A ChatGPT Prompt for Screenplay Structure

As some of you may know, I've been working with GPT-4 as a writer's assistant for weeks now. I'm going to use this Substack to share some of my insights. Here's the first of them!

May 11, 2023

As many people have discovered, GPT-4 is a terrific writer’s tool. But it’s near-incapable of creating anything original without falling into repetitive cliches and doggerel. What it is excellent at is guided improvisation, with the so-called Human-In-The-Loop (HITL - you, the writer) as its boss.

One thing it is very, very bad at is longform narrative. But there is a way to get it to create well-structured narratives, and that’s by telling it how to do it.

Above all, this is not a tool to write screenplays. It’s a tool to think about screenplays, or narrative in general. It’s like having a conversation with yourself. It’s not going to produce a finished product, but it lets you explored the space your logline opens up. A lot of the ideas are going to be very, very bad. But sometimes there’s a good one.

I’m not going into detail, but just present you with the prompt, and you can try it out for yourself. This works best with GPT-4 although you will probably get results with 3.5. You will either need a ChatGPT Plus subscription, in which case you can use the ChatGPT interface to access GPT-4, or if you have an API key you can use the OpenAI Playground or an alternative interface like Chatbot-UI (that’s the one I generally use.

The idea behind the prompt is that you take the bot step by step through the process and provide feedback as you go. I’ll give you the prompt and then I’ll show you an example of how you can use it.

The Prompt

We are going to create a story recursively.

We will proceed as follows.

1. Create a LOGLINE with as much or as little detail as possible.

2. Split the logline into three sentences that represent the BEGINNING, MIDDLE and END of the story. These will be ACT 1, ACT 2 AND ACT 3.

3. Stop and consult the user.

4. Take each act and create a BEGINNING, MIDDLE and END for each of them. Each will be one sentence long. These will be SEQUENCES, and there will be 9 of them, three for each act.

5. Stop and consult the user.

6. Take each sequence and create a BEGINNING, MIDDLE and END of each sequence. Each will be one sentence long. These will be SCENES. There will be 27 of them, three for each sequence.

7. Stop and consult the user.

8. Take each scene and create a BEGINNING, MIDDLE and END of each scene. Each will be one sentence long. These will be the BEATS. There will be 81 of them, three for each scene. The ultimate goal will be to create a structured mindmap of the story. Use markdown, lists and bullet points for clarity.

9. Stop and consult the user

Here is the logline:

How to use this

Basically you paste this into ChatGPT and add your logline, then let it do its stuff. But it will need a lot of nudging, which is why the consultation steps are built in.

Let me show you an example of this. The more detail you provide in the logline, the better the results are going to be. I kept mine pretty simple here, but you get the idea.

GPT-4 is currently restricted by how much text it can handle, so it’s unlikely to be able to render the entire story into beats, but you can take it bit by bit, and sometimes the sequences are all you need.

Here’s an example session. I used the prompt above and then pasted in this:

LOGLINE: Two psychopaths JAKE and SALLY meet by accident when Sally picks up Jake hitch-hiking. Neither realizes the other is a psychopath. Jake is secretly a criminal on the run from a mob boss while Sally is secretly a con-woman looking for her next mark. They and simultaneously fall in love and try to destroy each other. Both are pursued by a Nemesis. In Jake's case it is HARLAN, the mob boss. In Sally's case it is VINCE, an FBI agent. Jake has an estrange daughter he is trying to protect, while Sally has a violent father she is afraid of.

The ChatGPT Session

The rest of the session went as follows. Notice how you can adjust and alter the structure on the fly. My responses are in bold.

ACT 1: Jake and Sally cross paths when Sally picks up hitchhiker Jake; both hide their psychopathic tendencies.

ACT 2: As the relationship between Jake and Sally deepens, their hidden motives slowly surface amidst a cat-and-mouse game.

ACT 3: The pursuit of their respective nemeses, Harlan and Vince, comes to a head as Jake and Sally's love and deception collide.

Please provide any feedback or suggestions before we dive into creating the sequences for each act.

Act 1 needs to end with more of a hook. For example, one of the pair double crosses the other. Adjust Acts 2 and 3 accordingly.

ACT 1: Jake and Sally cross paths when Sally picks up hitchhiker Jake; both hide their psychopathic tendencies, and after some time spent together, Sally double crosses Jake, igniting the cat-and-mouse game.

ACT 2: As the relationship between Jake and Sally deepens, their hidden motives slowly surface amidst the cat-and-mouse game; they face the growing dangers and consequences of their respective pasts.

ACT 3: The pursuit of their respective nemeses, Harlan and Vince, comes to a head, convergence with their cat-and-mouse game and deception, forcing Jake and Sally to make a fateful decision that intertwines their destinies.

Please provide any feedback or suggestions before we dive into creating the sequences for each act.

Split Act 2 into Act 2a and Act 2b. Act 2a ends with Jake getting his revenge on Sally, and Act 2b ends with Sally and Jake confronting each other, but then realizing their joint Nemeses are on their tail.

