Hello. I am a screenwriter based in London

Misterlaurie

Misterlaurie

Hello

I write heightened genre thrillers from a vague checklist I keep in my head. I have optioned a couple.
In fact, this might be a good time to write it down.
Ones I've done
Serial Killer movie
Political Thriller
Creature Feature
Sci Fi Thriller
Videogame Adventure (is that officially a genre yet?)
Coming Of Age Thriller
Lo-fi Sci-fi

Yet to do
Heist Movie
War movie
Ghost movie
Spy movie
 
With that broad experience in writing subgenres from a template, it would be interesting if you made a video or post mapping out the hierarchy of your storytelling blueprint. I know exactly what you mean, and I think a lot of younger or aspiring writers could benefit from a clearer picture of how similar the meta goals are when certain genres.
 
I started out with Campbell's work, analyzing various structures that had worked successfully in the past from other genres, etc.

hold on, give me sec and I'll take a shot at it.

I. First Act (Setup)

A. Introduction of main characters and setting

B. Establishing the status quo and inciting incident

C. Introduction of the protagonist's goal or problem


II. Second Act (Rising Action)

A. Complications and obstacles that arise and prevent the protagonist from reaching their goal

B. Development of secondary characters and subplots

C. Climax of the second act, leading to a turning point or crisis


III. Third Act (Resolution)

A. The protagonist's final push towards their goal, facing their biggest challenges

B. The climax, resolution of the conflict, and final showdown

C. The denouement, tying up loose ends and resolving subplots


The structural purpose of each section is as follows:

Act I

1. Introduction of Main Characters and Setting: This section serves to introduce the audience to the world of the story and the characters who inhabit it. It sets the stage for the events that will unfold.

2. Establishing the Status Quo and Inciting Incident: This section establishes the "normal" state of the world before the protagonist's journey begins. It then introduces the inciting incident, a event that sets the protagonist on their journey and disrupts the status quo.

3. Introduction of the Protagonist's Goal or Problem: In this section, the protagonist's goal or problem is established, providing direction and motivation for the rest of the story.

Act II

4. Complications and Obstacles: The rising action of the story is characterized by obstacles and complications that prevent the protagonist from reaching their goal. This section builds tension and anticipation as the protagonist faces challenges and learns more about the world they inhabit.

5. Development of Secondary Characters and Subplots: This section allows for the development of secondary characters and subplots, adding depth and complexity to the story.

6. Climax of the Second Act: This section represents a turning point in the story, leading to a crisis that raises the stakes for the protagonist and sets up the third act.

Act III

7. The Final Push: In the third act, the protagonist makes a final push towards their goal, facing their biggest challenges yet. This section builds to the climax, resolving the conflict and determining the fate of the protagonist.

8. The Climax: This section is where the primary tension arc in the film is resolved, bringing the plot to it's conclusion.

9. Denouement: The denouement ties up loose ends and resolves subplots, providing closure for the audience and wrapping up the story.
 
Nate North said:
With that broad experience in writing subgenres from a template, it would be interesting if you made a video or post mapping out the hierarchy of your storytelling blueprint. I know exactly what you mean, and I think a lot of younger or aspiring writers could benefit from a clearer picture of how similar the meta goals are when certain genres.
Click to expand...
I wouldn't say it was a template exactly. Or indeed all that conscious an effort. It's what I like to watch and it's what comes naturally to me.
I USUALLY like pacey, exciting movies.
And I believe I am not alone in that.

So I am shooting for classy thrillers with real 3D characters that deliver an emo punch at the end that matches or beats the plot's finale.
That's the idea.

You meet a person and they have to go and do a thing to stop a thing and/or second person.
As long as the person feels real and the goal seems important enough and the story unfolds logically and believably, it can be set in Hanoi 72, a colony on Mars, a prison or a high school, right?

I don't think I could write a comedy but I try to make the stories funny when it's appropriate, which I guess is often best when it isn't.
My touchstone here is the first Act of The Usual Suspects, which is pretty damn funny, if you ask me

I don't think I could write a romance but I try to make any relationships real.

I don't see me writing a straight drama.

a " post mapping out the hierarchy of your storytelling blueprint."
Hmmmmm
Well, I don't think I work to a blueprint. Or (again) not consciously. Other than I like to keep things moving.
I am sure there are hundred better-thought-out thriller blueprints.
 
Nate North said:
I started out with Campbell's work, analyzing various structures that had worked successfully in the past from other genres, etc.

hold on, give me sec and I'll take a shot at it.

