1. U64006 INTRODUCTION TO SCREENWRITING WEEK 3 Characters: traits, dramatic function and narrative arc Main plot, subplots and dynamics Role of back stories and themes

2. 3-ACT STRUCTURE - Summary ACT I – SETUP, pp.1-30 What? Setting + info (hero) How? Inciting incident / Disturbance  conflict  action/goal Turning point #1 (end of Act I – pp.25-27) ACT II – CONFRONTATION, pp.31-90 What? Obstacles and problems How? Reversals, recognition, suffering Mid-point (p.60) Turning point #2 (end of Act II – pp.85-90) ACT III – RESOLUTION, pp.91-110(120) What? Climax  resolution How? Initial problem solved/unsolved, goal achieved U64006 Introduction to Screenwriting

3. 3-ACT STRUCTURE – General pattern 1.Conflict: the hero takes on a problem 2.Crisis: the hero can’t solve the problem 3.Resolution: the hero solves the problem MAIN PLOT = ACTION LINE U64006 Introduction to Screenwriting

4. STORYLINES / PLOTLINES Main plot/Action line/Foreground story/Plot A Vs. Subplot(s)/Relationship line/Background Story/Plot B Both Main and Subplot(s) have their own 3-act inner structure (developed throughout the overall 3-act structure) and alternate. U64006 Introduction to Screenwriting

5. STORYLINES / PLOTLINES Action line = series of events  change on protagonist External enemy/antagonist More physical problem Relationship line = character relationships, internal changes Through external behaviour of 2 (or more) chars. Public interaction Events in the action trigger conflict/problems in the relationship line Internal conflict U64006 Introduction to Screenwriting

6. STORYLINES / PLOTLINES Relationship line  internal 3-act structure of its own Status quo of relation (or lack thereof) Disturbance  start of OR new status of relationship TP1  big obstacle in the relationship Act 2  several more hurdles TP2  lowest point in the relationship Climax  moment of truth = emotional peak NOTE – In “some” films, major plot points and climaxes in AL and RL “may” occur in the same event/scenes U64006 Introduction to Screenwriting

7. CHARACTER FUNCTIONS AND PLOT  Motivation  Objectives (and threats) (goal-oriented characters)  Relationships with other characters  Role of the back-story U64006 Introduction to Screenwriting

8. TYPES OF CHARACTERS PRIMARY CHARACTERS  Protagonist(s)/hero  Antagonist(ic force)/villain SECONDARY CHARACTERS  Helper(s)/sidekicks/allies  Mentor  Mentor antagonist  Messenger/dispatcher BIT PLAYERS  Minor characters U64006 Introduction to Screenwriting

9. TYPES OF CHARACTERS PROTAGONIST(S)  Usually (but not always) only one *  Film=protagonist’s story  shown through normality/disturbance/course of action  Both in AL and RL * (e.g. Thelma & Louise)  On screen most of the time  Most interesting/developed character, who changes most (except for superheroes)  Drives the action / makes decisions  Active, rather than passive/reactive (or weak)  POV/identification  Conflict (from antagonist)  Established before AL can start U64006 Introduction to Screenwriting

10. TYPES OF CHARACTERS HELPER(S)  Usually (current or soon to be) friends or relatives or forced into role by events  They help because they care MENTOR  Knowledge, wisdom, skills, expertise to transmit  They help because they can MENTOR ANTAGONIST  (Usually) Enigmatic/unpredictable/eccentric/dominant outsider  Wisdom born of pain  Most interesting character when protagonist weaker or passive  Passive protagonist is in jeopardy  Mentor antagonist causes and drives adventure  Does not change or grow  No identification/POV U64006 Introduction to Screenwriting

11. TYPES OF CHARACTERS ANTAGONIST(S)  Create conflicts, cause trouble  major life change for protagonist  Wishes (at least initially) directly opposed to protagonist’s One protagonist, but 2 or more antagonists  At least one in AL (external enemy)  One in RL (it can change over time) (internal conflict)  Major and minor  Human / non-human force (nature, social, etc. BUT human agents)  Enemies BUT also lovers/friends/relatives, etc.  AL antagonists  Change little, barely stoppable  Major AL antagonist(s) + minor agents (due to physical distance)  RL antagonists  Allow protagonist’s thoughts/plans/feelings to be known (via dialogue)  Usually end up friends/allies  Prude/meek turns hero/aggressive (usually women)  extreme change in Act 2  unpredictability U64006 Introduction to Screenwriting

12. CHARACTERIZATION  In film, a character IS what it DOES (or might do)  Not what it observes  Not what it thinks  What do you know about a character from their actions?  How would it react to: fear, danger, love, aggression, temptation, etc.?  What would it never do? U64006 Introduction to Screenwriting

13. CHARACTERIZATION  Character chart  Public life  Private life  Inner life  Past and present This can be done as a dossier describing a number of distinctive traits U64006 Introduction to Screenwriting

