Any recent insight as to how to tackle this green monster? Anyone?
Second Act Insight
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Re: Second Act Insight
From an old post by Deus:
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
ACT ONE
THE CONDITION OF THE ACTION
SETUP: CHARACTER WITH A PROBLEM (1-12)
Establishes who the main character is and what the character’s internal and external problems are. Also establishes the setting, period, tone, style and point of view of the story.
CATALYST (3)
The SETUP: CHARACTER WITH A PROBLEM sequence usually contains the CATALYST which is 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.
NEW OPPORTUNITY / PREDICAMENT (12-17)
Establishes a new problem which steers the story in a new direction and hints at bigger obstacles to come as the hero struggles to deal with the new disruption to his life.
INCITING INCIDENT (17)
The NEW OPPORTUNITY / PREDICAMENT sequence usually contains the INCITING INCIDENT which is the first significant event where the plot overtly acts on the character and completely disrupts and alters the characters life. The Inciting Incident contains the roots of the cause of the action.
CAUSE OF THE ACTION
TURNING POINT: POINT OF ATTACK (17-30)
An event caused by the antagonist that forces the character to take new action to "attack the problem" that defines the hero’s general wants/needs into a specific goal and sends the story in a new direction. The CAUSE OF THE ACTION is an action taken by the hero which raises the Major Dramatic Question that is the primary concern of the plot.
ACT TWO
THE ACTION
PROGRESS: NEW HIGHER OBSTACLES (30–60)
The hero makes progress toward their goal. There are new conflicts and higher obstacles introduced that places the character’s success in doubt.
Each beat puts the MDQ in doubt
MOVING FORWARD METAPHOR: ARC DEFINITION (45)
The PROGRESS: NEW HIGHER OBSTACLES sequence usually contains the MOVING FORWARD METAPHOR: ARC DEFINITION which contains overtones about the character’s growth and hints at the outcome of the story.
POINT OF NO RETURN: LOW POINT (60)
The POINT OF NO RETURN is a point in the story where the hero is confronted with an obstacle that is so large that if he continues he will risk so much that he will be unable to go back to the relative safety he was in before and must follow his new path to its inevitable conclusion. It’s a point of decision and action that defines a very low point in the story where any hope of success for the character seems small and the answer to the MDQ is in doubt.
POST POINT OF NO RETURN (60+)
A beat immediately after the POINT OF NO RETURN that doesn’t necessarily advance the story but it does illustrate the character’s change because of the PONR. This beat is usually an up beat to contrast the down beat of the PONR.
COMPLICATIONS, HIGHER STAKES AND SUBPLOTS (60-75)
The goal is harder to achieve than the hero thought and is tested more than he ever expected. Subplots develop and further complicate the hero’s path to his goals and raise the stakes.
CULMINATION TOWARD THE MAIN PLOT (75-90)
The conclusion of one dramatic tension and the start of a new one. The hero moves inexorably closer to his goal and discovers new info and better understanding of the nature of the opposition before him. The antagonist is aware of the hero’s actions and takes actions to prevent the hero from learning the truth about the conflict and obstacles the hero is trying to overcome. The focus shifts from subplots to the main plot.
APPARENT DEFEAT (90)
The greatest set back of the story for the hero. It appears as if achieving the goal is impossible but the hero has no choice but to try because he will have an even worse fate should he abandon his quest now. The hero’s internal needs/flaws are confronted defining the hero’s arc.
ACT THREE
RESULT OF THE ACTION
NEW PLAN (90-109)
The hero discovers a hidden truth about the nature of the obstacle and conflict to his goal which sets a new path for the hero that will lead to an inevitable conclusion and answer the MDQ.
FINAL CONFRONTATION (109-115)
The hero has reached the end of the path that has brought him to his goal. The only thing standing in his way is one obstacle that is greater and unlike any faced before. In this moment the hero must finally confront his internal flaws/needs and be changed in order to achieve the external goals and finally answer the MDQ.
DENOUEMENT AND RESOLUTION (115)
The final outcome of the story and how the hero’s life has been changed because of it.
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Re: Second Act Insight
Another post by Deus using the same formula.
STRUCTURE
ACT ONE
THE CONDITION OF THE ACTION
SETUP: CHARACTER WITH A PROBLEM (1-12)
Establishes who the main character is and what the character’s internal and external problems are. Also establishes the setting, period, tone, style and point of view of the story.
(i.e. Romeo is love sick and the Montague and Capulet Families are feuding so much that the next person to start a fight will be punished by the Prince.)
CATALYST: POINT OF ATTACK (3)
The SETUP: CHARACTER WITH A PROBLEM sequence usually contains the CATALYST: POINT OF ATTACK which is 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.
(i.e. Romeo is love sick, emotional, impulsive, and goes to a party to forget his troubles)
NEW OPPORTUNITY / PREDICAMENT (12-17)
Establishes a new problem which steers the story in a new direction and hints at bigger obstacles to come as the hero struggles to deal with the new disruption to his life.
(i.e. Tybalt discovers Romeo is at the Party and wants to kill him on the spot. Tybalt is told not here, but soon and in another place he will be free to kill Romeo. Romeo meets and impulsively falls in love with Juliet.)
INCITING INCIDENT (17)
The NEW OPPORTUNITY / PREDICAMENT sequence usually contains the INCITING INCIDENT which is the first significant event where the plot overtly acts on the character and completely disrupts and alters the characters life. The Inciting Incident contains the roots of the cause of the action.
