filmy's 4 Act Structure...

Unknown Screenwriter

Unknown Screenwriter

Okay... I keep getting these requests so I guess I will start the thread on it and MAYBE we will all learn something from this exercise... LOL.

First thing to do (assuming you're interested) is to download the following PDF files so you can get a handle on the theory... These files are NOT the entire theory but just enough to make you dangerous if you've already written a screenplay or two. I regularly tweak these files as I discover new things or realize something's missing so don't be afraid to shout out if you think something is missing... LOL. One caveat... I am currently writing a book on this so why am I sharing? Hey, I'm a nice guy... LOL.

Seriously though... This information took me literally YEARS to investigate, search, and discover and if I can save anyone from the literally THOUSANDS of dollars I've spent to get this information, I'll be happy. Even when the book is completed, a book like this isn't going to make anyone rich... Rather, I would like to see some GREAT stories come from some or ALL of the theory here...

Like I said... The information in these files is just enough to be dangerous IF you know what you're doing. I reserve the RIGHT to take these files down whenever I want...

File number 1:

The 4 Act Structure Archetypes

My 4 Act Structure’s foundation comes from a couple of different sources...

1) Many of the works by Carl Gustav Jung
2) A book by Carol S. Pearson Ph.D: THE HERO WITHIN

In a nutshell, these resources talk about certain ARCHETYPES that we, as people, move in and out of throughout our lives. For more information about ARCHETYPES, I highly recommend reading the above texts.

I've developed an acronym to make the 4 Act Structure a little easier to remember...

L.E.A.D.

LONER
EXPLORER
ACTIVIST
DEATH

Ultimately, the protagonist LEADs us through the story... He or she is the hero. Remembering the acronym:

L.E.A.D.

makes it easier to remember the 4 Act Structure and even if you don’t buy into the MEAT of my 4 Act Structure, simply remember LEAD and implement these four stages or modes into your next screenplay and structure will almost take care of itself.

File number 2:

4 Act Structure Graph

This is just a simple graph that should keep you aware that not only your CONFLICT but your TENSION should be constantly RISING throughout your screenplay until the end... At the end, you release a little tension and resolve a little conflict... i.e., the AFTERMATH.

File number 3:

4 Act Structure MEAT

This is the heart or MEAT of the 4 Act Structure... Almost a step by step guideline on what to do. Very simple! Designed this way to keep it simple.

File number 4:

4 Act Structure MORE

This file is simply some answers to some questions I am often asked about the theory...

File number 5:

4 Act Structure Tricks of the Trade

These are simply some tricks to help you troubleshoot areas of your screenplay i.e., scenes and sequences...

File number 6:

4 Act Structure Loglines

Even though this is the last file, you need to create your logline before you start writing your screenplay. This will help you keep ON TRACK with your story which is paramount! I kind of stole the premise for creating loglines from this PDF file: The Logline. I more or less "borrowed" from this formula to create my own. I offer it to you here to better understand creating a logline with the 4 Act Structure.

Okay now what the hell do you do with all this crap? Create a solid outline of your story. Use whatever means works for you...

I use a combination of 3 X 5 cards and a little program called Movie Outline although I have my own outlining software in the works... The trick is to create a brilliant outline from scene to scene that pretty much follows the 4 Act Structure theory...

Now I'm not going to sit here and tell anyone that this is the END-ALL to screenplay structure... LOL. This is SIMPLY what works for ME. If you can take something from this information and make it work for you, OUTSTANDING! If it in ANY WAY improves your screenplays, OUTSTANDING! That's all I could ever hope for. Just remember me in your Oscar speech... LOL.

A lot of people ask me, "How do I start?"

Again... Pretty simple... Start with an idea or a character. Many people TRY to start writing a screenplay based on THEME... Something like CRIME DOESN'T PAY. Don't do that. Let your theme develop as you write your screenplay... It WILL come to you. For now, take an idea or a character you've developed and create an outline.

If you're really in the dark, you can try using this form that I made a few years back:

Screenplay Concept Development Form

This "might" get some interesting things down on paper that you can eventually turn into an idea for a screenplay...

