Week 2 in COM 497 SPRING '19

1. BREAKING DOWN GENRE AND SCREENPLAY
STRUCTURE

2.  FOUR ESSENTIAL LOGLINE ELEMENTS: DOES YOURS HAVE THEM…
THEY MUST!
 A SPECIFIC PROTAGONIST
 A SPECIFIC INCITING INCIDENT
 A SPECIFIC ANTAGONISTIC FORCE
 A SPECIFIC ACTIVE GOAL
 Example Format: WHEN A SPECIFIC PROTAGONIST FINDS A SPECIFIC INCITING
INCIDENT, PROTAGONIST TAKES ON A SPECIFIC ACTIVE GOAL MUCH TO THE
DISMAY OF A SPECIFIC ANTAGONISTIC FORCE.

3. GENRE

4. DEFINE
‘GENRE’:

5. DEFINE
‘GENRE’:
 ’Horror Films’ are often referred to as ‘Genre’
pictures

6. DEFINE
‘GENRE’:
 ’Horror Films’ are often referred to as ‘Genre’
pictures
 But so are ‘Gangster Films’, ‘Kids Films’ as well
as ‘Science Fiction’ films

7.  Webster’s Dictionary Definition: a category of artistic, musical, or literary
composition characterized by a particular style, form, or content: (EXAMPLE - a
classic of the gothic novel genre.)

8.  STC (SAVE THE CAT) a screenwriting book
written in 2007 by Blake Snyder revolutionized
the Hollywood screenwriting trade by defining
genre not as plot type but as story structure,
thus linking many seemingly different “genres”
to the same structure (more to come on this…)
 Mr. Snyder and his team spent two decades
studying films from all eras to come up with the
following cheekily named 10 Genre/Structures:

9. STC’S 10 GENRE NAMES
 1. MONSTER IN THE HOUSE
 2. GOLDEN FLEECE
 3. OUT OF THE BOTTLE
 4. DUDE WITH A PROBLEM
 5. RITES OF PASSAGE
 6. BUDDY LOVE
 7. WHYDUNIT
 8. FOOL TRIUMPHANT
 9. INSTITUTIONALIZED
 10 SUPERHERO

10.  THREE MAIN COMPONENTS:

11. 1. MONSTER IN THE
HOUSE
 THREE MAIN COMPONENTS:
 A MONSTER (duh)
 This could be literal (Alien, Jaws) or metaphorical (The Stepfather, Contagion)

12. 1. MONSTER IN THE
HOUSE
 THREE MAIN COMPONENTS:
 A MONSTER (duh)
 This could be literal (Alien, Jaws) or metaphorical (The Stepfather, Contagion)
 A HOUSE (uh-huh…)
 Also could be literal (Poltergeist, Demon Seed) or an extension of home (town, spaceship, school)

13. 1. MONSTER IN THE
HOUSE
 THREE MAIN COMPONENTS:
 A MONSTER (duh)
 This could be literal (Alien, Jaws) or metaphorical (The Stepfather, Contagion)
 A HOUSE (uh-huh…)
 Also could be literal (Poltergeist, Demon Seed) or an extension of home (town, spaceship, school)
 And SIN (whaaaaa?)
 Dating back to the MIDDLE AGES and the tale of invading the home of ancient creatures due to
greed, desire, avarice, arrogance, we have been paying for our SINS by becoming lunch for
monsters for centuries (not just since ‘Jaws’!) Someone is GUILTY of BRINGING the monster
here.

14. 1. MONSTER IN THE
HOUSE
 THREE MAIN COMPONENTS:
 A MONSTER (duh)
 This could be literal (Alien, Jaws) or metaphorical (The Stepfather, Contagion)
 A HOUSE (uh-huh…)
 Also could be literal (Poltergeist, Demon Seed) or an extension of home (town, spaceship, school)
 And SIN (whaaaaa?)
 Dating back to the MIDDLE AGES and the tale of invading the home of ancient creatures due to greed,
desire, avarice, arrogance, we have been paying for our SINS by becoming lunch for monsters for
centuries (not just since ‘Jaws’!) Someone is GUILTY of BRINGING the monster here.
 EXAMPLES: ALIEN, JAWS, FATAL ATTRACTION, THE RING, SAW

15.  THREE ELEMENTS:
 A ROAD spanning oceans, time or just across the street, so long as it serves to mark
growth of the protagonist. Often on these journeys… the car, boat, spaceship or horse
hits a “road apple” throwing the entire trip in jeopardy.
 A TEAM which may be one Samurai or it might be one Starman, but usually the ‘TEAM’
represents the things the hero doesn’t have: skill, experience or perhaps just attitude.
 A PRIZE that’s being sought after, something primal such as: going home (think Homer’s
‘The Odyssey’) securing a treasure (’Raiders of the Lost Ark’) or re-gaining a birthright
(‘The Black Panther’).
 EXAMPLES:
 LORD OF THE RINGS, OCEAN’S 11, SAVING PRIVATE RYAN, THE BAD NEWS
BEARS

16. 3. OUT OF THE
BOTTLETHREE ELEMENTS:

17.  THREE ELEMENTS:
 A WISH asked for by the protagonist, granted by another
or at least a very clearly seen need to be transported from
the ordinary to the extra-ordinary!

