I don't remember where I saw it, but I've seen it broken down like this: == Act I == 1. Hook: Character is living their ordinairy life, then something unexpected happens. 2. Lock: Character tries to ignore, resist or do a quick fix for their problem. Something worse happens and character is locked into the adventure. == Act IIA == 3. Deconstruction: First attempt at solving the problem. Character gets everything wrong but learns something new. 4. Shift: Second attempt at solving the problem. Character gets it partially right, but still fails. == Act IIB == 5. Reconstruction: Third attempt at solving the problem. Character realizes what they need (versus what they want) but they're not yet ready to pay the price and thus fail. 6. Loss: Character loses something valuable and accept the price they must pay. == Act III == 7. Resolution: Final attempt. Character has changed and therefore is able to overcome the obstacle. 8. Denouement: Coronation and good-byes.
These are actually not sequences. I don't know which story model this is (looks similar to Dan Harmon's Story Circle, but it isn't that), but many story models do something like this in that they are mixing story and storytelling elements, which make it hard to learn what you need in a story to make it work and what you don't. This model might be helpful, but if you're writing a screenplay to fit these elements, the script will feel predictable, and that's not what you want. So use them as they are helpful, but make sure to differentiate between story and storytelling elements.
00:57 "...sequences help you advance in your storytelling at light speed it's literally a secret hack and it's a hack not because it's a shortcut it's a way of explaining and understanding how stories work and how audiences make sense of stories; so you're telling the story the audience needs to understand they've gotta track - sequences helps you do that "
22:15 " we got to figure that out four sequence and this is how you use them you use them to help you build your second act What is your main character trying to accomplish and then you take a step back what are the steps they need to take to accomplish that thing whatever those three four or five steps are those are your sequences of your second act you just figured out your second act congratulations now i mentioned earlier that sequences are both a story and storytelling tool they're story tools because they make sure you have a second act that stays together the three four or five things someone's doing to accomplish whatever it is they're trying to accomplish you gotta know those things that helps you make sure your story is intact but sequences are also story telling tools because once you've established the sequences, well now you can split them up now you can move them..."
Very very good. I only knew of "Sequences" from Premier Pro. I can see know that there is elementary material that has to be understood. That the creative part of the process of storytelling in not much aboutinventing a new way to tell a story.
Yes, inventing a new way isn't really the best solution most of the time, actually 99% of the time. But there are unique ways to tell YOUR story... that has always and will always be the case. And your job is to find the best way to tell the story you're wanting to tell. Sequences definitely help you figure out your story and keep it together, though. Glad it was helpful.
Thanks brother, for giving us real nuts and bolts info/nuggets which actually help our craft. I am super tired of these higher than thou so called experts talking about lofty ideas about writing that amounts to no more than folks speaking so they can hear themselves speaking.
I've probably been guilty of that a little, but I'd rather err on the side of "here's some stuff that'll actually help." So I'm glad this was helpful... and, you're welcome!