For instance, when you think of your idea or character, I assume you IMMEDIATELY conjur up other ideas for scenes... Write those down IMMEDIATELY! This is where the 3 X 5 cards come in. I keep them on me all the time and write ideas for scenes on these all the time. I simply write the name of the script in the upper left hand corner and then the idea as complete as I can. Use both sides of the card if you have to.

Hopefully, writing these scene ideas will help you come up with even other ideas for scenes... Just keep brainstorming! *NOTE: This is a good reason to read other screenplays, watch films, read the paper, books, etc. --keeping the onslaught of story information pouring into your head will very often spark new ideas for scenes and stories...

The idea is to eventually come up with 40 to 60 GREAT/OUTSTANDING scene ideas for your screenplay. *NOTE: the bad news is that you often have to go through 400 to 600 scene ideas to come up with an outstanding 40 to 60. So you just keep going and going and going on these scene ideas...

As you keep creating the scene ideas, you should be slowly but surely building your 4 Act Structure Outline. For those of you who would rather work within the 3 act structure, no problem. The 2nd act is traditionally, the longest of the 3 acts and even more often the biggest PAIN IN THE ASS to write hence, the reason for the 4 Act Structure.

Breaking it down into 4 acts essentially keeps the basis of the 3 act structure and any executive or studio reader will NOT see any difference and simply assume you've used the traditional 3 act structure everyone else is using.

So by now, you've taken the last couple of months and slowly but surely created say... a couple of hundred scene idea cards and your outline. *NOTE: For your 4 Act Structure outline, simply take 4 pieces of paper OR open up your favorite word processor and label each:

ACT I: LONER
ACT II: EXPLORER
ACT III: ACTIVIST
ACT IV: DEATH

Then simply create your outline using the 4 Act Structure MEAT file as a guideline. Keep tweaking that outline until it's tight and contains consistently rising tension and conflict throughout the story until the aftermath.

Now do you start on your screenplay?

Nope.

Huh?

Now it's time for your treatment... While your outline will contain basically a paragraph per plot point/event as you go through the 4 Act Structure, your treatment will be your ENTIRE story in story form. This could easily end up being 50 to 100 pages long... Be thorough with it! Get it ALL down. The treatment comes straight from the outline... Basically one good descriptive paragraph PER scene in your screenplay. This should take you no more than a month after you've slaved your ass on your outline for the last 2 or 3 months... LOL.

Another NOTE: As you're working on your outline, NEVER stop brainstorming more scene ideas! You keep doing this all during the outline creation, the treatment creation, and the 1st draft of the screenplay. You never know when you'll TOP some of your previous ideas for scenes, so don't stop creating!

The same goes for your logline...

Having a great logline before you start writing really helps you stay on track with your story... Keep your logline in front of you all during the process... You might even tweak the logline as you go along but that's okay!

During the treatment phase, don't worry so much about writing dialogue... Get your story down in story form! That's most important right now! If there is a line of dialogue or lines of dialogue that you already know you are going to use, go ahead and throw it in as a later reminder but for the most part, don't worry about having to come up with it during the treatment phase.

McKee is absolutely correct when he says writing your 1st draft from a well executed treatment is a pleasure. It really is. By now, you know your story inside and out and hell... It's even sitting right there in front of you!

END OF PART 1.

EDIT: UPDATED 14 FEB 2006
 
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Part 2:

Part 2 of filmy's 4 Act Structure:

Okay... Finishing up on treatments...

Write your treatment in story form... Is this the kind of treatment you might send an executive when they ASK you for a treatment?

NO!

I have yet to meet an executive that would read a 50 to 100 page treatment but they ALWAYS read the first 10 pages of your screenplay HOWEVER, those first 10 pages better be friggin' OUTSTANDING and contain all the elements readers and executives are looking for:

1) Your hero in his/her ordinary world
2) Inciting incident

My recommendation is that your hero go through some undeserved misfortune. This is what can make your hero a LONER... This is also nice to see in the first 10 pages and if you really want your screenplay noticed, you'll include it.

