Thursday, October 16, 2008

The First Act (Story Structure, cont.)

So, now that we’ve talked about the index card method of laying out your story, and basic filmic structure as it might be applied to novels, the natural next question is: what actually goes into a first act?

And if you’re just finding this post, you’ll also want to read this post: What’s Your Premise?

And this one: Story Structure 101 - The Index Card Method

The first act of a movie (first 30 pages) or book (first 100 pages, approx.) is the SET UP. By the end of the first act you’re going to be introduced to all the major players of the story, the themes, the location, the visual image system, the conflicts, and especially the main conflict.

When you’re making up index cards, you can immediately make up several cards that will go in your first act column. You may or may not know what some of those scenes look like already, but either way, you know they’re all going to be there.

- Opening image

- Meet the hero or heroine

- Hero/ine’s inner and outer need
- Hero/ine’s arc
- Inciting Incident/ Call to Adventure

- Meet the antagonist (and/or introduce a mystery, which is what you do when you’re going to keep your antagonist hidden to reveal at the end)

- State the theme/what’s the story about?

- Allies

- Mentor

- A mirror character (sometimes)
- Love interest

- Plant/Reveal (or: Set ups and Payoffs)

- Hope/Fear (and Stakes)

- Time Clock (possibly. May not have one and may be revealed later in the story)

- Central Question

- Sequence One climax

- Act One climax (or curtain, or culmination)

Yeah, it’s a lot! That’s why first acts are often the most revised and rewritten sections of the story. It’s also why it’s often the section most in need of cutting and condensing. The answer is usually combining scenes. All these things have to be done, but they all have to be done within such a limited time frame (and page frame) that you simply HAVE to make each scene work on multiple levels.

Let’s break these things down.




OPENING IMAGE:

Of course in a film you have an opening image by default, whether you plan to or not. It’s the first thing you see in the film. But good filmmakers will use that opening image to establish all kinds of things about the film – mood, tone, location, and especially theme. Think of the opening image of WITNESS – the serene and isolated calm of wind over a wheat field. It’s the world of the Amish – the non-violent, unhurried world into which city violence will soon be introduced. It’s a great contrast with the next image to come – the chaos and noise of the city. This is a great opening image because it also suggests the climax (which takes place in the grain silo – the villain is killed by the spill of grain as the townspeople keep him surrounded.

The opening image of THE USUAL SUSPECTS is a man taking a piss… a sly reference to Verbal and the whole movie “taking the piss” – as the British say - on the audience.

The opening image of SILENCE OF THE LAMBS is a dark, misty forest, through which Clarice is running as if in a dream.

I will talk more about this in upcoming posts on VISUAL STORYTELLING.

MEETING THE HERO/INE

Of course you’re going to devise an interesting, clever and evocative introduction to your main character. But there are a whole lot of structural things that you need to get across about your hero/ine from the very beginning. You have to know your character’s INNER AND OUTER DESIRES and how they conflict.

In fact, let’s just stop right there and talk about this crucial idea of INNER AND OUTER DESIRE.

The first thing any acting student learns in terms of creating a character and building a scene is to ask the question: “What do I WANT?” - n every scene, and in the story overall. When I was directing plays (yeah, in one of my mutiple past lives) and a scene was just lying dead on the stage, I could always get the actors to breathe life into it by getting them to clarify what they wanted in the scene and simply playing that want.
This is something that starts in the writing, obviously, and should always be on the author’s mind, too: Who wants what in the scene, and how do those desires conflict? Who WINS in the scene?

But even before all that, one of the most important steps of creating a story, from the very beginning, is identifying the protagonist overall desire and need in the story. You also hear this called “internal” and “external” desire, and “want” and “deep need”, but it’s all the same thing. A strong main character will want something immediately, like to get that promotion, or to have sex with the love interest. But there’s something underneath that surface want that is really driving the character, and in good characters, those inner and outer desires are in conflict. Also, the character will KNOW that s/he wants that outer desire, but probably have very little idea that what she really needs is the inner desire.



