Screenwriting : Scene Outlining by Mista Martel

How does this scene advance the film itself? Who wants what? What's the latest you can get in, then leave?

Solid list

Every major scene should look a the emotional state of the lead going in, what happens during the beat, and how the emotional state changes leaving the scene. In theory, every major beat in the outline should be about the progress, lack of progress, or setback for the lead's journey.

Christopher Phillips well said.

Outlining scenes is a delicate balancing act of furthering the story, furthering the characters' development, furthering instigating the audiences captivation, furthering your thesis, furthering the stakes / tension, etc - all the while staying on tone.

I know people will say that films like Koyaanisqasti, Under the Skin, Nomadland, or almost anything by Darren Aranofsky went without being outlined or meandered without a point - but those were 'tone poems' that conveyed their thesis visually.

If you paint the Last Supper, you'd better have an absolute good reason for fitting in a silly clown at the table. Ask yourself if it works.

Better scene writing guide complete with worksheet

Mamet's infamous letter to staff writers on The Unit.

His key points.

SO: WE, THE WRITERS, MUST ASK OURSELVES OF EVERY SCENE THESE THREE QUESTIONS.

1) WHO WANTS WHAT?

2) WHAT HAPPENS IF HER DON'T GET IT?

3) WHY NOW?

DO NOT WRITE A CROCK OF SHIT. WRITE A RIPPING THREE, FOUR, SEVEN MINUTE SCENE WHICH MOVES THE STORY ALONG, AND YOU CAN, VERY SOON, BUY A HOUSE IN BEL AIR AND HIRE SOMEONE TO LIVE THERE FOR YOU.

http://movieline.com/2010/03/23/david-mamets-memo-to-the-writers-of-the-...

Best of luck everyone aiming for a Bel Air house!

What is the emotional change in the character during the scene? What is the conflict?

Enter every scene late & leave every scene early.

CJ, that's a very good and succinct answer to the OP's question.

Every scene must advance the plot, with one or more purposes built in: character development, facts expo, setup for later payoff, payoff of earlier setup. No need to predefine motivations, goals, or desires--the characters themselves may not know what drives their actions. Contrived conflict, whether resolved or not, is always obvious and tiresome.

Is the information delivered by the scene already know to the audience? If so drop the scene.

This there a change in power (the person has something, learns something, loses something etc)? If not that should happen.

Do we learn something about someone through action. In the western classic “The Searchers” a woman takes John Waynes jacket and carefully folds it for him. This is all we need to see to learn she loves him.

Does the scene leave room for acting. This is the thing I learnt this year. An actor called Matt Lamb during a reading said “I don’t need to say that”. I said “why?”. He said “watch”. Then showed me he could get the emotion across “dismissive” with and action.

When I'm outlining a scene I don't over think it, it's not a treatment. Just the "meat and potatoes" of what's happening.

Location (geographic, inside or outside), checklist of requirements and time period.

CJ, I need Turn and Burn in a PDF ebook!