3 Mistakes Screenwriters Make In Act 2 That Ruin A Screenplay - Shannan E. Johnson
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- Опубліковано 4 жов 2024
- Shannan E. Johnson, a native of Houston, TX, is a former creative executive at The Syfy Channel turned CEO of the first black-owned script consultancy in the entertainment industry, The Professional Pen. The Professional Pen is a writer-centered service provider helping emerging and established creatives develop their stories for the screen.
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#writing #writers #screenwriting
![Beginners Guide To Screenwriting - Shannan E. Johnson [FULL INTERVIEW]](http://i.ytimg.com/vi/pwcTge9iF0E/mqdefault.jpg)
“Act two = Trial and error”. What a perfect way to put it. Fun and games means nothing. Trial and error is a perfect description. Thank you!
I understand the "fun and games" label, but I think it applies more specifically to something like a fish-out-of-water comedy. "Trial and error" is a much better all-around label.
I thought the same thing. I'm gonna name it Trial and error from now. Just 'fun and games' always felt off
This couldn't come at a better time. I have been stuck in Act 2 for weeks but she just said something that helps. I love her ability to explain things without trying to sound like a guru or something. Always straight to the point.
If it helps, you can read KM Weiland's Structuring your Novel. It takes popular stories and gives examples on what the first, second, and third Act has and needs. The 2nd is definitely the hardest and longest part.
@@dericmederos1514 Thanks! I’ll check it out.
1. Act 2, steps to baking the story: seeing characters take physical steps to their goal (trial&error, fun&games)
2. Complications: hinder/redirect the characters off their course
3. Midpoint: rock bottom, false victory, or goal-redirection; allows for other character to remotivate them
4. Climax: Face-to-face with goal in order to win or lose
She is so adaptive with story. Story is like, this elastic thing to her she can reshape at will. I love it.
Who is she?
@@IntheClutch75 the interviewee
@@hiplessboy yes, the person we're watching. Who is she?
@@IntheClutch75 Shannan E. Johnson, a native of Houston, TX, is a former creative executive at The Syfy Channel turned CEO of the first black-owned script consultancy in the entertainment industry, The Professional Pen. The Professional Pen is a writer-centered service provider helping emerging and established creatives develop their stories for the screen.
@@hiplessboy THANK YOU.
I edit screenplays, and one common 2nd act mistake I see is forced conflict. The writers think that including any argument adds drama, but the argument is about nothing consequential. Characters just snap instead of being moved into a logical or even illogical reaction. It's like when kids play house, and they think all mom and dad do is fight and sleep.
I hope we see Shannan move on to act 3 because what I normally see there lately is failure to pull the trigger. It's my suspicion that perhaps writers fail to pull the trigger because they're trying to do the whole twist thing, but I get to the end and I feel like nothing has happened.
Well put! Yes "conflict" (as Shannon alludes by preferring "complications") is in my opinion (I read you as thinking same) risks becoming a trap for writers where they are pining for characters to get worked up --- so the story can make it through ACT II.. But "high stakes" (well shown) can provide the 'element of drama' that keeps the audience wanting to see more (and what happens as a result of the choices the characters make). Simple being emotional isn't really a choice (it merely something that happens).
What's an example of the failure to pull the trigger? Like that description
@@samwallaceart288I recently edited a screenplay about the tenth anniversary of a kaiju attack. The story was good. You felt the monster coming back. You felt some symbiosis between the monster and a scientist, but the monster never showed again. The demagogue wasn't killed by the return of the monster as I expected. The symbiosis was never touched upon again. The scientist just worked out his personal problems with the demagogue who ignored his warnings ten years ago by yelling at him.
I edited another were a crack team assembled to battle a worldwide terror, but that terror hadn't been seen in decades and the entire earth was complacent. But the terror is back, and when they have their chance to battle it the first time in the pilot, they don't. There is a buildup. There is great tension, and then they get arrested. Mystery follows when a shady person of power bails them out. But the story never lives up to its title, which I can't share.
A recent example was the first season of Iron Fist, where Danny NEVER becomes a hero. There is a continual failure for the show to launch. He NEVER learns, even when he returns in The Defenders, he still hasn't grown. They have to bet him up to stop him from giving the villain what she wants.
Recent trigger failures are hard to point out because I give up on slowly unfolding, and even CHEATING mysteries that don't know where they are going. Take Terra Nova. Stephen Spielberg! Dinosaurs and lasers and screaming! That's all I wanted to see! I was THERE! Instead, we got politics, and the show was cancelled before we knew what the mystery was. I know that Lost was beloved, but if I don't know what I'm watching by the end of the first season, I'm done. I've, of course, shortened that to a few episodes now.
