Create a Compelling Protagonist

April 16th, 2014 by

In almost every movie, the most critical character is the Protagonist.

* Typically the story is told through their perspective.
* Their goal usually dictates the end point of the plot.
* All the other primary characters are somehow linked to the Protagonist.
* Normally they go through the most significant metamorphosis.
* And the Protagonist acts as the main conduit into the story for a script reader and moviegoer.

So guess what? You need to create a Protagonist that grabs a reader’s attention and keeps it for 100 pages.

How to do that?

That’s what we will be exploring in my upcoming 1-week online class “Create a Compelling Protagonist”.

Go beyond writing a ‘sympathetic’ Protagonist. Dig deeper than giving your Protagonist a ‘flaw.’ That is surface level writing. In this class, you will learn an approach that will help you immerse yourself into this key character, and craft a Protagonist worth writing… and reading.

This class not only explores proven ways to help you create a compelling character, it also lays out an approach you can use as the groundwork for developing the rest of your story.

Seven lectures, forum feedback, insider tips, 90-minute teleconference, and the opportunity to workshop your story’s Protagonist [or Protagonists].

Plus if you’re a fan of the movies Bridesmaids, The Social Network and Up, we’ll be using those as our study scripts. They offer a diverse set of Protagonists and yet the approach we will study next week shows how a writer can craft such compelling and different lead characters.

It all starts Monday, April 28. You can learn more and sign up here.

Here are some observations from writers who have taken the class with me:

“One week of Creating a Compelling Protagonist challenged me in ways I couldn’t challenge myself. If you want to develop your ideas, this is a rare opportunity at great value. Thank you, Scott!” – Brianna Garber

“I’ve taken a ton of classes, both inside and outside film school, and this was one of the best. The material provided a ton of inventive ways to approach the development of a solid, three-dimensional protagonist, and helped me dig deeper into the character’s internal world — forcing me to reject easy solutions, the first ideas that came to mind.” – Jason Young

“A class that is perfect for anyone looking to learn the primary character archetypes, their psychology, and how they relate to the protagonist. The lectures provide thorough examples of these character archetypes in modern and classic movies, and the online forums were a hotspot to ask questions about the material or anything related to screenwriting. Scott’s style of teaching is highly accessible to anyone, as he creates an environment of easy, open discussion on the subject of character and welcomes any other questions you may have along the way.” – Kristen Vincent, sold spec script “Fetch” in 2013.

This 1-week Craft course is coupled with another class: Write A Worthy Nemesis. That begins Monday, May 12. For information on that session, go here.

This is the only time I will be offering these Craft classes in 2014, so take this opportunity and sign up now!

Go Into The Story Week In Review: April 7-April 13, 2014

April 13th, 2014 by

Links to the week’s most notable posts:

127 behind the scene photos: 2001: A Space Oddysey [plus lots of Kubrick links]

A Story Idea Each Day for a Month — Day 7: 18 Radically Successful People Who Lived With Their Parents

A Story Idea Each Day for a Month — Day 8: Bank supervisor makes multi-million-Euro error

A Story Idea Each Day for a Month — Day 9: Man fakes his own kidnapping to avoid angry girlfriend

A Story Idea Each Day for a Month — Day 10: 11 Dating Tips from Ovid’s Ars Amatoria

A Story Idea Each Day for a Month — Day 11: Confessions of an Underearner

A Story Idea Each Day for a Month — Day 12: Siri, suicide, and the ethics of intervention

A Story Idea Each Day for a Month — Day 13: Woman gives birth after Rolling Stones concert

Daily Dialogue Theme for Next Week: Job Interview

Every on-screen death in “Game of Thrones” in under 3 minutes

Go Into The Story Interview: Rajiv Joseph and Scott Rothman (Draft Day)

Great Character: Steve Zissou (The Life Aquatic with Steve Zissou)

Interview (Video): Tony Gilroy

Interview (Written): Christopher Markus and Stephen McFeely

May: Classic 90s Move Month

Michael Arndt: “Beginnings: Setting a Story Into Motion” (Part 1)

Michael Arndt: “Beginnings: Setting a Story Into Motion” (Part 2)

Movies in “turnaround”

New TV initiative between FOX and the Black List

On Writing: Peter Mayle

Reader Question: Do I continue with a 5th draft and start writing a new script?