Sir, I am new to Story. I’ve always enjoyed writing but never attempted anything “formal” until recently. It will just be for me but I want to write a novel. I’ve spent the past several months getting an introduction to the craft of writing via various sources. I’ve set some specific requirements for having a good understanding on several aspects of craft before I start my outline and first draft. Right now I’m enjoying learning about structure. There are so many models! I’ve been watching videos about screenwriting even though I’m focused on writing a novel. I know there are differences in the techniques because the visual medium has different requirements for conveying Story than does the written page. Here’s my question: I wonder if it’s feasible to use this idea of eight sequences when writing a novel? I’ve read about various beat sheets and variations of three act and Save The Cat and Michael Hauge’s six stages, and Hero’s Journey just to name a few. I even have some genre specific beat models. I’m also reading John Truby’s Anatomy of Genre. In short, I’m all over the place. I’ve seen other people talk about eight sequence but not like you do here. I’ve started to overlap the specific models of structure that speak to me to create a monster hybrid of sorts for guidance. The common points and similarities are really starting to pop out! Sorry to go on but yeah my question would be how can I adopt this approach for a novel and is it feasible to do so? I’m feeling like it is… Btw I figure if I’m putting in the effort I might as well go big. I’m going to try a romantic thriller and since thrillers are so fast paced, it seems like a structural model that has the idea of frequent but trackable change “built in” will suit my story well. I have already figured out I am a plotter so I’m living on structure and would be grateful for any advice you have on outlining using eight sequence. I’m asking even though it feels like the beauty of this approach is that you basically figure out four to five strategies to solve your protagonist’s problem or how he can achieve the story goal, and construct your scenes accordingly. Where it might help me to have an outline though, is if I start jumping around between the sequences. Also seems like a whole sequence could be devoted to a major subplot that focuses on a significant side character as long as their arc ties into the theme and the protagonist’s journey? I think my story will work nicely with eight sequence because I intend to have the romantic relationship be almost equal in scope to the thriller plot because they will crisscross. What is really striking a chord with me about eight sequences is that I can and should plan to go back and forth between those components according to what you’re saying here… Gosh!! 😂. My brain is sparking. Lemme watch some more of your videos, Dude! Thank you!
Interesting. E.E must define story sequence differently as he has 6 in A I. 12 in Act 2 and 3 or so in Act 3. Your story structure 8 step is close to Pixar's. 1. Once upon a time. 2. Everyday. 3. One day. 4. Because of , 5. Because of,6Because off. Sorry forget next too. Climax followed by Resolution.😅
That's because Pixar actually produces their movies based on sequences, which are really based on the classic Film Reels... there were usually 8 per film. Pixar, though, adds and mixes some storytelling parts into it, which can confuse people. EE and others all do the same thing--mix story and storytelling elements. This is why everyone's seems different from one another... they overlap on the story parts, but not on the storytelling parts. I talk about this in my structure book... and it's also why it's important to know the difference between story and storytelling. Once you do, you can identify all of the storytelling parts like they were bright yellow cars in a parking lot full of red cars.
Just on the surface of my understanding, Professor Edson’s Hero Goal Sequences are when the hero is all about completing one specific goal at a time. Once completed, they move on to the next. They do not revisit or go back and forth between his idea of a sequence which seems to be the opposite of this gentleman’s approach. This gentleman is saying you can jump around from sequence to sequence and that they are larger ideas / goals than what Prof Edson is talking about. That’s why there are so many more of them 20+ vs 8 or so. The point of his model is that the story should be driven by change and the hero goal sequences help make sure the protagonist remains active and that the story progresses. I don’t know if you saw it but he offered pdfs of the breakdowns for Back to the Future and Bridesmaids. The first two sequences are Marty doing something and not realizing the clock he’s looking at is wrong (slow) so he’s then got to get to school on time. That’s a goal. Then the next one is that he auditions with his group to try ti get picked to play at a school function but they don’t get picked. Then it’s another goal after that. When you get to the second act, it becomes about the several smaller goals he has to accomplish to get his Mim to like his Dad and then get back to the future. Emphasis on smaller goals. That’s the biggest difference I see. I like this gentleman’s explanation and I’m going to watch it again. I’ve seen other explanations of eight sequences but I’ve not heard it out so simply as to what the nature is of each sequence. I also really like that he specifically said that you can and should split your sequences up and distribute them - probably talking about the second act sequences for the most part. You can’t spread out the status quo etc. Sequences help us track. But we don’t want it to be too linear. We want the audience to have to engage by jumping back and forth from one sequence to another. I wonder if that would be analogous to cleaning all the floors for a few scenes. You clean the floor in the bathrooms. Then maybe you switch and clean the floor in the kitchen. You switched rooms. Your audience acknowledges the switch in local and engages but they are tracking the floor “sequence”. Then you could go back and clean the whole rest of the bathroom at one time because then the audience experiences that victory and it is recognizable movement of the story forward. Then you could have a dilemma pop up when the dishwasher won’t fork and now they’ve gotta wash all those dishes by hand and that’s gonna slow them down. 😂😂 I like this model! Glad I found this video.
