Interesting to note how Shelley's iteration of the sequences, the very way she describes them, suggests at key points some sort of emotional development in the plot: Shelley's Feeling Pressure, Feeling Each Other Out, Final Cohesion to Paul's. This is important because plot points have no meaning unless they are tied to what's going on with the characters involved in the action. It really doesn't matter what language system you use. Paul's is perfectly fine, for example, reflecting a bit more of the Hero's Journey jargon. But however you choose to talk and think about sequences, do not forget what is going on with the characters in terms of their psychological journey. This dovetails into our discussion tomorrow: Transformation. General question: Do you use a sequence approach to crafting a story and writing? Why? How do you find it helpful?

Thanks, Scott. Another thing I've noticed when I approach narratives is that whether a key actor in a setting is a person, an object, a locale, they're almost introduced as one would introduce an instrument or a short musical score within a larger symphony. (I'm not a musician, so I'm sure I'm trashing metaphors here). They give a unique tonal texture that should be introduced with respect at the beginning. Later, I love seeing how these instruments are brought back, given a larger voice, or shown to take over/transition from one another. (Joe speaking up--in Farsi--literally backing-up the plan and the team.) It creates a beautiful narrative rhythm I find psychologically appealing. Or, another analogy I use with creative partners is knitting-- you decide on a shape and build, looping into a distinctive pattern choice--but the entire composition isn't clear until the end. Formula and mapping is required, but a natural, lyrical nature is allowed to flow on it's own. Makes ending up at the conclusion much more satisfying. Writing isn't a math equation, it's the entire picture on the other side of the "=" sign.

When I stumbled upon the 10-minute "reel" schema, it was quite an epiphany. I have used it ever since to organize my stories. Trying to map out 30 pages of story between Crossing the Threshold into Act 2 and the Mid-Point -- that's a lot of terra incognita to fill in with plot and characters. But the "reel" schema enables me to break the task down into less daunting stages. I don't have the kind of inner hero who can say (a la Campbell) "a hearty yes to the whole journey" But at least with this method, I can get my inner coward to say mutter half-heartedly, "Yeah--I can do this much right now." :-)

FWIW: using the "reel" scheme, here is a first pass of how I would break out sequences as if the movie was a reel serial, like the kind that use to play in early movie theaters. Serials -- then and now -- end on a cliff hanger beat, raising a dramatic question to hook the audience to wait in the dark for the next reel (then), or tune in next week for the next chapter (now). And that's where I looked to determine the end of each sequence (except the last, of course). Notice that I made the call to break out the actual escape into 2 sequences, the first ending on the cliff hanger question of whether Siegel will answer the phone. Others might choose another cliff hanger moment -- there plenty of them during the escape. The important point, it seems to me, is one feature of an effective sequence is that it ends on a cliff hanger beat, a complication or question that raises suspense, makes the audience want to know what happens next. And the next sequence should answer that question... and raise another. (Of course, there are also long-term questions raised in addition to the short-term cliff hanger questions. Questions that won't be answered until the last act. Like, the dramatic question raised at the mid-point after Mendez gets the green light: will the "Argo" plan work?) Reel #1(PP1-10): The American embassy in Tehran is occupied.   Cliff hanger question: What happens to the 6 employees now? Reel #2 (PP10-26): Ticking Clock Forces Action.   Cliff hanger question: Can someone come up with a rescue plan before it’s too late? Reel #3 (PP27-32) A Man with A Plan.   Cliff hanger question: Can Mendez recruit people and assemble a production company and movie project? Reel #4 (PP27-43) Putting Together a Team and a Movie Project.   Cliff hanger question: Can Mendez and sell “Argo” to the industry – and to the CIA? Reel #5 (PP43-56) Making the Sale.   Cliff hanger question: Can he get into Iran as a "Canadian" producer? Reel #6 (PP56-66) Crossing the Threshold into Iran.   Cliff hanger question: How will he rally and prepare the employees? Reel #7(P66-78) Plans, Doubts and Escalating Jeopardy.   Cliff hanger question: Will the employees, particularly Joe, be able to play their roles? Reel #8 (P78-87) Successful Test Run.   Cliff hanger question: Can they escape before the Iranians close in on the house? Reel #9 (PP87-95) All is Lost: Washington pulls the plug.   Cliffhanger question: What will Mendez do now to save the day, save the employees? Reel#10 (P96-107) Approaching the Threshold to Freedom.   Cliffhanger Question: Will Siegel pick up the phone in time? Reel#11 (P107-P122)The Flight to Freedom.