“Refraction” by Lisa Mecham

Rewriting your script

Saturday Hot Links

Screenwriting 101: Richard Brooks

Screenwriting News (April 7-April 13, 2014)

Script To Screen: Celester & Jesse Forever

Spec Script Sale: “Padre”

Spec Script Sale: “The Garden at the End of the Earth”

Supercut: Most influential VFX movies

The Evolution of Movies in Three Minutes (Video)

Weekend Writers

Why producers WILL NOT READ YOUR SCRIPT

Writing and the Creative Life: “The Incurable Disease of Writing”

Michael Arndt: “Beginnings: Setting a Story Into Motion” (Part 2)

April 8th, 2014 by

I have been a big fan of screenwriter Michael Arndt ever since I read his script Little Miss Sunshine, then saw the movie. And, of course, there’s Toy Story 3 which Arndt penned. My admiration goes beyond his writing, it extends to how Arndt thinks about writing as clearly he has done a great deal of reflection about the craft. Fortunately for us, he has gone public with at least some of those thoughts. I have featured his ruminations multiple times through years including here, here, here, here, here, here, here, here, here, here, and here. So I was interested to see this recent blog post by John August referencing this video:

In his post, John wrote this:

When I saw this video, I immediately wondered what it was from. It’s clearly professionally made, so why is it on some random guy’s YouTube account?

I emailed Michael Arndt, who wrote back that it was originally a bonus feature on the Blu-ray for Toy Story 3. He gave me his blessing to link to it.

I’m aware the model I set up here applies imperfectly to TS3 itself. (It applies much more cleanly [for example] to TOOTSIE, which I consider one of the best comedy first acts of all time.) The broader point is that the emotional fuel for your first act break is largely set up in your inciting incident — and that is something that does apply to TS3.

Disney and/or Pixar own the copyright on the video, so they could pull it down. But I hope they won’t. This kind of lesson celebrates what’s made their films so successful, and deserves wider exposure.

Knowing the whims of the Internet gods, I forwarded the link to the video to my stalwart development assistant Wendy Cohen and she was kind enough to produce a transcript, so we would at least have Arndt’s words down in print in case the video got yanked.

While I encourage you to watch the video – which is great – I want to dig deeper into the content of what Arndt says. So I will divide his observations into two parts. The first part I posted here yesterday. Here is a transcript of the second half of the video:

So, you start with your main character, you have what they’re defined by, you have a hidden flaw, you establish storm clouds on the horizon, and then BA-BOOM! Something comes in and totally blows apart your hero’s life and turns it upside down. So in the case of “Toy Story,” Buzz arrives and Woody gets displaced. And in “Finding Nemo,” the barracuda shows up and Marlin’s family gets killed except this one last little egg. In “The Incredibles” Mr. Incredible saves this guy, but then he gets sued and superheroes get banned. And in each of these cases, if you go back and look at what their grand passion was: Woody being Andy’s favorite toy, Marlin and his family, Mr. Incredible being a superhero, that’s the thing that gets taken away from them. It totally changes your character’s sense of what his or her future’s gonna be. But that bolt from the blue isn’t enough on its own. It’s not enough just to ruin your character’s life and take away their grand passion and change their whole sense of what the future’s gonna be. You gotta add insult to injury. You gotta add something that’s gonna make the world seem a little bit unfair. So not only does Woody get replaced, but he gets replaced by this total doofus, this imbecile who doesn’t even know that he’s a toy and they get in this whole argument about whether Buzz can fly or not. And Buzz jumps and bounces and flies around the room, and all the other toys go “Oh my God, he really can fly.” And the key thing here is that everyone is impressed for the wrong reason. In the case of “Finding Nemo,” you don’t need to really add insult to injury. We already understand that the world Marlin lives in is unfair. But on the other hand, with “The Incredibles,” the reason superheroes get banned is because Mr. Incredible was trying to do the right thing.

