Although each mentor emphasises different aspects of the screenwriting craft, the five mentioned in this post adhere to a similar structural approach that agrees with the well known film critic John Egan’s definition of a conventional screenplay telling ‘a story that involves a single plot, which entirely revolves around a single protagonist who is supported, opposed and offset by a cast of secondary characters.’
Of the five mentors mentioned here, perhaps only Christopher Vogler offers a somewhat different inflection at first glance – although even he employs a structural template in his use of the quest as a generic structure – but more of that later.
Simplifying for the sake of brevity, one may regard Syd Field’s contribution as focusing primarily on the structure of the main plot centered on a protagonist who struggles to achieve his chosen goal against mounting obstacles. Field, who claims to be one of the first mentors to package Hollywood codes and conventions into a single paradigm, asserts in The Screenwriter’s Workshop, that ‘before you can express your story dramatically, you must know four things: 1) the ending, 2) the beginning, 3) Plot Point I, and 4) Plot Point II. These four elements are the structural foundation of your screenplay.’ He later adds a fifth element, the midpoint, which he defines as ‘a link in the chain of dramatic action.’
Additionally, the midpoint ‘expands the character’s depth and dimension’. Field sees the typical film as comprising three acts, balanced by the midpoint, which breaks up the middle act into two units roughly of equal length. Each act is about 30 pages, or 30 screen minutes, in length and focuses on the vicissitudes of the protagonist’s fortunes.
Linda Seger follows a similar line, but offers more detail about subplots. In Making a Good Script Great, she writes that ‘subplots give the protagonist an opportunity to smell the flowers, to fall in love, to enjoy a hobby, to learn a new skill.’ Emphasising that the function of subplots is to support and add density to the main plot, Seger stresses that subplots have their own beginning, middle, and end and are most effective when they intersect and connect with the plot line. Importantly, subplots carry the theme of the story. But no conventional story is possible without a central lead.
Michael Hauge lays down five essential requirements for crafting a successful protagonist or Hero, the inclusion of which he sees as the first essential element of a well-crafted conventional story. In Writing Screenplays That Sell, Hauge asserts that the Hero, as the vehicle that drives the story forward, must allow for audience identification, pursue a clear and visible goal, face seemingly insurmountable obstacles, and show some sign of courage.
Interestingly, Hauge does not place character growth, which he defines as the ‘character’s search for courage [which] results in greater self-knowledge, maturation, or actualization’, within the first five essential elements of his story-concept checklist, although he does include it at number thirteen, after high concept, originality and familiarity, subplots, genre, medium, and cost, and before theme.
Lastly, Hauge defines theme as ‘a universal statement about the human condition that goes beyond the plot. It is the screenwriter’s prescription for how one should live one’s life.’ Theme, then, is generated from the premise or argument of the story within a wider context of received moral and ethical values.
Robert McKee’s Story, in addition to concepts already explored above, includes a survey of major non-canonical forms which he labels ‘anti-plot’ and ‘miniplot’, as well as a detailed examination of genres. McKee’s definition of the following terms is also useful: The Premise is that which shapes the dramatic context of the story by asking an open-ended question – ‘What would happen if…?’; a beat is ‘an exchange of behaviour in action/reaction’; a scene is ‘a story event, usually in continuous time and space’; an act is ‘a series of sequences that peaks in a climactic scene which causes a major reversal of values’; the inciting incident, as ‘the first major event of the telling, is the primary cause for all that follows’; and the ‘obligatory scene’ or crisis, is ‘an event the audience knows it must see before the story can end’, which most often takes the form of a final confrontation between the protagonist and antagonistic forces.
Christopher Vogler, by contrast, employs a mythological approach in his thinking, inspired by the work of the American mythologist Joseph Campbell, defining the screenplay in terms of a quest. In A Hero’s Journey, Vogler describes each stage of the narrative as a journey undertaken by the Hero as he struggles to achieve his goal.
Thus the Hero starts in the Ordinary World, receives a Call to Adventure, which initially results in The Refusal. He typically meets with The Mentor, Crosses the First Threshold, is Tested by Enemies and assisted by Allies, approaches the Innermost Cave, suffers an Ordeal, is Rewarded, begins his Journey Back, is Resurrected, and finally Returns with The Elixir. In doing so, he is aided and impeded by a host of archetypal characters (or combination thereof); namely, the Mentor, the Threshold Guardian, the Herald, the Shapeshifter, the Shadow, the Ally, and the Trickster.
This approach to storytelling has much in common with Vladimir Propp’s description of the fairy tale put forward in his Morphology of the Folk Tale in terms of character function. Although some of Vogler’s offerings seem ostensibly different from other mentors, his definition of character and character action, in adhering to a predetermined template based on structuring narrative elements according to function, remains much the same as Field’s, Hauge’s, Seger’s, and McKee’s.
Syd Field, Michael Hauge, Linda Seger, Christian Vogler, and Robert McKee are five important story mentors who have packaged much of Hollywood’s conventional wisdom into their work. Collectively, they offer new and established writers an opportunity to deepen their knowledge of the writing craft.
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