Jacob can you make a story time video on your life, the ups and down and struggle in your career so far. Your achievements and success. I would love to know about you?
I'm trying to salt more of this stuff into my regular videos, but my life story isn't that interesting. I am planning to do a video on "mistakes I've made," but that may be a bit down the road. But... I'll think about it.
Length is always, ALWAYS, related to organization. My guess is you don't have enough going on OR you need a more formidable antagonist to make it harder on your protagonist... I'm guessing without reading, of course. If you feel all of that is working, you can always add an additional sequence in Act 2... if you're doing sequences correctly, that'd be another 10-15 pages. Best I can offer without reading.
@@BigRedStripe Should I use VOICE OVER in my screenplay, will it affects the quality of my screenplay. What do you say? I am writing a Psychological-Thriller kinda screenplay. I want to explain the past sequences of the story to drive the main story of the protagonist further. I am thinking of using voice-over along with whole back-story playing in the action lines of my screenplay. Should I go with voice-over or just showing those past stuff could help me get out of this situation. I personally think voice-over will give a feel about the character's state of mind what he is feeling and what were his desire at that time, and what were the things he should have noticed so that to minimize the consequences of the past action he has already been through. >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Because only telling the story through dialog - - - - - - - - - BORING!!!!😒😒😒 Only explain with visual elements - - - - - - - - - - - Acceptable TELLING along with SHOWING - - - - - - - - - - - - - - - - - - - - - - - - - - ROCK 'N' ROLL, TASTY, SOOTHING , ENJOYABLE..... You know what I mean. I give you reference movie name - - - - - - - - You know how Tobey Maguire's voice-over is just a cherry on the cake. NICK CARAWAY'S voice over in the movie, which gives a different kind of nostalgic feeling... I still love to hear ending voice over from the movie when Nick is leaving New York city after Gatsby's death, its awesome to hear those narrations. Now what do you say?????
Hi hope all is well with you. Congratulations on having a project done even if your trying to extend it. Drafting and editing is more work it's self but the fact you can say this is my story so far beginning to end is cool. Can't wait to get there.
@@thomascrump1165 Thanks Thomas for suggestion. Definitely I want my story on the big screen. Hope so yours aswell. I love your story name V2 really its name is having inbuilt hook in it. Great. If name is rhat great so I am raising my expectations with the plot of the story. HA HA. Goodluck.... After Jacob's advice I managed to get it to 96 pages which is just perfect. As I am sending it to Screencraft Annual Fellowship. Definitely you should also submit your work in reputed competitions, obviously when you are ready with final draft of your spec pilot. Great way to get industry notice you. Now a days many netflix movies are winners of screenplay contests. Like Slamdance, Sundance film festival etc. I think winning a screenplay contest will definitely jump start the career for us.
@@sagestudy I agree placing in a contest is probably best chance to get noticed good luck in yours. I thought I edited my rant about my title out lol o well. I guess I have to label it a action/thriller but I think it's really a thriller with some action.
Sorry? Sequences are complicated things, but if you can learn to use them, they make your writing much easier. But I'm going to procrastinate... maybe I'll just go clean the bathroom. :-)
I don't remember where I saw it, but I've seen it broken down like this:
== Act I ==
1. Hook: Character is living their ordinairy life, then something unexpected happens.
2. Lock: Character tries to ignore, resist or do a quick fix for their problem. Something worse happens and character is locked into the adventure.
== Act IIA ==
3. Deconstruction: First attempt at solving the problem. Character gets everything wrong but learns something new.
4. Shift: Second attempt at solving the problem. Character gets it partially right, but still fails.
== Act IIB ==
5. Reconstruction: Third attempt at solving the problem. Character realizes what they need (versus what they want) but they're not yet ready to pay the price and thus fail.
