ABC Plotlines

[Rijuti]

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.

[killertv]

Re: ABC Plotlines

Maybe think of it like this:
A Plot is the Action Story - it's the logline.
B Plot is the Relationship Story - it's the story of the characters.
C Plot is the Inner Conflict Story - it's the story of the hero.

A lot of times, resolving C resolves B which resolves A - it's the emotional arc which the character completes that allows him to succeed in the main story. But it's not a hard and fast rule, it's just an idea. Sometimes the relationship story might help resolve the inner conflict. Sometimes resolving the main story resolves the inner conflict. As long as they're linked, and you have some themes and emotions that connect through, you'll have done your job.

It's good you're starting to write so early. You'll start to pick up how to weave stories together the more you write.

[Ronaldinho]

Re: ABC Plotlines

I'm not familiar with Dara's book, so I can only talk in general terms:

The relationship sub-plot is often used as a way to provide feedback to the character about their inner journey. I wouldn't worry to get caught up in if B causes C, or if C causes B, or whatever - rather, just look for ways for your relationship story to be influenced by, and therefore to influence, the character's inner journey.

Even just asking "how is the relationship story showing me another angle on the inner journey?" can be enough.

Remember, too, that not all movies have an inner journey. Sometimes the lead just keeps doing what he's doing.

That being said, one trap of this sort of A-B-C thinking is that sometimes the love interest ends up looking like a reward for the hero. Make sure she (and it's usually a she) is a real character in her own right.

[Rijuti]

Re: ABC Plotlines

Thank you for your reply killertv.

So there is not a logic. As long as they're all connected, it's fine.

I'm sorry but i didn't understand well the character and hero story. You mean the hero story is related to what he should achieve to reach the plot goal and the character story is related to some inner reaction to an external circumstance that happened before the story begins?

Thank you once again

[Rijuti]

Re: ABC Plotlines

Thank you Ronaldinho!

[RG55]

Re: ABC Plotlines

Hi Rijuti

I haven't read that book, but what she probably means is:
A- plot: the external
B-plot: the internal, the character's arc; the character has a flaw which he must conquer in order to achieve A.
C-plot: the interaction with another character, the relationship, is what will induce the character to change, to conquer his flaw.

Don't read just one book, read several; it seems to me that most tout their way as the right way, sometimes as the only way--it's not.

Out of curiosity, from where in Portugal do you hail?

[Rijuti]

Re: ABC Plotlines

RG55 thanks for your reply.

Aren't you talking about relationship plot in C? Something like Harry meets Sally.

I'm hailing from a town next to Lisbon

Thanks

[RG55]

Re: ABC Plotlines

The relationship I took from the Casablanca example, but it is not necessarily a romantic relationship. Could be a character who sets a good example to follow or even a character who sets a bad example, not to follow.

[killertv]

Re: ABC Plotlines

I'm sorry but i didn't understand well the character and hero story. You mean the hero story is related to what he should achieve to reach the plot goal and the character story is related to some inner reaction to an external circumstance that happened before the story begins?

I just mean story between the characters and story within the hero.

In DIE HARD, the A story is the terrorists taking over the tower. The B story (for John McClane) is getting back with his separated wife. The C story is the inner conflict where he has to learn to show vulnerability in order to win her back (or something like that).

[Ronaldinho]

Re: ABC Plotlines

I'm sorry but i didn't understand well the character and hero story. You mean the hero story is related to what he should achieve to reach the plot goal and the character story is related to some inner reaction to an external circumstance that happened before the story begins?

Let me use Bridesmaids as an example.

The external story involves the heroine trying to make her best friend's wedding go off without a hitch.

Her internal story is about her learning to stand up for herself. Notice how she keeps screwing up the external story because she doesn't know how to stand up for herself appropriately, and thus either puts up with things she shouldn't put up with or overreacts badly.

The romantic story supports this. Since she doesn't know how to ask for what she wants appropriately, she screws up the relationship with the cop. (The great gag about him not accepting the cake plays into this, because that's not REALLY how you ask for what you want. It's too facile.).

[Rijuti]

Re: ABC Plotlines

Thank you all for your replies.

Ronaldinho, i haven't seen Bridesmaids yet but i'll see it as soon as i can to understand that better.

So that relationship story turns out to be a needing for a reconciliation with something or someone?

[Joaneasley]

Re: ABC Plotlines

You're right. (SPOILERS)
She needs to reconcile with her best friend, who is not only getting married, but who has also found a new close friend she seems to prefer.

Thank you all for your replies.

Ronaldinho, i haven't seen Bridesmaids yet but i'll see it as soon as i can to understand that better.

So that relationship story turns out to be a needing for a reconciliation with something or someone?

[Rijuti]

Re: ABC Plotlines

Thank you Joaneasley.

One more thing and this is not directly related with the topic but what is the difference between the Call To Action and the First Turning Point?

The Call To Action is the when the protagonist is called to resolve the external conflict of the plot, but isn't that also the First Turning Point?

Rocky Call To Action isn't when he is the chosen one to face Apollo? But isn't that also the First Turning Point?

The same for Ricky in Casablanca when he is asked to save Laszlo.

Thank you all for the help.

[Ronaldinho]

Re: ABC Plotlines

One more thing and this is not directly related with the topic but what is the difference between the Call To Action and the First Turning Point?

I don't think "Call to action" is in any way a universal term. People who use a hero's journey approach will use it, but some people (like me) really don't like the hero's journey approach.

Honestly, the only universal terms are the three acts. And if you by "first turning point" you mean the end of act one, then that counts.

The way I use it is that you have the following things in the first act - not necessarily in this order.

You have a status quo which is broken up by an inciting incident. The i.i. is something that happens TO the character, which he has to react to. That reaction drives him to a moment of decision which is the end of the first act.

Maybe you're using "call to action" in the same way I use "inciting incident" - in which case, remember, it's something that happens TO the character, and it's the event that answers the question of "why now?" The end of the first act is a moment of decision - it comes from inside the character.

Hopefully that helps. Other people use different terminology, or use some of these terms differently, or write without a conscious awareness of these concepts but incorporate them anyway, so it can be hard to talk about this stuff without devolving into a semantic argument.

Really simple example: Star Wars. Luke's status quo is that he's a dirt farmer on a remote world who wants to go become a warrior. The i.i. is the arrival of the droids. The arrival of the droids eventually drives him to decide to go rescue the princess - the act break.

Notice how there are several steps between i.i. and act break, but there is a strong causal connection between all of them. While there isn't a really strong causal connection, from Luke's point of view, between his status quo and the arrival of the droids. They happen TO him.

[Rijuti]

Re: ABC Plotlines

Thank your for you reply Ronaldinho.

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?