In the early stages of a new script...

Darragh1981

Hi Guys,
Im looking to put together my first proper script to submit to a production company. Now all I have is a 30 minute conversation with a friend of a friend (As it always is) where I pitched the idea to them and on that basis was asked to send on a script to review. Only problem is that I don't have one and have no idea how to put one together. I have page after page of concepts, characters, situations, scenarios etc... but have spent the last 4 days trying to put them into a coherent script and have failed miserably.
I have been on the net looking at sample software that is supposed to help but it is not making any difference. The stories just don't flow in a way that leans to them being usable. It just plods from one set piece to another without a way of piecing the whole show together.

What I'm really looking to find out is if there is a group of people somewhere in Dublin who I could get together with bounce ideas off and look for advice from?

Also because I'm a paranoid person by nature, what are the risks of said people pilfering my ideas before I get a script put together??? I realise that there is every chance that nothing will come of this but I really want to make a shot of the foot in the door I have, and not make a complete arse of myself by putting tripe on the table (Also don't want to make a fool of my friend who made the introduction).

Soldie

Scriptwriting is a very structured type of creative writing. That is, if it's not well structured then it's likely to be pretty poor. Perhaps reading some books on the fundamentals of scriptwriting/storytelling might help:

http://www.amazon.co.uk/Definitive-Guide-Screenwriting-Syd-Field/dp/0091890276/ref=sr_1_6?ie=UTF8&s=books&qid=1224545776&sr=1-6
by Syd Field (a lot of work on the 'three act structure').

http://www.amazon.co.uk/Hero-Thousand-Faces-Joseph-Campbell/dp/0586085718/ref=sr_1_1?ie=UTF8&s=books&qid=1224535001&sr=1-1
by Joseph Cambell (developed the monomyth theory).

Regarding the copyright issue; there's a copyright bank on Baggot Street in Dublin, alternatively you can give a hard-copy to your solicitor.

humanji

I posted this on another forum. They're my old college notes about the 3 act structure and there's some questions at the end that, when you've plotted out your idea or when you've finished it, ask yourself the quesitons and see if they make sense. It can give you a bit of an idea as to any changes you could make. These notes were dictated to me and then typed up, so the spelling, grammar and logic of it may be all over the place.

3 Act Structure

Act 1: - Sets up the story. We introduce the major goals, characters, world etc.

Act 2: - Establishes conflict. The protagonist has to overcome obstacle after obstacle to achieve their goal.

Act 3: - This is where the most conflict occurs for the protagonist and they ultimately resolve all conflicts



Act 1

Inciting Incident: The hook. It draws the audience in. It is the catalyst. It establishes the storyline. It swells out to about the first 10 pages. This is where the reader makes up their mind and decides whether or not it is worth reading/watching the rest of the film. Who is the story about and what is happening to them?

Pages 10-20: We learn about the protagonist. Are their traits going to help or the dramatic action? We get to explore the relevant world of the protagonist. (We don't need to know about anything that is not of consequence within the confines of the story). Or possibly, we learn how the protagonist is going to change their world.

Complete the Set-up:You set up the sequence of events that lead up to Plot Point 1

Plot Point 1: The story turns more dramatic. A clear and specific goal is established. A plan is made to achieve the goal. Plot Point 1 becomes a natural catalyst. Something happens that dictates the direction of the plot.


Act 2

Pages 30-45: Escalating series of conflicts

About Page 45: We're going to want character change. Some sort of scene or scenes that creates a challenge that's more internal than external for the protagonist.

Page 60: A major reversal. It becomes a more dramatic world. The focus should shift. It's still all within the world, but now there is more at risk. The protagonist has to evolve to this new, more dramatic world in order to move onwards.

Page 57: ?The Honeymoon Period?. The main drama/conflict may seem to be over, but it isn't. Is the protagonist reacting to this period or the larger world?

Pages 75-90: Setting up the sequences to Plot Point 2. Scenes that, in a very definite way, make Plot Point 2 inevitable.

Plot Point 2: An event happens that causes the protagonist to be worse off. At the very least, they should be back to where they started. Everything must be at risk. It introduces a new dramatic action that puts the protagonist in the most danger.

Act 3

Climax: The biggest challenge where the goal is either achieved or not achieved. The climaxes are usually filled with irony, i.e. the main goal is not achieved, but maybe a subplot is fulfilled. Or goals may be achieved, but at a huge price. The character changes are complete.


Questions To Ask Yourself About Your Script

1. What is the hook or inciting incident? Why should we be still watching?
2. Don't have any scenes that are not on the spine. Are all the scenes necessary?
3. What is the premise? Is it naturally intriguing?
4. Is this the most important thing that will happen in the characters life? If not, why not just tell the more exciting incident?
5. What makes this concept unique?
6. Is there a clear goal? What is it?
7. Is there a clearly define pacing strategy? Does the film build up?
8. What's at stake? Does the concept have potential to change the characters life? The answer to this must be ?yes?.
9. What are the obstacles/challenges?
10. Is the story predictable? There should be surprises and reversals etc.
11. Is a reality established? It can't be violated. Show this reality as soon as possible.
12. Is there a decisive, inevitable ending? There could be nothing else that could be the ending. It should, however, be a surprise.
13. Does the film have heart? Does it have a message?
14. Are the parts castable? Would actors want to be in these roles? Jack Nicholson once said, ?If a script has 3 great scenes and no bad ones, I?ll take it!?
15. What do the characters care about? What makes this person think?
16. Is there one scene with the emotional conflict of the main character in a crisis scene?
17. What is the audiences? first impression? This is crucial!!!
18. What are the characters wants and needs? They should be strong and evident to the audience. They should tie in to the goal.
19. What are the characters faults? They should have faults. It makes them more realistic.
20. What are the characters major conflicts? Are they both internal and external? They should be both.
21. What is the balance of information? Audience Superiority or Character Superiority? Who knows more about the plot?
22. What emotions have the characters felt?
23. How do the characters change? They have to make decisions. They have to react to the world around.
24. Begin scenes and script as far into it as possible and end as soon as you can. This keeps the story focused and neat.
25. Visual, Audible and verbal ? e.g. a rape: to see it is more powerful than to hear it, which is more powerful than to be told about it.
26. Does the script create relevant questions?
27. Is there a discernable three-act structure?
28. What is the event that starts the story so that the climax must occur?
29. What is the relationship between the inciting incident and the climax?
30. What goal does the protagonist have that came from the inciting incident?
31. The antagonist must be greater than the protagonist. Luck should favour the antagonist.
32. As we approach the ending, are we becoming involved in the story, or are we just bystanders?
33. Can we identify with the protagonist? Ultimately we should.
34. Does each scene bring out an aspect of the spine?
35. What is the worst possible thing that could happen to the protagonist and how can it turn out to be the best possible thing and vice versa?