Screenwriting structure Part 15
Thought I forgot about ya? Naaah.
But I gotta tell ya… I went ahead and stuck a new contact page up and holy shit. All kinds of new thrills, chills, and spills…
Having said that… Can I just put this out there before I jump in with both steel-toe booted feet? Why in the hell are YOU sending me emails about the following:
- Should I type FADE IN: at the beginning of my screenplay?
- Should I number my scenes?
- Generally speaking, about how many parentheticals should I have in my screenplay?
- Can I just type FIN at the end of my screenplay?
- Do you use Celtx?
- If I use Celtx to write my screenplay will I have a better chance of selling it?
- Should I sign my screenplay?
- Should I include my email address on my screenplay?
- Why do I have to put my character’s name in caps througout my screenplay?
- What do I do with my screenplay when I’m finished with it?
- Can you take a look at page 69 of my screenplay and tell me if it’s correct?
- Should I send my screenplay to you in a box or an envelope?
- If I pay you $5000, will you help me sell my screenplay?
- If I pay you $10,000 will you help me sell my screenplay?
- Will you marry me?
- What font should I use to write my screenplay?
- Can I just write my screenplay in Word?
- How many pages should my screenplay be?
- How long should each act of my screenplay be?
- Is it okay if my hero and villain both have the same name?
- Is it okay if my Protagonist is Hillary Clinton?
- Is it okay to thank my Mom in my screenplay?
- Is it okay to thank my husband in my screenplay?
- Is it okay to thank YOU in my screenplay?
- Do you accept credit cards?
- Do you live alone?
- What’s your favorite color?
- What’s your favorite food?
- What’s your favorite drink?
- Do you smoke?
- Do you drink?
- What color are you eyes?
- When’s the last time you had sex?
There’s MORE but you get the idea.
No more of this shit, okay? On the other hand, if you’re a fairly regular visitor, you never know… I might be in the mood to answer you if you hit me at just the right time but I doubt it.
Let me split these questions in half…
The first half are obviously screenwriting questions… LOL. But not the kind of screenwriting questions to send me an email about. Go get a fuckin’ book and read about it because even IF I answer your question, that’s only ONE fucking question and because of the question you fucking asked me, I know you don’t know shit about even beginning to write a screenplay.
The very best FIRST BOOK I can possibly think of and can recommend to anyone who’s never written a screenplay before and is even remotely contemplating doing so is:
Buy this book and actually crack the fucking thing and guess what?
You’ll find answers! However, if you simply slide it under your pillow and hope that your brain will somehow absorb what’s inside…
Uh, no.
What I mean by cracking the book is opening it up and reading it through at least one time so that WHEN some kind of newbie question pops up, you’ll immediately know where to go to answer your own question!
YAY!
As for the other kinds of questions… Who gives a shit?
You gotta love the Internet…
Part 15 of screenwriting structure… Your Protagonist’s entrance into the new world…
Almost sounds like science fiction, huh? Nope. Remember, there’s the ordinary world and the new world. The new world being the world your Protagonist makes his or her journey through. It doesn’t have to be a new location. It doesn’t mean he or she has to go anwhere physically… It’s the entirely new set of circumstances, events, and obstacles that your Protagonist must now venture through to attain some kind of goal.
Yup.
Things to consider but are by no means rules of the game…
It must be your Protagonist’s decision to enter the new world. He or she should be a volunteer even if it means he or she made the wrong decision. Even if somebody else tricks or lures your Protagonist into the new world, the DECISION to enter should be theirs.
This comes hot off the trail of the Protagonist’s call to action dilemma. I just watched a screener of a fairly recent movie, 21 (yeah I’ve had it a year). Wasn’t bad — wasn’t great but I honestly think it could have been just a little better IF the Protagonist hadn’t just sat on a fucking bus thinking about becoming a player on Spacey’s blackjack team.
