Core Element Core Element Timeline Cheat Sheet Timeline Cheat Sheet CoreElement CoreElement TimelineCheatSheet TimelineCheatSheet

MidpointScene
Resolution
OpeningScene
l
ActII:TierOne ActII:TierTwo
h l
1
st
PlotTuringPoint 2
nd
PlotTurningPoint
Setup MovementtoResolution ThematicGap Climax
ACTI ACTII ACTIII
Core Screenplay Structure
90PageScreenplay
1) Setup:First5to15pages
120PageScreenplay
1) Setup:First5to15pages
CoreScreenplayStructure
2) IncitingIncident:Occursonpage5to15
3) MovementtoResolution:Runsapprox.30pages
4) 1
st
PlotTurningPoint:Occursonpage20to30
5) MidpointScene:Occursaroundpage45
6) Thematic Gap: Runs approx 15 pages
2) IncitingIncident:Occursonpage5to15
3) MovementtoResolution:Runsapprox.45pages
4) 1
st
PlotTurningPoint:Occursonpage25to30
5) MidpointScene:Occursaroundpage60
6) Thematic Gap: Runs approx 30 pages 6) ThematicGap:Runsapprox.15pages
7) 2
nd
PlotTurningPoint:Occursonpage60to70
8) Climax:Runs15to25pages
9) Resolution:Runs2to10pages
6) ThematicGap:Runsapprox.30pages
7) 2
nd
PlotTurningPoint:Occursonpage85to95
8) Climax:Runs15to30pages
9) Resolution:Runs2to10pages
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Core Element Core Element Timeline Act Timeline Act II
The Setup Inciting Incident
CoreElement CoreElement TimelineAct TimelineActII
OPENING
SCENE
TheSetup
Typicallyruns5to15pages.EstablishesWHO the
storyisabout&WHAT thestoryisabout.Important
toalsoestablishthefoundationoftheMain
Subplot. Also important to identify the Personal
IncitingIncident
Typicallyoccurs5to15pagesintoa
screenplay.Thisistheinitialinteractionor
collisionbetweenthemaincharacterandthe
Primary Situation. This scene or short Subplot.AlsoimportanttoidentifythePersonal
Goal.
PrimarySituation.Thissceneorshort
sequencefunctionsasaCalltoActionfor
theprotagonist.Typicallyappearsasoneof
threethings:Problem,OpportunityorDesire.
MovementtoResolution
ll h h l
FirstPlotTurningPoint
T i ll 25 30 i l Typicallyruns25to45pages.Thisistheinitial
andspecificcourseofactionorstepsthemain
charactertakesinordertoresolvethePrimary
Situation
Typicallyoccurs25to30pagesintoascreenplay.
ThissceneorsequencelaunchesActII.Thisisthe
firstMAJORshiftinascreenplayaswellasthe
introductionofthePrimaryObstacle.Atthispoint
oneofthreespecifictypesofeventstakesplacethat
becomes the main focus of Act II: Complication becomesthemainfocusofActII:Complication,
FailureorJourney.
ACTII
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Core Element Core Element Timeline Act II Timeline Act II
Act II: Tier One Midpoint Scene/Shift
FROMACTI
CoreElement CoreElement TimelineActII TimelineActII
ActII:TierOne
Typicallyruns10to30pages.Maincharacter
continuesMovementtoResolutionwhilenow
dealingwiththePrimaryObstacle.
MidpointScene/Shift
Typicallyoccursnearthemiddleofa
screenplay.Thisisacriticalsceneorshort
sequenceatwhichpointthemaincharacter
either succeeds or fails in their Movement either succeeds or fails intheirMovement
toResolution.Thekeythingisthattheyhave
NOTresolvedthePrimarySituation.
ActII:TierTwo
Typicallyruns10to30pages.Thisistypicallya
series of scenes and short sequences that focus
SecondPlotTurningPoint
Typicallyoccurs60to90pagesintoascreenplay
depending on the length of Act II This scene or seriesofscenesandshortsequencesthatfocus
ontheSubplotsandtheThematicGap.TheMain
Subplotisprimarilyexpressedatthispoint.The
PersonalGoalandThemegettheirmain
expressionatthispointinascreenplay.
dependingonthelengthofActII.Thissceneor
sequenceendsActIIandlaunchesthefinalAct.This
sceneisoftencomparedtothefirstPlotTurning
Pointanddescribedasamajorshiftintheaction
(thatisinaccurate).Ratherthisisthemomentof
clarityforthemaincharacterwhentheylearnor y f y
realizeEXACTLYwhattheyneedtodotoresolvethe
PrimarySituation.
ACTIII
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Core Element Core Element Timeline Act III Timeline Act III
FROMACTII
CoreElement CoreElement TimelineActIII TimelineActIII
Climax
Typicallyruns10to25pages.Thisisthesequence
in which the main character finally comes faceto
Resolution
Thisistypicallyashortsceneorsequencethat
shows how things work out (or dont) for the inwhichthemaincharacterfinallycomesface to
facewiththePrimarySituationanddealswithit
directly.Successorfailureatthispointmeans
everythingtothemaincharacter nowthatthe
ThematicGapandsubplotshaveplayedthemselves
outeverythingisonthelineforthemaincharacter.
showshowthingsworkout(ordon t)forthe
maincharacternowthatPrimarySituationhas
beenovercome.Typicallythefocusofthis
portionofascreenplayistheThematicGap
andsubplots.
Thisisalsowheretheantagonist(ormain
adversary)orantagonizingelementtrulyflexesits
musclesandtriestopreventthemaincharacter
fromovercomingthePrimarySituation.
END
Copyright2011Reelwriting.com&ReelwritingLLC.Allrightsreserved.Thisdocumentisintendedforindividual,privateuseonly.
LearnmoreaboutusingtheCoreElementstodevelopastoryforamovieathttp://www.ReelWriting.com