Like Mark said, knowing the ending always helps because it helps you line up the events in the second act that will lead up to that finale. For me, writing a great 2nd act comes from knowing exactly what I want to happen in it but also leaving room for some unexpected ideas that could make it better. Mark is always great in these interviews.
@@MarkSandersonakaScriptcat thank you kindly for the tips and advices. All that and others including my professors advice are helpful for the screenplay that I'm writing.
Breaking the second act into two parts helps me a ton... The first half is fun and games, the journey has just begun, the characters are learning and adapting to a new environment, the stakes are relatively low. THEN comes the midpoint at the end of the first half of act two. We hit some kind of milestone or road bump in reaching the goal. It can be positive or negative but the results are the same. This should somehow raise the stakes. In the second half of act two, the fun and games are over! The bad guys are closing in! Now the characters must take what they've learned in act two, part 1 and sink or swim! Things are truly serious and the tension should rise all the way into act 3 where it finally boils over.
@@lilianozioko1682 no problem! It's just me regurgitating things I picked up from Save The Cat by Snyder, Screenwriter's Bible by Trotier, and Story by McKee
@@kelvinkagambo7527 The fun and games are around 30-55. The mid point is around 55 if your script is 110. It's not an exact science, but a loose guide. A lot of it becomes "feel" and seeing the movie and knowing if you are pacing it well and keeping the narrative moving along so the audience is interested.
My favorite thing to do is take walks, go to the mall and people watch, and I also volunteer at a food pantry. I also help my buddy run his store from time to time. It helps clear my mind and give me ideas for dialogue. I do like the idea of picking up trash in my town so I might try that next when I need to get out. Also I have a bunch of files in my external hard drive of different scripts that I put away and once a month I go through them and see if I can add more. If I can't I put it away again.
For a change arc story, I highly recommend John August Scriptnotes ep403, talking about thesis, antithesis and synthesis. "The purpose of the story is to take a character from ignorance of the truth of the theme, to embodiment of the theme though action." It focuses on what the purpose of the beats in a change arc story are there for, and thinking about how to get the main character through this change, can help work out what needs to be in the middle. He uses "Finding Nemo" as an example.
I dont know if im alone on this but i think the best policy is to really think your ideas through and then when you finally commit to writing you have to be 1000% on finishing the whole story. I just feel Like if you start habitually start giving up on stories cause you feel they aren't going anywhere eventually it becomes a habit and when you finally come up with something you like you might just quit at the first sight of challenge. Idk that's just me 🤷♂️
Superb advice and it's not just you! So many writers do give up on their scripts because either they lose interest in the idea, or the writing gets difficult because they don't have a solid outline mapped out before they start pages. Commitment is the key and so is working out the story problems in the outline first before you start as it's easier to change an outline than a 100 page script that doesn't work. Thanks for watching and joining the conversation.
I agree with the listening to conversations and watching people live life. I was struggling with last names for my characters. Sat in a college office lobby and got some which was great.
the writer who taught me how to write a solid 2nd Act was Jeffrey Alan Schechter. Get his book My Story can beat up your Story' It will teach how to write a screenplay. He also would be a good guest on your show.
Once you break up the second act into two 30 page acts with focused end goals instead of one big meandering 60 pg act, it becomes a lot more manageable.
Yes! Thanks for watching and commenting, Lisa. I actually break up the acts into smaller acts... 9-12 page acts and it makes it far easier like you mentioned than this huge act of 50-60 pages.
I love these thought provoking videos. It's funny what Mark says about skydiving. My husband said the same after he went. "Amazing, but never again." LOL
Thanks for watching and commenting, Kim. Yeah, jumping out of the plane on purpose was a once in a lifetime event for sure! I hope your filmmaking journey is going well.
Well, genius is a truly kind comment, but I am nowhere close to a genius. Billy Wilder, Preston Sturges, Orson Welles, John Ford, Alfred Hitchcock, Sergio Leone, Francios Traffaut, those are geniuses! Thanks for watching and commenting. I hope your creative journey is going well.
Just wondering, provided that the screenwriter for the original script has a contract to completion, does the screenwriter also write the shooting script as well? (with the help of the director?) Always love Marks interviews. He's a true and talented grinder of a screenwriter.
