Screenwriting Fundamentals (by Blake Snyder, now with salty notes by me) p3

MEASURING AND STORY LINES OR ARCHES

All right. The story line divided into three… And that’s where things don’t add up. Because the climax is the shortest part of any story and the intro or start image should be, thinking we have a 100 pages script, a quarter of the total line (if page 25 is to be the doubt moment). Thus, the traditional image is mathematically… Wrong. And it might not create that much of a problem but it can too, create that much of the misunderstanding when trying to write a story for the first time.

SHORTER AND SHORTER

If I understood correctly what Robert McKee  states (Script. The story), the story’s progression goes shortening the scenes previous to the ending, for the climax to have the most impact. Considering that, aprox. the first 30% of the fable should be one. Whereas, 15% of the time should be used for the ending; in order to make everything comprised and fast. Thus, again, the fable line represented in books should be changed.

Dramatic pause. My crime scene claims for the fingerprints and DNA tests.

LET’S GET US INTO NUMBER TWO

We are in two and two means to push our character off the plane in midair… Eh? Sometimes it is literal and sometimes it is a metaphor of what’s to come.

Our character is enjoying or disenjoying life the way we humans do[1]. And since life is something as riding a plane… It is kinda safe but there’s always the perk of fail and crash thus our job, as writers, is to push our character and get them off their life plane without a parachute. It is time for the character to do or to do. Snyder affrms this has to happen in page 25. And in page 25 only. 

Robert McKee writes, a scene should last from a minute to three minutes. If we think a 60 minutes movie of 60 scenes lasting each 1 min (it has to be convenient for my Math to do the job). That, plus the fact that the climax should take a lot less time, that is a 15%-25% of the ongoing fable… This is shorter than the numbers I get by using only McKee’s projection. Taking McKee’s projection, that’s 40% of the ongoing fable.

Naruto and Sasuke have gone their ways and the fox must come to the rescue, the avatar can’t study with his friend Gumi because the circumstances and the detective has been saved by the beautiful woman.

For Snyder, this brings what I call the convergent parallel (yep, parallels ain’t supposed to touch each other ever but there are mathematical systems that can make it happen) and he calls the B, C or D story. A. K. A. supporting story, secondary plot or filling. In the video, this is the time for the love story to unfold the main plot details in a conventional romance; father and son engaging in a truce and dissimilar spirits (or similar) becoming friends.

Naruto rescues Gaara[2]. Zuko, the exiled prince, destroys someone else’s home and the detective finds out he isn’t as different from the comics chap.

We’re having fun interrogating the suspects but we don’t have everything. Proofs are still in the lab and are inconclusive.

TO BE CONTINUED…

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[1] According to something Mark Mason writes in Everything is F*cked, humans  live life in a permanent 7 out of 10, grade of satisfaction.

[2] What’s he, the Mizukage? I don’t remember anymore the kages.