By the way… Card counters don’t flip over one card at a time to count… LOL. Fuck! Do some fuckin’ research! Card counters cancel groups of cards out. They see 2, 3, 4, or 5 cards and instantly see a plus or minus number, or hopefully a ZERO so they can simply IGNORE the group. When counting down a deck of cards, counters (depending on what hand they use) read the cards from left to right (if right handed) and from right to left if left handed again, cancelling out as many groups of cards as possible. In other words, we IGNORE the groups of cards that total fucking ZERO. We actually hold the cards in our hand and spread them from one hand to the other and count the deck down as fast as possible.
Got it?
I’m sure Vegas is thanking the hell out of the people behind 21. LOL.
I could go on but this is about structure… Sorry for the rant.
It’s okay if your Protagonist has doubts about entering the new world… It’s okay if he or she is scared or unsure what to do next. The point is that somewhere deep inside they know they have to make the journey.
The Protagonist’s call to action dilemma causes the Protagonist to question everything… He or she tries to figure the answers out to all those questions they ask themselves but something keeps pushing them toward the new world.
What’s pushing them?
A goal.
The means to an end. It may not be the CORRECT means to the end. It may not be the correct end. In fact, one or more goals might pop up along the way i.e., the initial goal can easily develop, change, and reveal itself as a totally new and different goal worth pursuing.
Remember… The new world is different from the ordinary world… Again, doesn’t necessarily mean location-wise but certainly can be… However, the location can be in the same exact location as the ordinary world but with new and threatening elements the Protagonist’s never seen or experienced before.
Make the new world different from the old world and we will feel the difference and not be bored.
This is also a decent time to consider tossing your Protagonist another dilemma. Remember — damned if you do — damned if you don’t dilemma.
Chew on it.
Unk
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40 Responses to “Screenwriting structure Part 15”
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The question about giving your hero and villain the same name made me almost pee my pants. Funny stuff. Stupid idiot. But funny stuff.
Nice post. Good timing as I am trying to think of the most dramatic way for my new protag to take the step into his new world. He has definitely made the decision to enter it and is now taking the reins to take the script full tilt, but this post has sparked an idea to make an impact, literally, so thanks.
Now… if I can only figure out a way for the reader to tell the difference between Jeremiah and Jeremiah… Damn this stuff is hard.
You sound like a complete tool most of the time. No wonder Hollywood churns out mindless shit.
Joseph,
Looked up the word “tool.”
My favorite definition is:
http://dictionary.reference.com/browse/tool
tool: Something regarded as necessary to the carrying out of one’s occupation or profession: Words are the tools of our trade.
Obviously, you meant this definition:
tool: Vulgar Slang A penis.
Don’t worry… I can take it.
And you just keep coming back for more penis…
Unk
I love how some insults have a boomerang effect… if you write “you are tool” then everyone instantly thinks “the guy who wrote that is a tool”
It’s like the insult is made of rubber… it always bounces back.
It ranks right up there with “your a retard” (deliberate typo on the ‘You’re,’ by the way! LOL)
Thank god Socrates had a slightly better come back… otherwise all of western thought would be based on the following dialogue:
“So, you think knowledge should be broken into categories… well, I say, you are a tool”
“I may be a tool, but you’re a retard”
“Fair point… but, you smell of wee” etc etc
re: 21.
Was it shot in Vegas? Maybe the casinos wouldn’t agree to allow them access if they properly conveyed how to count cards.
I think they couldn’t really show how card counting happens in 21, but like making homemade napalm in FIGHT CLUB . . . they don’t wanna give anyone any ideas . . . LOL!
Unk has recently inspired me to actually take my ideas and put them down on paper, and in return I have promised him I would stop lurking and do a little more participating on the blog. So, here goes….
You know, it never ceases to amaze me that people leave negative comments here. I mean, Unk has taken so much time and effort to help us by making such an amazing blog, and he truly tells it like it is. He puts it out here for us to read and learn from, or not, whatever we choose. It sounds like Joseph must come here often “You sound like a complete tool most of the time”. So I wonder why he keeps coming back?