Grinder. I like that... I think. LOL. Usually you don't get a contract that guarantees that you will write to shooting script. It's all a step deal. Each step (draft) you get paid to start and when you turn in the work. That means you get a chance to do the second draft and then if they don't like it, you could be fired and they bring in another writer to take over the following drafts. You want to be the writer that ends up doing the first draft from your outline, all the drafts through development and the final shooting script... and any on set changes if necessary (hopefully not). That way you get sole writing credit.
@@MarkSandersonakaScriptcat Wow, awesome. So if you are good and they keep you on, you eventually will write the "cut to's" and "camera angle on..." I assume.
@@bradebronson8835 Yes, if necessary. I love being able to work and then collaborate with the director because at that point my job is to help him or her do their job. And I can get much of my vision to match the director's and it's the ultimate creative collaboration. I have also been blessed to work with directors who respect the fact that I am the writer and they value that off set and on.
So often it has happened to me that story starts flowing out of my head smoothly but the moment , I start bothering about the endless rules , where should be inciting incident, what should follow in 2nd act, I just find ruining my story. Hardly I can even continue. I wonder if I am too incompetent or these structure formulas are enemy of creativity ??
@@filmcourage You're so right, everyone has their own process. I did not meant to be disrespectful to anyone. I just expressed my experience and frustration towards this certain formulas , in fact my view supports what you are saying. Everyone has their own processes so please do not teach others what one's protagonist should do on page 12 or in act two . No I have not seen that video, but I would love to watch and learn....if there are not these SHOULDs. Thanks.
@@geetanjaliiyer3728 Don't get hung up on the "RULES" because there are no rules, but storytelling methods that have been used time and time again to tell stories. It's good to be aware of the various methods used and it could actually help with your storytelling. As you probably don't want your second act to start on page 40 as it will be too late. So these are not RULES, but tools and conventions of what the average viewer is used to watching and that is why movies are usually around 90 minutes because of attention span. It's hard to be engrossing for three hours in a film and it starts to feel self indulgent unless you are a master of cinema and there are a few. You should know about the various storytelling methods as it's always good to know and not be shocked when you give your script to a producer and they say, "The story starts too late, or it was too long, or the second act meandered" and you can actually fix the issues because you are aware of the storytelling conventions they are talking about. NO pressure! Keep creating your stories from your creative well and thanks for watching and commenting!
@@MarkSandersonakaScriptcat I highly respect your views, but completely disagree with them. For me, these structural tools and tips are actually a genocide tools in the story world. However, that is only my view based on my experience, since each time I just start bothering about these methods, my mind shuts down and my characters stops talking to me. They get so annoyed. I agree with you on convention and habits and I understand if any writer (including me), has to have a beginning (even middle) and certainly an End of their story. I have seen countless movies and even read a good number of scripts that has religiously followed those conventions, yet they are below average. Thus I sincerely believe that these “methods and tools” got nothing to do with a creative process, except causing a disruption. Again my views, and I can be completely wrong. Thanks for your views.
@@geetanjaliiyer3728 As we say, everyone has to find a method that works best for them and their story. Thanks for watching and taking your time to comment. I wish you the best on your writing journey my fellow writer.
That's really helpful, but I need some help for the first act. My inciting incident is occurring at the very start of my script and I find giving the everyday life detail of antagonist and even protagonist bit trivial and I am grappling with the idea making their routine slice of life attractive in the first 15 minutes. Can someone help me please in this regard, please?
That first 15 are so precious for the set up. As you know, less is more and a little goes a LONG way in a script. So play around with it and see if it works. I recently rewrote an old spec of mine and opened with the antagonist and the protagonist crossing paths and they didn't yet know they would later, but it sets them both up perfectly and they will for sure remember that first meeting. So will the audience. This was in my big action opening sequence in the fist six pages. Nothing is written in stone, so play around with it to see if it reads and flows. Thanks for watching and commenting and good luck with the project.
@@MarkSandersonakaScriptcat Thanks a lot Sir. I am a fresh script writer and working on my first script. I am badly in need of some guidance from an expert like you. Is it possible that I borrow your precious time personally and learn few things? I am grappling with creating my story world and elements of conflicts. If you can kindly help me in the name of words, I will be always very grateful to you. Thanks.
@@KingKhan-fc3dj If you are on Instagram or Twitter send me a message and I'll try to help answer a question of two if I can. But first, pick up John Truby's The Anatomy of Story - an excellent book, or The Writers Journey by Vogler, or McKee's books. They are the story gurus. Or even pick up MY book, A screenwriter's Journey to Success to help with disciplines on your writer's journey.
