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Following on from our blog writing a scene in three acts, today we’re discussing writing a scene in one and half acts. Shorter, sharper and more to the point, this structure is the most common found in scenes.

As we described in our previous blog, the scenes reserved for the three act structure are usually the big emotional and / or turning point scenes. When the boy meets or loses the girl, when the adventurer hears about the quest, when the murderer is revealed etc.

So, what is a one and half act scene? These are scenes that follow the three act structure but get out at the midpoint. They contain the same pattern of Establishing, Call to Action, Big Event, but then, right after an unexpected twist or reveal at the Midpoint, they skip the All is Lost moment and go straight to the Climax.

Here’s a couple of examples:

In Rocky, when Rocky’s told by the promoter that Apollo Creed wants to fight him:

Establishing—Rocky is shown in by the receptionist

Call to Action—The promoter says he has a proposition

Big Event—He tells Rocky Apollo Creed wants to fight him

Midpoint—“It’s the chance of a lifetime. You can’t pass it by.”

Climax—Rocky thinks…

In Wedding Crashers, when John realizes Gloria’s a virgin:

Establishing—John and Gloria in bed, post sex

Call to Action—Gloria says nonchalantly it was her first time

Big Event—John confirms she was a virgin

Midpoint—Gloria says “I love you.”

Climax—CU: John’s horrified face

Writing a scene using these beats, whether it’s the full three acts or one and a half acts, really helps tighten them up, focuses the action and makes for leaner read.

See you on our next screenwriting blog post!

Often overlooked in the rush to create the perfect plot, great characters and snappy dialogue, is that little nugget of dramatic action—the scene.

Knowledge of how to construct a scene is just as important as the knowledge of how to construct a screenplay, write dialogue or make the characters believable. Simply put, scripts by writers who know how to write scenes are always going to be superior to scripts by writers that don’t.

The ability to craft a scene is a skill within itself. Without the capacity to write tight, well constructed scenes that push the story forward, a script will always struggle to excite the reader and make he or she want to turn the page.

There are three primary consequences of an inability to write scenes: a) scenes are too long, b)  they’re too many scenes, and c) many scenes serve no real purpose. However, all of these problems can be easily eradicated with a sound grasp of scene construction.

Some (but by mo means all) of the major tutors have words to say about scenes. Syd Field writes about shaping the context and content of a scene, while Robert McKee pontificates on beats and the need for a scene to change value. Most point out that every scene needs to move the story forward and/or reveal character.

While all of these points are true, there is actually a simpler method to creating great scenes. Yes, it’s that old chestnut—the three act structure…

Click here for part two on How To Write A Scene.