(i.e. Romeo acts impulsively and meets Juliet. He impulsively falls in love at first sight)
CAUSE OF THE ACTION
TURNING POINT: CHANGE OF PLANS / NEW LOWER OBSTACLES (17-30)
An event caused by the antagonist that forces the character to take new action that defines the hero’s general wants/needs into a specific goal and sends the story in a new direction. The CAUSE OF THE ACTION is an action taken by the hero which raises the Major Dramatic Question that is the primary concern of the plot.
(i.e. Romeo and Juliet are married which raises the MDQ: “Will Romeo and Juliet find happiness together”.)
ACT TWO
THE ACTION
PROGRESS: NEW HIGHER OBSTACLES (30–60)
The hero makes progress toward their goal. There are new conflicts and higher obstacles introduced that places the character’s success in doubt.
(i.e. Romeo and Juliet are very happy together and Romeo promises to not be so impulsive and end the feud between their families. Tybalt seeks Romeo out to kill him.)
MOVING FORWARD METAPHORE: ARC DEFINITION (45)
The PROGRESS: NEW HIGHER OBSTACLES sequence usually contains the MOVING FORWARD METAPHORE: ARC DEFINITION which contains overtones about the character’s growth and hints at the outcome of the story.
(i.e. Romeo tries to make peace with Tybalt. Tybalt rejects his offer and demands they fight to the death. Romeo struggles to control his impulsive nature and walks away from the confrontation.)
POINT OF NO RETURN: LOW POINT (60)
The POINT OF NO RETURN is a point in the story where the hero is confronted with an obstacle that is so large that if he continues he will risk so much that he will be unable to go back to the relative safety he was in before and must follow his new path to its inevitable conclusion. It’s a point of decision and action that defines a very low point in the story where any hope of success for the character seems small and the answer to the MDQ is in doubt.
(i.e. Romeo, trying to make peace with the feuding families, allows Tybalt to kill his best friend Mercutio. Romeo impulsively swears revenge and sets out to find and kill Tybalt putting in doubt the MDQ: “Will Romeo and Juliet find happiness together”.)
POST POINT OF NO RETURN (60+)
A beat immediately after the POINT OF NO RETURN that doesn’t necessarily advance the story but it does illustrate the character’s change because of the PONR. This beat is usually an up beat to contrast the down beat of the PONR.
(i.e. Mercutio jokes about his own death. Romeo regrets the role he played in Mercutio’s death and gives in to his impulses and emotions.)
COMPLICATIONS, HIGHER STAKES AND SUBPLOTS (60-75)
The goal is harder to achieve than the hero thought and is tested more than he ever expected. Subplots develop and further complicate the hero’s path to his goals and raise the stakes.
(i.e. Romeo finds Tybalt and impulsively kills him which causes a serious permanete rift between his and Juliet’s family and forces Romeo to leave Juliet behind as he flees to avoid the Prince. If he returns he will be killed, putting in doubt the MDQ: “Will Romeo and Juliet find happiness together”.)
CULMINATION TOWARD THE MAIN PLOT (75-90)
The conclusion of one dramatic tension and the start of a new one. The hero moves inexorably closer to his goal and discovers new info and better understanding of the nature of the opposition before him. The antagonist is aware of the hero’s actions and takes actions to prevent the hero from learning the truth about the conflict and obstacles the hero is trying to overcome. The focus shifts from subplots to the main plot.
(i.e. Juliet and the priest devise a plan to unite her and Romeo by faking her death and inform Romeo of it by a message so he can come and take her out of the city. There is hope for a positive answer to the MDQ: “Will Romeo and Juliet find happiness together”.)
ALL HOPE IS LOST (90)
The greatest set back of the story for the hero. It appears as if achieving the goal is impossible but the hero has no choice but to try because he will have an even worse fate should he abandon his quest now. The hero’s internal needs/flaws are confronted defining the hero’s arc. The hero discovers a hidden truth about the nature of the obstacle and conflict to his goal which sets a new path for the hero that will lead to an inevitable conclusion and answer the MDQ.
(i.e. Romeo learns that Juliet is dead, but has not received the message that her death was faked. He impulsively decides to return to the city. Which puts into doubt a positive answer to the MDQ: “Will Romeo and Juliet find happiness together”.)
ACT THREE
RESULT OF THE ACTION
FINAL PUSH TOWARD THE MAIN PLOT (90-109)
The intensification of the hero’s quest for his goal that will result in getting something new or different from what he originally set out to achieve. The actions of the hero set into motion events that contain the answers to the MDQ and the roots of the result of the action.
(i.e. Romeo seeks a poison so he can die with Juliet and they can be together in death which again puts into serious doubt any hope of a positive answer to the MDQ: “Will Romeo and Juliet find happiness together”.)
FINAL CONFRONTATION (109-115)
The hero has reached the end of the path that has brought him to his goal. The only thing standing in his way is one obstacle that is greater and unlike any faced before. In this moment the hero must finally confront his internal flaws/needs and be changed in order to achieve the external goals and finally answer the MDQ.
(i.e. Romeo impulsively gives into his emotions and drinks his poison to die at Juliet’s side. She awakes and kills herself to be with him in death. *Note because Rome and Juliet is a tragedy he was not able to confront and overcome his internal flaw of being impulsive and ruled by emotions which led to his demise. This answers the MDQ: “Will Romeo and Juliet find happiness together” saying no they will not have the happiness in life they wanted.)
