ABC Plotlines



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  • #16
    Re: ABC Plotlines

    Originally posted by Rijuti View Post
    But the inciting incident must be directly related to the protagonist? Can he be unaware at it at first? Something like a meteor headed toward Earth or a murder that the protagonist doesn´t know nothing about yet but then he will be the one to solve it or is just a inciting incident when something happens in the world of the protagonist?
    To me, the inciting incident is the moment the outside events of the story enter the world of the protagonist.

    Continuing using "Star Wars" as an example, I would talk about the droids escaping the rebel ship, the attack on the rebel ship, or even the rebels stealing the plans as the inciting incident. Once you start doing that, you can go back forever.

    But ... this is just terminology. You'll need to find defintions that make intuitive sense to you - so that when you watch a movie, you understand what's happening, and if you end up using these terms slightly differently (or not at all) it's no big deal.


    • #17
      Re: ABC Plotlines

      Thank you Ronaldinho.

      In "Rocky", can we consider that the inciting incident is also the first plot point? When Apollo chooses Rocky. That moment also comes late in the story, around 33 minutes.


      • #18
        Re: ABC Plotlines

        I honestly haven't seen Rocky recently enough to comment one way or the other


        • #19
          Re: ABC Plotlines

          I understand. But thank you for all your help!


          • #20
            Re: ABC Plotlines

            Originally posted by Rijuti View Post
            Hello all.

            First off all, i woul like to say that i'm glad to join these forums. I'm Portuguese and since my 19/20 i started to become really interested in screenwriting. Im here to learn from all of you and to become better.

            Ok, now lets get down to business

            I've bought Dara Marks book "Inside Story" (i'm sure many of you know it) to have a better understanding of how important and meaningful characters are in a story, how to make a strong emotional connection trough them, and also about plot structure. I've learned a lot already. Even though i dont dominate English very well, i find it easy to read.

            At some point in the book Dara Marks say that a story normally have 3 plotlines: "A" is the plot, "B" is the internal conflict and character flaw, "C" is the relationship subplot. So one plot and two subplots.

            She then explains it with movie examples. In "Casablanca", Rick's "A" story is to save Laszlo from Germans, "B" story is to connect with others and "C" story is to learn to love again.

            So by the Dara Mark's words, "A" can only be achieved by resolving the "B". But how does he resolve that inner conflict and connect with others? By a change demonstrated in a relationship to something or someone in the outer world. In this case, that relationship refers to his love for Ilsa. This is "C" story.

            The same for "Lethal Weapon". In order to stop the drug cartel ("A" story), they both have to learn to trust live ("B" story) and this can only be possible if they connect with each other and form a team ("C" story).

            I can understand this logic. "B" is achieved trough the "C". What i understand from this is that resolving "B" is only possible after achieving the "C".

            But what confuses me is that in Dara Marks examples, sometimes is the resolution of "B" story that leads to the resolution of "C" story.

            I admit that my head is spinning a bit around that and i would really like to know your opinions about these please. And i'm truly sorry for this giant post, i didn't really mean to make it this long.
            I'm not sure what she's trying to tell you about 'connecting to others,' because that's not really what happens in Casablanca, imo.

            In its simplest form Casablanca is a story about a cynical man who used to believe in giving everything to a cause, but because of his painful betrayal of the woman of his dreams he gives up on everyone else. He doesn't chose sides.

            But the hero in him still exists, and shows itself when he helps the woman and child (I think) to escape. He just doesn't want anyone to believe he cares.

            The reason his flaw is tied to his goal, is because when as helps Lazlo secure the papers to escape the clutches of the Germans it renews his sense of activism to help those who rebel against the Germans. He is a rebel. A rebel without a cause, if you will.

            That is until the love of his life suddenly appears. And when he meets Lazlo he finds his cause, even if he doesn't want it.

            In the end, he's faced with an opportunity-- he has the letters and he can escape with his love and leave the Germans and Lazlo to fight it out, but he believes that Lazlo is an important figure, a man with principles, a man who can lead people-- what Rick knows, is that he's a fighter.

            So instead of keeping the papers for himself, he sends the love of his life off with her husband, Lazlo, and in doing so, fuels the fires of need to rebel against tyranny. He makes the ultimate selfless act.

            It's been a while since I've seen it, but I think that's the jist of it. It's a wonderful film that's quality isn't at all diminished by time it was made.

            Truly one of the best films ever.

            Try not to get all muddled up in all the through lines-- we are (humans) natural storytellers, and these things will naturally come out of your writing.

            If you want to watch a really good short series of youtube videos that will give you a really good jump on structure, check out these short videos (12 in total) on how to create a great plotline.

            I don't know who this guy is that created them, but I've read all the best on structure and he encapsulates everything you need to know in a straight forward, easy to follow (and remember). They're worth every minute.


            He starts off with developing a story on the spot, then I think by episode 6 he uses the guide to develop his fantasy novel, and let me tell you-- he hits everything you need to know. You won't even need another book ever.

            He covers everything, goal, need, flaw, three act structure, turning points, internal conflict, character weaknesses and fears. It's good. The best ones are when he starts applying the guideline to his own fantasy story-- it's good.

            Story structure and plotting doesn't have to be complicated, because it's really not.

            I $hit you not, it's awesome.

            Good luck,
            "Arguing that you don't care about the right to privacy b/c you have nothing to hide is no different than saying you don't care about free speech because you have nothing to say." -- Edward Snowden


            • #21
              Re: ABC Plotlines

              Thank you finalact4. I'll certainly see those videos.