So now, your main character’s life has changed, her grand passion has been taken away, the world has revealed itself to be unfair, and she comes to a fork in the road, and she’s gonna have to make a choice on how to deal with her new reality. There’s a high road to take: a healthy, responsible choice, or a low road to take and make an unhealthy irresponsible choice. And remember, if your character chooses to do the right thing, you really don’t have a story.

For Woody, the healthy choice is to say, “Look, I had my day in the sun. I was Andy’s favorite toy for a long time, and I have to cede the spotlight at a certain point.” But what happens is that Woody makes the unhealthy choice. Woody tries to push Buzz behind the desk. And the key thing here is that we’re rooting for Woody to do the unhealthy, irresponsible thing because we feel his pain at getting replaced. So your character’s unhealthy choice, Woody’s unhealthy choice, creates a crisis, Buzz getting pushed out the window, which leads to all the other toys confronting Woody and saying, “You can’t stay in Andy’s room until you go find Buzz and bring him back here safe and sound.” And that’s your first act break. You see a similar thing in “Finding Nemo” when Marlin finds Nemo at the edge of the open ocean. Marlin’s unhealthy choice, his overprotectiveness, comes out of his grand passion, his love for his son. And his unhealthy choice provokes a crisis: Nemo saying “I hate you,” swimming out to the boat to prove his independence, and then getting caught by the diver. And now Marlin has a goal that’s gonna take him all the way through the rest of the story. With “The Incredibles,” the responsible choice is for Bob to do what his wife tells him to do, “save the world one policy at a time,” but that would be boring, and you’d have no story. So, the irresponsible choice for Bob is to lie to his wife Helen and go moonlighting with his buddy Frozone. And we’re totally rooting for Bob to make the irresponsible choice, because we saw how much he loved being a superhero, we saw how good he was at it, and we saw how unfairly it was taken away from him. And that unhealthy choice — sneaking around — leads to a crisis — Mirage tracking him down — which leads to Symdrome bringing Bob on retirement and you’re off into your second act.

So, your story is coming out of your character’s deepest desires and their darkest fears. The thing they love gets taken away from them and the world is revealed to be unfair. To put things right, they have to make the journey that is the rest of the film. And by the end of the journey, hopefully they’ll not only get back what they lost, but they’ll be forced to fix that little flaw they had when we first met them. So, that’s what I learned at Pixar, and I’m not saying that all stories have to start this way, but if you’re writing a script and you’re having a hard time getting started, I hope these ideas are helpful.

This is an interesting insight. And it occurred to me you could apply this take to The Wizard of Oz. What’s Dorothy’s grand passion? Daydreaming about a better life ‘somewhere over the rainbow’. An orphan, she doesn’t feel like her home in Kansas is her home. When Miss Gulch takes away Toto, but the little dog scampers back home, Dorothy could take the high road: Do what is legal and return Toto to Miss Gulch. But, of course, she can’t do that, we all sympathize with her as she takes the low road: running away from home.

Once in Oz, her experiences there are in effect her grand passion — daydreaming about a better place — on steroids with several obstacles and tests along the way. By story’s end, she has overcome her “little flaw” by realizing: “There’s no place like home.”

I’m sure there are plenty of other movies where this approach works. However there are many movies where the setup is considerably different. Here’s how Joseph Campbell describes the beginning of The Hero’s Journey from the wonderful interview series he did with Bill Moyers, “The Power of Myth”:

The Hero is found in the ordinary world…
In ancient myths it used to be the cottage or village…
In films, it is usually the suburbs or common urban environment.

The Hero is making do, but feels something missing, a sense of discomfort or tension.
The Hero needs to change, even if they are unaware of that need.

Oftentimes in a story’s beginning, the Protagonist is not doing what they love most. Indeed, Campbell asserts the whole point of the Hero’s Journey is about transformation and that change is generally about the Protagonist finding their Authentic Self. As Ovid says, “The seeds of change lie within.” The Protagonist may begin the story just “making do,” so they need to change, “even if they are unaware of that need.”