DENOUMENT AND RESOLUTION (115)
The final outcome of the story and how the hero’s life has been changed because of it.
(i.e. The feuding families have been forever altered by the actions of the hero and the hero will forever be together with the woman he loves in death if not in life)
EJLast edited by EJ Pennypacker; 11-06-2007, 08:22 AM.
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Re: Second Act Insight
And another...
THE FUGITIVE STRUCTURE
ACT ONE
THE CONDITION OF THE ACTION
SETUP: CHARACTER WITH A PROBLEM (1-12)
Establishes who the main character is and what the character’s internal and external problems are. Also establishes the setting, period, tone, style and point of view of the story.
(i.e. Kimble attends a party thrown by a pharmaceutical company, is introduced by Nichols to Lentz and is called into emergency surgery on a patient using an experimental drug called RDU90. he comes home, fights off the killer and cops arrive thinking he killed his own wife.
You will note that because of the structure of the film Kimble doesn't have an internal problem. The mystery of the plot is substituted for his internal problem. Pages 1-13 of the script.)
CATALYST: POINT OF ATTACK (3)
The SETUP: CHARACTER WITH A PROBLEM sequence usually contains the CATALYST: POINT OF ATTACK which is 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.
(i.e. Kimble is introduced to Lentz. Kimble has been trying to reach Lentz about septic livers in patients on RDU90. Page 3 of the script.)
NEW OPPORTUNITY / PREDICAMENT (12-17)
Establishes a new problem which steers the story in a new direction and hints at bigger obstacles to come as the hero struggles to deal with the new disruption to his life.
(i.e. Kimble is interviewed by the cops and tried in court and found guilty. He can't make anyone believe he is innocent. Pages 13-20 in the script.)
INCITING INCIDENT (17)
The NEW OPPORTUNITY / PREDICAMENT sequence usually contains the INCITING INCIDENT which is the first significant event where the plot overtly acts on the character and completely disrupts and alters the characters life. The Inciting Incident contains the roots of the cause of the action.
(i.e. Kimble is found guilty and sentenced to death. Page 20 of the script.)
CAUSE OF THE ACTION
TURNING POINT: CHANGE OF PLANS / NEW LOWER OBSTACLES (17-30)
An event caused by the antagonist that forces the character to take new action that defines the hero’s general wants/needs into a specific goal and sends the story in a new direction. The CAUSE OF THE ACTION is an action taken by the hero which raises the Major Dramatic Question that is the primary concern of the plot.
(i.e. Kimble is caught in a botched prisoner escape and survives the train crash. Copeland, another prisoner, sets him free. Kimble runs raising the MDQ: "Can Kimble find the real killer?" Pages 20-27 in the script)
ACT TWO
THE ACTION
PROGRESS: NEW HIGHER OBSTACLES (30–60)
The hero makes progress toward their goal. There are new conflicts and higher obstacles introduced that places the character’s success in doubt.
(i.e. Gerard arrives and takes over the investigation, discovering Kimble escaped and starting the hunt for Kimble. They find blood so Gerard has it tested and sends cops with faxes to all hospitals and orders phone taps on Kimble's lawyer. Wounded guard sent to hospital. Kimble goes to the hospital and fools the local cop only to be seen by the wounded guard. Kimble steals the ambulance and is chased into the tunnel by Gerard.
Gerard chases Kimble through drain pipe. Kimble jumps off pipe and Gerard continues the search for him. Gerard and his men swarm a house. Gerard shoots Copeland rather than listen to a convict or risk letting him go.
Gerard and his Marshals listen to a phone tap of Richard calling his lawyer and figure our Richard is in Chicago. They now know he is alive and where he is which puts in doubt the MDQ: "Can Kimble find the real killer?" Pages 27-59 in the script.)
MOVING FORWARD METAPHOR: ARC DEFINITION (45)
The PROGRESS: NEW HIGHER OBSTACLES sequence usually contains the MOVING FORWARD METAPHOR: ARC DEFINITION which contains overtones about the character’s growth and hints at the outcome of the story.
(i.e. Kimble tells Gerard that he didn't kill his wife. Gerard says he didn't care. Because of the way The Fugitive is structured, Kimble doesn't have an arc but rather has one by proxy and it is Gerard who changes. This establishes the beginning of Gerard's arc. Page 45 in the script.)
POINT OF NO RETURN: LOW POINT (60)
The POINT OF NO RETURN is a point in the story where the hero is confronted with an obstacle that is so large that if he continues he will risk so much that he will be unable to go back to the relative safety he was in before and must follow his new path to its inevitable conclusion. It’s a point of decision and action that defines a very low point in the story where any hope of success for the character seems small and the answer to the MDQ is in doubt.
(i.e. ”Gerard and his Marshals listen to a phone tap of Richard calling his lawyer and figure our Richard is in Chicago. They now know he is alive and where he is which puts in doubt the MDQ: "Can Kimble find the real killer?" Page 59 in the script.)
POST POINT OF NO RETURN (60+)
A beat immediately after the POINT OF NO RETURN that doesn’t necessarily advance the story but it does illustrate the character’s change because of the PONR. This beat is usually an up beat to contrast the down beat of the PONR.
(i.e. Gerard who is always right and proud of it is proven wrong over the identification of the sound on the phone tap as being an elevated train. The other Marshals mock him. Page 60 in the script.)
