StoryNotesNewsletter #23

This is the continuation and
conclusion of the article begun
in Issue #22.

We left off noting that there are
three types of reversals:
(1) A Reversal of Expectations
(2) A Reversal of Fortune
(3) A Full-fledged Reversal of
Situation


ISSUE #23

Part 2 (of 2)

* * REVERSALS * *

REVERSAL OF EXPECTATIONS

A "Reversal of Expectations" simply means that the
characters and/or the audience have a certain expectation as
to how an event or plan will play out, or how someone will
react to something -- but then, that expectation is not met.
In fact, the reverse occurs.

If we are surprised by the outcome of an event or by a
reaction ... if what we anticipated does not occur ...
that's an example of "Defied Expectations," which is a
dramatically valuable -- indeed, vital -- technique. This
should happen quite frequently in a good story. And if the
outcome or reaction is not only different, but pretty much
the opposite of what we anticipate, then the outcome is a
*reversal* of our expectations.

Some examples of reversed expectations: Rather than
being pleased with the surprise party, the man is furious.
Instead of saying yes to her boyfriend's proposal, a woman
says no (or slaps his face).

Instead of yelling at his child as we expect, the father
embraces her. The ball is thrown in the air ... and doesn't
come down. The D student wins the spelling bee.

Instead of cruising to an easy victory, the top-ranked
team is defeated by the team with a long losing streak.
Instead of disaster, a half-baked plan meets with success.

The last two examples are reversals of expectations, but
they're also something more. They involve the second kind
of reversal as well.

REVERSAL OF FORTUNE

A "Reversal of Fortune" is a bit stronger. If it's a
plot-level Reversal of Fortune, it generally is accompanied
by, or is the by-product of, a Turning Point. There's a
sharp and unexpected turn and a change in fortune. This can
happen in either of two ways: from "good" to "bad," or from
"bad" to "good."

Regarding good to bad: we were making progress toward
the goal, and now, suddenly and unexpectedly, there's a
setback and we're moving away from achievement of the goal.

For instance, Dorothy and company finally get to see the
Wizard -- but then, rather than being granted their wishes,
they are told that they must find and bring back the
broomstick of the Wicked Witch. That's a definite good-to-
bad change in fortune. It's sudden and severe.

Or, the unexpected change of fortune can go the other
way, from bad to good: we were in a period of moving away
from the goal, and headed toward defeat or disaster, but
then something happens to turn things around and now we're
back on track once more, once again making progress toward
the goal.

At the scene level, this can be seen when, on the
outskirts of the Emerald City, Dorothy and the Lion fall
asleep on the field of poppies. Then, a positive reversal:
Glinda makes it snow. They awaken, and moments later arrive
at their destination. Another "OZ" positive Reversal of
Fortune: after they are forbidden to see the Wizard, Dorothy
cries. The guard softens, and lets them in.

By the way, that's an example of two scene reversals
cancelling each other out -- the plot as a whole remains
unaffected. The guard says "No Admittance," which is a
negative scene/sequence reversal ... and then a scene later,
the guard, touched by Dorothy's tears, says yes. In effect,
we're back to where we were prior to the negative reversal
-- no overall plot change. But meanwhile: good drama.
Surprises are encountered. Emotions are whipsawed. The
plot -- for a time -- changes course. We get some good
conflict. Suspense. Variety. So that's why they are
there, and others like them.

Reversals of Fortune can take place at the scene and/or
sequence level, or at the overall plot level. The bigger
Reversals of Fortune -- the ones that affect large sections
of the plot that follows, such as when the Wizard turns down
their requests, and demands they first bring back the
witch's broomstick -- are plot reversals.

Some scene-level reversals of fortune are less drastic
than the "OZ" examples mentioned here. A scene can have a
"positive flow" from the point of view of the main character
-- regarding the character's scene goal and/or plan -- and
then something happens and now things are moving away from
the scene and/or overall goal. Or vice versa: things go
from short-term bad to short-term good. Sometimes it's as
simple as that.

Reversals of Expectation and Reversals of Fortune (which
usually also involve Reversals of Expectation) are the two
most-used forms of reversals. As we've seen, they can be
effective at the scene, sequence, and plot levels. And most
plots need at least three plot-level Reversals of Fortune in
order to be effective.

FULL-FLEDGED REVERSAL OF SITUATION

A "Full-fledged Reversal" is the most powerful type of
reversal. It includes both of the first two types: it
involves a reversal of expectations AND a change in fortune.
But there's another element as well -- one that makes for an
even stronger reversal.

With this kind of "classic" reversal, we experience a
total change of situation to the opposite state of affairs.
It's a complete and neat "tables turning" situation. It's a
180 degree turn. It's a quick, unexpected switch to the
mirror-image (i.e., reverse) state of affairs.

This could be a change from Person or Group A as pursuer
of Person or Group B (the pursued) to the reverse situation:
Now B pursues A. This pursuit could involve a physical
chase, hunt, or search, or, perhaps, a romantic pursuit.

A Full Reversal of Situation can happen at the scene
level or the plot level. The earlier example of the sudden
switch from the thug holding a gun on the detective who then
quickly disarms the person and grabs the gun is an example
of a full-fledged reversal, since now the situation is
exactly reversed. And it would probably be a short-term,
scene-level reversal, not a major reversal of the overall
plot.

