So hopefully you've had enough time to watch at least one movie and note the sequences. Do you start to see how that works?
all means, keep watching movies to identify the sequence breakdown, but at the same time, let's
move on to
THE INDEX CARD METHOD
This is the number one structuring tool of most screenwriters I know. I have no idea how I would write without it.
yourself a pack of index cards. You can also use Post-Its, and the
truly OCD among us use colored Post-Its to identify various subplots by
color, but I find having to make those kinds of decisions just fritzes
my brain. I like cards because they’re more durable and I can spread
them out on the floor for me to crawl around and for the cats to walk
over; it somehow feels less like work that way. Everyone has their own
method - experiment and find what works best for you.
get a corkboard or a sheet of cardboard - or even butcher paper - big
enough to lay out your index cards in either four vertical columns of
10-15 cards, or eight vertical columns of 5-8 cards, depending on
whether you want to see your story laid out in four acts or eight
sequences. You can draw lines on the corkboard to make a grid of spaces
the size of index cards if you’re very neat (I’m not) – or just pin a
few marker cards up to structure your space. I find the tri-fold boards that kids use for science projects just perfect in size and they come pre-folded in exactly three acts of the right size! Just a few dollars at any Office Max or Staples.
Write Act One at the top of
the first column, Act Two: 1 at the top of the second (or third if
you’re doing eight columns), Act Two: 2 at the top of the third (or
fifth), Act Three at the top of the fourth (or seventh).
write a card saying Act One Climax and pin it at the bottom of column
one, Midpoint Climax at the bottom of column two, Act Two Climax at the
bottom of column three, and Climax at the very end. If you already know
what those scenes are, then write a short description of them on the
appropriate cards. These are scenes that you know you MUST have in your
story, in those places - whether or not you know what they are right
And now also label the beginning and end of where
eight sequences will go. (In other words, you’re dividing your corkboard
into eight sections – either four long columns with two sections each,
or eight shorter columns).
Here is a photo of the grid on a white board - with sticky Post Its as index cards:
And an example of index cards on a tri-fold board from my friend, the wonderful author Diane Chamberlain. (Far neater than any grid I've ever done for myself!)
So you have your structure grid in front of you.
What you will start to do now is brainstorm scenes, and that you do with the index cards.
movie has about 40 to 60 scenes (a drama more like 40, an action movie
more like 60), every scene goes on one card. Now, if
you’re structuring a novel this way, you may be doubling or tripling the
scene count, but for me, the chapter count remains exactly the same:
forty to sixty chapters to a book.
This is the fun part,
like putting together a jigsaw puzzle. All you do at first is write down
all the scenes you know about your story, one scene per card (just one or two lines describing each scene - it can be as simple as - "Hero and heroine meet" or - "Meet the antagonist".) You don’t
have to put them in order yet, but if you know where they go, or
approximately where they go, you can just pin them on your board in
approximately the right place. You can always move them around. And just
like with a puzzle, once you have some scenes in place, you will
naturally start to build other scenes around them.
love the cards because they are such an overview. You can stick a bunch
of vaguely related scenes together in a clump, rearrange one or two, and
suddenly see a perfect progression of an entire sequence. You can throw
away cards that aren’t working, or make several cards with the same
scene and try them in different parts of your story board.
You will find it is often shockingly fast and simple to structure a whole story this way.
this eight-sequence structure translates easily to novels. And you might have an extra sequence
or two per act, but I think that in most cases you’ll find that the
number of sequences is not out of proportion to this formula. With a
book you can have anything from 250 pages to 1000 (well, you can go that
long only if you’re a mega-bestseller!), so the length of a sequence
and the number of sequences is more variable. But an average book these
days is between 300 and 400 pages, and since the recession, publishers
are actually asking their authors to keep their books on the short side,
to save production costs, so why not shoot for that to begin with?
write books of about 350-400 pages (print pages), and I find my
sequences are about 50 pages, getting shorter as I near the end. But I
might also have three sequences of around 30 pages in an act that is 100
pages long. You have more leeway in a novel, but the structure remains
pretty much the same.
In the next few posts we’ll talk
about how to plug various obligatory scenes into this formula to make
the structuring go even more quickly – key scenes that you’ll find in nearly
all stories, like opening image, closing image, introduction of hero,
inner and outer desire, stating the theme, call to adventure/inciting incident, introduction of allies,
love interest, mentor, opponent, hero’s and opponent’s plans, plants and
reveals, setpieces, training sequence, dark night of the soul, sex at
sixty, hero’s arc, moral decision, etc.
