Story by Robert McKee

Author:Robert McKee [Mckee, Robert]
Language: eng
Format: epub, azw3, mobi, pdf
ISBN: 978-0-06-203982-8
Publisher: HarperCollins
Published: 1997-12-14T23:00:00+00:00

A late-arriving Central Plot—ROCKY, CHINATOWN, CASABLANCA—leaves a story vacuum for the first thirty minutes that must be filled by subplots to engage the audience’s interest and acquaint it with the protagonist and his world in order to evoke a full reaction to its Inciting Incident. A setup subplot dramatizes the Central Plot’s exposition so that it’s absorbed in a fluid, indirect manner.

A subplot may be used to complicate the Central Plot.

This fourth relationship is the most important: use of the subplot as an additional source of antagonism. For example, the Love Story typically found inside Crime Stories: In SEA OF LOVE Frank Keller (Al Pacino) falls in love with Helen (Ellen Barkin). While hunting down her psychotic ex-husband, he risks his life to protect the woman he loves. In BLACK WIDOW a federal agent (Debra Winger) becomes infatuated with the killer herself (Theresa Russell). In THE VERDICT, a Courtroom Drama, Frank (Paul Newman) falls in love with Laura (Charlotte Rampling), a spy from the opposing law firm. These subplots add dimension to characters, create comic or romantic relief from the tensions or violence of the Central Plot, but their primary purpose is to make life more difficult for the protagonist.

The balance of emphasis between the Central Plot and subplot has to be carefully controlled, or the writer risks losing focus on the primary story. A setup subplot is particularly dangerous in that it may mislead the audience as to genre. The opening Love Story of ROCKY, for example, was carefully handled so that we knew we were heading for the Sports Genre.

Additionally, if the protagonists of the Central Plot and subplot are not the same character, care must be taken not to draw too much empathy to the subplot’s protagonist. CASABLANCA, for example, has a Political Drama subplot involving the fate of Victor Laszlo (Paul Heinreid) and a Thriller subplot centered on Ugarte (Peter Lorre), but both were deemphasized to keep the emotional spotlight on the Central Plot’s Love Story of Rick (Humphrey Bogart) and Ilsa (Ingrid Bergman). To deemphasize a subplot, some of its elements—Inciting Incident, act climaxes, Crisis, Climax, or Resolution—may be kept offscreen.

If, on the other hand, as you develop your screenplay, your subplot seems to demand greater focus and empathy, then reconsider the overall design and turn your subplot into the Central Plot.

If a subplot doesn’t thematically contradict or resonate the Controlling Idea of the main plot, if it doesn’t set up the introduction of the main plot’s Inciting Incident, or complicate the action on the main plot, if it merely runs alongside, it will split the story down the middle and destroy its effect. The audience understands the principle of aesthetic unity. It knows that every story element is there because of the relationship it strikes to every other element. This relationship, structural or thematic, holds the work together. If the audience can’t find it, it’ll disengage from the story and consciously try to force a unity. When this fails, it sits in confusion.

In the

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