• #Fat Assassins

    Two men, Antonio (Italian) and Edward (Polish), who really like to eat, frequent a pizzaria in Chicago. One day, they go to the pizzaria for lunch and, while eating, overhear the mob boss and his right hand man talking about an opening for two assassins as they walk by, shortly followed by the boss’s beautiful daughter, whom Antonio immediately falls in love with. Seeking a way to get closer to the boss’s daughter (and pizza) the men devise a way to join the mob.

  • Act I

    The Situation

    Antonio and Edward (Eddie) visit their local pizzaria for lunch. While eating their pizza, the mob boss and his right hand man walk by. They overhear them talking about how their two best assassins have been arrested and are in jail. The right hand man promises that he will find sufficient replacements for the jailed assassins. The men look at each other, shrug, and continue eating. After one bite, the Boss’s daughter walks by their table and Antonio’s mouth falls open. He immediately falls in love with her and dreams of a way of getting closer to her.
    While Antonio dreams of the Boss’s daughter, Eddie announces he’s going to the bathroom and gets up and exits. He comes back quickly stating that he saw posters in the bathroom for “Mob Auditions”. He holds up a torn off slip of paper with a phone number on it and states that, if they make it into the mob, they’d probably get free pizza. Antonio agrees wholeheartedly, though he’s probably thinking about getting closer to the Boss’s daughter. They agree to try out for the Mob.

  • Act II a

    Rising Action

    In the beginning of Act II, we get to explore the “new world” of the story. We meet its characters, as the hero is put through greater and greater challenges, until…

  • Act II b

    Raise the Stakes

    Something drastic happens, to change the course of the hero’s journey. Where before things felt like “rising action”, now it feels like “spiraling out of control”. The challenges seem insurmountable, and the hero is beat down, again and again.

  • Act III

    The Resolution

    The resolution of the story and its subplots. The climax is the scene or sequence in which the main tensions of the story are brought to their most intense point and the dramatic question answered, leaving the protagonist and other characters with a new sense of who they really are.

  • Opening Image

    The facade of a generic Pizzaria in Chicago. This is the headquarters for the Mob.

  • Set-up

    pgs 1-10

    By the first 10 pages (or 12 at most), you need to have set up your story.

    If you think of your story as a cannon shot, by page 10 the cannon needs to be loaded, aimed, and ready to be fired.

  • Catalyst

    pg 12

    Again, with the cannon analogy: Your cannon is aimed in pages 1-10, it needs to actually fire by page 12.

    Here again, the size and scope of the catalyst event must match the size of your story. If it’s a small drama, it could be a phone call announcing a death in the family, or it could be a breakup.

    If it’s a sprawling epic, it should be something grander. The outbreak of war, or the destruction of a planet.

  • Debate

    pgs 12-25

    If your hero starts moving towards his goal immediately, it’ll seem as though he’s just reacting to what happens around him.

    No one wants to see a hero react, they want to see him or her act.

    That’s what the debate section is for. This is where the hero shows that he/she knows that it’ll be a long road, but consciously decides to act.

  • Break into Two

    pg 25

    Once the hero decides to act, it’s time to step through a membrane, and enter the world of Act II.

    For example, in Star Wars, the catalyst is Luke’s parents being killed, but the Act II event occurs when they board Han’s ship, and the journey begins.

  • B Story

    pg 30

    The audience has been through a lot of turmoil to get to this point. Introduce a secondary story to give them a rest.

    This B story usually involves a romance, or a new friendship, or some other relationship with a character from the “new world” of Act II.

    It also serves two useful tools for you as a writer:

    1. It lets you have a second storyline to “cut to”, when needed. It’s like having a second camera to cut to when editing.
    2. It’s an avenue you can use to discuss the theme.

    This is where the B Story starts, but it runs throughout the rest of the movie.

  • Fun and Games

    pgs 30-55

    This is where you get to have fun (yes, even in a serious drama).

    With your logline, you asked a question: “What would happen if __?”
    This is where you answer that question.

    You’ve set up your story, your characters, and propelled them along in their journey. This is where you get to explore what happens.

    If there was a teaser for your movie, most scenes will come from this section.

