Editing Screenwriting (section)

== Structural theories ==
{{Literature}}
Several main screenwriting theories help writers approach the screenplay by systematizing the structure, goals and techniques of writing a script. The most common kinds of theories are structural. Screenwriter William Goldman is widely quoted as saying "Screenplays are structure".

===Three-act structure===
{{Main|Three-act structure}}
According to this approach, the three acts are: the setup (of the setting, characters, and mood), the confrontation (with obstacles), and the resolution (culminating in a climax and a dénouement). In a two-hour film, the first and third acts each last about thirty minutes, with the middle act lasting about an hour, but nowadays many films begin at the confrontation point and segue immediately to the setup or begin at the resolution and return to the setup.

In ''[[Writing Drama]]'', French writer and director [[Yves Lavandier]] shows a slightly different approach.<ref>[http://www.clown-enfant.com/leclown/eng/drama/livre.htm#1STRUC Excerpt on the three-act structure] {{Webarchive|url=https://web.archive.org/web/20140118203139/http://www.clown-enfant.com/leclown/eng/drama/livre.htm#1STRUC |date=2014-01-18 }} from Yves Lavandier's ''Writing Drama''</ref> As do most theorists, he maintains that every human action, whether fictitious or real, contains three logical parts: before the action, during the action, and after the action. But since the climax is part of the action, Lavandier maintains that the second act must include the climax, which makes for a much shorter third act than is found in most screenwriting theories.

Besides the three-act structure, it is also common to use a four- or five-act structure in a screenplay, and some screenplays may include as many as twenty separate acts.

=== The Hero's Journey ===
The [[hero's journey]], also referred to as the [[monomyth]], is an idea formulated by noted mythologist [[Joseph Campbell]]. The central concept of the monomyth is that a pattern can be seen in stories and myths across history. Campbell defined and explained that pattern in his book ''[[The Hero with a Thousand Faces]]'' (1949).<ref>{{harvtxt|Vogler|2007|p=4}}</ref>

Campbell's insight was that important myths from around the world, which have survived for thousands of years, all share a fundamental structure. This fundamental structure contains a number of stages, which include:
#'''a call to adventure''', which the hero has to accept or decline,
#'''a road of trials''', on which the hero succeeds or fails,
#'''achieving the goal (or "boon")''', which often results in important self-knowledge,
#'''a return to the ordinary world''', which again the hero can succeed or fail, and
#'''application of the boon''', in which what the hero has gained can be used to improve the world.

Later, screenwriter [[Christopher Vogler]] refined and expanded the hero's journey for the screenplay form in his book, ''[[The Writer's Journey: Mythic Structure for Writers]]'' (1993).<ref>{{harvtxt|Vogler|2007|pp=6–19}}</ref>

=== Syd Field's paradigm ===
[[Syd Field]] introduced a new theory he called "the paradigm".<ref>{{harvtxt|Field|2005|p=21}}</ref> He introduced the idea of a ''[[plot point]]'' into screenwriting theory<ref name="Field 2005 26">{{harvtxt|Field|2005|p=26}}</ref> and defined a plot point as "any incident, episode, or event that hooks into the action and spins it around in another direction".<ref>{{harvtxt|Field|2006|p=49}}</ref> These are the anchoring pins of the story line, which hold everything in place.<ref>{{harvtxt|Field|1998|p=33}}</ref> There are many plot points in a screenplay, but the main ones that anchor the story line in place and are the foundation of the dramatic structure, he called ''plot points I and II''.<ref>{{harvtxt|Field|1998|p=28}}</ref><ref>{{harvtxt|Field|2005|p=28}}</ref> Plot point I occurs at the end of Act 1; plot point II at the end of Act 2.<ref name="Field 2005 26"/> Plot point I is also called the ''key incident'' because it is the true beginning of the story<ref>{{harvtxt|Field|1998|p=30}}</ref> and, in part, what the story is about.<ref>{{harvtxt|Field|2005|pp=129,145}}</ref>

