This is the third blog installment of our little excursion into the flow of cinematic storytelling--Three Act Structure. If you are just now "tuning in", look at the two previous blog entries first. Now, let's review:
ACT ONE-Introduction
ACT TWO-The Journey
ACT THREE-Resolution
In Act One, we are introduced to the setting (where and when), and our hero, also known as protagonist(s). Then, an event occurred, called the Inciting Incident. This event forces them (usually) to make a decision, to keep to the status quo, or to tackle a challenge, a foe, an obstacle--to reach some goal or goals. Once the hero decides to face the challenge (if they have a choice, they don't always, like Cast Away with Tom Hanks...he is FORCED to try and survive on the island), then Act Two begins.
Act Two is known as The Journey, or The Hero's Quest. It is a series of ever-increasing obstacles, conflicts that the protagonist must face...and they must get more and more difficult. We learned that there are several types of conflict, such as Man vs. Man, Man vs. Himself, Man vs. Government, Man vs. Nature, Man vs. Supernatural, and Man vs. Technology.
At the end of Act Two is (usually) the All is Lost moment. This is when our protagonist is at the lowest point, apparently defeated, down for the count, in deep doo-doo. The theater at this moment is quiet as a tomb. Enter: Act Three.
It is at this low point, this bottom-of-the-barrel moment, that something beautiful happens. It may be the arrival of new help, the finding of new skills, or the discovery of new courage to face the bad guy, to challenge the obstacle, or to overcome the conflict one final time. Named after the famous bird-of-legend, that fantastic creature who dies and then is reborn more powerful than before, this Plot Point, this important phase, is called The Rise of Phoenix.
Just like the mythical creature of old, the Hero rises out of the very ashes of defeat, the rubble of his own apparent destruction. It could be the infusion of new help (Star Wars), the finding of new skills (many fighting/boxing flicks), or the discovery of new courage (Karate Kid), but somehow, the winds of change begin to blow, or sometimes blow all at once like a hurricane.
This then leads to the the last major event, The Final Battle. It is our Hero's last-ditch effort to get the girl, get the gold, or get the victory. The Phoenix has risen, and risen to face the final challenge. When this battle is over, either the bad guy is captured, killed, or defeated, or the hero loses.
But (this is important) the hero can still LOSE and yet still WIN. In many team-sports movies, the team makes it all the way to the playoffs or championships, and then LOSE the game. But, guess what? They still WIN, because of how they are different at the end versus how they were at the beginning. They have grown closer, become better friends, gained respect, maturity, or some other moral or life lesson. You can lose the last battle, but then win a completely different type of war.
But, most movies aren't that emotionally complex or deep. There is The Final Battle, and the Hero WINS the battle...plain and simple. Sometimes a movie will end on that high note, you know, cut to credits and people walk out pumped and feeling good. But many movies still have one small part of Act Three---The Denouement.
The Denouement is a "weaning off" period, it is that time from the end of The Final Battle, until the actual end of the movie. Now that the Hero has won (or lost), the story winds down, it weans us off that emotional high, it bleeds off that energy. Oftentimes, the author ties up all the loose ends of the movie, finally connects all the dots, and answers all remaining questions during the Denouement. The Return of the King (the last installment of the Lord of the Rings trilogy) has one of the longest Denouements in history, lasting nearly 40 minutes.
In Star Wars, it was the medal ceremony after the destruction of the Death Star, in Ocean's 11 it is that now-famous scene with all the crooks (sans Danny Ocean) standing before the Bellagio Fountains, literally weaning away, one by one.
Speaking of Denouement, we have arrived at one in this blog. We have looked at Three Act Structure, and dissected the parts. We have considered examples, and discussed how those examples serve important purposes.
If we follow these time-tested formulas, these ancient bits of literary wisdom, as one author put it, "you won't necessarily write a good story, but you certainly won't write a bad one."
Sunday, September 9, 2012
Sunday, August 5, 2012
ACT TWO: Plots are Best Served With Conflict.
This is the second blog installment of our little discussion about the basic format for cinematic storytelling, better known as THREE ACT STRUCTURE. Let's review:
ACT ONE-Introduction
ACT TWO-The Journey
ACT THREE-Resolution
Last time we investigated the first Act, but with introductions concluded, the inciting incident having occurred, we are ready to embark upon Act Two., which will usually fall about 10% to 20% of the way into the movie. Act Two will occupy anywhere from 50% to 75% of the movie. This, for many people, IS the movie. This is the action, the heart, the struggle, the meat of the story.
If you remember, in Act One there is a necessary event, a plot point called the Inciting Incident. This is that pivotal point, that crucial event, that will forever change the main character (or characters in a group movie). Once the inciting incident happens, they can never be the same, and they usually have a big choice to make, to either withdraw back into the status quo as a defeatist, or to (bravely) take on the new challenge.
