Readying Step Outline for Delivery

October 17, 2009

While I’m already deep into the step outline for the second act, I’ve gone back briefly today to the first act, cleaning it up for delivery to the producer.

Going back? Say it isn’t so!

No, no — this “going back” isn’t like a retreat. It’s a good thing. And truly a step forward.

You see, there’s an interesting statement by William Goldman in his book Four Screenplays with Essays that inspired me to go back and polish up that Act I step outline before delivery. In his essay introducing the script Butch Cassidy and the Sundance Kid, he talks about how the standard screenplay format is so structurally counterintuitive to a good read, being loaded with conventions that almost seem designed to interrupt the narrative flow. Which, he explains, is why, “I try to make my screenplays as readable an experience as I can, for a good and greedy reason — I want the executives, who read them and who have the power to greenlight a flick, to say, ‘Hey, I can make money out of this.'”

How I’m applying that

Even though this step outline is mostly for me, the writer, to help me structure the story and test out the narrative flow before I invest so many more hours in the detailed structuring of the entire screenplay with all the dialogue, I figured that the rules change for the delivery. This outline will be, in two days, mostly for the producer, not me.

As the producer reads it, he will be less focused on how artfully structured I have or haven’t made this first act than how much this outline version of the first act will or will not already begin to inspire him as being a potentially good movie. Or not.

So, borrowing on the wisdom of William Goldman, I’m modifying the first act step outline to read well: to flow compellingly from one step to the next, and using turns of phrase designed to make the reading more enjoyable. For the same good and greedy reason. 😉

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Speaking of Quotations for Writers…

October 15, 2009

Along with the new “Motivation/Inspiration for Writers” post of yesterday, I’ve also added several more quotes that I’ve found useful as a writer to these existing pages:

  • On Screenplay Structure 
  • On Scene Structure
  • On Story Characters and Characterization
  • So, if you’ve been to those before and liked the quotes, check again for new ones.  🙂


    Writer Motivation – Quotations

    October 14, 2009

    I turn to these quotations for inspiration or motivation as a writer. Face it: Writing can be a lonely business. Having the comfort or motivation of inspiring words from other writers (or from those who understand the challenges of writing) can go a long way toward fabricating some sense of fellowship, and maybe even generating creative action.  🙂  On other topics, see more quotations for writers here.

    =====================

    “I shall live badly if I do not write, and I shall write badly if I do not live.” (Francoise Sagan)

    “Why do writers write? Because it isn’t there.” (Thomas Berger)

    Close the door. Unplug the phone. Cheat, lie, disappoint your pals, if necessary, but get your work done.(Garrison Keillor)

    One hasn’t become a writer until one has distilled writing into a habit, and that habit has been forced into an obsession. Writing has to be an obsession. It has to be something as organic, physiological, and psychological as speaking or sleeping or eating.” (Niyi Osundare)

    These next five are some of my favorite quotes for general motivation toward taking on any monumental task, whether writing or not:

    ”The most important thing I have learned over the years is the difference between taking one’s work seriously and taking one’s self seriously. The first is imperative, and the second disastrous.” (Margaret Fontey)

    “We have forty million reasons for failure, but not a single excuse.” (Rudyard Kipling)

    “Every production of genius must be the production of enthusiasm.” (Benjamin Disraeli)

    “They are ill discoverers that think there is no land, when they can see nothing but sea.” (Francis Bacon)

    “A journey of a thousand miles must begin with a single step.” (Chinese Proverb)

    “We are what we repeatedly do. Excellence then is not an act, but a habit.” (Aristotle)

    “As I got ready to write the screenplay [for Terminator 2], I kept asking myself, What’s the real goal of this movie? Are we going to blow people away and get them all excited? Is that it? Or is there a way we can get them to really feel something? I thought it would be a real coup if we can get people to cry for a machine. If we can get people to cry for Arnold Schwarzenegger playing a robots, that would be terrific.”
    (Screenwriter-Director James Cameron)

    “Illusion is the first of all pleasures.” (Oscar Wilde)

    “Have fun! The most important thing to do is to love what you’re doing.  That way, getting better at it isn’t a struggle, it’s a pleasure.”  Blake Snyder.


    Characters & Characterization

    October 10, 2009

    These are some of my favorite quotations for fiction writers on creating, developing, and unveiling great story characters. On other topics, see more quotations for writers here.