  • Midpoint

    pg 55

    Your cannonball has reached it’s peak. The fun and games are over. There’s no better way to put this, than: “Shit just got serious!”

    The midpoint is where the stakes are raised.
    If people are to die in your story, this is where the first character dies. If it’s a smaller drama, a bombshell is dropped here.

    Something important has to happen at the midpoint.

  • Bad Guys Close In !!

    pgs 55-75

    Things get progressively worse… the challenges are getting harder, while the hero is getting more downtrodden.

    Don’t hold back, or feel sorry for your hero. Give ‘em hell.

  • All is Lost

    pg 75

    .. until it seems there’s no hope. This is the darkest part of the screenplay, where the hero realizes how bad things are. If there’s no death in your story, you might give a “whiff of death” here (even in comedies).

  • Dark Night of the Soul

    pgs 75-85

    How does your character feel about the darkness around him/her?

    Even if it’s brief, this moment is critical. The hero is not only beaten, but he/she knows it. Your hero must admit defeat, and must learn humility.

    Only then can your hero…

  • Break Into Three

    pg 85

    Find the solution!

    Because of everything that’s happened so far, and with the help of B story characters, the hero finds his last best effort to find a solution.

    The idea for the solution is at hand.

  • Finale

    pgs 85-110

    Wrap it up.
    The climax must be the result of the entire chain of events leading up to this point. A chain that should be linked by the words “therefore” or “but”… it’s not enough for Y to follow X, Y must happen because of X.

    Your climax is the result of

    1. Who your hero is.
    2. How your hero has changed.
    3. The events leading up to this point.

    Dispatch all the bad guys (literal or figurative), in ascending order. At the end, a new world is born.

    Not only must the hero suceed, but he/she must change the world.

  • Final Image

    pg 110

    The opening image is your “before” shot, this is the “after”.

    The world must have changed, and the difference between the opening image and the closing is the proof of this change.

