This article is a LOOOOONG time coming. I’m finally writing about screenwriting structure. After just writing a behemoth article about the structure of Avengers Endgame, I realized I don’t have any articles (period) about structure itself, and it’s a topic I love talking about which is why I’m hoping to write a crap load more about it. And after enjoying writing the Endgame breakdown, I want to do more. But first, I figure should write down how I like to lay out my screenplay structure.
It’s still based on the three-act structure, then I break each act down to a series of sequences, with each sequence having a name. It’s kinda like a lil’ Save the Cat and Hero’s Journey with some others sprinkled in, so I’m not saying this a new formula that’s going to change your screenwriting forever. I use terms maybe you’ve probably heard before, or maybe they’ll be new to you. I feel like structure really is how you choose to understand it, which is why it’s always been hard for me to explain it to someone that has no understanding of it.
Some people like breaking it down into more than 3 acts, or not even using the term “acts” at all and naming the major turning/plot points something else. Like the ever popular Blake Snyder “Save The Cat” method, which is just another way to break it down differently, but it’s still based on the traditional 3 act / hero’s journey structure. Myself, I keep it pretty simple, and I’ve named each major plot point with terms that are a similar to Save The Cat or other methods. So Maybe I should give my method a cool name and write a book about it and make millions off it too. One day… Until then, here’s my take on screenwriting structure. I’ve included examples to help understand.
ACT ONE
1. The Introduction
This first sequence is all about set-up where we meet the protagonist, the antagonist and their “ordinary world.” The world that will soon be flipped on its head at the start of act two. The heroes good and bad are revealed, who their friends and family are, the possible love interest, and what inner struggle they need to get over by the end of the story (the character arc). It’s important to remember your hero has an outer goal and an inner goal, the outer being what the main story goal is, the inner being the character flaw they need to fix.
Example, Die Hard: John Mclane’s ordinary world is that he’s a New York cop in LA, on bad terms with his wife. His outer goal is to save his wife and kill the bad guy. His inner goal is to stop being a selfish jerk and support his wife.
2. The Incident
This is the event that starts the official story. This is where the outer goal the hero has to achieve begins, whether it’s to save the world, get the girl, get revenge, kill a giant shark, etc.
Example, Chinatown: When (who we think is) Evelyn Mulwray hires Jake Gittes to follow her husband, Hollis Mulwray.
3. The Exposition
This short sequence is about getting out all the information that the audience needs to know. Exposition is always peppered throughout every screenplay, but the first act is where most of the important stuff should be explained. More set-up is done and new story lines are introduced. Every screenplay should have a minimum of three storylines, the first two being the hero’s inner and outer goals, so the third storyline is usually the love interest. More than three story lines is better.
Example, Inception: We learn more about Cobb’s unique job when Saito hires him and Ariadne is added to the team, Cobb’s past with his wife and his goal to reunite with his kids.
4. The Obstacles
Before the hero embarks on this new adventure, something gets in the way of allowing them to do it. It just may be their own hesitations, or someone/something is physically stopping them from doing it. The obstacle is always defeated, literally or figuratively, so they can move into act two.
Example, Star Wars – A New Hope: When Obi-Wan asks Luke to come fight the Empire with him, he wants to but says he can’t because he promised to help Uncle Owen. Then the murder of his Aunt and Uncle change his path.
ACT TWO
5. The New World
The hero is in a world they’ve never seen before, whether it’s an actual “new world” like a planet, or another dimension, or another time in history, or they wake up in someone else’s body/mind. It’s not always as dramatic a change as those examples, but it’s the antithetical of whatever your hero’s ordinary world is.
Example, The Matrix: When Neo wakes up in ooze surrounded by millions of humans being harvested by huge robots, he is literally in a whole new world that be mad cray compared to his ordinary one.
6. The Journey Begins
The hero knows what they need to do, here is where everything they’ve learned so far starts to coalesce. This would be where a love interest or new friendship blossoms, or new party members may be introduced. A skill the hero is learning may be improving, and story details left to explain revealed.
Example, Star Wars – Empire Strikes Back: Luke on Dagobah, training with Yoda and learning more about the Force.
7. The Big Plan
The obstacles are gone, nothing can stop them now (or so we think). This is where preparations for the new journey have occured, whether it’s gathering a team of some sort, collecting supplies, or any further investigating that needs to be done. The plan is set and in motion. It’s usually where things are (or appear like they are) going well for the hero, ’cause shit is about to get real.
Example, Avengers Endgame: Yes I’m lame for using an example from the article I just wrote, but I struggled to find a good new one. When Stark, Rogers, Banner and Scott go to Stark Tower to retrieve the Infinity Stones.
8. The Midpoint
The biggest turning point in the story, where new information, good or bad (almost always bad) is revealed, which will somehow impede our heroes progress. The stakes get higher, and the story takes on a new trajectory.
Example, Alien: When the creature first bursts out of Kane’s chest. Best. Midpoint. Ever.
9. The New Plan
A product of whatever was revealed in the mid-point, the hero, and others that may be in their party, needs to figure out how to achieve their goal all over again, which now looks more impossible than ever thanks to what went down in the midpoint.
Example, Raiders of the Lost Ark : Indy and Marion escape from the Well of Souls after Balloq traps them in there when he steals the Ark from Indy.
10. The Lowest Point
The hero has been temporarily defeated by the antagonist, someone important dies, the stakes are even higher, all or either of these beats occur. The hero is at their lowest possible point in their journey, where the audience will wonder how are they going to get out of this. The only direction for the hero to go now is up.
Example, Groundhog Day: When Phil thinks he’ll be stuck in the repeating day loop forever and tries to kill himself, over and over.
ACT THREE
11. The Final Showdown
The hero dusts themselves off for the final confrontation, and the eventual ultimate triumph over evil. Any further training required, information needed, new powers, etc. would be included here. Then they achieve their outer and inner goal, and their character arc is complete.
Example, Seven: When Mills learns of John Doe’s ultimate plan as Somerset discovers Mills wife’s head in a box. Then shoots Doe in the head. Love this scene!
12. The Outroduction
The hero’s journey has ended, their story is complete, and all other story lines are completed as well.
Example, Die Hard: K, I tried not to use the same film twice, but resolution of this film is a master class. Every major storyline (Mclane reconciling with wife, meeting Powell, Powell pulling his gun for the first time in years, Powell killing the last bad guy, Thornburg getting slugged in the face by Holly, and Mclane reuniting with Argyle) is tied up in the span of five minutes. Bravo.
Okay there it is BAM! This is just how I like to break down structure. Like I said, this just my method, and what I’ll use in the forthcoming structure breakdowns. If you agree or disagree, please leave a comment below.
Thanks for reading. Keep writing,
-Tim
