MONDAY'S SCRIPT TIP:
THREE ACT CONFLICT
I am a strong believer in "tools, not rules". There are no rules in screenwriting, the only
thing that matters is that your screenplay works. The 3 Act Structure is a tool that has
been around for at least 2,400 years in storytelling - and it has lasted so long because it
works. But the purpose of the 3 Act Structure is not to make sure that you have a major
plot point halfway down page 27, it's to make sure your story IS a story... not just a
collection of events that concern a protagonist. One of the Three Greek Unities is Unity
Of Action/Event - your story has to be about ONE event rather than a series of events. Some
think of the Three Acts as "beginning, middle, and end" as a way to target a single
event... to make sure the story IS a story.
But "beginning, middle, and end" can become confusing when you're dealing with films
like MEMENTO that begins at the end. But even though it runs backwards,
MEMENTO's act 1 (first quarter of the film) introduces the conflict and it's act 3 (last
quarter of the film) resolves the conflict... so I prefer to think of the 3 Act Structure as:
Act 1: Introduction of Conflict
Act 2: Conflict and Escalation of Conflict
Act 3: Resolution of conflict.
The 3 Act Structure is a great tool for making sure your story actually has conflict,
enough conflict, and a focused central conflict. Story IS conflict - without it, you just
have boring incidents. You may give your character a goal, and have them spend Act 2 pursuing that goal...
but still end up with a boring script. Knowing what your character wants doesn't matter unless you
also know why they can't have it (conflict). Your story may have a beginning, middle and end, but
what really matters is the conflict... here's why:
Act 1: What Protag wants - a piece of pecan pie.
Act 2: How does he go after it? - Orders from waitress.
Act 3: How does he get it - she returns in about 5 minutes with the pie.
No conflict, dull story.
But what if he doesn't have any money and wants to STEAL the piece of pecan pie...
and the pie case is behind the counter where all of the waitresses are.
Act 1: Wants a piece of pecan pie, has no money. (establishes conflict).
Act 2: Waits until no one is looking and sneaks behind counter to get pie... but a
waitress comes back and he has to hide in a cupboard under the counter. Another
waitress goes behind the counter and the two waitresses have a conversation. Our hero
in the cupboard feels his leg beginning to cramp... has to figure out how to work out the
cramp without the waitresses hearing his movements. Our hero feels something
crawling on his leg... a big ugly cockroach! (conflict and escalation of conflict).
Act 3: He opens cupboard door enough to toss cockroach onto a waitress' foot. She
screams, both waitresses run away. Hero rolls out from cupboard, grabs a slice of pie
and crawls to the other end of the counter and escapes. (resolution of conflict due to
protagonist's actions).
Conflict makes it a story. It's not so much what the protagonist wants, but why he can't
have it... the conflict. Conflict doesn't mean it's going to be car chases and fist fights,
the conflict can be wanting to get laid before you graduate high school (and having not
a single taker) or wanting to hook up with a guy who lives in Seattle when you live on
the other side of the country. Those are conflicts.
To some people it seems like Hollywood is three act crazy - and that the three act structure is constricting their creativity. In reality, it is nothing more than a tool to *help* your creativity. Hollywood had nothing to do with the three act structure, it's just another one of those Greek things from 2,400 years ago - along with terms like "protagonist" and "antagonist" - things that are basics of dramatic structure. Writers have been using these tools for longer than Christianity has been in existence - because they work.
EPISODIC & NO ACT 2
One of the major problems with scripts that do not work is that they are *episodic* - instead of having one conflict and one story, they have a bunch of different small conflicts and small stories that do not add up. By the end of the script we feel like there is no story - just a bunch of incidents featuring the same character. You've even seen this in films before - a lot of little scenes that don't come together at the end. The three act structure helps prevent this problem.
Another common script problem is *no act two* - these scripts usually have a long act one - and if those scripts het put on screen, you (as the audience) often wonder when the story is going to start. It seems like the story isn't kicking into gear. Even if conflict is present, the protagonist really isn't involved in the problem - they're standing on the sidelines watching as things happen to other characters. Then, after an hour of being on the sidelines, the protagonist steps up and resolves the problem... and the film ends. Theses are slow stories that bore you to death, and then *wham* are over. The problem is basic structure. There is no Act 2 - no struggle with the conflict - and we're left with conflict introduced and conflict resolved... with no time for the actual conflict.
One of the common ways for *disguising* the lack of Act 2 conflict is to create an *Act 2 Stall* where some subplot pops up to waste time. Again, the problem is that the stall is not the story - so it's often boring (no matter how many exciting things it may have). It always seems like the important problem for the protagonist is being shoved aside for something of less importance... like a subplot takes over. This is usually unsatisfying for the audience, and often is *obviously* the writer stalling for time so that they can avoid the story's main conflict. I've read many of these scripts when I got roped into reading contest scripts - and they didn't just bore me... they usually made me angry. The writer was avoiding the story's conflict for some reason - chickening out. And making me (the reader) pay for their cowardice. If they had only used the basic story creation tools available!
Practicing *conflict avoidance* in a screenplay usually results in a bland script - and that's no what we want! We want a big, juicy, conflict-filled story! A story is a *person* with a *problem*. It's all about the conflict and the character. Conflict is what brings the character to the surface! Having your character sit in a Lazy Boy recliner eating Cheetos and watching wrestling on TV is not a good way to explore their character. We need to put them in a situation where they must make tough decisions... even if that situation is just stealing a piece of pie.
The 3 Act Structure is a great tool for making sure your script has conflict, that it has
enough conflict, and that the conflict is focused. So what does your protagonist want...
and why can't he have it? The struggle to overcome the conflict and achieve the goal is
what Act 2 is all about... what your STORY is all about. Use your tools to create the best screenplay possible.
TUESDAY'S TIP - Today is my birthday... so I'm doing *no work at all*. But Tuesday's tip is completely revamped - about Transformers 2 and Terminator 4.
MY BLOG!
SCRIPT SECRETS STORE - time to monkey around!
Was THE PROPOSAL almsot as good as FIRE IN THE AMAZON when it comes to Sandy Bullock nudity?
Did you like HANGOVER so much you needed a little hair of the dog that bit you?
Was HURT LOCKER the best rush of adrenaline since that Keanu/Busey/Swayze surfin' & sky divin' bank robbery movie?
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