Shelley, I love the musical reference as it's a really interesting way to look at characters, whether they are in crescendo or decrescendo mode for this scene or that, what 'notes' they hit relative to their persona, etc. In fact, I use music in reference to screenwriting in other ways. For example, I reference how three act structure is like sonata form. In the Core class I teach on Theme, I make the point that stories, like songs or compositions, will have multiple themes and recurring motifs. Whenever we can use something as a metaphor to help illuminate understanding about the craft, it's a good thing. Thanks again for your sequence breakdown, too.

Paul, I think that's one of the main virtues of working with sequences: basically demystifying the writing process by breaking down the task into bite-sized chunks. It's not 120 pages. This week, all I'm focused on is this sequence which should be about 12 pages. Great way to deal with an 'inner coward'.

Paul, you sound like you've taken my History of American Screenwriting class because I talk about precisely that fact: How early filmmakers - in dealing with the limitations of having to change reels - would create a cliffhanger at the end of the reel to give the audience something to mull over for the couple of minutes it took the projectionist to swap reels. Naturally this led writers to create sequences 10-15 minutes in length that had a beginning, middle and end. This dynamic goes along with my scene-writing mantra: "Every scene should answer a question... but then raise another one." The latter part of that is the same type of thing, to create a pull toward the next scene. Sequence cliffhangers provide the same psychological function. Your take on Argo is excellent, illustrating the 'cliffhanger' dynamic beautifully. I hope you don't mind if I feature that in an update of the original post?

Actually, Paul, I may use your take for an individual blog post tomorrow. Thanks!

Scott, However, you see fit. The general technique of thinking of sequences in terms of reels had been simmering in my mind for some time, but this exercise in spending quality time on specific scripts suddenly brought into focus the use of -- the importance of -- ending on a "cliff hanger" beat. My thanks to you for proposing this exercise and your generous support on behalf of those of us struggling to master the craft of screenwriting.

By the way, the enduring use of what started out as a practical necessity to deal with the technical limits of early film projection suggests to me that, coincidentally, there was -- and remains -- a vital psychological necessity for constructing sequences in "reel" terms.

Thanks, Paul. Look for the post to run tomorrow at 6PM Eastern. If we can continue this level of discourse for the duration of this series, I think we can generate not only some deep insights into screenplay structure, but also create another archival resource of significant value to the online screenwriting community.

EVERYDAY P1-11: Point of attack: The embassy is occupied. Six employees escape. UNTIL – UH,OH… P11-16 Ticking Clock forces Action: The Iranians are re-assembling shredded documents, will soon know who escaped. B/C THAT… P17: The Call to Adventure: Mendez is invited to the meeting to discuss rescue options. P29-31: Establishing the Objective Goal: Mendez proposes the cover story of making a “Canadian” movie in Tehran. EVERSINCE…EVERDAY P31-40: Crossing a Minor Threshold: Mendez goes to Hollywood to recruit allies and find a script. P41-49: Minor Test of Objective Goal: Mendez and his Hollywood allies stage a PR event to make the project look credible. UNTIL FINALLY… P50-56: The Lock In: Mendez gets the green light to proceed. EVERSINCE…EVERYDAY P57-66: Crossing the Major Threshold to the Innermost Cave: Mendez arrives in Tehran. P67-78: Rally and Rehearse: Mendez meets the group, gives them their “movie” roles. P78-89: Major Test of Objective Goal: The group convincingly “scout” for the “movie”. UNTIL – UH, OH… P90-94: Major Reversal of Fortune: Washington calls off the rescue. B/C THAT… P95: Defying the Gods and the Odds: Mendez decides to go ahead anyway. EVERYDAY….EVERSINCE P96-114: Escaping the Innermost Cave: Mendez takes them to the airport… and eventually all take off on the jet. UNTIL FINALLY… P115-116: Objective Goal achieved: Out of Iranian airspace, Mendez drinks to success. AND EVERSINCE… P116-122: Catharsis and Denouement: Celebration and final payoffs.

