yeehi
09-29-2006, 12:42 AM
Hello!
I thought it would be good practice (and good fun) to work on outlining, and read some outlines by other people. Deus Ex Machine has made some great posts on this subject.
Rules:
1
Go to the random logline generator linked below and generate a workable random logline.
http://www.lifeformz.com/cgi-bin/idea/idea.cgi
2
Using the randomly generated logline as your base, provide an outline for a script with a 3 Act structure.
3 The outline should be broken into the following 15 parts, as described by Deus Ex:
ACT I
i Set Up
ii Catalyst
iii Opportunity/Problem
iv Incitement
v Turning Point
ACT II
vi Progress
vii Metaphor
viii Point Of No Return (PONR)
ix Post Point Of No Return (PPONR)
x Complication
xi Culmination
xii Defeat
ACT III
xiii Plan B
xiv Confrontation
xv Denoument
4 Copy/Paste the format indicated above with a line or two, perhaps a paragraph, for each section indicating what happens.
5 Upload a picture that could be used as the basis for a poster for your movie outline
6 The Challenge will close at the end of October.
7 I am excerpting brief definitions of the phrases used from the thread linked below, where you can find a worked example. The numbers refer to page numbers in a typical script where the various sections would likely be found:
http://messageboard.donedealpro.com/boards/showthread.php?t=24081
Good Luck! :)
Guidance on Outline Terms:
ACT ONE
THE CONDITION OF THE ACTION
SETUP: CHARACTER WITH A PROBLEM (1-12)
Establishes who the main character is and what the character’s internal and external problems are. Also establishes the setting, period, tone, style and point of view of the story.
CATALYST (3)
The SETUP: CHARACTER WITH A PROBLEM sequence usually contains the CATALYST which is the first hint of what the main dilemma will be because of the first, usually innocuous, moment where the plot begins to act on the character and launch the story.
NEW OPPORTUNITY / PREDICAMENT (12-17)
Establishes a new problem which steers the story in a new direction and hints at bigger obstacles to come as the hero struggles to deal with the new disruption to his life.
INCITING INCIDENT (17)
The NEW OPPORTUNITY / PREDICAMENT sequence usually contains the INCITING INCIDENT which is the first significant event where the plot overtly acts on the character and completely disrupts and alters the characters life. The Inciting Incident contains the roots of the cause of the action.
CAUSE OF THE ACTION
TURNING POINT: POINT OF ATTACK (17-30)
An event caused by the antagonist that forces the character to take new action to "attack the problem" that defines the hero’s general wants/needs into a specific goal and sends the story in a new direction. The CAUSE OF THE ACTION is an action taken by the hero which raises the Major Dramatic Question that is the primary concern of the plot.
ACT TWO
THE ACTION
PROGRESS: NEW HIGHER OBSTACLES (30–60)
The hero makes progress toward their goal. There are new conflicts and higher obstacles introduced that places the character’s success in doubt.
Each beat puts the MDQ in doubt
MOVING FORWARD METAPHOR: ARC DEFINITION (45)
The PROGRESS: NEW HIGHER OBSTACLES sequence usually contains the MOVING FORWARD METAPHOR: ARC DEFINITION which contains overtones about the character’s growth and hints at the outcome of the story.
POINT OF NO RETURN: LOW POINT (60)
The POINT OF NO RETURN is a point in the story where the hero is confronted with an obstacle that is so large that if he continues he will risk so much that he will be unable to go back to the relative safety he was in before and must follow his new path to its inevitable conclusion. It’s a point of decision and action that defines a very low point in the story where any hope of success for the character seems small and the answer to the MDQ is in doubt.
POST POINT OF NO RETURN (60+)
A beat immediately after the POINT OF NO RETURN that doesn’t necessarily advance the story but it does illustrate the character’s change because of the PONR. This beat is usually an up beat to contrast the down beat of the PONR.
COMPLICATIONS, HIGHER STAKES AND SUBPLOTS (60-75)
The goal is harder to achieve than the hero thought and is tested more than he ever expected. Subplots develop and further complicate the hero’s path to his goals and raise the stakes.
CULMINATION TOWARD THE MAIN PLOT (75-90)
The conclusion of one dramatic tension and the start of a new one. The hero moves inexorably closer to his goal and discovers new info and better understanding of the nature of the opposition before him. The antagonist is aware of the hero’s actions and takes actions to prevent the hero from learning the truth about the conflict and obstacles the hero is trying to overcome. The focus shifts from subplots to the main plot.
APPARENT DEFEAT (90)
The greatest set back of the story for the hero. It appears as if achieving the goal is impossible but the hero has no choice but to try because he will have an even worse fate should he abandon his quest now. The hero’s internal needs/flaws are confronted defining the hero’s arc.
ACT THREE
RESULT OF THE ACTION
NEW PLAN (90-109)
The hero discovers a hidden truth about the nature of the obstacle and conflict to his goal which sets a new path for the hero that will lead to an inevitable conclusion and answer the MDQ.
FINAL CONFRONTATION (109-115)
The hero has reached the end of the path that has brought him to his goal. The only thing standing in his way is one obstacle that is greater and unlike any faced before. In this moment the hero must finally confront his internal flaws/needs and be changed in order to achieve the external goals and finally answer the MDQ.
DENOUEMENT AND RESOLUTION (115)
The final outcome of the story and how the hero’s life has been changed because of it.
