One way to approach writing from a structural perspective, is to understand the function of a number of must-have scenes in your story. One such scene is the Realisation Scene. In her book, Advanced Screenwriting, Dr. Linda Seger defines this important scene as ‘the moment when a character and/or the audience gets it’ – the ah-ha moment. It spins the story around in a different direction and is, therefore, also a structural turning point in the tale.
The Sixth Sense, The Fugitive, and The Green Mile
In The Sixth Sense, for example, this scene occurs when Dr. Malcolm Crowe (Bruce Willis) and the audience realise that he is dead. This changes the direction of the story in a major way. In The Fugitive, the Realisation Scene occurs when Richard Kimble (Harrison Ford) perceives that Charlie Nichols (Jeroen Krabbe) is behind his wife’s murder and the attempt to frame him for it. And in The Green Mile this scene occurs when Paul Edgecomb (Tom Hanks) realises that John Coffey (Michael Clarke Duncan) has a God-given power to heal.
After the Realisation Scene plays out, things cannot continue as they were. New plans have to be hatched and adjustments made in the light of new information. As in all well thought out structural turns, the effects is felt both at the level of plot, and on the level of character, causing the latter to grow or wilt depending on his or her strengths and weaknesses.
What’s Wrong With Mulholland Drive?
Occasionally, however, this moment of illumination is not immediately evident, something that Seger sees as a weakness. In Mulholland Drive, for example, Seger suggests that the audience needs an ah-ha moment, right before the Betty/Diane character kills herself, in order to grant the audience clarity. Whether this is true or not for a multiform film such as Mulholland Drive (Lynch would probably argue that he purposely chose obfuscation to deepen the sense of the unknowable), the fact remains that the Realisation Scene, in most conventional stories, is useful in helping to organise the plot around a central moment of illumination that changes the way the audience and the protagonist view the way forward, and as such, is a valuable addition to the writer’s tool kit.
The Realisation Scene comprises of an an-ha moment in which the audience and the protagonist understand the true nature of the dilemma. This is a game changer and alters the way the protagonist pursues the goal from that moment on.
For an expanded discussion of some of my views on writing, as well as one or two other matters, kindly visit: http://thorstonewell.com/2012/07/08/stavros-halvatzis-interview/
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