I tried fitting pgronk's version into Pixar's story rules #4. I know it's a HJ term, but what is a "threshold" exactly? Appreciate it if anyone can clarify that for me.

First off, John M, thanks for your contribution. I like what I'm seeing here: Writers assimilating a variety of language systems and paradigms, then adapting them per their own sensibilities. That's the way it should be. Formula should NEVER trump story. Re threshold: Campbell talks about them as any point at which the Hero crosses from a known point of existence into an unknown point. That known point can be something the Hero has come to know as they journey through the New World, at first it can be an unknown. So you can literally look for things like doors, rivers, barricades and the like demarcating this place from that. That is a threshold. Psychologically and symbolically, each threshold represents an opportunity to turn back. The unknown is always a threat, the shadow of danger and death looming there. It also represents the path forward toward whatever goal the Hero has. There will often be threshold guardians, adding another layer of complexity to the Hero's task. If you think about The Lord of the Rings, there are PLENTY of thresholds there. River crossings. Cave entrances. Pubs. Castles. BTW thresholds need not be physical, they can be psychological whereby a character has to overcome an internal barrier. But most often with movies, being primarily a visual medium, thresholds do have some physical component. If anyone else has any thoughts or insights on thresholds, please feel free to comment.

Everything that Scott said. In addition, I look at crossing a threshold as entailing a violation of a rule, a law, a convention, an order, a habit. The main character is usually constrained, oppressed by the status quo at the start of the story. It is the status quo that prevents him from accomplishing anything, from developing psychologically. Well, what maintains the status quo? The rules, the laws others have made, that the protagonist is expected to follow -- and usually does out of habit . I like to envision the first threshold as a barbed wired fence with a sign that says "No Trespassing" in big letters -- and "violators will be severely punished" in smaller print (that the protagonist usually ignores or discounts). Other thresholds the protagonist crosses after that I envision as mine fields and by then the protagonist realizes he's not just trespassing, he's putting himself -- and others -- in mortal peril. The first threshold that Mendez crosses is to go to Hollywood to make a bogus movie. He's not violating a law, but he is in violation of the conventional -- Mendez is thinking and acting outside the box. The second threshold, flying to Iran posing as a Canadian citizen, is a clear violation of Iranian law. Before Mendez can escape across the second threshold --- which is now a lethal mine field -- he must trespass a psychological threshold. For 3/4 of the film, Mendez has been a dutiful civil servant, following orders, getting permission for his ideas. But when Washington tells him to shut down the rescue, he violates his training, his orders, his habitual way of acting and goes ahead with the escape -- - which is why I described it as the "Defy the Gods and the Odds" moment.

Breaking this script down, there were so many single shot scenes, quick cuts. But Shelly's sequence narrative gives a great, high level perspective, and a new look at the construction.

Great analysis pgronk. I'm in total agreement about the sequence approach as well. When I started learning about it it really felt like a revelation, like where has this been my entire life? I don't have time to read the script this very moment but one thing I remember that goes hand in hand with the sequence approach is use of motifs. You can really use them to your advantage, punctuating the end of sequences, intertwining them with future scenes, using them as plot devices to display character as well as for setup and payoff, and on and on. Off the top of my, I remember Affleck smoking cigarettes at various points throughout. If I get time I could maybe check to see if those are significant points in the plot (if they're even in the script), if they correspond with different points in each sequence, demarcating character arc and so on. I noticed this same thing watching Nightcrawler this past week. The action (this time, watering a plant instead of smoking a cigarette) isn't very significant. It doesn't change and isn't an integral aspect of the plot, but it's steady and staggering throughout, and at least seems to delineate between one sequence and the other.

