![]() The answer is because you formed an EMOTIONAL CONNECTION with the protagonist, and that connection didn’t come about by accident. Why did you care whether or not Dorothy made it back home to Kansas, whether or not Harold and Kumar made it to White Castle, and whether or not Rocky did himself proud when he met Apollo Creed? ![]() Look back to your own experiences watching the films named earlier. But this is a cheap trick many readers will see through, and actually has very little to do with whether they continue reading or not. Many writers believe you have to load the first ten pages with lots of crazy action and startling events, and that’s the best way to hook your reader in. On the other hand, if your audience truly cares how the Central Dramatic Question might be answered, you’ll have them gripped until the end of your screenplay. If you haven’t hooked them in the first ten pages, all that great material will go unread. It doesn’t matter if you have a big reveal in the middle of Act Two, or a great twist at the end of Act Three. If you fail to do this, or the reader isn’t interested in finding out how this question is resolved, it is unlikely they will read any further. Once the Central Dramatic Question is answered, the audience’s attention is set free.īy page ten of your screenplay, your Central Dramatic Question needs to have been posed. Usually once the central dramatic question is answered, the story is largely over, and it’s time to wrap up your narrative. You might be able to recall a film in which the Central Dramatic Question was answered but the film just kept going and going. ![]() It is the audience’s desire or need to know how the question will be answered that keeps them tuned in. Typically the Central Dramatic Question is set up and posed in Act One, explored and exploited in Act Two, and answered in Act Three.
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