One of the great examples of inner and outer desire in conflict is in the George Bailey character in IT’S A WONDERFUL LIFE. From the very beginning George wants to see the world, to do big things, design big buildings – all very male, external, explosive goals. But his deep need is to become a good man and community leader like his father, who does big things and fights big battles – but on a microcosm, in their tiny, “boring” little community of Bedford Falls, which George can’t wait to escape.

But every choice he actually makes in the story defers his external need to escape, and ties him closer to the community that he becomes the moral leader of, as he takes on his late father’s role and battles the town’s would-be dictator, Mr. Potter. George does not take on that role happily – he fights it every single step of the way, and resents it a good bit of the time. But it’s that conflict which makes George such a great character whom we emphasize with – it’s a story of how an ordinary man becomes a true hero.

In SILENCE OF THE LAMBS, Clarice’s outer desire is for advancement in the FBI. And Harris conveys this desire in what is a brilliant storytelling trick: He has Dr. Lecter tell her so. “You’re sooooo ambitious, aren’t you?” He purrs. And “I’ll give you what you most desire, Clarice. Advancement.”

It’s brilliant because it makes Lecter all-knowing, but it also clearly spells out Clarice’s desire, which the audience/reader really does need to know to commit to the character and relax into the story. I’m a big believer in just spelling it out.

But what Clarice REALLY needs is not advancement. What she needs to save a lamb – the lamb that haunts her dreams, the lamb she hears screaming. In the story, the kidnapped senator’s daughter Catherine is the lamb, and Harris uses animal imagery to subtly evoke a lamb and the scene of the slaughter of the lambs that haunts Clarice.

And again, Lecter is the one who draws this deep need out of Clarice.

Also Clarice’s need and desire come into conflict: what she WANTS is advancement, but in order to save Catherine, she has to defy her superiors and jeopardize her graduation from the academy.

It’s usually true that the external desire will be a selfish want – something the protagonist wants for him or herself, and the inner need will be unselfish - something the protagonst comes to want for other people. This is a useful guideline because it clearly shows character growth.

Closely entwined with the inner/outer desire lines is the ARC of the character (since you are devising the end of your story at the same time as you’re planning the beginning. The arc of the character is what the character learns during the course of the story, and how s/he changes because of it. It could be said that the arc of a character is almost always about the character realizing that s/he’s been obsessed with an outer goal or desire, when what she really needs to be whole, fulfilled, and lovable is (fill in the blank). On top of that a character will go from shy and repressed to a capable and respected leader, from selfish to altruistic, from pathological liar to a seeker of truth… and the bigger the change, the more impact the story will have, as long as you keep it believable.

So it’s essential to know where you want your character to end up, and then work backward to create a number of personal obstacles and external problems that are keeping that character from being everything s/he can be.

INCITING INCIDENT/CALL TO ADVENTURE

This is the event that starts the story and forces the hero/ine to react.

In JAWS, it happens on the first few pages of the book, and the first few minutes of the movie: the shark swims into the quiet bay and eats a swimmer. That’s the event that forces the hero, Sheriff Brody, to take action. (In mysteries and thrillers the first death is often the inciting incident – it’s so common that writers refer to it as “the corpse hits the floor”. In the case of JAWS, the corpse hits the ocean floor.)

In STAR WARS, Luke Skywalker finds the hologram of the captured Princess Leia pleading for help that she has hidden in the robot R2D2.

In CHINATOWN, a woman claiming to be Evelyn Mulwray walks into Jake Gittes’ office and hires him to prove her husband is cheating on her. (In a detective story, the inciting incident is often the case that lands in the detective’s lap, or again, “the corpse hits the floor”.

In RAIDERS OF THE LOST ARK, the government guys come to Professor Indiana Jones and want to hire him to recover the lost Ark of the Covenant – before Hitler gets it.

In SILENCE OF THE LAMBS, Clarice is called to FBI agent Crawford’s office, where he tells her he has “an interesting errand for her.”

In HARRY POTTER AND THE SORCERER’S STONE, an owl delivers Harry’s invitation to Hogwart’s School. (The Call to Adventure is very often a literal phone call, summons, knock on the door, or mailed invitation).

