The document outlines the role of the screenwriter, emphasizing the creation of screenplays that combine dialogue and scene descriptions while distinguishing screenwriting from other writing forms like playwriting and novels. It also discusses the differences between story and plot, introduces classical narrative components, and explains the hero's journey as a storytelling framework. Various narrative structures, including realistic, classical, and formal, as well as alternative forms like mosaic and non-linear narratives, are also described.

1. Week 4
Story / Narrative / Screenwriting

2. The Role of the Screenwriter
• The screenwriter produces a script
for a film
• Screenplays are usually bought by
the production for a lump sum – the
screenwriter doesn’t receive any
money on the back end
• The screenplay contains dialogue
between the characters as well as
descriptions of scenes and action
• They set the mood for each of the
scenes
• Specific shots and camera
movements are usually not included
within a screenplay – it is the
director’s job to give a visual
interpretation of the script

3. How is Screenwriting different than
other forms of writing?
• Playwriting
• Hard to draw specific attention to action and certain
objects on stage
• Lots of dialogue because all internal thoughts and
exposition (back story) have to be vocalized
• Less flexibility when it comes to shifts in Time/Space
• Novels
• Typically has the most freedom to express the inner
thoughts of characters
• Less ability to be explicit with visual images (you must rely
upon the ability of the reader to interpret the images)
• Screenplays
• Ability to point out specific actions that are happening
• Ability to shift Time / Space easily
• Most able to give audiences access to specific visual images
(with less ambiguity in the interpretation of the images)

4. What’s the difference between
Story and Plot?

5. Story vs. Plot
• Story
• The raw information about an event put into chronological
sequence
• “The boy went to the park. While he was at the park he went on the
swing. Afterwards he went home”
• Plot
• A storyteller’s method of imposing a structure on top of the
story (what motivates the characters, etc.)
• “The boy was afraid of the swing set at the park. He decided to
overcome his fear by going one day. He went, rode the swing, and
decided that it wasn’t so bad. He went home feeling better about
himself”
• Plots make the story more interesting by placing them in a
structure that is familiar to us

6. Characters and Conflict
• Plots typically have two main characters: A protagonist and and antagonist
• Protagonist
– Traditionally the good guy, although they are not good all of the time
– Defined as the most volitional character; The protagonists actions are those which move the plot
forward
– They have a goal or purpose in the story
– We are able to empathize with them; movie watchers are often turned off when they don’t like the
main character
• Antagonist
– Person or force who is working against the protagonist in reaching their goal
• Who are the protagonists and antagonists in the following films?
– The Lord of the Rings
– Star Wars: Episode IV
– Napoleon Dynamite
• Conflict can come in many forms
• Character vs. Character
• Character vs. Society
• Character vs. Nature
• Character vs. Fate
• Character vs. Self

7. Components of a Classical
Narrative• Exposition
• The back story for any plot
• Contains information about the characters as well as the world in which the characters reside
• Inciting Incident
• An incident which forces the main character to leave the world that they currently reside in and embark on a
journey (physically or metaphorically) to resolve their conflict
• Sometimes we are brought into the story after the inciting incident – this is referred to as “in Media Res”
• An example of this can be shown in the television show “Lost” – we are brought to them on the island after the inciting incident,
the plane crash, has already taken place. The exposition is what unfolds during the course of the story.
• Rising Action
• This is the meat of the story; A series of smaller conflicts which lead up to the main confrontation between the
protagonist and antagonist
• A good way to think of this is by envisioning Super Mario Bros. Each level is a smaller conflict which ultimately
prepares Mario to face the bigger conflict.
• Climax
• The final confrontation between the protagonist and the antagonist
• Falling Action
• The action that takes place after the climax
• Denouement
• The resolution of the story; the protagonists resides in the new world created by their actions
• It is possible to have multiple plots running at the same time
• There is often a romantic sub-plot; it still has a narrative structure, but it is a different conflict than the main
conflict

8. Classical Narrative Structure
Exposition
Inciting Incident
Rising Action
Climax
Dénouement
Fallingaction

9. The Hero’s Journey
• Joseph Campbell, an anthropologists, was interested in how archetypes had changed the ways that
we tell stories.
• He derived what is known as the Hero’s Journey, which is an ancient structure with these steps (From
Russin and Downs, 2000)
1. The Ordinary World – a myth begins with the hero in his own element
2. The Call to Adventure – A problem or challenge is presented that will unsettle the ordinary world of the protagonist
3. The Reluctant Hero – The hero balks at the edge of adventure. He faces his fears concerning the unknown
4. The Wise Old Man – The hero acquires a mentor, who helps the hero make the right decision, but the here must undertake
the quest alone
5. Into the Special World – The Hero makes the decision to undertake the adventure and leaves his own familiar world behind,
to enter a special world of problems and challenges
6. Test, Allies & Enemies – The hero confronts allies of his opponent, as well as his own weaknesses, and takes action while
dealing with the consequences of hi action
7. The Inmost Cave – The hero enters the place of the greatest danger, the world of the antagonist
8. The Supreme Ordeal – The dark moment occurs. The hero must face a crucial failure, an apparent defeat, out of which he
will achieve the wisdom or ability to succeed in the end
9. Seizing the Sword – The hero gains power. With his new knowledge or greater capability, he can now defeat the hostile
forces of the antagonist.
10. The Road Back – The hero returns to ordinary world. There are still dangers and problems as the antagonist or his allies
pursue the hero and try to prevent his escape
11. Resurrection – The hero is spiritually or literally reborn and purified by his ordeal as he approaches the threshold of the
ordinary world
12. Return with the Elixir – The hero returns to the ordinary world with the treasure that will heal his world and restore the
balance which was lost

10. Methods of Structuring
Like directorial style, plots can be shaped in a realistic, classical, or formal style
• Realistic
• The hand of the storyteller is less visible
• Elements which do not specifically help move the story along, are included for the sake of realism
• Classical
• Typically events play out in chronological order
• Everyday actions which do not move the story forward are edited out “Doesn’t Jack Bauer have to go to the
bathroom?”
• Attempt for the story to play out as naturally as possible for the viewer (they don’t feel jarred)
• Formalism
• Time is often rearranged to suit the way that the writer/director wants to tell the story (ex. Annie Hall – Woody Allen
jumps back and forth in time to bring forth specific themes)
• Breaks in continuity and narrative can be jarring to the audience
Alternative Structures
• Mosaic
• Doesn’t follow one main character, but a bunch of characters dealing with similar issues (i.e. Magnolia); often the
characters are brought together by some kind of event
• Often have several portraits of a person’s life but without a structured narrative (32 Short Films About Glenn Gould)
• Non-Linear Narratives – Still has a narrative structure but material isn’t presented chronologically
• Memento
• Pulp Fiction