In a 120-page screenplay, Act 2 is about sixty pages in length, twice the length of Acts 1 and 3.<ref>{{harvtxt|Field|2005|p=90}}</ref> Field noticed that in successful movies, an important dramatic event usually occurs at the middle of the picture, around page sixty. The action builds up to that event, and everything afterward is the result of that event. He called this event the ''centerpiece'' or ''midpoint''.<ref>{{harvtxt|Field|2006|p=198}}</ref> This suggested to him that the middle act is actually two acts in one. So, the three-act structure is notated 1, 2a, 2b, 3, resulting in Aristotle’s three acts being divided into four pieces of approximately thirty pages each.<ref>{{harvtxt|Field|2006|p=199}}</ref>

Field defined two plot points near the middle of Acts 2a and 2b, called ''pinch I'' and ''pinch II'', occurring around pages 45 and 75 of the screenplay, respectively, whose functions are to keep the action on track, moving it forward, either toward the midpoint or plot point II.<ref>{{harvtxt|Field|2006|p=222}}</ref> Sometimes there is a relationship between pinch I and pinch II: some kind of story connection.<ref>{{harvtxt|Field|2006|p=223}}</ref>

According to Field, the ''[[inciting incident]]'' occurs near the middle of Act 1,<ref>{{harvtxt|Field|2005|p=97}}</ref> so-called because it sets the story into motion and is the first visual representation of the key incident.<ref>{{harvtxt|Field|2005|p=129}}</ref> The inciting incident is also called the ''dramatic hook'', because it leads directly to plot point I.<ref>{{harvtxt|Field|1998|p=29}}</ref>

Field referred to a ''tag'', an epilogue after the action in Act 3.<ref>{{harvtxt|Field|2005|pp=101,103}}</ref>

