Archive for the ‘writing a script’ tag

Act Two – How To Fix Common Problems

Most problems in Act Two result from:

1. Lack of Focus
The story lacks clarity or wanders off course causing the reader to become confused about what is going on and why.

2. Insufficient Momentum
There’s not enough energy – the story drags and stalls out instead of moving forward.

TIPS FOR FIXING ACT II PROBLEMS:

1. Develop a Solid Structure & Present a Clear Set Up In Act One
A solid foundation (including all the necessary components, turning points, crisis, and so on) and a clear, focused direction keep the story on track allowing the reader or audience to easily follow along as Act Two unfolds.

2. Create a Strong First Turning Point
A strong first turning point will go a long way to help push the movement forward as the story enters the second act.

3. Use Action
It goes-without-saying (but I’ll say it anyway), you want to keep your characters acting instead of talking – use complications, obstacles, and reversals to infuse Act II with energy.

4. Keep Your Three Storylines Progressing
The A (external problem), B (internal conflict), and C (relationship issue) storylines should continue to develop – but not be resolved until Act III.

5. Use Cause-and-Effect Scenes
Cause-and-effect scenes – A happens and causes B to result, which then causes C, and on and on – create conflict and action, and give the story direction and momentum.

6. Design Scene Sequences for Clarity and Movement
A sequence is a series of scenes (usually two to five) that are linked together and build toward a common goal. Linking related scenes that rise in tension creates momentum and keeps the second act moving forward.

YOUR TURN: Are there areas in Act II where you can substitute action points for dialogue? Are you using scene sequences to add energy to the second act? Is the story focused or does it wander? Does the first turning point pull the reader into the second act and create momentum? Are the A, B, and C storylines progressing throughout Act II?

Already completed your first draft? Looking for professional guidance to ensure a productive rewrite? I offer comprehensive script evaluation, including an analysis and diagnosis of a script’s weaknesses, detailed development notes to solve underlying problems and enhance the script’s natural strengths, and a story map to guide you effectively and efficiently through the revision process. Want to learn how to write your first script or adapt a book into a screenplay? I’m committed to helping you achieve your writing goals. My online writing classes provide a focused structure and assignments that produce tangible results.

Creating A Strong Goal For Your Main Character

I often read screenplays in which the main character lacks a clear, understandable, and compelling goal that drives the conflict, forces transformation, and pushes the hero toward the climax – which leads to a story that wanders and an audience or reader who quickly becomes bored or confused. The main character needs to have an objective to pursue.

A STRONG GOAL….

IS DRIVEN BY CLEAR & FOCUSED MOTIVATION
The protagonist must be motivated to act to achieve a goal. This motivation can be psychological, physical, or situational, but the audience must clearly understand the motivation. If a reader wonders, “Why is he doing that?” then the character’s motivation has not been established. Frequently, the motivating factor is defined in the inciting incident, when the protagonist is at a crisis point and his entire world is about to change. Something happens that compels the hero to develop a goal and a plan to achieve it.

IS CLEARLY PRESENTED & EASY TO UNDERSTAND
The audience needs to know early in the story (some time in the First Act) what the protagonist’s goal is so they can follow him on his journey. Something may happen later in the story (often around the MidPoint) that forces him to change his goal to what he truly wants or need. For example, in The Verdict, written by David Mamet, the main character’s initial (external) goal is to win the civil case for his client, ultimately the goal shifts and becomes his (internal) need to regain his dignity.

IS COMPELLING
Something must be at stake in the story that is essential to the protagonist’s well being. The audience must be convinced that if the protagonist does not achieve his goal something will be lost (the girl, life on Earth, justice, redemption…)

REQUIRES ACTION TO ACHIEVE
The main character must have a plan and take specific actions to achieve his goal. If he or she doesn’t take action then the audience won’t believe the goal is important to the character and will lose interest. By the MidPoint (at the latest) the hero needs to be acting on the story, instead of his “world” acting on him.

BRINGS THE HERO INTO CONFLICT WITH THE ANTANGONIST
The protagonist’s goals are in direct opposition to the antagonist’s, which creates conflict. A worthy opponent strengthens the hero.

