14/12/2019 The Eight Sequences - The Script Lab

The Eight
Sequences
By Michael Schilf January 23, 2010 The Sequence

This Sequence Outline is NOT an absolute formula or perfect recipe to

building a feature script, but it is something to work from. Because each
script is a prototype: new, unique, custom-made just for its own story.

Once you understand your outline, write your script in 5 weeks with this guide.

ACT I

SEQUENCE ONE – Status Quo & Inciting Incident

Establishes the central character, his/her life, and the status quo and the
world of the story. It usually ends with the POINT OF ATTACK or
INCITING INCIDENT, but this plot point can sometimes appear earlier in
the first few minutes of the film.

SEQUENCE TWO – Predicament & Lock In

Sets up the predicament that will be central to the story, with first
intimations of possible obstacles. The main tension will be established at
the end of the act. The sequence ends when the main character is
LOCKED IN the predicament, propelling him/her into a new direction to
obtain his/her goal.

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ACT II

SEQUENCE THREE – First Obstacle & Raising the Stakes

The first OBSTACLE to the central character is faced, and the beginning
of the elimination of the alternatives begins, often a time where
EXPOSITION left over from ACT I is brought out. Since our character is
locked into the situation and can’t simply walk away, the stakes are higher
– there is a lot more to lose.

SEQUENCE FOUR – First Culmination/Midpoint

A higher OBSTACLE, the principle of RISING ACTION is brought in and
builds to the FIRST CULMINATION, which usually parallels the
RESOLUTION of the film. If the story is a tragedy and our hero dies, then
the first culmination (or midpoint) should be a low point for our character.
If, however, our hero wins in the end of the film, then sequence four
should end with him winning in some way.

SEQUENCE FIVE – Subplot & Rising Action

The SECOND ACT SAG can set in at this point if we don’t have a strong
SUBPLOT to take the ball for a while. We still want RISING ACTION, but
we’re not ready for the MAIN CULMINATION yet.

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14/12/2019 The Eight Sequences - The Script Lab

SEQUENCE SIX – Main Culmination/End of Act Two

The build-up to the MAIN CULMINATION – back to the main story line
with a vengeance. The highest obstacle, the last alternative, the highest
or lowest moment and the end of our main tension come at this point. But
we get the first inklings of the new tension that will carry us through the
third act.

Note: Since most midpoints and endings are paralleled, the PLOT POINT at the
end of act two is usually at a polar opposite of those points. So if our hero wins
at the midpoint and at the end of the film, then she usually hs her lowest point
here.

ACT III

SEQUENCE SEVEN – New Tension & Twist

The full yet simple, brief establishment of the third act tension with its
requisite exposition. Simpler, faster in nearly all ways, with rapid, short
scenes and no real elaborate set-ups. The TWIST can end this sequence
or come at the start of the eighth sequence.

SEQUENCE EIGHT – Resolution

Hell-bent for the RESOLUTION. Clarity is important. If they turn left, all is
well, if they go right, the world as we know it ends. Not that we don’t have
complex emotions or ideas about what it all amounts to, but at this point
we crave clarity. Will he get the girl, defuse the bomb, turn in his
murderous brother and escape from the sinking boat surrounded by
sharks?

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