@@MarkSandersonakaScriptcat Thanks for your reply Sir. I am a jobless poor person to buy those online books, but for sure I will follow your advise and may read whatever free material I can find online. Thanks
I miss the part where a better act 2 was journeyed upon. Fact is you get past act 1, then you need to think of conflict for the protaginist. example: a love interest is going to move away,.??
I highly recommend the books "Writing the Second Act. Building Conflict and Tension in your Film Script" By Michael Halperin. and "The 3rd Act" Writinng a great ending to your screenplay By Drew Yanno.
![Twenty One Pilots - “The Line” (from Arcane Season 2) [Official Music Video]](http://i.ytimg.com/vi/E2Rj2gQAyPA/mqdefault.jpg)
Save the cat saved my damn life with Act Two: Fun and Games, Midpoint, Bad Guys, All is Lost are SO helpful
Like Mark said, knowing the ending always helps because it helps you line up the events in the second act that will lead up to that finale. For me, writing a great 2nd act comes from knowing exactly what I want to happen in it but also leaving room for some unexpected ideas that could make it better. Mark is always great in these interviews.
Ah, thanks, AJ for the kind comments, watching, and commenting. Hope your journey is going well.
@@MarkSandersonakaScriptcat thank you kindly for the tips and advices. All that and others including my professors advice are helpful for the screenplay that I'm writing.
@@joshuagarner4677 You've welcome. Hope your pages are going well.
David Mamet does a really good job describing the importance of the second act in his book, Three Uses Of The Knife.
Love his books and his master classs
Breaking the second act into two parts helps me a ton... The first half is fun and games, the journey has just begun, the characters are learning and adapting to a new environment, the stakes are relatively low. THEN comes the midpoint at the end of the first half of act two. We hit some kind of milestone or road bump in reaching the goal. It can be positive or negative but the results are the same. This should somehow raise the stakes. In the second half of act two, the fun and games are over! The bad guys are closing in! Now the characters must take what they've learned in act two, part 1 and sink or swim! Things are truly serious and the tension should rise all the way into act 3 where it finally boils over.
Camron Chlarson thank you! This helped a lot!
@@lilianozioko1682 no problem! It's just me regurgitating things I picked up from Save The Cat by Snyder, Screenwriter's Bible by Trotier, and Story by McKee
@@camronchlarson3767 All top choices! Agreed! Thanks for the comments and watching.
When you breaking it into two parts. How many pages for fun and games and how many for the second part? Thanks in advance
@@kelvinkagambo7527 The fun and games are around 30-55. The mid point is around 55 if your script is 110. It's not an exact science, but a loose guide. A lot of it becomes "feel" and seeing the movie and knowing if you are pacing it well and keeping the narrative moving along so the audience is interested.
He's a nice guy. I like what he said about Hollywood.
Thanks, Luiz! And thank you for watching and commenting. Hope your journey is going well.
'characters so vibrant and alive' - that is IT.
My favorite thing to do is take walks, go to the mall and people watch, and I also volunteer at a food pantry. I also help my buddy run his store from time to time. It helps clear my mind and give me ideas for dialogue. I do like the idea of picking up trash in my town so I might try that next when I need to get out. Also I have a bunch of files in my external hard drive of different scripts that I put away and once a month I go through them and see if I can add more. If I can't I put it away again.
Good point, Mark. Nothing is ever dead; some things just need time to mature.
For a change arc story, I highly recommend John August Scriptnotes ep403, talking about thesis, antithesis and synthesis.
"The purpose of the story is to take a character from ignorance of the truth of the theme, to embodiment of the theme though action."
It focuses on what the purpose of the beats in a change arc story are there for, and thinking about how to get the main character through this change, can help work out what needs to be in the middle. He uses "Finding Nemo" as an example.
Good call! August is one of the tops!
I dont know if im alone on this but i think the best policy is to really think your ideas through and then when you finally commit to writing you have to be 1000% on finishing the whole story. I just feel Like if you start habitually start giving up on stories cause you feel they aren't going anywhere eventually it becomes a habit and when you finally come up with something you like you might just quit at the first sight of challenge.
Idk that's just me 🤷♂️
Superb advice and it's not just you! So many writers do give up on their scripts because either they lose interest in the idea, or the writing gets difficult because they don't have a solid outline mapped out before they start pages. Commitment is the key and so is working out the story problems in the outline first before you start as it's easier to change an outline than a 100 page script that doesn't work. Thanks for watching and joining the conversation.