{"cards":[{"_id":"53dbe1d7bf0505986d7b87b0","treeId":"53dbe1d7bf0505986d7b87ae","seq":368248,"position":2,"parentId":null,"content":"#Fat Assassins\n\nTwo men, Antonio (Italian) and Edward (Polish), who really like to eat, frequent a pizzaria in Chicago. One day, they go to the pizzaria for lunch and, while eating, overhear the mob boss and his right hand man talking about an opening for two assassins as they walk by, shortly followed by the boss's beautiful daughter, whom Antonio immediately falls in love with. Seeking a way to get closer to the boss's daughter (and pizza) the men devise a way to join the mob."},{"_id":"53dbe1d7bf0505986d7b87b1","treeId":"53dbe1d7bf0505986d7b87ae","seq":368319,"position":1,"parentId":"53dbe1d7bf0505986d7b87b0","content":"## Act I\n#### *The Situation*\n\nAntonio and Edward (Eddie) visit their local pizzaria for lunch. While eating their pizza, the mob boss and his right hand man walk by. They overhear them talking about how their two best assassins have been arrested and are in jail. The right hand man promises that he will find sufficient replacements for the jailed assassins. The men look at each other, shrug, and continue eating. After one bite, the Boss's daughter walks by their table and Antonio's mouth falls open. He immediately falls in love with her and dreams of a way of getting closer to her. \nWhile Antonio dreams of the Boss's daughter, Eddie announces he's going to the bathroom and gets up and exits. He comes back quickly stating that he saw posters in the bathroom for \"Mob Auditions\". He holds up a torn off slip of paper with a phone number on it and states that, if they make it into the mob, they'd probably get free pizza. Antonio agrees wholeheartedly, though he's probably thinking about getting closer to the Boss's daughter. They agree to try out for the Mob. "},{"_id":"53dbe1d7bf0505986d7b87b2","treeId":"53dbe1d7bf0505986d7b87ae","seq":368332,"position":1,"parentId":"53dbe1d7bf0505986d7b87b1","content":"### Opening Image\nThe facade of a generic Pizzaria in Chicago. This is the headquarters for the Mob."},{"_id":"53dbe1d7bf0505986d7b87b4","treeId":"53dbe1d7bf0505986d7b87ae","seq":368206,"position":3,"parentId":"53dbe1d7bf0505986d7b87b1","content":"### Set-up\n###### pgs 1-10\n\nBy the first 10 pages (or 12 at most), you need to have set up your story.\n\nIf you think of your story as a cannon shot, by page 10 the cannon needs to be loaded, aimed, and ready to be fired."},{"_id":"53dbe1d7bf0505986d7b87b5","treeId":"53dbe1d7bf0505986d7b87ae","seq":368207,"position":4,"parentId":"53dbe1d7bf0505986d7b87b1","content":"### Catalyst\n###### pg 12\nAgain, with the cannon analogy: Your cannon is aimed in pages 1-10, it needs to actually fire by page 12.\n\nHere again, the size and scope of the catalyst event must match the size of your story. If it's a small drama, it could be a phone call announcing a death in the family, or it could be a breakup.\n\nIf it's a sprawling epic, it should be something grander. The outbreak of war, or the destruction of a planet."},{"_id":"53dbe1d7bf0505986d7b87b6","treeId":"53dbe1d7bf0505986d7b87ae","seq":368208,"position":5,"parentId":"53dbe1d7bf0505986d7b87b1","content":"### Debate\n###### pgs 12-25\nIf your hero starts moving towards his goal immediately, it'll seem as though he's just reacting to what happens around him.\n\nNo one wants to see a hero react, they want to see him or her *act*.\n\nThat's what the debate section is for. This is where the hero shows that he/she knows that it'll be a long road, but consciously decides to act.\n\n"},{"_id":"53dbe1d7bf0505986d7b87b7","treeId":"53dbe1d7bf0505986d7b87ae","seq":368209,"position":2,"parentId":"53dbe1d7bf0505986d7b87b0","content":"## Act II a\n#### *Rising Action*\n\nIn the beginning of Act II, we get to explore the \"new world\" of the story. We meet its characters, as the hero is put through greater and greater challenges, until..."},{"_id":"53dbe1d7bf0505986d7b87b8","treeId":"53dbe1d7bf0505986d7b87ae","seq":368210,"position":1,"parentId":"53dbe1d7bf0505986d7b87b7","content":"### Break into Two\n###### pg 25\nOnce the hero decides to act, it's time to step through a membrane, and enter the world of Act II.\n\nFor example, in *Star Wars*, the catalyst is Luke's parents being killed, but the Act II event occurs when they board Han's ship, and the journey begins."},{"_id":"53dbe1d7bf0505986d7b87b9","treeId":"53dbe1d7bf0505986d7b87ae","seq":368211,"position":2,"parentId":"53dbe1d7bf0505986d7b87b7","content":"### B Story\n###### pg 30\nThe audience has been through a lot of turmoil to get to this point. Introduce a secondary story to give them a rest.\n\nThis B story usually involves a romance, or a new friendship, or some other relationship with a character from the \"new world\" of Act II.\n\nIt also serves two useful tools for you as a writer:\n1. It lets you have a second storyline to \"cut to\", when needed. It's like having a second camera to cut to when editing.