Each of these incidents propels the hero/ine into action. They must make a decision – to take the job, accept the task, answer the call. This is not an optional step for you, the writer – it is a crucial part of every story.

Joseph Campbell and Christopher Vogler detail another step here – THE REFUSAL OF THE CALL. The hero/ine is often reluctant to take that step into adventure and at first says no to the job. In CHINATOWN, for example, Jake initially tries to talk “Mrs. Mulwray” out of pursuing the case. In HARRY POTTER AND THE SORCERER’S STONE there’s a whole sequence of Harry’s uncle trying to prevent Harry from receiving his invitation to Hogwart’s school.


THE ANTAGONIST

The antagonist, opponent, villain deserves his/her own post - see here and here. For the purposes of this post I’ll just say, either you’ll be introducing the antagonist in the first act, or you’ll be introducing a mystery or problem or crisis that has actually been set in motion by the antagonist.

ALLIES

Also in the first act, you’ll set up most of the hero/ine’s allies – the sidekick, the roommate, the best friend, the love interest, the brother or sister.

MENTOR

Not all stories have mentors, and the mentor might not be introduced until some time in the second act.

LOVE INTEREST

This character generally plays a dual role: the love interest can also be the antagonist (in most love stories), an ally, or a mentor.

HOPE/FEAR (STAKES)

Just as good storytellers will be sure to make it perfectly clear what the main character’s inner and outer desires are, these storytellers will also be very clear about what we hope and fear for the main character. Generally what we hope for the character is the same as her or his INNER NEED. We hope George Bailey will defeat Mr. Potter. We fear Potter will drive George and his family into ruin (and George possibly to suicide). Our fear for the character should be the absolute worst case scenario: in a drama, mystery or thriller we’re talking madness, suicide, death, ruin. In a comedy or romance the stakes are more likely the loss of love.

Our awareness of the stakes may grow along with the main character’s growing awareness, but it most stories there are clues to the bigger picture right from the beginning

STATEMENT OF THEME:

A reader or audience will get restless if they don’t have a good idea of what the story is within the first five (I’d even say three) minutes of a movie, or the first twenty pages of a book. Sometimes it’s enough to have just a sense of the central conflict. But often good storytellers will make it perfectly clear what the theme of the story is, and very early on in the story. In the first act of IT’S A WONDERFUL LIFE, George is impatient to leave pokey little Bedford Falls and go out in the world to “do big things”. George’s father tells him that in their own small way, he feels they ARE doing big things at the Building and Loan; they’re satisfying one of the most basic needs of human beings by helping them own their own homes. This is a lovely statement of the theme of the movie: that it’s the ordinary, seemingly mundane acts that we do every day that add up to a heroic life.

FIRST ACT CLIMAX/CENTRAL QUESTION:

We talked about sequence and act climaxes last week – that an act climax will have a reversal, revelation, and often a setpiece and/or change of location set piece that spins the story into the second act. What we didn’t talk about is the idea of the central question of the story.

I will be didactic here and say that by the end of the first act you MUST have given your reader or audience everything they need to know about what the story is going to be about: what kind of story it is, who the hero/ine and antagonist (or mystery) are, and what the main conflict is going to be. It’s useful to think of the story a posing a central question: Will Clarice get Lecter to give her the information she need to catch Buffalo Bill before he kills again? Will Sheriff Brody’s team be able to kill the shark before it kills again (and in time to save the tourist season?) Will the crew of the Nostromo be able to catch and kill that alien before it kills them?

(All right, those are some bloody examples, but that’s me.)

It’s the question on which the entire action of the story hinges.

Here’s an interesting structural paradigm to consider. In a lot of stories, the central question is actually answered in the second act climax, and the answer is often: No.

What’s the second act climax of SILENCE OF THE LAMBS?


(Hint: it’s the one scene/setpiece that EVERYONE remembers, and Clarice has nothing to do with it.)

Right – Lecter escapes. Well, what does that have to do with our heroine?

It means that Lecter will NOT be helping her catch Buffalo Bill. In fact, in the movie, when she gets the phone call that Lecter has escaped, she says aloud, “Catherine’s dead.”