COMPLICATIONS, HIGHER STAKES AND SUBPLOTS (60-75)
The goal is harder to achieve than the hero thought and is tested more than he ever expected. Subplots develop and further complicate the hero’s path to his goals and raise the stakes.
(i.e. Gerard goes to Nichols for help. Gerard goes to local cops for help. Kimble gets apt and investigates the hospital. Gerard investigates Kimble's case. Kimble makes fake ID and studies prosthetic limbs. Cops go tot he media and Kimble's face is splashed all over. Cops raid the house where Kimble lives and they arrest the land lady's son. Each beat moves Kimble closer to answer the MDQ and Gerard to stopping him. Pages 60-72 in the script.)
CULMINATION TOWARD THE MAIN PLOT (75-90)
The conclusion of one dramatic tension and the start of a new one. The hero moves inexorably closer to his goal and discovers new info and better understanding of the nature of the opposition before him. The antagonist is aware of the hero’s actions and takes actions to prevent the hero from learning the truth about the conflict and obstacles the hero is trying to overcome. The focus shifts from subplots to the main plot.
(i.e. Kimble uses computer to get a list of names of people with one arm. Land lady's son leads cops and Gerard to Kimble's apt. Kimble helps wounded boy in ER and is exposed. Kimble tracks down the leads from the computer while Gerard discovers Kimble used the computer and gets the same names. Kimble discovers on of the men is in jail. Gerard checks to see if any of the names have criminal records. Both Kimble and Gerard go to the court house.
Kimble escapes Gerard at the court house and is lost in the parade.
Kimble breaks into the home of the last person on his list. Discovers the killer knew Lentz and worked for the same pharmaceutical company that threw the party. this makes it look as if he will be able to successfully answer the MDQ: "Can Kimble find the real killer?" Pages 72-97 in the script.)
ALL HOPE IS LOST (90)
The greatest set back of the story for the hero. It appears as if achieving the goal is impossible but the hero has no choice but to try because he will have an even worse fate should he abandon his quest now. The hero’s internal needs/flaws are confronted defining the hero’s arc. The hero discovers a hidden truth about the nature of the obstacle and conflict to his goal which sets a new path for the hero that will lead to an inevitable conclusion and answer the MDQ.
(i.e. Kimble calls Nichols and discovers Lentz is dead bringing into doubt the MDQ: MDQ: "Can Kimble find the real killer?". Page 97 in the script. )
....
EJLast edited by EJ Pennypacker; 05-12-2008, 06:46 AM.
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Re: Second Act Insight
...
ACT THREE
RESULT OF THE ACTION
FINAL PUSH TOWARD THE MAIN PLOT (90-109)
The intensification of the hero’s quest for his goal that will result in getting something new or different from what he originally set out to achieve. The actions of the hero set into motion events that contain the answers to the MDQ and the roots of the result of the action.
(i.e. Gerard follows the clues and discovers Lentz worked at the hospital. Nichols lies about knowing Lentz to Gerard, first hint that he is dirty. Kimble arranges for Nichols to get him into the lab to investigate Lentz's work. The one armed man gets a mysterious call telling him to go tot he hospital. Kimble finds the faked test results for RDU90 and Gerard learns Nichols did know Lentz. Kimble learns Lentz died before most of the samples were faked so it had to be someone else and Kimble knows who -- Nichols, his best friend which raises the MDQ: "Can Kimble find the real killer?" . Pages 97-109 in the script.)
FINAL CONFRONTATION (109-115)
The hero has reached the end of the path that has brought him to his goal. The only thing standing in his way is one obstacle that is greater and unlike any faced before. In this moment the hero must finally confront his internal flaws/needs and be changed in order to achieve the external goals and finally answer the MDQ.
(i.e. Kimble is followed by the one armed man on the train and in their struggle a cop is shot by the one armed man. The cops think Kimble did it so they want to shoot him on sight. Gerard gets evidence linking Kimble to the one armed man but Gerard knows it proves Kimble is innocent. Kimble confronts Nichols with the truth and they fight on the roof, falling into the elevator. Gerard stops marshals from shooting Kimble, hint that he thinks Kimble is innocent.
Kimble clubs Nichols unconscious, saving Gerard's life. Kimble says he didn't kill his wife, Gerard says he knows. This answers the MDQ: "Can Kimble find the real killer?". Pages 109-131 int he Script.)
DENOUEMENT AND RESOLUTION (115)
The final outcome of the story and how the hero’s life has been changed because of it.
(i.e. Kimble has his freedom and Gerard is changed for it because he now knows Kimble was innocent and does care if he was guilty or not Note that it is Gerard who arcs in the story not Kimble, Gerard provides a surrogate arc for Kimble. Pages 131-133 in the script.)
EJLast edited by EJ Pennypacker; 05-12-2008, 06:47 AM.
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Re: Second Act Insight
Thank you for digging those up, EJ.
They are insightful and give real world examples of how it's done.
This is a prime example of what I always try and convey and that is "Think Like a Screenwriter".
You have to train your brain to break down and (re)construct stories like this if you want to write effective and compelling screenplays.Positive outcomes. Only.
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Re: Second Act Insight
You're welcome.
If you want the break-downs of various story gurus, check out this pdf which bascially gives you 'structure rules'.
http://www.dramatica.com/downloads/D...ifferences.pdf
Again, for me, THE HEROES JOURNEY you simply cant go wrong.