Consider this Protagonist:

Young Luke Skywalker, stuck on the edge of the galaxy, working on a moisture farm. At the beginning of the story, he is doing anything but engaged in his grand passion. But the seeds of change lie within: He has Jedi blood coursing through his veins. And by story’s end, he finds his grand passion as he becomes in effect a Jedi, aligning himself with The Force to destroy the Death Star.

The lesson Arndt gives is a fantastic one, not only in the substance of the content, but in demonstrating how a professional writer thinks about crafting a story, engaged in looking at structure and characters within that structure. But as Arndt himself observes, “I’m not saying that all stories have to start this way.” It’s a reminder that the best stories feel organic, they have a soul and a heart, a spontaneity and surprise to them.

As Arndt points out, we have certain things we need to accomplish in a script’s first 25 pages or so, it’s hard to break away from those requirements, and there are certain patterns and paradigms we see in this or that type of story. But as the three examples Arndt refers to from Pixar demonstrate, it’s not just about an approach to structure, it’s about creating characters who make sense, who have multiple layers to their psyches, who have feelings we can understand and identify with, and who we care about enough to join them on their adventure, whether they are participating in their grand passion at the beginning, disconnected from their True Self and due for a change, or anywhere in between.

Let’s carry this conversation to comments (click on Reply). What do you think of this approach to a story’s beginning?

Michael Arndt’s IMDB page here.

Follow John August’s blog here.

Follow John and Craig Mazin’s podcast Scriptnotes here.

Rewriting your script

April 7th, 2014 by

Let’s face it: Rewriting is a bitch. Or a bastard. Pick your gender specific invective. Doesn’t matter. The process is a pain no matter how you shake your fist and swear at it.

One big issue I’ve found with writers caught up in the maelstrom of rewriting is that there is no one surefire path to success. This stands to reason. Stories are organic and so a certain amount of rewriting them involves wallowing in the wilderness. That’s just the nature of things.

However I have an approach which I honestly believe can move your process forward in a big way. It’s one I use in the Pages II: Rewriting Your Script workshop, a 10-week class that guides you through a rewrite.

In this workshop, you will not only drill down into your story and understand it more clearly, if you do the work, you will get from FADE IN to FADE OUT on your next draft, and move you script toward the point you can bring it to market.

Here is an overview of the approach employed in Pages II: Rewriting Your Script:

* The first four weeks, it’s about assessing your current draft, identifying problems as well as content that works, brainstorming solutions, then working up a revision outline.

* The next four weeks, it’s knocking out your draft in quarters: Week 5 – Act One. Week 6 – The first half of Act Two. Week 7 – The second half of Act Two. Week 8 – Act Three.

* The last two weeks: Polish and Edit.

There are 10 lectures that provide prompts and tips to steer you through the rewrite, weekly due dates to compel you to do the work, and a workshop environment in which you receive constructive critiques from your fellow writers along with detailed feedback from myself, a combination of written feedback and teleconferences.

What’s more, you learn tools you can use to incorporate into your rewrite process from here on out, making your experience less bitchy / bastardy.

Here is a testimonial from Russell Simpson, a writer who has gone through the Pages II experience:

“I asked friends, trawled the internet, read the blogs and still found myself a touch bewildered by all the self-aggrandizement and shady plaudits. Then I read the brilliant BlackList Blog. And I looked up the writer. And it’s Scott Myers…

Scott’s course is superb. Scott possesses an enviable combination of honesty, bravery and mercy. As long as you are prepared to work hard, this course WILL improve your craftsmanship. I fed a feature through Scott’s dynamo brain and, out the other end is a piece of which I’m intensely proud. If you’re hesitating, stop. You’ll be thankful.”

I do not subscribe to the belief there is one approach to writing… or rewriting. Every writer is different. Every story is different. But I do know this: The process we use in Pages II has helped many, many writers solve major story issues, discover important story keys, and enable them to take their script to the next level.

If you have a script that is a complete draft, but you know needs work…

Or a partially completed draft where you got stuck and couldn’t find your way out…

Or a story you’ve rewritten multiple times, yet feel it just doesn’t work…

I encourage you to consider joining me in my upcoming Rewriting Your Script workshop which begins Monday, April 14.

