While I’m already deep into the step outline for the second act, I’ve gone back briefly today to the first act, cleaning it up for delivery to the producer.
Going back? Say it isn’t so!
No, no — this “going back” isn’t like a retreat. It’s a good thing. And truly a step forward.
You see, there’s an interesting statement by William Goldman in his book Four Screenplays with Essays that inspired me to go back and polish up that Act I step outline before delivery. In his essay introducing the script Butch Cassidy and the Sundance Kid, he talks about how the standard screenplay format is so structurally counterintuitive to a good read, being loaded with conventions that almost seem designed to interrupt the narrative flow. Which, he explains, is why, “I try to make my screenplays as readable an experience as I can, for a good and greedy reason — I want the executives, who read them and who have the power to greenlight a flick, to say, ‘Hey, I can make money out of this.'”
How I’m applying that
Even though this step outline is mostly for me, the writer, to help me structure the story and test out the narrative flow before I invest so many more hours in the detailed structuring of the entire screenplay with all the dialogue, I figured that the rules change for the delivery. This outline will be, in two days, mostly for the producer, not me.
As the producer reads it, he will be less focused on how artfully structured I have or haven’t made this first act than how much this outline version of the first act will or will not already begin to inspire him as being a potentially good movie. Or not.
So, borrowing on the wisdom of William Goldman, I’m modifying the first act step outline to read well: to flow compellingly from one step to the next, and using turns of phrase designed to make the reading more enjoyable. For the same good and greedy reason. 😉