I thought it would be good practice (and good fun) to work on outlining, and read some outlines by other people. Deus Ex Machine has made some great posts on this subject.
Rules:
1
Go to the random logline generator linked below and generate a workable random logline.
http://www.lifeformz.com/cgi-bin/idea/idea.cgi
2
Using the randomly generated logline as your base, provide an outline for a script with a 3 Act structure.
3 The outline should be broken into the following 15 parts, as described by Deus Ex:
ACT I
i Set Up
ii Catalyst
iii Opportunity/Problem
iv Incitement
v Turning Point
ACT II
vi Progress
vii Metaphor
viii Point Of No Return (PONR)
ix Post Point Of No Return (PPONR)
x Complication
xi Culmination
xii Defeat
ACT III
xiii Plan B
xiv Confrontation
xv Denoument
4 Copy/Paste the format indicated above with a line or two, perhaps a paragraph, for each section indicating what happens.
5 Upload a picture that could be used as the basis for a poster for your movie outline
6 The Challenge will close at the end of October.
7 I am excerpting brief definitions of the phrases used from the thread linked below, where you can find a worked example. The numbers refer to page numbers in a typical script where the various sections would likely be found:
http://messageboard.donedealpro.com/boards/showthread.php?t=24081
Good Luck! :)
Guidance on Outline Terms:
ACT ONE
THE CONDITION OF THE ACTION
SETUP: CHARACTER WITH A PROBLEM (1-12)
Establishes who the main character is and what the character’s internal and external problems are. Also establishes the setting, period, tone, style and point of view of the story.
CATALYST (3)
The SETUP: CHARACTER WITH A PROBLEM sequence usually contains the CATALYST which is the first hint of what the main dilemma will be because of the first, usually innocuous, moment where the plot begins to act on the character and launch the story.
NEW OPPORTUNITY / PREDICAMENT (12-17)
Establishes a new problem which steers the story in a new direction and hints at bigger obstacles to come as the hero struggles to deal with the new disruption to his life.
INCITING INCIDENT (17)
The NEW OPPORTUNITY / PREDICAMENT sequence usually contains the INCITING INCIDENT which is the first significant event where the plot overtly acts on the character and completely disrupts and alters the characters life. The Inciting Incident contains the roots of the cause of the action.
CAUSE OF THE ACTION
TURNING POINT: POINT OF ATTACK (17-30)
An event caused by the antagonist that forces the character to take new action to "attack the problem" that defines the hero’s general wants/needs into a specific goal and sends the story in a new direction. The CAUSE OF THE ACTION is an action taken by the hero which raises the Major Dramatic Question that is the primary concern of the plot.
ACT TWO
THE ACTION
PROGRESS: NEW HIGHER OBSTACLES (30–60)
The hero makes progress toward their goal. There are new conflicts and higher obstacles introduced that places the character’s success in doubt.
Each beat puts the MDQ in doubt
MOVING FORWARD METAPHOR: ARC DEFINITION (45)
The PROGRESS: NEW HIGHER OBSTACLES sequence usually contains the MOVING FORWARD METAPHOR: ARC DEFINITION which contains overtones about the character’s growth and hints at the outcome of the story.
POINT OF NO RETURN: LOW POINT (60)
The POINT OF NO RETURN is a point in the story where the hero is confronted with an obstacle that is so large that if he continues he will risk so much that he will be unable to go back to the relative safety he was in before and must follow his new path to its inevitable conclusion. It’s a point of decision and action that defines a very low point in the story where any hope of success for the character seems small and the answer to the MDQ is in doubt.
POST POINT OF NO RETURN (60+)
A beat immediately after the POINT OF NO RETURN that doesn’t necessarily advance the story but it does illustrate the character’s change because of the PONR. This beat is usually an up beat to contrast the down beat of the PONR.
COMPLICATIONS, HIGHER STAKES AND SUBPLOTS (60-75)
The goal is harder to achieve than the hero thought and is tested more than he ever expected. Subplots develop and further complicate the hero’s path to his goals and raise the stakes.
CULMINATION TOWARD THE MAIN PLOT (75-90)
The conclusion of one dramatic tension and the start of a new one. The hero moves inexorably closer to his goal and discovers new info and better understanding of the nature of the opposition before him. The antagonist is aware of the hero’s actions and takes actions to prevent the hero from learning the truth about the conflict and obstacles the hero is trying to overcome. The focus shifts from subplots to the main plot.
APPARENT DEFEAT (90)
The greatest set back of the story for the hero. It appears as if achieving the goal is impossible but the hero has no choice but to try because he will have an even worse fate should he abandon his quest now. The hero’s internal needs/flaws are confronted defining the hero’s arc.
ACT THREE
RESULT OF THE ACTION
NEW PLAN (90-109)
The hero discovers a hidden truth about the nature of the obstacle and conflict to his goal which sets a new path for the hero that will lead to an inevitable conclusion and answer the MDQ.
FINAL CONFRONTATION (109-115)
The hero has reached the end of the path that has brought him to his goal. The only thing standing in his way is one obstacle that is greater and unlike any faced before. In this moment the hero must finally confront his internal flaws/needs and be changed in order to achieve the external goals and finally answer the MDQ.
DENOUEMENT AND RESOLUTION (115)
The final outcome of the story and how the hero’s life has been changed because of it.