Structure - Example: Star Wars

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  • Structure - Example: Star Wars

    So I threw together Snyder's beat sheet, some Campbell and other bits of info I learned here as well as other places and come up with a screenplay structure template designed to put everything I believe to be of great importance together, which makes it a lot easier, for me, to structure my own stories. Others have done this before, but this is what I use personally.

    So here it is, with Star Wars as an example. Enjoy.

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    STRUCTURE - STAR WARS


    ACT I

    1 - Opening Image - Gives the general theme of the movie, establishes tone, setting, genre, point of view and other necessary information for the audience to know what kind of film they are about to see.

    A long time ago in a galaxy far, far away...a small Rebel ship is fired upon by a large Imperial ship, signifying the struggle of the small Rebel Alliance against the large galactic Empire.

    2 - Introduction - Sets up main character and their ordinary world as well as his or her internal problems. Hint at major characters in the story. Gives us all necessary information to proceed with the plot. Theme is stated.

    We meet the hero and most of the other major players in this story. Luke wants to fight with the Rebellion against the Empire.

    3 - Catalyst - 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.

    We (the audience) learn the Rebels stole the Death Star plans and Vader wants them back. This moment in Star Wars comes before we meet the hero, illustrating that this structure format is not set in stone, but somewhat flexible to suit the needs of the story you are trying to tell. With the plans sefely inside R2-D2, the droids head to Tatooine and meet Luke. Little does he know what he is in for at this moment.

    4 - Inciting Incident - Someting happens to the main character. The first significant event where the plot overtly acts on the character and completely disrupts and alters the characters life. Contains the roots of the cause of the action.

    Luke discovers the message from Princess Leia on R2-D2. Luke is now directly involved. He has seen the message and seen a way for him to realize his dream of joining the Rebel Alliance to fight the Empire.

    5 - Refusal - Hero is reluctant, wants to stay in the safety of the ordinary world. Does what is thought will deliver the quickest and easiest solution to the problem. Follows the path of least resistence. This attempt fails.

    Luke tells his Uncle about the message (quickest, easiest solution) but is told that he is needed on the farm, and to forget about that crazy old man Obi-Wan. This gets Luke nowhere.

    6 - Crossing the Threshold - An event caused by the antagonist that forces the character to take new action that defines the character's general wants/needs into a specific goal and sends the story in a new direction. MDQ is raised. Must defeat Threshold Guardian in order to exit the ordinary world. Now the hero is in the upside-down world where everything is different from before. Hero is out of his or her element and must adapt to this change.

    The Empire traces the droids to Luke's farm and kill his Aunt and Uncle. With nobody to hold him back and no reason to stick around any longer, Luke sets off with Obi-Wan to deliver the Death Star plans to the Rebels, which will give them the information necessary to destroy the Death Star. The Main Dramatic Question (MDQ) is raised: Will Luke help the Rebels destroy the Death Star?

    Luke is now out of his "ordinary world" and has entered the "upside-down world", which he knows nothing about. He is a stranger in a strange land. The Threshold Guardian in this case could be seen as Luke himself. He was essentially holding himself back to stay on the farm, perhaps because he did not believe in himself.



    ACT II

    7 - Fun and Games - Establishes promise of premise. Object of hero's desire is established. Allies and enemies appear. Hero learns about upside-down world, starts to actively implement his or her plan into a Point of Attack.

    Obi-Wan and Luke head to Mos Eisley to find a pilot to take them to Alderan. This is the Point of Attack, where the hero first actively works toward completion of his or her goal. Han Solo and Chewbacca are intriduced after Luke learns how dangerous the upside-down world is in a scuffle with others at the bar. Greater conflict arises when Imperial Stormtroopers try to stop the heroes and their ship from leaving the planet. However, this battle is more "fun" than dire. The heroes were clearly in control of this battle. Luke learns about The Force and how to believe in himself through a blind competition with a training robot and a lightsaber.


    Continued below...

  • #2
    Re: Structure - Example: Star Wars

    8 - Midpoint of No Return - Hero follows the new path to its inevitable conclusion. Hero is confronted with an obstacle so significant that to continue means the risk of never returning to the relative safety the character was in before. Impossible for hero to dismiss the goal and return to safety. Extremely low point. Hope for success seems small. Mirror of Climax.

    The path of taking the plans to Anderan ends at it's inevitable conclusion when our heroes arrive at the spot where the planet once was. With the entire plenat destroyed, hope for success seems small. The ship is pulled into the Death Star with the plans inside R2-D2 and R2-D2 on the ship, inside the Death Star. Hope for success seems impossible now, putting the MDQ into doubt. (Will Luke help the Rebels destroy the Death Star?) With the ship in control of the Empire and the crew trapped on-board, Luke literally can not turn around, change his mind and go back to his home planet as he could have at any moment before now. He *must* commit to the goal if he wants to survive.