IS DIFFICULT TO ACHIEVE & FORCES THE HERO TO CHANGE
As the character acts to achieve his goal he will face increasingly difficult obstacles, conflicts, and complications that demand the character to confront and overcome his fatal flaw. In most films, the goal cannot be achieved without the hero changing or transforming in some way.

YOUR TURN: What is your main character’s initial goal and does it change later in the story? What is the motivation that compels your protagonist to develop a goal? Are the stakes high enough to sustain the goal throughout the story? What actions does the hero take to achieve the goal? What fatal flaw prevents him from reaching his goal and how is he forced to confront and overcome that obstacle?

Already completed your first draft? Looking for professional guidance to ensure a productive rewrite? I offer comprehensive script evaluation, including an analysis and diagnosis of a script’s weaknesses, detailed development notes to solve underlying problems and enhance the script’s natural strengths, and a story map to guide you effectively and efficiently through the revision process. Want to learn how to write your first script or adapt a book into a screenplay? I’m committed to helping you achieve your writing goals. My online writing classes provide a focused structure and assignments that produce tangible results.

6 Ways To Ensure All Your Scenes “Play”

Great scenes ‘play’ – they seem to be effortlessly compelling, engaging the reader and involving him on the journey. So what’s the difference between a scene that plays and one that feels flat?

Scenes that are designed to purely reveal exposition or character, or that consist of ‘on-the-nose’ dialogue are often dull. Scenes that evoke emotion, contain conflict and stakes, change the dynamic, allow audiences to gain insight, and push the story forward are the scenes that make a story work.

Here are six ways to ensure all your scenes ‘play’:

1. Know Thy Conflict
Scenes revolve around conflict – two (or more) conflicting desires at direct odds with one another. If the forces are tangential the conflict is diluted. A well-written scene presents clearly opposed forces. It is the back-and-forth dynamic, the push-and-pull, the action-reaction component, of the scene that makes it compelling – as the conflict steadily increases and ultimately reaches a crescendo. Note (1) who is driving the scene, (2) what does that character want, (3) who or what is opposing that character’s desire, (4) what does that opposing force want, and (5) track the action/reaction conflict throughout the scene to ensure it is developing – and not static.

2. Evoke Emotion
If the audience feels nothing (or worse, feels boredom) at the end of a scene – then the scene didn’t deliver. Remember, character emotions don’t equate with the audiences’ emotions. A character in a scene may collapse to the floor and cry when her lover leaves her, but the audience doesn’t necessarily feel what the character feels (sadness and loss) – depending how the screenwriter designed the story, the audience may feel relief (good thing that bastard is out of her life), justice (she got what she deserved), or fear (what will happen now that she’s left alone with that serial killer on the loose.) A helpful exercise is to note what emotion each scene evokes – whether it is anxiety, curiosity, laughter, joy, fear, sadness – and determine if it is delivering the intended emotional punch.

3. Allow The Audience To Discover The Meaning
If the scene is too on-the-nose it deprives the audience of the joy of gaining their own insight and discovering what lies beneath the surface – the real meaning of the scene. Well-crafted scenes don’t spoon-feed information to the audience, they unfold with layers of subtext.

4. Come In Late, Get Out Early
Keep your scenes lean, tight, and focused by cutting extraneous, unnecessary material. Enter the scene at the latest possible moment and end it immediately upon (or before) resolution.

5. Make a Change
If the scene concludes on the same note as it started, nothing has happened. There should be a clear change – it could be a change in stakes, or direction, or knowledge, or any element that affects the story.

6. The Ending Is Only The Beginning
Good scenes drive the story forward. They open up new questions, create complications, and establish problems that need to be resolved. Successful scenes create a level of suspense (regardless of genre) that inspires the reader to turn the page to find out what will happen. The ending of a well-crafted scene leads directly into the next scene – such as this classic scene from The Silence of the Lambs:

CRAWFORD
We’re trying to interview all of the serial killers now in custody, for a psycho behavioral profile.
Could be a big help in unsolved cases. Do you spook easily, Starling?

CLARICE
Not yet.

CRAWFORD
You see, the one we want most refuses to cooperate. I want you to go after him again today, in the asylum.

CLARICE
Who’s the subject?

