Presentation Structure and Organization

Presentation Structure and Organization

The main thing I have discovered in communications with successful delivery is, by clearing the path from their hearts to the author, to establish a shared ground with the viewer. A way of trust is developed by identifying and articulating common experiences and goals between the audience and the audience, which can help to shift the audience to your side of thinking. This is possible because good presentations support credibility development without proving arrogance. A successful show guarantees a respectful and selfless means of disclosing the speaker’s outstanding credentials that bind the crowd (McCarthy, 2013).

I don’t believe that the 3-acts Paradigm is necessary. The cycle fits a 3-act framework in Syd Field ‘s view, the creator of the screenplay. Therefore, the basic screenplay can be split into three parts: the structure, conflict, and resolution. The plan calls for the separation of the components in two parts. The incident that moves the story into a different path leading to a new move is considered a reversal (McCarthy, 2013). The first result of challenges is anticipated in Act 2. The story hits high tension/climax in act three and a brief duration of relaxation before the film returns to normal. The 3-act form, however, prohibits a broad script from being created for the following reasons, the concept of act originates from the theatre where curtains are opened and closed, dividing a film into three parts is too general and simplistic, says the method and finally, the 3-act structure has no emphasis on the character. This is because none of the standard requirements have anything to do with character (Strathy, 2018).
A case of a hero, several criminals, chase a dark alley down, might be an indication of this finding from the leaning operation. At this point, it is not possible to figure out if this is a storyline, a reversal, or only a conclusion or a sequence. No one knows that the concept of stories are our instruments, and the result is failing if the tools are imprecise. For instance, “Tootsie” is another illustration (Strathy, 2018). Tootsie is an outstanding example for a 3-stroke form, but does anyone assume that the “Tootsie” close comedy spiral was built utilizing the particular methodology found in screenwriting? Tootsie was used by several exceptionally professional comics who had learned their genre coldly and pursued a chauvinist through a sequence of close-knit farcical incidents leading to the change of the head (Strathy, 2018).

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