How to write a movie in 8 exhilarating sequences…
There is a lot of discussion in the writing world about what is and isn’t a correct way to write a story, or in this case, structure a screenplay. While there are no hard and fast rules about how a screenplay should be written, as Supreme Court Justice Stewart Potter might say “you know it when you see it”.
For the most part, the rightness or wrongness of a story structure is down to the preferences of the writer. Some people will love a certain style, some people will hate it. Telling a story is a very individual process and writers don’t need to emulate a particular style in order to succeed.
A script, at the end of the day, is a functional document intended to help other people (i.e. a production team, actors, viewers) understand the idea that’s knocking about in your head palace. As long as people can understand what you’re trying to convey and there’s some degree of consistency to it – you’re good.
So, how does this relate to story structure, most specifically the eight sequences, and why is this used? Well, like a lot of things in movies, the 8-sequence structure was originally developed for logistical reasons. Where in many ways things the cart is put before the horse because it’s more convenient.
Back in the golden age of Hollywood, when going to the movies was a grand 2-hour affair that included an intermission, they needed around 8 film reels to hold the presentation. Filmmakers then began writing with eight 15-minute sequences in mind, which is why they eventually developed this structure.
While movies tend to be a lot shorter now (at least they were before streaming services came about), the structure has stood the test of time, and is now the go to for many screenwriters.
So, what is 8-sequence structure?
8-Sequence in a nutshell
The structure is aligned with your classic 3-Act – beginning, middle, end – but with the sequences split in a roughly 2, 4, 2 breakdown. Act two should therefore comprise of about 50% of the overall runtime.
However, writers shouldn’t mistake sequence to mean “scene”, as these sequences can be made up of one or multiple scenes.
ACT I
Sequence 1 - seeing the world as it is (status quo)
This introduces the main players in this story, the world they live in, the forces oppressing them (real or imagined), their current state of being and may indicate their “fatal flaw”. This sequence will usually finish at the “inciting incident” AKA the event thing that throws the current status quo off its axis.
This doesn’t always need to be negative, sometimes it’s a life of death situation, sometimes it’s an opportunity that presents itself that they know will completely change their life.
Sequence 2 – a walk through the door destiny, never to return
The protagonist’s way of life has been threatened or they’ve been given an opportunity to go after something they really want, and the first seeds are planted for how this story will evolve. We learn just how much of a bad situation they are in and what they need to do to get through to the end of it.
Often the hero will try to run (metaphorically or literally) from their destiny, but ultimately find they are forced to accept their call to action. This sequence ends when the protagonist accepts their “quest” knowing full well that life as they know it will never be the same. Their only option is to achieve their goal.
ACT II
Sequence 3 – the initial roadblock, things get harder (raising the stakes)
The character is faced with their first roadblock/obstacle and they realise that achieving their goal might not be a walk in the park. At this point we’ll learn more about the character and adding context to their original status quo (i.e. those oppressive forces are still against them, but they are taking action against them). The stakes are raised, but we know the character can’t turn and run. Their destiny is now set.
Sequence 4 – things come to a head, midpoint
The hero goes up against an even greater obstacle (maybe a major battle with the antagonist) that tests their mettle and gives an indication of how the story will resolve at the end. E.g. If the character is going to fail at their goal, they might have a major setback here that mirrors this ending. If they are going to achieve their goal, they might have a win here (they best their enemy in a battle of wits, setting the groundwork for that enemy’s revenge).
Sequence 5 – the subplot takes the main stage
In order to keep things interesting, we need a subplot to shake things up a bit. The A Plot needs time to breathe while the hero figures out their next move. This can be a side quest taken on by minor characters, a romantic/buddy arc between our heroes, or an event/scheme takes place that either helps or hinders the heroes later. A good subplot should reveal character or aid the resolution of the overall narrative.
Sequence 6 – things get real as we head towards the main event
A twist of fate or an attack from the antagonist smashes us back into the central storyline and forces the heroes to take action. This will be one of the worst obstacles they have faced and will usually lead to their worst low (i.e. the ‘All Is Lost’ beat) where the heroes don’t know if they will ever recover because things look that bad. This is often a reversal of the outcome of sequence 4, so if they had a win there they will have a bad loss at sequence 5, and vice versa.
ACT III
Sequence 7 – the hero gets back up and heads toward the final battle
At this point the hero has come to their senses and realised they can beat the external forces working against them, maybe they have a change of heart, they work together with their allies or another twist of fate gives them an advantage. Hero will often need to overcome their “fatal flaw” in order to come to this revelation. Heroes will then head into the final battle...
Sequence 8 – THE FINAL BATTLE... and aftermath
In this sequence, whatever action plan was decided on in sequence 7 will be acted up. They may fight an enemy, save the princess, get the girl, or foil the terrorist scheme. This is where we find out who wins, who loses, and what the world will look like once the dust settles. Life for the heroes (provided they survive) will return to a sense of normality that we saw in sequence 1, but they will be forever changed by the experience.
Why use 8-sequence?
Often people who talk about 8-sequence say to think of each individual sequence as its own little movie with the characters’ lives. Each with its own self-contained beginning, middle and end. This is great advice for newer writers who can often have a lot of scenes that don’t serve the greater narrative just because “they like them” or “it’s cute”.
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You have precious little time to tell your story, which is why all scenes need to serve the greater purpose of the narrative or give insight into your characters. I think this is probably one of the greatest pros of this structure, because it helps keep writers “on message” particularly in Act II, which can often be described as the “muddled middle”.
This is just one weapon in the arsenal of a writer, who may find they use different beats and structures depending on what they’re writing. Such as Save the Cat for a feature, Hero’s Journey for an Epic, 3, 4, 5-Act structure for television writing. No one style should be considered the be all, end all.
Much like other beat methods, some people swear by 8-sequence, while others don’t rate it. It comes down to personal preference. There is no ultimate way to write a story, it relies on how the story makes sense to a writer.
Although, for anyone who is wondering what structure to try for their story, I will be doing a comparison of different story beat structures in a future post. So, keep an eye out for that.
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