Way back, there was a halfway interesting NBC show, called Surface. It somehow has a 7.2 out of ten on IMDB, but all I can think of is that it had a whole season to tell us the mystery, and it got cancelled before they even cracked their knuckles to type that. So, why not just TELL A STORY instead of baiting one? Give us an arc instead of a never-ending incline. So now, whenever I see a show about a mysterious missing plane out of time, or anything where the buzz is, "what is the mystery this week?" I just skip it because it's simply NOT A STORY. It's not even a mystery. A good mystery has real clues and doesn't meander.
Bottom line: What does the antagonist and protagonist want? If NEITHER succeeds or fails or even just changes their goals, it's not a story. No one ever made a movie about Sisyphus.
@@samwallaceart288 One more thing: I think many people THINK they're writing The Green Mile. There was a mystery to WHAT John Coffey was and where he came from, but not WHO the man was, who compulsively wanted to help and only wanted to end all the pain he felt. His beginning may not have been told, but how often do we get to see a character from birth? We're introduced to most characters after they have developed into who they are, and despite mysteries, we see the story to the end. Take The Adjustment Bureau. Loved the story. It pulled the trigger all the way. It dove in, respected its genre, and left nothing hanging.
@@Sentinel3D Tremendous points. What comes to mind is how Godzilla (2010s with Bryan Cranston) differs from Pacific Rim. I wasted 3 hours of my life watching Godzilla continually cock block me from the action. Monsters fight, but the door closes so we can't see it; Godzilla vs monster; skip to the next day to see only glimpses of the fight from behind clouds of smoke as background to generic military b-plot; godzilla about to fuck shit up, main character is looking right at it, nothing is obstructing the pov's view of the scene -- CUT TO NEWS REPORT. I've never seen a movie not want to be a movie so hard in my life.
Compare that to Pacific Rim. Literally the first scene is a fight which is, get this, _shown on screen._ Pacific Rim is half the runtime, has zero pretense, and yet dunked on Godzilla so hard I almost forgot how ripped off I felt by the former.
Just _make the movie,_ or don't. Enough with the indecisive self-apologetic bullshit, life's too short for it.
Act1: Thesis (applies trusted strenght)
Act2: Antithesis (tries the weakness/opposite of strenght)
Act3: Synthesis (wins with a mixture)
Hegel
This is gold! the first 5 minutes gave me the inspiration to rearrange my second act, improving the flow and escalation of tension. Even my big event is more impactful.
I love how UA-cam suggested this video to me when I’m struggling with my 2nd act
I just hope she will write all her wisdom in a book one day.. waiting for that 😊
Shannan is so eloquent and explains things so clearly. Really enjoy videos with Shannan.
We agree!
Awesome. She really catches the feel of the story with structure and how it plays out for the audience. Glad she said "Trial and Error" instead of fun and games.
Thank you. Her delivery is so engaging I hung on to every word. I'm writing a memoir and these features are some of the best storytelling talks around. The diversity of voices is pure decadence...plz keep expanding 🙏🏾
In regards to memoir writing, keep an eye out for our full interview with Kim O'Hara that we are releasing tomorrow at 5pm PST.
Shannan has the clearest explanations ever! Thank youuuu! 👏😁👏
This video helped me to structure a pilot I am writing. As always you made good questions and the interviewed is great. Cheers from Brasil!
Cheers! Best of luck! 🇧🇷
Shannan is always on point, always giving sage and tactical advice!
I'm in love with this channel. Found it a couple of days ago somehow and I've been going through all those amazing people that dive into the mechanics of making a story happen. The people you would want with you to guide you in the process and tell you about the industry and the art. Thank you immensely, Film Courage, that's some solid content that will live long and will help so much people, me included !
This is so helpful! I tend to overpower my character by act 2, then the character gets boring by the 3rd act! Thanks again for the video!
Thanks James! Shannan has a lot of great tips and insights.
It’s important to have creativity but it’s even more important to understand HOW to use said creativity and how it plays into the story, the plot, the characters and the themes. You can’t squish in all these random ideas because A): It will confuse your story, the audience and yourself and B): Those ideas can be used in the future for another story you have! Don’t just waste it all on one thing and be done.