ACT 2a: As Jake works on a plan to exact his revenge on Sally, their relationship deepens, and their hidden motives emerge, drawing them closer, with their respective pasts causing complications.

ACT 2b: Jake gets his revenge on Sally, but as they confront each other, they realize that their joint nemeses, Harlan and Vince, are closing in on them, forcing them to work together.

ACT 3: Despite their betrayal and distrust, Jake and Sally join forces to outwit their pursuers, leading to a final confrontation where they have to make a fateful decision that intertwines their destinies.

Please provide any feedback or suggestions before we dive into creating the sequences for each act.

Go ahead with the sequences

Act 1:

Beginning: Jake, on the run from mob boss Harlan, hitchhikes and is picked up by Sally, who is secretly a con-woman.
Middle: As they spend time on the road together, they both begin to develop feelings for each other, while careful not to reveal their true psychopathic nature.
End: Sally betrays Jake, stealing his cash and leaving him stranded, sparking the cat-and-mouse chase.

Act 2a:

Beginning: Jake, seeking revenge, tracks down Sally and infiltrates her world as she cons her next mark.
Middle: As they remain entangled in each other's lies, their pasts emerge; Jake learns about Sally's abusive father, and Sally discovers Jake's estranged daughter.
End: Jake's feelings for Sally grow stronger, but he cannot shake his goal to get even with her for betraying him.

Act 2b:

Beginning: Jake executes his revenge against Sally, outsmarting her and regaining his stolen money.
Middle: Sally and Jake confront each other about their betrayals, realizing the depth of their feelings for each other.
End: As they reluctantly join forces, Sally and Jake discover Harlan and Vince are hot on their trail, forcing them to put aside their differences and work as a team.

Act 3:

Beginning: Sally and Jake devise a plan to evade capture and outwit Harlan and Vince, utilizing their cunning and psychopathic skills.
Middle: Their plan is set in motion, with several close encounters with their nemeses and high-stakes confrontations.
End: In the final showdown, Jake and Sally make a life-altering decision that intertwines their destinies forever, sealing their fate as a couple bound by love and deception.

Please provide any feedback or suggestions before we dive into the scenes for each sequence.

Okay, it’s not going to win any Oscars, but it is at least moderately well-structured, and it’s easy to see what could be improved or altered. In terms of just splashing paint on a canvas to see what it looks like, it could be a lot worse.

Now we can drill down into scenes. It’s easiest to take them piecemeal because otherwise (a) it takes ages and (b) you don’t get the chance to adjust as you go.

Now do the scenes for Act 1

Act 1:

Sequence 1:

Beginning: Jake narrowly escapes from Harlan's henchmen after a violent encounter, forcing him to go on the run.
Middle: Sally, scouting for her next target to con, sees Jake hitchhiking and decides he could be an interesting mark.
End: Sally stops and offers Jake a ride; they carefully feel each other out as they begin their journey together.

Sequence 2:

Beginning: Jake and Sally engage in a series of adventures on the road, leading to playful encounters and emotional connections.
Middle: As they grow closer, both struggle to maintain their secrets while suppressing their psychopathic tendencies.
End: Sally begins to fall for Jake, wrestling with her conflicting desire to con him and her genuine feelings.

Sequence 3:

Beginning: Sally learns about a significant amount of cash Jake has stashed, tempting her to steal it.
Middle: Seeing an opportunity, Sally sets up the perfect moment for her betrayal, seducing Jake before slipping away.
End: When Jake wakes up to find Sally gone and his money stolen, he vows revenge, setting the stage for their cat-and-mouse chase.

Please provide any feedback or suggestions before we move on to create the scenes for the remaining acts.

GPT-4 is currently limited to a so-called ‘context window’ of 8000 tokens, which translates to something like 2-3000 words. That’s all it can think about at one time, which means that it can’t handle longform. The next iteration will be 32,000 tokens, and it will probably increase beyond that. But for the moment we have to do this in bitesize pieces, so next I asked it to do the beats for the scenes in Sequence 1 of Act 1.

I'd prefer you to do the beats for the scenes in sequence 1

Act 1: Sequence 1:

Scene 1:

Beginning: Jake calmly finishes a deal with a lower-level criminal in a shady location when he overhears news about Harlan looking for him.
Middle: The tension builds as Jake quickly packs his belongings and stashes his cash, preparing to go on the run.
End: Harlan's henchmen burst into the location, but Jake has already escaped, leaving behind a clue that he was there.

Scene 2:

Beginning: Sally researches her next mark in a coffee shop when she spots Jake hitchhiking through a window.
Middle: Intrigued by Jake's mysterious demeanor, she observes him from afar, considering him as a potential target.
End: Sally makes her decision and exits the coffee shop, planning her approach to offer him a ride and manipulate him.

Scene 3:

Beginning: Jake, desperately seeking a ride out of town, notices Sally pulling up in her car and they lock eyes.
Middle: Sally smoothly persuades Jake to join her by offering him a ride and sharing her fabricated story.
End: They exchange pleasantries, hiding their true natures, and begin their journey together, unaware of the consequences it brings.