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    “Good screenwriting allows the main character to discover what’s going on at the same time as the audience discovers what’s going on. Character and audience are connected by the community of emotion.”
    (Syd Field, from chapter 12 of his book Four Screenplays)

    “At the end of a movie (or any good narrative) ask yourself, How did the main character change? What did she want or need at first, how did she go about getting it, and what did she finally achieve or discover? What did that character learn? Usually there is an obvious answer that hides some more problematic issues: the action plot may be over, but a new plot is just beginning.”
    (Stephen J. Cannell)

    A character in isolation is hard to make dramatic. Drama usually involves conflict. If the conflict is internal, then the dramatist needs to personify it through the clash with other individuals.”
    (Film director Alexander Mackendrick from his book On Film-Making)

    “Self pity in a character does not evoke sympathy.”
    (Film director Alexander Mackendrick from his book On Film-Making)

    “It is desirable that all characters, even those only shown briefly shown, be presented as whole human beings. Any character worth keeping is worth developing.”
    (Author and Film director Edward Dmytryk from his book On Screen Directing).

    Beware of sympathy between characters. That is the END of “drama.”
    (Film director Alexander Mackendrick from his book On Film-Making)

    “A good film is behavior. In the language of screenwriting, action is character. What a person does is what he is. How the characters respond, what they do, what they say, how they act or react in a particular situation are what really define their character.”
    (Syd Field, from his book Four Screenplays)

    “What I’ll do is go out in the backyard in the morning, and just sit there and try to open myself up and let the characters come to me; let them talk to me. So much of writing is about getting quiet enough so you can hear your characters talking. Sometimes I feel they choose you because they know you’re listening. You just have to shut up and listen.”
    Screenwriter Callie Khoury

    “When you have two characters equally sharing the role of protagonist, their combined personalities become a single entity — the yin and yang… two halves that complete each other.” He uses Thelma and Louise as an example of this.
    (Syd Field, from his book Four Screenplays)

    Obstacles must confront your hero throughout your screenplay”
    (Michael Hauge, author and Hollywood script consultant)

    “When the screenwriter stares into that 60 page unit of dramatic action that makes up Act II, it’s important to remain focused on the dramatic need of the character. It establishes the foundation of the conflict that pushes the action forward through Act II and will provide a context for the Confrontation.”
    (Syd Field, from chapter 12 of his book Four Screenplays)

    “Stories are driven by desire; Your hero’s goals and objectives determine the story concept, plot, and structure.”
    (Michael Hauge, author and Hollywood script consultant)

    “In every film that’s worth its salt, there’s the text, and there’s the subtext. And the subtext of this film is alienation. The language and the culture worked against Gene’s character.” John Frankenheimer, Director talking about the lead character in French Connection II played by Gene Hackman)


    On Scene Structure

    September 25, 2009

    I refer to these quotations from my favorite writer quotes collection for inspiration and direction when creating or planning scenes for a screenplay.

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    “Every scene in a book or script should do two things. First, It should progress the story. The test is, if the scene is removed does it leave a hole in the plot? Second, the scene should simultaneously advance the character relationships.” (Stephen J. Cannell)

    (on creating narrative drive) “The end of a scene should include a clear pointer as to what the next scene is going to be.”
    (Film director Alexander Mackendrick from his book On Film-Making)

    “In screenwriting, where you enter the scene becomes important, and the general rule is to enter late and get out early.” (Syd Field, from his book Four Screenplays). He advises designing the scene so that you “enter at the last possible moment, just before the purpose of the scene is established. Then end the scene literally before it is ended,” so as to create a narrative tension, drawing the viewer into the next scene.

    “The opening scenes should create an identification between audience and hero – a sense that they are equals in some ways … by giving heroes universal goals, drives, desires, or needs.” (Christopher Vogler, in The Writer’s Journey: Mythic Structures for Writers )

    “If you don’t know whether to write a scene or not, write the scene.” (Syd Field, from his book Four Screenplays , regarding those moments where you are not sure whether to trust that the audience will “get it” or whether you need to come right out and say/show something to make sure they get it)

    (On the subject of Narrative Drive) “The end of a scene should include a clear pointer as to what the next scene is going to be.”
    (British film director Alexander Mackendrick)

    “Particularly in a screenplay or teleplay, it is important to write economically. A great scene often accomplishes several things at once, skillfully weaving together elements of plot, character, conflict and foreshadowing. Do it in one scene instead of four. Look for opportunities of compression without overloading. After you write your scene or chapter, go back and ask yourself: What can I cut to make it cleaner and clearer?”
    Writer and lecturer Stephen J. Cannell


    Quotations on Screenplay Structure

    September 22, 2009

    This is the first post in a series of my favorite quotes that I refer to for inspiration or insight while I’m creating a story. Post topic: quotations on screenplay strucure.

