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    The Setup: Screenplay Structure

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    fedor
    The document outlines the typical structure of a screenplay, including the setup in the first 10 pages to introduce characters and themes, the catalyst that pushes the protagonist into action, plot point one where the protagonist commits to a new story world at the end of act one, the midpoint where stakes are raised, the despair where all hope is lost at the end of act two, the redemption in act three where the protagonist fights to solve the conflict, and the ending that wraps up the story.

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    The Setup: Screenplay Structure

    Uploaded by

    fedor
    106 views2 pages
    The document outlines the typical structure of a screenplay, including the setup in the first 10 pages to introduce characters and themes, the catalyst that pushes the protagonist into action, plot point one where the protagonist commits to a new story world at the end of act one, the midpoint where stakes are raised, the despair where all hope is lost at the end of act two, the redemption in act three where the protagonist fights to solve the conflict, and the ending that wraps up the story.

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    Screenplay Structure

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    The document outlines the typical structure of a screenplay, including the setup in the first 10 pages to introduce characters and themes, the catalyst that pushes the protagonist into action, plot point one where the protagonist commits to a new story world at the end of act one, the midpoint where stakes are raised, the despair where all hope is lost at the end of act two, the redemption in act three where the protagonist fights to solve the conflict, and the ending that wraps up the story.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    106 views2 pages

    The Setup: Screenplay Structure

    Uploaded by

    fedor
    The document outlines the typical structure of a screenplay, including the setup in the first 10 pages to introduce characters and themes, the catalyst that pushes the protagonist into action, plot point one where the protagonist commits to a new story world at the end of act one, the midpoint where stakes are raised, the despair where all hope is lost at the end of act two, the redemption in act three where the protagonist fights to solve the conflict, and the ending that wraps up the story.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 2

    SCREENPLAY STRUCTURE

    1. The setup: The beginning of your first act contains the opening
    image of your film, an introduction to the main characters, the
    theme of the film, and the overall point of the story. The setup
    takes place in the first 10 pages of a screenplay, and should be
    both visually and emotionally stimulating enough to keep the
    reader invested. For example, the opening scene of The Truman
    Show (1998) shows us the key players and what the film will be
    about by using interview footage of the director and actors as
    they describe Truman’s unique circumstance and how they feel
    about the role they play in his staged living environment.
    Although the audience doesn’t know what twists and turns
    await, they have an understanding of the kind of story they’re
    going to see.
    2. The catalyst: Also known as the “inciting incident,” the catalyst
    is a call to action—the circumstance that thrusts your
    protagonist into the story. The catalyst can be a piece of
    information or a small event that pushes the lead character into
    setting the rest of the story events in motion. In Raiders of the
    Lost Ark (1981), the catalyst is when the two Army Intelligence
    agents inform Indiana Jones that the Nazis are working with his
    old mentor, spurring him into action.
    3. Plot point one: In screenwriting, the end of act one is where the
    hero reaches their first major turning point, ushering viewers
    into the second act. At this point, the protagonist decides to
    leave their “normal world” behind and commits to the new story
    world. Once the protagonist answers this call to action, their
    journey truly begins, and they cannot go back to the life they
    once had. In Harry Potter and the Sorcerer’s Stone (2001), act two
    starts when Harry Potter enters Hogwarts and discovers a new
    environment full of people just like him. The beginning of the
    second act is where elements of the B-story (sub-plot) are
    usually introduced, like the potential love interest or other
    secondary storylines that will come into play.
    4. The midpoint: The middle of your screenplay is where the
    stakes are raised and the audience finds out the true capability
    of the characters and the potential drama that awaits.
    Obstacles, subplots, and other conflicting events threatening
    the hero’s overall goal begin to unfold, giving the audience
    plenty to root for (or against). In the first Harry Potter film, the
    midpoint is when Harry’s broom loses control during the
    Quidditch match, and Hermione, believing Snape is trying to
    hurt Harry, sets his cloak on fire. This moment shows the
    possible foe these young characters are up against, and what
    they’re willing to do to save one another.
    5. The despair: At this point in the screenplay, the world has
    gotten the best of the heroes and all hope is lost. Both internal
    and external conflicts are heightened towards the end of act
    two, and the main characters have reached a low point. The
    characters believe they have truly lost, and there is no hope for
    redemption. The end of the second act is where the heroes feel
    defeat, and perhaps will not succeed in their endeavors.
    6. The redemption: By act three, the characters conceive of a
    winning plan, or at the very least, the hero is reinvigorated
    enough to attempt to solve the story’s conflict once and for all.
    The hero is no longer hopeless, they are going to fight for their
    cause—to save the people, the city, the school, etc. During the
    redemption, the hero pushes forward with an attempt that may
    save the day.
    7. The end: The story wraps up by the end of the third act. While
    your story should have reached a resolution, it does not
    necessarily mean your screenplay has to have a neat, button-
    ending, or a happy resolution. The story outlined by your
    premise has its own conclusion or sense of closure, even if
    there is an overarching plot that continues beyond this film’s
    story for future sequels.

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