Act Ii

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  • Act Ii

    As some of you know, I'm currently at an Independent Writer/Producers Fellow Lab for the next ten days and I'm doing rewrites of my script based on the coverage given to me. They told me the beginning and end of my story is strong, but the middle need faster pacing and to shave it about ten pages.

    I want your opinion about common mistakes made in Act II. How do you decide what is absolutely necessary and what isn't?

    Thanks for the help.
    Never mistake motion for action. ~Ernest Hemingway

  • #2
    Re: Act Ii

    figure that out, and you'll be in meetings for the rest of your career.

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    • #3
      Re: Act Ii

      Every scene should feel important/engaging. If it isn't take it out. If all your scenes are and the script is still too long, shorten your scenes by getting straight to the point. Cut a 2 page scene down to 1. A 1 page scene down to 1/2. It's not that hard, just make it work, that's all I can say. Essentials, no fluff.
      Smile Is Best Makeup!

      -A Grammatically Incorrect Japanese Proverb

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      • #4
        Re: Act Ii

        I thought this thread was about a new Chinese action wire fu star, Act Li.

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        • #5
          Re: Act Ii

          Act 2 is said to be the toughest act because it is the longest and more often than not writers lose the readers interest during these 50 pages. My advice is to make sure every scene reflects the MDQ, and does not stray too far from the major plot throughline.

          Try not to include any scenes which have no real purpose. If you want to add a scene which aims to reveal character or develop relationships etc find ways to create these secondary motives while intertwined with your primary motive - to explore the MDQ.

          The latest Creative Screenwriting Issue has a good article on hooking the reader. This doesn't mean hooking the reader in the 1st 10 pages it means keeping the reader hooked for the full 110. This is done by baiting the reader with each scene and forcing them to continue reading the next scene. If every scene has a hook that leads to the next scene then you give the reader no chance to find an "out" from your script and it will no doubt create an enjoyable experience for the reader.

          How do you hook the reader?

          There are many ways but two very common ones are by posing a question or a creating a problem at the end of each scene, which will be answered/confronted in the following one...
          I wanna tell you about the time I almost died....

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          • #6
            Re: Act Ii

            Berlin - Yes a slip of the hand. You're so fiesty for such a cuddly little puppy. Sit "ubu" sit, good dog.

            Thanks everyone. The fellows are helping each other go through the each Act, chopping it down and really polishing it up. I've had to take out what I thought was important, but only dragged the scene out too long. The amazing thing is how good it reads without some of the stuff I put in before.

            If you read this Ham, you're gonna love your Fellow in Hawaii. This stuff in invaluable.
            Never mistake motion for action. ~Ernest Hemingway

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            • #7
              Re: Act Ii

              Originally posted by Bellabell
              shave it about ten pages.
              Scripts aren't about the number of pages, but what happens on those pages.

              It would be a lot more sound advice for someone to explain which scenes need to go and why instead of making such a completely arbitrary judgement like "cut ten pages and it'll be great". Which ten? Which scenes? There needs to be an explaination as to why the middle isn't working, and what needs to be removed/added/changed in order for it to work.

              The page count isn't the problem, but what's on those pages. That's what you need to look at.

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              • #8
                Re: Act Ii

                See when a person speaks a truth about writing it is as if the whole universe comes into alignment.

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                • #9
                  Re: Act Ii

                  Originally posted by Biohazard
                  Scripts aren't about the number of pages, but what happens on those pages.

                  It would be a lot more sound advice for someone to explain which scenes need to go and why instead of making such a completely arbitrary judgement like "cut ten pages and it'll be great". Which ten? Which scenes? There needs to be an explaination as to why the middle isn't working, and what needs to be removed/added/changed in order for it to work.

                  The page count isn't the problem, but what's on those pages. That's what you need to look at.
                  I agree with that, Bio. If the content of these pages lose the readers..They're meant to be goners.
                  A talent for drama is not a talent for writing, but is an ability to articulate human relationships.
                  Gore Vidal

                  "Aisatsu Yori Ensatsu"
                  Money is better than compliments.


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                  • #10
                    Re: Act Ii

                    Act 2 is a challenge -- especially the second half, even produced films often drag in this section.

                    I look at the midpoint and make sure it's solid with clear motivation for the protag to push forward. If the midpoint is foggy, Act 2 may meander.
                    Advice from writer, Kelly Sue DeConnick. "Try this: if you can replace your female character with a sexy lamp and the story still basically works, maybe you need another draft.-

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                    • #11
                      Re: Act Ii

                      Originally posted by sc111
                      Act 2 is a challenge -- especially the second half, even produced films often drag in this section.

                      I look at the midpoint and make sure it's solid with clear motivation for the protag to push forward. If the midpoint is foggy, Act 2 may meander.
                      A talent for drama is not a talent for writing, but is an ability to articulate human relationships.
                      Gore Vidal

                      "Aisatsu Yori Ensatsu"
                      Money is better than compliments.


                      Comment


                      • #12
                        Re: Act Ii

                        Okay, here I go. This is why I precisely add twists at around pages 50 and 70 and have subplots. Amazing how my stories move faster and are tighter with these components added when compared to how they move without them.

                        Corona
                        I love you, Reyna . . .

                        Brown-Balled by the Hollywood Clika

                        Latino Heart Project's MEXICAN HEART...ATTACK!
                        I ain't no punk b1tch...

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                        • #13
                          Re: Act Ii

                          Originally posted by sc111
                          Act 2 is a challenge -- especially the second half, even produced films often drag in this section.
                          Sam Peckinpah had a good way of dealing with that (not to mention the coolest name ever). He'd structure his films so that the first half led up to a specific event, and the second half would be the aftermath of that event. In The Wild Bunch, everything from the start leads to the train robbery, and from there to the end is what happens as a result of the robbery. Same deal with The Getaway, except it was a bank robbery.

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                          • #14
                            Re: Act Ii

                            And let's not forget the very bad ass, the very singular, BRING ME THE HEAD OF ALFREDO GARCIA!

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