14. CHARACTERIZATION  Ontologic traits (nature)  Cultural traits (nurture + experience) Present life of character = Now U64006 Introduction to Screenwriting

15. ONTOLOGIC TRAITS (nature)  Gender: different attitudes, cultural reception  Race: upbringing, education, social life, aspirations  Class: lifestyle, income, ideology  Family: childhood/youth, relationships, personality  Name: identity, symbolism YOU HAVE TO KNOW! U64006 Introduction to Screenwriting

16. CULTURAL TRAITS (experience)  Education: (linked to class, occupation), impact on social life  Abilities (or inabilities): potential actions (audience wanting to know more)  Own family: husband/wife/partner, children, relatives  conflicts (whatever resolution we have, it will affect relationships)  Sexuality: orientation (hetero, homo, bi, trans); attitude (choice of partner and sex life + ideology and morality in society); political sexual awareness; functional to story  Back-story: what happened to the character before the story begins (‘now’); affects what the character is and does now U64006 Introduction to Screenwriting

17. NOW  Age: feelings, attitudes, relationships, abilities, possibilities, beliefs  Occupation: personality, desires, aspirations/ambitions, frustrations, assumptions  (research)  Friends and enemies: relationships, action  Appearance: impression on others, physical details (body, face, hair), clothes  psychology of character  casting U64006 Introduction to Screenwriting

18. NOW  World view: attitude, behaviour, conflicts, relationships, change  Beliefs: religion, faith, politics, ideals, ethics, morality (may drive the action)  General manner: serious, light-hearted, careful, arrogant, humble, whimsical, ecc.  Sense of humour: say and do + appreciation or not, type of humour, purposes U64006 Introduction to Screenwriting

19. NOW  Tension levels: from complete relaxation to max tension (attitude towards life or reaction to situations)  Language: background, gender, sex, race, geography, style of speech (coherence, colour, verbal tics)  Pastimes and passions: what characters love doing or look forward to  Self-delusions: vulnerability, empathy U64006 Introduction to Screenwriting

20. CHARACTER - SUMMARY  Ontologic: gender, race, class, family background, name  Experience: education, abilities, own family, sexuality, back-story  Now: age, occupation, friends/enemies, appearance, world view, beliefs, manners, sense of humour, tension levels, language, pastimes/passions, delusions U64006 Introduction to Screenwriting

21. CHARACTERIZATION  Ontologic traits (nature)  Cultural traits (nurture + experience) Present life of character = Now BUT Script  Character’s arc  challenge/change? U64006 Introduction to Screenwriting

22. CHARACTERIZATION CHARACTER’S ARC  Protagonist’s (and other characters’) internal journey  Emotional  Psychological  Spiritual  Caused by (and in response to) events in both the AL and RL  Throughout whole film  Setting (furthest point from change)  Climax (moment of final change)  The bigger the arc, the more dramatic the film U64006 Introduction to Screenwriting

23. THE FULL MONTY – ACTS 1, 2 & 3 ReversalBig climax (hint at resolution) TP3 758085 U64006 Introduction to Screenwriting

24. DYNAMICS – Throughlines Jobless Pride Custody (Inciting) Allies Training Money upfront Money found Arrested Sold out Stage fright Stripped U64006 Introduction to Screenwriting

25. CHARACTERS & THEMES Theme: dishonesty Lejos Egri: Problem? Consequences? “Dishonesty leads to exposure” 1.Dishonesty 2.Leads to 3.Exposure Open theme: questions and arguments about it  unanswered (?)  ambiguity THROUGH: characters’ growth (what have they learnt) + subplots (what they could lose) + plot resolution (values embraced) U64006 Introduction to Screenwriting

26. THE FULL MONTY - THEMES Cultural stereotypes on men and women (challenged and reversed) Old role of men as breadwinners Men are repressed, inexpressive and deceptive Self-defeating, disappointing as fathers/husband Cross-section representation: labour/management, white/black, hetero/gay, lean/stout, older/younger Gaz is the protagonist, but plot(s) and shared problems make the story focus on men in general Women are pragmatic/practical Women as the new breadwinners Reversal of stereotypes (and plot) In order to succeed in their goal, men must emulate what women used to do U64006 Introduction to Screenwriting

27. THE FULL MONTY Q&A Whose story is this? What have our protagonists got to gain or lose? What do they want? What do they do to get it? What do they do when they don’t get it (the stripping gig)? What do they get when they get it? How do the audience feel? U64006 Introduction to Screenwriting

28. HOMEWORK FOR WK 4 SEMINAR -Watch/Analyse Jane Campion’s “The Piano” -Prepare presentations (booked students) -Story elements -3-act structure (both action and relationship lines) -Characters (functions, arcs, dynamics, etc.) -Themes and symbolism LECTURE -Watch “Shrek 2” U64006 Introduction to Screenwriting