6. Loss: Character loses something valuable and accept the price they must pay.
== Act III ==
7. Resolution: Final attempt. Character has changed and therefore is able to overcome the obstacle.
8. Denouement: Coronation and good-byes.
These are actually not sequences. I don't know which story model this is (looks similar to Dan Harmon's Story Circle, but it isn't that), but many story models do something like this in that they are mixing story and storytelling elements, which make it hard to learn what you need in a story to make it work and what you don't. This model might be helpful, but if you're writing a screenplay to fit these elements, the script will feel predictable, and that's not what you want. So use them as they are helpful, but make sure to differentiate between story and storytelling elements.
00:57
"...sequences help you advance in your storytelling at light speed it's literally a secret hack
and it's a hack not because it's a
shortcut it's a way of explaining and understanding how stories work
and how audiences make sense of stories; so you're telling the story the audience needs to understand
they've gotta track - sequences helps you do that "
22:15 " we got to figure that out four sequence and this is how you use them you use them to help you build your second act
What is your main character trying to accomplish and then you take a step back what are the steps they need to take
to accomplish that thing whatever those three four or five steps are those are your sequences of your second act
you just figured out your second act congratulations now i mentioned earlier that sequences are both a story and storytelling tool they're story tools because they make sure you have a second act that stays together the three four or five things someone's doing to accomplish whatever it is they're trying to accomplish you gotta know those things that helps you make sure your story is intact but sequences are also story telling tools because once you've established the sequences, well now you can split them up now you can move them..."
With so much (V.O.), takes on a diactic quality, the play it is coming out as half-documentary half-cinematic drama.
Yes. yes. Thank you. This is exactly what we need for the story of a poor village girl who falls in love with a bull-rider.
400 subs congratulations 👏
Thanks!! And thank you to you all for getting us there.
Good information. Had problems understanding the cleaning examples but the movie examples clicked instantly.
Yeah good to see you again Thomas.
Very very good.
I only knew of "Sequences" from Premier Pro.
I can see know that there is elementary material that has to be understood.
That the creative part of the process of storytelling in not much aboutinventing a new way to tell a story.
Yes, inventing a new way isn't really the best solution most of the time, actually 99% of the time. But there are unique ways to tell YOUR story... that has always and will always be the case. And your job is to find the best way to tell the story you're wanting to tell. Sequences definitely help you figure out your story and keep it together, though. Glad it was helpful.
Go Jacob.. That was funny about the cleaning..
Excellent explanation of story structure for screenwriting.
Thanks brother, for giving us real nuts and bolts info/nuggets which actually help our craft. I am super tired of these higher than thou so called experts talking about lofty ideas about writing that amounts to no more than folks speaking so they can hear themselves speaking.
I've probably been guilty of that a little, but I'd rather err on the side of "here's some stuff that'll actually help." So I'm glad this was helpful... and, you're welcome!
this was so helpful, thank you so much!
That was a very good video.. Thank you very very much..
More great advice!
Sir, I am new to Story. I’ve always enjoyed writing but never attempted anything “formal” until recently. It will just be for me but I want to write a novel. I’ve spent the past several months getting an introduction to the craft of writing via various sources.
I’ve set some specific requirements for having a good understanding on several aspects of craft before I start my outline and first draft. Right now I’m enjoying learning about structure. There are so many models!
I’ve been watching videos about screenwriting even though I’m focused on writing a novel. I know there are differences in the techniques because the visual medium has different requirements for conveying Story than does the written page.
Here’s my question: I wonder if it’s feasible to use this idea of eight sequences when writing a novel? I’ve read about various beat sheets and variations of three act and Save The Cat and Michael Hauge’s six stages, and Hero’s Journey just to name a few. I even have some genre specific beat models. I’m also reading John Truby’s Anatomy of Genre. In short, I’m all over the place.
I’ve seen other people talk about eight sequence but not like you do here. I’ve started to overlap the specific models of structure that speak to me to create a monster hybrid of sorts for guidance. The common points and similarities are really starting to pop out!
