The inception of everything "movies" starts with story. Let me say it again. The inception of everything "movies" starts with story. It goes without saying again, before a single person is considered to helm the camera, before any star is courted, before any grip, lighting, sound, extra, agent, manager, lawyer, reader, studio gets their fingers on the stack of paper peppered with words, there's a single person, sitting in an empty room, alone and lonely, puking out his innards onto a blank computer screen, sometimes literally.
Often time the writer is forgotten in praise and targeted in failure. Therefore the writer must understand his/her duty to story. They must understand the importance of sharing their voice.
Without the writer there would be no Hollywood. Without story there would be no movies. There would be no Spielberg, Hitchcock, Chaplin. There'd be no film school, no acting class, no SAG, no AFTRA, definitely no WGA. No contests, no matinees, no drive-ins, no action adventure, no rom-coms, no horrors, thrillers, no mash ups, no indie flicks, no art house, no period pieces (possibly a good thing), no sequels, no prequels, no reboots. There'd be none of it. There'd be a great big bunch of people doing something they don't love with their lives. In fact, there'd be a universal hole in the hearts of many.
BUT because the writer does exist we are able to experience the emotional highs and lows of others. As the lights dim and the curtain rises we're able to hop in the cockpit of a F-14, barrel roll through the canyons, narrowly escaping certain death only to find ourselves smack in the middle of a dogfight with a Rabies infested St Bernard and just when our luck is about to run out we win it all at the buzzer, we become the hero, become the legend only to fall from the peak by our own brother's greed. Then as we hang on to everything that is meaningful by our fingertips a superhero arrives from space and saves not only us, but the entire human race. This is what writer's deliver. They deliver adventure, romance, comedy, tragedy, action. They deliver us from our everyday lives that spin in circles. They bring us to places that only a human imagination can create. A writer can change your life, for better or worse, they can make you see the world with fresh eyes, they can give you a perspective you never new existed. They can mend a broken heart or open a healing wound. Writer's give movies their life blood, their breath, their legs. It's then up to the rest of the "team" to package and execute the story to it's fullest potential.
So next time you see a movie and you leave the theater expressing utter joy over the last 2 hour ride consider this, the inception of everything "movies" starts with story and everything story starts with the writer.
Monday, June 25, 2012
Wednesday, May 23, 2012
Contests, Film School and Life without Facebook
So don't let the title confuse you. This one will cover a bunch of stuff but I'm also trying to allow space for subjects outside of just strictly screenwriting. As the title suggests, I'll be covering/reviewing Contests of the script kind, Film schools and then, yes, Life without Facebook. There is such a thing from what I've been told, although not sure if I quite believe it. It's up to you how you will pave your road to happiness and success, both personal and financial, when you make the choice to be a screenwriter.
1) Contests. what are they good for? Well, it is one way to get a door or two open into Hollywood. There is never a guarantee when it comes to this craft. The only guarantee is we all start with a blank page. And it's up to each individual to fill that page in with your inspiration, vision and voice. A few of the major, more well known contests are the following. Nicholl, PAGE, BlueCat, not blue btw, Final Draft, Austin, Sundance screenwriter's lab, Scriptapalooza. To name a few. Now with all of these and every other one I know or have heard of is this, they cost money. Usually somewhere from $35-70 depending on when you submit as most offer early-late registrations options. That fee covers your entry and that's about it. You won't be getting any feedback just a lot of anticipation and anxiety. I've had limited success in some of these. ranging from early exit to Semi Finals which usually is the top 5% of submissions. And the number of submissions can range from 500 people to 6, 7, even 8 thousand. And for all of these there is usually a slew of prizes awarded to the top writers. Some being $$$, some being invitations to have lunch with agents or managers. Either way, like all of this business it's a crapshoot. The way I look at it, is the people reading our scripts are often just like you. Aspiring writers with the luxury of living in Los Angeles, interning for minimum wage, if they're lucky, and spending not enough time on their writing. A lot of them are miserable because their superiors, who often were once in their shoes, are miserable because they spend all day chasing down someone else who's miserable. Anyway, these people for one reason or another often will pass or react poorly to a script for anything. I mean anything, spelling errors, structural imperfections, clunky dialogue, a parking ticket they got earlier. If you accept that, then it might make the decision to enter the contest easier. It's a level field, we all have the same chance of getting that second read. I don't endorse any of these contests nor do I object to any of them. The only suggestion I can offer is take the time to learn basic structure, watch a lot of movies, listen to how people really talk, the cadences, get a grasp/ear for dialogue and read a lot of scripts, both bad and good. (IMSDB, simplyscripts, drew's scriptorama are a few good ones) Once you're armed with some of that knowledge you exponentially increase your chances of getting another read. I do not recommend writing a script for the hell of it and then submitting it to the festival circuit. That money would be so better spent on a pack of Menthols and a quarter keg of Natural Ice. Get the picture? Both are a big waste of money in my opinion. But once you've conquered a few of basic steps of screenwriting, then submit your great idea. Because I promise 70-80% of the scripts people submit lack the time deserved.
