![\"\"](\"https:\/\/www.mordego.com\/wp-content\/uploads\/2018\/07\/img-polygons-header-1024x498.png\")
\t\t\t\t\t\t\t\t\t\t\t<\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n
To understand how scenes are built, there are 4 main points that we have to go over:<\/p>\n
These are the main principles inside a scene that a screenwriter should master according to Robert McKee. He explains them in full detail in his book Story Structure: Substance, structure, style and the principles of screenwriting.<\/i><\/p>\n To set up means to layer in knowledge. To pay off means to close the gap by delivering that knowledge to the audience.<\/p>\n To make this work, you need to have planted before the necessary insights along the story.<\/p>\n The setup for Fight Club <\/i>when Edward Norton discovers that Tyler \u00a0is his double, it\u2019s everywhere along the story. From the mere presence of Tyler Durden (Brad Pitt) along the whole story, to the apparitions of Tyler in the frame, and the strange tantrums and reactions of Marla and Edward’s and Tyler\u2019s team\u2026<\/p>\n The payoff is obvious once you\u2019ve seen the movie but incredibly effective if it is the first time you watch it and Tyler is sitting in that hotel room and explains to Edward that he<\/i> is his double\u2026<\/p>\n There are two feelings really and a lot of variations of the following:<\/p>\n The more you have a feeling the less effect it has.<\/p>\n When we want mood experiences, we go to concerts and museums. When we want meaningful emotional experience, we go to the storyteller. Undramatized exposition is boring in any light.<\/p>\n So the important thing here is that you need to balance between what causes pleasure and what causes pain. You go from positive to negative and viceversa. You can go from negative to negative but the difference between them has to be greater. Example: they have a fight (negative) but in the next scene he kills her (negative but much worse. So it seems that a fight seems \u201cpositive\u201d)<\/p>\n The choice between right and wrong is a subjective perception of what we call \u201cgood\u201d and what we call \u201cevil\u201d.<\/p>\n When your characters are faced upon true pressure and danger they reveal themselves, they reveal their inner nature and they act accordingly. It\u2019s when all it\u2019s at stake and your characters need to make a decision right here, <\/i>right now. <\/i><\/p>\n So let them reveal themselves for what they truly are and let them speak up their mind and take the necessary decision that need to be taken.<\/p>\n For a more detailed explanation do not hesitate and check out the chapter of McKee’s book, Scene Design!<\/p>\n <\/p>\n \t\t\t\t\t\t\t\t\t\tTurning point effects: <\/b><\/h3>\n
\n
\n
\n
\n
\n
\n
Setup\/ Payoffs<\/b><\/h3>\n
Emotional Dynamics:<\/b><\/h3>\n
\n
Choice<\/b><\/h3>\n
![\"\"](\"https:\/\/www.mordego.com\/wp-content\/uploads\/2018\/07\/51c1Pf0fe7L-200x300.jpg\")
\n
\n
\n\t\t\t\t![\"save-the-cat\"](\"https:\/\/www.mordego.com\/wp-content\/uploads\/2018\/09\/save-the-cat.gif\")
\t\t\t\t<\/a>
\n\t\t\t<\/p>\nYou’ve finished your Screenplay and IT SUCKS – WHAT to do<\/a><\/h2>\n