CRAWFORD
The psychiatrist – Dr. Hannibal Lecter.

CLARICE
The cannibal…

CRAWFORD
I don’t expect him to talk to you, but I have to be able to say we tried… Lecter was a brilliant psychiatrist, and he knows all the dodges.
(hands her the manila envelope)
Dossier on him, copy of our questionnaire, special ID for you… If he won’t talk, then I want straight reporting. How’s he look, how’s his cell look, what’s he writing… Now. I want your full attention, Starling. Are you listening to me?

CLARICE
Yes sir.

CRAWFORD
Be very careful with Hannibal. Dr. Chilton at the asylum will go over the physical procedures used with him. Do not deviate from them, for any reason. You tell him nothing personal, Starling. Believe me, you don’t want Hannibal Lecter inside your head… Just do your job, but never forget what he is.

CLARICE
And what is that, sir?

This scene works on every level… opening up more questions, creating complications and problems, evoking emotion in the audience (curiosity, apprehension), creating conflict (though subtle) with dynamic action/reaction, increasing the stakes as the scene progresses (ending with the crescendo warning from Crawford), entering late and getting out early (before Clarice’s question is even answered – it is Dr. Chilton who answers her question as the next scene opens), and compelling the reader to turn the page to find out what happens next…..

YOUR TURN: How do you ensure a scene ‘plays’?

3 Steps To Creating Supporting Characters

Supporting characters “support” the story, plot, theme, and most importantly, the protagonist – either with achieving his/her goal or obstructing the hero along his path.

Here are three steps to help you create effective supporting characters:

1. Clarify Function
You can determine which supporting characters are needed and create ways they will serve the narrative through-line (the things they will “do” in the story) once you have a clear understanding of their function and purpose. The supporting character’s function may be to:

Move the Story Forward
In The Sixth Sense, Dr. Malcolm Crowe (Bruce Willis) needs a dead-people-seeing kid (Cole, played by Haley Joel Osment) to move him toward discovery and redemption. Marty McFly (Michael J. Fox) needs supporting character Dr. Emmett Brown (Christopher Lloyd) to help him get Back To The Future. Each of the supporting characters in Jerry McGuire (from Rod Tidwell and Ray Boyd to Avery Bishop and Bob Sugar) serve to teach the protagonist life-altering lessons.

Define the Protagonist
In Liar, Liar, the supporting character Max (Justin Cooper) helps define Jim Carrey’s character (attorney Fletcher Reede) as a self-absorbed, dishonest man, and a negligent parent – and the ongoing interaction between the two characters helps reveal the hero’s subsequent transformation.

Convey Theme
The character of Newt in Aliens is used effectively to expand upon the theme of ‘motherhood’ deftly woven throughout the story.

2. Create Contrasts
Contrasting the main character’s and supporting characters’ feelings, attitudes, lifestyle, opinions, and choices helps create conflict and complications, adds texture, and allows alternate points of view to be explored. In Star Wars, supporting character Han Solo – a daring, reckless, world-weary, “I don’t care about anyone but me” smuggler, contrasts sharply with protagonist, Luke Skywalker – a straight-arrow, clean-cut, idealistic but inexperienced farm boy.

3. Add Details
It’s the small, well-defined details that help create realistic and memorable supporting characters, from the calm, in control, matter-of-fact demeanor of Winston “The Wolf” Wolfe (Harvey Keital) in Pulp Fiction to the sarcastic, complaining, and bungling but deadly nature of Carl Showalter (Steve Buscemi) in Fargo.

YOUR TURN: What techniques do you use to create effective supporting characters?

15 Tips To Create Effective Subplots

1. Connect the subplot to the main plot line
A screenplay’s plot and subplots should be connected, with the subplots intersecting the main plot line. Without a connection to the main storyline, the subplot(s) will leave the audience wondering why they are in the film. They will feel misplaced and unnecessary.

2. Structure your subplots like a mini-story
Each subplot has a beginning, middle, and end, with clear turning points and a resolution – often closely following the timeline of the main plot.

3. Ensure your subplot has a purpose
Subplots should affect the “A” story line and move the plot forward. Think of subplots as having an agenda or goal to achieve.