2) Film School. What is it good for? Much like contests, Film school is a crap shoot. There are maybe 5-10 programs in the country and probably none of them are worth the amount of debt you're going to accrue over the 2-3 years you spend there. AFI, USC, UCLA, UT- Austin, NYU are the big hitters. Saying that, it's totally up to you. I'm getting my MFA at UCLA. I'm more nervous about the money than anything else. The work doesn't frighten me one bit. Sure, 4 scripts is a lot on top of 30 page papers, lectures, 3 hour classes, 30 minute drive, among other things it's the reality of federal interest that gets me. But the fact that I get to spend so much time on something that I love is a heavy weight that levels the balance. There's no write way to get into this business other than having the last name Spielberg or a few other household names. One of the biggest rewards to the film school process is the relationships you can foster. In a town where everyone knows someone it's important to remember to be nice to each and everyone. Doesn't mean you have to be their friend but at the very least be polite and civil. If you're okay with building a bundle of IOU's then Film school might be the answer. Or if you plan on doing something greater than your art, such as teaching, and haring your experience and knowledge then Film School could be a must. The only advice O can give on this is, be realistic. Don't look at your life down the road but approach it as now. If you can list both the positives and negatives of attending school and the positives outweigh the negatives then you should give it a shot. You obviously have more to gain. I guess what I'm getting at is there's no write/right way into this place. You have to be true to yourself and put in the work. Every day. And if it's meant to happen and the stars are aligned, it will. If it's not, then you can realize you did your part, you can say I spent my time doing something I love and so many people don't ever get to say that. They forgot what they loved, a long, long time ago.
3)Close your eyes and picture yourself a little over a half decade ago. Where you were, what you were doing, who you were with? Envision a specific event. The day. The time. The weather. The faces around you. How you felt. How you interacted with these other people, in front of you, around you. Now open your eyes. In that short visit to the past millions of people posted a picture, a link, a status update, liked something or sent you another damning request for a buggy on Farmville. Facebook’s not all bad. It’s great at creating events so people you don’t necessarily want to see can find you in person. Then when they show up you get to pretend how exciting it is and why you don’t do it more often. Then there’s the creeper that sohws up that makes you just have to leave after five minutes. If it wasn’t for other than bad luck, you definitely could avoid them.
1) Contests. what are they good for? Well, it is one way to get a door or two open into Hollywood. There is never a guarantee when it comes to this craft. The only guarantee is we all start with a blank page. And it's up to each individual to fill that page in with your inspiration, vision and voice. A few of the major, more well known contests are the following. Nicholl, PAGE, BlueCat, not blue btw, Final Draft, Austin, Sundance screenwriter's lab, Scriptapalooza. To name a few. Now with all of these and every other one I know or have heard of is this, they cost money. Usually somewhere from $35-70 depending on when you submit as most offer early-late registrations options. That fee covers your entry and that's about it. You won't be getting any feedback just a lot of anticipation and anxiety. I've had limited success in some of these. ranging from early exit to Semi Finals which usually is the top 5% of submissions. And the number of submissions can range from 500 people to 6, 7, even 8 thousand. And for all of these there is usually a slew of prizes awarded to the top writers. Some being $$$, some being invitations to have lunch with agents or managers. Either way, like all of this business it's a crapshoot. The way I look at it, is the people reading our scripts are often just like you. Aspiring writers with the luxury of living in Los Angeles, interning for minimum wage, if they're lucky, and spending not enough time on their writing. A lot of them are miserable because their superiors, who often were once in their shoes, are miserable because they spend all day chasing down someone else who's miserable. Anyway, these people for one reason or another often will pass or react poorly to a script for anything. I mean anything, spelling errors, structural imperfections, clunky dialogue, a parking ticket they got earlier. If you accept that, then it might make the decision to enter the contest easier. It's a level field, we all have the same chance of getting that second read. I don't endorse any of these contests nor do I object to any of them. The only suggestion I can offer is take the time to learn basic structure, watch a lot of movies, listen to how people really talk, the cadences, get a grasp/ear for dialogue and read a lot of scripts, both bad and good. (IMSDB, simplyscripts, drew's scriptorama are a few good ones) Once you're armed with some of that knowledge you exponentially increase your chances of getting another read. I do not recommend writing a script for the hell of it and then submitting it to the festival circuit. That money would be so better spent on a pack of Menthols and a quarter keg of Natural Ice. Get the picture? Both are a big waste of money in my opinion. But once you've conquered a few of basic steps of screenwriting, then submit your great idea. Because I promise 70-80% of the scripts people submit lack the time deserved.
