One common problem is when aspiring screenwriters cannot separate the creating process from the drafting process.
Many beginning writers sit down at the keyboard, type “FADE IN” and rush directly into their first draft. But most advanced writers know that the actual writing of any screenplay takes up only the last 10-20% of the entire process. Before that comes the research, planning and development of the premise.
However, even before that comes the exploration of the idea—that wandering, searching process that accesses the imagination and brings forth those images which become the seeds of any story. Writers often discount this portion of the process, only to later on stumble and falter in the middle because they can no longer see the images and feel the emotions which drew them to the premise in the first place. When done well, the writer finds s/he is able to stay in greater contact with the original concept and more accurately portray the story as imagined.
It is a part of the process which needs to be more respected.
Problems with the Three Act Structure
Many screenwriting authorities introduce their personal take on screenwriting by teaching the three act form because modern Hollywood films are often falsely believed to be framed within what’s known as the Restorative Three Act (RTA) Structure,
That is:
A story divided up into three parts—Setup, Confrontation, and Resolution—where the protagonist progresses in a manner which restores, in some way, the status quo to the story world by the end of the script.
The fatal problems of using the RTA as a guide for writing are many and varied:
In the end, while the RTA might be a useful way of analyzing a story, it really doesn’t tell us much about just how a story was created in the first place.
Wise Words from the Pros
What the audience remembers from any story-telling experience are the individual moments (or key images) that moved us, those images that sparked a reaction or emotion within us, both when we hear them the first time and when we remember them later. These are also the same moments which draw writers to a concept in the first place. And they tend to be great moments of character illuminating plot.
A New Approach
So that’s where we’ll begin considering a new way to construct a story.
For this exercise, do not worry about what you may have been taught. Forget for a moment all story structure, acts, beats and technical terms. Forget the guru and screenwriting experts.
Imagine, instead, a screenplay as a string of pearls—each pearl a memorable moment within the story, each pearl in the strand more lovely and more perfect than the last.
Your job, with your premise clearly in mind, is to identify and develop each pearl in the strand.
So let’s start with the first pearl.
What you have now created is a story outline that is natural, organic and rhythmic. This is the beginning of a spine of your screenplay which doesn’t require the training wheels of a strict three act structure approach. Continue to fill in the scenes that make the most sense to you.
Now you have something you can work with.
Be Clear About This
I am not saying that you do not need structure to your story. There is plenty of time to use your knowledge of structure as you now write your first draft. This is all about exploring your idea fully, making the bricks with which you will build your script.
In the end, screenwriting advice is only valuable if it works for you. Beginning the creative process with anything akin to a formula or pattern often eliminates your ability to create freely.
Keep in mind that you already inherently understand story—it is the way that we as humans communicate—so don’t discount the native ability within you.
Create freely. Draft with passion. Edit with structure.
…But take the training wheels off. MM
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