The Second Act is the longest one, usually around 50 - 60 pages, and is often the hardest one to write. This is where you include obstacles that stand in your protagonist's way. These obstacles must become increasingly tougher until they lead to an inevitable, but not predictable, climax.
This is the act in which you reveal character growth. Not all main characters grow. In many action movies, such as the early James Bond films, there is no character growth. But if you wish to show such growth, this is the place to do it.
If you wish to write a subplot, start it early in your second act. If your book has a number of subplots, choose one or perhaps two. There is not enough room in a movie for multiple subplots (unless you're Robert Altman). Besides, multiple subplots, with several characters, will dilute the impact of the main story line.
You should include a Major Reversal or setback of some type in the middle of the this act. Or, if the protagonist has been a victim, this is the point at which he or she begins to take control of their life, even though the challenges become increasingly more difficult.
Near the end of the second act, the protagonist must be at their lowest point in the entire story. This is often called "The Dark Night of the Soul."
Then, at the end of the second act, the protagonist sees a glimmer of hope, something that will drive them to meet the ultimate challenge of the story, namely, the climax.
The Third Act shows us the ultimate conflict or climax of the screenplay. It is the most dramatic part of the entire story and needs to be written as such.
The third act must resolve the story one way or another. Either the main character achieves their goal or they do not.
It is essential for the protagonist to be a major element of the climax, moving the story forward. Many beginning screenwriters often let secondary characters fulfill this role.
I once read an action script from a beginner in which the protagonist walks out of the climax scene right before the final battle. Can you believe it?
I cannot emphasize this enough-the protagonist must go head-to-head with the antagonist in order for an audience to feel fulfilled.
This is the act in which you should resolve any subplots.
This act is usually 10 - 20 pages.
Once you finish the climax of your story, end it soon. Sure, there may need to be some wrap-up of all the loose ends, but don't linger. Otherwise you'll dilute the energy of the climax. You want the reader, and ultimately, the audience, to exit as close to the emotional peak of the story as possible.
This is the act in which you reveal character growth. Not all main characters grow. In many action movies, such as the early James Bond films, there is no character growth. But if you wish to show such growth, this is the place to do it.
If you wish to write a subplot, start it early in your second act. If your book has a number of subplots, choose one or perhaps two. There is not enough room in a movie for multiple subplots (unless you're Robert Altman). Besides, multiple subplots, with several characters, will dilute the impact of the main story line.
You should include a Major Reversal or setback of some type in the middle of the this act. Or, if the protagonist has been a victim, this is the point at which he or she begins to take control of their life, even though the challenges become increasingly more difficult.
Near the end of the second act, the protagonist must be at their lowest point in the entire story. This is often called "The Dark Night of the Soul."
Then, at the end of the second act, the protagonist sees a glimmer of hope, something that will drive them to meet the ultimate challenge of the story, namely, the climax.
The Third Act shows us the ultimate conflict or climax of the screenplay. It is the most dramatic part of the entire story and needs to be written as such.
The third act must resolve the story one way or another. Either the main character achieves their goal or they do not.
It is essential for the protagonist to be a major element of the climax, moving the story forward. Many beginning screenwriters often let secondary characters fulfill this role.
I once read an action script from a beginner in which the protagonist walks out of the climax scene right before the final battle. Can you believe it?
I cannot emphasize this enough-the protagonist must go head-to-head with the antagonist in order for an audience to feel fulfilled.
This is the act in which you should resolve any subplots.
This act is usually 10 - 20 pages.
Once you finish the climax of your story, end it soon. Sure, there may need to be some wrap-up of all the loose ends, but don't linger. Otherwise you'll dilute the energy of the climax. You want the reader, and ultimately, the audience, to exit as close to the emotional peak of the story as possible.
About the Author:
Danek S. Kaus is a produced screenwriter of an award-winning feature film. He has two movies in development and three more of his scripts have been optioned. Check out his his screenwriting site for more article on screenwriting. You can also request his Free Ebook screenwriting for authors
No comments:
Post a Comment