THE SCREENWRITER'S CRAFT
theory, practice & the marketplace
theory, practice & the marketplace
1. SHAME
How many times do we finish a first draft and realize we’ve accomplished everything except what we most intended? The hardest thing to overcome is our inhibition to reveal what’s personal, yet shame is invariably the thing with which others most identify.
How many times do we finish a first draft and realize we’ve accomplished everything except what we most intended? The hardest thing to overcome is our inhibition to reveal what’s personal, yet shame is invariably the thing with which others most identify.
2. SECRETS & LIES
The challenge is finding something of ourselves in each character. Especially the shadow side. We are all criminals and saints. To understand a character, you must first understand his dreams and fears. What are yours?
The challenge is finding something of ourselves in each character. Especially the shadow side. We are all criminals and saints. To understand a character, you must first understand his dreams and fears. What are yours?
3. THE DIALECTIC
A screenplay can articulate contradictory beliefs yet present each of them with equal fervor. Consider your script a meditation with each character embodying a different point-of-view, philosophically, politically or personally. All of them persuasive.
A screenplay can articulate contradictory beliefs yet present each of them with equal fervor. Consider your script a meditation with each character embodying a different point-of-view, philosophically, politically or personally. All of them persuasive.
4. AMBIGUITY
Ambiguity isn't an argument for a lack of clarity. A story is especially intriguing when it consists of alternative meanings, each of them clear. Likewise, ambivalence isn’t the absence of emotion; it’s the struggle between strong emotions, all of them internal.
Ambiguity isn't an argument for a lack of clarity. A story is especially intriguing when it consists of alternative meanings, each of them clear. Likewise, ambivalence isn’t the absence of emotion; it’s the struggle between strong emotions, all of them internal.
5. SUBJECT
They market wants us to believe a story about a famous person is enough. No, that is called a pageant. There’s a difference between a story and a plot. “A story,” E.M.Forster said is, “The King died, the queen died. A plot is: the king died, the queen died of grief.”
They market wants us to believe a story about a famous person is enough. No, that is called a pageant. There’s a difference between a story and a plot. “A story,” E.M.Forster said is, “The King died, the queen died. A plot is: the king died, the queen died of grief.”
6. SUSPENSE
Real suspense is created by moral choices and the courage to make them. Fake suspense is a string of meaningless, unrelated events. The resolution of a mystery is the least satisfying part; personal catharsis is everything. The profound beats the prosaic every time.
Real suspense is created by moral choices and the courage to make them. Fake suspense is a string of meaningless, unrelated events. The resolution of a mystery is the least satisfying part; personal catharsis is everything. The profound beats the prosaic every time.
7. ELIPSES
Meaning is created not only in the scenes but also in the spaces between them. Juxtaposition creates meaning, too -- also narrative thrust, humor, and the passage of time -- without need of words. Elmore Leonard said, “I try to leave out the parts that people skip.”
Meaning is created not only in the scenes but also in the spaces between them. Juxtaposition creates meaning, too -- also narrative thrust, humor, and the passage of time -- without need of words. Elmore Leonard said, “I try to leave out the parts that people skip.”
8. COMPRESSION
A screenplay is closer to poetry than prose. It is inevitably reductionist. A single image can suggest a world, with each scene telling a story. Nuance is always sacrificed to narrative. The key is to make everything as simple as possible, but not simpler.
A screenplay is closer to poetry than prose. It is inevitably reductionist. A single image can suggest a world, with each scene telling a story. Nuance is always sacrificed to narrative. The key is to make everything as simple as possible, but not simpler.
9. TALK
Dialogue is what needs to be said, but the best scenes are those without words. Choose your words carefully and if it sounds like writing, cut it. The difference between the right word and the almost right word is the difference between lightning and lightning bug.
Dialogue is what needs to be said, but the best scenes are those without words. Choose your words carefully and if it sounds like writing, cut it. The difference between the right word and the almost right word is the difference between lightning and lightning bug.
10. WHY WE WRITE
You don’t decide to write an original screenplay; the story decides you will write it. It's a voyage of discovery without an intended destination. Tim O’Brien put it best, “Writing is for getting at the truth when the truth isn’t sufficient for the truth.”
You don’t decide to write an original screenplay; the story decides you will write it. It's a voyage of discovery without an intended destination. Tim O’Brien put it best, “Writing is for getting at the truth when the truth isn’t sufficient for the truth.”
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