Every Movie’s Story
The following is not LITERALLY a representation of every single movie ever made, but … it’s much closer than some would like to admit. More specifically, it’s a summary of what a traditional, HEROQUEST story with a TRADITIONAL HAPPY ENDING looks like - and how it works.
The following is only partially my own. I’ve assembled this information in a new and unique way, but many of these details have been gathered from several external sources and I include them here as another source of insight and inspiration for you as you are building out your screenplay.
It will give you a very detailed look at what typically happens in most Hollywood screenplays - and why. It’s broken into four sections: Act 1, Act 2-A, Act 2-B and Act 3. This is because the SIGHTHOUND philosophy embraces the concept that we are calling …
A story in three acts, but four chapters
And you can easily apply them to any structural model that you prefer.
Each section will give you a sense of the pace of the story at that point, where your Hero character is at that point in their journey/transformation, what each of the main sequences within each act should accomplish and a list of other considerations to keep in mind. And when considering this information never forget:
Nothing is DEFINITIVE.
Everything is INTERPRETIVE.
This can be used to help tell ANY kind of story.
ACT 1: THE KNOWN WORLD and SETUP
(Pages 1-30/30%)
PACE:
Steady and comfortable for the audience. Chapter one is chock-full of important establishing details, so make certain the reader/viewer has a chance to understand and absorb everything - but BE EFFICIENT. These early scenes need to move quickly and must hook a reader’s interest IMMEDIATELY.
HERO MODE: PASSIVE ORPHAN
At this point, the Hero is just an outsider with some kind of special quality but who is NOT yet participating in the adventure. We are observing their normal, everyday, UNSATISFYING life. That does not mean it can be BORING. They should be active and making choices but aren’t driving the story - YET. They may be just swept along by circumstance or idle curiosity until the INCITING INCIDENT, only then committing to change and the adventure ahead.
The Hero has limited awareness of their TRUE ESSENCE (because of their LIE / WOUND / FLAW) and is fully committed (consciously or unconsciously) to their FALSE IDENTITY.
ACT 1: SEQUENCES
1. STATUS QUO to INCITING INCIDENT (Pages 1-15)
Explain the world and show us the Hero displaying BAD BEHAVIOR or a VICE that has been informed by or made necessary by their WOUND. Establish your Hero, his/her life, and the status quo of the world.
The Hero then receives the “Call to adventure”: message/hint/omen/boy meets girl/protagonist meets antagonist/body found, etc. It usually ends with a POINT OF ATTACK or an INCITING INCIDENT, but this plot point can sometimes appear earlier in the first few minutes of the film.
2. PREDICAMENT and LOCK-IN (Pages 16-30)
Our Hero (or Reluctant Hero) meets resistance. The story is pushed by the Hero’s conflict – both internal and external. Initially, the Hero REFUSES the call and does not want to go on the adventure. This is IMPORTANT as it gives you an opportunity to clearly articulate your Hero’s flaw or fears or wound as they explain WHY they couldn’t possibly go on an adventure. Of course, something additional occurs and the Hero has no choice but to change their mind.
This sequence sets up the predicament that will be central to story, with the first hints of possible obstacles. The main source of dramatic tension will be established with a SHAKE UP at the end of ACT 1. The sequence ends when the main character is LOCKED IN the predicament, propelling him/her into a new direction to obtain his/her goal and steps through THE FIRST THRESHOLD.
The Hero makes a choice and acts, choosing the quest (clearly establishing their PURSUIT) and allowing the audience to ask the MAIN DRAMATIC QUESTION – “Will they achieve their goal?” – giving you the opportunity to play with audience expectations.
ACT 1 CONSIDERATIONS
Industry greats state you have only the first 10 pages to inspire and engage (seduce) a reader. Today you likely have less than that. Give the reader no option but to continue.
Consider setting up an “ECHO”. Oftentimes these “mirror” or “bookend” scenes work very well, wherein a scene at the beginning of the story and a scene at the end of the story are very similar in content and composition. This helps create a sense of completion and having come “full circle”.
If you are concerned about pace or a lack of dynamic action, consider a FLASHFORWARD that will give your viewer an exciting glimpse at the action ahead. Horror movies often employ this tactic to “grab” viewers early before exposing them to “boring” setup exposition.
