Script Reader Pro

Welcome to part two of our how to master screenplay structure posts. Let’s take a look at There’s Something About Mary as an example. In the scene in which Ted is questioned by the police over the highway murders should read something like this:

“At a police station, Ted is interrogated by two cops. Having found a body in his car they think Ted is a serial killer, but Ted thinks he’s been arrested for picking up the hitch-hiker.”

It’s always a good idea to start with a location, as in “at the police station” in order to establish the scene. Only the major beats of the scene need recording, so you should never write anything about how someone’s dressed, for example, unless it’s important to the story.

At the end of the film you should end up with an outline 3—5 pages long. The next stage is to break it down into its relevant acts and sequences. You can do this by double-spacing at the end of each sequence/act and writing the major plot points in bold directly onto the outline.

For example, at the end of Act Two in There’s Something About Mary, you could write:

“Ted comes home to find Mary sitting with a letter. She asks if he hired Healy to spy on her. He admits it and she shouts at him to get out. Ted leaves and opens a note with an address on it.” (Act Two Climax)

The more outlines you write of films in any genre, but particularly the one you’re interested in writing for, the better. You will soon not only start to gain more of a sense of structure but also of characterization, scene construction, dialogue etc. because you are being forced to watch films critically and not just for enjoyment.

Purchase our Hit Me Where It Hurts Development Notes for a full analysis of your screenplay structure.

But what exactly are the rules?

The confusing thing is that there are many different rules and theories expounded by many different tutors. Some say the end of the first act has to happen on page 17, while others say between 20 and 25. Some say a script is definitely made up of 7 sequences, while others say 12, or more.

The truth is no one is right. They are all right according to their own interpretation and therefore structure should be approached as a guideline, not a rigid formula set in stone.

It is important, however, to absorb as many of the different theories as you can in order to fully understand the general principals of structure. The more theories you read, the more you realize they are all saying essentially the same thing, only in a different way. Despite what some gurus say, page numbers should only be seen primarily as a guide, so don’t get too hung up about hitting them on the head.

The old adage applies of only being able to break the rules once you’ve mastered them. The New Wave and Neo-Realist auteurs only made anti-structural avant garde films after mastering Hollywood techniques earlier in their career. Much in the same way as Picasso started out as a traditional artist.

If, on the other hand, you want to independently produce and finance a film without any of the structural conformities required by Hollywood, do so. But do so as a labour of love, without any career aspirations attached, because the chances of your work being seen by anyone outside of your immediate family are extremely slim.

Scenes do, in fact, contain three acts, just like sequences, acts and the screenplay as a whole. Focussing on a scene’s three act structure, focuses on its conflict—a protagonist who wants something and an antagonist who tries to prevent them getting it.

Each scene then plays out as a “mini movie,” with a set up, “act one” major turning point, development, midpoint, complication, and climax. Not forgetting the hook that takes us to the next scene.

The set up usually concerns the previous scene. Then comes the “act one” turning point which kicks the scene into gear and establishes the conflict—who wants what, and what’s stopping them getting it?

The conflict rises—each new beat introducing a different obstacle to the climax. Often, the midpoint, (reversal) is the climax, or leads directly to the climax. Finally, at the resolution we have a hook which leads directly to the next scene.

Of course, sometimes not all of the beats are present, for example, in “show-stopper” or “transition scenes.” However, every scene should contain a protagonist, antagonist, goal, reversal, climax and a hook.

Keeping this three act paradigm in mind when writing scenes will raise the conflict and keep them lean, clean and on the money. Right where you want them.

In this post we’ll continue our look at writing the perfect ending to your screenplay by looking at some popular films and what they did wrong!

Million Dollar Baby

Again, this film takes a turn for the worse at the Act 2 climax. In this case, Maggie, (Hilary Swank) receives a surprise punch in the ring, cruelly ending her boxing career. Up to this point, her goal has been to overcome her trailer trash upbringing and make something of herself as a prizefighter. She’s helped by a mentor, Frankie (Clint Eastwood) who starts guiding her to victory after the midpoint. But what happens in the final sequence?

Well, Maggie spends Act 3, lying inert in a hospital bed with a broken neck. The question of whether Maggie will or won’t make it as a fighter is replaced by whether Frankie will or won’t help her to die. This not only splits the main goal of the film but the theme as well. “It takes courage to reach the top,” morphs into, “When the going gets tough, give up.”

To further complicate matters, Frankie shifts into the role of main protagonist. He is now the one driving the action and who has to decide whether or not to fulfill her wish to die. So, again, the climax fails to answer the dramatic question posed in Act 1.

Anything by Judd Apatow

A frequent result of films with unrelated goals and endings is that they seem to go on forever. A speciality, it seems, of Mr. Apatow.

Well written comedy scripts are usually between 90—100 pages. But, because Apatow is revered as the new “King of Comedy,” he gets to do special things, like ignore advice from all his associates and stretch all of his films out way past the point anyone still cares what happens.

So, after the first 100 minutes of Knocked Up, wondering whether Katherine Heigl will stick it out with Seth, we get another half hour watching her give birth. Again, splitting the initial goal and climax.

The 40 Year Old Virgin also outstays its welcome, thanks to extended scenes and sequences, as does Funny People which comes in at a whopping 146 minutes. (Or 153, if you’re lucky enough to catch the unrated version.)

Don’t try this at home. Judd Apatow has already made it. He can do what he wants; but a struggling writer trying to break in should probably stick to one of the unwritten rules of comedy—keep it short.

Want to know more about how to end a script? Or more specifically, your script? Order one of our Services and get an in-depth analysis on your work.