For more information, go here.

For a look at my first lecture from Pages II: Rewriting Your Script, go here.

I look forward to the opportunity to work with you!

Michael Arndt: “Beginnings: Setting a Story Into Motion” (Part 1)

April 7th, 2014 by

I have been a big fan of screenwriter Michael Arndt ever since I read his script Little Miss Sunshine, then saw the movie. And, of course, there’s Toy Story 3 which Arndt penned. My admiration goes beyond his writing, it extends to how Arndt thinks about writing as clearly he has done a great deal of reflection about the craft. Fortunately for us, he has gone public with at least some of those thoughts. I have featured his ruminations multiple times through years including here, here, here, here, here, here, here, here, here, here, and here. So I was interested to see this recent blog post by John August referencing this video:

In his post, John wrote this:

When I saw this video, I immediately wondered what it was from. It’s clearly professionally made, so why is it on some random guy’s YouTube account?

I emailed Michael Arndt, who wrote back that it was originally a bonus feature on the Blu-ray for Toy Story 3. He gave me his blessing to link to it.

I’m aware the model I set up here applies imperfectly to TS3 itself. (It applies much more cleanly [for example] to TOOTSIE, which I consider one of the best comedy first acts of all time.) The broader point is that the emotional fuel for your first act break is largely set up in your inciting incident — and that is something that does apply to TS3.

Disney and/or Pixar own the copyright on the video, so they could pull it down. But I hope they won’t. This kind of lesson celebrates what’s made their films so successful, and deserves wider exposure.

Knowing the whims of the Internet gods, I forwarded the link to the video to my stalwart development assistant Wendy Cohen and she was kind enough to produce a transcript, so we would at least have Arndt’s words down in print in case the video got yanked.

While I encourage you to watch the video – which is great – I want to dig deeper into the content of what Arndt says. So I will divide his observations into two parts, the first part today, second tomorrow, then follow with some reflections and open it up for discussion. Here is a transcript of the first half of the video:

The number one metaphor I have in my mind for writing a screenplay is that you’re trying to climb a mountain blindfolded. And the funny thing about that is, you think, “Okay, that’s hard because you’re climbing up a rock face, and you don’t know where you’re going, and you don’t know where the top is, you can’t see what’s below you.” But actually, the hardest part about climbing a mountain blindfolded is just finding the mountain.

Hey everybody, I’m Michael Arndt, the screenwriter of “Toy Story 3.” Now, at Pixar, there’s a lot of people who contribute ideas to the story, but I’m the guy who actually has to sit down and type them into a computer. So when we started working on “Toy Story 3,” we had a hard time getting the story set up in the right way. And I think this is a common problem in screenwriting. A lot of times when a film doesn’t work, it seems like the problem is with the ending. But in fact, the seeds of failure have been planted at the beginning.

So, on “Toy Story 3” after several months of some floundering around and going in circles, I finally decided to go back and look at “Toy Story,” and “Finding Nemo,” and “The Incredibles” and figure out, “How do they set up their characters, and their worlds, and their stories?”

So, this is something I learned at Pixar: how to write a good beginning. Usually a script is about 100 pages long with three acts. And the first act is about 25 pages long, the second act is about 50 pages, and the third act is the last 25. Now, you start your first act by setting up your hero in his or her world. And by page 25, you’ve given your hero a goal and set them off on the journey that they’ll take in the second act. So let’s begin at the beginning, page one, introducing your main character. So, usually what you do when you’re introducing your main character is you show them doing the thing they love most. This is their grand passion, it’s their defining trait, it’s the center of their whole universe. So, in Woody’s case, he’s introduced playing with Andy. And that’s his favorite thing. That’s the thing that defines who he is as a person. With Marlin, Marlin’s a family man. He’s just moved into a new house with his wife, they have a whole new brood of little eggs and he couldn’t be happier. And then with “The Incredibles” you introduce Mr. Incredible being a superhero. So you start with your main character, you introduce the universe they live in, and you show your hero doing the thing they love to do most.

