Sequencing Method

[Bono]

I was wondering if anyone uses this to write?

Somehow I missed this until recently...

I did a search on it, but most of the posts here seem to be outdate and the links are dead.

It seems that pretty much Act I (2 sequence) Act II (4 sequences) and Act III (2 sequences).

8 mini movies.

I guess I kind of did that now. I remember some book saying, maybe Syd Field that every 15 pages something major should happen to keep us on track.

Love to know more about from those you used it.

Right now I'm really enjoying Save the Cat (even though nothing is perfect).

[Naudikom]

My own personal way of looking at it, there are 5 sections.

First section - appx. 1-12, setup to inciting incident
Second section - appx 13-30 from inciting incident to plot point 1
Third section - appx 30-60 from plot point 1 to midpoint
Fourth Section - appx 60-90 from midpoint to plot point 2
Fifth Section - big finish

[dpaterso]

You've pretty much summed it up, Bono.

I've had a couple of scripts work out well when I've written the equivalent of 8 loglines, one for each sequence, and used these as my outline (I added them as script notes at the top of each sequence, which gave me clear direction).

-Derek

[La Femme Joyeuse]

I wouldn't write without the sequence method. It literally changed my writing life forever. I have cut and pasted part of a post about it on the Rouge Wave: (http://rougewave.blogspot.com/2007/05/sequential-narrative.html)

The 12 Sequence Outline:

Imagine that each sequence in your script describes approximately 10 pages of material (ten minutes of screen time) and that your script is about 100 to 115 pages long (work with me people; The Wave-inatrix is quite loathe to set down rigid numbers on topics like these as there are always variants by story and by writer. So these numbers are flexible and approximate):

ACT ONE: 30 pages
Sequence One: 1-10
Sequence Two: 10-20
Sequence Three: 20-30 – first plot point or pinch

ACT TWO: 60 pages
Sequence Four: 30-40
Sequence Five: 40-50
Sequence Six: 50-60 – the midpoint
Sequence Seven: pages 60 to 70
Sequence Eight: pages 70 to 80
Sequence Nine: pages 80 to 90 – the second plot point or pinch

ACT THREE: 10 to 15 pages
Sequence Ten: pages 90 to 95
Sequence Eleven: pages 95 -100 – climactic ending
Sequence Twelve: pages 100 to - fill in blank – the tag

Okay so immediately you’ll notice that sequences 11 and 12 don’t have ten pages; here is a good place to note that while generally each sequence will have about ten pages, the further you go along in your script, the more compressed each sequence becomes.

[Terrance Mulloy]

I seem to just blurt out the first draft - using a very loose outline, which I refine after after I've completed the first draft. But I keep a sort of mental note in the back of my head regarding where acts end and major plot points etc.

I'm one of these writers who likes to have a general idea of where I'm going, but still likes to discover things along the way. I don't like to be bogged down with too much structure.

Different strokes I guess.

[seh]

When I asked Deus (pro writer Jay Simpson) about this on twoadverbs, he told me that in each sequence, the protag has a mini-goal. It was a Eureka moment for me, changed the way I write. All of a sudden my middle acts didn't die, nor were they padded. All of a sudden my protags were active, not passive.

[EJ Pennypacker]

I hope Han Shot First chimes in on this thread because he swears by the 'sequence method'. I think he posts about it over at 2A in more detail in this recent 'sale' thread.

For me, the sequence method (eight) is pretty much fool proof for writing that structrally perfect script. It's like using the HERO'S JOURNEY for plotting. But the good thing about sequencing is that is can be used for any story, not like HERO'S JOURNEY which is just for that myth based story.

EJ

[seh]

Here's the book that most (and I think Han is one of them if I recall correctly) recommend when talking sequence:

http://www.amazon.com/s/ref=nb_ss_gw?url=search-alias%3Daps&field-keywords=screenwriting+the+sequence+

I ordered it yesterday.

[yeehi]

One reason the sequencing method is useful is that it allows for incremental development of your story.

Nobody writes 110 pages in one session. You need to break the job into parts.

You start off with a high level of granularity and an abstract notion, for example, it is a comedy set in a custard pie factory. If you don't like that idea, you can rapidly and easily change it, because at the moment, it is just one big granule. Lets say you do change your mind: a tragedy set in a custard pie factory. Yes, that works better.