Here is a chronological list of the major plot points that are congruent with Field's Paradigm:
{| class="wikitable"
!What
!Characterization
!Example: ''[[Star Wars (film)|Star Wars: Episode IV – A New Hope]]'' 
|-
|'''Opening image'''
|The first image in the screenplay should summarize the entire film, especially its tone. Screenwriters often go back and redo this as their final task before submitting the script.
|In outer space, near the planet [[Tatooine]], an Imperial [[Star Destroyer]] pursues and exchanges fire with a [[Rebel Alliance|Rebel]] ''[[Tantive IV]]'' spaceship.
|-
|'''Exposition'''
|This provides some background information to the audience about the plot, characters' histories, setting, and theme. The [[status quo]] or ''ordinary world'' of the protagonist is established.
|The settings of space and the planet Tatooine are shown; the rebellion against the [[Galactic Empire (Star Wars)|Empire]] is described; and many of the main characters are introduced: [[C-3PO]], [[R2-D2]], [[Princess Leia Organa]], [[Darth Vader]], [[Luke Skywalker]] (the protagonist), and Ben Kenobi ([[Obi-Wan Kenobi]]). Luke's status quo is his life on his Uncle's moisture farm.
|-
|'''Inciting incident'''
|Also known as the ''catalyst'' or ''disturbance'', this is something bad, difficult, mysterious, or tragic that catalyzes the protagonist to go into motion and take action: the event that starts the protagonist on the path toward the conflict.
|Luke sees the tail end of the hologram of Princess Leia, which begins a sequence of events that culminates in plot point I.
|-
|'''Plot point I'''
|Also known as the ''first doorway of no return'', or the ''first turning point'', this is the last scene in Act 1, a surprising development that radically changes the protagonist's life, and forces him or her to confront the opponent. Once the protagonist passes through this one-way door, he or she cannot go back to his or her status quo.
|This is when Luke's uncle and aunt are killed and their home is destroyed by the Empire. He has no home to go back to, so he joins the Rebels in opposing Darth Vader. Luke's goal at this point is to help the princess.
|-
|'''Pinch I'''
|A reminder scene at about 3/8 of the way through the script (halfway through Act 2a) that brings up the central conflict of the drama, reminding the audience of the overall conflict.
|[[Imperial stormtrooper]]s attack the [[Millennium Falcon]] in [[Mos Eisley]], reminding the audience the Empire is after the stolen [[Death Star]] plans that R2-D2 is carrying, and Luke and Ben Kenobi are trying to get to the Rebel base.
|-
|'''Midpoint'''
|An important scene in the middle of the script, often a reversal of fortune or revelation that changes the direction of the story. Field suggests that driving the story toward the midpoint keeps the second act from sagging.
|Luke and his companions learn that Princess Leia is aboard the Death Star. Now that Luke knows where the princess is, his new goal is to rescue her.
|-
|'''Pinch II'''
|Another reminder scene about 5/8 of the way through the script (halfway through Act 2b) that is somehow linked to pinch I in reminding the audience about the central conflict. 
|After surviving the garbage masher, Luke and his companions clash with stormtroopers again in the Death Star while en route to the Millennium Falcon. Both scenes remind us of the Empire's opposition, and using the stormtrooper attack [[motif (literature)|motif]] unifies both pinches.
|-
|'''Plot point II'''
|A dramatic reversal that ends Act 2 and begins Act 3.
|Luke, Leia, and their companions arrive at the Rebel base. Now that the princess has been successfully rescued, Luke's new goal is to assist the Rebels in attacking the Death Star.
|-
|'''Moment of truth'''
|Also known as the ''decision point'', the ''second doorway of no return'', or the ''second turning point'', this is the point, about midway through Act 3, when the protagonist must make a decision. The story is, in part, about what the main character decides at the moment of truth. The right choice leads to success; the wrong choice to failure.
|Luke must choose between trusting his mind or trusting [[The Force]]. He makes the right choice to let go and use the Force.
|-
|'''Climax'''
|The point of highest dramatic tension in the action, which immediately follows the moment of truth. The protagonist confronts the main problem of the story and either overcomes it, or comes to a tragic end.
|Luke’s proton torpedoes hit the target, and he and his companions leave the Death Star.
|-
|'''Resolution'''
|The issues of the story are resolved.
|The Death Star explodes.
|-
|'''Tag'''
|An epilogue, tying up the loose ends of the story, giving the audience closure. This is also known as [[denouement]]. Films in recent decades have had longer denouements than films made in the 1970s or earlier.
|Leia awards Luke and Han medals for their heroism.
|}

=== Kristin Thompson and David Bordwell’s Four Act Structure ===
Husband and wife film theorists [[David Bordwell]] (1947-2024) and [[Kristin Thompson|Kristen Thompson]] (1950) would argue that most movies released today consist of these four acts:

* ·        The Set-up (which establishes a primary story situation that will lead to a formation of goals or one or more story goals)
* ·        Complicating Action (a “counter Set-up” that takes the action in a new direction); the
* ·        Development (story premises and goals have been firmly introduced and the protagonist struggles toward their goals, often with incidents and set-backs that create delays, action, suspense);
* ·        Climax (the final progression toward a resolution). {{sfn|Thompson|1999|p=28-29}}

Both writers have provided examples of this theory in action. Thompson wrote a book in 1999 called ''Storytelling in the New Hollywood'', where she provided 10 in-depth examples films that are told in 4 acts. She even provides an index listing movies from the 1910s to the 1990s and their use of four acts, with only a handful of movies that still use 3 (1996’s ''The Frighteners'' only has a Set-up, Development, and Climax {{sfn|Thompson|1999|p=362}}).