But then your character needs one more thing: she needs a flaw. Now, what’s key here is that your character’s flaw actually comes out of her grand passion. It’s a good thing that’s just been taken too far. So in Woody’s case, he takes pride in being Andy’s favorite toy. He loves being Andy’s favorite toy so much and he doesn’t want to share that with anyone. In the case of “Finding Nemo,” Marlin wants so badly to be a good parent that he’s a little bit insecure. With “The Incredibles,” Mr. Incredible’s a little bit like Woody in that he takes pride in his place of being Mr. Number One, and he doesn’t want to share that with anyone. Like you see when he bumps into Buddy. And you see it again when he bumps into Elastigirl on the roof. So you establish a character, you establish the world they live in, you establish the grand passion that they’re defined by, and you establish a hidden flaw that comes out of this grand passion. And then you want to establish storm clouds on the horizon, which is your character’s walking down the road of life, it’s a nice, bright sunny day, but off there on the horizon there’s some dark storm clouds gathering. So in the case of “Toy Story,” it’s Andy’s birthday party. And all the toys are fretting about being replaced and Woody has to say, “No one’s getting replaced.” And with “Finding Nemo,” you set up the fact that there’s an indoors inside the anemone where they’re safe, and there’s an outdoors, the rest of the ocean, which is implicitly dangerous. And then for “The Incredibles” Helen is saying to Bob, “Things are going to change after we get married,” and then you have Buddy showing up and being jealous of Mr. Incredible. So you’re establishing that there’s a resentment out there from normal people against superheroes and you’re establishing Helen saying to Bob, “Look, things are gonna change.”

Some observations:

* “A lot of times when a film doesn’t work, it seems like the problem is with the ending. But in fact, the seeds of failure have been planted at the beginning.” Reminds me of Billy Wilder’s quote:

“If you have a problem with the third act, the real problem is in the first act.”

I doubt there’s a professional screenwriter alive who would argue with this point.

* For those supposed screenwriting gurus who decry three act structure, here is yet again another professional screenwriter who subscribes to the theory. If it was good enough for Aristotle and Joseph Campbell (Separation / Initiation / Return), it’s good enough for most of us.

* Speaking of Campbell, he would refer to this first part of a story as setting up the Old World or Ordinary World. As Arndt says, “you start your first act by setting up your hero in his or her world.” This is critical to establish a baseline of understanding where the Protagonist begins their adventure. You cannot measure their metamorphosis if you don’t know where they start out.

* Arndt adds this: “And by page 25, you’ve given your hero a goal and set them off on the journey that they’ll take in the second act.” The Protagonist’s goal not only creates an end point for the plot, it also — per Arndt’s language — generates External Stakes. The goal is important to the Protagonist. Not achieving that goal would be a significant blow or sense of loss. Hence, stakes. Hence, drama.

The most interesting idea here is this: “So, usually what you do when you’re introducing your main character is you show them doing the thing they love most. This is their grand passion, it’s their defining trait, it’s the center of their whole universe.” If you think this pertains only to Pixar movies, how about this:

Meet Charles Foster Kane as a youth, having a wonderful time in the snowy climes of Colorado. Couldn’t be happier. Then yanked away to live in New York City. Never happy again. Indeed, always – at least subconsciously – attempting to make up for the loss of his idyllic childhood home which is, of course, where Rosebud comes in.

While we’re on the subject of beginnings, let me toss out this idea: The story’s ending is implied in its beginning. I call it the narrative imperative. When you reach the ending of a story and it feels emotionally satisfying, that means it has been set up well in the beginning.

We shall continue with Arndt’s musings tomorrow in Part 2, but let’s carry over this conversation to comments (click on Reply). What do you think of this idea: As part of a Protagonist’s setup, show them reveling in their “grand passion”.

Michael Arndt’s IMDB page here.

Follow John August’s blog here.

Follow John and Craig Mazin’s podcast Scriptnotes here.