I keep coming back because as a newbie, I haven’t found another place I can get better information in a format that’s easier to understand, or with any more humor for that matter. I find myself checking the site frequently for new posts, and searching the old posts for reminders as I work on my research and begin my first screenplay.
I am reminded of something my Mother frequently told me.. if you can’t say something nice, don’t say anything at all. You get what you give, and if all you are giving out is negativity, no wonder you can’t get anything good from this blog. Because it’s all here. If you just take the time to look for it. And the appropriate attitude. So Joseph, maybe you need a new tool (the means whereby some act is accomplished) to help you look at things a little differently, or if screenwriting is really what you want to do, maybe you should find a new tool (Something regarded as necessary to the carrying out of one’s occupation or profession) do do it.
No matter how you look at it, when it comes to screenwriting and life, you have to put up or shut up. And Unk puts up. Just look at his blog. Where’s yours?
Thanks Unk, for teaching, helping, guiding, and making us laugh.
Hmmmmmmmmmmm. Could Joseph be the author of one of those inane questions Unk quoted up front? Sounds just a tad disgruntled to me. And by the by, Joseph. What have you written/sold/produced/distributed to alleviate the ‘…mindless shit…’ Hollywood turns out?
Just my two-cents.
Keep Writing.
So…….
You won’t marry me, then?
[...] Unk at unknownscreenwriter is getting inundated with trivial question via his new contacts page… so in the spirit of [...]
Hey, you know me… all about the giving!
So, to help out unk, I’ve answered all those trivial little questions that he listed in this post, over at our magazine… just press the link etc. etc
LOL
Clive. I would love to see a comedy script from you… golden stuff!
Welcome back UNK. It sounds like you’re having similar problems as I am. The frustration that comes due to people who think someone else can make them a better screenwriter.
I mean, I found Trottier in about two weeks after becoming serious about this. People please, this is a Fine Art, not a lottery game.
Anyway, I appreciate how much info you give out here as it always give me some food for thought, whether I agree wholly or disagree (hasn’t happened yet) vehemently.
I’m working on a new “movie map” based on the Hero’s Journey. I use 4 Acts (you cemented that in my mind) and set it up so it’s not exactly half or 3/4, etc.
I also found an interesting way of determining how long a script should be based on genre.
The way I see it, if you have 4 Acts, they should be approximately equal.
Comedy – 23 page Acts
Action – 25 page Acts
Thriller – 27 page Acts
Drama – 29 page Acts
This is a rough guide but I’ve written each and it seems like a good rule of thumb. I’m almost done with my comedy so I’ll be blogging about this soon. Hopefully the two people who visit will find it helpful.
Oh and remember,
Keep Writing as Writing is the Revealing of the Soul.
But Christian…what if you have a Drama/Thriller with Action and Comedy in it.
Or maybe I should send that question to Unk?
You Suck- I was told there would be no math!
But now I have a question about the order of operations…
I can’t think of an immediate stock example but can you effectively anchor the decision to enter the new world before the start of the film? Take THE SHAWSHANK REDEMPTION, chop off the opening scenes & the trial and start the picture with Andy stepping off the bus. Say the New World decision is Andy’s choices that led to the conviction & prison; approaching Red for the rock hammer is the goal- escape; would having Red address the wife-murder, Andy conceding (as vaguely as he does) and moving on with life in prison be substantial enough without seeing the murder & the trial?
This is somewhat similar to how the original story was presented by King, and Darabont may well have presented things a little more linearly in the script to make that transition a little more accessible.
I guess I’m thinking of a protagonist who is reluctant to acknowledge that they’ve already made the decisions that led them to having to go into the new world, but realizing there’s no going back pushes them into the goal. Maybe it short-changes the Ordinary world– but with Shawshank, Andy’s Ordinary World is a pretty shitty place and doesn’t seem to need much illustration.
