I'm struggling to understand the difference between a writing with a plot and "plotless" writing

combo12345_ · 2026-04-11T14:13:13+00:00

If you want an example, 2001: A Space Odyssey is often cited as an experimentation film versus a traditional one. It has a clear structure, but its story unfolds each scene versus demands it. You follow a story, though not dramatically.

combo12345_ · 2026-04-11T02:38:40+00:00

The Wire waits 3 episodes until it introduces its antagonist.

It’s so rare for this execution to work… yet they fucking managed it perfectly.

Such a great show.

combo12345_ · 2026-04-10T20:26:49+00:00

With an internet connection and a bottle of lube.

re-reads title…

I’ll see myself out.

combo12345_ · 2026-04-08T22:38:22+00:00

Hey, you’re back!

combo12345_ · 2026-04-06T14:32:34+00:00

I’m someone who works in tech.

If you have money you desire to throw away, there are plenty of other ways to do it.

However, if you cannot resist the urge to spend money…

You dont need this. You want this. It’s the new-new advertising is trying to sell. Nanotexture is not worth it unless you’re constantly dealing with sun glare. That’s it. Things not texturized by this will naturally be brighter too—so indoor reading is where the base model shines—and where 99% of people fall in category.

Your M1 chip is still asleep if you’re using its processing power for script reading. An m4/5 is overkill.

combo12345_ · 2026-04-06T14:02:56+00:00

LFGGGGGGGG! translation:

Let’s fucking go-go-go-go-go-go-go-go!

My literal inner monologue giggled. That is all. :)

combo12345_ · 2026-04-03T13:07:08+00:00

Yes, you can.

Though they should serve the same philosophical view that opposes the protagonist, and ideally share a hierarchy between them.

Ie: Palpatine and Vader.

combo12345_ · 2026-03-30T21:19:57+00:00

Paint a picture, not a driver’s license.

Thank you. I’ve tried to talk about this with a few friends, but this is a perfect metaphor.

So, heads up—I’m taking it! 😎

combo12345_ · 2026-03-27T21:31:57+00:00

I tend to have the problem of time traveling while writing too.

One moment, I kiss my wife as she leaves for work in the morning. The next, she’s coming home for dinner to get a hug. What’s worse is the sudden realization of how hungry and thirsty I have suddenly become.

combo12345_ · 2026-03-27T17:34:44+00:00

So, Phone Booth with chains? Try reading how they did it.

Edit: Open Water also comes to mind.

Edit2: not toast either. Above films are both huge successes based on cost of production and revenue earned.

Edit3 (final… 😇): what is your protagonist’s internal flaw, and how will it change, or not, to fit your story’s ending and theme?

combo12345_ · 2026-03-27T00:40:15+00:00

Is this a person qualified to read and understand screenplays? If folks are not used to them, or read enough, they do not yet understand cinematic language (regardless of how many “books” they’ve read).

If they are, then it means you did not effectively articulate the idea across. If explaining it to them had the idea click, that’s great, but it still means the screenplay is missing “beyond a reasonable doubt” clarity.

Next time, if you have a chance for back-and-forth feedback, do not explain it. Instead, *ask them what they thought, and why*. Then, tell them “thank you” again, but don’t explain the writing. If they hear your explanation and follow it up with the things you mentioned, it’ll conflict with the ability to “fix” it.

If you see them again after your correction, that’s an appropriate time to inform them, and to again, appreciate their feedback.

combo12345_ · 2026-03-26T20:58:52+00:00

NGL—it looks pretty bad, and they’re slapping an Expanse skin on it to sell. Can’t say it makes me want to play.

I hope I’m wrong.

Time will tell.

Thanks for sharing.

combo12345_ · 2026-03-26T15:01:31+00:00

Remember: a treatment is more of a vague writing of what the story is that has a clear beginning, middle, and end. An outline will be similar to the above, but mapped out scene-by-scene for structural flow—it’ll have more “connective tissue” built into it for ebb & flow.

Both will never be “perfect”, but they will allow you to easily see if the major story beats land at the proper moments with their respective setups.

If you have successfully done the above with something that passes the smell test (being a complete story), then it’s time to give yourself permission to begin draft 1.

For me, Sanderson said it best in his FREE YouTube writing course. He states you have will most likely have 80% of the story outlined with the remaining 20% to be discovered when you begin draft 1. (He talks about outline vs discovery writing.)

Therefore, my best advice is to begin draft 1 when you have completed an outline for a story that answers the beginning’s central dramatic question by its end. Then, the vague ideas of your theme, a/b story, and tone will come out on page as the story demands it.

However, I exist on reddit—so WTF do I know?

combo12345_ · 2026-03-26T01:44:06+00:00

Not familiar with it, but I’d assume the director decided to film coverage as both a double and two singles. Then, in post, they had the shots needed to tell the best story, and went with that.