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    Before you can write one word of the screenplay, you must know your structure: The ending, beginning, plot point I, and plot point II. The screenwriter builds his or her story around these four elements.”
    (
    Syd Field, from his book Four Screenplays)

    The three-act structure is intrinsic to the human brain’s model of the world; it matches a blueprint that is hard-wired in the human brain, which is constantly attempting to rationalize the world and resolve it into patterns. It is therefore an inevitable property of almost any successful drama, whether the writer is aware of it or not.”
    (Edoardo Nolfo)

    Screenplays are STRUCTURE, STRUCTURE, STRUCTURE.”
    (Alexander Mackendrick)

    In every film that’s worth its salt, there’s the text, and there’s the subtext. And the subtext of this film [French Connection II] is alienation. The language and the culture worked against Gene’s character.”
    (John Frankenheimer, director of French Connection II)

    The first 10 pages of any screenplay are the most important. Almost everything you need to know about the movie is found in these first 10 pages. When the screenwriter sets up the first 10 pages of the screenplay, the reader must know immediately what’s going on.” 
    (Syd Field, from his book Four Screenplays)

    “There could be as many as nine or 10 plot points during a screenplay. But the two most important come at the end of act one and at the end of act two. They are the anchors of your storyline, the stitches that hold everything together.”
    (Syd Field, from his book Four Screenplays)

    Screenplays come in three sizes: LONG, TOO LONG and MUCH TOO LONG.” 
    (Alexander Mackendrick)

    “A screenplay is a living thing, and each piece, even though separate and complete, is a part of the whole. Structure, remember, is the relationship between the parts and the whole.”
    (Syd Field, from his book Four Screenplays)

    Passivity is a capital crime in drama.
    (Alexander Mackendrick)

    “There could be as many as nine or 10 plot points during a screenplay. But the two most important come at the end of act one and at the end of act two. They are the anchors of your storyline, the stitches that hold everything together.”
    (Syd Field, from his book Four Screenplays)

    “Anything on screen that is superfluous to the forward motion of the story is absolute torture to the audience…. If you want to verify that, just watch some movies that are like that and it really drives it home with a sledgehammer. If you have information on the screen that doesn’t move the story forward, you are taking moments away from people’s lives.”
    Screenwriter Callie Khoury

    “Good screenwriting is the art of discovery.”
    (Syd Field, from his book Four Screenplays)

    “A plot point does not have to be a dramatic moment, or major scene, or sequence. A plot point can be a quiet moment for an exciting action sequence. The plot point is whatever you choose it to be … But it is always an incident, episode, or event that is dictated by the needs of the story.”
    (Syd Field, from chapter 6 of his book Four Screenplays)

    Dramatic irony is … where we, the audience, are aware of circumstances of which one or more of the onstage characters are ignorant and are thus kept in a state of expectation mingled with uncertainty.”
    (Alexander Mackendrick from a ScriptWriter Magazine interview)

    “The Plot Point at the end of Act I is always the true beginning of your screenplay. Acts I sets up the story components. Then, the screenwriter has to establish the dramatic need and create obstacles to that need; the story becomes the main character overcoming the obstacle after obstacle to achieve his or her dramatic need.”
    (Syd Field, from chapter 6 of his book Four Screenplays)

    “Act II is a unit of action that is held together with the dramatic context of Confrontation. Your character will confront obstacle after obstacle after obstacle to achieve his or her dramatic need.”
    (Syd Field, from his book Four Screenplays)

    “The Midpoint, that link in the chain of dramatic action that connects the first half of Act II with the second half of Act II, is what moves the action forward and creates a new dramatic subtext.”
    (Syd Field, from chapter 6 of his book Four Screenplays)

    “I try to make my screenplays as readable an experience as I can, for a good and greedy reason — I want the executives, who read them and who have the power to greenlight a flick, to say, ‘Hey, I can make money out of this.'” 
    (William Goldman from his book Four Screenplays with Essays

    “Be certain that the hurdles get bigger and come closer together, accelerating the pace of your story, as your story moves forward.”
    (Michael Hauge, author and Hollywood script consultant)

    All stories are about transformation.  In every story a caterpillar becomes a butterfly.”
    (Blake Snyder, screenwriter and screenwriting instructor/consultant, author of Save the Cat!)