After you've determined what will happen to your main character in the climax and how your story will open in relationship to the climax, you really have the plot structure or spine of your story. This is the skeleton that holds your entire foundation together. The spine of your story is your structure that goes in a straight line from the opening to the climax. Imagine an old fashioned clothesline which you're hanging your clothes on so they'll dry. Now visualize every scene you write as being attached to the spine of your story like each item of clothing is attached to a clothesline. Without the spine or structure you have no story, just unconnected scenes which become episodic. You need to understand the importance of finding the spine of your screenplay. It is the foundation of your well-structured writing.
His wife took him by both shoulders And tried to shake some sense into him. He had not spoken to her since August And the nights were getting cold and long. His fingers trailed down her spine As she turned away and left the house. The trunk was packed already, the children On a bus. He waved from the porch as her car Disappeared. He turned around and smiled Into the almost empty room, TV With a blown tube and a blank face Like his own, but inside, a storm of dreams
Whenever I look at a book on the shelf, my eye automatically goes to the little imprint on the spine that says who the publisher is. Sometimes, though, be aware that the name listed may be an imprint of a larger house. For example, Spectra is the science fiction imprint for Bantam. To find the publishing house, turn to the copyright page which will usually have the publisher's address listed. Imprints are the way a large house breaks down inside of itself to have various smaller parts. Also, some famous editors, such as Nan Talese, have their own imprint.
Whether you opted for index cards or the treatment approach, and it took you twenty-four crazed and manic hours or months of painstaking research, you've now arrived at the moment when you can actually start writing the screenplay. A shiver goes down your spine, whether from terror or excitement, you're not sure.
He was not accustomed to having his questions ignored. Elverda watched his face. Sterling was as handsome as cosmetic surgery could make a person appear chiselled features, earnest sky-blue eyes, straight of spine, long of limb, athletically flat midsection. Yet there was a faint smell of corruption about him, Elverda thought. As if he were dead inside and already beginning to rot. Yet she could not resist the lure. Straightening her spine, she stepped boldly around the bend in the tunnel.
Every scene you include must relate to the spine or storyline of your script. The scenes in your outline describe the essence of your material and create the shape or form of your structure. No scene should be included in your structure unless it serves the overall purpose. Setting up your scenes in this manner, helps to develop a fast-moving, workable plot structure.
Consider this description by Laurence Shames of a silly walk sketch, in which John Cleese portrays a very ordinary Englishman on his way to work at a government office. Suited, hatted, carrying briefcase and cane, the Silly Walker faultlessly conforms to the type of the proper civil servant. Except that something is very wrong with the way he moves. He suddenly swoops down from his enormous height like some primeval, featherless bird now he dodges, his spine contorts, his feet perform a going-nowhere shuffle now his knees buckle so that, apelike, his hands are nearly dragging on the ground. So far, so good in terms of sheer physical funniness, the sketch is virtuosic, it can have you rolling on the floor. But the kicker is the Silly Walker's face. It is expressionless, implacable, smug. The fellow is a self-respecting Briton on his way to his perfectly acceptable job, and never in a zillion years would it occur to him that he's ridiculous.
If you have never tasted a real apple, you will never write about an apple that is real. If you have never felt an icy November rain soak through your clothes and drizzle down your spine and leave your nose cold and dripping and your eyes half-blind and blinking like defective windshield wipers, your characters will only be able to show readers the world from the inside of a heated automobile, or through the plate-glass window of a suburban house. If you have never lived, how are you going to write characters that live
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