Emotional Structure: Creating the Story Beneath the Plot: A Guide for Screenwriters
Language: English
Pages: 405
ISBN: 188495653X
Format: PDF / Kindle (mobi) / ePub
unmoving. ""Emotional Structure,"" by Emmy- and Peabody-Award winning producer, writer, and teacher, Peter Dunne, is for these times, when the plot fits nicely into place like pieces in a puzzle, yet an elemental, terribly important something remains missing.
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WHITE-QUICK CUTS The party from the opening. A different time and place, but the same party in so many ways. Reckless. Deadly. Midge walks amid the danger, tough and confident. INT. FUNKY PENTHOUSE—NIGHT—REALITY TWO GUYS salsa up to Midge and sandwich her. One kisses her face, the other licks her neck. She smiles, lets them play for a minute, then squirms free and points down the hall. MIDGE Ladies room. Hold that thought. INT. POWDER ROOM—NIGHT Midge goes to the basins where TWO GIRLS
walking the crowded streets of downtown Tokyo. She is a prisoner in her hotel room with nothing to take her mind off of her problems no matter what she does to amuse herself. She takes a train to a mountaintop temple: ancient and awesome and far from the madding crowd. There is a staggering elegance in the way things grow in the foggy-green forest. There is a gentle quality in the landscape architecture that soothes her soul. There is wisdom. And there is sacrifice. All of these are matters of
they will know it doesn’t work, and they will say so. This applies to films that are total fantasies as well. Emotional plausibility is absolutely essential to success. So you can see that considerable thought must be given the timeframe in which you choose to tell your story. The period can enhance your story perfectly or intrude on it fatally. Be careful. Period pieces can be highly entertaining simply on their ability to transport the audience into another, magical world. But on a practical
Choosing an Emotional Opening 10. Connecting the Beginning to the End Part 3 Emotional Structure: The Internal Landscape 11. The Journey through the Middle 12. Creating the Story’s Emotional Environment 13. Barriers, Roadblocks, Broken Legs, and Old Lovers 14. Connecting the Internal and External Themes Part 4 Building Blocks: Step-by-Step Construction 15. Card Tricks 16. The One-Liner Becomes the Two-Liner 17. Creating an Emotional Outline Part 5 Writing the Script 18. Writing
fast. MIDGE Mr. Mendes, you have to cooperate here or that little girl is going to die. I need more information on those six drivers headed east this morning. Their names and social security numbers. (losing it) The co-protagonist makes a commitment to her protagonist. She is going to use all her tools until they fail her. This is an important point in your story. The protagonist hasn’t given up his own pride, and because of that he will continue to fight her. He is stuck emotionally until
