A guest post by Al Bloom of ScriptReaderPro.com.

Often overlooked in the rush to create the perfect plot, great characters, and snappy dialogue, is that little nugget of dramatic action—the scene.

Knowledge of how to construct a scene is just as important as the knowledge of how to construct a screenplay, write dialogue or make the characters believable. Simply put, scripts by writers who know how to write scenes are always going to be superior to scripts by writers that don’t.

The ability to craft a scene is a skill within itself. Without the capacity to write tight, well constructed scenes that push the story forward, a script will always struggle to excite the reader and make he or she want to turn the page.

There are three primary consequences of an inability to write scenes: a) scenes are too long, b) they’re too many scenes, and c) many scenes serve no real purpose. However, all of these problems can be easily eradicated with a sound grasp of scene construction.

Some (but by mo means all) of the major tutors have words to say about scenes. Syd Field writes about shaping the context and content of a scene, while Robert McKee pontificates on beats and the need for a scene to change value. Most point out that every scene needs to move the story forward and/or reveal character.

While all of these points are true, there is actually a simpler method to creating great scenes. Yes, it’s that old chestnut—the three act structure.

Scenes do, in fact, contain three acts, just like sequences, acts and the screenplay as a whole. Focussing on a scene’s three act structure, focuses on its conflict—a protagonist who wants something and an antagonist who tries to prevent them getting it.

Each scene then plays out as a “mini movie,” with a set up, “act one” major turning point, development, midpoint, complication, and climax. Not forgetting the hook that takes us to the next scene.

The set up usually concerns the previous scene. Then comes the “act one” turning point which kicks the scene into gear and establishes the conflict—who wants what, and what’s stopping them getting it?

The conflict rises—each new beat introducing a different obstacle to the climax. Often, the midpoint, (reversal) is the climax, or leads directly to the climax. Finally, at the resolution we have a hook which leads directly to the next scene.

Of course, sometimes not all of the beats are present, for example, in “show-stopper” or “transition scenes.” However, every scene should contain a protagonist, antagonist, goal, reversal, climax and a hook.

Keeping this three act paradigm in mind when writing scenes will raise the conflict and keep them lean, clean and on the money. Right where you want them.