September’s Buzz:

SEQUENCES: AN INTRODUCTION
Part 1 of 2
(Copyright 2003)

by
Kathryn McCullough

 

The concept of a film “sequence” can be defined in many ways. For instance, a collection of scenes in a romantic comedy during which a bride-to-be prepares for a wedding may be considered a sequence, as can a long chase in a thriller.

However, in terms of story structure, a sequence is a dramatic unit, usually about 15 minutes long, with a clear beginning, middle and end, made up of scenes that are tied together thematically and dramatically. Taken as a whole, the sequence can be viewed as a concrete step in a dramatic staircase you are building from the beginning to the end of your screenplay. Within the script, each sequence plays a different role in the advancement of the characters and the story.

A sequence is a microcosm of the screenplay itself. Like the script, it should begin with a dramatic situation, followed by an incident or revelation that complicates the situation and establishes the source of tension for the sequence. The action that ensues leads to a turning point and then to a resolution that brings about the next sequence.

Screenplays usually have eight sequences. This number evolved from the early days of cinema. A “two-reeler” was a short film of twenty minutes or less, since film reels held ten minutes of film each. Among these shorts were serials, in which each new episode had to clearly advance the ongoing story by the end of the reel. The longer, feature films were made up of eight reels, and screen storytellers tended to structure their plots so that each reel contained a coherent dramatic unit. Films have gotten longer over time, but the general structure of cinematic storytelling has remained consistent.

In some films, it is easy to identify sequences. For instance, in THE STING, the sequences of the second and third acts are introduced by title cards: “The Set-Up,” “The Hook,” etc. This is a good way to approach your own sequences. Come up with eight figurative title cards that sum up your major plot points, and then structure the action accordingly.

Another way to recognize sequences is that they often take place within a set period of time. After a sequence is completed, the ensuing sequence is then introduced with a visual clue that indicates the passage of time. We may see the young heroine now grown up, or the colorful fall leaves of the previous sequence may be replaced by bare branches covered in snow.

There is often a particular event that serves as either the climax or the culmination of each sequence, such as an arrival, a departure, a wedding, or a sports competition. An “event” does not have to be this momentous, however. It can be as simple as a confrontation or personal revelation. A notable change in the characters or in their relationships is another trait of a sequence.

Although this may seem like a mechanical and emotionless way to approach a story, understanding sequences and their purpose can help you structure your story to maximum dramatic effect. Most screenwriters, no matter how new they are to the craft, tend to have an innate understanding of sequences, from years of watching movies. However, bringing this subconscious knowledge to the surface can help hone this natural ability and thereby strengthen your plot. This is especially true in the second act, where even experienced writers get bogged down under the burden of multiple subplots, advancing action, and ongoing character development.

That said, it is most helpful if you analyze your sequences after you have a draft. Trying to determine exactly where and when to begin or end a sequence can cause you to unnaturally force your plot or characters into a set design and rob you of the opportunity of discovering a surprising dramatic beat or character development you couldn’t have foreseen before you began writing.

Next month, I will discuss each of the traditional eight sequences of a screenplay in depth.