I have been looking for personal stimulus in the way of igniting the embers of a blog post, and in lieu of another hastily scheduled and totally unnecessary – but what the hell, three in one year makes me triple safe right – prostate exam, I shall answer your inane emailed questions in my own imitable style tomorrow
You made my day with this post UNK. A lot of great stuffs came up in my mind for my script. Thanks UNK…
I think I’m falling in love with you, hehehe LOL…
hey unk, if i give u an idea, can u writ a screeplay and sell it for me and i’ll give u $2000??
also, wats ur favorite type of cyber trollz? teh 1s that speel bad and make no grammer, or teh 1’s tat call u reetarded and stupid and no good?
I liek the trollz that are angry and shout at me with the WORDS ALL BIG. OK, I GO BACK TO WRITINE MY BIG SCREENPLAY ABOT ELEPHANTS WHIO KILL PPL. BYW!
Clive,
Funny stuff… LOL. I’m gonna have to STEAL:
117 paper aeroplanes…
Tom,
I believe some parts were shot in Vegas but that’s not what I’m referring to… I’m actually referring to practice sessions of counting a deck down. The film shows Ben, the protagonist sitting down in a couple of places counting down a deck — practice counting. He flips one card over a time and the speed gets faster and faster which is WHY I presume they shot it this way… Maybe it seemed more visual. I think they could have done it the way counters have been doing it for years and still made it just as visual.
Josh,
Card counting isn’t illegal so sure they could have gotten a little more into the actual mechanics but since most of us aren’t card counters, who’s gonna know? Plus,the BACK ROOM scenes where Fishburne beats the shit out of Ben is bogus. That would be a million-dollar lawsuit in a heartbeat… Now back in the early 80s and prior… Watch out.
Holly… Nice first comment. LOL. Don’t worry about the Josephs. I’m sure he’s a great guy. He just likes penis. I can even loan him one of my tool belts.
Mike,
You never know…
emily,
I still like to go outside and piss on trees… Will you still have me?
Scott,
Comedy? From me? Never.
Christian… I’ll check it out… Let me know when it’s up!
You Suck,
Something tells me the acts will still be about the same length… LOL.
nicolle,
Hmmm. Do you think stepping off the bus was Andy enterting into the new world? I haven’t seen SHAWSHANK for quite a while and now I think I want to revisit it… Seems to me, Andy’s ordinary world was the beginning of actually being in Shawshank and psycologically NOT entering into the new world of Shawshank. He isolated himself. We felt for him because of the gang rapes. If I remember correctly, could him making the decision to enter to the new world of Shawshank been him asking the guard if he and his coworkers could have some beer if he did the guard’s taxes?
Moviequill,
I’ll be happy to read your answers… LOL. They better be good.
javisiete,
Down boy… Or I’ll have to get all THE LOOKOUT on yer ass…
Spat,
Welcome! Where ya been? I can write it but how am I supposed to read all your yellow writing before the snow melts?
Unk
“I still like to go outside and piss on trees… Will you still have me?”
Who DOESN’T still like to go do that? It’s classic.
I think you should marry Emily, she’s smoking hot and she kickboxes, what more to you need?
I’m tellling you, if I wasn’t attached . . . . I’m sure she’d reject me soundly. Heh-heh.
Hey guys… if anyone else decides to answer Unk’s questions on their blog, let me know and I’ll add a list of links out at the bottom of my version!
Spatula… can’t wait to see the elephant movie, I hope they have big guns! Or do they just beat people to death with a baseball bat held in their trunks… hell, I’d pay good money to see a movie based on that idea! LOL
Unk, posted your answers on the blog — enjoy
Posting my answers on the blog too. Memes are fun. Lol
Joshua, I’m blushing. Or going into heat, I’m not sure which.
Unk, how else are the trees going to get fertilized?
And I will join the new meme tomorrow. This seems like fun.
You’re right of course, Unk. Thought about it on the way to work, decided the taxes moment was a much heavy transition than just reaching out to Red in terms of the ordinary world- only to see you mention it. There’s really some crazy nuance in Shawshank. I mean that rock hammer = escape bit isn’t really completely accessible on the first read/watch.
