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It's me, again. So I am currently writing a feature atm and I sent the first 7 pages in recently to see if the idea is solid. Anyway, while browsing the internet I stumbled across the Three Act structure.
Does anybody else use this? Is it helpful? Are there any disadvantages? IMO it would help a lot with writing the story but I have seen some films that don't follow the example like The Fountain.
Anyway, thank you for reading and hopefully you could help me
I didn't read that link, but I can tell you right off that three act structure is pretty much industry standard. It's only once in a blue moon that you see things that deviate from it.
I wouldn't get into all the nonsense about hitting act breaks at a specific page, but it's definitely something to keep in mind when writing.
I think the three act structure is more of a blue print for how your story should flow and if it helps you with your feature then great. I wouldn't of thought that it's absolutely necessary to follow it as there are many great films out there that don't follow this but it is a helpful guide to where and when moments should occur.
I am actually writing a feature myself and I for one try to use the three act structure to my advantage but others will probably totally dismiss it. I guess it depends on how good you at putting a plot together, some do it with ease while others need this kind of advice to advance their story.
I've always liked Michael Hauge's structure sheet which is very similar to Blake Snyder's Beat Sheet, only it's got examples which is always cool. Like Shelton said, the three-act structure is the industry standard and Hollywood seldom deviates from it. Indie producers on the other hand are probably less likely to be as obsessed about the structure - as long as the three acts are there.
Also, I agree with Coop that you should use the three-acts structure to your advantage because it's a great help.
Down in the hole / Jesus tries to crack a smile / Beneath another shovel load
Thanks for the quick reply. So I'm thinking it has to be used in any feature unless there's a very good reason not to.
Hmmm, act breaks. I'd always though they were just at the next transition, except in some comedies where you're always left with half a punchline and it cuts to commercials! Anyway, I will search them up.
Steve
Thanks for both the quick reply and the comment about my feature..
Yeah, I am terrible at putting a plot together so I do think that would help.
Also, you're writing a feature! Good luck. I'd love to read it when you finish so just pm away!
I think we posted at the same time so I never saw your comment So, don't think I was ignoring you
Wowzers! That is a big page! I will look through the Michael H. sheet tomorrow/today because it is very late here
I downloaded the Blade S. Sheet and that is actually so sleeeeeek. I love it. I had this really bad plan in word that I was going to use so I would like to thank you a tonne for providing that. But, I can't seem to understand some of the things there. Does Blake have anything which builds upon that sheet?
If you want to sell a script in this town and you're an unknown, you better use three acts. Industry folks want to know that you can execute industry standard structure.
I believe it's key to know how to execute structure in order to learn when to deviate. And it really helps "in the room" when talking to producers and developers. They see you know the "structure game", they're more apt to take an interest in you.
It can also provide a great "short hand" when script doctoring for a producer. Even if you don't want it in your script, learning classic structure helps your career. It's a form of currency you demonstrate to send the message you're worth their time.
E.D.
LATEST NEWS CineVita Films is producing a short based on my new feature!
Thanks for the reply. I think you've pitched a few of your scripts so it's best if I listen to you So, it seems that you'd be better off using it because it looks good in front of producers.
I'm a big fan of Save The Cat but recently I've been looking for alternative structures. I like the 8 sequence approach over at The Script Lab. I think you can combine Blake's structure with this one...
BTW, for those of you who don't already know, Script Lab has a lot of very useful stuff.
The Eight Sequences
ACT I
SEQUENCE ONE - Status Quo & Inciting Incident Establishes the central character, his/her life, and the status quo and the world of the story. It usually ends with the POINT OF ATTACK or INCITING INCIDENT, but this plot point can sometimes appear earlier in the first few minutes of the film.
SEQUENCE TWO - Predicament & Lock In Sets up the predicament that will be central to the story, with first intimations of possible obstacles. The main tension will be established at the end of the act. The sequence ends when the main character is LOCKED IN the predicament, propelling him/her into a new direction to obtain his/her goal.
ACT II
SEQUENCE THREE - First Obstacle & Raising the Stakes The first OBSTACLE to the central character is faced, and the beginning of the elimination of the alternatives begins, often a time where EXPOSITION left over from ACT I is brought out. Since our character is locked into the situation and can�t simply walk away, the stakes are higher - there is a lot more to lose.
SEQUENCE FOUR - First Culmination/Midpoint A higher OBSTACLE, the principle of RISING ACTION is brought in and builds to the FIRST CULMINATION, which usually parallels the RESOLUTION of the film. If the story is a tragedy and our hero dies, then the first culmination (or midpoint) should be a low point for our character. If, however, our hero wins in the end of the film, then sequence four should end with him winning in some way.
SEQUENCE FIVE - Subplot & Rising Action The SECOND ACT SAG can set in at this point if we don�t have a strong SUBPLOT to take the ball for a while. We still want RISING ACTION, but we�re not ready for the MAIN CULMINATION yet.
SEQUENCE SIX - Main Culmination/End of Act Two The build-up to the MAIN CULMINATION - back to the main story line with a vengeance. The highest obstacle, the last alternative, the highest or lowest moment and the end of our main tension come at this point. But we get the first inklings of the new tension that will carry us through the third act. Note: Since most midpoints and endings are paralleled, the PLOT POINT at the end of act two is usually at a polar opposite of those points. So if our hero wins at the midpoint and at the end of the film, then she usually hs her lowest point here.
ACT III
SEQUENCE SEVEN - New Tension & Twist The full yet simple, brief establishment of the third act tension with its requisite exposition. Simpler, faster in nearly all ways, with rapid, short scenes and no real elaborate set-ups. The TWIST can end this sequence or come at the start of the eighth sequence.
SEQUENCE EIGHT - Resolution Hell-bent for the RESOLUTION. Clarity is important. If they turn left, all is well, if they go right, the world as we know it ends. Not that we don�t have complex emotions or ideas about what it all amounts to, but at this point we crave clarity. Will he get the girl, defuse the bomb, turn in his murderous brother and escape from the sinking boat surrounded by sharks?
Just write a good story, write your script well, and see where the chips fall.
All these ideas that scripts have to be exactly a certain way is so fucking dull and pedestrian.
I wrote 3 features, blind...letting the chips fall and they all suffered from the same issue. Lack of structure. Some of us need help. I don't stick 100% to the formula but I need some type of guideline or I'll end up pushing out another piece of crapola.