4. Don’t incorporate too many subplots
Most films have two to three subplots. Too many subplots can take the reader’s focus off the “A” storyline and cause the narrative to become convoluted.

5. Use the subplots to expand or open up the theme
Well-constructed subplots expand on the theme of the story – if the theme of your story is love then each subplot should reflect that throughline. In the film Moonstruck, the subplot of Loretta’s father and his mistress, the subplot involving Loretta’s mother and Perry, and the subplot of Cosmo and his wife all expand on the theme of “love”.

6. Use subplots to reveal aspects of the main character
Subplots including “the love interest” or “the family conflict” can unveil the protagonist’s goals, desires, vulnerabilities, skills, and backstory

7. Use subplots to show character transformation and change
The protagonist doesn’t suddenly experience transformation, often a subplot is used to convey how and why the hero changes. In the film Back To The Future, Marty’s feelings about his parents change when he experiences them – via a subplot – as high-school teenagers in the 1950s.

8. Choose the subplot characters carefully
Supporting characters that are involved in subplots usually have an emotional connection to the protagonist that evolves as the story intensifies.

9. When possible, place much of the subplots’ storylines in Act II
By incorporating most of the subplot storytelling in Act Two, subplots can be used to alleviate many of the challenges of the Second Act.

10. Use subplots to add complications
In the film Changeling each subplot adds another layer of conflict. The main plot involves a mother trying to find her missing child, when the police locate a child and erroneously present him as the woman’s son [subplot] complications ensue, when the woman attempts to go up against the police department she is committed to a mental institution [subplot] and more complications ensue, etc. Well-crafted subplots can be especially beneficial in adding dimension and layers to a predictable storyline, such as in rom-coms, comedies, and horror stories.

ANALYZING YOUR SUBPLOTS

11. Separate each subplot from the main plot to examine and clarify structure – does each subplot have a set-up, turning points, and a resolution?

12. How many subplots have you created? If there are more than four can some be eliminated to clarify the storyline?

13. How does each subplot develop the story?

14. Does each subplot have a purpose? (reveal character, add complications, expand the theme….)

15. Do the subplots intersect the main plot? If not, how can you revise the subplot(s) to connect to the main plot?

YOUR TURN: What techniques do you use to create effective subplots?

Resources for Screenwriters

MAGAZINES & ONLINE PUBLICATIONS

Creative Screenwriting

Fade In

Filmmaker Magazine

The Hollywood Reporter

Hollywood Scriptwriter

Inside Film Magazine

MovieMaker Magazine

Scr(i)pt

Variety

Written By

COMMUNITY SITES, FORUMS, AND DIRECTORIES

Absolute Write – industry articles, agent listings, competitions, message boards

Done Deal – script sales, directory of agents, attorneys, and production companies, message boards

FilmTracker – lists films in development

Hollywood Creative Directory – listing of studios, production companies, and executives

Hollywood Representation Directory – listing of agents and manager

Internet Movie Database Pro – production charts, representation listings

Moviebytes – screenwriting competitions, industry articles, and “Who’s Buying What”

StoryLink – articles, screenwriter interviews, message boards

Who Represents – directory of talent representatives

ORGANIZATIONS & ASSOCIATIONS

American Film Institute

Film Independent

Scriptwriter’s Network

Women In Film

Writers Guild of America, West

SCRIPTS (Free)

Daily Script

Drew’s Script-O-Rama

Internet Movie Script Database

My PDF Scripts

Script Collector

ScriptCrawler

Simply Scripts

Three Ways To Ensure A Satisfying Ending

A satisfying ending is natural and inevitable. It should be synergistic with the theme and the main character’s development. It should never feel forced.

THE AMBIGUOUS OR UNRESOLVED ENDING
The Ambiguous or Unresolved Ending leaves the conclusion of the story open to the viewer’s interpretation. We may have a pretty good idea how the story ends based on the set-up, but we’re not absolutely sure what will happen. This type of ending is rarely used by screenwriters – it can be tricky to string an audience along for two hours and then fail to provide an ending – however there are films that successfully master this technique and still satisfy viewers. Unfaithful, No Country For Old Men, Blade Runner, The Wrestler, and almost any film by David Lynch are examples of the Ambiguous or Unresolved Ending.

