My first big takeaway from this week's analysis is the importance of subplots. In American Hustle, there is the Plotline: The FBI sting operation. But connected to and interweaving with that central plot are all sorts of subplots, the ones I noted previously in comments, and a few others that folks added. Each involves different characters and their interrelationships (e.g., Irv-Sydney, Richie-His Bosses, Rosalyn-Pete). This confirms my screenwriting principle: Subplot = Relationship What's great about this is it ground this idea -- subplot -- in character. So you're no longer dealing with some artificial narrative element, rather you're doing with people, their feelings and thoughts, their goals and desires. We see that in American Hustle. Each subplot has a beating heart and vibrant soul, as well as healthy doses of conflict and tension. What's more each is intimately tied to the Plotline, not only helping to movie it forward, but also explore the story's themes from different vantage points. So, for example, we could say the central theme of the movie is: "Everybody hustles. Everybody gets hustled." As we've discussed, Irv's metamorphosis is from con man to honest man. Conversely Richie goes from honest man to con man. One is a positive transformation. The other a negative one. So the various subplots Irv and Richie are involved in help to shape and play out both plot and theme, all tied together into an organic whole. The more I write, the more I come to understand how critical subplots are. I keep thinking about creating a new Core class specifically on Subplots. This week has convinced me to set aside time next spring to do precisely that.

This was really a great script to analyze and to see how all the subplots are tied to the plotline. This script has made me aware that to craft a really coherent story, every subplot needs to have a function and serve the story.

Exactly, Shari, the same major takeaway I had from this experience. And if you think of Character = Function, and Subplot = Relationship, both my screenwriting principles, then the issue of making sure the subplots do have a function and serve the story becomes a more organic process because we are dealing with CHARACTERS, not just some theory or formula, but actual individuals with goals, desires, etc. Glad you enjoyed this week. Next week: Frankenweenie! I haven't seen it yet, so look forward to going through the script.

When I first watched this in the theater, I thought it went a little too far into the subplots that it seemed to meander. In this analysis, I have more respect for the subplots and how they tie in with the main story. I still think I would tighten things up in places, but this script is a great example of how to use subplots, showing that every character has a clear agenda and the conflicts they face. I've been trying to utilize this in the script I'm working on now. It's helpful to recognize that every character, however minor, is on their own hero's journey and that you need to give them the attention they deserve. It becomes trickier when you try to work out where they are in their journey when they show up in the story and how that relates to the main plot. And if you can't seem to work out how they fit in, maybe they should be cut.

Nora, that's exactly right: Every character believes THEY are the Protagonist in the story. Actually a great exercise is to spend time looking at the story universe through THEIR eyes, thinking of them as the Protagonist. It's a writing exercise I encourage writers to do in my Prep workshop. I call it Switch Protagonists. Using character archetypes is a great tool for that. For example with American Hustle, my take is this: Protagonist: Irv Nemesis: Richie Attractor: Sydney Mentor: Carmine Trickster: Rosalyn Let's switch Protagonists to Richie and see what happens: Protagonist: Richie Nemesis: Carmine Attractor: Sydney Mentor: Stoddard (Louis CK) Trickster: Irv In fact, when I interview Ava DuVernay, which you can read here, she said when she writes a script, she will do individual rewrites in which she just focuses on one character, in effect doing precisely what I'm talking about with Switch Protagonist. She goes through the rewrite looking at the world through their eyes. BTW Ava's new movie Selma is getting incredible response and I would not be surprised for her to receive an Oscar nomination for Best Director. She is a special talent, so great to see her emerge into wider recognition.

I was interested in how and at what point the subplots merged with the main plot to determine the denouement. In this script, the subplot of Rosalyn provides a counterpoint to the main plot, mostly in terms of comic relief. But it doesn't contribute much to the course of the main plot until the mob guy, Pete, falls for her and she blabs on Irving. At that point, she precipitates the crisis in the main plot that jeopardizes the sting operation -- and Irving's life. Speaking of Rosalyn, I consider her role to be not only as a Trickster but to a minor degree as a Nemesis. In Greek mythology, Nemesis was the goddess of retribution, the punisher of injustice and hubris. In drama, the Nemesis usually functions as the main opponent or adversary to the protagonist. Which in "American Hustle" would be Richie. But note what Irving says of Rosalyn ( p27) "You might say she was my karma for how I took advantage of people." I take that to be another way of saying she was a nemesis, if not the Nemesis.

That's interesting to think of Roslyn as a nemesis. Or perhaps there is some other archetype like secondary nemesis, or something. Richie is certainly the primary nemesis, and the driving force behind the whole story. Without him Irv and Sydney don't have that huge obstacle to overcome. Roslyn contributes to it, pretty much inadvertently, and just because she can, maybe even subconsciously (or through her subconscious power of intention). She is incidental and taken advantage of by the alert Pete, always on the look out for the next thing. Characterizing her as a trickster implies she has intentions behind her actions that affect the story. I don't think she does. Trickster is how she appears to us, and perhaps to the other characters. I think shape-shifter would be a better characterization, if I believed in labeling characters as archetypes, which I don't.

That's cool you're doing a sub-plot study. It should prove to be very interesting.

Scott, I've already delivered a breakdown for Flight, but if you don't mind, I want to do a breakdown of St. Vincent, too.

Sure, Shari. St. Vincent would be great. We should have other new ones up soon such as Birdman and Calvary, additional 2014 scripts we can break down. Thanks, Shari!

this was a fascinating five-part breakdown of one of my favorite movies. thank you so much for this! it will inform my writing (wrote short stories and a novel, trying my hand at my first screenplay). i'd like to try a scene-by-scene breakdown at some point.