SUBPLOTS: Consider your secondary stories and supporting characters. Let the viewer/reader explore them - briefly. Do not derail the main story for long. Foreshadow and give us just a glimpse/set up a question that won’t be answered until later. Avoid more than TWO subplots. The classic seeding of a B STORY happens early in aACT 2A, but some can be seeded in Chapter 1.
Typically, 17 minutes/pages into any film/script, the essential character conflict is clearly laid out. A teenage Indiana Jones runs to his father for help, but is shushed instead. Shaun convinces his girlfriend to trust him in Shaun of the Dead. Captain Renault asks Rick why he came to Casablanca. On page 17, your audience should realize what the film is really about. It’s not about finding the Holy Grail, Indy —it’s about learning to forgive dad!
ACT 2-A: THE UNKNOWN WORLD - SUCCESS
(PAGES 31-60)
Chapter two sets a new tone. Things are moving more quickly now. The adventure has begun and things are exciting and new. There is more momentum, more difficulty, more tension, more chaos and much greater risk now that our Hero has left the known world. It’s only now that our Hero starts to recognize the risk and how much danger they are in. However, the Hero still believes that life can return to normal and holds that idea close for security.
To any who knew them, The Hero, and all of their recognizable traits and tendencies, have died. Rebirth has begun. Pain, confusion and disorientation is the new norm as The Hero - for the first time - experiences what it is like to be completely outside their home and its safety.
PACE:
Clearly, things are moving more quickly now. The ride has begun and things appear to be accelerating but are not yet out-of-control.
HERO MODE: ACTIVE NOMAD
Although the Hero is now on the move, he or she is still more wanderer than a confident navigator. He/she doesn’t yet understand what this adventure is truly about, where they are actually headed or the toll that it will take on them. The Hero is willingly swept up in the chaos of the adventure as it unfolds and may even be enjoying things so far – this is exciting and new!
The Hero is now aware of what may be their TRUE ESSENCE (Sensing the possibility that their reality has been built on a LIE/WOUND/FLAW). They’ve seen a glimpse of their TRUE ESSENCE but they aren’t ready to abandon the security of their FALSE IDENTITY.
ACT 2-A: SEQUENCES
3. FIRST OBSTACLE and RAISING STAKES
(Pages 31-45)
Hero has a serious problem and now has NO CHOICE but to deal with it. It must be impossible for the Hero to simply walk away from the predicament because otherwise, the audience will ask questions like: “why didn’t he/she do THIS or THAT? Clearly, the solution requires bigger, stronger action from our Hero. You must now clearly illustrate that your Hero is LOCKED IN.
The first OBSTACLE to the central character is faced, and the elimination of options begins. Oftentimes EXPOSITION not communicated in ACT 1 is now shared. Since our character is locked into the situation and can’t simply walk away, the stakes are higher – there is a lot more to lose - and they are beginning to understand things will never go back to the way they were.
The Hero makes some progress and feels encouraged. Things may even be going pretty well – which is exciting! This sequence culminates with a lesson learned/question answered/important info discovered about the true nature of the adventure and their ultimate destiny.
4. FIRST CULMINATION to MIDPOINT DISRUPTION
(Pages 46-60)
A new plan is put into action and it backfires spectacularly because of new info the Hero did not know when the plan was formed.
A higher OBSTACLE, the principle of RISING ACTION is brought in and builds to the FIRST CULMINATION/MIDPOINT, which usually parallels the RESOLUTION of the film. If the story is a tragedy and our hero dies, then the first culmination/midpoint should be a low point for our character. If, however, our hero wins in the end of the film, then sequence four often ends with him winning in some way; getting what he/she wants.
They are still confident and reassured here, but the midpoint should represent a surprising disruption that shakes the Hero’s resolve, making him/her question their choices and goals: “Maybe what I want (my initial goal) is not actually what I need”.
ACT 2-A CONSIDERATIONS
The Hero is beginning to “take the wheel”. If they have not yet, then they are at least swept up in the action, and willing to participate. They are MAKING CHOICES.
Consider seeding SUBPLOTS (A or/and B) which can be used as either STOP or GO moments to support this chapter’s rhythm.