THE HOPELESS ENDING
Some writers refer to the Hopeless Ending as the “downer ending” or “negative ending.” I don’t necessarily believe that audiences leave a theatre feeling “down” or “negative” after experiencing a Hopeless Ending. Hopeless Endings can be powerful, moving, and insightful. Think about the films Chinatown, Midnight Cowboy, Easy Rider, Blow Out, Planet of the Apes, Leaving Las Vegas, and Revolutionary Road – each a story with a Hopeless Ending.

THE HOPEFUL ENDING
Hopeful Endings are not necessarily “happy” endings. The final result may be sad, bittersweet, tragic, or ironic, the hero/heroine may lose the fight, the love interest, or even his life, but ultimately these stories convey a sense of hope; that the journey was worthwhile and noble, regardless of the outcome. Things don’t turn out so good for William Wallace at the end of the film Braveheart, yet the ending gives a sense of hope that the protagonist made a difference, that he lived his life on his terms, and that his cause will go on and triumph. Other films (especially rom-coms and comedies) are the upbeat, happily-ever-after, “feel-good” variety in which the heroes emerge from their conflicts and ordeals battered but stronger. Hopeful Endings are the most popular.

Sad-But-Hopeful Endings: Witness, Million Dollar Baby, Gran Torino, American Beauty, The Perfect Storm, The Sixth Sense, Thelma & Louise, L.A. Confidential

Happily-Ever-After Endings: Working Girl, When Harry Met Sally, Sideways, Juno

THREE TIPS TO ENSURE YOUR ENDING IS SATISFYING

1. Determine what inevitable path the protagonist is on
Ben Sanderson’s self-loathing and downward spiral into alcohol in Leaving Las Vegas leads to his inevitable demise.

2. Be aware of the tone, style, and genre of your script
If you’re writing a breezy, fun rom-com your ending probably won’t include death, destruction, and hopelessness.

3. Pay off the theme
The Shawshank Redemption deftly interweaves the theme of “hope” throughout the film’s scenes of violence and loss – the inevitable and satisfying ending is one of hope. The theme of Chinatown is “the powerful always win” – the inevitable and satisfying ending pays off this theme.

YOUR TURN: What type of ending are you using for your story? Why is it the most satisfactory ending for your screenplay?

Q&A Friday: Common Screenwriting Mistakes

Q: What are the most common errors new writers make with writing a screenplay? – Hog Muffin

A: Thanks for your question Hog Muffin (I’m guessing that’s your pen name.) The ten most common mistakes I see over and over from new writers are:

1. The protagonist lacks a clear goal

2. Incorrect formatting and too many camera directions

3. Poor grammar, punctuation, and spelling

4. No character transformation

5. All the characters sound alike (which happens to sound just like the writer’s “voice”)

6. Not enough conflict and action

7. The stakes aren’t high enough

8. The scenes (and overall story) lack direction, they meander without purpose. The scenes don’t move the story forward.

9. The story is derivative and predictable – everything presented has been done before and done better

10. Poor dialogue: on-the-nose, overly long passages, too much exposition

My advice: learn the craft of good screenwriting by reading successful scripts (try to read several each week), stay focused and on-track by writing from a detailed outline, and continue to edit, revise, and repeat…

Three Types of Character Arcs

The character arc is the degree of emotional transformation the protagonist undergoes as a result of the events, conflicts, problems, and crises he is forced to face as the story progresses. The hero’s value system, opinions, feelings, and overall worldview may shift based on the character arc. Some main characters may change significantly, while others barely at all.

1. The Clearly Defined Character Transformation
These protagonists react to the external elements. The conflicts, crises or problems force the hero to change and adapt to new circumstances and responsibilities. When the last scene fades, the audience has a clear understanding of how the protagonist has transformed and can usually predict what his life will be like after Fade Out. The majority of produced screenplays present a hero with a clearly defined character arc.  Bruce Almighty, Jerry Maguire, and Juno are examples of films that employ this type of character transformation.