Go Into The Story Week In Review: March 31-April 6, 2014

April 6th, 2014 by

Links to the week’s most notable posts:

31 Movies You Made (2014 Edition)

1001 Movies You Must See (Before You Die)

A Story Idea Each Day for a Month — Day 1: Lap dancers accused of kidnapping a strip club boss

A Story Idea Each Day for a Month — Day 2: Ancient ‘Temple of the Feathered Serpent’ found to contain “mysterious orbs”

A Story Idea Each Day for a Month — Day 3: Father hires virtual assassin to deter son from playing video games

A Story Idea Each Day for a Month — Day 4: Superman comic worth $100,000 found in walls of abandoned house

A Story Idea Each Day for a Month — Day 5: Solving Cold Cases at the Detectives’ Lunch Club

A Story Idea Each Day for a Month — Day 6: Working class couple amass priceless art collection

Can you tell which loglines are real

Daily Dialogue Theme for Next Week: Fear

Different opening to Gravity

Go Into The Story Interview: Stephany Folsom (2013 Black List)

Great Character: Chas Tenenbaum (The Royal Tenenbaums)

Great Scene: Zorba the Greek

Interview (Video): Norman Lear

Interview (Written): David Webb Peoples

Kurt Cobain died 20 years ago today

Movies You Made: FACTORY293

Ode to (21st Century) Cinematographers

On Writing: Lorenzo Semple Jr.

Reader Question: Do you have any suggestions to ‘warm up’ for writing?

Saturday Hot Links

Saying It Out Loud

Screenwriting 101: Billy Wilder

Screenwriting News (March 31-April 6, 2014)

Script To Screen: Saving Mr. Banks

Spec Script Sale: “Ricki and the Flash”

Spec Script Sale: “Untitled Wright & Woods Project”

Spec Script Sale: “Terrestrial”

The Motion Picture Camera: Past, Present and Future

Writing and the Creative Life: The Mundane and the Marvelous

Can you tell which loglines are real?

April 4th, 2014 by

From Studio System News:

…since it’s April Fools’ Day, we took it upon ourselves to take some log lines of real, existing projects that are currently in development and mix them up with a few that came out of our own imagination. Can you tell the difference? Which ones are real … and which are not?

1. Hero
Log line: “A secret government operation using human experimentation turns a homeless man into a superhero, erasing his memory in the process. They must then deal with the consequences when he ultimately learns what they did to him.”

2. Bruiser and Biff
Log line: “After his fiancée dumps him, a recently successful cartoonist sees his creations come to life and give him advice. He believes he’s going crazy until he realizes that everything they tell him to do is right.”

3. The Wolf’s Hour
Log line: “Set during WWII, a werewolf searching for his long-lost blood brother is recruited by the Allies to stop a Nazi plot to drop a poison gas on England.”

4. Talon
Log line: “Dragons who disguise themselves as humans are out to rule the world and the Order of St. George is out to kill them. So when a female dragon and a slayer get involved there are consequences.”

5. The Great Pastry War
Log line: “When two idea men who work at the Kellogg’s cereal conglomerate in 1964 argue over who actually invented the Pop Tart, the ensuing battle rages hilariously out of control and threatens to bring down the entire company.”

6. Big Bucks
Log line: “A thief outwits the entire Chicago Police Department and team of Federal Investigators trying to bring him down after he masterminds the heist of $22 million from a mail truck.”

7. The Bombadiers
Log line: “In 1947, a former OSS assassin and his swashbuckling MI-6 partner go on a suicide mission into the Bermuda Triangle to kill an island full of escaped Nazis.”

To assess 6 more loglines, find out which are real and which are fake, and the rest of the article, go here.

Toronto Screenwriting Conference (2014)

April 3rd, 2014 by

A terrific event happening in the land of our neighbors to the North: The 2014 Toronto Screenwriting Conference this weekend April 5-6:

The Toronto Screenwriting Conference (TSC) is a two-day weekend event that brings together screen-based industry professionals and offers them advanced level of education and skills development unparalleled by any other screenwriting event on the continent.

It is designed to inform writers, producers, directors, and development executives working in the film, television and interactive industries through the teachings of expert creative talent, authors and speakers specializing in the craft of writing.