For an example of a Full-fledged Reversal of Situation
that is also a plot reversal -- a reversal-plus-Turning
Point -- let's return to THE WIZARD OF OZ.

When the witch is about to kill Dorothy and the others,
she starts with the scarecrow, setting him on fire. All is
lost. She has the upper hand, they are about to die; the
scarecrow is in the process of being destroyed. A bucket of
water thrown by Dorothy creates a full reversal. Now it is
the witch who is dying.

So a Full-fledged Reversal of Situation can involve
small reversals that only affect a particular scene, or they
can be huge Turning Point, plot-changing reversals.

OTHER REVERSAL EXAMPLES

Not all reversals can be neatly categorized. Often,
they contain elements of more than one type of reversal.
Other times, a situation may suddenly change to *nearly* the
opposite state of affairs, but not the *exact* or mirror-
image opposite. It's a reverse in the general nature of the
situation, but not a precise "tables turning." And that's
fine. Whatever works. If it's effective, appropriate to
the story, and helpful -- then use it.

Here's an example from STAR WARS. It's an example of a
major plot reversal that includes but goes beyond a Reversal
of Fortune, incorporating as well a Reversal of Situation --
but not quite to the mirror opposite, tables-turned
standard. It may or may not be a "Full-Fledged, Tables-
Turned" reversal, but no matter: it's a major plot reversal
that is startling and compelling. In terms of their
*general* situation, it's a real "180."

Luke, Han, Chewbacca, and Obi-wan blast off from
Tatooine and manage to escape the Empire fighters. Now they
are free and safe. Moments later they arrive at their
destination, Alderaan. But: no Alderaan! Moments before,
it was blasted to bits. And: an immense Imperial Death
Star comes into view ... and it draws them into it with a
tractor beam.

This development -- the Midpoint of the movie --
involves a reversal of expectations and a strong reversal of
fortune, and comes pretty close to being a full-fledged
reversal to the opposite state of affairs. Certainly their
general situation has fully reversed: safety and freedom to
danger and entrapment; being on the brink of achieving the
goal to being about as far away from achieving it as they
could get.

And certainly, this is a development that changes the
course of events: the next 30 minutes of the film deal with
saving the princess, who is also aboard, and getting off and
away from the Death Star.

All in all, it's a wonderful reversal.

SUMMARY

Reversals are a great way to achieve surprise and
variety.

One can have scene reversals, or plot reversals. And
when you have a sequence, there may be a sequence reversal
of one sort or another, too.

A reversal can involve a reversal of expectations.
These expectations can be regarding someone's anticipated
reaction or the outcome of an action.

Or it can be a reversal of fortune: a change of luck,
or a sharp shift in one's moving toward or away from the
goal.

Finally, it can be a Full Reversal of Situation: a 180
degree turnabout ... a sharp turn to the opposite state of
affairs. This can be in terms of the general situation, or
even a turned-tables, mirror-image reversal to the precisely
opposite situation.

By all means, avoid a linear and overly predictable
plot. Create false expectations, and then defy them. Steer
a course, and then surprise us. Sometimes with an obstacle
or a complication. But sometimes with something even
sharper and more unexpected: an out-and-out reversal.

Think about your list of often-seen movies and try to
remember examples of both scene- and plot-level reversals.
Try to come up with examples of all three types: reversals
of expectations, fortune, and situation. Better yet,
rewatch those five movies, concentrating on discovering all
the levels and types of reversals discussed here.

Also ...

Look over your last screenplay, or the one you have in
progress. Do many of the scenes contain a reversal of one
sort or another which changes the expected course of the
scene? And are there any major, plot-changing reversals?
Which of the three types are utilized? Could or should
there be more reversals?

They've been around since the time of Aristotle, who
called them "peripeties." Shakespeare employed them. So
did O'Neill, Miller, Williams, and Albee. And you'll see
them in the films of Spielberg, Lucas, Coppola, and many
others. Reversals worked for them, and they will work for
you, too.

# # #

Copyright 1999-2002 by Jeff Newman

* * DISCOUNT * *

For subscribers to this (free) e-newsletter, or for posters
on mws newsgroup (misc.writing.screenplays) or the "Done
Deal" message board, rather than the standard rates of $400,
$600, or $1,000, you may receive these same evaluations for
$300, $500, or $900, effective through 12/31/02.

If you do not have a screenplay quite ready to send out, you
can send the check now to hold your place on the script
pile, and to qualify for the discount. If your script is
still not ready when its turn comes up, your letter will
remain at the top of the pile and your script will be the
next one read whenever it does come in.

Turnaround time is generally 4 weeks from the time payment
is received.

Go to http://storynotes.com for details about the evaluation
service.

Jeff Newman
storynotes@...


To read past articles ...


For Issues 1-15:

http://groups.yahoo.com/group/StoryNotesNewsletter/messages/3?expand=1

(Be sure "expand=1" is included with the url; it's best to
highlight/select starting from the end of the above url,
then copy and paste.)

For Issues 16-21:

http://groups.yahoo.com/group/StoryNotesNewsletter/messages/20?
expand=1

(See above parenthetical note.)

Jeff Newman, StoryNotes
e-mail: storynotes@...
http://storynotes.com