What I was really curious about, and what I couldn’t think of a good example of (thus the hijacking of Shawshank) was a sort of No-alternative entrance into the new world where having the decision or the specific event that pushes a protag into the new world occurs before page one– so then the realization/acceptance ‘Okay I got myself here, no turning back now’ would be the major signifier of entering the new world.
Part of me thinks this is sort of weak– I mean there’s probably a reason I couldn’t think of an example. Also because offhand, I can only seeing it coming through in expository dialogue or an unusual action that would require explanation.
But I was curious to see if anyone else might recall a strong example of that working.
*sigh* I haven’t had quite enough beer to stop caring about my horrible grammar. Clearly I’m gonna hafta have at least four beers before posting comments from here on out.
Josh,
Hmmm. I can’t do Smell-A. That’s a deal-breaker. Just can’t fucking live there ever again. I go there enough as it is and my chest still fucking hurts every time I visit.
Hmmm. But emily might be in heat… Hmmm.
Moviequill,
“right after the group orgy scene in the animal shelter, toss in a thanks” — you got my vote!
Carlo,
When’s the last time you had sex?
“The last time I read one of your scripts alone.”
I like it… Unfortunately, no screenplay has ever moved me enough to have sex.
Alone.
emily,
Keep blushing… It looks good on you.
nicolle,
Watch:
THE GREAT ESCAPE. It’s all right there.
Unk
I’m doing it different with my movie than the norm. I am having my protagonist embrace “the call.”
Personally, I think the refusal of the call has become relatively cliche in most movies today. It’s either forced, or insincere. The reversal is supposed to incite tension, but rarely is it used in such a manner in today’s films.
Take for example, Luke Skywalker. His ass wanted to get off that rock of a planet all of his life. When presented with a call to high adventure with Ben Kenobi, he whines and complains, and then only really “chooses” to go with Obi Wan when his family is burned to a crisp. So, in the end, he never really chose to go with Obi Wan, he had no choice at that point.
There are some people that have to be pushed and prodded to do simple things in life, let alone answer the call to high adventure. However, in my movie the main protag answers the call to high adventure after one ring. It’s the call he’s been waiting for his entire life.
I am also trying out a different take on the standard, “introduce your protag in the first ten pages.” I like to section my movie into four segments: Act One. Act Two. Act Three. Act. Four.
I have set the movie up with the antagonist taking up the first 15 minutes, then introducing the protagonist. The antagonist is killed by the protagonist by then end of the first act, but reappears in the fourth act. So the villain shines in the beginning and at the end, but is absent through the middle of the movie. The protag’s enemy in the middle of the movie is the “new world.” Once again, I realize it’s risky opening the movie on the villain instead of the hero, but dammit, I’m doing it anyway! :) Fortunately I have crafted an (at the very least) interesting and challenging villain who does not die at the end of the movie.
neil,
You’re absolutely correct… The refusal of the call is always relying on shit like “I can’t do that right now, people are relying on me!” Or something weak like that… “I have a job!” “I have school!”
You know the drill…
I’ll go back to 21… Same shit. Weak.
But it doesn’t have to be that way… And when it isn’t, it’s usually a lot better and worthy of including it.
I also think you’re OVERTHINKING what I wrote… First of all, I didn’t say it was a rule but to simply consider having the Protagonist actually make the decision to enter the new world.
Protagonists that need their asses prodded, coaxed, and coerced normally do not come off as very good protagonists… Are there exceptions to the rule?
Of course. It all comes down to execution.
But unless you really know what you’re doing, it could be difficult to get us to like a Protagonist that has to be prodded and coaxed.
And it’s really not that risky opening on the villain… It’s actually one of THE ways to open a screenplay or film so don’t worry about it too much.
The usual way to open a screenplay/movie is on one of the following:
1) The Protagonist
2) The Antagonist
3) A victim or victims of the Antagonist
4) Stakes character (love interest, emotional interest character, character at risk, etc.)
Good luck with it!