EJLast edited by EJ Pennypacker; 07-06-2007, 10:04 AM.
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Re: Second Act Insight
another break down
ACT ONE
THE CONDITION OF THE ACTION
SETUP: CHARACTER WITH A PROBLEM (1-12)
Establishes who the main character is and what the character’s internal and external problems are. Also establishes the setting, period, tone, style and point of view of the story.
(i.e. John McClane is a NewYork Cop Arriving at LAX for Christmas holidays. Visit the family. Plenty of love at the ariport as families reunite for Christmas. we also get info that he doesn't like flying. (You just know he’s going to be doing some flying! sans aircraft))
CATALYST: POINT OF ATTACK (3)
The SETUP: CHARACTER WITH A PROBLEM sequence usually contains the CATALYST: POINT OF ATTACK which is 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.
(i.e. Meets Argyle, limo driver, expository tool; McClane's estranged from his wife, he wants to reconcile with her after a job promotion had her move out to LA and take the kids. MDQ Reconcile with wife for Christmas)
NEW OPPORTUNITY / PREDICAMENT (12-17)
Establishes a new problem which steers the story in a new direction and hints at bigger obstacles to come as the hero struggles to deal with the new disruption to his life.
(i.e. We get a first glimpse of a Large delivery Van on a road. John McClane arrives at Nakatomi Plaza, finds out his wife changed her name back to her Maiden name. It might already be too late to reconcile. This pisses him off. He enters the party. )
INCITING INCIDENT (17)
The NEW OPPORTUNITY / PREDICAMENT sequence usually contains the INCITING INCIDENT which is the first significant event where the plot overtly acts on the character and completely disrupts and alters the characters life. The Inciting Incident contains the roots of the cause of the action.
(i.e. HansGruber arrives at Nakatomi Plaza. His team infiltrates and takes possession of the building as of yet unknowst to the hero. McClane and wife have another fight. From hero's POV it's badsically her career over their love. This is painful for both hero and love interest.(“Real mature, John!”))
CAUSE OF THE ACTION
TURNING POINT: CHANGE OF PLANS / NEW LOWER OBSTACLES (17-30)
An event caused by the antagonist that forces the character to take new action that defines the hero’s general wants/needs into a specific goal and sends the story in a new direction. The CAUSE OF THE ACTION is an action taken by the hero which raises the Major Dramatic Question that is the primary concern of the plot.
(i.e.Hans takes control of the party on the 30th floor, taking hostages including McClane's wife. McClane take off up a stairwell to avoid being caught by the terrorists. )
ACT TWO
THE ACTION
PROGRESS: NEW HIGHER OBSTACLES (30–60)
The hero makes progress toward their goal. There are new conflicts and higher obstacles introduced that places the character’s success in doubt.
(i.e. HanGruber Kills Takagi. McClane Sets off a firealarm. They chase McClane cat and mouse through the building. McClane behaves like a cop. Calling 911 trying to get assistance. They're called off and turned away. He's still alone.)
MOVING FORWARD METAPHORE: ARC DEFINITION (45)
The PROGRESS: NEW HIGHER OBSTACLES sequence usually contains the MOVING FORWARD METAPHORE: ARC DEFINITION which contains overtones about the character’s growth and hints at the outcome of the story.
(i.e. McClane faces off against a terrorist. Survives. Barely. But ends up still being barefoot.”Noones going to come & help you” Hero is isolated. )
POINT OF NO RETURN: LOW POINT (60)
The POINT OF NO RETURN is a point in the story where the hero is confronted with an obstacle that is so large that if he continues he will risk so much that he will be unable to go back to the relative safety he was in before and must follow his new path to its inevitable conclusion. It’s a point of decision and action that defines a very low point in the story where any hope of success for the character seems small and the answer to the MDQ is in doubt.
(i.e. McClane has to battle the terrorist's himself. His goal is reconciliation with his wife, but she is grave mortal danger. No one will help him. He has no chance of survival without becoming as ruthless as the terrorists are. (Thanks for the advice) Mario is thrown out the window, and Cops get involved in the scenario. This midpoint reversal changes the nature of the story expanding the context and broadening the subplots. )
POST POINT OF NO RETURN (60+)
A beat immediately after the POINT OF NO RETURN that doesn’t necessarily advance the story but it does illustrate the character’s change because of the PONR. This beat is usually an up beat to contrast the down beat of the PONR.
(i.e. Welcome to the party Pal, )
COMPLICATIONS, HIGHER STAKES AND SUBPLOTS (60-75)
The goal is harder to achieve than the hero thought and is tested more than he ever expected. Subplots develop and further complicate the hero’s path to his goals and raise the stakes.
(i.e. The terrorist now try to hunt down McClane while the cops scramble outside. There's a whole slew of secondary characters introduced, like the reporter, deputy chief and the FBI guys. All subplots to keep the story moving forward. )
CULMINATION TOWARD THE MAIN PLOT (75-90)
The conclusion of one dramatic tension and the start of a new one. The hero moves inexorably closer to his goal and discovers new info and better understanding of the nature of the opposition before him. The antagonist is aware of the hero’s actions and takes actions to prevent the hero from learning the truth about the conflict and obstacles the hero is trying to overcome. The focus shifts from subplots to the main plot.
