power-analysis

Apply this skill when:

• Analyzing conflict dynamics in a scene
• Strengthening antagonist relationships
• Identifying why a scene feels flat
• Developing tension and stakes

Power in a screenplay flows between characters, shifting throughout scenes and acts. Understanding power dynamics helps create compelling conflict.

Types of Conflict

Immediate Conflict: Conflict happening right now, in the present moment of the scene.

• Physical confrontation
• Verbal argument
• Direct obstacle

Imminent Conflict: Conflict that is about to happen, creating tension and anticipation.

• Approaching deadline
• Inevitable confrontation
• Looming threat

Best Practice: The most effective scenes often contain BOTH immediate and imminent conflict.

Part 1: Film Analysis

Watch a film you admire and analyze the movement of power throughout.

```markdown

Power Shifts by Act

ACT ONE:

| Scene | Power Holder | Shift To | How |

|-------|--------------|----------|-----|

| | | | |

ACT TWO:

| Scene | Power Holder | Shift To | How |

|-------|--------------|----------|-----|

| | | | |

ACT THREE:

| Scene | Power Holder | Shift To | How |

|-------|--------------|----------|-----|

| | | | |

Observations

• Who holds power at the start?
• How many times does power shift?
• What techniques cause power shifts?
• Who holds power at the end?

```

Part 2: Conflict Scene Writing

Exercise A: Write a scene with ONLY immediate conflict.

• Two characters in direct opposition
• Conflict is happening NOW
• No reference to future consequences

Exercise B: Write a scene with ONLY imminent conflict.

• Tension from what's about to happen
• Characters aware of approaching crisis
• No direct confrontation in the scene

Exercise C: Write a scene with BOTH immediate AND imminent conflict.

• Present struggle
• Plus awareness of greater threat
• Layered tension

Part 3: Desire/Obstacle Analysis

The following examples have a desire and obstacle. Create a reason that does not allow compromise to be an option.

Example:

```

DESIRE: Sally wants a new job so that she can move on with her life.

OBSTACLE: Her father, the boss, is the nicest guy in the world.

It will break his heart if she quits.

REASON COMPROMISE IS NOT AN OPTION: ___________________

```

Your Story:

```

DESIRE: ___________________________________

OBSTACLE: ___________________________________

KIND OF CONFLICT: [ ] Immediate [ ] Imminent [ ] Both

REASON COMPROMISE IS NOT AN OPTION: ___________________________________

```

Part 4: Story Power Audit

Take the story you're working on and identify the key elements of power, conflicts, and rising stakes. Eliminate or combine any elements that do not contribute to these.

```markdown

Key Power Elements

1. ___________________________________
2. ___________________________________
3. ___________________________________

Conflict Inventory

| Scene | Conflict Type | Power Dynamic | Stakes |

|-------|--------------|---------------|--------|

| | | | |

| | | | |

| | | | |

Rising Stakes Progression

ACT ONE STAKES: ___________________________________

ACT TWO STAKES: ___________________________________

ACT THREE STAKES: ___________________________________

Elements to ELIMINATE (don't contribute to power/conflict):

1. ___________________________________
2. ___________________________________

Elements to COMBINE:

1. ___________________________________ + ___________________________________

```

Classic Power Structures

1. Seesaw: Power constantly shifts between protagonist and antagonist
2. Descent: Protagonist steadily loses power until the climax
3. Ascent: Protagonist steadily gains power (underdog story)
4. Reversal: Major power shift at midpoint
5. Illusion: Perceived power holder is not the real power

Power Sources

• Physical: Strength, weapons, numbers
• Positional: Authority, title, rank
• Economic: Money, resources, property
• Knowledge: Information, secrets, skills
• Relational: Loyalty, love, obligation
• Moral: Righteousness, justice, truth

For each major scene, verify:

• [ ] Power holder is clear at scene start
• [ ] At least one power shift occurs
• [ ] Immediate OR imminent conflict present
• [ ] Stakes are established
• [ ] Compromise is not an easy option
• [ ] Scene ends with changed power dynamic

• [ ] Analyzed reference film for power movement
• [ ] Wrote immediate conflict scene
• [ ] Wrote imminent conflict scene
• [ ] Wrote combined conflict scene
• [ ] Identified protagonist's desire/obstacle/no-compromise
• [ ] Audited script for power elements
• [ ] Eliminated non-contributing elements