CPM - Plot Mapping (Lesson)

Plot Mapping

Introduction

Now that you have selected a clear subject, focus, purpose, perspective, genre, form, and logline; we can begin to look at the events over time that can be used to tell your story.

You have already explored plot mapping for playwriting in previous modules. And you recently used beat cards to map out the plot of a potential screenplay log. In this lesson, we will review terms, definitions, and strategies associated with writing for both theatrical and film forms, and look at variations in the process as well. At the end of this module, you will use your understanding of plot structure to draft a plot outline using a method appropriate for your form.

Foundational Plot Information and Development Strategies

Let’s review some foundational plot information and development strategies from previous modules that can be used for mapping out the plot of a screenplay or a theatrical script. In the video below, review plot structure information. Please reach out to your instructor with any questions.

Plot Development Strategies

Beat Cards for Playwrights

In a recent module, you explored the use of beat cards for screenwriting. While the structure for the screenplay beat card exercise may be too rigid to fit the needs of the playwright, the basic concept of mapping out plot points on cards and then physically arranging them can be very helpful. Consider creating single beat cards for scenes or events you would want to include for each of the key points below that have been previously defined.

Let's review what that looks like:

Beginning (minimum of two cards)

• Exposition/Point of Normalcy
• Inciting Incident/Interruption of the Point of Normalcy

Middle (minimum of three cards)

• Conflict/Main Character’s Want
• Rising Action
• Climax

End (minimum of four cards)

• Falling action
• Resolution
• Final Moment

Think about all of the possible events you would like to include in order to arrive at the previously determined plot points. Think in terms of locations and actions. While playwriting is not the same as screenwriting, do not be discouraged from thinking outside the box in writing the "impossible" scene. Typically playwriting has fewer locations and less visual action and relies on the dialogue to create a narrative, but the combination of creative dramatic dialogue and theatrical staging can go a very long way to achieve seemingly impossible goals. Once the actions have been determined, it is time to divide the events into acts and scenes.

Developing the Acts and Scenes of Your Screenplay

Given the complexities of screenwriting, the full beat card exercise based on Blake Snyder’s work (from Save the Cat) should be used for developing the structure of the screenplay.

Review the structure and process for the beat card exercise using Black Snyder’s additional categories for the three-act structure:

Beat Card Exercise (Build the actions of your movie in 40 beats (or less))

Use Blake Snyder’s act categories to map out your screenplay.

• Determine what the finale and midpoint are before writing out the beats.
• Streamline the language of the beats before putting them on the cards, then arrange the cards to fit the format of the three-act structure. When you find difficulty in the task, it may draw attention to problems areas or ideas that may need ironing out.

Arrange the cards into four rows of ten:

• First row ends in PLOT POINT 1
• Second row ends roughly at the midpoint
• Third row ends in PLOT POINT 2
• Fourth row ends with the final image

In the breakdown below, the page suggestions for the beats which were included in the previous module have been replaced with the suggested number of cards per beat. These cards are simply a suggestion. It is okay to break the format but understand that sticking to the format early on may streamline and focus choices later in the process.

Download the document "Beat Cards Breakdown" by clicking here. Links to an external site.

Breaking the Form

As mentioned earlier, it is possible to break this structure and to ignore the rigid order of the beat cards. Syd Field suggests that while a story has all of the elements of the three-act structure, the audience may not experience them in sequential order. A writer could even ignore whole categories of the story structure suggested by Blake Snyder. Despite the fact that many successful movies have these elements, many more movies do not

Keep in mind that Syd Field's rigid structure has only been in print in this format since 2005. Countless movies with excellent stories and plots were made long before this concept.

Even though Snyder’s work is in some part a descriptive criticism of elements that make up good storytelling based on observations of existing movies, it is clearly not the only effective approach.

Other Elements

Pacing or Momentum

Strong plotlines have many things in common, despite differences in tone, genre, or form. There is a momentum that keeps the plot moving from one point to the next. Usually, this momentum is created by having characters with clear objectives that they are pursuing throughout the script. Strong plotlines also include meaningful conflict where multiple characters are invested in the outcome of the conflict.

Additional Characters

At this point, out of necessity, all of the key characters that will be needed in this series of events will be determined. This cast should be fleshed out and discussed in the same depth as that of the main characters. Remember, you cannot reveal to your audience what you don’t know.

Therefore it is important to get to know your characters before writing their words.

Plot-Mapping Review

IMAGES  & VIDEOS CREATED BY GAVS