Art of Plotting Add Emotion, Suspense, and Depth to Your Screenplay

ISBN-10: 1580650708

ISBN-13: 9781580650700

Edition: N/A

Authors: Linda J. Cowgill

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Plot must be as much about the emotions of the characters as it is about the events of the story. That’s the message of The Art of Plotting, which teaches screenwriters how to integrate plot, characterization, and exposition to make stories compelling. Using examples from recent and classic movies, author Linda J. Cowgill demonstrates how the plot springs naturally from the characters—and how that technique makes audiences connect with the story on a more intimate level. Easy exercises reveal common plot problems and help writers overcome them.
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Book details

List price: $19.99
Publisher: Potter/TenSpeed/Harmony
Publication date: 1/8/2008
Binding: Paperback
Pages: 208
Size: 6.00" wide x 9.00" long x 0.75" tall
Weight: 0.638
Language: English

The Three Requirements of Drama
Plot: Event and Emotion
So What Exactly Is Plot?
The Emotional Pattern of Plot
Great Movies Are Based on Strong, Simple Story Lines
The Role of Conflict
At the Start: Conflict and Tension
Characters in Conflict
Meaningful Conflict
Unity of Opposites: Locking the Conflict
The Third Force: The Agent for Change
Emotional and Physical Conflict
Important Conflict vs. Big Conflict
Conflict Develops Positively and Negatively
The Importance of Failure to Your Protagonist's Character Arc
The Principles of Action
Cause-and-Effect Scene Relationships
Rising Conflict
Foreshadowing Conflict
The Tools of Plotting
Action Tools
Character Tools
Exposition Tools
The Sequence of Story
The Outline of Events
Feature Films Are Structured in Groups of Scenes
Film Segments
The Real Art of Plotting
Transforming Plot Points into Plotted Points
Deepening Our Characterizations along with Audience Involvement
Plotting for Emotion and Not Sentimentality
Preparations and Consequences
Plotting for Suspense
The Relationship between Anticipation and Surprise
The Obligatory Scene
Common Problems in Plot Construction
Scripts Overplotted in Action
People Can't Relate-Why?
Understanding When the Audience Knows What
To-ing and Fro-ing: Using Too Many Beats to Accomplish the Task
The Passive Protagonist: Moving from Conflicted to Compelling
Tools for Analysis
Discovering the Passive Protagonist
Identifying the Core Conflict to Serve as the Story Spine
Identifying Positive and Negative Scene Values
Identifying the Key Relationship the Audience Can Root For
In the End
Referenced Films
About the Author
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