18.  THREE ELEMENTS:
 A WISH asked for by the protagonist, granted by another or
at least a very clearly seen need to be transported from the
ordinary to the extra-ordinary!
 RULES OF THE ‘SPELL’: Since this story cannot happen in
real life, we can just make these rules up of how this spell
works as we go, right? WRONG. THE SPELL must function
with its own set of rules (don’t feed after midnight, don’t get
wet, etc.) a logic set up for the audience early for them to
track. Adding ‘rules’ as you go will cause the audience to lose
their sense of ‘worry’ for the characters and lose faith in you
as a storyteller.

19.  THREE ELEMENTS:
 A WISH asked for by the protagonist, granted by another or at least
a very clearly seen need to be transported from the ordinary to the
extra-ordinary!
 RULES OF THE ‘SPELL’: A logic set up for the audience early for
them to track. Adding ‘rules’ as you go will cause the audience to lose
their sense of ‘worry’ for the characters and lose faith in you as a
storyteller.
 LESSON: BE CAREFUL WHAT YOU WISH FOR is a running
theme for these stories. Life may not be perfect as is, but it’s pretty
darn good so make the most of it!

20. 3. OUT OF THE BOTTLE
 THREE ELEMENTS:
 A WISH asked for by the protagonist, granted by another or at least a very clearly seen need to be
transported from the ordinary to the extra-ordinary!
 RULES OF THE ‘SPELL’: Since this story cannot happen in real life, we can just make these rules up of
how this spell works as we go, right? WRONG. THE SPELL must function with its own set of rules (don’t
feed after midnight, don’t get wet, etc.) a logic set up for the audience early for them to track. Adding ‘rules’
as you go will cause the audience to lose their sense of ‘worry’ for the characters and lose faith in you as a
storyteller.
 LESSON: BE CAREFUL WHAT YOU WISH FOR is a running theme for these stories. Life may not be
perfect as is, but it’s pretty darn good so make the most of it!
 EXAMPLES: BIG, WHAT A GIRL WANTS, ETERNAL SUNSHINE OF THE SPOTLESS MIND

21.  THREE ELEMENTS:
 AN INNOCENT HERO is dragged into a mess without
asking for it or even aware of how she got involved.
 A SUDDEN EVENT OUT OF NOWHERE that puts
innocent(s) into a world of hurt
 A LIFE OR DEATH BATTLE is at stake here. This could
be the continued existence of an individual(s) or a family,
group or society.
 EXAMPLES: DIE HARD, ARMAGEDDON, OPEN
WATER

22.  THREE ELEMENTS:
 A LIFE PROBLEM that is universal such as puberty, going to
college, mid-life crisis, death
 WRONG WAY! Here, the protagonist attacks the mysterious problem
via a diversionary tactic from confronting the emotional pain of
growing up, leading them down an even tougher path
 THE SOLUTION IS ACCEPTANCE. A hard truth the protagonist
has been fighting all along is that he must change… not the world
around him which he has been fighting to change.
 EXAMPLES: NAPOLEAN DYNAMITE, 10, EIGHTH GRADE,
ORDINARY PEOPLE

23.  THREE ELEMENTS:
 AN INCOMPLETE PROTAGONIST is missing something physical,
ethical or spiritual; she or he needs another person to become whole.
 A ‘COUNTERPART’ who makes this completion come about, or in
the case of a ‘three-hander’ (a story about a love or buddy-love
triangle ie: LA LA LAND or BRIDESMAIDS) or a “four-hander” (two
couples ie: BOB, CAROL, TED AND ALICE or FOUR SEASONS) –
has qualities the protagonist(s) need(s).
 COMPLICATION be it a misunderstanding, personal or ethical
viewpoint, epic historical event or the prudish disapproval of society
 EXAMPLES: THE BLACK STALLION, LETHAL WEAPON, WHEN
HARRY MET SALLY, TITANIC

24.  THREE ELEMENTS OF THE ‘WHYDUNIT’:
 THE ‘DETECTIVE’ OR SEARCHER DOES NOT CHANGE… We,
the audience, have our perspective changed.
 THE SECRET of the case is so strong it overwhelms the lures of
money, sex, power or fame. We must know what this extraordinary
secret must be!
 THE DARK TURN in these stories comes in pursuit of the secret as
the ‘Detective’ breaks all the rules, even her own – often rules they’ve
come to live by – to get at The Secret, that’s what kind of
gravitational pull the Secret has.
 EXAMPLES: BLADE RUNNER 2046, THE SIXTH SENSE, ANGEL
HEART, FARGO, BRICK

25.  THREE ELEMENTS
 A FOOL whose innocence is his strength and
whose gentle manner makes him likely to be
ignored – by all but a jealous “Insider” who
knows too well.
 MISMATCHED WITH AN ESTABLISHMENT –
The people or group a fool comes up against,
either already dealing with as story begins, or
after being sent to a new place where they don’t
fit – at first.
 A TRANSMUTATION in which the fool becomes
someone or something new, often including a
“name change” that’s taken on either by accident
or as a disguise.
 EXAMPLES:
 BEING THERE, TOOTSIE…. Can you think
of some others….