2) Film School. What is it good for? Much like contests, Film school is a crap shoot. There are maybe 5-10 programs in the country and probably none of them are worth the amount of debt you're going to accrue over the 2-3 years you spend there. AFI, USC, UCLA, UT- Austin, NYU are the big hitters. Saying that, it's totally up to you. I'm getting my MFA at UCLA. I'm more nervous about the money than anything else. The work doesn't frighten me one bit. Sure, 4 scripts is a lot on top of 30 page papers, lectures, 3 hour classes, 30 minute drive, among other things it's the reality of federal interest that gets me. But the fact that I get to spend so much time on something that I love is a heavy weight that levels the balance. There's no write way to get into this business other than having the last name Spielberg or a few other household names. One of the biggest rewards to the film school process is the relationships you can foster. In a town where everyone knows someone it's important to remember to be nice to each and everyone. Doesn't mean you have to be their friend but at the very least be polite and civil. If you're okay with building a bundle of IOU's then Film school might be the answer. Or if you plan on doing something greater than your art, such as teaching, and haring your experience and knowledge then Film School could be a must. The only advice O can give on this is, be realistic. Don't look at your life down the road but approach it as now. If you can list both the positives and negatives of attending school and the positives outweigh the negatives then you should give it a shot. You obviously have more to gain. I guess what I'm getting at is there's no write/right way into this place. You have to be true to yourself and put in the work. Every day. And if it's meant to happen and the stars are aligned, it will. If it's not, then you can realize you did your part, you can say I spent my time doing something I love and so many people don't ever get to say that. They forgot what they loved, a long, long time ago.
3)Close your eyes and picture yourself a little over a half decade ago. Where you were, what you were doing, who you were with? Envision a specific event. The day. The time. The weather. The faces around you. How you felt. How you interacted with these other people, in front of you, around you. Now open your eyes. In that short visit to the past millions of people posted a picture, a link, a status update, liked something or sent you another damning request for a buggy on Farmville. Facebook’s not all bad. It’s great at creating events so people you don’t necessarily want to see can find you in person. Then when they show up you get to pretend how exciting it is and why you don’t do it more often. Then there’s the creeper that sohws up that makes you just have to leave after five minutes. If it wasn’t for other than bad luck, you definitely could avoid them.
What I’m getting at is the real experiences that you were
involved in are no longer in front of you, per se’, instead they are inside a
computer screen or a mobile phone staring back at you. And you sit and stare
back, waiting for a reply, a poke, a comment. Who knows how much time people
waste on the internet or more specifically how much time people waste on
Facebook. Facebook has been one of the longest lasting fads to ever share human
time and space. It’s a device that traps its users in an endless continuum of
instant gratification. Its users chronically refresh theirs feeds and hope for
that next comment or poke. I’ve been a member of Facebook since early 2008. I
was also a member of the early Facebook, MySpace, and the earlier version of
that, Friendster. I installed the device on my phone as soon as I spent the
exorbitant amount of money for something that was FB friendly. Then it began,
every hour, sometimes 10, sometimes fifteen, I’d open the app and see what I’ve
missed. I found having all these updates to people, some who I’d only had met
once or twice to be so exciting. Over time it began to be too much. I’d read
updates like, off to Paris, drinking with Kanye, courtside seats at the Lakers
and in some strange way it became a source of inadequacy. By nature I began
checking more, getting more and more upset and saddened by how much fun
everyone else was having. So much so that I began to stop having fun myself
because it seemed I could never quite equal or come close to some of my
“friends” updates. Then I started thinking, I wonder if anyone else feels like
me? I mean not everyone could be having such a rock and roll existence, could
they? But yet it seemed they did. Everyone was either going on a vacation, or
meeting up for an annual bbq, and Christ everyone was in a relationship or now
single or someone was always starting a save the ferrets foundation and lets
not get started with the photo’s of the mom’s and their kids. If I was born on
Facebook, twenty years from now when I finally deleted all the pics posted by
mama I’d definitely take the time to back pack through Croatia and forget to
write. That is if Croatia is not part of the new USSR. What I’m getting at is
don’t forget about life before Facebook. If you were lucky enough to be born
before the internet you’d start to realize that there is so much more than
what’s on that screen staring back at you. And most of that stuff is good. And
there’s not gonna be someone there to comment on every single time you decide
to update your boss’s shirt color or that dude at the gym who doesn’t shower.
We relate, sure, but the irony isn’t in repeating, it’s in the experience of living
it. And if you spend too much time on Facebook I can guarantee you might not
miss it all but you will miss some of it and that some of it may be the stuff
memories are made of. Maybe memories you revisit a half decade or so down the
road and say, wow, I’m sure glad I was there, and not on Facebook.
That's it for now. Thanks for reading and write on, and on, and on....
Sunday, May 8, 2011
It's been too long....
You're right QQQ. I won't bother to argue with someone who's right. I had to spend a minute to re-read exactly what it was I last wrote. Seems that I spent most of the post focusing on major structural beats of a story. What I promised to follow was a more in depth review of what to place in between these major beats so your story can flow like a roller coaster.
