WHO IS Frank Daniel?

a respected scriptwriter of Czech heritage – Daniel's developed the idea of a “sequenced approach” towards his writing. Over time, this technique has become an intrinsic component of the writing process for many others. Frank Daniel’s evolution of the sequenced approach has aided creatives to not only understand fully why they must prioritise the structure of their plot as well as other important factors, such as character development and dialogue; but also to appreciate how adopting a solid structure in your writing supports your personal development as a writer. Having studied the craft of scriptwriting at university, the sequenced approach is a much-discussed element in the field, and industry professionals will always iterate the significance of all writers adopting these measures when formulating their work. From personal experience, I can state, with confidence, that utilising the sequenced approach will uphold your writing abilities in ways no other attitudes could.

So, what exactly is the sequenced approach?

In the simplest of terms, it is the idea that every script, no matter it’s length, should tell it’s story over eight distinct chapters. Each of these should be seen as ‘mini films’ within the film or episode itself, and should each strive to move the characters and plot forward, while achieving the same basic aims each time. By assuming, for example, a feature-length film is 120 minutes long, these eight sequences should be about fifteen minutes worth of screen-time. The use of this method aids the story’s movement while also assisting your character’s journey and ensuring there is always something gripping happening in your plot to keep the audience invested. It is a great way to keep surprising the audience with twists and turns – “mini-cliffhangers”, if you will – and maintaining a steady flow of plot points. Due to my own experience of writing, I will be instead focusing on the use of the sequenced approach within the context of writing an episode of television drama. This does not dramatically affect the way the sequenced approach is used by a writer; rather, adapts.

how do i use it?

Working on the assumption that your television episode is an hour in length, we will round the number of script pages to sixty (a minute per page). Taking this into account, each chapter of the sequenced approach should cover about seven and a half pages of scripted content – or the same amount of screen-time in the finished result. Each of the eight sequences you should consider are easy to distinguish and should achieve the following aims: -

Sequence 1:

Establishing the World. “First, a hook to excite the viewer’s curiosity. Then, the exposition answering who, what, when, and where. Show a glimpse of the life of the protagonist before the story gets underway. This first sequence ends with an inciting incident.”

Sequence 2:

Big Issue. “Protagonist tries to re-establish the status quo disrupted by the inciting incident, fails, and is faced with a worse predicament. This sequence poses the dramatic question that will shape the rest of the picture.”

Sequence 3:

Raise the Stakes. “The protagonist attempts to solve the problem presented at the end of the [previous sequence].”

Sequence 4:

Ups and Downs. “The solution from the last sequence is seen to fail, and the protagonist tries one or more desperate measure to restore the status quo. The end of this sequence is the midpoint crisis, which brings a major revelation or reversal. The audience should be tempted to guess the outcome of the story.”

Sequence 5:

Background Noise. “The protagonist deals with the ramifications of the midpoint crisis. Sometimes new characters are introduced, or new opportunities discovered, in this sequence. This sequence may also deal heavily with subplots.”

Sequence 6:

Head On. “The protagonist has exhausted all the easy courses of action, and directly addresses the central dramatic question. The audience should be tempted to guess the outcome of the story, although the obvious answer may often be a mirror opposite of how the film actually ends.”

Sequence 7:

Cause and Effect. “The apparent solution of the central dramatic question in the previous sequence shows its problems here. The stakes are raised. The effect of a long dangling cause may occur. The story is seen in a new light, and the protagonist might need to reverse their goals.”

Sequence 8:

Shockwaves. “The tension created by the inciting incident is truly resolved. Any remaining subplots are resolved. There may be a brief epilogue. The last sequence may in some way (visually, perhaps?) recall the first sequence.”

what to expect from your plot

The vitality of plot structure when crafting scripted content for televisual medium cannot be stressed enough. In part, it could be argued that this is a result of audience expectations. Considering most shows they have watched on TV will have adopted similar methods in regards to the pace of their storytelling, the audience have more than likely become – subconsciously, perhaps – accustomed to this. Although audiences tend to crave the opportunity to let their imagination run wild, it has been known for television dramas that actively seek to tell their stories without the utilisation of traditional structuring methods to have been received uncertainly, at least to begin with. This something to be wary of; although you shouldn’t be afraid to deviate from conventional means of story structure if your plot demands or would benefit from it. Just bear in mind if the shift in structure is too severe, it may take your audience more time to adjust.

the right structuring method can make you more productive

It is important to emphasise that the sequenced approach is by no means definitive. Many films and series over the years have broken away from the ideology completely and been critically successful; others have altered the structure of Frank Daniel’s method in more minor ways. However you see fit to structure your plot is what will be best for your script. As the writer, nobody knows your story and characters better than you, and if it feels natural – go for it. But please always keep the sequenced approach in mind and at least consider ways in which you could follow the advice it provides. It can be hugely beneficial in both a creative and commercial sense, and it may just be the perspective your script may profit from on a grand scale.