Making changes at this level saves a lot of work later!

The incremental feature of the Sequencing Method means that you know what to do next: break the story from one granule into smaller pieces. You won't grind to a halt, because you know in principle what needs to be done.

You outline your sequences, and then break them into smaller units, adding greater detail and more concrete ideas as you progress.

I think training oneself to be able to go from an initial idea, like being trapped on a custard pie (http://youtube.com/watch?v=LBZ5UroRb2I) desert island, to a complete story outline with fleshed out sequences is important for a screenwriter.

[stvnlra]

I'm a devotee of the sequence method too. I use it to outline all my scripts.

I blogged about this recently, giving various links. A link to Julie's article is there & I mention Gulino's book.

http://writing-building.blogspot.com/2008/04/sequence-method-links.html

Get as much info as you can & experiment. This method can be extremely helpful if you find organizing, structuring & plotting difficult-- and who doesn't? :D

[La Femme Joyeuse]

It really has been the best thing for me, this sequencing. It guarantees you'll never have a dull page because whether you use 8 sequences or 12, you are crafting what they call at USC, "mini-movies" with a beginning, middle and end, with a mini-goal for your main character and with tension built right into it. Each sequence leverages you into the next sequence. You can also pick up whole sequences and see if that sequence might play better at a different point in the script.

I was at a lecture at UCLA, given by one of the co-writers of Monster's Ball and he said something that further inspired me, which is to give each sequence a title, sort of like a dvd chapter title. That helps me stay focused on what the goal and entertaining essence of that sequence is.

[sc111]

It really has been the best thing for me, this sequencing. It guarantees you'll never have a dull page because whether you use 8 sequences or 12, you are crafting what they call at USC, "mini-movies" with a beginning, middle and end, with a mini-goal for your main character and with tension built right into it. Each sequence leverages you into the next sequence. You can also pick up whole sequences and see if that sequence might play better at a different point in the script.

I was at a lecture at UCLA, given by one of the co-writers of Monster's Ball and he said something that further inspired me, which is to give each sequence a title, sort of like a dvd chapter title. That helps me stay focused on what the goal and entertaining essence of that sequence is.

I agree. Getting adept at sequences keeps you focused.

But I luvvv that title-the-sequence tip. Even better.

[Robot17]

Good thread people.

[La Femme Joyeuse]

I agree Boski but in my case, I really didn't understand the sequential narrative (sequence system) and when I finally figured it out, it was like, EUREKA!! I wish I had known it from script #1, but I guess there is a natural evolution to most everything....

[WritersBlock2010]

Sequence method is most visible in action movies because of... Well, the action sequences.

If you want to see the Sequence Method in the flesh look no further than all your "Die Hard" movies:

-Under Siege
-Air Force One
-The Rock

It's as plain as day if you know what to look for because each action sequence is a mini-movie of the good guy(s) struggling to accomplish something immediate while trying to rescue the hostages and retake the building/island/plane/boat/train (the overall goal).

Action movies in general seem to lend themselves more naturally to the sequence method than other kinds of movies...

BUT as has been stated, Sequence Method is much more universal and can be used with dramas, comedies, and any kind of genre you want to write if you know how to use it properly. This is also what most beginners lack a lot of times more than any other singular element: Mini-movies and dramas that keep the narrative engaging to a reader and the narrative moving forward.

[Bono]

Great stuff people. Thank you.

stvnlra - going to read your post now that links to La Femme's post... and so on. That should keep me busy.

I was reading the Screenwriting: The Sequence Approach at a local bookstore. Seemed good, but also short in terms of explain the process. But he did go on to break down I think 8 movies using it, so that's cool. But not sure it's a book I need to have as much as a technique I need to learn how to use.

EJ had another thread about this and it was mentioned here... what about Chris Soth "mini movie method" ebook... Did La Femme just spill the secret? Anyone read it?

[La Femme Joyeuse]

Soth is a USC alum and he learned the "mini-movie" thing there, I believe. We were booth-mates at the Expo last year and we spent a lot of time talking about the "mini-movie"; it's genesis, provenance, etc. But I was giving away free candy so I might have been sugar-high :o

[Terrance Mulloy]

I've written two scripts that were laughable. And it was a struggle, even adhering to the broad 3-act structure. Think I'll give this sequencing/min-goal technique a go. I'm new to writing screenplays, so I'll give anything a go. As long as it helps me write a better script.

