In plain English: 1. Inciting Incident (start of the conflict) 2. Point of No Return (character is stuck in the conflict) 3. Midpoint (major success or failure) 4. Reversal (reversal of fortune right before the character is about to achieve their goal) 5. Conclusion (character achieves their goal or doesn't)
Does the middle point have to mirror the end? Like if you have a major success in the middle does the end have to be a success? And if the middle is a failure does the ending have to be a failure? Or can they be different.
A piece of advice: When you illustrate the plot points, use one story so the viewers can follow you through. If every plot point you use different story, viewers get confused.
True, but the idea of using multiple stories wasnt wrong. They should've illustrate the plot point on two or three stories each time. But still, this video is brilliant.
I didn't, I understood everything just fine! Maybe if people don't really get these simple examples, they probably aren't really creative, or writers at that.
I can't tell you how helpful this was! I was easily able to relate each of the 5 "dots/poinst" on the chart, with the 5 plot "points" (1.) Inciting Incident, 2.) Lock In, 3.) First Culmination (Midpoint), 4.) Major Plot Twist, 5.) Final Culmination
Inciting incident: Luke finds the message of Princess Leia hidden in R2-D2 Point of No Return: Luke's aunt and uncle are killed by Stormtroopers Midpoint: Luke rescues Princess Leia Reversal: His mentor Obi-Wan is killed 3rd Act Twist: Luke is the only one left in his squadron to blow up the Death Star
I never really learned this, and writing my next movie I thought I was doing it completely without following this. While watching I realized I actually had every single one of them and I think I finally understood them.
Yeah, you guys are the best. So so so many rubik's-cube styled lessons out there. Your videos are 1. great lessons for writing screenplays, and 2. great lessons on the power of simple communication. Big huge thanks. - AB (writing like mad until I make it)
Wow! This is some of the BEST information I’ve received yet, and I’m referring to your whole series not just this video. Once my Film is made I’ll come back to you to praise in help you in any way I can! Thank you for your invaluable help!
Totally awesome! The differences are not that far off from The Hero's Journey. However going from writing books to screenplays were sticky. This cleared up a lot!
I've seen this explained a hundred times, and it;s still hard to follow. Why do you explain the points with different movie references? In the example you start with "The graduate" with the first point-then you move to "The matrix" for the second point (what happened to the Graduate?) Why is it so difficult to stay with one movie? There are no blue and red pills in the Graduate. You jump all over the place, and in the end it makes no sense. Now your are on to Forest Gump-where is the naked matron and are the blue and red pills in Forest Gump?
***** Hi, I am also a novelist (unpublished so far), and study screenplay for structure and plot. However, plotting is all very confusing to me. I usually write with outline. However I have made an outline of one of my stories (done after writing the novel) I feel the story has some timeline problems that I have not been to work out.
Tom he is moving to other stories just to give examples. This is how it was done in this movie. Here is another example. He was showing the plot points early in one film, then, later in another.
Tom Saine Writers usually don't want their work to SEEM as formulaic as it really is, so they will often finesse or obfuscate here and there. As a result, it can be hard to cite a relatable, well-known blockbuster that exemplifies all five nodes with crystal clarity. Write on, good sir!
+Tom Saine I don't say that the advice giving in this video is bad. But I honestly don't believe in only the "three act" structure. I mean it doesn't take a genius to figure out that a story has a beginning, a middle, and an end. I instead prefer the LOCK system. L = Lead, O = Objective, C = Confrontation, and K = Knockout. Look it up if you're interested. Also John Truby has interesting things to say about screenwriting. I do believe that if you force yourself too much to use every time the same "formula" or "structure" on your story, that it can kill your creativity, or make all your stories seem the same.
Interesting. I hadn't heard of the LOCK system (it's a little hard to find by web-search - looking for "lock screenplay", etc. turns up hits for the "lock-in" plot point - so it helps if you throw in the name "James Scott Bell" as part of the search...) Though my first impression is that it (apparently) serves a rather different purpose. It seems to be more about establishing the elements at the heart of your story than about plotting out the trajectory of the story. Personally (as a beginner) my interest in learning more about story structure is to use it as a guide, especially to help with pacing and to establish a high-level plan for how the story will play out. LOCK seems like it could be useful prior to that work, to work out the core elements of the story - details that should be worked out _before_ I try to work out the major plot points - but of course it'd be applicable to other styles of storytelling as well.
