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But if you tried the single-goal route and it feels restrictive, this route allows you to create a story with a little more variety.
I wish I liked the comedy as much as the structure here, but alas, The Something and its 10-second farts were too much for me. [x] wasn’t for me [ ] worth the read [ ] impressive [ ] genius What I learned: In a comedy script, interview scenes are gold. From trying to get a job (Stepbrothers, Tootsie) to trying to get a date (40 Year Old Virgin).
The reason the “changing goals” approach is tricky is because it requires an extra skill – each time a new goal is introduced, it must be bigger than the previous one. If your hero is going after, say, the Ark of the Covenant. And then you give us a new goal, where your hero is trying to get 00 to make his rent that month, the audience isn’t going to go along with you.
You just had the biggest artifact in the world driving your story and now you want us to care about ?
As long as you understand the challenge that comes with this new variable, you should be okay writing a “changing-goals” script.
Which is something Rothman does with today’s script, The Something. The Something jumps right into its story (always preferred), as we observe our soon-to-be-astronauts during their astronaut interview process.
If you can’t do that, you need someone to help you figure it out.
When the others are compromised, it will be up to Mc Murphy to save the day. Today, I wanted to talk about that structure, specifically how Rothman uses the changing-goals approach to frame his story. It’s not as big of a goal as “getting home.” However, one of the cool things about comedy is that as long as you have a funny situation that you’ve SET UP and that the audience WANTS TO SEE, you can deviate from big goals momentarily.