On this
blog, I make frequent references to story sequences and turning
points. However, it occurs to me that, with the exception of one four-year old article written back when I began exploring the
concept, I have never offered a full explanation of just what story
sequences are and how they are used to construct a cinematic
narrative. Since they are so important to the structure of a
cinematic story, so much that their discussion takes up two whole
chapters in my new book Screenwriting Down to the Atoms,
I have chosen to dedicate this month’s article to a brief overview
of this subject.
As frequent readers of this blog know, every great story is built
upon an elegantly-simple five-component structure called the Story
Spine. These components are: 1. The Story Problem, 2. The Story Goal,
3. The Path of Action, 4. The Main Conflict, 5. The Stakes. Put
together, the Story Spine can be represented by a simple diagram:
However, this diagram has been simplified to be applicable to ALL
types of story no matter what their form (fairy tales, plays,
anecdotes, short stories). The feature-length film, in contrast, is a
long-form mode of storytelling with a required length of ninety to
over one hundred twenty minutes. This length creates problems for
cinematic structure. If a movie’s protagonist does as the Path of
Action on this simplified diagram seems to suggest, and pursues only
a single line of action from the beginning of the film to its end,
the story would quickly become repetitive and dull. The audience
would grow tired of watching the protagonist ram him or herself
forward after the same objective with the same actions without the
benefit of development or change. To overcome this problem, the Spine
of a feature-length cinematic story looks something more like this:
Here we see that a cinematic Path of Action is not made of a single
line of action, but many short, separate segments, all twisting and
turning their way to the protagonist’s ultimate goal. These
segments are called STORY SEQUENCES. Simply put, a feature film’s
required length forces its plot to be broken down into smaller, more
manageable structural units.
Practically the first thing every developing screenwriter is taught
is that a cinematic plot is told through three acts. However, this is
putting the cart before the horse. The thing is, acts are really
nothing more than groups of consecutive story sequences. One cannot
understand how acts work until they understand story sequences. Story
sequences can be thought of as “legs” in the protagonist’s
journey. When the story begins, the protagonist’s ultimate Story
Goal seems far off and difficult to achieve. So, the protagonist must
take things one step at a time by pursuing a series of smaller, more
immediate SEQUENCE GOALS – one per story sequence – that slowly
move him or her closer and closer to the ultimate prize. By pursuing
a smaller, yet related sequence goal in every sequence, story
sequences become united in their action as interdependent
sub-adventures.
To provide a simple example, let’s say every morning you have the
ultimate goal of getting to your job on time. To reach this goal, you
must first accomplish a series of sub-goals. First, you must prepare
to leave home by showering and getting dressed. Then, you must get to
the corner in time to catch the right bus. Once on the bus, you must
travel to your job’s location. Succeeding at that, you must then
get to your work station with time to spare and start your day. With
each sub-goal comes its own individual tasks and difficulties.
However, with each sub-goal achieved, you take a step closer and
closer to the ultimate goal – getting to work on time.
Sequence goals must always be directly related to the main Story
Goal. They are sub-goals within the sub-narrative. If a sequence’s
action is unrelated to the main story and its Story Spine, the story
will skew off into a tangent, lose focus and direction, and basically
waste the audience's time with a meaningless side-trip. Instead, the
separate-yet-connected nature of story sequences allow a cinematic
plot to seem to its audience to twist and turn in unpredictable
directions, while keeping the main plot on track and always moving
forward in a clear direction.
Story sequences typically last from eight to twelve minutes. Giving
sequences a consistent length provides a plot with a sense of
rhythm and balance, like evenly-spaced pillars holding up a large
building. The average feature film is composed of ten to fourteen
story sequences. Typically, the first act lasts two to three
sequences. Act 2A two to four sequences, Act 2B two to
four more (creating a grand total of five to seven sequences for the
entire second act – I know this is bad math, but a second act with
only four sequences usually proves too thin, while an eight-sequence act
becomes too unwieldy), with the third act finishing the film with three
to four sequences more. Three-hour epics such as The Godfather or
one of the Lord of the Rings films will contain more
sequences in each act, but this is the exception rather than the
norm.