I'm learning this stuff. OK. Girl Interrupted (a John Truby recommended watch for a particular genre). Let me try it: (SPOILER if you haven't seen it) 1. Inciting incident: She tries to commit suicide. 2. "Lock in" (Act II transition): She is driven away to the mental hospital. 3. 1st culmination/Midpoint: Self-realization. She won't run away with boyfriend. 4. Main culmination (Act III transition): The chicken girl's suicide. (Spurring her to work hard) 5. 3rd Act Twist: She stands up to Lisa. "Because you're already dead!" What do you think? Am I on the right track to understanding?
Doesn't the climax usually happen in the Third Act and not at the beginning of it? Or does it just vary depending on the nature of the story? I keep hearing different points on this.
thank you for the love you put into helping others. If I knew as much about screenwriting as you do I wouldn't share it with my mother never mind the world. Your site is always open on a tab in my browser during my writing sessions so I can flick over to it from Final Draft when I need a thought or inspiration. thank you.
Your video have been an awesome source of inspiration. Where have you been fella. I woul request you to put some light on writing scripts for TV drama. There are so many stories that do not just fit into any other format. And there are so few videos on the topic.The most important thing that most of the Bloggers shy away from is elaborating the structure of the TV drama serials, series and soaps. What about the character arcs, goals, conflicts and their extended resolution in these formats? What about the hooks and cliffhangers? Can you compare those please?
I simplu love this channel, the information is so clear and useful. It's hard at the beginning of this process of writing a screenplay but these kind of videos have given me motivation to do it. God bless the wonderful people that contribute to what Script Lab is.
It seems like a lot of people line up to take pot shots. At the same time, I do agree with some of the criticisms and compliments alike. I do have to say that I think you may have the labels for 4 and 5 swapped. And while I appreciate using examples from different films, I think sticking with one film would be more helpful. For example, Andy getting thrown into solitary doesn't seem like a climax, but rather the "Third Act Twist" monkey wrench thrown into his path. But I'll take the next step and look at the breakdowns on your website. For now I'll say that I think if the labels of 4 and 5 were swapped in this video, it would make a lot more sense to me. That said, I think the video still offers a basic structure to explore.
What process does one use when writing episodes? TV screenwriters often have no idea when their show will really wrap-up (leaving lots of shows dangling at the end). But what process does one look to in the mean time?
Exactly how many scripts has this guy sold? It is interesting that most people who tell us about all these things about screenwriting have rarely made a living by screenwriting. If Tarantino or Spike Jonze were to do a video on screenwriting, that might be worth our time. I'm never gonna get these six minutes again!
[At 5:54] You say the 3rd Act mid-point '"actually changes the plot" yet in your graphic it is the only 'plot point' which has zero impact on the direction of travel of the plot line!
Doesn't make sense that the climax is at the beginning of the third act, even before the third act twist. The climax should be the main showdown, the point that it's all been leading up to, which is after the "all is lost" and after the third act twist
Help: can someone please explain to me if your midpoint is a success your ending should be too. also at the case when your midpoint is a failure, your ending should fail as well. please
Im writing my first screenplay the inciting incident I know takes place in the middle of the 1st Act, (pg 15), what if you have an inciting incident at the the end of page 2 as part of the opening sequence because that's how the story works. ....is that okay?
I don't think that the inciting incident necessarily has to happen half way through the first act. There are plenty of films in which the inciting incident happens within the first minute of the movie, for example the bomb going off at the beginning of Die Hard With A Vengeance.
Or how about the opening of "Star Wars"? The Imperial Star Destroyer chasing and swallowing the Rebel Blockade Runner, Darth Vader invading the ship, the escape of R2-D2 and C3P0, and Vader's capture of Princess Leia. BAM, right from the start.
Can the protagonist be unaware of the inciting incident? I'm structuring my story so that my main characters only think they know what's going on. It won't be until Main Culmination (Climax) that the protagonist's world collides with what's secretly been happening.
I understand he speaks slowly to help to understand, he is explaining something important. What drives me nuts is the notes in background. I can't pay attention to both.
