The Sequence
“Sit, Sequence. Sit. Good dog.” Woof! Okay, so sequences might not be not be our favorite four-legged friends, but they sure are killer gifts to the screenwriter.
A sequence is a self-contained unit of action in your screenplay, usually between 10 to 15 pages, that has its own specific tension and an event around or towards which it is focused.
A sequence is a self-contained portion of the entire story, usually about 10 to 15 minutes (pages) in length. It has its own tension (not the main tension, but related in some way) and it has its own beginning, middle, and end.
Read more: What's a Sequence?
There is a lot to say about sequences, but the two most important things to remember about sequences are:
1. They are the screenwriters best friend. They are small and self-contained enough that they can be kept in mind all at one time (unlike the entire feature, 90 to 120 pages), can be written in one burst of energy and can be shaped and honed independent of each other.
2. They must absolutely have a clearly defined tension in order to have shape. By shape I mean that the audience starts to take a vested interest in one or another turn of events in the near future (and therefore is involved, participating) and they have an idea of how things are going - hope versus fear. Once that overall shape is established, the sequence itself can contain all manner of desperate elements as long as this tension is periodically kept alive.
There is a lot to say about sequences, but the two most important principles to remember about sequences are:
1. They are the screenwriters best friend. They are small and self-contained enough that they can be kept in mind all at one time (unlike the entire feature, 90 to 120 pages), can be written in one burst of energy and can be shaped and honed independent of each other.
Read more: Sequences: Two Principles
ACT I
SEQUENCE ONE - Status Quo & Point of Attack
Establishes the central character, his/her life, and the status quo and the world of the story. It usually ends with the POINT OF ATTACK or INCITING INCIDENT, but this plot point can sometimes appear earlier in the first few minutes of the film.
SEQUENCE TWO - Predicament & Lock In
Sets up the predicament that will be central to the story, with first intimations of possible obstacles. The main tension will be established at the end of the act. The sequence ends when the main character is LOCKED IN the predicament, propelling him/her into a new direction to obtain his/her goal.
ACT II
SEQUENCE THREE - First Obstacle & Raising the Stakes
The first OBSTACLE to the central character is faced, and the beginning of the elimination of the alternatives begins, often a time where EXPOSITION left over from ACT I is brought out. Since our character is locked into the situation and can’t simply walk away, the stakes are higher - there is a lot more to lose.
SEQUENCE FOUR - First Culmination/Midpoint
A higher OBSTACLE, the principle of RISING ACTION is brought in and builds to the FIRST CULMINATION, which usually parallels the RESOLUTION of the film. If the story is a tragedy and our hero dies, then the first culmination (or midpoint) should be a low point for our character. If, however, our hero wins in the end of the film, then sequence four should end with him winning in some way.
SEQUENCE FIVE - Subplot & Rising Action
The SECOND ACT SAG can set in at this point if we don’t have a strong SUBPLOT to take the ball for a while. We still want RISING ACTION, but we’re not ready for the MAIN CULMINATION yet.
SEQUENCE SIX - Main Culmination/End of Act Two
The build-up to the MAIN CULMINATION - back to the main story line with a vengeance. The highest obstacle, the last alternative, the highest or lowest moment and the end of our main tension come at this point. But we get the first inklings of the new tension that will carry us through the third act.
Note: Since the midpoint and ending are paralleled, the PLOT POINT at the end of act two must be at a polar opposite of those points. So if our hero wins at the midpoint and at the end of the film, then she must have her lowest point here.
ACT III
SEQUENCE SEVEN - New Tension & Twist
The full yet simple, brief establishment of the third act tension with its requisite exposition. Simpler, faster in nearly all ways, with rapid, short scenes and no real elaborate set-ups. The TWIST can end this sequence or come at the start of the eighth sequence.
SEQUENCE EIGHT
Hell-bent for the RESOLUTION. Clarity is important. If they turn left, all is well, if they go right, the world as we know it ends. Not that we don’t have complex emotions or ideas about what it all amounts to, but at this point we crave clarity. Will he get the girl, defuse the bomb, turn in his murderous brother and escape from the sinking boat surrounded by sharks?
This Sequence Outline is NOT an absolute formula or perfect recipe to building a feature script, but it is something to work from. Because each script is a prototype: new, unique, custom-made just for its own story.
Read more: The Eight Sequences
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