With that ride in mind, hop aboard. By now you've figured out who your major players are and you've also mapped out a loose structure. What we want to follow are specific moments that build in tension and conflict. Each of these beats or scenes will in one way or another reveal one thing about your hero and or story. Each of these reveals will be executed either through action, pictures or dialog. Preferably action and pictures over dialogue but great dialogue is one of the major points that stick with movie goers. Often great dialogue becomes part of culture. "Go ahead, make my day" "I'll be back" or "of all the gin joints, in all the towns, in all the world, she walks into mine". Just to name a few.
When you begin to fill in the empty space each beat should involve a place, a time, a person and most importantly, the conflict. For example. John is in an office, at night, trying to steal a file from a computer however he trips the alarm and now has 60 seconds before the cops arrive. Very short scene yet the consequences are huge. Now I don't know what's in the file nor why he wants it but that obviously could fall at many a places on the spectrum depending on your story.
You want to have these things in place for EVERY beat of your story. The next thing you want to make sure is to have your beats alternating from positive to negative. This isn't a hard fact however the more Ups/Dwns you have the more your reader and audience will be likely to enjoy the ride. There are stories where it's blow after blow but rarely are these commercial successes and almost never will you watch or read something that's just high five after high five. Where's the drama in that?
It's important to think of these beats as life. You can't enjoy the gold if you've never suffered the pine. Movies are emotional experiences because of this ride. Hopefully as the story progresses the more you become emotionally invested and these beats are there to build this investment.
A great exercise I learned along the way involves sitting down with a pen and paper and a good movie. As the film plays your homework is to write down each beat as it happens. You'll write who's in the scene, where is the scene happening and what is the conflict. As you work your way through the movie hopefully you'll see a trend of good and bad. Your hero falls but in the next beat he learns something of value but in the following scene falters only to gain ground in the next and so forth.
This up and down, jerky motion of movies is but a constant. It's the formula that keeps you in your seat when you get that pressing urge to relieve yourself. You don't want to miss what's next. You check your watch, can I wait, can I hold it? What's the most popular place after a great movie?
The restroom.
So now that you have your major beats start to think about how you're going to fill in the spaces in between with memorable moments that build drama and tension and continue to reveal story through action, pictures, dialogue and what.....? Conflict. Conflict. Conflict.
Write on!
With that ride in mind, hop aboard. By now you've figured out who your major players are and you've also mapped out a loose structure. What we want to follow are specific moments that build in tension and conflict. Each of these beats or scenes will in one way or another reveal one thing about your hero and or story. Each of these reveals will be executed either through action, pictures or dialog. Preferably action and pictures over dialogue but great dialogue is one of the major points that stick with movie goers. Often great dialogue becomes part of culture. "Go ahead, make my day" "I'll be back" or "of all the gin joints, in all the towns, in all the world, she walks into mine". Just to name a few.
When you begin to fill in the empty space each beat should involve a place, a time, a person and most importantly, the conflict. For example. John is in an office, at night, trying to steal a file from a computer however he trips the alarm and now has 60 seconds before the cops arrive. Very short scene yet the consequences are huge. Now I don't know what's in the file nor why he wants it but that obviously could fall at many a places on the spectrum depending on your story.
You want to have these things in place for EVERY beat of your story. The next thing you want to make sure is to have your beats alternating from positive to negative. This isn't a hard fact however the more Ups/Dwns you have the more your reader and audience will be likely to enjoy the ride. There are stories where it's blow after blow but rarely are these commercial successes and almost never will you watch or read something that's just high five after high five. Where's the drama in that?
It's important to think of these beats as life. You can't enjoy the gold if you've never suffered the pine. Movies are emotional experiences because of this ride. Hopefully as the story progresses the more you become emotionally invested and these beats are there to build this investment.
A great exercise I learned along the way involves sitting down with a pen and paper and a good movie. As the film plays your homework is to write down each beat as it happens. You'll write who's in the scene, where is the scene happening and what is the conflict. As you work your way through the movie hopefully you'll see a trend of good and bad. Your hero falls but in the next beat he learns something of value but in the following scene falters only to gain ground in the next and so forth.
This up and down, jerky motion of movies is but a constant. It's the formula that keeps you in your seat when you get that pressing urge to relieve yourself. You don't want to miss what's next. You check your watch, can I wait, can I hold it? What's the most popular place after a great movie?
The restroom.
So now that you have your major beats start to think about how you're going to fill in the spaces in between with memorable moments that build drama and tension and continue to reveal story through action, pictures, dialogue and what.....? Conflict. Conflict. Conflict.
Write on!