It is so refreshing during 12 hr writing days, to take a break and reboot by listening to such beauty in one's mastery, for she's intoxicating....... Does she do online classes?
She has a very refreshing point of view.
I would like to see a longer interview. 📺
Here is our first full interview with Shannan - ua-cam.com/video/Bp0pDjVxN9U/v-deo.html The full one for this second interview coming as soon as we can finish it.
Thank You ! 😄👍✨
As a hobby writer, i really appreciate these videos
So eloquently said, this condenses those concepts and solidifies them so beautifully. Thank you.
So well spoken and clearly explained, thank you so much!
her energy and the way she explains things is so beautiful 🥰
I love everything she is saying! At the same time this is the Problem! everything is A certain format , makes everything on Tv and movies Predictable ! Great interview Clip
I really like these talks with Shannan! Amazing. Keep it up!
Everything! Such great information!
OLD METHOD: Evolving characters move the growing, 'telling & showing' story. (Successful for thousands of years.)
1) Status Quo society of the Protagonist, in a growing story arch.
2) Disruption by Antagonist.
3) Protagonist attempts solution but fails, miserably and the future is in question.
4) Antagonist reigns.
5) Protagonist summons new courage and re-challenges Antagonist.
6) Final major battle, with either side barely winning... but usually the Protagonist
7) Ending of (some) ambiguity to a hopeful, but better future... or a warning of reoccurrence.
NEW METHOD: Simplistic, in a (only) showing story, that barely moves the static, 1 dimensional characters. (Sucks, but Hollywood can't understand.)
1) Senseless action of stupid Antagonist, that the audience/reader is told to accept as "misunderstood" and only forced into evil, usually by corrupted people in high-moral positions.(Government, Law enforcement, Military, Learning institutions, Mentor, etc.)
2) More and faster senseless action, but now of the perfect Protagonist, with even quicker cuts, hoping no one notices there's no story, just some ultimate goal. (NOTE: 1 and 2 are sometimes flipped, or a "misunderstood" anti-hero is sometimes used instead of Mr./Miss Perfect.)
3a) Producers/Writer introduces their personally held, real-life, myopic, political opinions as morally-superior fact in the movie/book. How we the viewer/reader must conduct our lives, and never argue against their narrative, or be considered stupid, evil, and wrong by them, even to the point of ostracization by threatening 'cancel culture'. (Fascism)
3b) Very brief, but over-dramatic speech of Protagonist's story goal, but mirroring exactly the Producer's/Writer's own political goals/views . (The viewer/reader just and must accept whatever they say as law!)
4) More senseless action, with invincible Protagonist and stupid Antagonist, but fighting to a draw.
5) Protagonist has to motivate a former fallen hero to help, but through their retconned castration.
6) Destruction to annihilation achieved by Antagonist.
7) Protagonist(s) wins at some forced-perspective high cost, and for forced emotional drama, then a new stupid evil is introduced in the movie's final seconds... ... ... or in the rolling credits.
Burn Hollywood... BURN!!!
I love the “trail & error/ complications” title for 2nd act 👌🏾
Oh my God! The first 2 minutes of this video has given me an idea to change my story at the midpoint. That was a great video, I love the youtube channel and the Clever and Nice Lady.
Good interview and insights
Very enlightening. Thanks a lot for sharing your knowledge!
Glad it was helpful!
Okay now I think I really understand what Act 2 is about. Others explain this concept in so vague terms, but I can finally see the pattern.
Well wasn’t *this* a great watch. Shout out to Shannan for delivering great insights. 👏🏾
Awww I love Shannan’s videos 🙌🏽🙌🏽🙌🏽🙌🏽🙌🏽
So many gems 💎💎💎
I myself am having a hard time returning back to being in front of my computer. Writers block has held me humble for a while all because I left a place that had my energy, my spark , etc.
Wow, that's too bad. You might've done something unusual or cool and now we'll never know.
@@MisterRlGHT It’s starting to come back to me slowly but surely. I am actually going to work on a project based on the Crusades and Dark Ages
@@GlennesEcho Do streams of consciousness everyday.
@@OjukwuIsaac Ok.Explain more!
I am an indie film maker and FILM COURAGE is my, class, college, community. Thanks so much.
Shannan E. Johnson is a master of scriptwriting explanation and perspective.
It could be battle of pride of the character with their situation that causes the dilemma.
