To write a script is to play with the dramatic knots or hinges of a story. Discover the 7 dramatic knots essential to master to succeed in your scenario.
In a story, we go through several key moments, also called dramatic knots or hinges. Among them, three are essential: the first allows to tie the intrigue, the second, to propel the action in its resolution, without forgetting the third, that in the middle of the story, which will relaunch the action. There are others that I have listed here. In all, 7 key moments of your scenario are to be healed to succeed in your story.
In order to finish this cycle of courses in beauty, I suggest you today to take an interest in the dramatic knots of your stories. As a reminder, the dramatic knot is an event that makes action rebound. (There are adults and minors). A story therefore develops from dramatic knot to dramatic knot.
What is a dramatic knot?
It is an OBSTACLE which can be:
- a dramatic twist,
- a mandatory scene,
- a reversal of the situation,
- and even, a perfectly predictable event.
Find out which are most effective here and when?
To complete your training, do not forget to refer to the High concept training program dedicated to the main dramatic hinges of any narrative, also called “1-2-3” (chapter 2: the essential dramatic functions to know when writing a story .)
Find in the order of writing, the 7 essential dramatic hinges of any scenario:
- THE TRIGGERING INCIDENT
- Tip: chance, or what is called a Deus ex machina , an event fallen from the sky without any link with the character, is very well accepted by the spectator to start a story. Probably because it is naturally part of the premises of any story: in life stories sometimes start naturally.
- THE CLIMAX
- THE POINT OF NO RETURN
- In the film Thelma and Louise for example: the point of no return is the robbery they execute, when they are already accused of murder and actively sought by the police.
- THE FALL
- Example: This is the case with many films which feature monsters, aliens, catastrophes … We believe the dead animal (dramatic response 1). Actually no. And off we go for a ride. New confrontation, new climax, new dramatic response.
- act 1: the one who only thought about money
- act 2: will find out at his expense
- act 3: that love was more important.
- Tip: Like thematic and dramatic proposals, there is only one main crisis and as many secondary crises as you want. The important thing is that they all work for the first.
- THE CONFRONTATION
- MANDATORY SCENES