I agree with the listening to conversations and watching people live life. I was struggling with last names for my characters. Sat in a college office lobby and got some which was great.
the writer who taught me how to write a solid 2nd Act was Jeffrey Alan Schechter. Get his book My Story can beat up your Story' It will teach how to write a screenplay. He also would be a good guest on your show.
Wonderful and intelligent advice
Thank you, Matteo!
Sharp as usual 👏
It's absolutely paramount to get the story down ON PAPER first. Write it out in one line.
If there's no story, there's no point.
love the David Sedaris reference! good talk
Thanks, Emerald and for watching too!
Once you break up the second act into two 30 page acts with focused end goals instead of one big meandering 60 pg act, it becomes a lot more manageable.
Yes! Thanks for watching and commenting, Lisa. I actually break up the acts into smaller acts... 9-12 page acts and it makes it far easier like you mentioned than this huge act of 50-60 pages.
Thanks you just gave me the motivation I need to push through
Keep creating!
I like Marks honesty.
Thanks.
Thanks for watching!
Thanks for watching and commenting!
I love these thought provoking videos. It's funny what Mark says about skydiving. My husband said the same after he went. "Amazing, but never again." LOL
Thanks for watching and commenting, Kim. Yeah, jumping out of the plane on purpose was a once in a lifetime event for sure! I hope your filmmaking journey is going well.
I really like these videos! The people you interview are all geniuses, keep up the great work!!
Well, genius is a truly kind comment, but I am nowhere close to a genius. Billy Wilder, Preston Sturges, Orson Welles, John Ford, Alfred Hitchcock, Sergio Leone, Francios Traffaut, those are geniuses! Thanks for watching and commenting. I hope your creative journey is going well.
The second act separates the real screen writer from the. You know...
BAM! What a statement! TRUTH!
No...please, do tell...
@@justanameonyourscreen5954 from the ones that just watch videos and don't actually write.
@@porkerpete7722 indeed...cause I don't write anymore...to 'traditional' for my taste...
Love this guy
These Rock!
Word! Thanks as always!
I love writing first act. I give up during the second.
Second act is not difficult if you structures your story well. You can't just sit and write what comes to your mind. You have to have a plan.
He’s the best!
Ah, thanks for watching and the comments! If you're writing, I hope it's going well.
Just wondering, provided that the screenwriter for the original script has a contract to completion, does the screenwriter also write the shooting script as well? (with the help of the director?)
Always love Marks interviews. He's a true and talented grinder of a screenwriter.
Grinder. I like that... I think. LOL. Usually you don't get a contract that guarantees that you will write to shooting script. It's all a step deal. Each step (draft) you get paid to start and when you turn in the work. That means you get a chance to do the second draft and then if they don't like it, you could be fired and they bring in another writer to take over the following drafts. You want to be the writer that ends up doing the first draft from your outline, all the drafts through development and the final shooting script... and any on set changes if necessary (hopefully not). That way you get sole writing credit.
@@MarkSandersonakaScriptcat Wow, awesome. So if you are good and they keep you on, you eventually will write the "cut to's" and "camera angle on..." I assume.
@@bradebronson8835 Yes, if necessary. I love being able to work and then collaborate with the director because at that point my job is to help him or her do their job. And I can get much of my vision to match the director's and it's the ultimate creative collaboration. I have also been blessed to work with directors who respect the fact that I am the writer and they value that off set and on.
@@MarkSandersonakaScriptcat That's so awesome. You really are living the dream. Happy Writing!
So often it has happened to me that story starts flowing out of my head smoothly but the moment , I start bothering about the endless rules , where should be inciting incident, what should follow in 2nd act, I just find ruining my story. Hardly I can even continue. I wonder if I am too incompetent or these structure formulas are enemy of creativity ??
Hi Geetanjali, everyone has their own process. Have you seen our video on Gardeners and Architects? - ruclips.net/video/DlGJfhuno6g/видео.html
@@filmcourage You're so right, everyone has their own process. I did not meant to be disrespectful to anyone. I just expressed my experience and frustration towards this certain formulas , in fact my view supports what you are saying. Everyone has their own processes so please do not teach others what one's protagonist should do on page 12 or in act two . No I have not seen that video, but I would love to watch and learn....if there are not these SHOULDs. Thanks.
