Week 2 - Editing Refresher
Week 2 - Editing Refresher
Reading - "The Three-part Nature of film structure"
- Cowgill, L. J.,(2005).
Writing short films: Structure and content for screenwriters.
Los Angeles, CA: Lone Eagle Publishing.
A script is like blueprint
The information of the story must be clear as it is communicated through the actors.
The two parts of the plot structure (1) the overall form the story takes (2) Actual plotting of the scene.
Plot structure made of three parts
Beginning of a film which sets up the problem
Middle builds up the rising action
End, Action rises and intensifies to the final climax and resolution
Structure and planning go hand in hand
PART 1: In the beginning - the set up
Provides the important information of the story
You need to set the story up instatly in a short story
The main point of the set up is to establish the conflict
The main exposition
It grounds the audience in the basis of the story
This main formation is given in (1) Dialogue (2) shown in action (3) printed in card.
The inciting incident
Stops the main exposition and sources conflict onto the protagonist.
Then puts the protagonist on his path towards his goal
The set up doesn't have to be in any particular order it just has to have all of these elements
The goal is to get the story in motion as quickly as possible.
PART 2: The Rising action - Developing the conflict
The action is what the protagonist dose to (1) achieve his goal (2) the conflict he meets (3) how the action effects him along the way.
Rising action requires tension, this increasing tension/conflict keeps the story building.
If there isn't tension then the audience loose interest
Before tension can really increase we need to know the characters plan.
Once the problem has surfaced the hero creates a plan of action.
Plan usually shown through dialogue
Through the plan we learn what the protagonist anticipates and the actual reality. This causes surprises and struggle then reveals the true character.
Obstacles happen in the rising action if it has not already happened.
An obstacle is the clearest form of conflict
They force the character to make decisions. The decisions produce dramatic action which creates a compelling story.
Obstacles are usually seen as e.g Antagonists, physical obstructions, inner or psychological obstacles, and mystic forces.
The clearest obstacle is the antagonist
It hold posing goals to the protagonist
Usually the antagonist initiates the protagonist and the crucial problem which leads to the incident.
It's primary function is to oppose the protangoinst.
In psychological terms, he may represent those everyday forces that keep heroes behind desks in jobs they hate instead of fighting the battels they should.
Keep this in mind when motivating your protagonist. What will get him to put on his gloves and fight?
It is anything physically preventing the hero from reaching or moving closer to his goal.
For example - River crossing, desert journeys or a dead car battery.
A good obstacle forces the protagonist to take action , either to confront the obstacle straight on, or to take a different track.
Inner obstacles are intellectual, emotional or psychological problems the protagonist must overcome before being able to achieve his goals. It could be fear, pride or jealousy.
These inner obstacles are connected to what the character needs and poppies what the character needs.
Must overcome within himself
This is realistic to real life - all of the obstacles are relatable (this was in a video about how to create a story in digital media)
These are obstacles from paranormal and supernatural world
They can inter stories as accidents or chance or as moral choices and ethical codes, which create obstacles for the protagonist.
Each time a protagonist confronts an obsticle, he encounters a crisis.
A crisis is a definite point of conflict in the action
The screen writer drama times a crisis because it creates tension until the immediate action is resolved.
Because the ultimate outcome remains uncertain until the end, crises arouse suspense.
This allows viewers to be pulled further into the story.
Crisis makes the obstacles significant
A crisis also necessitates decisions
A crisis can be a physical fight, a verbal argument or an introspective search.
Crisis builds crisis, and these escalate and intensify the action until the climax is reached.
Complications differ from obstacles in that they don't pose an immediate threat to the protagonist achieving his goal; but they make it more difficult to attain.
A great complication can become an obstacle later in the story.
Complication contributor to the story extension, character development and surprises. They work best when they are unexpected.
Typically, complications arise in the form of a character, circumstance, event. mistake, misunderstanding or discovery.
A strong midpoint can make the first section easier to mange by focusing the action on this point.
What ever happens at this point must have consequences. These consequences will drive the action towards the main climax in the second half.
Action at a good midpoint surprises us. It might come in the form of an obsticale, reversal or complication.
The Main Crisis
In order to reach the climax, the conflict must intensify and increase, causing the action to rise for the last time.
There must be a definite solution to the problem.
PART 3: The climax and resolution
The climax is the highest, most exciting point of the drama. The conflict must finally be resolved.
It involves a discovery or realisation for the character, or at least the audience.
The best are visual and emotional, not internal.
Can happen in one scene or unfold over the course of several.
Problems are not resolves in the climax
Fixing the fates of the main characters involved in the struggle, especially those the audience might be most interested in.
Bestows a final insight or revelation on the story, which puts everything into context be elucidating the theme.