Your additional analysis of Argo, Paul, provides deeper insight into the concept of thresholds. Notice how each example you cite involves a choice. And each of them acts as a sort of bridge in Mendez's psychological journey so that when he's confronted by The Big Threshold -- shut it down! -- he opts to defy authority. This circles back to an earlier point: At the most fundamental level, movies pose the question, "Who are you?" Thresholds serve an important function in that regard in that they compel characters to act based on where they are in that process of identifying their Self. And that right there is a perfect example of how Plot must be tied to Character... or in my way of thinking, Plot arises from Character. We will get into this in today's discussion about Psychological Journey, but from a meta storytelling standpoint, the events that happen in Argo all serve the characters and their metamorphosis. Thresholds act as key transition points in that process: Go forward... or go back? Who are you...

Kalen, sounds like you would love the content I dig into in my Core: Theme class. Here's a taste from my lecture on Theme as Motif. Motif: “A recurring subject, theme, or idea, especially in a literary, artistic, or musical work.” Whereas a talisman is a physical object that takes on symbolic or emotional meaning, motifs are distinct in relation to screenplays in that they are more conceptual in nature, falling into three categories: • Dialogue (words) • Music (sounds) • Visual (images) Motifs are not only recurring narrative elements, but also ideas that convey their essence in a compressed form. If they appear as dialogue, they are typically short and to the point. Music, simple and memorable. Visuals, minimal and graphic. We can see an example of motif as dialogue in Shakespeare in Love: Q: How does it turn out? A: I don't know. It's a mystery. This recurs 4 times, three times answered by Henslowe. The last time an exchange between Viola and Will. The first three times, it is to comedic effect. The last time, it is dramatic in nature, even heartbreaking. So in effect, this motif is its own little subplot with its own mini-arc. Moneyball offers an excellent example of motif as music with the song Billy's daughter sings twice. Once in part in the music store, the second time on the CD he plays in his car when trying to decide whether to relocate to Boston for a dream job with the Red Sox or stay in Oakland. Here is the verse of the song: I’m just a little bit caught in the middle Life is a maze and love is a riddle I don’t know where to go, can’t do it alone I’ve tried And I don’t know why Here is refrain: I am just a little girl lost in the moment I’m so scared but I don’t show it I can’t figure it out It’s bringing me down I know I’ve got to let it go And just enjoy the show oh oh oh Just enjoy the show oh oh oh The song is perfectly tied to key themes in the movie, even to the point of the reference to "the show": That's how baseball players refer to the Big Leagues. As far as motif as visuals goes, here is an extended excerpt from my Core: Theme lecture: One of the best examples of visual motifs is the Pixar movie Up. There are many of them, but let’s focus on just one: Cross your heart. Here are key parts of the movie where this visual motif is used: 00:05:00 – 00:07:10: Carl in his room at night with broken arm. Ellie shows up with his balloon and shares with Carl “My Adventure Book.” [“Cross your heart!”] Her goal: To go to Paradise Falls. [6:35: “Only I just don’t know how I’m going to get there.”] Carl sees his balloon. “That’s it. You’ll take us in a blimp. Swear you’ll do it. Cross your heart. Cross it!” And Carl’s first word: “Wow.” 00:07:10 - 00:11:30: Carl and Ellie’s life together montage. Key plot points: (A) Wedding. (B) He gets a job at a zoo selling helium balloons. (C) They want to have children, but find out they can’t. (D) Set sights on Paradise Falls – “Carl sets a JAR on a table, “Paradise Falls” written on it. Ellie drops in a few coins. She looks at Carl and crosses her heart. Carl crosses his. [Script, P. 12]. Those plans laid aside due to a series of financial setbacks. (E) Now old, Carl plans to surprise Ellie with tickets to go to Paradise Falls, but Ellie dies. NOTE: Carl has made a promise [visualized by crossing their hearts] to Ellie to take her to Paradise Falls because of her childhood dream of building a clubhouse right next to the falls. Major Plot Point: Ellie dies. How to fulfill that promise? 