[Note: If you read this blog because of your interest in Liberty in the Fires (aka Men of Gray III), be advised that this entry deals primarily with the process of screenwriting, not the movie project]
If you’ve ever written fiction for any other kind of story form, you may be wondering if all of this effort I’m going through to “structure” the screenplay is necessary.
To this, I would ask, is it necessary to change the oil in your car every 4,000 miles? Is it necessary to stretch your muscles before going for a run? Is it necessary to stop and smell the roses along the way?
Of course, none of these things is “necessary.” But they are all considered wise.
Likewise, writing a screenplay with careful attention to its dramaturgical structure from the get-go is a good idea, even if it’s not necessary. This is perhaps more the case with screenwriting than other forms of writing because…
Screenplays are unique
At first blush, screenplays and novels may appear very similar. But actually the novel is a much more flexible narrative form, both in structural design and overall length. For two of those reasons in particular, careful thought to the structural elements is essential to the success of the screenplay.
- First, other forms are more structurally forgiving
The percentage of successful novels that ignore the fundamental theories of the narrative form is considerably higher than the percentage of successful movies that have broken from standard dramaturgical constructs. By comparison, nearly every movie that has done well at the box office conforms to certain dramaturgical standards (three acts, built around a primary conflict, ending with a resolution of the conflict, adhering to the genre expectations, and so forth).
- Second, the screenplay is rigidly constricted by length
When writing a novel, there really is no set length requirements. If you can tell your whole story in 100 pages that’s okay. If you need 500 pages to tell it, that might be okay also. However, go to a Blockbuster store and browse through the new releases, noting the duration of each movie. I would be shocked if you find one that is less than 88 minutes or more than 130 minutes.There’s a good half dozen reasons as to why this is, but the point is that any story idea, no matter how great, must be structured by the screenwriter so that it conforms to the standard movie length, playing out at no less than 90 minutes and no more than 120 minutes. Following the standard screenplay format, that means 90 to 120 pages.
Perhaps the most unique characteristic of the screenplay compared to other literary forms is that it isn’t written to be read by the consumer; it’s a blueprint for building a movie. Because of this, it’s generally accepted that…
Screenplays are structure
When I say that screenplays are structure, I’m quoting famed screenwriter and novelist William Goldman (Butch Cassidy and the Sundance Kid, Marathon Man, All the President’s Men, Heat, The Princess Bride…). Most other screenwriters concur. Rather than belabor the point — you’re welcome to do your own research on it (I’ve provided some links at the end of this blog entry to get you started) — just know that my reasons for carefully planning the structure of the screenplay are based on my personal experience and on this premise that a good screenplay is built on a solid, familiar structure.
In his book Screenwriting 434, Lew Hunter explains that, while “in life, things happen one after the other, in structure [i.e., the structured writing of a screenplay] one thing happens because of the other.” In other words, the screenwriter structures the sequential “happenings” to propel the story forward. Renowned author Syd Field states that “Structure is the most important element in the screenplay. It is the force that holds everything together; it is the skeleton, the spine, the foundation.” So, when it comes to the process of structuring, does this necessarily mean that…
It’s my way or the highway?
No. It’s my personal experience that the structural exercises I’ve been describing, and that I’m about to move through, are a valuable time investment in the development of a screenplay.
If these methods don’t work for you, that’s fine. Perhaps you have one of those rare minds that can juggle dozens of concepts simultaneously over a period of days or weeks without losing track of each individual bit. And perhaps you’ve got a gift for maintaining a visual map in your mind that allows you to objectively see how those individual component pieces that make up each of those story concepts can or should complement one another, and thereby analyze their relative importance to the story — all while enveloping your most creative mental processes on breathing life the poetic beauty of the story’s telling.
If your brain works in that rare and fortune away, you can probably just sit down and start typing. But if your mind is more like mine, you may get value in using these structural mapping processes that I employ in your own writing. The process creates a physical representation of the story elements that you can see with your eyes, touch with your fingers, and refer to while you write.
Even a fairly simple screenplay will inevitably have many secondary themes or subplots or supporting character developments that weave their way as story threads through the fabric of the screenplay. Without a good mental map of your story, it’s easy to end up with incomplete story threads that will annoy the moviegoer. Worse, you may lose the balance of the story, getting lost on the trail of an interesting subplot within the universe of your story. It’s hard enough to keep the story to 100 pages even when you have a razor-sharp focus on the needs of your main storyline. Losing yourself in something off the beaten track muddies your narrative and forces you to either completely restructure the story, or delete much of what you’ve just written because it was ultimately unnecessary. So, when writing a screenplay, it’s helpful to remember that…
Screenwriting is both a subjective and objective process
If you enjoy the process of writing fiction, you most likely find it addictively engrossing and necessarily subjective. How then can you keep one hand on the wheel of the story’s structural requirements while you are purposely submersed deep within the scene and within the minds of the characters you are creating?
That’s the trick, you see. To be a successful screenwriter, you need to be both subjective and objective as you create your story. Writing fiction is a naturally subjective process. Conforming that creative process to the time-boxed and convention-laden strictures of the screenplay requires that you never lose your objectivity even as you delve into the creative, subjective process of writing.
For this reason, I recommend that you try it before you knock it; if you want to write a screenplay, try using the visual mapping processes I’m describing in this blog, particularly if you haven’t yet successfully written a complete screenplay or if you have written one but were not happy with the result.
Researching Screenplay Structure
If you want to learn more about the structural standards of screenwriting, these links may help:
- Adventures in the Screen Trade: A Personal View of Hollywood and Screenwriting, by William Goldman
- A good explanation of the value of structuring your screenplay before writing it
- A professor’s view on screenplay plot structure
- Helpful description of the 3-act structure and its value or risks in making stories
- Syd Field on screenplay structure
- Explanation of the importance of “story compression and the 3-act structure” in screenwriting.
- Screenwriting instructor Scott Myers explains why the screenplay is structure, and summarizes character archetypes as one of the building blocks of the screenplay
- More detailed article on screenplay structure
- The importance of really nailing the structure before you write FADE IN