Please provide any feedback or suggestions before moving forward with the remaining material.

Can GPT-4 write a screenplay?

This is where the rubber hits the road. There has been an astounding amount of hyperventilation about LLMs like GPT replacing writers. To get this far, however, has required a fair bit of intervention from the human — me, including the details in the logline on which everything else depends. The story is far from great — frankly, it’s not even good — but it is at least well-structured and there is an outline. Any competent screenwriter could produce something readable from this, and most of them would find a way to make it interesting and perhaps even compelling.

Let’s see what ChatGPT makes of it, shall we? We’ll ask it to write the first few scenes in screenplay format.

INT. SHADY LOCATION - NIGHT

A dimly-lit room cluttered with criminal paraphernalia, stacks of cash, and various weapons.

JAKE (early 40s, a charismatic, rough-edged man) sits at a table with a LOWER-LEVEL CRIMINAL. They finalize a deal, exchanging money for a small package.

As they shake hands, Jake overhears a conversation nearby about HARLAN, a powerful mob boss, searching for him.

CRIMINAL IN BACKGROUND: ...I heard Harlan's got a big score to settle with Jake, man. He's on the hunt.

JAKE (nervous): Well, it was a pleasure doing business with you. Gotta run.

Reacting quickly, he gathers his belongings, including a significant amount of cash.

INT. JAKE'S TEMPORARY HIDING SPOT - NIGHT

Jake frantically stuffs cash into a duffel bag, knowing time is of the essence.

Sounds of approaching footsteps grow louder, signaling Harlan's henchmen are near.

INT. SHADY LOCATION - NIGHT

The door bursts open, and HARLAN'S HENCHMEN storm into the room, guns ready.

HENCHMAN 1: Search the place! He has to be here.

As they tear apart the room, one henchman finds a small, significant clue that Jake was there, such as a personalized lighter.

HENCHMAN 2 (holding lighter): Looks like we just missed him.

CUT TO BLACK:

Please provide any feedback or suggestions before moving forward with the remaining material.

Continue with Scene 2

INT. COFFEE SHOP - DAY

The coffee shop is bustling with customers. Sally, early 30s, a confident and cunning woman, in stylish clothing, sits at a window booth with a laptop open. She researches potential marks by scrolling through social media profiles and news articles.

SALLY (voiceover): Hmm, not a big enough fish... Too risky... Ah, now, he's interesting...

Sally spots Jake hitchhiking through the window, his thumb outstretched, a worn backpack slung over his shoulder.

Intrigued by Jake's appearance and demeanor, Sally observes him from her window seat. Jake starts to walk away, realizing he may not get a ride here.

SALLY (voiceover): Don't let this one slip away, Sally. Time to reel him in.

Satisfied with her decision, Sally saves any relevant information about her current mark, closes her laptop, and gathers her things in preparation to approach Jake.

EXT. COFFEE SHOP - DAY

Sally exits the coffee shop, purse in tow. She adjusts her outfit, takes a deep breath, and puts on a warm, disarming smile as she walks toward her car.

Please provide any feedback or suggestions before moving forward with the remaining material.

Continue with Scene 3

EXT. SIDE OF THE ROAD - DAY

Jake waits impatiently, thumb extended as cars whiz past, ignoring him. He checks his watch and scans the area nervously, knowing he needs to leave town before Harlan's henchmen find him.

Suddenly, Sally's car comes into view and slows down near Jake. He's momentarily suspicious but considers the opportunity. Sally rolls down her window, flashing a friendly smile.

SALLY: Hey stranger, need a lift?

JAKE (cautious but intrigued): Yeah, I'm heading west. Thanks.

Sally nods, and Jake opens the passenger door, throwing his backpack onto the floor and sliding into the seat. He closes the door, and they lock eyes for a moment, subtly trying to read each other.

SALLY (playing innocent): I'm Sally, by the way. Just doing a solo road trip, trying to escape my humdrum life for a while.

JAKE (hiding his true self, smiling): Nice to meet you, Sally. I'm Jake, and I couldn't have asked for a better escape myself.

The car pulls away from the roadside as they exchange pleasantries, both unaware of each other's true motives and the impact this chance meeting will have on their lives.

Oh, dear. It dies on the page.

There’s a saying among developers who use GPT for code generation that if you write your own code, it’s 2 hours of coding and 6 hours of debugging. If you use GPT, it’s five minutes of coding and 24 hours of debugging. There’s something similar going on here.

Nevertheless the original prompt is definitely a useful one. It’s a way of taking the sketchiest of ideas and mapping out some of the directions they might take. I’ll be interested to see what anyone else can do with it. There are a lot of changes you could make, by for instance telling it that you want hooks, or character developments, or reveals, or so on. You can do the same thing interactively.

In short, have at it. It’s a tool, nothing more, nothing less.

How to Write Anything

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