Sorry to go on but yeah my question would be how can I adopt this approach for a novel and is it feasible to do so? I’m feeling like it is…
Btw I figure if I’m putting in the effort I might as well go big. I’m going to try a romantic thriller and since thrillers are so fast paced, it seems like a structural model that has the idea of frequent but trackable change “built in” will suit my story well.
I have already figured out I am a plotter so I’m living on structure and would be grateful for any advice you have on outlining using eight sequence. I’m asking even though it feels like the beauty of this approach is that you basically figure out four to five strategies to solve your protagonist’s problem or how he can achieve the story goal, and construct your scenes accordingly. Where it might help me to have an outline though, is if I start jumping around between the sequences.
Also seems like a whole sequence could be devoted to a major subplot that focuses on a significant side character as long as their arc ties into the theme and the protagonist’s journey?
I think my story will work nicely with eight sequence because I intend to have the romantic relationship be almost equal in scope to the thriller plot because they will crisscross.
What is really striking a chord with me about eight sequences is that I can and should plan to go back and forth between those components according to what you’re saying here…
Gosh!! 😂. My brain is sparking. Lemme watch some more of your videos, Dude!
Thank you!
Whats your take on eric edsons Hero story sequences? I wonder too if hes incorporated your non protagonist subplot.
Interesting. E.E must define story sequence differently as he has 6 in A I. 12 in Act 2 and 3 or so in Act 3. Your story structure 8 step is close to Pixar's. 1. Once upon a time. 2. Everyday. 3. One day. 4. Because of , 5. Because of,6Because off. Sorry forget next too. Climax followed by Resolution.😅
That's because Pixar actually produces their movies based on sequences, which are really based on the classic Film Reels... there were usually 8 per film. Pixar, though, adds and mixes some storytelling parts into it, which can confuse people.
EE and others all do the same thing--mix story and storytelling elements. This is why everyone's seems different from one another... they overlap on the story parts, but not on the storytelling parts. I talk about this in my structure book... and it's also why it's important to know the difference between story and storytelling. Once you do, you can identify all of the storytelling parts like they were bright yellow cars in a parking lot full of red cars.
Just on the surface of my understanding, Professor Edson’s Hero Goal Sequences are when the hero is all about completing one specific goal at a time. Once completed, they move on to the next. They do not revisit or go back and forth between his idea of a sequence which seems to be the opposite of this gentleman’s approach.
This gentleman is saying you can jump around from sequence to sequence and that they are larger ideas / goals than what Prof Edson is talking about. That’s why there are so many more of them 20+ vs 8 or so.
The point of his model is that the story should be driven by change and the hero goal sequences help make sure the protagonist remains active and that the story progresses.
I don’t know if you saw it but he offered pdfs of the breakdowns for Back to the Future and Bridesmaids. The first two sequences are Marty doing something and not realizing the clock he’s looking at is wrong (slow) so he’s then got to get to school on time. That’s a goal. Then the next one is that he auditions with his group to try ti get picked to play at a school function but they don’t get picked. Then it’s another goal after that. When you get to the second act, it becomes about the several smaller goals he has to accomplish to get his Mim to like his Dad and then get back to the future. Emphasis on smaller goals. That’s the biggest difference I see.
I like this gentleman’s explanation and I’m going to watch it again. I’ve seen other explanations of eight sequences but I’ve not heard it out so simply as to what the nature is of each sequence.
I also really like that he specifically said that you can and should split your sequences up and distribute them - probably talking about the second act sequences for the most part. You can’t spread out the status quo etc.
Sequences help us track. But we don’t want it to be too linear. We want the audience to have to engage by jumping back and forth from one sequence to another.
I wonder if that would be analogous to cleaning all the floors for a few scenes. You clean the floor in the bathrooms. Then maybe you switch and clean the floor in the kitchen. You switched rooms. Your audience acknowledges the switch in local and engages but they are tracking the floor “sequence”. Then you could go back and clean the whole rest of the bathroom at one time because then the audience experiences that victory and it is recognizable movement of the story forward. Then you could have a dilemma pop up when the dishwasher won’t fork and now they’ve gotta wash all those dishes by hand and that’s gonna slow them down. 😂😂
I like this model! Glad I found this video.