Previous conference speakers have included Glen Mazzara (The Walking Dead), Beau Willimon (House of Cards), Graham Yost (Justified), Dean DeBlois (How to Train Your Dragon), Tim Long (The Simpsons), Chuck Tatham (How I Met Your Mother), Patricia Rozema (Grey Gardens), Leonard Dick (The Good Wife), Christine Zander (Raising Hope) and leading authors Chris Vogler, Dara Marks and Sheldon Bull.

Scheduled guests this year include: Michael Arndt, David Webb Peoples, Leonard Dick, Eric Gilliland and so many more. Also a panel of Canadian comedy writers and another panel of Canadian Science Fiction writers.

For more information on the schedule, go here.

For more information on the conference, go here.

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Saying It Out Loud

April 1st, 2014 by

A guest post from Tom Benedek:

Before there were pens, paper, words, letters, campfires, there were stories. Using the tools of the trade, writers can refine their stories, tell them better perhaps, replicate them, distribute them eternally. But the well told story was first transmitted speaker to listener. So even though most screenwriters would prefer not to, it may be necessary, important, highly worthwhile to transmit the story we are planning to write or have written with our mouths. In Hollywood, they call it PITCHING.

I have pitched successfully and badly many times, been hired numerous times from verbal presentation in studios or productions offices. But I am no master of the pitch. Far from it. I believe that chemistry, and a certain alignment of the right story concept or approach with the right listeners results in my own success in pitching. Whenever I have succeeded in pitching, I know I have done well with what I had. And what I had in terms of story and character was, in my mind, much more important than how I presented it. If I pitched it well, I probably felt good about what I was talking about and felt a good response from my listeners.

Still, there is an art and science to pitching: how to proceed if you are caught in the “elevator” with someone who you think ought to hear about your project or if you are in a meeting with decision-makers or their representatives.

It is great to have a set of skill sets, guidelines to draw on for these situations. A solid verbal presentation ought to be an automatic for screenwriters. This can be learned, of course. This brings me to next week’s Network Hollywood class online at Screenwritingmasterclass.com – starting on April 7. There will be a wonderful selection of video interviews with managers, agents, producers, plus a set of lectures and discussions about log lines and how to get your material to these people properly. We will also be featuring a wonderful guest for our live Q and A – Stephanie Palmer of Good in the Room. Stephanie is a good friend, former studio executive and teaches-consults on the art and science of pitching, of learning to be “Good in the Room.” Each class member will get some extra materials on pitching from Stephanie’s core teaching materials, and get a chance to ask her questions “face to face” online.

For more information the upcoming session of Network Hollywood which begins Monday, April 7, go here.

Go Into The Story Week In Review: March 24-30, 2014

March 30th, 2014 by

Links to the week’s most notable posts:

Black List partners with the Writers Guild of Great Britain

Character Development Keys

Crowd Sourcing: Character Questionnaires

Daily Dialogue Theme for Next Week: Prayer

Go Into The Story Interview: Stephanie Shannon (2013 Nicholl Fellowship, 2013 Black List)

Great Character: Hit Girl (Kick-Ass)

Happy 30th Birthday: The Breakfast Club

Interview (Video): Lorenzo Semple Jr.

Interview (Written): Lorenzo Semple Jr.

Movies You Made: Ashley

Movies You Made: Born & Raised

Movies You Made: Cockatoo

Movies You Made: Li Olo Setsur

Movies You Made: Little Miss Jihad

Movies You Made: Lonely Boy

Movies You Made: What You Eat

On Writing: William Styron

Reader Question: Handling of money after first sale?

Saturday Hot Links

Screenwriting 101: Richard Matheson

Screenwriting News (March 24-March 30, 2014)

Script To Screen: Moonrise Kingdom

Spec Script Sale: “A Better Place”

Spec Script Sale: “Hopelessly Devoted”

Spec Script Sale: “Vacation Friends”

Studying Aristotle’s “Poetics” – Part 26: Tragedy vs. Epic Poems

The History of the Movie Trailer

Writing and the Creative Life: The Curse of Shiny Object Syndrome