Please bear in mind that an idea or series of scenes should drive the need to plan a script as a whole, not the other way around. By starting with a script plan us writers will tend to join the dots rather fluidly. Whilst this might seem organic we are actually resolving the problem of getting from A to B with the first solution that pops into our heads - which is obviously not always the best.
However, once you have a strong idea (I will not be blogging about how to have ideas - that is all down to you!) and a few key killer scenes its time to start looking at how to link it all together. To many of you this may all seem a little pedestrian, but I intend to build my blog up from solid foundations. So here goes…
Most are aware that scripts are broken down into three acts (cleverly named acts 1, 2 and 3 - typically in that order). Many prefer to structure as act 1, 2a, 2b and 3, since act 2 should be as long as 1 and 3 together and the midpoint of the story (slap bang in the middle of 2) is one of the more significant components of any script.
The first step to structuring these acts is to answer the following questions. If you can not answer these, your script will get nowhere:
- What does the protagonist WANT? In Act 1 of the story we should encounter the protagonist in their typical environment and there should be something they perceive to be missing from their life.
- What would MAKE the protagonist pursue their desire? There must be a reason why the protagonist has not chased their dream prior to the beginning of the story, how do we remove this barrier and send them on their journey? This forms Plot Point 1 (at the end of Act 1).
- What does the protagonist NEED? Every successful story ever written is about the protagonist finding out “who they really are”. This, put simply, is about them changing from pursuing what they desire, to what they need.
- How do we make the protagonist realise this NEED? This typically happens at the Midpoint (at the end of act 2a) and is revealed when the protagonist obtains their desire (or thinks they do) and is forced to face the reality of their needs. This is also the element that highlights the main character flaw. E.g. protagonist obtains great wealth (desire) but it costs them the respect of a loved one (need).
- How can this NEED be taken from the protagonist? At the end of Act 2b comes Plot Point 2 the low point in the protagonist’s journey. Having identified their flaw, and what they need in life, it is taken from them. The antagonist (not necessarily a tangible entity) strips away all the needs and desires and leaves the protagonist feeling like he has less than when the story started. However, the important lesson, brought about by the Midpoint means the protagonist is a changed (improved) person.
- How can the protagonist get both what they WANT and what they NEED? The change in the protagonist should give them the strength to take on the antagonist in the climax of the story (the bulk of Act 3). A good story will allow the protagonist to defeat this obstacle and be rewarded for their improvement as a person with both their needs and desires.
So in summary, scripts should be structured thus:
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