Color coding the passages of your outline, according to sequence, helped me so much it’s not even funny
Jacob can you make a story time video on your life, the ups and down and struggle in your career so far. Your achievements and success. I would love to know about you?
I'm trying to salt more of this stuff into my regular videos, but my life story isn't that interesting. I am planning to do a video on "mistakes I've made," but that may be a bit down the road. But... I'll think about it.
Jacob my screenplay ends before 90 pages what can I do now??
Length is always, ALWAYS, related to organization. My guess is you don't have enough going on OR you need a more formidable antagonist to make it harder on your protagonist... I'm guessing without reading, of course. If you feel all of that is working, you can always add an additional sequence in Act 2... if you're doing sequences correctly, that'd be another 10-15 pages. Best I can offer without reading.
@@BigRedStripe Should I use VOICE OVER in my screenplay, will it affects the quality of my screenplay. What do you say?
I am writing a Psychological-Thriller kinda screenplay. I want to explain the past sequences of the story to drive the main story of the protagonist further. I am thinking of using voice-over along with whole back-story playing in the action lines of my screenplay. Should I go with voice-over or just showing those past stuff could help me get out of this situation. I personally think voice-over will give a feel about the character's state of mind what he is feeling and what were his desire at that time, and what were the things he should have noticed so that to minimize the consequences of the past action he has already been through.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Because only telling the story through dialog - - - - - - - - - BORING!!!!😒😒😒
Only explain with visual elements - - - - - - - - - - - Acceptable
TELLING along with SHOWING - - - - - - - - - - - - - - - - - - - - - - - - - - ROCK 'N' ROLL, TASTY, SOOTHING , ENJOYABLE..... You know what I mean.
I give you reference movie name - - - - - - - - You know how Tobey Maguire's voice-over is just a cherry on the cake.
NICK CARAWAY'S voice over in the movie, which gives a different kind of nostalgic feeling... I still love to hear ending voice over from the movie when Nick is leaving New York city after Gatsby's death, its awesome to hear those narrations.
Now what do you say?????
Hi hope all is well with you. Congratulations on having a project done even if your trying to extend it. Drafting and editing is more work it's self but the fact you can say this is my story so far beginning to end is cool. Can't wait to get there.
@@thomascrump1165 Thanks Thomas for suggestion. Definitely I want my story on the big screen. Hope so yours aswell.
I love your story name V2 really its name is having inbuilt hook in it. Great. If name is rhat great so I am raising my expectations with the plot of the story. HA HA. Goodluck....
After Jacob's advice I managed to get it to 96 pages which is just perfect. As I am sending it to Screencraft Annual Fellowship. Definitely you should also submit your work in reputed competitions, obviously when you are ready with final draft of your spec pilot.
Great way to get industry notice you. Now a days many netflix movies are winners of screenplay contests. Like Slamdance, Sundance film festival etc.
I think winning a screenplay contest will definitely jump start the career for us.
@@sagestudy I agree placing in a contest is probably best chance to get noticed good luck in yours. I thought I edited my rant about my title out lol o well. I guess I have to label it a action/thriller but I think it's really a thriller with some action.
OK, bruh... how much do I owe you so far? Cheers!!!
Shit, man... Now I feel bad about not cleaning my house and going straight to writing (or looking at the page), lol
Jeremy Renner?
Mistaken for him... All. The. Time. Literally happened this morning as I was out walking. Crazy. I just don't see it.
Okay, but cleaning the house is not the great example you seem to think it is.
i got bored and stopped watching at 6:57
Sorry?
Sequences are complicated things, but if you can learn to use them, they make your writing much easier.
But I'm going to procrastinate... maybe I'll just go clean the bathroom. :-)
@@BigRedStripe Disregard this person. I found your presentation very helpful!
The partition explaining seqyuence was way too long. I learned more about partitions than about sequences.