NOVEL scripted
Previous concepts.
structure. Three acts: approach, knot or development and outcome . This structure takes aim in most stories. The stories have this provision, and the sequences, and subplots within the main narrative, also benefit from it.
APPROACH. The approach has the main character or characters by showing the context specific situations. These situations, or a specific event (trigger-D-), set in motion the story. This is something that affects the character, has a mission or have a problem, desire and / or needs, which requires it to act. It may happen that the trigger clearly mark the action of the story. That is, the reader / viewer already knows what's going to go the "film" and what the character looks, but it often happens that, suddenly, something happens that may arise or take a spin on events or accentuate (point of inflection-PI-, middle of the frame or pivot point) and immerse the player in an unexpected situation which will mark the real line of action of the story (plot or main course of action).
DEVELOPMENT OR KNOT. The event or circumstance that has served as a turning us into the second act, in which the character attempts to achieve its goal by all means, and is always involved in a conflict with something or someone gets in your way . In their struggle encounters an event or test (second point of inflection) to accelerate developments and puts us squarely in the third act. This event (PI) distorts the way of character or worsens the existing situation and immerses you in difficult situations (crisis) to a point of maximum tension (climax) that will achieve doubt your goal.
OUTCOME. The climax or moment of maximum tension must quickly lead to the resolution of the story that, one way or another, concludes the story and the story ends.
A sequence is a story that is integrated into another story. A subplot is one that encompasses sequences that are independent of the main plot but that it enrich and give information about it.
-/D/-
Home --- - ---- ACTO1 / PI1 / ACTO2 ----- ---- - inflexor-character - --/PI2 / ----- ACTO3- ------ ------- "crisis"-climax-denouement---- END ---.
FIRST ACT. A notice of the genre and style, place and time where the story is set, and must provide the information necessary to begin by starting a story with a coherent storyline to understand the context and set the rules of the game in our history. We must make known the starting conditions: how things are before the development of history, how is the protagonist, what motivates you, who is the antagonist, how, how conflict is with the protagonist, lives in what social context , etc. Between the approach and the end of the first act is often included information that, in principle, seems irrelevant or, at least, does not advance the story, but it will be essential to justify and give coherence to events and actions that will place in development.
ACT II. Its mission is to initiate the development and character go complicating the possibility of obtaining their goal. Difficulties arise: Barriers, which are problems that the protagonist must overcome to move ahead, Complications, which are events or situations that give rise to a subplot (subplot) that complicates the protagonist or diverted from its main objective; setbacks, which are actions or events, but help to achieve a partial objective for the protagonist, rather than bring you closer to your goal you away from it.
The need to include information needed for development during the second act makes this run the danger of obstructing the action and break the pace and tension of the main line of action. That is why he often included in so-called action sequences that are dramatic (with full dramatic structure) that occur continuously, ie without inclusion of alternate scenes. Need not be physical action (fights, chases, etc.). But of dramatic action, so that a sequence based solely on the dialogue can serve the function of the sequence of action if their structure (approach, progress and outcome) and content is strong enough and theatrics (not to relate the drama to pure tragedy)
THIRD ACT. Start with the second point turning or inflection (PI2) as the second act began with the PI1. Here, for the further development, the situation is aggravated and complicated for the protagonist (crisis), the events are accelerated and urgently require a solution. The events leading the protagonist to a situation of maximum risk and difficulty lead to a point of maximum tension (climax). Usually, the climax is an all or nothing situation, in which the protagonist has to bring into play all their capabilities to resolve the situation and get the resolution of the conflict (outcome).
The resolution must be consistent, amazing and fast.
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