwoAdulterers, Murdered Spouse
16. Madness: Madman, Victim
17. Fatal Imprudence: Imprudent, Victim, Object Lost
18. Involuntary Crimes of Love: Lover, Beloved, Revealer
19. Slaying of Kinsman Unrecognized: Salyer, Unrecognized Victim
20. Self-sacrificing for an Ideal: Hero, Ideal, Creditor, Sacrifice
21. Self-sacrificing for Kindred: Hero, Kinsman, Creditor, Sacrifice
22. All Sacrificed for Passion: Lover, Object of Pasion, Sacrifice
23. Necessity of Sacrificing Loved Ones: Hero, Beloved, Necessity
24. Rivalry of Superior & Inferior: Superior, Inferior, Object
25. Adultery: Two Adulterers, Betrayed Spouse
26. Crimes of Love: Lover, Beloved, SocialNorm
27. Discovery of Dishonor of Beloved: Discovered, Guilty
28. Obstacles to Love: Two Lovers, Obstacles
29. An Enemy Loved: Beloved Enemy, Lover, Hater
30. Ambition: Ambitious Person, Thing Coveted, Adversary
31. Conflict with (a) God: A Mortal, anImmortal or Holy Principle
32. Mistaken Jealousy: Jealous, Object,A ccomplice, Perpetrator
33. Erroneous Judgement: Mistaken One, Victim, Cause, Guilty
34. Remorse: Culprit, Victim or Sin, Interrogator
35. Recovery of Lost One: Seeker, One Found
36. Murder of Loved One: Slain Kinsman, Spectator, Executioner.
Five Basic Conflicts (from Polti's 36)
1. Man against Nature
2. Man against Man
3. Man against Society
4. Man against Himself
5. Main against Fate
Essence of Conflict
Protagonist + Goal + Opposition (Antagonist) = Drama
Ronald Tobais' 20 Master Plots
Quest
Adventure
Pursuit
Rescue
Escape
Revenge
The Riddle
Rivalry
Underdog
Temptation
Metamorphosis
Transformation
Maturation
Love
Forbidden Love
Sacrifice
Discovery
Wretched Existence
Ascension
Descension
CONFLICT:
(notes from David Freeman workshop):
Devices to heighten suspense:
An obstacle or enemy interferes with a hard goal
A enemy or obstacle interferes with a soft goal
Hero forced to face his emotional fear, limitation, block, or wound
Unclear motives
Question of whether a character can pull off a bluff
The uneasy mix, or "odd couple" situation
The fish out of water situation
Presence of ambivalence
A character forced to make a difficult moral choice
Mystery or a puzzle to solve
A reminder of the stakes or increase stakes
Increase stakes of the character so that this is the only way they can succeed
Situation is out of control
A surprise or unexpected disaster
Foreshadowing (many ways to do this)
Any scene in which a danger is present
Any scene that has conflict in it
Any scene where a seduction occurs, or might occur
Technique of cutting back and forth between a dangerous scene and one that
isn't dangerous
Draw out a tense moment, i.e., "waiting for the other shoe to drop"
Resolution of a tense moment
EDITING:
After the final draft, edit using the "find" function for the
words on the following list. Next, read
the sentence containing the offender, and either correct it or leave it be,
depending. They are
all valid words, if used in moderation, but are prone to misuse,
overuse and abuse.
"Fine Tooth Comb and Red Flags and Snags"
and - but (can indicate run-on sentences)
that (unnecessary in most sentences)
that (when you mean "who")
just
very
nearly - almost
really
seem - appear
felt - feel
begin - began
would - should - could
quite
few
rather
thing
stuff
anyway
because
"ly" adverbs
so
then
even
only
down - up (as in sit down, stand up - can be redundant)
got - get
Look for passive use:
it - is
am
are
was
were
has
had
have
been
to be
there is
there are
there was
there were
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