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What do you mean by “slightly alternate America”?
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Last edited Tue Jan 26, 2021, 11:37 AM - Edit history (4)

There is absolutely an accepted structure for screenplays, first identified and written about by Syd Field. Many new screenwriters don't like this idea of there being rules (I didn't), but nearly every successful film obeys them to a large extent.

No doubt, working on the protagonists is much more gratifying than the antagonists. If you ask ten screenwriters their opinions on development of antagonists, you will get ten different answers. There was a time when tremendous emphasis was placed on development of the antagonist ("the more interesting the antagonist, the better the film" ). This is my personal opinion: It depends on whether your antagonist is truly a "villain" (think of the serial killer your detective is trying to capture) or an authentically-interesting and important character that triggers change in your protagonist (a movie like "As Good As It Gets", or deeply psychological movies like Lars von Trier's works like "Melancholia" or "Antichrist" ). I personally don't believe in overdeveloping unlikeable antagonists; it's a personal preference. For example, I don't care about the backstory of the villain in a James Bond or Alfred Hitchcock movie. But in dramas, it becomes much more important to fully develop antagonists, including writing up their backstories even if you never refer to their histories in the finished screenplay. Think of a fascinating antagonist like Nurse Ratched in "One Flew Over the Cuckoo's Nest" or Fredo in "Godfather II" (or Colonel Kurtz in "Apocalypse Now" or Faye Dunaway's character in "Chinatown" ).

For everything I'm typing, there are many exceptions. Protagonists don't have to be likeable, but they should be interesting and complex. ("Taxi Driver" ).


To make a really long story short:

A screenplay has three acts. The first act ("The Set-Up" ) is approximately 28 to 33 or so pages. The second act ("The Confrontation" ) is approximately 60 pages. The third act ("The Resolution" ) is usually 20 to 30 pages. When all is said and done, a page approximately equals one minute of screen time, but this varies on a page by page basis based on the amount of dialogue vs. description.

A screenplay is basically a series of sequences broken down into scenes, logically and properly ordered to escalate interest, leading towards a change or epiphany in your protagonist (unless your story is about a protagonist "who refuses to change" ).

Each scene has some level of conflict. It can be extremely subtle ("The Big Chill", "Grand Canyon", "Girl Interrupted" ) or it can be people screaming at each other. Some tension must be present early on, and then sustained.

Sequences end with "reversals", which toss the story in an unexpected or interesting direction.

Major plot points occur at the close of Acts I and II.

Something relatively important should occur around the midpoint (approximately page 60). The joke used to be that if your screenplay contains a romantic relationship, page 60 is when they finally sleep together.

It is the collision of the protagonist with the antagonist that creates the change, unless you are writing an ensemble film or a film in which "society" is the antagonist.

You may want to invest in screenwriting software.

You have three to ten pages to hook your reader.

Expect to make mistakes. Completely outline your entire story before you start writing. Never begin a screenplay without knowing what the third act will be or the last few sequences.

You can break all these rules once you've learned them and made them work!

Ty for sharing!

This is a topic I haven't written about in a long time. It is fun to revisit.

One idea I do have to offer is to consider working with various types of divination card decks to prompt creativity.

Currently reading "Tarot for Writers," by Corrine Kenner.

Fabulous for generating ideas for characters (arcgetype card deck), relationship issues & conflicts (Mythic Tarot deck), etc., etc., etc!

This is a little-known technique said to have been used by John Steinbeck, Stephen King and, no doubt, countless others!

Enjoy!!!

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Tarot for Writers is definitely worth a read
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Glad you are finding it useful! I got a like new copy, used for under $10.

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It's a little out of my price range right now, but I did download a sample to read, and I like it.

Writers need to be able to think outside the box, and it's what I think causes most writer's block, getting stuck in a rut. Using tarot cards is a good way to get out of it or as just a way to be a little more creative.

By the way, I started reading the Gift of Dyslexia, and I find the "thinking in pictures" concept very interesting.

Thank you.
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So glad you like both recs!

I love books that honor & celebrate differences, and both of these do!

What "box?" People live in boxes?

Jk. Reading Chet & Bernie. That was my Chet impression. Lol

Read on!

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Funny.
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I love talking animal cozies. Joe Grey is my all-ptime fav!

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I'm on #4, Cat in the Dark.

I have the whole series, and this is my third time through it.

I also wrote a blog piece on her:

https://www.democraticunderground.com/119315527
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I have the writing for the stage thing down but I’m toying with a screenplay idea. These guidelines are gold.

