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Want to know some of the things to avoid when creating the climax to your screenplay? Over the next couple of posts we’ll be taking a look at the endings of some popular films and how not to make the same mistakes they did.

The final sequence and climax are the single most important parts of a screenplay—the culmination of the protagonist’s journey embarked on in Act 1, and the final release of dramatic tension.

Whoever the hero is at the beginning, they become the opposite at the end. So, the climax is inextricably linked to theme. At this moment, the audience sees how the film’s events have changed the protagonist for better, or worse. This means it is vitally important that the goal established at the end of Act 1 is resolved in the climax at the end of Act 3.

Get this wrong and it splits the hero’s goal, confusing the thematic conflict in the film. Despite this knowledge, even leading Hollywood writers persist in giving their heros an initial goal but an unrelated climax.

Here are a few examples of what not to do. (Beware, movie spoilers ahead!)

High Fidelity

The film opens with Rob (John Cusack) being dumped by his girlfriend, Laura. His goal throughout the film is to find out why he keeps getting dumped and to win her back. (OK) He achieves this, by the end of the film (Great) but not at the climax. (Hmmm)

For some peculiar reason, the writer’s decided to make him get back together with her at the end of Act 2, at her father’s funeral. Then, after a Rob and Laura in Love montage, we see him sitting in a diner, grumbling about how he had everything he ever wanted, but for some reason still wasn’t happy.

Whether the writers were trying to break the mould, or just trying to reinforce just how much of an idiot Rob is, I’m not sure. Either way, it doesn’t work. The main dramatic question established in Act 1, (in this case, getting back with Laura,) has to be answered at the climax. If not, what happens in the final 15 minutes? Besides wanting to reaching into the screen and strangle John Cusack?

Well, Rob flirts with another woman whilst trying to make his mind up whether he actually wants to be with Laura. This means his initial goal—wanting desperately to get back with her—is split. When he does eventually win her back, it turns out he doesn’t know if he really wants her, thus creating a new dramatic question, separate from, and after the goal’s resolution.

Click here for part two on how to end a script.

“Screenplay structure kills creativity!” is a cry we often hear from aspiring writers. Along with, “Hollywood films are so bad because they’re all the same, following the same tired old structure.”

We can certainly sympathize with those who bemoan the fact that every tutor and book they come across seems to want to turn them into a screenwriting robot. From Truby and his 22 steps, to Snyder and his beat sheet, it can feel like every page of your story has to hit a certain number. And if your 2^nd act climax doesn’t hit page 75 exactly, all is lost!

What’s the point of calling yourself a writer if all you are doing is filling in the blanks on a numbered pre-determined list of events? It seems so, mechanical.

Look at films like Lost in Translation. Or In Search of a Midnight Kiss—two successful films following two people around a city, chatting. Where’s the formulaic structure there? And they got made, right? Surely, structure’s over-emphasized?

Ultimately, as anti-creative as it appears, mastering structure is essential to writing an entertaining script and, in turn, being enjoyed by a reader. And creative screenwriting is certainly possible within fairly strict structural guidelines.

That’s because these semi-fixed structural reference points provide a naturalistic ebb and flow—an up and down in the fortunes of the hero, essential to maintaining audience attention and maximizing their emotional connection to the story.

Seemingly avant garde modern Indies like Lost in Translation, or In Search of a Midnight Kiss do not break any structural rules. In fact, they hit exactly the same story beats as any Hollywood blockbuster, only in a more subtle way.

In Search of a Midnight Kiss (92min)

Call to Action: Vivian calls Wilson (12min)

Act One: Wilson’s date starts with Vivian (25min)

Midpoint: Wilson & Vivian fall out (50min)

Act Two: Wilson & Vivian kiss at midnight (75min)

Climax: Vivian leaves Wilson (88min)

The truth is, whether you want to write a Hollywood blockbuster or sleeper indie hit, you’ve got to write a script that conforms to the rules.

Click here for part two on being creative in your screenwriting while still following the rules.