00:19:25 - 00:20:25: Getting his suitcase down to pack for the move to the retirement home, Carl finds Ellie’s “My Adventure Book.” He hits the “Stuff I’m Going to Do” page, sees the photo on the mantel of young Ellie, then her painting of her clubhouse atop Paradise Falls, considers the brochure for the retirement home, and staring at the painting of Paradise Falls, Carl crosses his heart – he’s made a decision. The story transitions to South America: 00:46:15 - 00:49:10: That night, the four [Carl, Russell, Kevin, and Dug] prepare to sleep in the rain. Russell fails with building a tent, then confesses he barely has a relationship with his father. “But he promised to come to my Explorer ceremony to pin on my Assisting the Elderly badge. So he can show me about tents then, right?” And now we know why this whole thing was really so important for Russell: Not to be a Senior Wilderness Explorer, but to win the attention of his father. Then Russell asks Carl to promise to take Kevin with them. “Cross your heart?” NOTE: Bonding with Russell signifies a big moment in Carl’s emotional reconstruction. The fact that he makes a promise and crosses his heart evokes the memory of Ellie. In effect, Carl’s heart, which was broken when Ellie died, is being revived through his growing connection to Russell. 01:10:20 - 01:13:30: Now atop Paradise Falls, Carl enters the house. It’s a mess – just like his dreams / goal. Seeking solace, he sits in his chair, next to Ellie’s chair, and pulls out “My Adventure Book”. When he comes to the “Stuff I’m Gonna Do” page, at first he is crushed. But then sees that she filled in the book with photos and memorabilia from her marriage with Carl. Then a message: “Thanks for the adventure – now go have a new one. Love, Ellie.” In effect, she has given Carl a benediction, freed from the burden of her dreams as his goal. Picking up Russell’s merit sash, Carl crosses his heart. 01:13:30 - 01:14:40: Carl exits to find Russell floating in mid-air, connected to a bunch of balloons. “I’m going to help Kevin even if you’re not.” Using a leaf blower as propulsion, he zooms away. Carl tries to lift the house, but it won’t raise up. Frustrated Carl tosses a chair off the front porch – which gives him an idea. He throws everything inside the house out, reducing the house’s weight so it can fly away. NOTE: What does it mean symbolically that Carl throws away all his (and Ellie’s) stuff? That he has taken up Ellie on her benediction: “Go have a new one [adventure]”. Again a sign of how the transformation-journey has impacted Carl. At one time early on, he beat a guy over the head who was messing with his mailbox. Now he throws everything he owns aside – to go help Russell [per his pledge signified by crossing his heart]. This simple visual image, written as a recurring motif, underscores one of the key themes of the movie: How Carl moves from a man just living out the string of his days, symbolized by his attachment to his deceased wife, to a man revitalized and embracing life, symbolized by his connection to Russell, that transition manifest in the evolving meaning of crossing his heart. So yes, motifs can be of huge value in working with a story's themes.

Nora, hence the value of analyzing a script from various perspectives. Think camera shots: Close-Up: Scene-By-Scene Breakdown. Medium Shot: Major Plot Points. Wide Shot: Sequences. There are SO many reasons why we NEED to read scripts. This type of analysis is a big one.

Choice: another key word. It seems to me that ideally the protagonist should never be pushed across a threshold solely by circumstances or dragged across involuntarily by other people. There ought to be a beat where he chooses to go across the threshold of his (or her) own volition. Or at least a beat where he makes a choice that determines whether circumstances or someone else will hurl him across a fateful threshold. As in the movie "Gladiator". After the assassination of Marcus Aurelius, Maximus is given the choice: take Commodus's hand, swear obedience and allegiance to him. The safe, the expedient choice for Maximus to make would be to take the usurping Emperor's hand, bide his time to retaliate. A whole different plot. But because Maximus chooses not to take the hand, Commodus orders the executions that hurls Maximus involuntarily across the threshold from Rome's greatest general to an enslaved gladiator. The plot arises from Maximus's character.