All of the challenges get increasingly more difficult, and the failures are more and more frustrating/demoralizing for the Heroes.
Following the ANTAGONIST ESCALATION at roughly page 45, the reader/viewer should be seeing the entire story from a new perspective. It’s not what they thought it was – it’s BETTER, more interesting, more complex, more intense and more tragic than they had previously perceived.
CHAPTER 2-B: THE UNKNOWN WORLD - FAILURE
(PAGES 61-85)
The tone, pace and focus should be noticeably different from previous chapters. Here is where your Heroes truly SUFFER. The trials and challenges of this chapter are often presented in threes. Challenges and obstacles come fast and furious now, each one worse and costlier than before.
This chapter is full of the anticipation and fear of great pain and loss, but also the determination to risk it all and keep moving forward towards the prize. Any passive characters are now fully active. There is no opportunity for anyone involved to sit on the sidelines.
PACE:
Things are exponentially more difficult and severe. The story is now at a full running pace.
HERO MODE: ACTIVE CHALLENGER:
The Hero is now desperate and charges forward recklessly towards the ultimate goal, willing to create copious amounts of collateral damage. There is no turning back. He/she vehemently challenges every aspect of what the Antagonist represents and every obstacle in his/her way. The Hero is not only willing to participate but demands, at any cost, to see this challenge through.
The Hero is now willing to change but vacillates back and forth between their FALSE IDENTITY and TRUE ESSENCE with destructive results. They lash out and often push away all of their friends, loved ones and allies, leaving them to walk the latter part of this section - ALONE.
CHAPTER 2-B: SEQUENCES
5. B-STORY/SUBPLOT FOCUS and RISING ACTION
(Pages 61-70)
A series of eye-openers – the plan HAS to change and, more importantly, the Hero realizes that part of the reason they are failing is that they are flawed. THE LIE they believed at the beginning of the story no longer works - they see the truth, but can’t quite see the solution.
“Second Act Blues” can set in at this point and you may need a strong SUBPLOT to take over for a while. We still want RISING ACTION, but we’re not ready for the MAIN CULMINATION just yet.
6. FIRST GOAL ACHIEVED and LOWEST POINT
(Pages 71-85)
The original goal is often achieved or completely abandoned here because the Hero now knows, it does not represent success. They were WRONG. Then, an even more desperate plan also backfires, because the Hero is not changing/adapting FAST enough. All seems hopeless... but - at the lowest point - when the Antagonist has stripped them of everything they previously held dear - they finally see clearly. This is when it begins to make sense for our Hero, and he/she rises from the ashes fully transformed.
Betrayals, deception and the like all come to light here in this sequence. This is the section in RomComs where the lovers break up and vow never to get back together.
This is the build-up to the MAIN CULMINATION - back to the main storyline with a vengeance. The highest obstacle, the last alternative, the highest or lowest moment and the end of the main tension come at this point. But the audience gets the first inklings of the NEW tension/ new goal that will carry us through Chapter 4.
NOTE: Since most midpoints and endings are paralleled, the PLOT POINT at the end of CHAPTER THREE is usually a polar opposite of those points. So, if our hero wins at the midpoint and at the end of the film, then he/she usually has her lowest point here.
CHAPTER 2-B CONSIDERATIONS:
Make certain this chapter accelerates with each passing scene.
All of the challenges and trials MUST get increasingly more difficult.
The Hero must be constantly learning more about the Quest, the challenges ahead and most importantly, him or herself (maturing/evolving).
Have the Hero face his deepest or greatest fear -especially an internal one.
Have the Hero discover some kind of special solution to the problem akin to a key, or magic potion.
Revisit your SUBPLOTS and keep them alive. Take a moment to tell another story, focus on another character or ask a new question, but make it brief and keep things moving. This may be a breather from the main story, but it cannot be slow or plodding. At this point in the Hero’s Quest, everything is challenging, dangerous, unexpected and moves quickly.
Create severe reversals at the end of every other scene and minor reversals within every scene. Continually surprise your reader/viewer.
There should be MAJOR reversals at both the page 75 and page 90 mark.