Your eyes are disturbing and distracting. Too different due to all this constant contortions. Get someone else to stand in front of the camera, not everybody fits in the role as a media presenter. Or stop contorting your face like a lunatic when you speak... might help as well.
In plain English:
1. Inciting Incident (start of the conflict)
2. Point of No Return (character is stuck in the conflict)
3. Midpoint (major success or failure)
4. Reversal (reversal of fortune right before the character is about to achieve their goal)
5. Conclusion (character achieves their goal or doesn't)
Does the middle point have to mirror the end? Like if you have a major success in the middle does the end have to be a success? And if the middle is a failure does the ending have to be a failure? Or can they be different.
Point of no return at 2 ?
You nail it
Mpgamer55 You nailed it bro.
@@appledough3843 are you related to Professor Xavier? I'm imaging you right now as some bald fuck mutant
A piece of advice: When you illustrate the plot points, use one story so the viewers can follow you through. If every plot point you use different story, viewers get confused.
Exactly
True, but the idea of using multiple stories wasnt wrong. They should've illustrate the plot point on two or three stories each time.
But still, this video is brilliant.
I didn't, I understood everything just fine!
Maybe if people don't really get these simple examples, they probably aren't really creative, or writers at that.
Other than the Matrix and Forrest Gump, I wasn't that familiar with the other movies.
I can't tell you how helpful this was! I was easily able to relate each of the 5 "dots/poinst" on the chart, with the 5 plot "points" (1.) Inciting Incident, 2.) Lock In, 3.) First Culmination (Midpoint), 4.) Major Plot Twist, 5.) Final Culmination
Inciting incident: Luke finds the message of Princess Leia hidden in R2-D2
Point of No Return: Luke's aunt and uncle are killed by Stormtroopers
Midpoint: Luke rescues Princess Leia
Reversal: His mentor Obi-Wan is killed
3rd Act Twist: Luke is the only one left in his squadron to blow up the Death Star
I never really learned this, and writing my next movie I thought I was doing it completely without following this. While watching I realized I actually had every single one of them and I think I finally understood them.
Very helpful to understanding an existing film's structure. Thank you!
These are all very helpful! They may not have many views since you guys are a new channel, but I'm looking forward to more information in the future!
god, incredible lesson, and for free! i'm creating a new favorite folder here, and this video is the first one in!
Yeah, you guys are the best. So so so many rubik's-cube styled lessons out there. Your videos are 1. great lessons for writing screenplays, and 2. great lessons on the power of simple communication. Big huge thanks. - AB (writing like mad until I make it)
Hope you continue to make more of these videos. They're very helpful and the speaker is very clear and concise (at least to me).
Wow! This is some of the BEST information I’ve received yet, and I’m referring to your whole series not just this video. Once my Film is made I’ll come back to you to praise in help you in any way I can!
Thank you for your invaluable help!
WAS Your film made?
This was sooo helpful, thank you! I was so satisfied when I found I followed all these steps in my past scripts ♥
Hey script lab! Me and a friend are writing a screenplay together and this really helped, thanks!
Totally awesome! The differences are not that far off from The Hero's Journey. However going from writing books to screenplays were sticky. This cleared up a lot!
5:55 - did you just call Scorsese's film "Good Fellows"?
This was perfect. Thank you for this.
Great video tutorial. I do wish that he would've stuck to one movie model, instead of using different movies. It's still a great tutorial, thank you.
I've seen this explained a hundred times, and it;s still hard to follow. Why do you explain the points with different movie references? In the example you start with "The graduate" with the first point-then you move to "The matrix" for the second point (what happened to the Graduate?) Why is it so difficult to stay with one movie? There are no blue and red pills in the Graduate. You jump all over the place, and in the end it makes no sense. Now your are on to Forest Gump-where is the naked matron and are the blue and red pills in Forest Gump?
***** Hi, I am also a novelist (unpublished so far), and study screenplay for structure and plot. However, plotting is all very confusing to me. I usually write with outline. However I have made an outline of one of my stories (done after writing the novel) I feel the story has some timeline problems that I have not been to work out.
Tom he is moving to other stories just to give examples. This is how it was done in this movie. Here is another example. He was showing the plot points early in one film, then, later in another.
