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A script is a metaphorical journey between two moments in
time. It is left to the writer to select which landmarks –
or "points of interest" – to include along the way.
Ideally every scene should be a "crossroads" which turns
the story in a new and interesting direction. The key questions
to ask are the same ones that apply to the larger units of structure
® the Act and The Story:
What is the scene about? There is usually
an answer which can be stated in simple physical terms.
Who drives the scene? What do they want? (to
do -) This identifies the scene's objective. Once identified,
we know where the scene "officially" begins. The last
essential beat will be the success or failure in achieving this
objective. We can change these "goal-posts" as long as
we realise that, by doing so, we re-define what the scene is about
What are the sources of antagonism? What do
they want? (to do -) Are their objectives opposed? If there
is active opposition to the Protagonist or Person Driving the Scene,
the conflict will inevitably be stronger. Ideally opposition should
be coming from more than one source (see "Levels of Conflict"
below).
What else is the scene about ? Assuming
that the drama is happening at more than one level, what is going
on at other levels? This is the writer's main opportunity to illuminate
and surprise.
What has changed between the beginning and
end of the scene? Ideally the "prevailing values"
at the beginning of the scene should have altered in at least one
respect by its conclusion. (ie. A shift in the balance of power).
Identifying the "arc" of a scene will make you aware of
the "turning point".
How has the scene moved the story forward?
Has the story been "turned" in a new and interesting direction?
Does the scene justify its existence? Is everything in it necessary
to the story?
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