1) The Sonata Musical Form
2) Five-Act Structure
Per the first one, Mathias notes:
Lee one-ups me re sonata form with a more comprehensive analysis that takes the subject beyond my comparison of it to 3-Act Structure (his post is well worth reading).Scott Myers, at his blog, Go Into The Story, did a post on the sonata musical form and its resemblance to the three act structure of many screenplays. He pointed out:“There are striking similarities, if you think of:“Melodies as Characters“Transitions from one key to the next as major plot points“Exposition-Development-Recapitulation as Act I-Act II-Act III.”“Music is another means of storytelling, and the fact that master composers such as Mozart, Beethoven, Mahler, Brahms, and many more used sonata form, that it ruled orchestral music for 150 years, that pieces based upon sonata form are still performed and enjoyed by millions to this day is yet another example of why structural theories about screenplays work – because they reflect a three act/movement pattern which seems to underlie the basics of all stories, all forms of storytelling, all manner of story-crafting.”
In a recent email exchange with Lee, going through various approaches to story structure, I wrote this:
What's your take? One universal approach to screenplay structure? Or is 'story' so organic and malleable that there must by necessity be numerous structural paradigms?I just don't believe there's any one 'right' way to approach writing a screenplay. Every writer is different, every story is different. If I had to offer the best approach to learning the craft, it would be a combination of reading everything, writing a bunch of screenplays for 10 years, then at that point, the writer should have an informed intuitive sense of what they're doing -- then just go with your gut.
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3 comments:
Most story structures just turn out to be slight variants of the main three act one (as detailed in Syd Field's 'Screenplay'). Every story has to have a beginning, middle and end, and each of these is going to breakdown into a number of shorter sequences.
As for established paradigm vs. organic - I find the three act structure (with it's various plot points) extremely useful when I'm outlining and writing the first few drafts. But then I think you have to put it out of your mind in the latter stages and go more with what feels right for the specific story you're writing.
Totally agree with Scott. It's like learning to play a musical instrument, or learning to paint. You have to spend years mastering and internalizing existing techniques and repertoire, in order to be able to forget all about them and do your own thing.
I personally think that if the the structure of a screenplay is right, it will reflect the content of the story. The three act structure is perfect for the kind of mythical, hero-based story that Hollywood does so well. But there are plenty of other kinds of stories being told too (in India, Europe, SE Asia, etc.).
In the end, whatever you call the structure of the story, the most important thing is to maintain some kind of tension for the reader/viewer. The more familiar the structure, the bigger the challenge this is.
My two cents.
Dave
I have written six normal linear format screenplays which got me represented by the number one agency in Canada. None optioned or sold yet.
However, after watching Pulp Fiction and Memento I decided to write a non-linear spec script against my agent's wishes. It was refreshing to not be restricted by the 3 act formula and be able to reveal plot and characters and twists in a more suspense-like way.
Even though it was hard to follow - it actually got optioned. So the key, I think, is to write the stories you really want to tell and the passion and emotion will cross over to the reader and hopefully turn them into buyers.
Cheers!
Sandford Tuey
www.Playdigm.com
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