Wednesday, January 19, 2011
It's allright to know where you're going
I was in the shower recently, believe it or not I do bathe, in fact it's one of my favorite excuses not to write. While I was washing my body for the third time today I was thinking about my next script. And I thought to myself how I had already envisioned the story wrapping up nicely. I smiled then by chance released a sigh yet this was no sigh of relief. Instead this sigh represented the completion of a story I hadn't even started to script. Then it struck me like the sting of Pantene' in an eye. If I already knew where I was going to end up, then what's the fun of writing it? It's like driving to Disneyland and sitting in the parking lot all day after you pay the $15 lot fee. What's the fun in going to Disneyland then? Well they're not quite exactly the same BUT the point I'm getting it is after the sting, it set in, well yeah you know what it's like to go to Disneyland but you don't just sit in the parking lot. That would be the equivalent of staring at a blank page all day. You've already took a spin on Space Mountain but you don't stop there. You do it again, and again, over and over and over. On different days in different months in different years.
Does it get old? Sure you know the ride, but you still get the same jolt on the same turns, the same cheers on the same twists and the same queasy feeling on the very same dips.
So much like writing a screenplay, once you've done it, you have an idea if it's something you like you want to do it again. Saying that I'd like to introduce to you my version of the Beat Sheet. What is a beat sheet? It's a bullet point explanation of moments in your story. Written chronologically with the intent to provide yourself a certain road map per se' of how you get from Beginning to middle to end.
The most important part of the beat sheet is to help establish your structure for your upcoming story. What elements of structure say you? This is what I use, please don't take this as an edict because the only person who knows how to write your story is you. I'm trying to show one way, there are many ways to finish a script. (These are the page numbers you should aim for to have these events occur in in a 110 page script)
1) Opening Image:(Page 1) Set the tone (Comedy, Rom-Com, Drama, Action, Thriller) Give us a moment that's going to set the overall tone for this story. However you do it, make it bold. Make it clear.
2) Introduction of Protagonist:(Page 1-3) This is the first time we see your hero on the page. How are you going to paint this person? Their flaw/weakness? Their dreams? Make it someone you would want to spend $20 to go see for two hours in a dark room sitting next to smelly strangers and crying babies. All the better.
3) Inciting Incident: (Page 1-10) This moment launches your story in a new direction. Think of it as the specific moment in time that is going to change this person's life for better or worse? It's also the moment when your hero has to make it's first important decision. And that decision is usually the opposite of what he/she will decide to do at the 1st act break. When it comes to I.I. the bigger the better. The inciting Incident also asks the essential question of your story. Your hero's family is gunned down in cold blood, will your hero get revenge?
4) 1st act break: (Page 24-30) At the end of the 1st act break your hero has a decision to make. This decision will take your story in a new direction. Once this decision is made think of it as irreversible. Does he go with the door on the left or the door on the right? One chance, one choice.
5) What did I do moment? (Page 30-32) Usually a moment soon after where your hero realizes what he just did was a mistake but remember it's irreversible. Sometimes your hero may not know the full consequences of his decision but the reader or audience member should. In the case of a new villain entering the story who will soon collide with your hero.
6) 2nd act dilemma 1. (page 42-47) This is a moment where the stakes for your hero rise. Something that creates additional conflict.
7) Midpoint (Page 58-62) This is the midpoint of your story. In this scene something needs to happen that will take your hero and your story in a new direction. Ultimately a moment where the hero realizes a new goal. One that will take him to the end of act 2 and beyond. In this scene there must be an external event that inflicts change in your hero. The event also must be directly related to the hero's overall objective and must cause a turn in your story. It must also force your hero to take a new approach to this new goal. The hero now takes control of their destiny.
8) 2nd Act dilemma 2 (Page 73-77) Something that provides a new obstacle. Something greater than your hero could have envisioned when they decided to take control of their destiny.
9) 2nd Act break. (Page 88-92) This is the worst possible event that could be conceived for your hero. Also it's a direct connection to their 1st act break decision. Your hero decided to seek revenge but now all is lost, he is captured, tortured, put out to die. He's the farthest away from his goal and everything looks bleak. Think of what means the most to your hero(goal/objective/personal) and what ever that is, they're as far away as can be.
10) It just got worse. (Page 93-94) Stack on something additional to your 2nd act break moment. Something your hero never could fathom happening.
10) Climax. (Page 94-106) Your hero gets a second chance. This is when they will achieve what they set out to do. Their goal will be accomplished but to provide the most satisfying result you can't let them have their cake and eat it to. Something must always be sacrificed. They don't get the girl and the money. It gives them one last chance to prove they've changed. Before they would take both the girl and the cash now they can only choose/get one. And be smart about this one, it's not always the girl ;)
11) Closing Image Page (107-110) Hopefully at this point your hero has been through the ringer twice and sat in hell long enough to appreciate the new person they are. Leave the reader/audience an image that wraps up the story where you started but with the knowledge that can give a new appreciation to the journey you just led us on.
That's it. At least for your major structural beats. easy right? It is. Once you do it a few times. Next time I'll go over what I do after I've created my major beats and how I go about filling the spaces in between.
Now write to it!
Does it get old? Sure you know the ride, but you still get the same jolt on the same turns, the same cheers on the same twists and the same queasy feeling on the very same dips.