Another great example: Katniss Everdeen. The plot could have been constructed so that she was chosen on reaping day, forced across the threshold into the Hunger Games without any choice in the matter. But she chose to volunteer, to take the place of her younger sister. As no other sibling had ever done in District 12 in the 74 year history of the games. If she is a victim of circumstances, she is a proactive one, not passive one. Her choice to sacrifice her life, if necessary, in her sister's place instantly makes her a hero the audiencel roots for. Her choice determines the plot of the movie and the sequels.

Scott, this has been a fantastic line of conversation--I hope we haven't derailed your agenda too much! I have just come off of a bear of an adaptation where I was attracted, first and foremost, to the characters. The core story was already there, so I found my spark of inspiration in back-story, bios, context, and relationships. So, while I had my emotional plot points mapped-out from day one, my first-round BList reviewers could tell. Great marks and praise on characterization and dialogue, but plot and storyline were just run-of-the-mill. So, went back and examined my structure from a narrative standpoint. We'll see how the next round of reviews go... As an author I get too attached to my subjects, but in my (real/paid/other) profession I have to deal with a public audience--the payoff, the take-away message, the tone, relationship, and experience my content creates with them. So, I started drawing on input and feedback from my other career training. A lot of really interesting work has been done in educational psychology on the role of curiosity as a cognitive and intellectual motivator--specifically, curiosity emerging when one become aware of a "knowledge-gap:" where an individual becomes aware of a larger world of information and mystery they have yet not tapped. Once knowledge-gap/curiosity appears, they're motivated to explore further... a lot like P's reels and cliffhangers. Another has been looking at anthropology's work on liminality and the heightened state one stands in when crossing through thresholds....getting to the last few posts in this feed. Now, ironically, I'm working on another adaptation, where the concept and story are where my passions live, and I'm having to build-up the characters I need to make this universe function. Here, I find I have to fight to remind myself to make my plot points about relationships--as otherwise I have blank scenes where, somehow, 4 people have to get from Act 3 to the finale.... but how? I have plot points that help my story cross over from point A, to B, to C.... but I need to go back and paint-in the motivations, curiosities, and states of mind that bring these personalities to choose these actions. Again, thanks you guys for a great, great conversation!

That's precisely right, Paul. Even if the Protagonist is, as Campbell suggests, a 'reluctant hero,' at some point they have to embrace the challenge. There's that Nietzsche quote: "Become who you are." That sums up beautifully the essence of Protagonist metamorphosis. Ovid wrote in "The Metamorphoses": "Every shape that's born, bears in its womb the seeds of change." The Core Essence of a character's Self Identity already lies within. It is the Call To Adventure to the specific journey upon which they embark that is the Universe's way of compelling the character to deconstruct the Old Way of Being and reconstruct into a New Way of Being, allowing those seeds of change to emerge into the light of day and blossom. So Maximus gets in touch with his inner gladiator in order to exact revenge. Katniss Everdeen gets in touch with her inner warrior in order to lead a rebellion. Those are all epic stories. The paradigm is scalable. In Juno, she gets in touch with her inner adolescence which she has skipped to become what she thinks is an adult. In (500) Days of Summer, Tom gets in touch with his inner adult after experiencing the failure of his flawed, infantile notion of romance. Similar dynamic with Annie in Bridesmaids. In each story at key points along the way, events happen (plot points) which create a physical and/or psychological threshold, in effect a choice: Go this way or that, forward or back? Those are all tied to the character's emotional growth, either impacting it or influencing it. Again Character = Plot. We cannot look at screenplay structure as merely Plot. Character and Plot are - or should be - fused together. We're seeing that already in the very first movie in this series: Argo. Let's carry on that discussion in Part 4.