How to Structure a Creative Writing PieceStructuring a creative writing instrument
kick start your creative writing - Use the tried and tested structure of Hollywood scriptwriters at writing?-?Use
So how do you write a script for a film? A longer history? Syd Field's, Michael Hauge's and Christopher Vogler's classical scriptwriting novels all speak of the need to structure your film. Here I tried to summarise her knowledge and everything in order to find a basic structure for telling stories.
For me it worked very well and kept my writing always on course. What is structure so important for a history? Tales, like soundtracks, almost always follows a beat or a harmonicity. I' m not a musical person, but I can clearly see if a piece of music has gotten out of tune. No.
to to adhere to some kind of structure. When there is no structure, everything is confused and becomes loud. Tales that do not have a structure often seem rash or shallow and dull or, as is usually the case, difficult to comprehend. At oldest?-?and one of the most used - the outline used - is the three action structure.
Imagine your history as a ring of four equal magnitudes. Part 1 is the first act of your history, the next two parts are the second act, and finally the third act is the last one. When you write a normal script of 100 pages, mathematics is easy.
But if you consider the history as a whole group, you can also clearly see where the center of the history should be: be - right in the center of Act II. History begins at midday of top - at when you visit will - and that' s when will - and will?-?and will move forward like a watch that will return at 12:00 when it ends.
So why does it make sense to consider the history as a newsletter? Most of the tales are about travels in which the protagonists go out into the realm in order to live something and come back to their own realm, which is changing or becoming sapient. Most of the majorstream films and histories are like this.
To The Hero?s Journey? "Monomyth ", as it is sometimes called, is a concept shaped by the mythologic scholar Joseph Campbell. Campbell in his groundbreaking 1949 publication "The Hero with a Thousand Faces" explored the many legends found in tribal and worshipping groups around the globe that had used them as their culturally and as their narratives spine.
Campbell stresses that all these tales and legends are basically just a variation of the same tale. It is the tale of a heroe who goes on a trip into a particular realm to resolve a danger that has struck him or his people. Heroes then return to their usual worlds with the Elixier to cure the strain or kill the beast that threatens the strain.
When you look at the triple circuit above again, you will see that the common world in Hero's Journey is the upper half of the upper part of ?the and the special world is the lower half of the same. The Hero' s Journey is one of the key features of many film-makers, authors and story-tellers.
It is the structure we know and appreciate as an audiences. Although we may be amazed by the history itself, the structure is well known. Understanding the structure rythm and harmonious. That gives us a tranquil sense when we are presented with tales that reflect this structure.
Use the structure to create the framework and pace for your storyline. You do that, you'll have a history that'll go down well with so many folks. This can be new and thrilling and tell a fantastic tale, but also in a way that we immediately recognise and comprehend.
In metaphorical terms, we tap our toes to the beat of history, although we have never seen it before. So if you're looking for a few more clues as to what might be happening in our ?and if something could be happening, you can look at the so-called big beat of the film.
Hint: The following beat are built after a 100-page-scripts. Set up the lead figure. Starting on page 1-10: Set Up History: In this section all protagonists (protagonist, opponent, secondary figures etc.) are presented. Here something happens that gives the history a whole new meaning. That' s what gets the whole thing going.
So far we only got to know the character, now the actual storyline begins. Is our character supposed to go on a trip to resolve this new problem, or should he/she just do nothing? You can now change the plan the hero had for his condition on page 1-10 entirely.
There are those who speak of going from the common world into the special world. Whether it's a romance or something. Pages 25-50: First half of Act 2: The situa-tion evolves and the protagonist moves towards the solution of the situa-tion in a slow but certainly affirmative way. Here the protagonist is really involved in the trip.
This may have been known to the public for a long while, but here the protagonist clearly expressed, in a certain way, how to lead the quest and recovery group. Things can''t get any better or even better here, according to the history.
That is perhaps the most difficult part of the script, which has to be nailed down entirely, and also one of the (if not the) most important points in the structure of the film. Antagonists were already very present in history, but now the "attacks" are becoming more common and clear. Some of the side characters' heroes clearly say that they don't really like doing what they do.
Someone of the lovely side actors die or the lover are forever split (it seems), etc. Key players are willing to give up. That part where the hero resolves the major dispute. A part of the third act in which the protagonists give everything they need to end the trip.
Frequently the heroes have to face three trials, which become more and more challenging to carry on. You can use these pages to show the protagonists who ride into the sundown or whatever fits the game. There are 5 big turning points and 17 stories that more or less make up a common main stream storyline.
Although the structure is a framework, it is not, as many say, the cause why tales sometimes seem like a formula or a "paint by numbers" tale. It' because of dull personalities or an uninspired whole history. The application of a sound structure to your narration does not help. You don't have to have all the structural beat in your history.
Like you don't have to have all the tools in the whole wide globe to be able to play good sound. What you need to have is a foundation for your history. Percussion or bassline is the base line of a piece of art. With no such base line, the whole thing becomes chaotic and bewildering. But we fight to see where the plot goes or why different storylines are presented to us.
However, if you are new to the pack like me, they will help a great deal more than interfere with your history. They can at least help to set limits to your narration and enable you to complete your history. Thank you for your time!