26. 8. FOOL TRIUMPHANT
 THREE ELEMENTS:
 A FOOL whose innocence is his strength and whose gentle manner makes him likely to be
ignored – by all but a jealous “Insider” who knows too well.
 MISMATCHED WITH AN ESTABLISHMENT – The people or group a fool comes up against,
either already dealing with as story begins, or after being sent to a new place where they
don’t fit – at first.
 A TRANSMUTATION in which the fool becomes someone or something new, often including a
“name change” that’s taken on either by accident or as a disguise.
 EXAMPLES:
 BEING THERE, TOOTSIE, FORREST GUMP, LEGALLY BLONDE, 40-YEAR OLD
VIRGIN

27.  THREE ELEMENTS:
 A UNIQUE “FAMILY” or group, organization or business
drive these stories.
 INDIVIDUAL VS. THE SYSTEM could be another name for
this genre, wherein a “Brando”-type rebellious character
squares off against “The Company,” “The Family,” “The
Government,” “The Social Structure”, etc.
 A SACRIFICE must be made, leading to one of three
endings: Join, Burn It Down, “Suicide”
 WHAT EXAMPLES HAVE YOU GOT FOR ME?

28.  THREE ELEMENTS:
 A UNIQUE “FAMILY” or group, organization or business drive these
stories.
 INDIVIDUAL VS. THE SYSTEM could be another name for this genre,
wherein a “Brando”-type rebellious character squares off against “The
Company,” “The Family,” “The Government,” “The Social Structure”, etc.
 A SACRIFICE must be made, leading to one of three endings: Join, Burn
It Down, “Suicide”
 WHAT EXAMPLES HAVE YOU GOT FOR ME?
 ONE FLEW OVER THE CUCKOO’S NEST, OFFICE SPACE,
M*A*S*H, BLACKKKLANSMAN, ON THE BASIS OF SEX

29. 10. SUPERHERO
 THREE ELEMENTS:
 PROTAG WITH A SPECIAL POWER even if, like Frodo, it is a mission to BE great or do
some special good.
 A NEMESIS of equal or greater power, who is the “self-made” version of the hero, not
born with their gifts, but won out of sheer will, wits and devious methods.
 CURSE FOR THE PROTAGONIST: The hero has that ONE THING they either rise
beyond or succumb to. This one thing (ie: Kryptonite) is tied into who they are or where
they’ve come from.

30. 10. SUPERHERO
 THREE ELEMENTS:
 PROTAG WITH A SPECIAL POWER even if, like Frodo, it is a mission to BE great or do some special
good.
 A NEMESIS of equal or greater power, who is the “self-made” version of the hero, not born with their gifts,
but won out of sheer will, wits and devious methods.
 CURSE FOR THE PROTAGONIST: The hero has that ONE THING they either rise beyond or succumb to.
This one thing (ie: Kryptonite) is tied into who they are or where they’ve come from.
 EXAMPLES: SUPERMAN and SUPERHERO MOVIES (of course)… but can you think of other films that
fit this genre that don’t literallly have “SUPERHEROES” in them?

31.  THREE ELEMENTS:
 PROTAG WITH A SPECIAL POWER, but not necessarily supernatural.
In fact, it may be a mission to BE great or do some special good.
 A NEMESIS of equal or greater power, who is the “self-made” version of
the hero, not born with their gifts, but won out of sheer will, wits and
devious methods.
 CURSE FOR THE PROTAGONIST: The hero has that ONE THING they
either rise beyond or succumb to. This one thing (ie: Kryptonite) is tied
into who they are or where they’ve come from.
 EXAMPLES:
 RAGING BULL, ERIN BROCKOVICH, THE PASSION OF THE
CHRIST, THE LION KING, THE IMITATION GAME, GLADIATOR,
CREED 2

32.  READ THE INTRODUCTION OF SAVE THE CAT GOES TO THE MOVIES (if
you haven’t already done so!)
 PONDER THIS QUESTION: WHAT GENRE DOES MY LOGLINE MOST
RESEMBLE?
 BE PREPARED TO DISCUSS THE STC BEAT SHEET FORMAT

33.  https://www.shortoftheweek.com/2017/10/11/laps/