Of course, THEY WILL take on the new challenge, or we don't really have a movie. Once they decide to tackle the obstacle (sometimes they don't even have a choice), begins Act Two-The Journey. Act Two is called by many names, The Journey, The Hero's Quest, The Struggle, The Conflict(s), The Obstacle, etc.
Because of the inciting incident, the decision that the main character(s) makes, thrusts them into conflict. Conflict with another person, the government, nature, or even themselves. The main character(s) is known as the PROTAGONIST (the hero) and the opposing force or forces, is/are known as the ANTAGONIST.
Think about some famous movies and analyze their protagonist(s)/antagonist(s):
ACT ONE-Introduction
ACT TWO-The Journey
ACT THREE-Resolution
Last time we investigated the first Act, but with introductions concluded, the inciting incident having occurred, we are ready to embark upon Act Two., which will usually fall about 10% to 20% of the way into the movie. Act Two will occupy anywhere from 50% to 75% of the movie. This, for many people, IS the movie. This is the action, the heart, the struggle, the meat of the story.
If you remember, in Act One there is a necessary event, a plot point called the Inciting Incident. This is that pivotal point, that crucial event, that will forever change the main character (or characters in a group movie). Once the inciting incident happens, they can never be the same, and they usually have a big choice to make, to either withdraw back into the status quo as a defeatist, or to (bravely) take on the new challenge.
Of course, THEY WILL take on the new challenge, or we don't really have a movie. Once they decide to tackle the obstacle (sometimes they don't even have a choice), begins Act Two-The Journey. Act Two is called by many names, The Journey, The Hero's Quest, The Struggle, The Conflict(s), The Obstacle, etc.
Because of the inciting incident, the decision that the main character(s) makes, thrusts them into conflict. Conflict with another person, the government, nature, or even themselves. The main character(s) is known as the PROTAGONIST (the hero) and the opposing force or forces, is/are known as the ANTAGONIST.
Think about some famous movies and analyze their protagonist(s)/antagonist(s):
ANTAGONIST
|
||
Generally speaking there are 6 types of conflict:
1. Man vs. Man
2. Man vs. Himself
3. Man vs. The Government (Society)
4. Man vs. Nature (Weather, Illness, Earthquakes)
5. Man vs. Supernatural (Aliens, Angels, etc)
6. Man vs. Technology (Robots, Skynet, etc)
Most "good" movies have more than one type of conflict. Usually, the main character is inwardly conflicted (Type 2) while fighting the bad guy (Type 1) and often in a struggle with some higher authority (Type 3).
But, it's not just conflict...it's EVER-INCREASING CONFLICT. At the beginning, the obstacles/battles that the protagonist faces are easier, smaller, and are defeated quickly. But as the story progresses, it gets harder, more difficult, often with setbacks. If you don't force your protagonist to struggle, and then to struggle harder, your audience will become bored, and you will lose them.
Think about Ghostbusters. When the rag-tag entrepreneurs first begin catching "ghosts," it is easy, they find 'em, zap 'em, trap 'em, and store 'em. But, things get harder when they are suddenly arrested and jailed for EPA violations (a harder battle). But, at the end, when the super-bad-demigod Gozer appears, they will face their biggest foe.
And then, somewhere near the end of Act Two, there inevitably comes an important Plot Point. It is that moment when the hero is at his lowest, when the situation appears hopeless, when it seems that the journey is over--there is no way to win. This important reversal of fortune, this important plot point is called ALL IS LOST. Every action and thriller film has it, and even most romance and drama flicks. The hero APPEARS defeated, no way out, dead in the water, stuck, defeated (in Ghostbusters, it is the moment when the Stay Puft Marshmallow Man is about to eat them, with apparently, no way to stop him/it).
In Star Wars, All Is Lost is when the Death Star is about to blow the Rebel Base Planet away and Darth Vader is on the verge of blasting Luke out of the sky. In Hunger Games, it is when Katniss and Peeta are the two final combatants, and one of them surely must die, but then they decide to commit suicide.
The "all is lost" plot point is usually the ending of Act Two. This Act begins with a decision (the hero embarks on the journey) and it closes with the destruction of the hero's plans. It begins with youthful enterprise and enthusiasm, and it whimpers away with shame, loss, and (apparent) defeat.
Next time, get ready for Act Three, where it all comes together...
Monday, July 2, 2012
THREE ACT STRUCTURE: The Hero is the Plot
Not only did they give us some awesome names for fraternities and some fantastic foods, but it was the Greeks that first (as far as we know) laid down the basic "rules" of storytelling. They gave us the A,B,C's so so speak, or perhaps it should be the Alpha, Beta, Gamma's?
