Tag Archives: Pinch

How to Avoid the Blank Page

The Blank Page

The Blank Page

In his book,The Screenwriter’s Workbook, Syd Field mentions that the great Irish writer, James Joyce, once said that writing is like climbing a mountain. When ascending the rock-face, all you can see is the surface directly in front and behind you. You can’t see where you’re going or where you’ve come from. Writing is a little like that. All you can see is the page you’re immediately working on.

Pantser or Plotter?

When we sit down to write a screenplay, novel, or short story we are faced with the daunting challenge of having to fill a blank page. Having a story roadmap helps us orientate ourselves and get us to our destination sooner — page by page.

Some writers like to plan the story meticulously before writing down a single word of the actual screenplay or manuscript. Others like to write from the seat of their pants — pantsers in colloquial speech. But even pantsers ought to have some idea of story direction prior to commencing the journey. Having a sense of the overall story’s structure, knowing how our story ends, for example, allows us to to begin charting the protagonist’s journey from page one.

Even more helpful is knowing what the midpoint or turning points are. This allows us even more freedom — the freedom to drop into at any point in the story and write from there. If we are feeling sensitive and soppy today, we might write up the love scenes of our tale; if, on the other hand, we are in the mood for action, the confrontational scene between the Hero and the antagonist might be more appropriate.

Left or Right Brain?

Sitting down to write a story from a structural roadmap, however, often changes the roadmap. Turning points, the midpoint, pinches, even endings, shift, breathe. The structure (essentially a left-brain activity) that we outline in the cool light of day mutates when we massage it back to our right brain and finally onto the screen or paper. Indeed, this is the most common reason pantsers give against pre-planingning story structure.

Yet, a changing structure need not be an argument for not having one at all. There is absolutely nothing wrong with going back and adjusting/rewriting our midpoint, or second turning point, or pinch, according to the new direction that may result from the actual writing of our tale. Indeed, this to and fro movement between our left and right brain hemispheres may help to integrate the writing process and make us more accomplished writers — with only proviso: when letting the muse go, let her go. Don’t put her on the leash of structure. But when she pauses to rest, by all means, look over her shoulder and let the left brain take over for a while. Ideally, this occurs after the first draft has been written, as I have mentioned in a previous post. But there is no reason to assume that we shouldn’t pause to catch our breath from the creative hurly-burly and ponder on the direction of our stories, at any time.

Summary

Having a roadmap for our stories, no matter how scant or vague, helps us to drop in at any point of our protagonist’s journey and write from there. When the muse changes our roadmap in the act of writing itself, simply go back and adjust the map rather than assume it had no value in the first place.

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Exploring the Story Network II

Network Connections

Network Connections

The main structural hoists between the 1st and 2nd turning points are: the 1st pinch, the midpoint, and the 2nd pinch. In this post, we explore the dynamic relationship that exists between these structures.

1st Pinch, 1st Turning Point, & Midpoint

The 1st pinch is a scene or scene sequence that occurs about halfway through the first part of act ii and the midpoint. It helps to keep things moving by propelling events toward the midpoint and the moment of illumination that occurs there. The 1st pinch feeds off the 1st turning point, reminding us of what is at stake. Its relationship to the 1st turning point, therefore, is not of one of surprise or deviation, but of reiteration. This is because the 1st turning point has already changed the story’s direction and the task of the 1st pinch is to keep the story on track by subtly and adroitly reminding us of this fact, not to surprise us by introducing yet another change in direction.

2nd Pinch & 2nd Turning Point

The 2nd pinch is a scene or scene sequence that occurs halfway between the midpoint and the end of act ii. As with the 1st pinch, the 2nd pinch keeps the story on track by revisiting, through a single scene, or scene sequence, the (changed) concerns of the story and propels it towards the 2nd turning point. The relationship between the 2nd pinch and the 2nd turning point, however, is now one of deviation and surprise, since the task of the 2nd turning point is to spin the story around in a different direction by introducing a new challenge, or by deepening the existing one in a game of rising stakes.

1st & 2nd Pinch Symmetry

Sometimes a strong symmetry obtains between the 1st and 2nd pinch. In his book, The Screenwriters Workbook, Syd Field points to an example of such symmetry in the film, Thelma and Louise. The 1st pinch occurs when the two girls pick up J.D. (Brad Pitt) who then proceeds to steal their money (at the Midpoint). The 2nd pinch occurs when J.D. is picked up by the police and rats on the two women by telling the cops that the women are headed for Mexico, thus sealing their fate.

Summary

Pinches 1 & 2 are scenes or scene sequences that keep the story on track by reminding the reader or audience of the central concerns of the story initiated by the 1st turning point. The relationship of the 1st pinch to the 1st turning point is one of reiteration; that of the 2nd pinch to the 2nd turning point is one of surprise and deviation.

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The Nuts and Bolts of Story Structure II

This is the second and final installment of The Nuts and Bolts of Story Structure.

Must-Have Scenes

Must-Have Scenes

Second Pinch

As mentioned previously, pinches are scenes located within act II that remind us of the major concerns of the story. Their main propose is to keep the story on track. If the first pinch in The Matrix has Neo fail to leap successfully to the adjacent building, the second has him reel in a helicopter via an attached cable. The second pinch is related to the first, then, in that it revisits and develops the concerns posed by the first.

The Second Turning Point

As with the first turning point, this structural device turns the story around in an unexpected way. Up to now, the Hero has accepted a challenge or opportunity, acquired a goal, grown through moral insight, and pressed forward towards achieving that goal, despite mounting obstacles. Now, a new situation arises – usually prompted by antagonistic forces – that ups the stakes, forcing a reassessment of, and adjustment to, the original goal. The second turning point in Unforgiven occurs when William Munny learns that Ned Logan (Morgan Freeman), his best friend, has died at the hands of the sheriff; Munny, who has already fulfilled his contract, has no choice but to expand his goal and seek revenge on all those who participated in Ned’s death.

The Climactic Scene

This scene, also known as the must-have confrontational scene, pits the Hero and antagonist against each other in a fight to the finish (either literally, or metaphorically). Its outcome establishes the theme of the story – for example, that good triumphs over evil. In The Matrix Neo is resurrected through the power of love and faith, symbolised by a kiss.

The Resolution or Denouement Scene

In a typical conventional story with an up-ending, the Denouement Scene ties up loose ends, answers earlier questions, and unites the Hero with his community and love-interest. In a down-ending, the Hero is defeated in some important way – he may, for example, win the battle but lose the war, lose some moral or spiritual aspect of himself, fail to win the girl, leave questions unanswered and issues unresolved. Here, the theme may well be that evil triumphs over good, or that good guys finish last.

The Realisation Scene

I’ve left the mention of the Realisation Scene (see past post) till last, not because it necessarily occurs at the end of the story, but because it is a scene that injects new information about the plot – it allows the Hero to get at the truth. Most typically, the Realisation Scene (and its decision/action consequences) occurs at the first turning point, or the midpoint, or even as late as the second turning point, although this is less common, since it places the engaging and dynamic realisation-decision-action cluster towards the end of the story.

Summary

Story structure comprises of certain must-have, or master scenes, which form the undercarriage of the entire tale. Additionally, linking and transitional scenes abound. Other important scenes include the realisation-decision-action cluster, which can occupy any one of several points in the story, depending on the individual needs of the story itself.

Invitation

If you enjoyed this post, or have a suggestion for a future one, kindly leave a comment and let’s get chatting. You may subscribe to this blog by clicking on the “subscribe” or “profile” link on the right-hand side of this article. I post new material every Monday.