Multiplot

[Watson Jackson]

Hello, to anyone who can help me.

I am a screenwriter and I wish to write a multiplot film. Multiplot films have fascinated me and also the idea of synchronicity and I wish to write a film that incorporates both these ideas however i don't want my film to be too much like p.t.anderson's magnolia otherwise ill just be copying.

any suggestions as to what sort of things i should try to do to make it unique.

I have already begun to research multiplot films for structure conventions as well as the way to balance the plots incl: altman, griffth, p.t.anderson etc

 

[Jacob Krueger]

Multiplot

Hello,

Since you mention "Multiplot" I'm assuming that you've read Robert McKee's "Story" or been to one of his seminars. As a screenwriter and screenwriting teacher, of course I'm fascinated by the many classifications academics have developed to describe different types of film structure. And setting up a challenge for yourself like "writing a multiplot film" can certainly be an inspiring and exciting way to get into the writing process.

At the same time, it can also be a tricky way to get started, especially for a young writer, leading you to the scenario you're in now, where you know what KIND of movie you want to write, but have no idea what the movie actually is.

Movies are just stories. And stories begin with characters. Structure does not exist as an independent entity, but as a way of taking your character on a profound journey. This is true whether you're telling a traditional narrative, or an ensemble driven (multiplot) film, in which multiple main characters go on intersecting journeys together.

The first question I'd ask you is what has made the "multiplot" films you've watched so fascinating to you? What were the questions they raised for you, or the emotions they provoked in you? What were the journey's of the main characters, how were they crafted, and why did they matter to you?

Then throw all this information away... somewhere deep in the back of your mind. Let it just bubble subconsciously there for a while. And start writing.

You can't understand your structure until you understand your characters. And you have to write your characters before you can understand them.

Create a character. Give them something they want desperately, and make it really hard for them to get it.

Create a couple more characters, with strong wants and obstacles of their own, and let their journeys intersect in ways that ultimately either empower or provide obstacles for the journeys of the other characters in your movie.

Take all of these characters on the most profound and life changing journeys you can imagine for them.

At that point, you won't have to try to be different from other multiplot movies any more. You will be different, because your structure will be evolving directly from the specific needs of your own characters.

If you'd like to learn more about these concepts, check out my blog. Or if you live in the NYC area, feel free to come check out one of my classes: http://www.jacobkrueger.com.

Jacob Krueger
Writer- "The Matthew Shepard Story"
WGA Paul Selvin Award
Gemini Nomination, Best Screenplay

Hello, to anyone who can help me.

I am a screenwriter and I wish to write a multiplot film. Multiplot films have fascinated me and also the idea of synchronicity and I wish to write a film that incorporates both these ideas however i don't want my film to be too much like p.t.anderson's magnolia otherwise ill just be copying.

any suggestions as to what sort of things i should try to do to make it unique.

I have already begun to research multiplot films for structure conventions as well as the way to balance the plots incl: altman, griffth, p.t.anderson etc

 

[Watson Jackson]

oh,
i did have my characters,

there are 5 intersecting storylines
an lonely adolescent boy
a struggling author
a failing actress
and elderly widow
and a neglected girl
(i dont want to go Altman and do something like 24 storylines... just yet )
i want it to take place over 24 hours (afternoon to afternoon) but as i said in my OP it seems like im channelling too much magnolia but it feels right.
the idea behind each of the characters is that they have come to a standstill (either physically or otherwise) in their lives and through each of the other characters actions, they are lead to this singular event that connects them all at the end of the film (probably the only thought out section in the script) and allows them to move forward in their lives again.

what do you think, and thank you for your previous advice also



being in Australia (because of the law) as long as i have this is writing (paper/electronic) i have no worries for copyright

 

[jodymichelle]

suggestions

suggestions

Now that you have your characters -- focus on your characters; focus on character development, and focus on character growth. That's a major thing that will help you to make your multi-plot story unique. It's your characters.

This suggestion won't give you immediate results because you have to spend time with your characters and spend time deep in the writing process. And "deep" in the re-writing process.

Get as passionate as you can be about your characters. If you're not passionate about your characters, then it might be hard to get your audiences interested in what your characters have to say and do. If it's hard for you to be passionate about them, then maybe it's time to rewrite your character(s). The beauty of writing in these stages is that you can do and change and edit anything that you want to, you're in control. Nothing has to be set in stone.

Another suggestion - write a few outlines to put down on paper different scenes, scenarios, events, twists, turns. Write at least 3 to get warmed up. You might find yourself writing 5, 10, 20, 30 ~ and you want to encourage that more than not encourage that. Don't go for perfect, but use this as a brainstorming process to get "your ideas" out.

And since these are just outlines (and not full blown manuscripts) try not to think too much while you're writing these different outlines. In this process you're allowed to make mistakes, you're allowed to be everything in a writer's worst nightmare - you're allowed to be boring, you're allowed to be cliche, you're allowed to not be unique. And once you get warmed up writing with this attitude, you'll start to lighten up and loosen up and get out what you need to get out. Maybe those cliche ideas need to be exorcised out of your system, so that your mind and creativity can move on to conceptualizing better and more unique ideas. ("Exorcise," funny word, I'm still recovering from horror movie marathon week, as Halloween was just a few days ago.)

Maybe in order to write better, you have to first write badly.

any suggestions as to what sort of things i should try to do to make it unique.

I have already begun to research multiplot films for structure conventions as well as the

 

[Watson Jackson]

i do kinda know all of that getting connected with your story/characters

i was just wondering if anyone liked the idea or thought it was interesting,
i cant focus too much on this idea yet as i am deep in the process of another feature at the moment (a Christmas comedy)
I just wanted to see what people thought in these early stages.

 

[jodymichelle]

go for it

go for it

I think you should go for it as long as you want to write it. Drafts at any stage in the writing process can always be tweaked, minorly edited, or majorly changed.

 

[Watson Jackson]

thanks heaps for number three that never crossed my mind!