So much like writing a screenplay, once you've done it, you have an idea if it's something you like you want to do it again. Saying that I'd like to introduce to you my version of the Beat Sheet. What is a beat sheet? It's a bullet point explanation of moments in your story. Written chronologically with the intent to provide yourself a certain road map per se' of how you get from Beginning to middle to end.
The most important part of the beat sheet is to help establish your structure for your upcoming story. What elements of structure say you? This is what I use, please don't take this as an edict because the only person who knows how to write your story is you. I'm trying to show one way, there are many ways to finish a script. (These are the page numbers you should aim for to have these events occur in in a 110 page script)
1) Opening Image:(Page 1) Set the tone (Comedy, Rom-Com, Drama, Action, Thriller) Give us a moment that's going to set the overall tone for this story. However you do it, make it bold. Make it clear.
2) Introduction of Protagonist:(Page 1-3) This is the first time we see your hero on the page. How are you going to paint this person? Their flaw/weakness? Their dreams? Make it someone you would want to spend $20 to go see for two hours in a dark room sitting next to smelly strangers and crying babies. All the better.
3) Inciting Incident: (Page 1-10) This moment launches your story in a new direction. Think of it as the specific moment in time that is going to change this person's life for better or worse? It's also the moment when your hero has to make it's first important decision. And that decision is usually the opposite of what he/she will decide to do at the 1st act break. When it comes to I.I. the bigger the better. The inciting Incident also asks the essential question of your story. Your hero's family is gunned down in cold blood, will your hero get revenge?
4) 1st act break: (Page 24-30) At the end of the 1st act break your hero has a decision to make. This decision will take your story in a new direction. Once this decision is made think of it as irreversible. Does he go with the door on the left or the door on the right? One chance, one choice.
5) What did I do moment? (Page 30-32) Usually a moment soon after where your hero realizes what he just did was a mistake but remember it's irreversible. Sometimes your hero may not know the full consequences of his decision but the reader or audience member should. In the case of a new villain entering the story who will soon collide with your hero.
6) 2nd act dilemma 1. (page 42-47) This is a moment where the stakes for your hero rise. Something that creates additional conflict.
7) Midpoint (Page 58-62) This is the midpoint of your story. In this scene something needs to happen that will take your hero and your story in a new direction. Ultimately a moment where the hero realizes a new goal. One that will take him to the end of act 2 and beyond. In this scene there must be an external event that inflicts change in your hero. The event also must be directly related to the hero's overall objective and must cause a turn in your story. It must also force your hero to take a new approach to this new goal. The hero now takes control of their destiny.
8) 2nd Act dilemma 2 (Page 73-77) Something that provides a new obstacle. Something greater than your hero could have envisioned when they decided to take control of their destiny.
9) 2nd Act break. (Page 88-92) This is the worst possible event that could be conceived for your hero. Also it's a direct connection to their 1st act break decision. Your hero decided to seek revenge but now all is lost, he is captured, tortured, put out to die. He's the farthest away from his goal and everything looks bleak. Think of what means the most to your hero(goal/objective/personal) and what ever that is, they're as far away as can be.
10) It just got worse. (Page 93-94) Stack on something additional to your 2nd act break moment. Something your hero never could fathom happening.
10) Climax. (Page 94-106) Your hero gets a second chance. This is when they will achieve what they set out to do. Their goal will be accomplished but to provide the most satisfying result you can't let them have their cake and eat it to. Something must always be sacrificed. They don't get the girl and the money. It gives them one last chance to prove they've changed. Before they would take both the girl and the cash now they can only choose/get one. And be smart about this one, it's not always the girl ;)
11) Closing Image Page (107-110) Hopefully at this point your hero has been through the ringer twice and sat in hell long enough to appreciate the new person they are. Leave the reader/audience an image that wraps up the story where you started but with the knowledge that can give a new appreciation to the journey you just led us on.
That's it. At least for your major structural beats. easy right? It is. Once you do it a few times. Next time I'll go over what I do after I've created my major beats and how I go about filling the spaces in between.
Now write to it!
Monday, January 17, 2011
Writer's block
This is what we, as writers, call an excuse to NOT write. Anyone who has sat down and faced the page knows that it can be one of the most daunting and frustrating creative capsules to find oneself in. The symptoms that can be listed include neglect, severe guilt, procrastination, worry, dread, lack of confidence, a sudden urge to clean, everything and then re-clean, everything. Shows you once despised seem more interesting then ever, Yeah, I can like Snooki or it's raining but yet it seems like the perfect time for a walk. But you don't own an umbrella:( Well why not go to the mall to buy one then go for a walk? what about your stories, I'll find time. NOOOOOOOOO!!!!!
That is not the way.
The first step to overcoming this common headache is to admit it's happening. Because if you can admit then you can address it. It's also an accepted philosophy that once you have acknowledged then you can take the next most useful step which is.... It should be obvious, but because I spend plenty of time at the mall then I will reiterate, myself included-- Write on through it. Yes sit down and write whatever the hell you want, free thinking, thought flowing gibberish works for me. In fact this is exactly what I'm doing write now.