\n2. It's an avenue you can use to discuss the theme.\n\nThis is where the B Story starts, but it runs throughout the rest of the movie."},{"_id":"53dbe1d7bf0505986d7b87ba","treeId":"53dbe1d7bf0505986d7b87ae","seq":368212,"position":3,"parentId":"53dbe1d7bf0505986d7b87b7","content":"### Fun and Games\n###### pgs 30-55\nThis is where you get to have fun (yes, even in a serious drama).\n\nWith your logline, you asked a question: \"What would happen if ____?\"\nThis is where you answer that question.\n\nYou've set up your story, your characters, and propelled them along in their journey. This is where you get to explore what happens.\n\nIf there was a teaser for your movie, most scenes will come from this section.\n"},{"_id":"53dbe1d7bf0505986d7b87bb","treeId":"53dbe1d7bf0505986d7b87ae","seq":368213,"position":3,"parentId":"53dbe1d7bf0505986d7b87b0","content":"## Act II b\n####*Raise the Stakes*\nSomething drastic happens, to change the course of the hero's journey. Where before things felt like \"rising action\", now it feels like \"spiraling out of control\". The challenges seem insurmountable, and the hero is beat down, again and again."},{"_id":"53dbe1d7bf0505986d7b87bc","treeId":"53dbe1d7bf0505986d7b87ae","seq":368214,"position":1,"parentId":"53dbe1d7bf0505986d7b87bb","content":"### Midpoint\n###### pg 55\nYour cannonball has reached it's peak. The fun and games are over. There's no better way to put this, than: \"Shit just got serious!\"\n\nThe midpoint is where the stakes are raised.\nIf people are to die in your story, this is where the first character dies. If it's a smaller drama, a bombshell is dropped here.\n\nSomething important has to happen at the midpoint."},{"_id":"53dbe1d7bf0505986d7b87bd","treeId":"53dbe1d7bf0505986d7b87ae","seq":368215,"position":2,"parentId":"53dbe1d7bf0505986d7b87bb","content":"### Bad Guys Close In !!\n###### pgs 55-75\nThings get progressively worse... the challenges are getting harder, while the hero is getting more downtrodden.\n\nDon't hold back, or feel sorry for your hero. Give 'em hell."},{"_id":"53dbe1d7bf0505986d7b87be","treeId":"53dbe1d7bf0505986d7b87ae","seq":368216,"position":3,"parentId":"53dbe1d7bf0505986d7b87bb","content":"### All is Lost\n###### pg 75\n.. until it seems there's no hope. This is the darkest part of the screenplay, where the hero realizes how bad things are. If there's no death in your story, you might give a \"whiff of death\" here (even in comedies)."},{"_id":"53dbe1d7bf0505986d7b87bf","treeId":"53dbe1d7bf0505986d7b87ae","seq":368217,"position":4,"parentId":"53dbe1d7bf0505986d7b87bb","content":"### Dark Night of the Soul\n###### pgs 75-85\nHow does your character feel about the darkness around him/her?\n\nEven if it's brief, this moment is critical. The hero is not only beaten, but he/she *knows* it. Your hero must admit defeat, and must learn humility.\n\nOnly then can your hero..."},{"_id":"53dbe1d7bf0505986d7b87c0","treeId":"53dbe1d7bf0505986d7b87ae","seq":368218,"position":4,"parentId":"53dbe1d7bf0505986d7b87b0","content":"## Act III\n#### The Resolution\n\nThe resolution of the story and its subplots. The climax is the scene or sequence in which the main tensions of the story are brought to their most intense point and the dramatic question answered, leaving the protagonist and other characters with a new sense of who they really are."},{"_id":"53dbe1d7bf0505986d7b87c1","treeId":"53dbe1d7bf0505986d7b87ae","seq":368219,"position":1,"parentId":"53dbe1d7bf0505986d7b87c0","content":"### Break Into Three\n###### pg 85\nFind the solution!\n\nBecause of everything that's happened so far, and with the help of B story characters, the hero finds his last best effort to find a solution.\n\nThe idea for the solution is at hand."},{"_id":"53dbe1d7bf0505986d7b87c2","treeId":"53dbe1d7bf0505986d7b87ae","seq":368220,"position":2,"parentId":"53dbe1d7bf0505986d7b87c0","content":"### Finale\n###### pgs 85-110\nWrap it up.\nThe climax must be the *result* of the entire chain of events leading up to this point. A chain that should be linked by the words \"therefore\" or \"but\"... it's not enough for Y to follow X, Y must happen because of X.\n\nYour climax is the result of\n\n1. Who your hero is.\n2. How your hero has changed.\n3. The events leading up to this point.\n\nDispatch all the bad guys (literal or figurative), in ascending order. At the end, a new world is born.\n\nNot only must the hero suceed, but he/she must change the world."},{"_id":"53dbe1d7bf0505986d7b87c3","treeId":"53dbe1d7bf0505986d7b87ae","seq":368221,"position":3,"parentId":"53dbe1d7bf0505986d7b87c0","content":"### Final Image\n###### pg 110\nThe opening image is your \"before\" shot, this is the \"after\".\n\nThe world must have changed, and the difference between the opening image and the closing is the proof of this change."}],"tree":{"_id":"53dbe1d7bf0505986d7b87ae","name":"Fat Assassins Outline","publicUrl":"fat-assassins-outline"}}