I'm relatively new to screenwriting and need advice. I've been reading a lot about structure. Plot points, three acts and so on. My screenplay definitely has three acts. Here's my issue. My first act isn't hitting the universal points at the "right times". My inciting incident really starts (implied) before the screenplay starts (my character tried to take his life and we really meet him as he's being admitted into a mental institution). And my hook, the end of act one, comes late. Like page 40. Everything from that point of the story does hit on the right beats at the "right" times. So how much should I be a slave to structure and the typical plot points happening at defined moments in the first act. I don't want my screenplay to be thrown on the pile before it's given a chance. Any advice is welcome. I know there are plenty of courses on this, I'd just like to hear it from writers first.
Screenwriting : Structure by Christian Conte
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Thanks for the input. And I know it's tough getting advice without reading the script. So I appreciate it.
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I'll take Dan's point about not seeing the movie correctly in your head and offshoot a bit...If you're seeing it in your head, that means it's not on the page. And if it's not on the page, the reader won't know.
Agree on that as well.
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Thanks all!
It is possible that the other beats aren't at the right times as you think, or it's possible that you actually DO have the right Beats in your first act and don't realize it yet. Structure isnt Everything, but it is important. Not to hit Beats on certain pages but to make sure your story is pacing right, and keeping the reader engaged. If you are looking for notes and help on your first draft, I'm happy to help over at No BullScript. Sounds like you may need some unbiased help to see the structure thru the trees, as they (dont) say.
Know your beginning. Know your ending. What happens in between will be up to you to listen to your characters. Leave room for organic reactions.
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Don't worry about page numbers, worry about whether it drags anywhere. You want your script to be a page turner that a reader can not put down.
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Others have already given great, useful thoughts. In addition, look at SILVER LININGS PLAYBOOK. It's been years since I read the script, so pardon my poor recap. Bradley Cooper's character tried to commit suicide before the movie started. That's his backstory, not the inciting incident. He gets out of the treatment facility. He tries to rebuild and get back together with his ex. That's his agenda (as I recall). He meets Jennifer Lawrence's character. They connect immediately. That's his new opportunity (or the inciting incident). In yours, the new opportunity he receives inside the facility would be the inciting incident. Sorry so rough, and apologies if I'm mis-remembering any details. Even if I missed a point, the overall comparison should be relevant.
Useless?
Oops typo!! Corrected!
Great input Regina. I see your point with Silver Linings Playbook. And yes I agree meeting Jen L. character would be the inciting incident. I will look at the script with that in mind. Thanks the comparison helps!
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Writers shouldn't be afraid to look at movie models as development tools because everyone does, including the Spielbergs and Sorkins out there. It's not cheating; it's wise and strategic. I was surprised and pleased when one of my S32 script consulting clients said, "I didn't know that I didn't have to reinvent the wheel." You should not reinvent the wheel because guess what? Your audience is coming to the theater having seen hundreds/thousands of movies. They will be comparing your new movie against past movies they've seen. So like our audience, we all must take movie models into account.
Every story is different. indie movies don't even work with story structures.
Thanks Sammer.
Your welcome brother