I read recently in an article from BlueCat that Jerry Seinfeld's approach to his career was to create a chain. That is everyday he will do at least one thing toward his writing. At the end of everyday he would cross out the day on his calendar with a red marker indicating he had written thus creating a chain of endless days where he created and created. Before long his fear went from writing material to not writing material. That is a goal. It is said it takes 30 days to create a habit. do you have thirty days to start something that will carry over into next month? And then the next month, the next and before you know it you've written that short story, that song, that poem, that screenplay, that novel, your Opus. Human's by nature must create. we create life, we create art, we create stories, that is what we do. The only reason anyone does anything different is because they stopped creating!
I heard someone say recently "Don't worry, there's all the time in the world". Well unless you're a rock, that's just not true. We don't have all the time in the world. Unless in the next 20-30-40-50 years medicine finds a way for us to live forever, we d(w)on't have all the time in the world. That's why to make the most of the moments we must "do". Those moments should not be decided by something that does not exist except as a fear, an insecurity, an "I'll get to it" attitude. Now is the time. If not now, never. There's no better time than the present. These are not quotes made famous from people who wait. These people made things happen. And when you sit down and write you're making something happen. You may not think you're making progress but I assure you for every page you type you uncover something new about your creative self. It won't always be great, sometimes you'll feel relieved to delete it so no eyes will know you were ever bad. Success is out there, waiting to be embraced. But it's not going to come to anyone, it only comes to people who deserve it.
So write to it!
My next post will be coming much sooner and it will return to Screenplay. The dreaded beat sheet!!!!!
Sunday, December 26, 2010
Writing and Christmas
What do writing and Christmas have in common? Other than being two things I truly enjoy, not much. Really though the question is can writing and the holidays coexist? My theory on the subject...
The holidays provide a sublime time to step away from your dark corner and recharge. It's often one of the more emotional times of the year. Who knows if it's the childhood trauma of Santa not delivering the goods when you know quite well you were beyond pleasant that year, at least better than your siblings. Maybe it's the long distance travel, waiting on overweight flyers to take off their shoes and belt or maybe it's the family reunions that often lead to Grandma Tilly defending the benefits of Ensure.
Whatever the reason is, personally I find it a wonderful experience to sit back, open my ears and watch the genuine conflict arise from Susie's displeasure when Jenny gets one more pair of stockings, even if she secretly despises them.
On the writing tip I encourage you all to find your flow. Your pattern, your approach to your craft because right around the corner is a new year. And with a new year often comes new goals, new challenges ripe with opportunity to succeed.
It's also a good time to reflect. I urge everyone to take time to look back at your year. What you accomplished, what you didn't. What could you have done differently, what you did just right. Where did you find your peak of happiness and where did you wallow in despair, and why?
You should do this with not just your writing but your life. Because if you haven't learned, they go hand in hand. When you sit down and write that first word on that first page, little do you know, for the next 100 pages you're sharing a piece of yourself that's directly influenced by what you believe, your fears, your hopes, dreams, shortcomings. You have the chance to be completely honest with yourself through the words and actions of others. People who don't really exist except on the page.
And the reason you return another day to write another page is because you have something to tell. Something you have to share and with that expression comes the great responsibility of finishing what you started. As I wrap up my 2010 I can look back and say I wish I finished more, more words, more pages but I also know I told a few stories I had to get off my chest. I know I shared some things I had to share.
And as we head into 2011, plan to share again and again. Will you? Share until your breath runs short. Share until the night turns black. Share as if the world hangs on your next word, your next twist. Fulfill those promises you set up, take your worry and turn it into magic. Craft your vision into something you're proud to share. This year make a promise to your writing, finish what you started. If anything, finish what you started....
Safe writings--
The holidays provide a sublime time to step away from your dark corner and recharge. It's often one of the more emotional times of the year. Who knows if it's the childhood trauma of Santa not delivering the goods when you know quite well you were beyond pleasant that year, at least better than your siblings. Maybe it's the long distance travel, waiting on overweight flyers to take off their shoes and belt or maybe it's the family reunions that often lead to Grandma Tilly defending the benefits of Ensure.
Whatever the reason is, personally I find it a wonderful experience to sit back, open my ears and watch the genuine conflict arise from Susie's displeasure when Jenny gets one more pair of stockings, even if she secretly despises them.
On the writing tip I encourage you all to find your flow. Your pattern, your approach to your craft because right around the corner is a new year. And with a new year often comes new goals, new challenges ripe with opportunity to succeed.
It's also a good time to reflect. I urge everyone to take time to look back at your year. What you accomplished, what you didn't. What could you have done differently, what you did just right. Where did you find your peak of happiness and where did you wallow in despair, and why?
You should do this with not just your writing but your life. Because if you haven't learned, they go hand in hand. When you sit down and write that first word on that first page, little do you know, for the next 100 pages you're sharing a piece of yourself that's directly influenced by what you believe, your fears, your hopes, dreams, shortcomings. You have the chance to be completely honest with yourself through the words and actions of others. People who don't really exist except on the page.