[WritersBlock2010]

I've written two scripts that were laughable. And it was a struggle, even adhering to the broad 3-act structure. Think I'll give this sequencing/min-goal technique a go. I'm new to writing screenplays, so I'll give anything a go. As long as it helps me write a better script.

All it is little mini-movies that are about 10 pages each. That means a 110 page screenplay is just 11 mini-movies/dramas. 90 is even shorter for obvious reasons. All you have to do is make sure your sequences hit your three act structure points and you will be fairly strong as far as the structural backbone of the script goes (a compelling and original narrative is something entirely different of course).

What is also interesting is some movies are actually written AROUND the action sequences (sequences of events) first. "Mission Impossible II" and the "Transformers" scripts were written AFTER the major action sequences were hammered out. I don't know if I agree with this method because the downside is it favors action over character development for obvious reasons. But then again, action movies are all about the action, so I guess it's par for the course?

Also, as a kind of tangent...

For those who are familiar with the three act structure all you really need to hit on for it to be effective are these five points. At least, Michael Ardnt ("Little Miss Sunshine") feels this is all you need:

ACT I
-Inciting Incident (after the setup; takes the story in new direction)
-End of ACT I Turning point (no turning back)

ACT II
-Mid-Point (Something has happened by now; victories and defeats; Story can shift directions if needed)

-End of ACT II Turning point (All Hope is Lost Moment)

ACT III
-ACT III Reversal (leads into the climax, but there is a new problem that must be resolved that carries the third act until the end)

You can see how this is like a general "outline" for the Sequencing Method because it is the framework that shores up the mini-movies/sequences and makes sure they are always moving the story forward toward a logical and hopefully satisfying conclusion.

[stvnlra]

Here's a sample of what a sequence looks like when it's part of an outline.

This is the 2nd seq of P A Robinson's FIELD OF DREAMS as analized by Russin & Downs in their book Screenplay: Writing the Picture. I posted the entire breakdown on DD some time ago. You can also find it on my blog.

This seq is all neat & tidy and gives you a good idea of what a seq looks like with scenes. This represents 1 seq & the various (numbered) scenes that make up that seq.

When you write your own script you'll make up 8-12 of these sequences, add scenes, then add description and dialogue (not shown). The end result is a full length screenplay.

Note the title used here. Russin & Downs have named this sequence "The Voice"... All the scenes revolve around the event of Ray hearing The Voice for the first time which prompts him to build the field. (This seq also contains what is called "the Catalyst" in the traditional HWood 3 Act template.)

The next seq is called "Building the Baseball Field" and the action in that seq is a result of events & decisions in this seq. FofD has a linear chronology, so cause & effect is in a straight line, one event causes the next & so on...

SEQUENCE #2 “The Voice”

SCENE 1: EXT. CORN FIELD – NIGHT
Ray hears the voice for the first time. It says, “If you build it he will come.”

SCENE 2: INT KITCHEN – NIGHT
Ray is worried about the voice. Tells his wife about it.

SCENE 3: INT. BEDROOM – NIGHT
Ray hears the voice the second time.

SCENE 4: INT. KITCHEN DAY – DAY
Ray tells his daughter that people who hear voices are sick.

SCENE 5: INT. FEED STORE – DAY
Ray questions other farmers about hearing voices. They think he’s nuts.

SCENE 6: EXT. CORN FIELD – DAY
Ray hears the voice again. This time he gets mad. He sees the mirage of the baseball field.

SCENE 7: INT. LIVING ROOM - NIGHT
Ray tries to figure out what the voice means. He thinks that it might mean that if he builds a baseball field, Shoeless Joe Jackson will return.

SCENE 8: INT. BEDROOM – NIGHT
Ray worries that he is turning into his father. He lacks dreams. He and his wife decide to build the field.

:)

[Terrance Mulloy]

Keep this thread rolling. It's really great.

Thanks to everyone for sharing this. Hopefully I'll be able to avoid some pitfalls you guys made when starting out.

:)

[yeehi]

Did you ever see Deus Ex Machine's 3 Act outline (http://messageboard.donedealpro.com/boards/showthread.php?t=30885)?

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


Or Creative Exec's "The construction of a logline (http://twoadverbs.web.aplus.net/loglinearticle.htm)"