I recommend William C. Martell's âtennis plottingâ approach to screenplay plotting introduced in a very perceptive essay, âPlotting Murderâ published in the Scr(i)pt Magazine, Vol 11, No. 5.
âThe ball doesn't just hop over the net on its own... somebody has to hit it â same thing with a story,â explains Martell.
âThings don't just happen on their own. They happen because someone causes them to happen. After that, another character reacts to that event, and the reaction knocks the ball back over the net so that the other player must react to it.â
Martell illustrates his paradigm by giving scene-by-scene examples from the Graham Yost thriller SPEED.
The SPEED example works great but it need not be a thriller or a murder story for this paradigm to work.
For example, the same tennis analogy can be applied to the romantic love story THE NOTEBOOK (story by Nicholas Sparks) since the desired outcome -- Noah and Allie living together happily after â is frequently subverted and frustrated with all kinds of obstacles â the ânetâ -- that they have to overcome to be together.
These ânetsâ are either external (like Allie's class-conscious family oppose their dating) or internal (Noah suspects Allie wants money more than his love). But this is a paradigm that helps in visualizing the overall dynamic of the story. If the ball stays for too long in one side of the âcourt,â it means it is time to hit back over the ânetâ for a return.â
Ugur Akinci, Ph.D. is a Creative Copywriter, Editor, an experienced and award-winning Technical Communicator specializing in fundraising packages, direct sales copy, web content, press releases and hi-tech documentation.
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