    Typically, there is a beat just after the Midpoint of No Return that is an up beat in contrast to the down beat of the MONR. In Star Wars, Luke and Han acquire Stormtrooper armor in a somewhat comical way.


    9 - Complications - Things are harder than before. There are no more fun and games. Stakes are raised higher. Internal and external conflict increases. Enemies apply real pressure. Subplots develop, then focus switches to the main plot.

    The subplot of Princess Leia comes to the surface as Luke and company agree to rescue her. The fun and games conflict of before is gone and replaced with real life-or-death struggle. The gunfight in the detention center is in stark contrast to the escape from Mos Eisley. The enemies are in control...and they keep coming. The heroes have nowhere to go but down a garbage pit where they are in danger of being compacted alive. Situations go from bad to worse, putting the MDQ into doubt. (Will Luke help the Rebels destroy the Death Star?) With the Princess saved, the focus shifts back to the main plot as Luke and company attempt to leave the Death Star.

    10 - All Hope is Lost - Death occurs. Greatest set-back, lowest point for hero. Achievement of goal seems impossible now. Hero has no choice but to try because it will be an even worse fate if the character abandons the quest now. The character's internal needs/flaws are confronted defining the character's arc. The character discovers a hidden truth about the nature of the obstacle and conflict to the goal. This sets a new path for the character that will lead to an inevitable conclusion and answer the MDQ.

    Vader kills Obi-Wan. The "death" in the AHOL moment does not necessarily have to be the death of a person. It could be an object important to the hero being taken away, a relationship dissolving, etc. Luke's mentor is gone. Coupled with Luke's problem of not believing in himself, this is a devastating blow to Luke, putting the MDQ into doubt. (Will Luke help the Rebels destroy the Death Star?) However, Luke and the rest of the heroes (minus Obi-Wan) manage to escape, leading into the third act.


    ACT III

    11 - Final Push - Hero makes an intense drive toward completion of the goal. The intensification of the character's quest for the goal that will result in getting something new or different from what the character originally set out to achieve. The actions of the character set into motion events that contain the answers to the MDQ and the roots of the result of the action.

    Luke joins the Rebels in their assault on the Death Star. His original plan was to deliver the Death Star plans to the Rebels, thus enabling them to destroy the space station. Now, Luke is directly involved with the assault. However, his goal did not change. It was always to help the Rebels take down the Death Star. Luke has simply become more directly involved.

    12 - Confrontation - The only thing standing in hero's way is one obstacle that is greater and unlike any faced before. In this moment the hero must finally confront his or her internal flaws and be changed in order to achieve the external goals and finally answer the MDQ.

    Pilots are shot down all around Luke, but Luke keeps on going. Vader gets in a fighter of his own and attempts to take down Luke himself.

    13 - False Victory - It appears as though the hero has succeeded, but the villian is not conquered yet.

    Another pilot attempts a shot at the hole, but fails. It's up to Luke now.

    14 - Climax - The character has reached the end of the path leading to their goal. The only thing standing in the way is one obstacle that is greater and unlike any faced before. In this moment the character must finally confront their internal flaws/needs and be changed in order to achieve the external goals and finally answer the MDQ. Villian is defeated.

    Luke switches off his targeting computer, learns to trust is instincts and himself, takes a shot and destroys the Death Star.

    15 - Denouement - Final outcome of the story. Shows how the hero was changed. Return to the ordinary world.

    Luke and company are rewarded for their great deed. Luke has gone from a simple farm boy to the savior of thousands upon thousands of people willing to stand up in the face of evil and fight for what's right.

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    If I got anything wrong, please feel free to correct me.

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    • #3
      Re: Structure - Example: Star Wars

      Nice.
      Thanks for sharing, Bio.

      Bot
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      • #4
        Re: Structure - Example: Star Wars

        I always thought the climax was when Vader says "I've got you now" and then Han Solo shoots him away. Because you know Luke is gonna torpedo those in there after that. I never felt there was much suspense to get them in the hole, the problem was just getting a clear shot. Hell, even Porkins could've sunk those torpedoes in if he had no one on his ass.

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        • #5
          Re: Structure - Example: Star Wars

          You have to remember that Star Wars is Luke's story, so it cannot climax until Luke reaches his arc and shoots the shot that destroys the Death Star.

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          • #6
            Re: Structure - Example: Star Wars

            Please do Empire next!
            I rock it for Jesus and I'm in love.

            Dreaming the impossible dream, working towards realizing it one day at a time.

            http://johnnyatthemovies.wordpress.com/

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            • #7
              Re: Structure - Example: Star Wars

              Nice post.

              I understand Lucas consulted Joseph Campbell quite extensively on New Hope. And Luke Skywalker just happens to be on the cover my copy of Campbell's The Hero with a Thousand Faces.

              The thing that bothered me about the ending (I'm not going to lose any sleep over it) is that Luke wasn't the one to deal with Darth Vader - he could have done both things. Typically, especially in an action story, the protag is the one that defeats the antag. The antag becomes the manifestation of the protag's inner demons. And that is the case with Vader representing the "lack of any hope".