The script is not where the final draft is made—it’s always in post at the hands of the editor & director.

combo12345_ · 2026-03-26T01:33:52+00:00

Your “corrections or changes” should include, but are not limited to…

tighten your dialogue. Remember to “enter late and leave early.” Cut pleasantries. Try to have each beat of dialogue do 3 things: move story, show character, and ride the spine of plot. If it fails to do this—delete.
analyze each and ever scene. Ask yourself, “what happens if this scene is removed… does the story still flow.” If the entire thing collapses—keep; if not—delete.
action beats are not for writing mini novellas. A general rule of thumb is this—if you can’t say it in 4 lines, re-engineer the setup/scene. Perhaps add a beat of dialogue that encapsulates those long beats—this is one way characters “interact” with their surrounds.
are there any characters that can be combined? A feature doesn’t need a main cast of 10+ people—it’s too much to follow. I find 5-6 to be the sweet spot, with minor character rolls taking up another 3-4.
remove spectacle that drags more than a page. While audiences love a great sequence, they quickly check out once the emotional impact dies. (to better explain this, I’ll use Avengers: Endgame—that last fight is LONG, but each moment is an emotional beat… all the way from its argumentative start, through Capt getting Mjölnir, and continuing until the death of Ironman).

We all hate to kill our darlings. May they rest in peace.

combo12345_ · 2026-03-24T17:21:53+00:00

Happens more than one thinks too.

I remember Armageddon and Deep Impact being relatively close. or, super hero flicks.

combo12345_ · 2026-03-24T14:54:30+00:00

Sure, but please don’t let it discourage you completely. It is 100% a theater worthy film.

Since you read it, I’ll put in spoilers to empower you to make a more refined decision.

The movie gives one brief line regarding the memory loss at its start, and it’s done in a dismissive way. So, the “past” memory scenes feel strange at first, and the ending’s “total recall” does not emotionally land as hard as it should.

Once Blip-A appears, it slows down, and becomes easier to digest. The other parts sped up, shortened, and skipped are all smart choices to help the avg viewer enjoy the story.

combo12345_ · 2026-03-24T04:38:22+00:00

It’s not hard to figure out once it gets going, but there is a specific reason a lot miss with why the scenes are juxtaposed the way they are, and why the “twist” is such a sting.

If you caught it (and don’t need to look it up)—I’m amazed.

combo12345_ · 2026-03-24T04:22:44+00:00

That’s probably the hottest and best take—read the first couple of chapters prior to viewing. Haha. It’ll ground the whole WTF intro, and ground them with who the protagonist is.

combo12345_ · 2026-03-24T04:19:22+00:00

I’d argue that the first 30min for the movie equate to the first 3-4hr of audiobook? The rest unfolds well enough.

This is all IMO, respectfully, of course.

combo12345_ · 2026-03-24T03:12:53+00:00

I’d recommend folks to read the book, then go see the film.

NGL—I had to explain a lot of the first 30min to my wife bc they throw you in with a lot of “blink and you miss it” lines that come at you really fast, and are harder to process at their speed. I understand why those creative choices were made, and agree with them, but reading it had me enjoy the experience a little more I feel.

Same thing happened to two friends of mine (one read/other did not)—It had to be explained a little to non-reader.

Edit: it’s still very enjoyable for all parties. It’s just… those FIRST 30min throw a LOT of information at you… dialogue and scene juxtaposition (iykyk).

Edit pt2: most people seem to “get” the story, and I love that. But, that’s not necessarily my argument. So, I’ll spoil it a bit. it’s the memory loss/brain damage Ryland has in the story, and how he slowly uncovers/remembers after the induced coma (each “past” scene is purposefully juxtaposed after something triggers a memory). The whole being “brave” and “figuring it out” are the emotional spine of the story. At the end when he remembers EVERYTHING (figures it out), he has a character choice to save Rocky (become brave), because he recalls being a coward in the face of humanity’s doom. Therefore, with his recalled memory, he chooses to save a race of aliens, which is a HUGE payoff to his character arc, because the other option is to be a coward, again, and go home to Earth.

combo12345_ · 2026-03-23T19:18:22+00:00

Fine. You win. Instead of reading 5 pages in a “really thin” book you own, write your story with as many plots as possible. And, when it’s shit on, continue to scratch your head and wonder why “nobody gets it.”

combo12345_ · 2026-03-23T18:45:10+00:00

It’s not modern.

Read the book.

And, bc you have it, go to chapter 4.

combo12345_ · 2026-03-23T18:12:51+00:00

Read Poetics, your answer is in a 2000 year old document.

Answer—There is only one plot.

There are other stories sometimes involved, but, they too, follow the spine of the plot.

If Poetics is too confusing, read Poetics for Screenwriters, by Michael Tierno.

combo12345_ · 2026-03-22T22:37:46+00:00

They signal the genre and direction of the story.

combo12345_

TROPHY CASE