And the reason you return another day to write another page is because you have something to tell. Something you have to share and with that expression comes the great responsibility of finishing what you started. As I wrap up my 2010 I can look back and say I wish I finished more, more words, more pages but I also know I told a few stories I had to get off my chest. I know I shared some things I had to share.
And as we head into 2011, plan to share again and again. Will you? Share until your breath runs short. Share until the night turns black. Share as if the world hangs on your next word, your next twist. Fulfill those promises you set up, take your worry and turn it into magic. Craft your vision into something you're proud to share. This year make a promise to your writing, finish what you started. If anything, finish what you started....
Safe writings--
Monday, December 6, 2010
Preparation: More is more!
Yes, that would the next step in crafting your meal ticket. Lets do a quick review of last weeks post. The 5 W's. Yup, I added one.
1) Who? Protagonist. That's who.
2)What? This is his/her's goal or objective.
3) Why? Why must your hero set off toward the climax of your story. What happens if they don't get it? What is at stake?
4) Where? Be specific. The more you know about the place, the more it will let you in.
5) When. RIGHT NOW!!!! This is a constant. No one wants/likes to wait during a movie. Bring the action to your hero or bring your hero to the action.
That's a pretty simple review of what I went over last post. Moving on, after you have answered these questions your next step is to write it down. Obviously. But what are some of my options. I've been schooled in the two page movie.
This is where you write down your story in two pages, double spaced, 12-font. The purpose of this is to get a loose idea of where you're going and be able to communicate it in two pages. I don't quite agree with this.
Why? Because I don't believe in limiting yourself when you write. In fact while you're writing why not make in five, or ten. Heck if you can churn out 20 pages of ideas before you even get to outlining you're leaps ahead. Why do I stand by this? Because in pre-script prep More is more.
While many screenwriters follow the rule of less is more, in this stage you want as much creativity and information you can give yourself. Think of it like this, a first draft is like a block of ice. And your job is to pick away until you have created the ice sculpture you desire. But if you haven't thought out your sculpture thoroughly you don't really give yourself the time to think outside of your work. And well because we all know ice melts. What does he mean?
What I'm trying to say is the more work you put in pre-draft the less you will have to stick to it. As in many other areas of life, writing is no different outside of the fact you are by yourself 99% of the time, and it can be a very lonely experience, just you and the blank page. But preparation is a HUGE key to success when it comes to anything you expect to accomplish in life. How many hours did Michael Jordan put in the gym before he could make it looks so effortless? I really don't have the answer, but I can imagine a shitload.
I implore all ofyou to give yourself that head start before you remove that block of ice from the freezer and begin to create your masterpiece. However, I also am a firm believer that there is NO RIGHT WAY to WRITE YOUR MOVIE. It's your job to find a pattern that fits your style where you get the most out of the time you put in.
Write on:)
1) Who? Protagonist. That's who.
2)What? This is his/her's goal or objective.
3) Why? Why must your hero set off toward the climax of your story. What happens if they don't get it? What is at stake?
4) Where? Be specific. The more you know about the place, the more it will let you in.
5) When. RIGHT NOW!!!! This is a constant. No one wants/likes to wait during a movie. Bring the action to your hero or bring your hero to the action.
That's a pretty simple review of what I went over last post. Moving on, after you have answered these questions your next step is to write it down. Obviously. But what are some of my options. I've been schooled in the two page movie.
This is where you write down your story in two pages, double spaced, 12-font. The purpose of this is to get a loose idea of where you're going and be able to communicate it in two pages. I don't quite agree with this.
Why? Because I don't believe in limiting yourself when you write. In fact while you're writing why not make in five, or ten. Heck if you can churn out 20 pages of ideas before you even get to outlining you're leaps ahead. Why do I stand by this? Because in pre-script prep More is more.
While many screenwriters follow the rule of less is more, in this stage you want as much creativity and information you can give yourself. Think of it like this, a first draft is like a block of ice. And your job is to pick away until you have created the ice sculpture you desire. But if you haven't thought out your sculpture thoroughly you don't really give yourself the time to think outside of your work. And well because we all know ice melts. What does he mean?
What I'm trying to say is the more work you put in pre-draft the less you will have to stick to it. As in many other areas of life, writing is no different outside of the fact you are by yourself 99% of the time, and it can be a very lonely experience, just you and the blank page. But preparation is a HUGE key to success when it comes to anything you expect to accomplish in life. How many hours did Michael Jordan put in the gym before he could make it looks so effortless? I really don't have the answer, but I can imagine a shitload.
I implore all ofyou to give yourself that head start before you remove that block of ice from the freezer and begin to create your masterpiece. However, I also am a firm believer that there is NO RIGHT WAY to WRITE YOUR MOVIE. It's your job to find a pattern that fits your style where you get the most out of the time you put in.
Write on:)
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