On his webpage davidbordwell.net, Bordwell wrote an article called Anatomy of an Action Picture, where he discusses the four actions of 2007’s ''Mission Impossible III'' [https://www.davidbordwell.net/essays/anatomy.php] :
{| class="wikitable"
|'''ACT'''
|'''LENGTH'''
|'''''MISSION: IMPOSSIBLE  III''  example'''
|-
|SET-UP
|31 minutes 2  seconds
|Ethan Hunt’s  personal life is established and he and his team are given a story goal to  save agent Lindsey Farris, whom Ethan may have approved for duty prematurely.  The heroes fail at their goal and Lindsey dies.
|-
|COMPLICATING ACTION
|30 minutes 31  seconds
|To capture the  terrorist Owen Davian, who was responsible for Lindsey’s death. Ethan and his  team are planning to capture him during a deal with arms buyers at the  Vatican City. They are successful in capturing him.
|-
|DEVELOPMENT
|31 minutes 51  seconds
|Owen is rescued  from Ethan’s custody. He kidnaps Ethan’s nurse wife Julia and gives Ethan a  deadline to retrieve the film’s plot McGuffin, an “end-of-the-world” device  called The Rabbit’s Foot, or Davian will kill his wife. Ethan succeeds.
|-
|CLIMAX
|22 minutes 23  seconds
|Ethan is  captured, escape, and rushes to save his wife and puts an end to the antagonist’s  goals.
|}

===The sequence approach===
The sequence approach to screenwriting, sometimes known as "[[Sequence (filmmaking)|eight-sequence structure]]", is a system developed by [[Frank Daniel]], while he was the head of the Graduate Screenwriting Program at [[University of Southern California|USC]]. It is based in part on the fact that, in the early days of cinema, technical matters forced screenwriters to divide their stories into sequences, each the length of a reel (about ten minutes).<ref>Gulino, Paul Joseph: "Screenwriting: The Sequence Approach", pg3. Continuum, 2003.</ref>

The sequence approach mimics that early style. The story is broken up into eight 10–15 minute sequences. The sequences serve as "mini-movies", each with their own compressed three-act structure. The first two sequences combine to form the film's first act. The next four create the film's second act. The final two sequences complete the resolution and dénouement of the story. Each sequence's resolution creates the situation which sets up the next sequence.

=== Michael Welles Schock's Atoms of Storytelling ===
Shock argues that the Golden Key in structuring a film script is something he calls the “story spine.” It is the backbone of storytelling,{{sfn|SCHOCK|2013|p=35}} and it starts from the beginning of the movie and continues all the way to the very end. He says that every successful story spine contains film elements

# '''The Story Problem:''' Another word for the inciting incident. Examples given include the arrival of the terrorists in ''Die Hard'' or Nemo being kidnapped in ''Finding Nemo''. {{sfn|SCHOCK|2013|p=39}}
# '''The Story Goal:''' the very thing that drives the main character. The MC believes that once the goal is achieved, the Story Problem will be solved and life can return to normal. {{sfn|SCHOCK|2013|p=41}}
# '''The Path of Action:''' The road the protagonist travels down to achieve the Story Goal. {{sfn|SCHOCK|2013|p=43}}
# '''The Main Conflict:''' The force of antagonism the protagonist faces. It could be human, internal, or some other external force. {{sfn|SCHOCK|2013|p=47}}
# '''The Stakes:''' The very thing that is at risk for the protagonist should they not achieve their story goal. {{sfn|SCHOCK|2013|p=49}} In ''Die Hard'', John McClane’s wife is one of the hostages in the building. If he fails, he, his wife, and the other hostages will die. {{sfn|SCHOCK|2013|p=49}}

Shock says that the theory of spine could also be applied to the sequence in the Sequence approach. Each sequence spine is made up of the same five elements of the story spine. {{sfn|SCHOCK|2013|p=59}}

=== Robert McKee's Story ===
[[Robert McKee]] believes that screenplays are a way to delve into a character's "life story." The structure means arranging events from a character's life story in a strategic way that a elicits an emotional response from the audience or conveys a certain point-of-view in life. {{sfn|McKee|1997|p=33}} The events the writer choses to incorporate into the story can not random; rather, the events included, and where they are placed in the story, must serve a purpose for the story. {{sfn|McKee|1997|p=33}}  Story "events" impact the lives of the characters in significant ways.