I. First Act (Setup)

A. Introduction of main characters and setting

B. Establishing the status quo and inciting incident

C. Introduction of the protagonist's goal or problem


II. Second Act (Rising Action)

A. Complications and obstacles that arise and prevent the protagonist from reaching their goal

B. Development of secondary characters and subplots

C. Climax of the second act, leading to a turning point or crisis


III. Third Act (Resolution)

A. The protagonist's final push towards their goal, facing their biggest challenges

B. The climax, resolution of the conflict, and final showdown

C. The denouement, tying up loose ends and resolving subplots


The structural purpose of each section is as follows:

Act I

1. Introduction of Main Characters and Setting: This section serves to introduce the audience to the world of the story and the characters who inhabit it. It sets the stage for the events that will unfold.

2. Establishing the Status Quo and Inciting Incident: This section establishes the "normal" state of the world before the protagonist's journey begins. It then introduces the inciting incident, a event that sets the protagonist on their journey and disrupts the status quo.

3. Introduction of the Protagonist's Goal or Problem: In this section, the protagonist's goal or problem is established, providing direction and motivation for the rest of the story.

Act II

4. Complications and Obstacles: The rising action of the story is characterized by obstacles and complications that prevent the protagonist from reaching their goal. This section builds tension and anticipation as the protagonist faces challenges and learns more about the world they inhabit.

5. Development of Secondary Characters and Subplots: This section allows for the development of secondary characters and subplots, adding depth and complexity to the story.

6. Climax of the Second Act: This section represents a turning point in the story, leading to a crisis that raises the stakes for the protagonist and sets up the third act.

Act III

7. The Final Push: In the third act, the protagonist makes a final push towards their goal, facing their biggest challenges yet. This section builds to the climax, resolving the conflict and determining the fate of the protagonist.

8. The Climax: This section is where the primary tension arc in the film is resolved, bringing the plot to it's conclusion.

9. Denouement: The denouement ties up loose ends and resolves subplots, providing closure for the audience and wrapping up the story.
Click to expand...
exactly.

same here.

I don't worry too much about every little bit of the above but if you're just getting started it's worth bearing in mind.

I have to have a MidPOint pivot and Plot Pivots for end of A1 and A2

tbh, in my head I break up A2 into two acts and call it a 4 Act structure with three Plot/Pivot points. Also, I call them Pivot points (which I may have read somewhere, cos they have to do just that to the plot.
 
I was just interested by your observation that a lot of disparate plot types shared common DNA. I think at times people don't realize just how much "The Song Remains the Same" when it comes to entertainment products. The Beatles for example could be summed up as "soft, then loud, then soft, then loud" from a certain perspective.

I'm not saying that there aren't a hundred types of stories one can write, but for me at least it makes it easier knowing that I don't have to relearn every aspect of storytelling in every instance.
 

sorry this was the long version, meant to post the abridged. It just shows how huge numbers of different works can be summed up with a small group of patterns.

 
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Nate North said:
I was just interested by your observation that a lot of disparate plot types shared common DNA. I think at times people don't realize just how much "The Song Remains the Same" when it comes to entertainment products. The Beatles for example could be summed up as "soft, then loud, then soft, then loud" from a certain perspective.

I'm not saying that there aren't a hundred types of stories one can write, but for me at least it makes it easier knowing that I don't have to relearn every aspect of storytelling in every instance.
Click to expand...

Hollywood does love it's 3 Act Structure and plot beats. And yes it can and does apply to prettymuch everything with the exception of $200m MCU blockbusters that seem to have about 5 acts and I do wish they wouldn't.
 
Misterlaurie said:
Hollywood does love it's 3 Act Structure and plot beats. And yes it can and does apply to prettymuch everything with the exception of $200m MCU blockbusters that seem to have about 5 acts and I do wish they wouldn't.
Click to expand...
But how do you justify spending 250 million dollars if your shiny wrestling match doesn't last 3 hours? Lol.
 
like every writer, I think it's best to be as unique and original as possible, but sometimes I wonder if the formula has gone on for so long that audiences are becoming conditioned to expect a certain pattern. A lot of modern films have started to blur together now that I've seen so many. I do love Quinten's writing though.
 
Nate North said:
like every writer, I think it's best to be as unique and original as possible, but sometimes I wonder if the formula has gone on for so long that audiences are becoming conditioned to expect a certain pattern. A lot of modern films have started to blur together now that I've seen so many. I do love Quinten's writing though.
Click to expand...
Just gotsta put more depth into the characters to stand out these days, I think
 
We keep the counters and floors really clean, and this background color is actually imported from italy. We used to have marble columns, but we had to sell them to buy NFTs of a monkey wearing a sailor hat, in case jpegs skyrocket in price.
 
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