I have my own screenplay paradigm. People who have studied Syd Field and Joseph Campbell will recognize elements in it. Perhaps even a dash of Carl Jung. The component parts are not what make it different, but rather the synthesis of them all.
Narrative Throughline looks at the screenplay universe as two parts:
The External World of Actions and Dialogue, what I call the Plotline.
The Internal World of Intention and Subtext, what I call the Themeline.
The Plotline has 10 major plot points.
The Themeline has 4 movements in the Protagonist’s transformation.
In scenes and on the printed page, these two realms of the screenplay universe coexist, each moment an interweaving of the two.
I’ve revised one of my class lectures and made it available here. I’ve also added a link to it under Lists.
This background lecture not only lays out the various elements of Narrative Throughline, it provides a detailed analysis of The Silence of the Lambs.
Now the usual caveat: Every writer is different. Every story is different.
Narrative Throughline is not the perfect solution for every writer and every story.
However, a majority of my students have let me know that they find Narrative Throughline helpful in the storycrafting process.
Good job on your narrative throughline, Scott. Having read a lot of "how to" books on screenwriting I've seen a lot of simular stuff for handling structure and plot. But it's always fun to put your own spin on things.
Would LOVE to be taught by a pro like you. People OUTSIDE L.A. are so blessed to have the opportunity to take those UCLA exention classes where you teach.
Keep rockin'!
- E.C. Henry from Bonney Lake, WA
Thanks Scott. I'm going to enjoy reading this.
Thanks very much for publishing this. Lambs is one of my favorite movies, and I look forward to reading your analysis.
Hey Scott,
Very interesting stuff. I see a lot of affinity with what you're doing a new screenwriting paradigm I've been developing over the past six years (I'm a professional screenwriter who teaches 4-5 weeks every year). Would love to trade perspectives sometime if I'm ever in your area–or if you're up here in Vancouver, BC.
Some great structure ideas here!
But it brings up a general screenplay structure question I have been wondering recently.
From what I have read and observed in recent years, screenplays seem to have gotten shorter than the traditional 120 pages. Nowadays 100-115 pages (even shorter for comedies, etc.) seems the expected length.
If this is true, I wonder where exactly are the pages being trimmed in relation to the various structuring paradigms?
Are all the plot points coming sooner, making each act a little shorter? Is there a common place where pages are being cut, like Act 2 or Act 3? Is the last act just being cut by 5-15 pages…or what?
Thanks for all your advice.