(i.e. McClane blows up half the building tossing the detonators into the elevator shaft, saving the stupid SWAT team in the RV. The FBI shows up. McClane and Hans trade bards against eachother via radio. Hans needs these detonators for some reason. McClane comes Face to face Gruber. “You think I’m f#cken stupid? you were saying! ) [/color]
ALL HOPE IS LOST (90)
The greatest set back of the story for the hero. It appears as if achieving the goal is impossible but the hero has no choice but to try because he will have an even worse fate should he abandon his quest now. The hero’s internal needs/flaws are confronted defining the hero’s arc. The hero discovers a hidden truth about the nature of the obstacle and conflict to his goal which sets a new path for the hero that will lead to an inevitable conclusion and answer the MDQ.
(i.e. McClane’s bare feet are bleeding, cut from the broken glass, and he comes to the realization that he wont makeit out of this alive and asks Al to find his wife and tell her; that he never told Holly he was sorry for his behavior, his own pride is the main cause of their marriage troubles not her promotion. And now he’ll never get a chance. If they’re not alive they can’t reconcile. Then a revelation/click: why were you looking at the roof Hans. What’s the secret with the roof? Also a very tight piece of editting and interweave of subplots, Hans discovers Holly’s relationship with McClane through the reporter interviewing the kids. )
ACT THREE
RESULT OF THE ACTION
FINAL PUSH TOWARD THE MAIN PLOT (90-109)
The intensification of the hero’s quest for his goal that will result in getting something new or different from what he originally set out to achieve. The actions of the hero set into motion events that contain the answers to the MDQ and the roots of the result of the action.
(i.e. McClane finds out the roof is set to blow. It’s part of the master plan. The terrorist plan to kill all the hostages. Wife is in danger. McClane struggles to save the hostages, finds out Holly his wife has been taken to the vault. The roof blows up, McClane is “Flying again” , the helicopter and FBI guys blow up.)
FINAL CONFRONTATION (109-115)
The hero has reached the end of the path that has brought him to his goal. The only thing standing in his way is one obstacle that is greater and unlike any faced before. In this moment the hero must finally confront his internal flaws/needs and be changed in order to achieve the external goals and finally answer the MDQ.
(i.e. MClane (archtype of the cowboy) faces off against Gruber at the vault in a gunfight, With Holly in the middle. Two shots, Gruber falls out of the window, all that’s holding him is the Rolex, a symbol of Holly’s commitment to her job. McClane saves his wife, shows his undying love, and Gruber and the rolex take a high dive from the 30th floor, all the bearerbonds fluttering in the wind, worthless in the face of love. )
DENOUMENT AND RESOLUTION (115)
The final outcome of the story and how the hero’s life has been changed because of it.
(i.e. Cop Al saves the day, Alexander get shot. Argyle pulls up with the limo, McClane and Holly reunited, “I’m Holly McClane” MDQ answered successfully. Mr. McClane and the Missus drive away to rejoin their family)
EJLast edited by EJ Pennypacker; 05-12-2008, 06:50 AM.
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Re: Second Act Insight
A) if at all possible, follow Deus' advice!
B) break the middle act into FOUR SEQUENCES. In each sequence, the protag has a MINI- GOAL (got that from Deus too, and it was the best thing that ever happened to my writing. Ever.).
So end of second sequence of middle act is mid-point, end of last act of act two is All is Lost moment.
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Re: Second Act Insight
Thanks, guys. I'll definitely print this and get my hands on Volger's book.
But by all means, continue with thread if you've learned anything else since.
Incidentally, you ever notice how some good comedies are funny from the first act to the midpoint then aren't so funny anymore when plot actually starts becoming the main focus? Countless Frat Pack comedies have had this problem IMO. Any scripts you've read that are funny from beginning to end? I'll ask this question again in that other forum but..."There is no greater agony than bearing an untold story inside you."
-Maya Angelou
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Re: Second Act Insight
Here is a scene and sequence breakdown of Field of Dreams by Phil Alden Robinson taken from the book Screenplay:Writing the Picture by Russin and Downs.
SEQUENCE #1 "How I Moved to Iowa and Learned How To Love Baseball-
MONTAGE-Photo's and narration tell us about Ray's life, Why he loves baseball, how he met his wife, why he became a farmer, and he trouble relationship with his now departed father.
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 build the 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.
SEQUENCE #3 "Building the Baseball Field-
SCENE 1: MONTAGE-Ray plows under his corn field in order to build the baseball field. His neighbors think he's a weirdo.
SCENE 2: EXT. BASBALL FIELD - NIGHT
The baseball field is done. "I have done something completely illogical.-
SEQUENCE #4 "Waiting for Shoeless Joe-
SCENE 1: EXT. BEDROOM - NIGHT (FALL)
They wait for something to happen, but nothing happens.
SCENE 2: INT. LIVINGROOM - NIGHT (WINTER)
Christmas has come and still nothing has happened.
SCENE 3: INT. LIVINGROOM - NIGHT (SPRING)
Still nothing. They have gone over budget. They are running out of money. Suddenly, there is a man on the lawn.
SCENE 4: EXT. BASEBALL FIELD - NIGHT
Shoeless Joe Jackson has arrived. Ray introduces Shoeless Joe to his family. Shoeless Joe wants to bring the other players back with him. Ray decides no matter what the cost they're keeping the field.
SEQUENCE #5 "The Brother-in-Law-
SCENE 1: INT. KITCHEN - DAY
Mark, Ray's brother-in-law, offers to buy the farm to save Ray from bankruptcy.
