Quoted from Scar Tissue Films The 9 act structure was Bob Siegel, although his version is a bit different to what you've posted. He watched a load of Hollywood films and timed them with a stop watch and came up with it He has an Act 0, though, which is quite interesting. This is exposition that happens immediately, or even in the credits : Like Star Wars. Bang: Back story, then get on with the film from minute one. He also called it the Two Goal Story. It's a story where the protagonist thinks they are trying to do one thing, then there is a huge reversal, and then they are trying to do something else. It's designed, like most derivatives of 3 Act structure, to create the maximum emotional response in the audience. In a Hallmark film it would go something like: Big City Girl moves to a little town in Winter to buy the towns oldest hotel to knock it down for big profit apartments, but then she meets little town guy and realises there's more to life than money and decides to reopen the Hotel and gets the town to work together to rebuild it. First goal: Buy hotel through any means necessary and get permission to knock it down. Second goal: Rebuild the Hotel and restore the towns ailing economic community and spirit.

Thanks, Rick. It's good to know the origins of this. I'll see how it plays out as I write. Trimming large acts (act 2, for example) into smaller bite sized bits might be helpful going forward. God knows I have my issues with act 2.

And your hotel scenario is spot on with pretty much 90% of Hallmark movies. That's part of my issue, as well. It's hard to be creative when you're bound by such a tight formula -- although it works.

Steve

[quote=LC]Here's the original reddit link re the mention of commercials and preceding structural cliffhangers.

https://www.reddit.com/r/Screenwriting/comments/8mli8w/how_to_hallmark_movies_happen/


Sounds like a plan.

I know their recipe is for snow, and trimming trees, baking gingerbread cookies etc., but they surely could do with outside the box sometimes, maybe a special Christmas downunder series - heartbroken girl travels halfway around the world and finds the love of her life.

Similarly, heartbroken young woman escapes the big city and buys one of those €1 places in Sicily -
an Under The Tuscan Sun type of seachangee/fish out of water self-empowerment tales e.g.
Buy your dream home for € 1 in the fabulous town of the Sicilian hinterland, just a few kilometers from the enchanting beaches and the historic temples of Agrigento.

Mind you, maybe that's an independent RomCom pitch.
Might be a bit ambitious for Hallmark who probably wouldn't want to go the extra budget/travel etc.
[/quote

Yeah, out of the box -- that's what I thought with Christmasville. But seriously, I like all those ideas, and fish out of water is what a lot of them are anyway.

If you want, when I get my latest done I'll send it over if you don't mind. I don't think I've sent you this one yet.

Personally I'm OK with rigid formulas and structure.

I don't for a second think it's the only way to write a good script, but having a strong, traditional structure using a formula doesn't necessarily make a film "formulaic". The creativity comes in a strong premise, engaging characters, subverting expectations, creating novel twists and trying to make the story genuinely heartfelt etc.

Specifically in terms of these Hallmark type films it's that emotional punch that's really the thing. It's a real skill, whatever formula you're working with. Can you get your jaded audience to cry with happiness? I think that's a beautiful thing to aim for.

Like in the example I gave, you can already see all the beats of the story, and you can see how generic it would be, but what can you do to make the reversal genuinely profound, what can she discover about herself and life that really changes who she is? Can you make it so honest, and unexpected, even though you know its going to happen somehow that it is genuinely moving and effecting? That's pretty high level writing and if you get to that point, that's a hell of a skill to have.

I suppose I see it a bit like a poet writing a sonnet. The structure is set in stone, but within that structure you are free to be creative. The art is in writing to a formula but not being formulaic.

Sure, Steve! Send it on over when you're done.  

Quoted from Scar Tissue Films Personally I'm OK with rigid formulas and structure. I don't for a second think it's the only way to write a good script, but having a strong, traditional structure using a formula doesn't necessarily make a film "formulaic". The creativity comes in a strong premise, engaging characters, subverting expectations, creating novel twists and trying to make the story genuinely heartfelt etc. Specifically in terms of these Hallmark type films it's that emotional punch that's really the thing. It's a real skill, whatever formula you're working with. Can you get your jaded audience to cry with happiness? I think that's a beautiful thing to aim for. Like in the example I gave, you can already see all the beats of the story, and you can see how generic it would be, but what can you do to make the reversal genuinely profound, what can she discover about herself and life that really changes who she is? Can you make it so honest, and unexpected, even though you know its going to happen somehow that it is genuinely moving and effecting? That's pretty high level writing and if you get to that point, that's a hell of a skill to have. I suppose I see it a bit like a poet writing a sonnet. The structure is set in stone, but within that structure you are free to be creative. The art is in writing to a formula but not being formulaic.

