u64006 introduction to screenwriting

U64006 INTRODUCTION TO SCREENWRITING

WEEK 3

Characters: traits, dramatic function and narrative arc

Main plot, subplots and dynamics

Role of back stories and themes

3-ACT STRUCTURE - Summary• ACT I – SETUP, pp.1-30

• What? Setting + info (hero)• How?

• Inciting incident / Disturbance conflict action/goal

• Turning point #1 (end of Act I – pp.25-27)

• ACT II – CONFRONTATION, pp.31-90• What? Obstacles and problems • How?

• Reversals, recognition, suffering• Mid-point (p.60)• Turning point #2 (end of Act II – pp.85-90)

• ACT III – RESOLUTION, pp.91-110(120)• What? Climax resolution• How?

• Initial problem solved/unsolved, goal achieved

U64006 Introduction to Screenwriting

3-ACT STRUCTURE – General pattern

1.Conflict: the hero takes on a problem

2.Crisis: the hero can’t solve the problem

3.Resolution: the hero solves the problem

MAIN PLOT = ACTION LINE


STORYLINES / PLOTLINES

• Main plot/Action line/Foreground story/Plot A

Vs.• Subplot(s)/Relationship line/Background Story/Plot B

• Both Main and Subplot(s) have their own 3-act inner structure (developed throughout the overall 3-act structure) and alternate.



• Action line = series of events change on protagonist• External enemy/antagonist• More physical problem

• Relationship line = character relationships, internal changes• Through external behaviour of 2 (or more) chars.• Public interaction• Events in the action trigger conflict/problems in the

relationship line• Internal conflict



• Relationship line internal 3-act structure of its own• Status quo of relation (or lack thereof)• Disturbance start of OR new status of relationship• TP1 big obstacle in the relationship• Act 2 several more hurdles• TP2 lowest point in the relationship• Climax moment of truth = emotional peak

NOTE – In “some” films, major plot points and climaxes in AL and RL “may” occur in the same event/scenes


CHARACTER FUNCTIONS AND PLOT

Motivation Objectives (and threats) (goal-oriented

characters) Relationships with other characters Role of the back-story


TYPES OF CHARACTERS

PRIMARY CHARACTERS Protagonist(s)/hero Antagonist(ic force)/villain

SECONDARY CHARACTERS Helper(s)/sidekicks/allies Mentor Mentor antagonist Messenger/dispatcher

BIT PLAYERS Minor characters


TYPES OF CHARACTERS

PROTAGONIST(S) Usually (but not always) only one * Film=protagonist’s story shown through

normality/disturbance/course of action Both in AL and RL * (e.g. Thelma & Louise) On screen most of the time Most interesting/developed character, who changes

most (except for superheroes) Drives the action / makes decisions Active, rather than passive/reactive (or weak) POV/identification Conflict (from antagonist) Established before AL can start


TYPES OF CHARACTERSHELPER(S) Usually (current or soon to be) friends or relatives

or forced into role by events They help because they careMENTOR Knowledge, wisdom, skills, expertise to transmit They help because they canMENTOR ANTAGONIST (Usually) Enigmatic/unpredictable/eccentric/dominant

outsider Wisdom born of pain Most interesting character when protagonist weaker or

passive Passive protagonist is in jeopardy Mentor antagonist causes and drives adventure

Does not change or grow No identification/POV


TYPES OF CHARACTERSANTAGONIST(S) Create conflicts, cause trouble major life change for

protagonist Wishes (at least initially) directly opposed to protagonist’s

One protagonist, but 2 or more antagonists At least one in AL (external enemy) One in RL (it can change over time) (internal conflict) Major and minor Human / non-human force (nature, social, etc. BUT human

agents) Enemies BUT also lovers/friends/relatives, etc.

AL antagonists Change little, barely stoppable Major AL antagonist(s) + minor agents (due to physical

distance) RL antagonists

Allow protagonist’s thoughts/plans/feelings to be known (via dialogue)

Usually end up friends/allies Prude/meek turns hero/aggressive (usually women)

extreme change in Act 2 unpredictability


CHARACTERIZATION

In film, a character IS what it DOES (or might do) Not what it observes Not what it thinks

What do you know about a character from their actions?

How would it react to: fear, danger, love, aggression, temptation, etc.?

What would it never do?