Because Clarice thinks that she needs Lecter to save Catherine. But Lecter, like the great mentor he is, has TAUGHT Clarice enough that she can catch Buffalo Bill and save Catherine herself (okay, with help from the teaching of her other mentor, Crawford).

Ingenious storytelling, there, which is why I keep returning to SILENCE OF THE LAMBS for my story structure examples.

Next post I’ll move on to the elements of the second act.

So I’m interested in all questions and comments, of course, but I’m particularly looking for good examples of inner and outer desire, especially inner and outer desire in conflict. Got any for me?

- Alex

And if you'd like to to see more of these story elements in action, I strongly recommend that you watch at least one and much better, three of the films I break down in the workbooks, following along with my notes.

I do full breakdowns of Chinatown, Harry Potter and the Sorcerer's Stone, Romancing the Stone, and The Mist, and act breakdowns of You've Got Mail, Jaws, Silence of the Lambs, Raiders of the Lost Ark in Screenwriting Tricks For Authors.

I do full breakdowns of The Proposal, Groundhog Day, Sense and Sensibility, Romancing the Stone, Leap Year, Notting Hill, Four Weddings and a Funeral, Sea of Love, While You Were Sleeping and New in Town in Writing Love.


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All the information on this blog and more, including full story structure breakdowns of various movies, is available in my Screenwriting Tricks for Authors workbooks.  Any format, just $3.99 and $2.99.



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If you're a romance writer, or have a strong love plot or subplot in your novel or script, then Writing Love: Screenwriting Tricks II is an expanded version of the first workbook with a special emphasis on love stories.


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20 comments:

Tim Byers said...

A classic inner/outer desire conflict is Rick (Humphrey Bogart) in Casablanca. On the outside, he's an aloof, selfish, leave-me-alone capitalist. On the inside, he's a wounded but courageous patriot. He will struggle, but ultimately do the right thing for both his former lover and the fight against the Nazis, even if he gives her up forever.

Alexandra Sokoloff said...

Tim, perfect example! One of the greatest characters of all time, and a lot to do with that desire conflict.

The classics aren't classics by accident.

Fiona said...

Will you let us know when the book comes out? This is the beginning of a book fro writers, isn't it? If not, it should be!

Alexandra Sokoloff said...

Well, thanks for the encouragement, Fiona.

It's true, I keep telling myself - if you write just a page a day, you'll have a book in a year.

It's how I wrote THE HARROWING, so why not?

Cassandra Kane said...

Hi Alexandra. I've read "The Harrowing" and loved it. I just wanted to thank you for these blog posts on story structure. I'll be taking out my fave movies (I'm a BIG movie buff who desperately wanted to be a Hollywood screenwriter but didn't have the guts to follow my dream) and going through it to check out the 8 sequences.

I've always been a pantster, but increasingly that's lead to writer's block. Your blog posts are really making me excited about plotting. Thanks again and looking forward to the post on Act 2, etc.

Alexandra Sokoloff said...

Thanks, Cassandra, and I'm so glad to hear this is being helpful to you. I'm just going through the steps again with my own revision and I always find ways to take the story deeper. And it makes movie=watching more fun.

I'm posting Elements of Act Two today, so stay tuned!

Sttongboy said...

A classic demonstration of ARC development is my favorite movie of all time, On The Waterfront. in the beginning of the story, Terry Malloy a hapless failed boxer, is a longshoreman who 'goes along' with things. He plays by the rules of the docks, i.e.; he's deaf and dumb. Enter a powerful love interest into his life(the beautiful and kind sister to a man he helped murder), out comes Terry's long dormant heart and bang -- by the end of the deal Terry becomes an activist who blows the whistle on the omnipotent and corrupt mob leader, Mr. Johnny Friendly. (Sidenote:Old Marlon and Lee J at their explosive best. Nobody'll ever touch Marlon. Nobody)

Alexandra Sokoloff said...

Fabulous example and analysis, Sttongboy, thank you for that.

There is nothing so powerful as the "transformative power of love" story - especially in a context where you're least expecting it.

