A Proven Way to Engage Audiences: The Plant & PayoffDiscover a winning screenwriting formula that will spice up your story's structure.
The elderly man breathes his last, and a snow globe falls from his hand to shatter on the floor. So passes press baron Charlie Kane, the enigma at the center of Orson Welles’ 1941 masterpiece, Citizen Kane.
The film follows a reporter’s mission to discover the meaning of Kane’s final utterance, “rosebud”. What was so important to such a rich and powerful man? Is it a lover’s name, a business reference, the misfiring of a dying brain?
Ultimately, the reporter fails, concluding “rosebud” will remain a mystery. But as the film ends, the camera reveals a sled – first introduced in a flashback, where a young Kane plays with it in the snow – now junked and burning in a furnace.
Printed on the sled is the word “rosebud”.
Suddenly, we understand that “rosebud” is this relic from Kane’s childhood. What was important to Kane was the one thing he did not have in his adult life: happiness.
Boost Your Audience Engagement
Citizen Kane is built around a screenwriting device oft-mentioned here at Lights Online Film School, the plant and payoff. Since it makes such frequent appearances, we thought we’d take a moment to define our terms so you can use them to spice up your indie films.
In a nutshell, a line of dialogue, a prop, a character, an image, a piece of information, or some combination of these elements is introduced, or “planted”, early in a film. Generally, it is repeated throughout the story until it assumes a new meaning at a key moment and “pays off”.
In fact, many films use the plant and payoff to resolve their stories, as this video from Screen Rant illustrates:
The device can be used in simpler ways, too, running the course of several scenes instead of the whole film.
For example, in Prisoners, the RV is revealed to be the kidnapper’s vehicle within the First Act. In Crouching Tiger, Jen’s comb pays off when Lo returns it to her within the Second Act. Not every plant and payoff needs to bear the brunt of a film’s dramatic weight.
Whether it drives the climax or a more contained beat-to-beat progression, a plant and payoff engages audiences, transforming them from passive viewers into active participants. Like the journalist in Citizen Kane, we’re compelled to unravel the mystery of “rosebud”; we become detectives by proxy.
If a plant is too obvious, however, the payoff falls flat, since we’ll predict the payoff before it plays out. If a plant is too subtle, we’ll miss it entirely, rendering the payoff confusing or forgettable at best.
A good plant and payoff is both memorable and subtle. When it drives the climax, it must produce a result that feels both inevitable and unexpected.
“I See Dead People.”
One of my favorite examples, profiled in Screen Rant’s video above, comes from The Sixth Sense – Crowe was unknowingly dead the whole time he was working with Cole! Inevitable? Yes, upon reexamination of the plants. Unexpected? Yes, because the plants did not give away too much. It’s a beautiful balance of memorable and subtle that shocks the first time around and rewards repeat viewings.
The plant and payoff is a cornerstone of feature and television writing alike. Keep an eye out for it in the next film or TV episode you watch – the more you identify, the more you hone your sense of structure, the easier it will be to harness the power of this story engine in your own projects.
To help get you started, we’re creating a new film analysis series with guided breakdowns of how the plant and payoff works in specific instances.
Michael Koehler, with
For more useful screenwriting details and valuable lessons, stop by our online film school – we’d love to help you find your “rosebud” and build your dream project.
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