Tom Saine Writers usually don't want their work to SEEM as formulaic as it really is, so they will often finesse or obfuscate here and there. As a result, it can be hard to cite a relatable, well-known blockbuster that exemplifies all five nodes with crystal clarity. Write on, good sir!
+Tom Saine
I don't say that the advice giving in this video is bad. But I honestly don't believe in only the "three act" structure. I mean it doesn't take a genius to figure out that a story has a beginning, a middle, and an end. I instead prefer the LOCK system. L = Lead, O = Objective, C = Confrontation, and K = Knockout. Look it up if you're interested.
Also John Truby has interesting things to say about screenwriting.
I do believe that if you force yourself too much to use every time the same "formula" or "structure" on your story, that it can kill your creativity, or make all your stories seem the same.
Interesting. I hadn't heard of the LOCK system (it's a little hard to find by web-search - looking for "lock screenplay", etc. turns up hits for the "lock-in" plot point - so it helps if you throw in the name "James Scott Bell" as part of the search...)
Though my first impression is that it (apparently) serves a rather different purpose. It seems to be more about establishing the elements at the heart of your story than about plotting out the trajectory of the story.
Personally (as a beginner) my interest in learning more about story structure is to use it as a guide, especially to help with pacing and to establish a high-level plan for how the story will play out. LOCK seems like it could be useful prior to that work, to work out the core elements of the story - details that should be worked out _before_ I try to work out the major plot points - but of course it'd be applicable to other styles of storytelling as well.
I'm learning this stuff. OK. Girl Interrupted (a John Truby recommended watch for a particular genre). Let me try it:
(SPOILER if you haven't seen it)
1. Inciting incident: She tries to commit suicide.
2. "Lock in" (Act II transition): She is driven away to the mental hospital.
3. 1st culmination/Midpoint: Self-realization. She won't run away with boyfriend.
4. Main culmination (Act III transition): The chicken girl's suicide. (Spurring her to work hard)
5. 3rd Act Twist: She stands up to Lisa. "Because you're already dead!"
What do you think? Am I on the right track to understanding?
Great video, thanks!
Absolutely! Got here from there, Love the site, and I'll stay updated on the videos!
This setup would be excellent for any type of movie? Action/adventure, sci-fi, horror. Any genre can follow this setup?
Hi TSL, this is great. Thanks for the help.
Doesn't the climax usually happen in the Third Act and not at the beginning of it? Or does it just vary depending on the nature of the story? I keep hearing different points on this.
thank you for the love you put into helping others. If I knew as much about screenwriting as you do I wouldn't share it with my mother never mind the world.
Your site is always open on a tab in my browser during my writing sessions so I can flick over to it from Final Draft when I need a thought or inspiration.
thank you.
Your video have been an awesome source of inspiration. Where have you been fella. I woul request you to put some light on writing scripts for TV drama. There are so many stories that do not just fit into any other format. And there are so few videos on the topic.The most important thing that most of the Bloggers shy away from is elaborating the structure of the TV drama serials, series and soaps. What about the character arcs, goals, conflicts and their extended resolution in these formats? What about the hooks and cliffhangers? Can you compare those please?
I simplu love this channel, the information is so clear and useful. It's hard at the beginning of this process of writing a screenplay but these kind of videos have given me motivation to do it.
God bless the wonderful people that contribute to what Script Lab is.
It seems like a lot of people line up to take pot shots. At the same time, I do agree with some of the criticisms and compliments alike. I do have to say that I think you may have the labels for 4 and 5 swapped. And while I appreciate using examples from different films, I think sticking with one film would be more helpful. For example, Andy getting thrown into solitary doesn't seem like a climax, but rather the "Third Act Twist" monkey wrench thrown into his path. But I'll take the next step and look at the breakdowns on your website. For now I'll say that I think if the labels of 4 and 5 were swapped in this video, it would make a lot more sense to me. That said, I think the video still offers a basic structure to explore.
When you said the Third act .. My mouse ran out of my hand and kissed the Subscribe butt on !
What process does one use when writing episodes? TV screenwriters often have no idea when their show will really wrap-up (leaving lots of shows dangling at the end). But what process does one look to in the mean time?