SCENE 2: EXT. FIELD - DAY
The players return for a game. Mark cannot see them.
SEQUENCE #6 "The Second Message-
SCENE 1: EXT. BASEBALL FIELD - DUSK
Ray gets his second voice, which says, "Ease his pain.-
SCENE 2: INT. HOUSE - DAY
Ray tells his wife he heard the voice again. He doesn't know what it means.
SCENE 3: INT. SCHOOL BOARD MEETING - NIGHT
Book banning is debated. Ray in preoccupied with what "ease his pain- might mean. The townspeople want to ban a book by Terence Mann. At the mention of Terence Mann, Ray understands the voice's message.
SCENE 4: INT. SCHOOL HALLWAY - NIGHT
Ray tells his wife that he must find Terence Mann
SCENE 5: MONTAGE-They research Terence Mann.
SCENE 6: EXT. LOCAL LIBRARY - DAY
Ray discovers a lot about Terence Mann but can't decipher how he figures into the voice's plan.
SCENE 7: INT. TRUCK - DAY
They find out Terence was a great baseball fan. Wanted to play, but it never happened. Terence hasn't been to a game since the 50s.
SCENE 8: EXT. RAY'S FARM - DAY
Ray comes to understand that he must take Terence to a baseball game. He simply does not know why.
SCENE 9: INT. FARM HOUSE - DAY
Ray decides he must go to New York to find Terence Mann.
(CONTINUED)
"Trust your stuff." -- Dave Righetti, Pitching Coach
( Formerly "stvnlra" )
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Re: Second Act Insight
SEQUENCE #7 “Finding Terence Mann”
MONTAGE—Ray traveling to New York. He interviews people in Mann’s New York neighborhood. He finds the door to Mann’s apartment.
SEQUENCE #8 “Meeting Terence Mann”
SCENE 1: INT. APARTMENT BUILDING - DAY
Terence Man slams the door in Ray’s face. When Ray begs him to listen, Mann gives him 1 minute to talk. Ray entreats him to come to a baseball game.
SCENE 2: EXT. STADIUM - - HOT DOG STAND - NIGHT
Terence and Ray go to a baseball game. Terence still thinks this whole thing is silly and that Ray may be psychotic.
SCENE 3: EXT. BASEBALL STADIUM - NIGHT
Ray hears another voice, “Go the distance”, and sees the stats for Archibald “Moonlight” Graham on the scoreboard. Terence sees nothing.
SCENE 4: EXT. TERENCE MANN’S APARTMENT - NIGHT
Ray says goodbye. The mission is a failure, until Terence admits that he too saw the stats for Moonlight Graham on the scoreboard. They decide to go to Wisconsin together and find Graham.
SEQUENCE #9 “The Search for Moonlight Graham”
SCENE 1: MONTAGE—They drive to Wisconsin
SCENE 2: EXT. GAS STATION – DAY
Ray calls his wife to tell her that everything is fine.
SCENE 3: INT. RAY’S FARM – DAY
His wife hangs up. Mark is back. He’s going to foreclose on the farm.
SCENE 4: INT. WISCONSIN COUNTY OFFICE - DAY
Ray and Terence find out that Moonlight Graham is dead. They find out that he was a wonderful doctor who helped everyone, but they still don’t know why they have to find him.
SCENE 5: INT. BAR NIGHT - NIGHT
They interview people in a bar about Moonlight Graham.
SCENE 6: INT. HOTEL - NIGHT
They look over their research. They still cannot understand why they have to find him.
SCENE 7: EXT. CITY STREET - NIGHT
Ray goes for a walk. He suddenly finds himself in the past. He sees Moonlight Graham walking alone.
SCENE 8: INT. GRAHAM’S OFFICE - DAY
Ray asks Graham about his short major league career. Graham played half of one inning. He never got to bat. His wish is to bat, just once, in a major league game. Ray asks Graham to come with him back to Iowa. He refuses.
SCENE 9: INT. HOTEL NIGHT - NIGHT
Ray and Terence are confused about their purpose. Why didn’t Graham come with them?
SCENE 10: INT FARMHOUSE - NIGHT
Ray calls home. The farm is in trouble. Terence decides to go to Iowa with Ray.
SCENE 11: EXT. HIGHWAY - DAY
They pick up a hitchhiker, a kid who turns out to be the younger incarnation of Moonlight Graham.
SEQUENCE #10 “Why Ray Regrets His Relationship with His Father”
SCENE 1: EXT. HIGHWAY - DAY
The three of them head to Iowa. Ray tells Terence about his troubled relationship with his father.
SCENE 2: EXT. HIGHWAY - NIGHT
Ray admits to Terence that he and his father fought over his father’s worship of Shoeless Joe Jackson.
SCENE 3: EXT. RAY’S FARM - NIGHT
They get home—the ghost team is playing.
SEQUENCE #11 “Moonlight Graham Gets His Wish”
SCENE 1: EXT. BASBALL FIELD – NIGHT
Terence and Graham are introduced to the ghost players. They ask Graham to play.
SCENE 2: EXT. BASBALL FIELD – NIGHT
The teams play baseball. Graham has his chance at bat against big league players. He drives home a run.