Loz James said...

Hi Alexandra

I've just found your blog today and it's really informative. I recently graduated with an MA in Screenwriting from the Screen Academy Scotland in Edinburgh - and am always looking to learn more - and you've put together a great resource here.

I'm embarking upon a full length screenplay draft soon, so I'll be a frequent visitor now I've found your site. Thanks for putting this together!

Kind regards

Laurence James

Changezi said...

Love you Alexandra. Thanks a lot for your this million-dollor blog.

Guido Henke; said...

Alex,

How do you feel prologues play into all of this? Especially if it is a part that outlines a historic event or occurrence that is not immediately related with the actual story of the book and does not help setting up the hero, the theme and the locale?

Is this something only Clive Cussler gets away with, or is this something that you would consider a worthwhile story telling device?

Alexandra Sokoloff said...

Thanks Changezi and Laurence - good luck with the script!

Alexandra Sokoloff said...

Guido, personally I love prologues, I see good ones all the time - just lately have read great ones by Val McDermid and Lee Child.

It's just like any other story device - there are good ones and bad ones. I always say write it if you feel you need one - you can always cut it or move it somewhere else later.

Joseph Katz said...

Avatar. Jake Sully goes from selfish wants like new legs and to be like his brother, to an unselfish man, caring for the Navi and their ways. The conflict comes when he has to give up on his new legs to save the Navi.

Tsu-tey goes from hating Jake and wanting to be cheif, to respecting Jake and letting Jake lead.

Squid Ink said...

Hi Alex, I'm a graphic novel artist/writer and the graphic novel in many instances reads like a screenplay with storyboards. I'm finding sites like yours as well as authors like Robert McKee and Vogler very helpful in honing big ideas into readable stories. I have two questions: one simple, one likely harder to answer briefly.

First, looking at your Story Elements checklist I was unclear about the difference between the Sequence One Climax and the Central Story Action/Act One Climax. What makes those two separate things? Is Sequence One the build up to the Inciting Incident? I recently broke apart Alien using Vogler's "Hero's Journey". Could you perhaps explain the difference using Alien as well?

My second question, the hard one, how would you advise writers NOT to use checklists and pyramid graphs to produce formulaic work? This is a big no no, and yet the formula exists. It seems to be a contradiction in terms. "All stories have this formula, now don't use it."

Many Thanks,
Chaim

Ginger Monette said...

Pride & Prejudice is a good example of inner and out desire in conflict and hero/ine arc . Darcy is torn between his outer desire to 'do his duty to family' and marry within his station. His inner desire is for a country girl with a sharp tongue who sets his soul on fire.

Alexandra Sokoloff said...

Joseph, a great example! I found his dilemma very touching, because of course who WOULDN'T want new legs? It was a huge sacrifice to make.

Alexandra Sokoloff said...

Hi Squid .It might take a few posts to answer you, but first -

Act One of a movie or novel has two sequences, or sometimes three sequences. The first sequence builds to a climax (Sequence one climax) that turns the story in a different direction, and leads to Sequence 2. Then that new action builds to a climax.

So - the Act One CLimax is also the Sequence 2 Climax (usually - if there are 3 sequences in the first act, then the Act I Climax is the Sequence 3 climax.

Does that make sense?

Very often the Sequence One climax is the Inciting Incident, but the Inciting Incident can come any time in Act I - the first scene, or the Act One Climax, or anywhere in between. I'll do a post on the Inciting Incident in a day or so to clarity, but let me know if you're with me so far.

Alexandra Sokoloff said...

Ginger, yeah, great example of inner and outer desire in conflict. I would also say Darcy knows he needs Elizabeth to be a better person and live a better life.

Alexandra Sokoloff said...

Oh, just saw the question about Alien, Squid. Okay, if I'm remembering correctly, the Inciting Incident of Alien is the distress call from the alien ship, and the Sequence One Climax is landing on the planet where the ship has been wrecked/abandoned, causing damage to the Nostromo in the landing.

Sequence Two is the exploration of the derelict ship, which climaxes with John Hurt being attacked by the alien, which attaches to his face.