Imagine, for the moment, you could break your script down into its component functions - structure, narrative, character, dialogue and descriptions (visuals and sounds).
Imagine that you could rate each one on a scale of 1 to 100, where 1 is very weak (not following the rules) and 100 is strong (100% following the screenwriting rules). Most teachers would tell you that each aspect should show up at a full 100. In reality, though, this is far from the case.
The truth is that a 100% mark for all functions would lead to a very flat graph and a very bland script. Every successful script breaks some of the rules - that is to say that some of the functions would come in at 75% of full strength, or 50% or lower.
Take for example a script where the structure has been deliberately fractured - such as 21 Grams, or Babel - or is episodic - or even in multi-acts - such as Lord of the Rings, or indeed any epic. This structure is inherently weaker than your conventional three acts. It risks the audience losing interest, or even losing its way, in the extra complexity.
One very powerful method to deal with all these structural problems is to "compensate" the viewer for a weaker structure by turning the dial up on some or all of the other parts of your script. For example, you might have larger than life characters, or high impact visuals. These would show up at maybe 150% or even 200% on our imaginary dial. (Rather like the Spinal Tap amp that goes all the way to 11!)
Maybe it will be clearer by using a couple of examples. An epic such as Lord of the Rings is structured in 12 acts, four per movie. This very complex (and therefore potentially confusing) structure is compensated for by massive characters, big scenes and cinematic effects. Such characters and visuals would certainly seem over the top in a "normal" three act movie but feel right in an epic context.
By contrast, a typical Almodovar movie has a rather over-cooked three act structure that might seem like soap opera if it weren't compensated for by deliberately off- kilter characters, low-key understated narrative scenes and (on the other side) bright, stylish visuals.
If you're considering a true story, a coming- of-age or rites of passage story or an adaptation of any kind then these stories also rarely if ever fit neatly into a conventional three-act shape.
Can you see how you might be able to use this tool to compensate for some areas of your script that could be balanced by readjusting others? Maybe an intellectual plot could be compensated for by having a very emotional or physical sub-plot? Or quiet characters given very exciting, edgy dialogue? Could you imagine giving your story new life by deliberately tweaking the elements in an interesting way?
