The
following is an explanation of the plot structure for a Classical
Hollywood film. The plot structure, routinely called The
Hollywood Formula, is found in most movies distributed by
entertainment companies in Hollywood.
This formula is a set of instructions that suggests moments as to when
certain
dramatic points show up in a story. The formula does not
impose restrictions on what the story is about or how characters
react to events. Instead, it merely helps screenwriters keep
audiences engaged.
Suppose your script has 120 pages, (standard number of pages) and that
you wrote it in Screenplay Format. Every page then represents a minute of
screen time. Your film is 120 minutes long (two hours.)
The Hollywood Formula suggests that on pages 1, 3, 10, 30, 60, 75, 90,
105 and 120, certain things need to be seen or be present.
They are:
Page 1: Geography (where the story takes place), tone and
personality of story (mood.)
[Dramatic situation Nº 1 begins]
Page 3: Central question that will be explored is asked or thesis statement
that the film will prove or disprove is put forth.
Page 10: Within and up to this page we need to know what the
story is about, who's story is it, who is the antagonist, what is it
that each of these want (protagonist / antagonist) and why can't they do it.
[Dramatic situation Nº 2 begins]
Page 30: The main character is challenged, he or she reacts and
what is done can not be undone.
[Dramatic situation Nº 4 begins]
Page 45: Initial growth of main character. He or she matures
in some way or form or learns something useful.
Page 60: Big trouble. Main character commits deeper to what he
or she wants. The big trouble can also be a psychological conflict.
[Dramatic situation Nº 5 begins]
Page 75: Looks like all is lost. The main character is just
about to give up. Then, an event gives the possibility of solving the
immediate conflict and accomplishing main goal. He or she reacts and what
is done can not be undone.
Page 89: The main character grows
again causing him or her to learn more about life.
Page 90: Great crisis. The main character leaves everything
in pursuit of goal. He or she sees the main goal is achievable but
there is a last obstacle. This event puts in jeopardy everything attained
up to this point. Everything depends on this final moment, it's all or
nothing. Because of the action taken, the main character does or does
not attain goal.
[Dramatic situation Nº 6 begins]
Page 105: Introduction to the end. The main character grows
again and because of this, learns something fundamental about life. At
this point he or she may react again to some situation and what is done
can not be undone. In many screen plays, this last dramatic turn is not
needed, therefore, it's optional.
[Dramatic situation Nº 6 ends (optional)]
Page 120: The end. By this point you have given the story
introduced or promised by Page 10. The ending is closed so the viewer is
satisfied with the ending.
A closed ending means that whether it's happy or not, we know what will
happen after the film is finished. The closed ending can happen in
any of the following levels:
Story level: What happens before and after.
Plot level: Foreground story, what the movie is about.
Character level: Background story, what the character learns.
Ideology level: Codes of human conduct are questioned or
reaffirmed.
If you read the Hollywood Formula list carefully, then you
realized
there where dramatic turns on pages 30, 75 and 105. These dramatic points
are called 180º turns. These are no way out situations that
the main character encounters. He or she is forced to do something as it
becomes apparent the predetermined action is not the best way to
proceed. This change produces an action that can not be undone.
This
causes a plot change. These 180º turns propel the story forward,
the reason why they are important.
Besides the 180º turns, most Hollywood Formula stories will have
an abundance of dramatic situations. (Marked in red
after the Hollywood
Formula page suggestions.)
A dramatic
situation is when the main character can lose all, life, liberty or the
pursuit of happiness (attainment of a goal.) By common practice these
dramatic situations appear or begin on pages 1, 10, 20,
30, 60 and 90.
Please don't confuse dramatic situations with dramatic turns
(180º turns.) Again,
dramatic situations are jeopardy situations. Dramatic turns are character
reactions to the jeopardy situations, and these reactions can't be
undone.
COMMON VARIATION TO THE FORMULA
The suggestions that are given for pages 1 thru 10 can be written on pages
11 thru 20. In the same way, the items that where destined for pages 11
thru 20 can be written on pages 1 thru 10. Most action thrillers begin
this way. In the first 10 minutes we have lots of action. Then the next
10 minutes we have the introduction of the Geography, tone, mood, central
question and the introduction to the wants of the protagonist and
antagonist(s.)
The Hollywood Formula is only a suggestion. Just because the
formula says something happens by a certain page does not mean in
practice it will actually appear on that page. Sometimes these
suggestions may appear before or after the suggested page number. In
other instances, they may not appear at all. As a
scriptwriter you have that
freedom. Of course common sense rules that the more you stick to the
formula, the more interesting the story becomes. But, again, if you stick to
the formula 100 per cent, your story becomes predictable.
Remember, when audiences see your film, they see it because they
want something new or worthwhile. It's your mission
to give it to them.
SUBTEXT
Just because you follow the formula to some extent, does not mean you are
automatically assured a successful story. You may have a
script that conforms to the Hollywood
Formula and a story specific enough to the point the
audience relates to
the main character. (A movie whose theme is universal.) But if you do
not include
sufficient Subtext, your story becomes
stale and boring.
Subtexts are pieces of information that will be given
to us later in the
story. Think of these as hooks that capture the viewer's attention.
Here's an example. In James Cameron's film,
Titanic (Paramount/20th Century Fox), there is a scene where
Thomas Andrews, Master Ship Builder
of the R.M.S. Titanic, says,
"She can stay afloat with the first four compartments
breached. But not five. As she goes down by the head, the
water will spill over the tops of the bulkheads...at E
deck...from one to the next...back and back. There's no
stopping it."
At this point we know Titanic will sink and we are just waiting to see
how it happens.
Subtext keeps the story interesting as it forces the audience
to
continue watching. Make certain that these hooks are present near each of
the dramatic situation points I've shown you and you should do fine.
Also, all Subtext hooks normally come in pairs. One hook points
to something that will happen
immediately after the present scene and the other
to an event that will happen later on in the story. These two hooks
compliment each other and help captivate your audience. Remember,
two hooks, not one. (SUBTEXT = 2 hooks per dramatic situation.)
To finalize, I'll leave you with a practical way to organize
your story events so the Hollywood Formula is easier to apply.
Have your story revolve around six dramatic situations and strive for 60
scenes, each no more than two pages long.
By doing this you should be able
to mimic the Hollywood Formula quite well and be able tell your story
in about 120 pages. Enjoy experimenting with this!
Some of the Hollywood Formula explanation is quoted from
Viki King, How to Write a Movie in 21 Days,
(New York: HarperPerennial, 1994), p. 40-41. Selected movie quote by James Cameron, Titanic
(Hollywood: Paramount Home Entertainment and Twentieth Century Fox Home Entertainment, 1997).
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