The writing method of microfilm now it's time to talk about the writing of a miniature script of 15 to 25 pages for a larger project. Although every author has his own way of working, as long as you want the studio or TV network to buy your work, you can only hope that your story will have an unexpected development process. Potential buyers want to read something like short stories first. Some people call it an idea or a summary. If the transaction can be concluded, the creator will draw up an outline of the story at the request of the buyer before writing the script. Whether it's for the need to conceive a story for yourself or to unify the form and professional requirements, the summary and story outline need to be prepared. With regard to the superstructure, it should be emphasized here that the same dramatic structure applies to both a single scene and the whole script. Both the scene and the script should establish the conflict between characters and design, gradually reach a crisis point, and finally reach a climax and ending. The story is embodied through all these scenes and then contained in a condensed space. The whole story told in the screenplay puts such a scene in a larger scope, in which the same structure can be applied. Therefore, the same dramatic structure is ubiquitous in various scenes on two levels. The dramatic structure of the whole script is composed of scenes in turn. The plot is the dramatic structure in which this scene develops into the story you tell. We should also emphasize that the statement of structure is not abstract, but a special reflection of a coherent story. The complexity of the scene will also cause unexpected problems and prompt your hero to take action. Speaking of scripts, it's time to consider the steps. We are familiar with the coherent stories reflected in each scene by personally participating in the following procedures: first, explain the characters, breed conflicts, strengthen the characterization in the middle, intensify conflicts, and finally have a climax and an ending. Let's discuss the specific steps. The first act begins to explain the characters and breed conflicts. The typical practice is to introduce your role, their basic situation, what may disrupt their life rhythm and their initial efforts to solve these problems in the first act. Because this kind of effort has a negative effect, we should also explain the negative characters and their resistance, and the conflict will further escalate. Although the protagonist will try his best to solve the contradiction, at least in the initial stage, there is still no hope. Kramer versus Kramer, since Joanna left Ted. But the first act didn't stop there, but let Ted and Billy form a new family structure to fight for survival, as a continuation of the first act. Ted and Billy succeeded. They grew up together and changed their values. Then Joanna appeared again and wanted Billy back. The threat to this family has taken on a new and more serious form. Ted decided to fight. We flew into a rage when Ted met Joanna in the restaurant, which was the end of the first act. At the end of the first act, the hero's efforts to ease the contradiction will definitely have a result, specifically for Ted, that is, he must win the custody lawsuit. In my heart, my wife should plant cotton and get something. In other words, the types of conflicts, men and women, Joanna and Ted, Kramer and Kramer, should be closely related to the urgent problem of protecting the new family unit formed by Ted and Billy. In the middle of the second act, the characters are portrayed and the contradiction intensifies to the crisis point. In the second act, the action that the protagonist has to take at the end of the first act is pushed to a crisis moment when his or her efforts seem to be about to fail. In Kramer vs Kramer, the central content of the second act is a vivid court battle. When Ted lost the case, the contradiction reached a crisis point. Terry had been trying to find a solution to the problem before his brother was killed. More commonly, the second act takes less time than the first act, because the second act focuses on the plot. There will be many twists and turns in the second act, but in general, everything should be closely related to the special efforts made by the protagonist who has now turned to the plot. But in times of crisis, things often attract more attention, because at the end of the second act, the protagonist tries to find the root cause that prevents them from solving the problem. Ted faced losing Billy Terry and realized that he had to be friendly with Johnny alone. As mentioned above, the dramatic obstacles in successful works often change, whether it is Mrs Robinson's clever control of Ben in The Graduate or Bishop Edward's moral intimidation of Alexander in Fanny and Alexander. The final formation of the obstacle is at the end of the second act, but it finally plays a role in the third act. Terry went on strike against Johnny Freddy. Ted forced himself and Billy to accept the court's decision. In Baby, Michael "destroyed" Dorothy. In The Godfather, Michael began to assassinate all his enemies after Don Corleone died. Just as the crisis and climax lead to the revelation and end of a scene, so does the film script. Terry accepted the challenge of losing Billy kindly, but Joanna found it impossible to take Billy away from Ted. Terry found that there was not enough evidence to expose Johnny's friendliness, so he had to find it himself, then face and overwhelm Johnny and expose and settle it alone. When writing a movie script, the steps should not be confused, because this is an aspect that you must have consistency when planning the plot. The dramatic plot that happened to the protagonist is necessary to overcome the inevitable difficulties in alleviating the conflict. But when writing a TV script, the steps often need to be disrupted. If the mini-movie script you undertake is likely to be adapted into a TV series, you should keep in mind the paragraph spacing required for the actual broadcast. But this is not noticed by the audience. Such an interval is entirely determined by commercial interests. You must fully estimate these factors in advance, and the broadcast is likely to be divided into four segments of one hour or half an hour. So, try to get the character to say the last line of the correct scene. There are two things to remember. First of all, although each scene is supported by a plot, the weight of each scene is not the same. Some scenes will be more diverse than others. For example, in On the River, Terry had an argument with Eddie when deciding what to do next, and earlier, Johnny Friendly sent Charlie to admonish Terry. The scene between Alexander and Bishop gruss of edward vere is one of the focuses of the whole story, which is as important as the scene between Terry and Charlie in The Carriage on the River. Length and importance are not always necessarily linked. The scene between Terry and the friendly match was not long after learning the court's verdict. Secondly, it should be remembered that cameras provide the greatest sense of mobility and order by changing positions, creating atmosphere and transmitting information. Use special lenses and small-scale pictures to convey information and create an atmosphere, thus linking isolated events to show. At the beginning of Kramer vs Kramer, Joanna and Ted appear alternately at home and in class respectively. The scene we saw in The River is much simpler. Charlie took a taxi to the warehouse on the river bank, where Gerry was waiting for him. "Baby" is an exquisite picture cut by the insertion lens of Michael's scrapbook. One event happened in one scene, and other changes were great, such as the climax of On the River. In "Baby", even the scene between Dorothy and Les dressed by Michael only reused simple pictures such as the dining table and the dance floor in the restaurant.