Sequences are grouped into acts because the consecutive plot actions
contained within these sequences work together to create larger
movements of plot. The sequences of the first act set up and launch
the story action, pushing the protagonist towards a Point of No
Return (the End of 1st Act Turning Point). In Act 2A, the
protagonist pursues goals that end up complicating the situation,
leading to a Monster Moment
(the Mid-2nd
Act Turning Point or “Midpoint”). In Act 2B, the protagonist
pursues another series of goals aimed at overcoming the monstrous
situation created at the Midpoint, inevitably forcing him or her into the end-of-act battle which creates the Third Act Catalyst (the End of
2nd
Act Turning Point). Finally, the sequences of the third act work
together to propel the protagonist toward the Main Story Climax,
which will resolve the main story conflict and bring everything to a
conclusive end.
But what causes
story sequences to zig-zag in unpredictable directions as suggested
by the updated Story Spine diagram? A related and more important question is
what causes each story sequence to begin and end? Each story sequence
is brought to an end with an event called a TURNING POINT
(represented by the little white circles on the diagram). Turning
points are dramatic events that cause the protagonist to halt his or
her pursuit of the current sequence goal, and then choose a new
course of action. In doing so, the event literally turns
the story in a new direction, beginning a new story sequence
with actions aimed at a new sequence goal. Turning points are
important. They are what give a story its sense of structure. They
are the story’s most meaningful moments, the events that cause the
narrative to undergo dramatic development and CHANGE. Because turning
points cause the story to grow and change, the audience remains
interested. Each of these dramatic moments of change reclaims the
audience's curiosity and commands them to stay in their seats so they
may discover how the hero will deal with the new and unpredictable
situation to come.
Turning points
transform the plot situation in one of two ways. Sometimes a turning
point occurs because the protagonist successfully achieves the goal
of the sequence. With the task completed, the protagonist can turn
his or her attention to the next phase of the plan. This moves the
story onward into its next sequence and gets the hero one step
closer to the ultimate prize. This is called a positive turning
point. However, more often than not, the protagonist does not
achieve his or her sequence goal. An insurmountable OBSTACLE appears
to block the protagonist’s way. Like a brick wall erected in the
protagonist’s path, the obstacle makes it impossible for the
protagonist to reach the current sequence goal through his or her
current line of action. This creates a negative turning point.
If the protagonist wishes to continue his or her adventure, the
protagonist must abandon the current sequence goal and decide on a
new course of action aimed at
a new goal that will
somehow circumvent the obstacle and allow the hero continue his or
her journey. By making this decision, the hero launches the story
into its next phase.
Turning
points must do more than simply shift story action in a new
direction. They have an added responsibility of progressively
intensifying the story situation through events that cause DEVELOPMENT
and ESCALATION. Development occurs when any event causes the story
situation to change. But the developments that occur at each turning
point cannot be just any simple change, but a major, complicating
change. Something is added to the story which takes the situation
further, deeper, and into more complex territory. With each turning
point, a story is taken from a rather simple scenario at its
beginning to an increasingly complicated situation as it moves
forward. With each complication also comes escalation. The turning
point event must alter the story in a way that forces the protagonist
to take on bigger and bigger actions. To continue, the hero must
agree to more danger, more risk, and a greater level of conflict. The
protagonist must become more dedicated -- and, in reaction to the
protagonist’s bigger, more forceful actions, so must the force of
antagonism. Intensity then builds at each turning point, causing
dramatic tension to slowly rise like a roller-coaster heading toward
its highest point, until the conflict reaches critical mass at the main
story climax. The roller-coaster then hurtles downhill in an
explosive release of dramatic tension as the story comes to a
satisfying end. The more development and escalation created leading
up to the climax, the more emotionally exciting the climax will be at
the story’s end. This is a second reason why turning points are so
important. One by one, they create the steady build of tension
necessary to create an end that the audience will feel has made the entire
experience worthwhile.
For
the sake of brevity, I have stuck to the sequence method’s bare
bones for this article. There is a lot more to know about how
sequences are structured, how they must serve the Story Spine, and how they allow the traditionally-taught Three-Act model to function like a
well-oiled machine. If interested in learning more, I suggest you
pick up at copy of my book Screenwriting Down to the Atoms,
where these concepts are laid out in comprehensive detail.
1 comment:
The book "A Stranger Comes To Town" by Adron J. Smitley really helped me with the sequences of my writing, explaining to me in more detail just who should do what and where in my stories. Sure, it's nice having a "8" sequence structure to follow, but "A Stranger Comes To Town" breaks those sequences down into more detail, helping add much more to each step. I suggest any writer get a copy of their own. It makes a great reference tool that keeps every step of your story in line with where it should be, and the book is VERY cheap on Amazon!! :-)
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