Most authors and screenwriters will tell you that all "good" stories have THREE basic parts, and no, it is not BEGINNING, MIDDLE, and END...though it usually has that as well. Storytelling is best broken down (at least cinematic storytelling) into THREE ACTS. Every well-known movie, with the notable exception of Napoleon Dynamite, uses basic three act structure (yes, even Hot Rod obeys three act structure).
To keep it simple, these three break down, roughly, as follows:
ACT ONE-Introduction
ACT TWO-The Journey
ACT THREE-Resolution
I know it's not Earth-shattering, and it certainly isn't rocket science, but really, that is all there is to it (except for about 457 other details...but let's not get distracted). For a good, audience-pulling-in story, there are certain events that must occur at certain times (or, at least in a certain ORDER). Obviously there are exceptions (like Napoleon Dynamite), but as they say, first you must KNOW the rules, before you can intelligently and purposefully BREAK them.
So, if we want to be screenwriters (for TV or film), let's peel back the layers and dig a little deeper into this mystery known as Three Act Structure.
First, there is ACT ONE-The Introduction. Act One is all about ORIENTING the viewer to this world you are introducing them to. It must answer the basic questions of orientation:
Where is the story occurring?
When is the story occurring?
Who is involved?
Once your audience "knows" the location, the timing, and the principal players, it's time for THE INCITING INCIDENT. Exciting what? No, not exciting incident (though it often is), but the INCITING incident. Every good story is about a character (or group of characters) who are living life when SOMETHING happens, and that "something" usually gives them a choice, to stay the same, or "do something about it."
Think about Spider-Man. Peter Parker is living the normal, humdrum life of an American teen, when BAM! He is bit by a super-spider and from that moment on, his life will never be the same. He has a choice, hide it, or go out and change the world (he chooses the latter, but often wishes he hadn't).
Luke Skywalker is living life as a poor moisture farmer, when BAM! His caretaking aunt and uncle are murdered by the Empire and he is basically forced to choose to follow Obi-Wan Kenobi on a quest to defeat Darth Vader.
Now, start thinking about all of your favorite movies, they will all have an event, a big change, that occurs usually between 10%-20% of the way into the movie. In a romantic comedy it could be the moment when the BOY MEETS GIRL, in a war movie it could be when the BAD GUYS CAPTURE A GOOD GUY, in a martial arts film it could be when the EVIL FIGHTER HARMS THE FAMILY OF THE GOOD GUY. There is always an event, the inciting incident, that sets the main character (or characters) off in a new direction. These kind of "big events" are known as Plot Points, and the inciting incident is usually the first one.
When we get together next time, we will explore ACT TWO-The Journey,
Saturday, February 4, 2012
FROM THE BIG SCREEN TO THE TV SCREEN
As I have continued to develop the characters, plot, and conflict for "Getting Back to Normal," a startling revelation is clearly written on the walls:
This concept would make a better TV series than a single movie.
Now there's a paradigm shift. It was a slow and painful transition in my emotional attachment to this project. Think about it, the big silver screen is the epitome of our industry...heck, who doesn't want a critically acclaimed and financially successful feature. But not all ideas are meant for the theater of the theater, some are best served in the theater of the living room.
"Getting Back to Normal" has a fairly strong story, but it is more about the characters, the conflict, and the on-going struggle. Properly done, it's like like LOST meets Gilligan's Island--a strong core group of very diverse people, thrown together by a bizarre, almost supernatural event, and they are desperately seeking a way to get home. The secret is to make the viewer think that they will get home, but then always dash those hopes to pieces...but not totally. Hope is an essential ingredient, and it's embers must not be allowed to die.
So, going from the silver screen to the HD screen is not such a bad thing, I mean, for one---the popcorn's cheaper.
This concept would make a better TV series than a single movie.
Now there's a paradigm shift. It was a slow and painful transition in my emotional attachment to this project. Think about it, the big silver screen is the epitome of our industry...heck, who doesn't want a critically acclaimed and financially successful feature. But not all ideas are meant for the theater of the theater, some are best served in the theater of the living room.
"Getting Back to Normal" has a fairly strong story, but it is more about the characters, the conflict, and the on-going struggle. Properly done, it's like like LOST meets Gilligan's Island--a strong core group of very diverse people, thrown together by a bizarre, almost supernatural event, and they are desperately seeking a way to get home. The secret is to make the viewer think that they will get home, but then always dash those hopes to pieces...but not totally. Hope is an essential ingredient, and it's embers must not be allowed to die.
So, going from the silver screen to the HD screen is not such a bad thing, I mean, for one---the popcorn's cheaper.
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