Dramatic Structure - beliefs...?

[origin68]

Hello all!

I have a question for those screenwriters out there who are either professional, or amatuer, who have been either writing for some time, or just started, and thirdly who have either been formally educated, or has pretty much - like me - taught themselves.

The question is wide and has to do with several aspects of screenwriting for the "drama-wide" genre; such as dramatic structure, the three-act structure, and most importantly the theory (hypothesis?) that one must do several things in the first 10-12 pages of a sreenplay: introduce the main character, illustrate the premise of the story, and lastly introduce the dramatic situation.

If for any of you out there who have read Syd Field's books - this may sound familiar. It is his theory that I may or may not have a problem with.

Right now - I am working on a screenplay (mind you I am no writer - in my opinion) that is very dramatic: a murder (oh wow - she's not really dead), the female lead not being happy with herself - so emotional issues, love, hate, betrayal, etc. Needless to say it's pretty dramatic.
I've done one draft and had my team read through it. It was basically 287 pages of notes in screenplay format (never intended it to be a final draft), and now I am on a re-write. Already, I am battling with the first 10-pages theory and wondering if I really need to do that!!!!!???

To me "premise" (thank you Syd) means more like the "gist" of the story. A synopis. An idea, if you will. NOT WHAT IS THE STORY ABOUT!

Syd Field talks about Robert Towne's screenplay, Chinatown (1974) and how masterfully he "setup" the whole dramatic premise in 10 pages. I watched the film three times and read the screenplay. All Robert Towne did - in my humble opinion - was give the reader/viewer the GIST, IDEA, SYNOPSIS of what Gittes was going up against.

Now - what say you? What do you think? Do you - any of you agree with the whole 10 pager-thingy? Or do any of you feel that "premise" really means "gist, idea, synopsis" and a film wouldn't be really all that good if the reader/viewer knew everything in 10 pages.?
Plus, wouldn't that be some really packed-in information?

Okay - enough. There's my question. Have at it.

Thanks in advance!

John.

 

[spite]

It really depends on a number of things, but if you plan on submitting this script to an agent or producer, you really do need to follow the 10-page rule. It is because these people hire readers to dig through the garbage for them... these readers have a lot of material to go through in a day, and if they don't see something that hooks them, they're on to the next script and yours is in the can.

Now, if you are writing this for your own production, this rule isn't so hard and fast. After all, you can build your film however you see fit. However, you have to realize that you are competing with plenty other films, shows, other media, and you have to give something to the viewer that will make them want to stick around and see what happens next.

I don't think anybody would suggest that these 10 pages has to set up EVERYTHING in your script. It does however, need to let me know 1) who the protagonist is 2) the tone/genre of the story and 3) an at least general idea of where this story is going. If you are writing a horror movie, there's gotta be a good scare in there, if you are writing a comedy piece, there better be a clever, funny scene, if you are writing a drama, you better give me a good taste of the characters.

So, yes, the 10 pages is more of the "gist" of the story. I wouldn't even go so far as to say it is a synopsis. I don't need to know what the story is about, but I need to have an idea where it is headed.

That's my take on it, at least. Hope this helps.

- Mike.

 

[origin68]

Thank you for the reply

Mike:

I appreciate you taking the time to read, and reply to my post. Since "my" posting of this question, I took the time to ask as many professionals as I could get my hands, eyes, and ears on, and they all say pretty much the same thing you offered. Don't get me wrong - it makes total sense to me. If I had 200 screenplays to read a week, I would only want to read the first 10-15 too! I guess I just misunderstood what Syd Field and others have been preaching about all this time.

Needless to say I re-wrote my first act with all the guidelines given to me, and the responses have been very positive. I even had a 10 year old answer those three questions dead on. She totally knew who the main character was, where the story was heading and why, and what the dramatic situation was. She was even able to give me some examples of some obstacles the main character "might" have.

Thanks again for your reply.