ACT 3 : RESOLUTION and THE NEW WORLD
(PAGE 86-110)
This chapter starts out with - or just after - the “all is lost” moment and moves quickly to the story’s climax. Following that, there is an EFFICIENT resolution of the journey/quest and a return to the known world. In Chapter 3 all the character’s relationships and SUBPLOTS are resolved, and finally, the viewer is allowed to wind down, feeling satisfied with a full-circle moment at the conclusion.
PACE:
BIG WIN! Small loss. BIG LOSS! HUGE WIN! RETURN. RESOLUTION.
The Hero (and Heroic Companions) enjoy an important victory and then a small failure. When it looks like the Heroes will turn things around, the biggest and most devastating failure yet occurs. There is a pause for reflection and/or monologue-ing from the opposition, followed by a quick, decisive victory blow for the good guys. Following that, the Hero resists going home, and then concedes, shares his boon and everything is resolved.
This chapter is all about the climax and composing a satisfying resolution for your reader/viewer. Hollywood often cuts the elements of these final moments short, but do your best to at least touch on the milestones represented in them. It will ground your story, and if done successfully, make it resonate more satisfying.
HERO MODE: MARTYR / MASTER
The Hero will sacrifice all for the win and will be victorious. After briefly resisting the idea of returning home, the Hero wilfully does and claims his place as Master of Two Worlds (the known and the unknown), sharing his spoils and new wisdom with the ordinary world.
The Hero is now fully invested in the solution to their problem/challenge and is prepared to lose everything they previously held dear so that they can fully embrace their TRUE ESSENCE.
ACT 3: SEQUENCES
7. NEW GOAL/NEW CONFLICT AND TWIST
(Pages 86-105)
Our Hero makes a momentous choice, creating new tension and targeting a new goal. The original goal holds no value anymore – even if achieved – because the previous sequence resolves the original tension/conflict. The new tension/new goal is RELATED to the original, but different and always more PERSONAL TO THE HERO.
Full - yet brief - establishment of the new, more intimate, personal Third Act tension with its requisite exposition. Simpler, faster in nearly all ways, with rapid, short scenes and no real elaborate set-ups. The TWIST can end this sequence or come at the start of the eighth sequence.
This new tension/new goal is much more personal and intimate than the original. This one HURTS. The focus shifts from big, broad, epic themes to more intimate and personal ones.
The biggest battle of the story: Hero is reborn, confronts the antagonist and wins! HOWEVER, the Antagonist isn’t quite done – either comes back OR the final triumph that seemed to be in our Hero’s grasp slips away.
We are Hell-bent for the RESOLUTION here. Clarity is important. If they turn left, all is well; if they go right, the world as we know it ends. Not that we don’t have complex emotions or ideas about what it all amounts to, but at this point, we crave clarity. Will he get the girl, defuse the bomb, turn in his murderous brother and escape from the sinking boat surrounded by sharks? There can be no confusion or misinterpretation! Lay it all out!
8. RESOLUTION and NEW NORMAL
(Pages 106-110)
The climax must show the resolution of the new tension/new goal by way of a final lesson learned. Our Hero fully embraces their new self – their TRUE ESSENCE. This bookends and refers back to the flaw or WANT identified in Sequence #1.
Our Hero triumphs FOR GOOD. We see the NEW status quo (New World) and the Hero is now fully changed.
ACT 3: CONSIDERATIONS
Add a final chase scene where the Heroes narrowly escape the opposition.
Have the Hero resist delivering the ultimate prize.
Include a “cool” scene where all the allies are assembled in some exciting way. This is often depicted as a “slow-motion” march towards the camera. That trope is well worn out, but give the reader/viewer a new way to enjoy this type of moment.
Make certain all loose ends are tied up in a satisfying way.
Make certain every character has had a proper DISMISSAL.
SUMMARY:
Good, satisfying endings tend to provide definitive answers to the following questions.
Was the inherent conflict of the inciting incident resolved?
(E.T. is safely on the spaceship! - E.T.)Was the essential character conflict defined on page 17 resolved?
(Indy and Indy Senior ride into the sunset together - The Last Crusade)How is the Hero/Protagonist profoundly and permanently different now than at the beginning of the film?
(“There are more important things than male modelling – like love, and helping kids who can’t read good.” - Zoolander)And how do we know that the transformation is permanent?
(Dramatize it and give us VISUAL, cinematic proof)