SEQUENCE #12 “The Climax”
SCENE 1: EXT. BASBALL FIELD – DAY
Mark comes to take the farm. Ray’s daughter falls off the seats. As he steps from the baseball diamond to help her, Moonlight Graham becomes the old doctor again and saves her, but finds he can’t go back. Graham, his dream fulfilled, disappears into the field. Mark sees the ballplayers for the first time, and decides not to foreclose. The players ask Terence if he wants to come along. Terence gleefully goes with the players. Ray’s father returns, is introduced to Ray’s family, and Ray and his dad play catch.
***
Where are the act breaks?
I guess act 2 would start at the end of seq #4 when Ray decides they are keeping the baseball field.
At this point Ray has to deal with his antagonist/obstacles: his brother-in-law & the critical towns people.
The midpoint comes at the end of seq #6 when Ray decides to go to NY to find Mann.
At the midpoint the movies goes from being a story about a guy hearing voices in Iowa, to a guy on a quest to find other people. Ray becomes more pro-active.
Then another obstacle is introduced: Terence Mann. Ray has to "fight" with him to get him to come.
Then another obstacle is encountered: Doc Graham refuses to go with him.
The heat is turned up when his brother-in-law starts taking the farm.
I suppose Act 3 begins when they pick up the young Moonlight Graham.
What i've learned in studying movies is that what is called the 2nd act consists of the hero's encounters with the obstacles standing in his way to achieving his goal.
After i've come up with a char & a story situation, & i'm at the outline stage, i ask myself, given my char & his goal:
" What could stand in his way?"
"What is a good obstacle he would have to deal with?"
"Who would make a great villian/antagonist?"
"What are some of the internal issues he would have to deal with?"
When the hero encounters & fights these obstacles (sometimes they are referred to as "tests") they fall into these episodes, aka sequences.
So my advice would be to really examine the specific antagonistic forces working against your hero. Then arrange these encounters (tests) in the most dramatic & entertaining way.
"Trust your stuff." -- Dave Righetti, Pitching Coach
( Formerly "stvnlra" )
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Re: Second Act Insight
Not to sound trite... But this is the kind of stuff I wish more sites would really get into like we are here.
Real world examples mixed with theory.
Also...
The one model that uses "Die Hard" addresses something a lot of the other ones don't and that is the Second Act Reversal.
Basically, it is where the hero thinks he has succeeded, but a new problem -- an even bigger problem -- Occurs that sends us toward the final act (the climax). It is a reversal because it reverses the success the hero had with the previous problem (or set of problems). This often coincides with the hero's lowest point as well. They don't think they can keep going and keep fighting... But we all know they willPositive outcomes. Only.
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Re: Second Act Insight
My broad take on the three acts:
ACT ONE - Setup of conflict.
ACT TWO - Escalation of conflict.
ACT THREE - Resolution of conflict.
This paradigm applies to many different genres. For our sake, I'll use examples from the adventure genre:
LORD OF THE RINGS
ACT ONE - Frodo learns that he must take the ring to Mordor.
ACT TWO - Frodo and Sam venture deep into enemy territory.
ACT THREE - Frodo destroys the ring.
STAR WARS
ACT ONE - Luke learns that he must go to Alderaan to help the rebellion.
ACT TWO - Alderaan has been destroyed by the Empire. Luke is forced into enemy territory.
ACT THREE - Luke destroys the Death Star.
Both Luke and Frodo are pitted against overwhelming odds. Consider it a spin on the classic David vs. Goliath paradigm.
DAVID = Luke, Frodo
GOLIATH = Empire, Sauron
It's understood that the enemy our heroes are opposing is significantly more powerful than our heroes themselves. This is necessary because the audience must understand the difficulty of the hero's task. If the Empire was weak, we wouldn't find the task of defeating them daunting. David vs. Goliath is compelling. David vs. David is not. This is why there's a movie called MIRACLE about a bunch of scrub hockey players taking down a superpower, whereas there's no movie about a hockey superpower taking down a bunch of scrubs. Anyhow, back to our stories...
When we meet Frodo and Luke, they're living peaceful lives away from the action. As Luke says, "Well, if there's a bright center of the universe, you're on theplanet that it's farthest from." But the peace is quickly disrupted when agents of a distant, but powerful evil descend in search of a desired object (the Stormtroopers want R2-D2, the Ring Wraiths want the ring).
Our heroes soon learn that they must abandon their peaceful homes and embark on a difficult journey. This is where escalation comes into play. Star Wars and Lord of the Rings are absolutely brilliant because their setups force the heroes right into the heart of the enemy.
Luke goes from TATOOINE -----------> DEATH STAR
Frodo goes from SHIRE --------------> MORDOR
Do you see why this works so well? The writers engineered the plot in such a way that the heroes were forced to confront evil at its very source. Luke and Frodo literally moved closer to destruction. They were forced into its lair. They had no choice.
Act two is all about escalation.
I like to break down my stories as follows:
HERO must complete TASK before CATASTROPHE.
Clarice must find Buffalo Bill before he murders Catherine Martin.
Marty must hook up his parents and find a way back to the future before he's erased from existence.
Kimble must prove himself innocent before he's captured or killed.
As the hero moves closer to completing his task, the catastrophe moves closer to fruition. So as Clarice moves closer to Bill, we see the occasional scene of Bill moving closer to killing Catherine. As Marty moves closer to completing his two tasks, we see the occasional shot of his picture disappearing from time. As Kimble moves closer to finding the real killer, we see the occasional shot of Gerard moving closer to Kimball.
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