STRONG MOVEMENT FORWARD (PAGE 17-20):

Concise, simple, and succinct.

An example of where these signpost beats fall in a movie (by minutes) and in a script (by pages) would be on minute/page: 1, 10, 20, 27, 40, 45, 55, 60, 75, 87, 100, 108.

-It establishes the ORDER (the unique world of the story) and the TONE (the “feel” of the script and movie). -It expresses the THEME. -It usually introduces the Central Dramatic Question, an over-riding mystery that will not be solved until the Midpoint, End of Act Two or the Ending of the script. (Note: The true CDQ can be intro’d as late as End o

-It jump-starts the story into motion. -It brings about danger, CONFLICT and chaos. -It introduces the MAIN DRAMATIC CONFLICT and maybe the ANTAGONIST.

The Logline’s goal is to get someone to read the script.

I’ve found it helpful at times to construct a linear grid with each character having their own line and noting their beats along their lines, with eventual convergence in Act Three.

This means cut to the MIDDLE of the scene. Open on the action already in progress.

It’s incredibly important to establish the rules of your dramatic world as soon as possible so the reader does not get frustrated due to unanswered questions. Clarity is king.