              If Luke had been the one it certainly would have amped up the conflict between them the next time they met. And I think, as told, Vader would have taken Han's attack personally and kept Han for himself.

              Just rambling,
              Brad
              "I am the story itself; its source, its voice, its music."
              - Clive Barker, Galilee

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              • #8
                Re: Structure - Example: Star Wars

                Originally posted by TwoBrad Bradley View Post
                The thing that bothered me about the ending (I'm not going to lose any sleep over it) is that Luke wasn't the one to deal with Darth Vader...
                I always thought that it was pretty much a deus ex machina at the end of Star Wars, but it kind of works since we want to see Han change for the better and come back to save Luke.

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                • #9
                  Re: Structure - Example: Star Wars

                  If there was a scene before where Luke SAVED Han on the Death Star that ending would have worked better.
                  "What's worse than being talked about? Not being talked about."

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                  • #10
                    Re: Structure - Example: Star Wars

                    Han is inspired by Luke. If not for the guilt trip Luke lays on him at the start of the Death Star mission, Han never would've come back. I don't think it's a deus ex machina at all.

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                    • #11
                      Re: Structure - Example: Star Wars

                      Originally posted by DaltWisney View Post
                      Han is inspired by Luke. If not for the guilt trip Luke lays on him at the start of the Death Star mission, Han never would've come back. I don't think it's a deus ex machina at all.
                      Luke got saved. The conflict was taken out of the protagonist's hands and solved for him by outside forces. DEM or not, it's not a good thing.

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                      • #12
                        Re: Structure - Example: Star Wars

                        Originally posted by Biohazard View Post
                        Luke got saved. The conflict was taken out of the protagonist's hands and solved for him by outside forces. DEM or not, it's not a good thing.
                        I would argue that there's a causal link there between Luke's actions and Han's rescue. Moreover, the conflict isn't over until Luke hits the game winning shot. He does that all on his own, trusting his instincts and completing his arc. Vader is not the main villain of Star Wars. He's a mini-boss. The Death Star is the main villain.

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                        • #13
                          Re: Structure - Example: Star Wars

                          Originally posted by DaltWisney View Post
                          I would argue that there's a causal link there between Luke's actions and Han's rescue. Moreover, the conflict isn't over until Luke hits the game winning shot. He does that all on his own, trusting his instincts and completing his arc. Vader is not the main villain of Star Wars. He's a mini-boss. The Death Star is the main villain.
                          I agree, but taking conflict out of the hero's hands when the hero is surely unable to handle it him or herself only to be rescued by an outsider is a spell of good luck, and screenplays should never rely on positive luck for the protagonist, but rather cause and effect. Like you said, Luke did persuade Han to return, so it's not technically deus ex machina. It's hardly even something I would complain about.

                          You should NEVER take the conflict out of the protagonist's hands. Absolutely never. John Anderton getting released from the halo prison by his wife or whoever that lady was (been a while) in Minority Report is DEM, and it ruins the flow of the story. It also takes me out of the story emotionally because had I been the one in that position, I would never be that fortunate. So I end up envying the hero when I should be rooting for him.

                          Never put the hero in a situation that he or she cannot get out of on their own. You can do it and make it work, but it is a truly rare thing. Plus, none of us here wrote Star Wars...or anything nearly as good.

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                          • #14
                            Re: Structure - Example: Star Wars

                            Originally posted by Biohazard View Post
                            Luke got saved. The conflict was taken out of the protagonist's hands and solved for him by outside forces. DEM or not, it's not a good thing.
                            Luke got saved by his friend, in the resolution of one of the film's main subplots: There's nothing wrong with that. In fact, it's fine writing. Look at the end of CASABLANCA: Rick got saved by Reneau when he said, "Round up the usual suspects." The protagonist doesn't have to do

                            I know why you're saying that, though. But the truth is, the film is not about who can shoot Vader off Luke's butt: It's about Luke learning to trust the Force so that he can become a hero and great leader of the Rebellion. Therefore, it's totally okay that his Climax is to destroy the Death Star, with a little help from his friends (who, of course, have their own dramatically fulfilling and thematically complimentary subplots). You wouldn't expect Frodo to do all the work in LoTR, would you? 'Course not. So the problem wouldn't be to figure out how to get Luke to do all the work himself: It would be to figure out how to make the other people doing some of the work satisfying and relevant.

                            So...

                            The Crisis Decision happens when Luke pushes the button to turn off his targeting computer.

                            The Climactic Action/Climax occurs when Luke launches the torpedo and kablooees the sucker.

                            The rest of the film is Resolution.
                            Script a Wish. With powerful screenplay notes and Hollywood contacts, we get your work polished, read, repped, and bought.

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                            • #15
                              Re: Structure - Example: Star Wars

                              Originally posted by Johnny View Post
                              Please do Empire next!
                              I can't. Empire has no plot.

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