@@geetanjaliiyer3728 Don't get hung up on the "RULES" because there are no rules, but storytelling methods that have been used time and time again to tell stories. It's good to be aware of the various methods used and it could actually help with your storytelling. As you probably don't want your second act to start on page 40 as it will be too late. So these are not RULES, but tools and conventions of what the average viewer is used to watching and that is why movies are usually around 90 minutes because of attention span. It's hard to be engrossing for three hours in a film and it starts to feel self indulgent unless you are a master of cinema and there are a few. You should know about the various storytelling methods as it's always good to know and not be shocked when you give your script to a producer and they say, "The story starts too late, or it was too long, or the second act meandered" and you can actually fix the issues because you are aware of the storytelling conventions they are talking about. NO pressure! Keep creating your stories from your creative well and thanks for watching and commenting!
@@MarkSandersonakaScriptcat I highly respect your views, but completely disagree with them. For me, these structural tools and tips are actually a genocide tools in the story world. However, that is only my view based on my experience, since each time I just start bothering about these methods, my mind shuts down and my characters stops talking to me. They get so annoyed. I agree with you on convention and habits and I understand if any writer (including me), has to have a beginning (even middle) and certainly an End of their story. I have seen countless movies and even read a good number of scripts that has religiously followed those conventions, yet they are below average. Thus I sincerely believe that these “methods and tools” got nothing to do with a creative process, except causing a disruption. Again my views, and I can be completely wrong. Thanks for your views.
@@geetanjaliiyer3728 As we say, everyone has to find a method that works best for them and their story. Thanks for watching and taking your time to comment. I wish you the best on your writing journey my fellow writer.
1:04 -- "...a hundred pages....."
Wait; you're saying that a 2-hour movie is only 100 pages of script? I thought I needed to write 500 or more!
That's really helpful, but I need some help for the first act. My inciting incident is occurring at the very start of my script and I find giving the everyday life detail of antagonist and even protagonist bit trivial and I am grappling with the idea making their routine slice of life attractive in the first 15 minutes. Can someone help me please in this regard, please?
That first 15 are so precious for the set up. As you know, less is more and a little goes a LONG way in a script. So play around with it and see if it works. I recently rewrote an old spec of mine and opened with the antagonist and the protagonist crossing paths and they didn't yet know they would later, but it sets them both up perfectly and they will for sure remember that first meeting. So will the audience. This was in my big action opening sequence in the fist six pages. Nothing is written in stone, so play around with it to see if it reads and flows. Thanks for watching and commenting and good luck with the project.
@@MarkSandersonakaScriptcat Thanks a lot Sir. I am a fresh script writer and working on my first script. I am badly in need of some guidance from an expert like you. Is it possible that I borrow your precious time personally and learn few things? I am grappling with creating my story world and elements of conflicts. If you can kindly help me in the name of words, I will be always very grateful to you. Thanks.
@@KingKhan-fc3dj If you are on Instagram or Twitter send me a message and I'll try to help answer a question of two if I can. But first, pick up John Truby's The Anatomy of Story - an excellent book, or The Writers Journey by Vogler, or McKee's books. They are the story gurus. Or even pick up MY book, A screenwriter's Journey to Success to help with disciplines on your writer's journey.
@@MarkSandersonakaScriptcat Thanks.
@@MarkSandersonakaScriptcat Thanks for your reply Sir. I am a jobless poor person to buy those online books, but for sure I will follow your advise and may read whatever free material I can find online. Thanks
I miss the part where a better act 2 was journeyed upon. Fact is you get past act 1, then you need to think of conflict for the protaginist. example: a love interest is going to move away,.??
What has helped you write a better Second Act?
these videos
A well thought of outline.
@@bradebronson8835 Oh yeah! I'm in that camp for sure!
I highly recommed the book "Writing the Second Act: Building Conflict and Tension in Your Script." by Michael Halperin
Nothing
Good video but not a good Title. There is nothing about the "How to write a better 2nd Act". Thanks anyway!
I highly recommend the books "Writing the Second Act. Building Conflict and Tension in your Film Script" By Michael Halperin. and "The 3rd Act" Writinng a great ending to your screenplay By Drew Yanno.
I know his advice basically was scrap it if it doesn't work.
My problem with writing 2nd acts is I always think it feels JUST LIKE all the other Hollywood Blockbusters...and it bores me...