I agree completely, and that is a wonderful thing to aim for.  Just a bitch getting it done.

Quoted from Scar Tissue Films Like in the example I gave, you can already see all the beats of the story, and you can see how generic it would be, but what can you do to make the reversal genuinely profound, what can she discover about herself and life that really changes who she is? Can you make it so honest, and unexpected, even though you know its going to happen somehow that it is genuinely moving and effecting? That's pretty high level writing and if you get to that point, that's a hell of a skill to have.

I've been thinking about this passage a lot lately, Rick. I just wanted to say that this might be the best piece of advice/motivation that I've ever received here. Thanks again.

And while I'm at it...

Seeing as I could not find any Hallmark scripts, like, anywhere, I decided to try my hand at emailing some produced Hallmark screenwriters. One answered! I basically asked about the 9 act structure and here's what he said --

Hiya. I am a bit slammed in my own bit of deadlines, but the help I can give is the basics. Which I hope are not too obvious.
I think the Writers Guilds on both coasts have copies of a lot of these scripts, but you have to go in person. Which, do, it’s great.

-Act One is usually 25 pages. The rest of the acts are about ten pages each.
-Act Two and Three usually have one act out that’s positive (“We have a a plan!”) and one that’s negative (“Oh no! The lights!”)
-Act Four is the end of your first hour and what would be in a standard screenplay your midpoint. (They’re going to get the goal! OH NO THEY”RE NOT!)

-Act Five they put things back together and develop a new plan to get the goal. And then it’s pretty much the same through Act Six and Seven, varying act outs that are positive and negative.
-Act Eight has a moment of “All is Lost” from just about any feature screenplay.
-Act Nine it always (always) works out.

Good job, Steve! Great info.
I actually emailed Bob S and requested one, but the email bounced back. Bummer, should have known. Worth a try though.

This is a holiday game, but it's noteworthy for Hallmark formula:

https://blog.tdstelecom.com/tv/tds-tv/holiday-fun-countdown-to-christmas-movie-games/

** And ditto to Rick's advice. I've read that para over and over too. You can look at Hallmark with cynicism (prefer to write something more lofty etc.) but one thing's for sure - writing for any market must be the genuine article, no tongue in cheek cop out.  Honest and affecting and touching stuff indeed.

Working on producing GRAND AVENUE - a script some might remember here, circa 2011-2013.

First iteration of this had Richard Benjamin directing with Sebastian Stan and Jennifer Morrison as the leads, however we couldn't get any traction at a $5MM budget,

Recently we had ROGER DODGER's Dylan Kidd attached to direct, however we are now on the hunt again. Good coverage at CAA, so I'm still hopeful, and we're talking to one of their clients about directing.

I have another script called JOHN LENNON'S HEAVEN which is less developed, out to UTA for one of their directors, waiting to hear back.

I'm working on notes for a feature film - I got the idea from the OWC where we had to write story as if a particular historic element had not happened. I had the short half written and didn't get it done in time. And the ending was similar to one of the submissions, so I didn't continue on. I think it will make a good feature, though.

AJR

Quoted from ajr Working on producing GRAND AVENUE - a script some might remember here, circa 2011-2013.

ajr, thanks for the update.  I remember Grand Avenue.  It seems so long ago.  Always wanted to know what became of it.  Now I do.  Stick with it.  It's a very good script.  

Ghostie

Thanks, ghostie, appreciate your support, hope all is well.

AJR

Quoted from ghost and_ghostie gal ajr, thanks for the update.  I remember Grand Avenue.  It seems so long ago.  Always wanted to know what became of it.  Now I do.  Stick with it.  It's a very good script.

It's always nice to get updates on the golden oldies and find out where moves are still being made. Things like Grand Avenue, Fade to White, The Farm, Bad Penguin.

Sorry to hear that your previous efforts fell through, Anthony, but keep it up. I know you're going to get it where you want it to be. =)

BAD PENGUIN was a really good script.

AJR

Is it  sad that I was thinking of going back to read some of my old stuff on here from back in the day and I cannot even remember the titles of certain things... In fact I still have floppy drives with original files but no way to open haha

Quoted from Old Time Wesley Is it  sad that I was thinking of going back to read some of my old stuff on here from back in the day and I cannot even remember the titles of certain things... In fact I still have floppy drives with original files but no way to open haha

Wow. 2003. You are an old timer. Mean that in a good way, of course. Can’t you search your name to find these scripts? Or email Don?