1. Tone, Theme, Revision
Prof Oakes

2. Improving your Script Conflict Sub-Plot Opening section Climax Tone
Theme
Revision

3. Subplot
The most common type of subplot is one that involves a romantic relationship in the life of the protagonist.
This could mean a lover or spouse (current or ex) or it could mean someone the protagonist longs for.
Using a romantic subplot is a wonderful way to show another side of the protagonist and also to offer some welcome interludes to the relentless churning of the main plot.

4. Subplot
Truth is, most movies have one or two subplots. What exactly is a subplot? A subplot is a storyline that is somewhat separated from the main plot.
Movies feel textured, complex, BIG. This impression of a largeness in movies comes largely from their subplots.
Subplots achieve this effect by giving a movie two things: Depth. Diversity.
Subplots add depth because they essentially add layers to the story.
Subplots add diversity by showing something a little different from the main plot now and then.

5. More Subplot Family members are a promising source of subplots.
Most subplots show an offshoot of the protagonist’s life.
Some subplots focus on characters other than the protagonist, although these characters will usually be known to the protagonist, inside the protagonist’s circle.
A subplot is usually woven throughout the entire movie, rather than appearing all in one concentrated segment.

6. Tone
Tone is a slippery term to define but it is a crucial aspect of any movie. Let’s define tone as the feel of the film.
It’s like an overlay to the entire story, affecting every scene and affecting the overall sensation the movie gives an audience.
A movie’s tone comes from every element in the movie, but most dominantly it is the result of three things:
Genre
World
Degree of lightness or darkness

7. Genre
Every movie has its own distinctive tone, but the tone is largely derived from the movie’s genre.
Each genre has a feel that comes from the conventions usually associated with a given genre.
For example, Action/Adventure movies are characterized by heart-pounding action and Epics are characterized by a sweeping sense of scale.
You should familiarize yourself with the genre you’re working in so you’ll gain an intrinsic sense of that genre’s tone.

8. Theme
Theme doesn’t have to mean something academic or moralistic. Indeed, it’s better off if it doesn’t.
If plot is what a story is about, then theme is what a story is really about. Deep down. You might think of it as an underlying idea or simply as the point of the film. And a story should have a point.
Without a point of any sort, a story is really just an anecdote—a series of events that may or may not be interesting. With a point, a story takes on purpose, resonance, the ability to strike a universal chord, the power to deeply move an audience.

9. Revision Some things to consider in the outline stage:
Does the protagonist have a goal? Is there a deeper desire beneath it?
Is there enough conflict (external and/or internal) blocking the goal?
Is there a major dramatic question?
Do you have a compelling protagonist with a good arc?
Are there three acts?
Is there a strong inciting incident, plot point 1, mid point, plot point 2, climax?
Is there enough happening? Too much?
Are there subplots that might help the story?
Is a good story being told?
Is it a visual story?

10. Revision
Your next few rounds of revision will address major issues. Look at the Big Picture. Consider such things as:
Does the story move forward? Does the tension increase?
Is the story believable (within its own context)?
Is there a strong enough climax?
Are any parts of the plot unnecessary?
Are the characters dimensional, or one-note? Can we sympathize with them? Do they have arcs?
Are there too many characters? Not enough?
Are the characters reflected through their action and dialogue?
Are you telling the story visually?
Is every scene important?
Does the dialogue sound natural?

11. COMMON PITFALLS SCENE HEADINGS DESCRIPTIONS ｷ Missing SCENE HEADINGS
ｷ Missing time
ｷ Include the words outside or inside in addition to INT./EXT.
DESCRIPTIONS
ｷ Telling and not showing (through visuals or dialogue)
ｷ No visual descriptions of characters or locations
ｷ Too long or too short

12. DIALOGUE OTHER STORY ｷ Too long ｷ Formal or awkward speech
ｷ Dialogue doesn’t reflect character
ｷ Unnecessary dialogue – doesn’t move story or reveal characters
OTHER
ｷ Overuse of parentheticals
ｷ Putting transitions or camera directions in the description line
ｷ Graphics/sound effects
ｷ Flashback/Flashforward
ｷ Overuse of VOICE OVER
STORY
ｷ No ending
ｷ No conflict
ｷ No cause and effect