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Frank Daniel Sequence Approach

Frank Daniel's sequence approach breaks screenplays into eight sequences that each have their own tension, rising action, and resolution. The first act has two sequences that establish the status quo and inciting incident. The second act has four sequences where the protagonist fails in attempts to achieve their goal. The third act has two sequences where the tensions are finally resolved by the eighth and final sequence.

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1K views

Frank Daniel Sequence Approach

Frank Daniel's sequence approach breaks screenplays into eight sequences that each have their own tension, rising action, and resolution. The first act has two sequences that establish the status quo and inciting incident. The second act has four sequences where the protagonist fails in attempts to achieve their goal. The third act has two sequences where the tensions are finally resolved by the eighth and final sequence.

Uploaded by

Adrian Di Manzo
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as PDF, TXT or read online on Scribd
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Frank Daniel's Sequence Approach

Once a writer has a general notion of STORY STRUCTURE, s/he moves on to a


more detailed working out of screenplay structure. Legendary dean of both
USC and AFI, Frank Daniel broke down a movie's structure into eight
sequences.

"A typical two-hour film is composed of sequences – 8 to 15 minute segments


that have their own internal structure – in effect, shorter films, but inside
the larger film. To a significant extent, each sequence has its own
protagonist, tension, rising action, and resolution – just like a film as a
whole. The difference between a sequence and a standalone 15 minute film
is that the conflicts and issues raised in a sequence are only partially
resolved within the sequence, and when they are resolved, the resolution
often opens up new issues, which in turn become the subject of subsequent
sequences." (Screenwriting, Paul Gulino, pg.2)

The sequence approach divides the film into eight sequences. The First Act
has two sequences, a Second Act has four sequences, and a Third act has two.

MotionPicturePlayground.com

(Click on each of the SCREENPLAY TERMS below for a full definition.)

First sequence
Excite the viewers curiosity with an OPENING IMAGE and
HOOK. Present EXPOSITION explaining the who, what, when, and where of
the story. Show a glimpse of the life of the protagonists before the story gets
underway - the STATUS QUO. This sequence generally ends with the inciting
incident or POINT OF ATTACK.

Second sequence
The protagonist tries to reestablish the STATUS QUO disrupted by the POINT
OF ATTACK, fails, and must face a worse predicament. The
protagonist's WANT is defined, as so, the sequence poses the DRAMATIC
QUESTION that will shape the rest of the story. This is the END OF THE FIRST
ACT, and with it the MAIN TENSION is firmly established.
Third sequence
The protagonist makes a first attempt to solve the DRAMATIC QUESTION and
fulfill his/her/their WANT, but fails. SUBPLOTS are established. This
sequence often includes the first major SET PIECE of the movie, which
explores and exploits the MAIN TENSION or COMEDIC TENSION.

Fourth sequence
Here the protagonist often attempts, once again, to restore the STATUS
QUO and fails. The end of the sequence is the midpoint or FIRST
CULMINATION. It often brings a major REVELATION or REVERSAL. So, a major
element of this sequence is audience PREPARATION for this culmination. The
audience should be tempted to guess the outcome story. The STAKES are
raised.

Fifth Sequence
The protagonists deals with the AFTERMATH of the first culmination. Often
new characters are introduced for new opportunities are discovered. The
protagonist's NEED (as opposed to WANT) becomes a force and complication in
the protagonists choices. The sequence may deal heavily with SUBPLOTS, such
as a romantic subplot, and may give the audience a break from the MAIN
TENSION of the main plot.

As with other sequences, this sequence may have its own TENSION, WANT and
central QUESTION that gets resolved at the climax of the sequence. However
the MAIN TENSION and MAIN DRAMATIC QUESTION remain unresolved.

Sixth sequence
This is the last sequence before the END OF THE SECOND ACT. The
protagonist has exhausted all easy courses of action and must address the
central dramatic question head on. Forces pushing the protagonist to
a CHARACTER CHANGE become impossible to ignore.

The MAIN TENSION resumes it's intensity, and is seemingly resolved in


the CULMINATION at the sequence climax. This may be a "dark night of the
soul" in which the protagonist feels that all is lost, or it may be a victory that
leads to a bigger problem and THIRD ACT TENSION.

SUBPLOTS are generally resolved in the sixth and seventh sequences, before
the climax that resolves the central DRAMATIC QUESTION and ends the story.

Seventh sequence
The apparent answer of the central dramatic question proves
premature. The STAKES are raised on final time. A new THIRD ACT
TENSION is established that will answer the dramatic question once and for
all. The story seen in a new light, and the protagonist might reverse
his/her/their goals. Often this long sequence ends in a FALSE ENDING/FINAL
TWIST.

Eighth sequence
The TENSIONS created by the POINT OF ATTACK are finally resolved. Any
remaining SUBPLOTS are tied up. The final image may recall images that
opened the film.

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