Session 4 - Dramatic Forms and Genres

In part one of this session, we will look at film genre and dramatic forms and conventions.

In part two of this session we will look at television dramatic forms and conventions.

PART ONE

Firstly, we'd like you to read chapter four, Structure and Genre, of Robert McKee’s Story published by Methuen Film. In this chapter McKee outlines genre and sub genre and goes on to describe dramatic conventions in the pursuit of particular genres.

After you have read the chapter we encourage you to have an on line discussion with your fellow students.  We recommend using the Tokbox application, which is available in our Toolbox, for online group discussions.  Your group should raise the following questions for debate:

1. What are you favourite genres and why, what do you find interesting and compelling about them?

2. Would you think of a genre first and then an idea or the other way round, please give your reasons?

3. Are you an exponent of genre or are you interested in character and story regardless of the genre it follows?

4. Does genre inspire new ideas for your idea portfolio?

We hope the answer to question four is 'yes' otherwise you might find the first exercise a little taxing!

Exercise One

Please select one genre type from McKee's list in chapter four of Story Structure and Genre.

We recommend selecting a genre that interests you. Please think of an idea based on the genre. Please write 200 words describing your story idea.

Please take your time with this exercise. If you are satisfied with it please add it to your portfolio.

By doing this exercise you will begin to understand how genre and story conventions work. It is up to you as the writer to bring originality to convention. By completing this exercise you will also begin to understand film language. A vast subject that you will practice and learn about for the rest of your writing, viewing and reading lives. So how do we begin? By film language we mean what choices do you make in how you structure and design your story, how do you manage conflict and information? Film language could mean in very simple terms, flash backs, or tension, or surprise. One of the best way to learn about film language is by practicing.

Exercise Two

For your second exercise please watch The Full Monty written by Simon Beafoy.

Then complete the following questionnaire using The Full Monty.

Skeleton Framework – 1- 3 pages

1. THE PITCH: Describe the film The Full Monty in no more than three sentences.

2. Who is the protagonist?

3. What is the main plot?

4. What is / are the sub plot (s)?

5. What is the main protagonist’s goal?

6. When do we find out what the main goal is?

7. What are the sub goals?

8. What are main sequences?

9. Is there an inciting event? If so what is it and when does it occur?

10. What's the climax to the film?

11. Does the main protagonist reach their goal?

12. When does the film reach act 2?

13. When does it reach act 3?

14. Is there a mid act climax in Act 2?

15. What is it?

16. If the climax is mid act, do they then have a new goal? What is it?

17. How do we play with managing info? From whose point of view is the story told, do we see the story from other characters’ points of view?

18. Do you have dramatic irony (s) in the drama? Dramatic irony is a particular way of managing information, when we the audience know something before a character does (i.e We know the main protagonist's wife is going to leave him because we've seen her packing). Meanwhile, he innocently returns home oblivious to this (i.e Kramer V Kramer). It can work the other way round too, where a character knows something we don't know - so a character might have been a spy or mole all along and we only find out at the end (i.e. The Usual Suspects).

19. What are the local ironies? As the story unfolds, are things revealed to the audience that any of the characters do not know about or visa versa?

20. What is the global irony? To explain this question, we mean does the main protagonist think in a particular way that is different to how we might feel about him or her? i.e She believes the world is going to end or she believes she is a loser.

21. What are the main surprises in the story? There should always be surprises – subtle or otherwise. If not one surprise occurs in the story there is probably a problem with the story

22. Is there any mystery in the film?

23. Can you define what is at stake in the film?

24. What is at risk if the character fails?

25. Why will the audience care?

26. Why do we want to know what happens next? This is crucial. Please carefully describe in detail why we want to know what happens next in the Full Monty?

By completing this exercise you will be on your way to understanding film language and how writers make decisions on how to tell their stories. When you try it for yourself, you will use instinct and talent to tell your story but the more you understand film language, the more your talent has a chance to develop.

Post your work to the forum for this session.  And critique the work of at least two of your fellow students in the anthology for this session.

Please note that any work you post to the course forum is available to the public under a Creative Commons License.