2. The Work-in-Progress Character Transformation
These protagonists act independently of the external elements. Regardless of what the specific conflicts, crises, and problems are, the hero is forever evolving. Whatever scenario the screenwriter chooses to “drop” the hero into does not matter, this character remains in constant flux – with each step he is forced to reconcile newly revealed facets of his personality or confront ongoing inner demons. Often, the viewer is unable to predict what action the hero will take. At the end of the film, the audience may be left guessing what the future holds for the hero. These protagonists are often the most compelling, engaging, and memorable. Bill Munny in Unforgiven and Lt. John Dunbar in Dances with Wolves represent the work-in-progress character arc.

3. The Minimal or Nonexistent Character Transformation
These protagonists are not affected by the external elements. The hero can withstand whatever crisis, conflict, or problem is thrown at him. His worldview is not phased by the external elements. At the end of the film he is basically the same guy he was at the beginning. Many action-adventure films embrace the minimal or nonexistent character arc. Indiana Jones, James Bond, and John McClane in Die Hard are examples of this type of protagonist, which easily allow for sequels.

To develop your protagonist’s character arc effectively it is important to have a clear vision of:

* Where your hero is emotionally when the story begins

* What the protagonist wants most at the start of the story

* If the hero’s goal will remain consistent throughout the story or if it will change

* If the hero will achieve his goal – will it be more, less, nothing, or something else

* How much, or how little, your character will evolve from his experience

* What plot points can best be used to show the progression (or retraction) of the hero’s transformation

5 Ways to Ensure Your Conflict Is Tracking

Conflict is an essential element of a successful screenplay. Conflict engages audiences and helps them relate to the story and empathize with the characters. To go along on the journey, viewers must clearly understand what the conflict is and why it exists. Good scripts set up the conflict early in the story, outline the cause and source of the conflict, and show the consequences of the conflict.

Your story’s conflict must develop and track. In other words, as the story unfolds the conflict should increase and escalate with direct consequences in a cause-and-effect manner.

Conflict “X” ==> causes problems and consequences ==> leading to a related, more serious conflict ==> and worse problems and consequences ==> which develops into another related even more difficult conflict ==> that results in increased problems and consequences. This cause-and-effect plotting of the conflict continues progressing, eventually culminating in the climax where the problems are extremely dire and the consequences are a matter of “life and death.”

If your conflict does not track then viewers have difficulty connecting with the story and caring about the characters. Here are five ways to ensure your story’s conflict is developing and tracking:

1. Present the conflict early in the story

2. Clearly define the cause and source of the conflict

3. Directly relate the conflict to the plot development

4. Intensify the conflict as the story progresses

5. Show the effect the conflict has on your characters

In the film Se7en, screenwriter Andrew Kevin Walker clearly defines, develops and tracks the conflict – each conflict leads to a greater problem with even more serious consequences for the characters. As the conflict progresses it effects the characters’ actions and decisions, ultimately transforming the two protagonists.

Detective Somerset (Morgan Freeman), exhausted and disillusioned, is retiring in 7 days – his job is to train his replacement, Detective Mills (Brad Pitt) ==> they investigate the first murder ==> the two men have different investigation styles ==> the Police Captain splits the two detectives up and reassigns Mills to another murder ==> Somerset connects the first and second murders ==> the detectives realize it is the work of a serial killer ==> Somerset asks to be removed from the case entirely ==> Mills is put in charge of the serial killer case ==> Mill’s wife intervenes bringing the two men together ==> Somerset is back on the case ==> the relationship between Mills and Somerset grows and strengthens ==> the detectives find fingerprints at the second crime scene ==> this evidence leads them to a third murder ==> more evidence leads to the killer’s apartment ==> Mills is almost killed by the suspect ==> the detectives are unable to identify the killer ==> the killer commits additional murders ==> Somerset continues to share his personal views with Mills and presses upon him to change his life ==> Mills rejects Somerset’s views and resists his advice ==> Somerset’s retirement date arrives, he commits to stay on and help Mills until the case is solved ==> the killer surrenders ==> the killer reveals there are two additional victims who have not yet been found ==> the killer leads the detectives to the final crime scene ==> culminates in the story’s explosive climax.

SOMERSET
Ernest Hemingway once wrote, “The world is a fine place and worth fighting for.” I agree with the second part.

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