I already see things in my post I wish I had qualified. For example, an argument can be made that Nurse Ratched isn't really the antagonist in "Cuckoo's Nest"; that it's actually McMurphy, and that Chief Bromden is the protagonist. I've usually leaned towards the view that McMurphy is a protagonist who "refuses to change" and dies at the end. Some teachers will tell you that "death is not a change" (a blunt way of warning screenwriters not to kill their protagonists) but I don't know if that rule applies in the case of a movie about a protagonist who "refuses to change". (i.e. "Mishima" ends with a suicide--but I digress.)

It's a lot of fun to think about these things.

But I always hesitate to make concrete assertions about such matters!

Good luck with your writing. Writing for stage must be fascinating. I'm guessing you can really focus on casting a spell over the audience because you can spend more time in one place, and are not constantly interrupted by scene changes. Just watching characters interact over a longer period of time can be so interesting.

(It's a movie, but I'm thinking of how thrilling something like "My Dinner with Andre" was in spite of it just being two people talking for more than ninety minutes. I also recall being riveted by the film of the play "Carnage", and I like Mamet's early plays.)

Would love to know more about stage writing.

I happened to find an actor's script at a famous LA restaurant once, with all of her notes scribbled all over it. I was really surprised at how sparse the screenplay itself was, and how her marginalia really fleshed out the character and scenes.

Don't worry: I was a fan of the show (although I was meh about the actress). As soon as I finished eating, I took that script right over to the studio where her show was shot. I didn't mind being made to wait at the security booth while the guy there called over to her set; who was I, after all? Her assistant was out there in what seemed like 30 seconds to retrieve that script, and insisted on getting my contact information.

A few days later, I got a note in my mail box about an attempted delivery, which I hadn't been expecting. When I picked it up, it was a box from a certain famous agency containing a thank you letter from her for returning her script, and some awesome publicity goodies. I had to send her a thank you note for being so nice about thanking me!

Last edited Tue Jan 26, 2021, 12:04 PM - Edit history (1)

Over the last couple of years, I have to tried to learn more in general about writing. Reading online and collecting books from Thrift stores has helped. I found one that has several helpful sections including guidance on formatting for screenplays, character development and tips for writing dialogue. It covers a lot of ground. It's called "The Screenwriter's Bible" 6th Edition by David Trotter through Silman-James Press.

Several other books were helpful including one out of the Game Development world titled "Character Development and Story Telling for Games" by Lee Sheldon from 2004 through Thomson Course Technology PTR. Little practical info for screenplay writing but the different perspective from the gaming viewpoint gave me ideas.

Good luck on your project. Sounds like you are making good progress!

It can protect you.

Good luck!

screen writing because of the structure required. I write about what I know, and although there is a great deal of research and education required to achieve that position I still strive not to seem "higher than thou" in my writing.

You'll know when you are in the "groove" because writing will consume your life until you've put words to paper.

Good luck.

Still trying to crank out that first novel after many false starts...But I did manage to write and publish a non-fiction book on Aging in Place. Aging in Place: How to Protect Your Independence for the Rest of Your Life, by Lanore Dixon, COTA. I still write everything but poetry and try to draw and paint. I'm looking forward to retirement from my money job in a couple of years. Hopefully, I'll have more time and ENERGY for my creative pursuits. I'm working on a cozy mystery series with a theme of dancing...I've really let COVID and T***p kill my productivity on that project, though.

Antagonists are the most interesting part of any story. The main problem is always motive -- why does one do evil things? Are they inherently evil, or do they have a reason we can sympathize with? Either one works.

Best advice I can give: just finish it. It sounds stupid, but I've seen so many writers fall by the wayside because they lose interest or they get a "better" idea or they see the flaws of the first draft. Don't stop to revise, just finish the damn thing and then fix the problems.

I am of uneven experience. For my screenplay, I have typed a couple hundred pages of various types: dialogue, storyboards, character backgrounds, story "fragments", "themes", "universe".

I had to tone down the abilities of my protagonists. Most movies want a more even balance between protagonists and antagonists.

My main techniques are 1. know my universe. 2. know the abilities of my chars. 3. know their secrets. 4. know their likes, dislikes and 5. my favorite -- their emotional reactions. I made my own attractive "list" outline system years ago when I was doing computer programming. I adapted it for lists of themes. I have over 20 "themes." (categories of topics). I have a wall covered with printouts for me to look at. Today, I will do a new print. I sorted the themes today, and moved out lesser ideas to a holding pond.

In the past, I didnt have enough ideas. Now, I have boatloads. I'm sure that most everyone will ask me to dial it back. HA ! We will see.

I intend to "self-publish" a set of stories (chapters, scenes, musings), mostly kinda autobiographical, right here. Just to see what kind of reception they receive.