So to summarize:

1) Come up with your film/screenplay idea

2) Create your LOGLINE and always keep it in front of you

3) Create your scene ideas and KEEP creating them. Brainstorm more ideas off of the ideas you've already created. Watch films, read screenplays, read books, read the newspaper, brainstorm with people that have imaginations to come up with even more RISING TENSION and RISING CONFLICT scene ideas.

4) Create your outline from your scene ideas. From your scene ideas, you will of course throw out many ideas and keep many ideas... My recommendation is to NOT throw the bad ideas away completely. Just stick them in a box for later perusal. NEVER THROW ANYTHING AWAY. This box of old scene ideas can be your scene idea MORGUE. Once you have the VERY BEST 40 to 60 scenes, now you create your outline. Use the 4 Act Structure MEAT file to pick the scenes that correlate to the scene ideas. Of course you will have to figure out how to CATAPULT your hero (and supporting characters) from the END of a scene to the beginning of the next but just remember this: Always end a scene on a CHARACTER ACTION or CHARACTER REVELATION and you'll always be safe!

5) From your complete and outstanding outline, you now create your complete and outstanding TREATMENT. *NOTE: This is YOUR treatment! Not a treatment you send out to people. Feel free to register this treatment with the WGAw and U.S. Copyright Office --It's definitely worth the money AND the hassle!

The Screenplay...

Damn... You've got your logline, your very best scene idea cards, your outline, and of course your treatment! Now it's time to type:

FADE IN:

Take that 1st draft through to the end by stream of consciousness. It will be pretty easy. Again, this time you'll be typing dialogue but don't worry if your dialogue is too on-the-nose or too literal. That's okay, this is the 1st draft. Don't worry if your 1st draft ends up at 200 pages. It's the first draft and I would be willing to bet that SOMEWHERE in that 1st draft is your STORY. You just have to know where to find it within all the crap...

END OF PART 2.

EDIT: UPDATED 14 FEB 2006
 
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Part 3:

Part 3: Characters

I thought most people that attempt to write screenplays KNOW that they absolutely MUST know their characters... LOL.

You have to play GOD when you create them... I don't use these forms anymore but I did when I first started...

These can get you started if you're having trouble (PDFs):

Character Development Form 1

Character Development Form 2

Again, these aren't the end all to creating characters... Rather, these forms can get you on the right track to truly knowing your characters...

After completing these forms on each major character in your story, you should be getting GLIMPSES of even more scene ideas... WRITE 'EM DOWN!

I cannot stress ENOUGH how important it is to be able to either make notes OR record information that comes to you WHEN IT COMES TO YOU! Otherwise, you'll forget it... And this stuff is usually very very good... So don't take the chance of forgetting. I bought a few Olympus digital recorders at Sam's Club for less than $20 apiece... These things are perfect for carrying with you and making notes... Then, when you get home or at the coffee shop, transcribe the recordings to scene idea cards or if they are really good, to your outline or treatment.

NOTE: Suffice to say that neither your logline, scene ideas, outline, or treatment is written in stone. The screenplay that I am currently rewriting (that is going to be made into a movie by a studio) had a major plot turnaround in the middle of the 1st draft.

I simply woke up in the middle of the night (my movies play all night long... LOL) and realized that one of the main characters needed to be a woman INSTEAD of the man that was currently occupying that role... BAM! Everything changed! I was pissed because of all the work that I had done thus far but in the end, it made for a MUCH BETTER STORY and got my script noticed.

So you have to know your character as well (probably BETTER) as you know yourself. The ONLY way to achieve this is to be thinking about your characters as you would be thinking about other people in your life that you know...

I say do whatever it takes to know them as well as you can... If that means cutting out pictures in a magazine to put faces on your characters, so be it. At a minumum, fill out the character development form (unless of course you're at an advanced level and don't need it) to get you started.

On top of the character development form, I personally like to sit down and write a little 5 page short story about each major character. I simply MAKE UP some event or incident that has happened to them... This stuff probably won't even make it into the screenplay but it helps you really know how your character thinks, acts, and reacts...

