Well basically, you have three-act screenplay structure. If you don't know, I totally failed at writing a novel from 1992 to 1997. Right, I know, that's five years. What's more, it was five years of writing the same nine pages over and over. There were two years before that during which I totally failed at writing short stories, too. So now you know when I say that it took two years for me to write INTROVERT, I'm talking about blazing speed. And also, a measure of sanity. In any case, I'm sure that I took to writing screenplay like a duck to water because of the ever-loving structure. You get that I love structure, right?
It basically breaks down to, and there are any number of writing-your-screenplay books that you can read this in:
- 90-120 pages
- divided into three acts
- the first quarter is the first act
- the second and third quarters are the second act
- and the fourth quarter is the third act
A note about books on writing, I've been indiscriminately addicted to them as a substitute for, you know, writing & I've rationed myself to only the classics as if I was trying to curate the Harvard of self-help libraries & now I'm back to using them indiscriminately, but less reverently and actually to write with. As a matter of fact, I picked up this Lew Hunter and two others out of a box marked FREE on the sidewalk.
But I digress:
- the first act ends with the Big Question
- the second act ends with the Big Gloom
- the third act starts with the Big Gesture
So I start with an Excel worksheet that lays out the three-act story structure. I roughly block out a 96-page or -minute story with two-minute scenes across the board; the scenes will ultimately vary in length from a quarter of a page to, say, five pages & the whole story may end up a bit shorter or longer, but not less than 90 or more than 120 minutes. In addition to the Bigs above, I have little turning points spaced out every twelve minutes.
But you get that when I say "start," I don't mean that you start at point A and go on to point B and finish at Z. Like I had to have an idea, right? And what about characters? But you also don't think of your idea, and then your characters... and then you write your story, the end. I don't. I mean, I started with two weeks of Gilles Deleuze. Actually, it started with Sarvi saying let's make a short film & me watching the only short film I had on hand, Hal Hartley's "Opera No. 1" and liking the loft that was set in.
Also if you think Sarvi should name her baby Poppy, check this box [ ].
So anyway I started with that loft, and then I put people in the loft, and then Sarvi and I talked about the people, and we also talked about Time, then there was the two weeks of Gilles Deleuze, and then I worked on the people a little bit, and then I developed some new rules for time travel. And then I set up my three-act story structure, started filling it in and got to the second act three-quarters turning point (scene thirty, sixty minutes) right away almost. And right now, I'm stuck on the Gesture. Because I realized that I don't know whose gesture it is, which means that I don't know who the protagonist is.
So it's back to tickle the people with my pointy stick...