Excellent video !! and very nice web site !!! Thanks for the free education !! I just pressed the subscribe button.
this video might be a turning point in my life .....
This is kind of more helpful that the 3 act structure
This either doesn't make sense or it is poorly explained. Probably the latter.
Casey Ryan you actually are dumb
Both lol
Exactly how many scripts has this guy sold? It is interesting that most people who tell us about all these things about screenwriting have rarely made a living by screenwriting. If Tarantino or Spike Jonze were to do a video on screenwriting, that might be worth our time. I'm never gonna get these six minutes again!
Sarah Foulds What this guy is saying is also taught by Dan Harmon, creator of Rick and Morty and Community. So he is not wrong.
[At 5:54] You say the 3rd Act mid-point '"actually changes the plot" yet in your graphic it is the only 'plot point' which has zero impact on the direction of travel of the plot line!
Great examples of films used in describing each point! I can tell you put a lot of thought into this video. Cheers
Doesn't make sense that the climax is at the beginning of the third act, even before the third act twist. The climax should be the main showdown, the point that it's all been leading up to, which is after the "all is lost" and after the third act twist
the 5 plot points. so cool. thanks
TSL, this is a really very good example and explanation of screenplay structure. Good job.
Help: can someone please explain to me if your midpoint is a success your ending should be too. also at the case when your midpoint is a failure, your ending should fail as well. please
Class is in session- SUBSCRIBED!
Im writing my first screenplay the inciting incident I know takes place in the middle of the 1st Act, (pg 15), what if you have an inciting incident at the the end of page 2 as part of the opening sequence because that's how the story works. ....is that okay?
I don't think that the inciting incident necessarily has to happen half way through the first act. There are plenty of films in which the inciting incident happens within the first minute of the movie, for example the bomb going off at the beginning of Die Hard With A Vengeance.
Or how about the opening of "Star Wars"? The Imperial Star Destroyer chasing and swallowing the Rebel Blockade Runner, Darth Vader invading the ship, the escape of R2-D2 and C3P0, and Vader's capture of Princess Leia. BAM, right from the start.
Jaws in another one. The young woman getting taken by the shark right at the beginning of the film.
Thanks, that was helpful!
Next can you do "How To Paint By Numbers"?
You forgot step one: THE SET UP... establishing your character's universe and main characters. First 10% of the script.
thank you.
Can the protagonist be unaware of the inciting incident? I'm structuring my story so that my main characters only think they know what's going on. It won't be until Main Culmination (Climax) that the protagonist's world collides with what's secretly been happening.
yeh you don't necessarily need to keep to this format. take quieten Tarantino for example. most of his scripts don't keep to normal format
Why.....would you use that example tho
If you're trying to learn this stuff, I suggest putting the speed at 1.5 or higher
thanks
'Goodfellows' was a great flick.... 5.55
useful tips for my Movie
Good stuff
I understand he speaks slowly to help to understand, he is explaining something important. What drives me nuts is the notes in background. I can't pay attention to both.
You lost me at "usually always."
I don't see it that way. It's really a pattern of winning and losing and with each win/ loss the stakes get higher.
This is made so complicated that I lost my motivation to write today
It's ironic that long exposition/explanation is used to try and teach narrative storytelling.
MAYBE your story has little plot points or too long in some areas
Instead of applying this formula to the Graduate or Shawshank, try Eraserhead.
Don't believe everything you hear. I can just see Quentin Tarantino diligently working to get those five plot points all lined up nice and neat.
before now i knew of three acts.
"Goodfellows" haha
If the midpoint is a tragedy, why does it have to mirror the ending ?
I find some people can tell a story, and some people cannot. All the structure in the world won't solve that problem.
keep going
This guy is wearing a set of dentures (top row).
GoodFELLOWS?
The revenge of Kurt Vonnegut.
yikes. This is a little complicated for my middle schoolers I'm assuming?
If you were really any good at storytelling this would not be so boring...
BOOOOORING!
Your eyes are disturbing and distracting. Too different due to all this constant contortions. Get someone else to stand in front of the camera, not everybody fits in the role as a media presenter. Or stop contorting your face like a lunatic when you speak... might help as well.
You're nitpicking
Oh my God shut the fuck up dude