You know, everyone is saying the same thing in different ways.. once you understand the basics, you're set & don't get into formula of all these... act 2 is nothing but a relationship draft approach.. the rest of it.. conflict, illusions, where after inciting incident to end of act 2.. is under relationship but I see many just focus on central character.. there are others and there's act 1 philosophical question.. nonetheless, don't fall in trap of formula screenwriting... & yes, everyone's talkin'about same things in different ways..!!
EDIT : it's my opinion though..
Very sound observations.
Dope info!
Ooh. She's Soooooo GREAT!!! 🤓 I want her to be my best friend 😃
Uncle Gus sounds like my dad when he's telling stories or jokes. He's all over the place and starts laughing so hard before he finishes you're left hanging, waiting for the punch line.
What do you like about this video?
Great insights and information in writing.
What I liked was Shannan emphasizing on how complications are needed in Act 2 of the story. Complications reinforce the stakes of the conflict, whether it be plot-based or character-based (ideally character-based; I’m a sucker for character-driven stories). An example of this is Luke Skywalker in Empire Strikes Back, who faces complication after complication. When he’s plagued by visions of his friends’ agony (possibly leading to death), he is compelled to pause his training and save them. And while he believes he’s out to save them, it’s revealed from his perspective it was all a trap. His friends escape on their own, but Luke is stuck in a battle with Vader - one which he loses spectacularly and finds out Vader is his father. Empire ends leaving the audience wondering how will Luke handle these complications. That’s what made Empire Strikes Back a masterpiece within the Star Wars saga.
Phone on 1% and cant find my charger so i only got to watch half lol
Video will still be here when you are ready.
Shannan always makes it seem so easy, even though we know it's not. But she makes you feel like you can do it.
She makes it seem so easy when it's not. I'm going to take her class.
Shannan Johnson is a treasure
This woman is a genius. Listen up kids
The intro just literally explained the whole thing...
One of the best ever..
Wow this was so informative
Should be must watch for screen writers.
We all know a " Uncle Gus" 🤣🤣
I have many stories for the movies and I'm a student from India... Is it necessary to write the script I can pitch the whole story... Please reply
Lots of sense in this.
this is great info, a little different way t look at it
She’s the best on FC
I'm still confused about how the mid-point works. Is it needed, and does every movie need to have one?
A midpoint is like a plot but more severe. A plot puts the hero in a certain direction to achieve a goal. The midpoint changes the journey completely and now there's a different goal.
The Hero's Journey is a 4-part journey because it deals w the mind (inner conflict) & body (external conflict).
Act I - Hero learns that these conflicts exist & that both mind & body need to change.
Act IIa - Hero takes his adventure half-heartedly, forced by outside forces. Same conflict w old mindset and old actions.
* Midpoint - Everything just got REAL.
Mind changes FIRST.
Act IIb - Hero is focused & trying intentionally to improve himself, forced by inner drive. Body changes.
Act III - Return home different in mind & body than before.
In the example here, mother is scattered in her attempts to get her child back. She doesn't truly believe they will kill her.
Midpoint - Child is dead.
Now she is superfocused and goes all Kill Bill on the entire gang.
Climax - Child is NOT dead. Rescue is successful.
Rocky III
Act I - Micky dies. Rocky loses.
Act IIa - Apollo trains unwilling Rocky.
Midpoint - "I'm afraid."
Act IIb - Rocky chooses to train.
Act III - Rocky wins.
@@QualityEJC I like how simply you've put that but, depending on the story you're telling, it may just be the _direction_ that changes and not the goal. The midpoint is where the hero realizes their plan isn't going to work.
Nice
Just made me rewrite in the midst of production. My story lacks structure but it's written and being filmed and most wont tell me...why..idk. However, I am my own worst critic...sooooo
One good exercise is, try to narrate your whole movie in a log line(2lines max). If you could do this, then atleast you have clarity on what you want to say in a film.
Uncle Gus is Jordan Peterson 😂🎉
NeFARious
no thanks to her advice
Can't you just sit down & write the story you want to write? Do & learn by it, ts all. What is all this babble?
You don't see the problem? ...?!? Helping the structure with someone else's structure? Why is everybody acting as all scripts should be confirmed by Disney... Any adults in the house? Do it Fn yourself. Two things only: grow up & make it good. Ts all.
Axed? Nope. This woman is a hustler, not a writer.
Shannan is a brilliant story analyst with some obvious hood roots. STORY is her expertise, not writing. Damn right she's a hustler. She's an executive who stands at the gate checking ID's making sure no bullshit structure scripts can sneak into production.
She has no idea what's she's talking about...