And for those
of you who are reeling in horror at the idea of a formula… it’s just a
way of analyzing dramatic structure. No matter how you create a story
yourself, chances are it will organically follow this flow. Think of the
human body: human beings (with very few exceptions) have the exact same
skeleton underneath all the complicated flesh and muscles and nerves
and coloring and neurons and emotions and essences that make up a human
being. No two alike… and yet a skeleton is a skeleton; it’s the
foundation of a human being.
And structure is the foundation of a story.
two blank structure grids, one for the movie you have chosen from your
master list to analyze, and one for your WIP (Work In Progress). You
can just do a structure grid on a piece of paper for the movie you’ve
chosen to analyze, but also do a large corkboard or cardboard structure
grid for your WIP. You can fill out one structure grid while you watch
the movie you’ve chosen.
Get a pack of index cards or Post Its
and write down all the scenes you know about your story, and where
possible, pin them onto your WIP structure grid in approximately the
place they will occur.
If you are already well
into your first draft, then by all means, keep writing forward, too – I
don’t want you to stop your momentum. Use whatever is useful about what
I’m talking about here, but also keep moving.
you have a completed draft and are starting a revision, a structure grid
is a perfect tool to help you identify weak spots and build on what you
have for a rewrite. Put your story on cards and watch how quickly you
start to rearrange things that aren’t working!
me be clear. When you’re brainstorming with your index cards and you
suddenly have a full-blown idea for a scene, or your characters start
talking to you, then of course you should drop everything and write out
the scene, see where it goes. Always write when you have a hot flash. I
mean – you know what I mean. Write when you’re hot.
Ideally I will always be working on four piles of material, or tracks, at once:
1. The index cards I'm brainstorming and arranging on my structure grid.
A notebook of random scenes, dialogue, character descriptions that are
coming to me as I'm outlining, and that I can start to put in
chronological order as this notebook gets bigger.
3. An expanded on-paper (or in Word) story outline that I'm compiling as I order my index cards on the structure grid.
A collage book of visual images that I'm pulling from magazines that
give me the characters, the locations, the colors and moods of my story
(we will talk about Visual Storytelling soon.)
beginning of a project you will probably be going back and forth between
all of those tracks as you build your story. Really this is my favorite
part of the writing process – building the world – which is probably
part of why I stay so long on it myself. But by the time I start my
first draft I have so much of the story already that it’s not anywhere
near the intimidating experience it would be if I hadn’t done all that
At some point (and a deadline has a lot to
do with exactly when this point comes!) I feel I know the shape of the
story well enough to start that first draft. Because I come from
theater, I think of my first draft as a blocking draft. When you direct a
play, the first rehearsals are for blocking – which means simply
getting the actors up on their feet and moving them through the play on
the stage so everyone can see and feel and understand the whole shape of
it. That’s what a first draft is to me, and when I start to write a
first draft I just bash through it from beginning to end. It’s the most
grueling part of writing, and takes the longest, but writing the whole
thing out, even in the most sketchy way, from start to finish, is the
best way I know to actually guarantee that you will finish a book or a
Everything after that initial draft is frosting
– it’s seven million times easier to rewrite than to get something onto
a blank page.
Then I do layer after layer after layer –
different drafts for suspense, for character, sensory drafts, emotional
drafts – each concentrating on a different aspect that I want to hone
in the story – until the clock runs out and I have to turn the whole
But that’s my process. You have to find your
own. If outlining is cramping your style, then you’re probably a
“pantser” – not my favorite word, but common book jargon for a person
who writes best by the seat of her pants. And if you’re a pantser, the
methods I’ve been talking about have probably already made you so
uncomfortable that I can’t believe you’re still here!
I don’t think it hurts to read about these things. I maintain that
pantsers have an intuitive knowledge of story structure – we all do,
really, from having read so many books and having seen so many movies. I
feel more comfortable with this rather left-brained and concrete
process because I write intricate plots with twists and subplots I have
to work out in advance, and also because I simply wouldn’t ever work as a
screenwriter if I wasn’t able to walk into a conference room and tell
the executives and producers and director the entire story, beginning to
end. It’s part of the job.
But I can’t say this enough: WHATEVER WORKS. Literally. Whatever. If it’s getting the job done, you’re golden.
Screenwriting Tricks for Authors and Writing Love, Screenwriting Tricks for Authors, II, are now available in all e formats and as pdf files. Either book, any format, just $2.99.
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