Resolution: Insane woman is free from male control: “Now why should that man have fainted? But he did, and right across my path by the wall, so that I had to creep over him every time!” Hook: Sane, caged wife disregarded by husband: “John laughs at me, of course, but one expects that in marriage.”ħ. The move from Hook to Resolution is something like “Sane but caged wife becomes insane but free woman.”ġ.
To see how seven-point structure plays out, I broke down Charlotte Perkins Gilman’s “The Yellow Wallpaper”–and I have some questions: Plus, you can get it for like $10 on Amazon so it’s well worth the investment. The book actually goes over it a lot more in depth and has other good screenwriting advice. I’ve never used the latter method but I know for a fact the former method is how Thelma & Louise works (or at least that’s how a film professor explained it to me).ĭan got this from a Star Trek RPG, but for those curious this structure was actually developed by a guy named Syd Field in his book Screenplay: The Foundations of Screenwriting. You can use it for a story with multiple main characters by either dividing the narrative load equally among the multiple characters(they all suffer equally when one suffers they all suffer when a big character change happens it affects them all) OR by giving every main character their own arc plotted out with their own 7-points…I think.
I think it’s also important to note that this structure is designed for a story with a single main character at its core. This story structure makes more sense I think because Pinch I and II are linked to the same conflict/opponent. In school I had to learn Robert McKee’s structure which is the same but uses Five Points, but I never really got it.
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