Unk
Two things:
The entry into the new world… I think of it as the sigh John McLaine does before entering the tower block.
Hero, knows there is a world of shit ahead of them, but because they are a hero, they pick up the burden.
Second thing:
If you’re answering UNK’s questions and want some extra readers for your master piece, just stick a link out to your post in the comments section of my version over at 1000dollarfilm.com… I was going to manually move them over from here, but my workloads is nuts today.
Clive
UNK,
I know it seems irrelevant, but could you tell me whether or not you’re circumcised? It’s just … I have these serious issues with my own foreskin, but I KNOW that if you had foreskin too, it would make everything all right. You’re not Jewish are you?
OMG WTF LOLZ!!!
On a less serious note, I’m wondering what the “rules” are on utilizing this stuff within an ensemble piece (i.e, Pulp Fiction).
Let’s say I want to introduce my Primary Protagonist at the beginning of the script, and give him an inciting incident that forces him to open his fuckin eyes (thus, shift from Loner phase to Explorer phase).
Then, I want to jump right into the world of my Secondary Protagonist (who I will have introduced by means of my Primary Protagonist’s ordinary world). But I want my secondary protagonist to be in a DIFFERENT PHASE of her transformational arc (hence: she will be making a shift from, say, Explorer to Activist)
THEN, I want the audience to spend a little time with my Third Protagonist – who’s a total douche bag that’s stuck in the Loner phase and probably won’t get out of it (in other words, he needs to “ketchup.”)
AT THE SAME TIME, my Third Protagonist is my Primary Protagonist’s best friend. So, as I jump into the Loner Douche Bag’s world, I jump back into my Primary Protagonist’s transformation arc.
At this point, we’re 50 pages deep. And we’re JUST getting into my Primary Protagonist’s entrance into the new world. But I think it’ll work …
Zane,
Finally a question that MAKES SENSE!
Of course I am… Did it myself.
Jewish? Nope.
I’m a fucking Heinz 57. You name it — I probably got it somewhere inside.
In an ensemble piece, all the co-protagonists MORE OR LESS go through all the same modes. That’s the BASIC rule but a rule that can easily be broken if it makes the story better.
A great film to watch to see this in action is BEAUTIFUL GIRLS. Lots of co-protags that learn something about themselves and grow.
Unk
and DAZED AND CONFUSED, an awesome flick, there there is one identifable protag in just about every group (the stud senior, the freshman, the girl freshman, etc) who discovers something new about themselves on the last day of school.
Totally awesome.
I loved BEAUTIFUL GIRLS, but I thought it was cruel that a movie about a high school reunion NEVER TAKES US TO THE REUNION, LOL! We get right in the lobby and that’s it!
But it is a great piece of writing.
Unk said:
“Carlo,
When’s the last time you had sex?
“The last time I read one of your scripts alone.”
I like it… Unfortunately, no screenplay has ever moved me enough to have sex.”
Ever hear of angry sex? lol
Josh,
There’s talk about doing a sequel with Hutton and Portman.
Could work.
Carlo… Have I ever heard of angry sex? I wrote the book on it. It’s always angry.
And it’s all my fault.
At least that’s what they tell me.
Unk
A sequel? Oooo . . . we have all the major players, except the director, it could work!
Angry sex? It’s awesome.
Wow, I missed a lot of good stuff. Maybe I’ll let down my hair and post that meme. At Zane, it actually sounds like you answered your own question. I think the answer is “whatever works for you.”
I just try to make sure that 10 different scripts have 10 different beginnings, middles and ends.
Elements will always be the same (side-kick, comic relief, danger,) so the way it’s introduced has to change.
[...] and their brother wants to write screenplays… LOL. Remember the post about those “questions” I get? Well, now they’re coming even faster than [...]
I am just learning to format my scripts. What I want to know is the format for action screenplays are different form the norm.
[...] had another installment on screenwriting structure last week, focusing on the Protagonist’s entrance into the NEW WORLD which would, as it turns [...]