Which brings me to WRITER' BLOCK...

This is the cure to writer's block. Again, just get out your word processor, sheet of paper, whatever works for you and create a heading at the top of the page like:

Jack gets a DUI on the way home after a party.

--The idea is to keep it simple. Now, underneath that heading, write a 5 page short story about that incident. This incident might not make it into your story but it will make your character much more clear and real to you. It's similar to Mr. Orange in Reservoir Dogs rehearsing that joke OVER and OVER and OVER again so he could tell it to the rest of the thieves... He had to do that to make it REAL.

You do the same thing with your characters...

Every time you sit down and THINK you have writer's block, it simply means that you don't know your characters well enough. So geez... GET TO KNOW THEM!

You know how well you know people in your family... Your friends... You gotta know the characters in your screenplay EVEN BETTER than this!

By the time you finish your screenplay, you could have literally 10 to 20 different short stories about your characters... Trust me... This really works and cures writer's block like a dream.

Other uses for this same info...

Like I said... This stuff might never make it into the actual screenplay that gets made into a film but guess what? It helps you write a friggin' screenplay that gets noticed, sold, and hopefully made but here's the real clincher...

I've already been approached to write a book based on my script... LOL.

Of course they (the powers that be) are more than willing to have someone else write it and pay me for the story rights but the great thing is you can get the first shot at this...

This is where all those short stories come in! This is all great backstory for a book based on the screenplay and as some of you who know me already heard from me... A screenplay serves as a perfect OUTLINE for a book because it contains the main plot of the story. How many times have you seen films adapted from books that totally suck?

Reverse that process and BAM! You've got all your material just sitting there BEGGING TO BE MADE INTO A BOOK!

END OF PART 3.
 
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I've printed out all of your advice, Filmy!

I sure hope you'll be giving us Indietalkers first dibs on autographed copies of your book when it comes out. :D
 
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This is the most revolutionizing way to tell stories... so so so sooooooo awesome...

Has anyone else used the 4 act structure?
What was your experience like?
Are you producing the script or selling it?

Status please?
 
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MrFootballMan said:
I can't get these PDF's to work, is the site down?
Click to expand...
My server had a recent break in which I actually caught in time but the 4 Act Structure files haven't been uploaded...

EDIT: Files uploaded now... I should also add that the 4 Act Structure has been extensively updated but those updates have not been uploaded... I can't upload those files until ALL the files are updated and finding time to do this is pretty crazy right now...

filmy
 
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FilmJumper said:
My server had a recent break in which I actually caught in time but the 4 Act Structure files haven't been uploaded...

EDIT: Files uploaded now... I should also add that the 4 Act Structure has been extensively updated but those updates have not been uploaded... I can't upload those files until ALL the files are updated and finding time to do this is pretty crazy right now...

filmy
Click to expand...

For some reason the site/downloads still doesn't work for me :(
 
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Not sure what the problem is. I had no problem downloading all of the info.

As a matter of fact, I printed out the sections and reviewed them yesterday and compared them to my new script, "Lost Causes". Filmy, it looks like my script fits the guidleines very well, including the protagonist's journey and the allies he comes in contact with and helps him on his journey.

In all honesty, I read "The Heroe's Journey" many years ago and the archetypes stuck in the old gray matter. I also read both of Chris Vogler's books.

Now I'm anxious to figure out how to "pump up the volume", so to speak, in my script with Filmy's written notes on the 4 act structure. Look out Starbucks, here I come. Coffee and note making are on the agenda for the day.

WC
 
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Strangely enough, The film I'm editing now seems to fit in this structure.. although I didn't know it when I wrote it last year.
Three act structure gets detected too quickly by audiences these days, they often want the acts to be more compressed with more plot points and quicker scenes.
I like filmy's model in that it advocates for lots of "meat" and will avoid that sagging feeling a lot of three act scripts have at around page 40-60.
All three act structure means, anyways, is "beginning, middle and end".
 
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