CHARACTERIZATION

Character chart Public life Private life Inner life Past and present

This can be done as a dossier describing a number of distinctive traits


CHARACTERIZATION

Ontologic traits (nature) Cultural traits (nurture + experience)

Present life of character = Now


ONTOLOGIC TRAITS (nature)

Gender: different attitudes, cultural reception

Race: upbringing, education, social life, aspirations

Class: lifestyle, income, ideology

Family: childhood/youth, relationships, personality

Name: identity, symbolism

YOU HAVE TO KNOW!


CULTURAL TRAITS (experience) Education: (linked to class, occupation), impact

on social life

Abilities (or inabilities): potential actions (audience wanting to know more)

Own family: husband/wife/partner, children, relatives conflicts (whatever resolution we have, it will affect relationships)

Sexuality: orientation (hetero, homo, bi, trans); attitude (choice of partner and sex life + ideology and morality in society); political sexual awareness; functional to story

Back-story: what happened to the character before the story begins (‘now’); affects what the character is and does now


NOW

Age: feelings, attitudes, relationships, abilities, possibilities, beliefs

Occupation: personality, desires, aspirations/ambitions, frustrations, assumptions (research)

Friends and enemies: relationships, action

Appearance: impression on others, physical details (body, face, hair), clothes psychology of character casting


NOW

World view: attitude, behaviour, conflicts, relationships, change

Beliefs: religion, faith, politics, ideals, ethics, morality (may drive the action)

General manner: serious, light-hearted, careful, arrogant, humble, whimsical, ecc.

Sense of humour: say and do + appreciation or not, type of humour, purposes


NOW

Tension levels: from complete relaxation to max tension (attitude towards life or reaction to situations)

Language: background, gender, sex, race, geography, style of speech (coherence, colour, verbal tics)

Pastimes and passions: what characters love doing or look forward to

Self-delusions: vulnerability, empathy


CHARACTER - SUMMARY

Ontologic: gender, race, class, family background, name

Experience: education, abilities, own family, sexuality, back-story

Now: age, occupation, friends/enemies, appearance, world view, beliefs, manners, sense of humour, tension levels, language, pastimes/passions, delusions


CHARACTERIZATION

Ontologic traits (nature) Cultural traits (nurture + experience)

Present life of character = Now

BUT

Script Character’s arc challenge/change?


CHARACTERIZATION

CHARACTER’S ARC

Protagonist’s (and other characters’) internal journey Emotional Psychological Spiritual

Caused by (and in response to) events in both the AL and RL

Throughout whole film Setting (furthest point from change) Climax (moment of final change)

The bigger the arc, the more dramatic the film


THE FULL MONTY – ACTS 1, 2 & 3

Reversal Big climax (hint at resolution)

TP375 80 85


DYNAMICS – Throughlines

Jobless

Pride

Custody (Inciting)

Allies

Training

Money upfront

Money found

Arrested

Sold out

Stage fright

Stripped


CHARACTERS & THEMES

Theme: dishonesty

Lejos Egri: Problem? Consequences?

“Dishonesty leads to exposure”1. Dishonesty

2. Leads to

3. Exposure

Open theme: questions and arguments about it unanswered (?) ambiguity

THROUGH: characters’ growth (what have they learnt) + subplots (what they could lose) + plot resolution (values embraced)


THE FULL MONTY - THEMES• Cultural stereotypes on men and women (challenged and reversed)

• Old role of men as breadwinners• Men are repressed, inexpressive and deceptive• Self-defeating, disappointing as fathers/husband• Cross-section representation: labour/management,

white/black, hetero/gay, lean/stout, older/younger• Gaz is the protagonist, but plot(s) and

shared problems make the story focus on men in general

• Women are pragmatic/practical• Women as the new breadwinners

• Reversal of stereotypes (and plot)• In order to succeed in their goal, men must

emulate what women used to do


THE FULL MONTY Q&A

• Whose story is this?• What have our protagonists got to gain or

lose? • What do they want?• What do they do to get it? • What do they do when they don’t get it (the

stripping gig)?• What do they get when they get it?• How do the audience feel?


HOMEWORK FOR WK 4

SEMINAR- Watch/Analyse Jane Campion’s “The Piano”- Prepare presentations (booked students)

- Story elements- 3-act structure (both action and relationship lines)- Characters (functions, arcs, dynamics, etc.)- Themes and symbolism

LECTURE- Watch “Shrek 2”


u64006 introduction to screenwriting

Documents

end of act

startu64006 introduction

eventscenesu64006 introduction

storyu64006 introduction

action lineu64006 introduction

inner structure

problemmain plot

hurdlestp2 lowest point