| "> | | | | years, I've given some pointers to folks that |
| Recently, I started a screenwriting and | | | | usually help them redefine and direct their stories |
| movie-making group here in Las Vegas. Our | | | | to a solid point. One of the main problems, which I |
| objective was to begin at, well, the beginning of | | | | reiterate here, is that you have to "define a |
| the process and work all the way through to an | | | | point". For example, we might come up with an |
| edited movie. Sounds easy? Yes! Is it really? Not | | | | idea that has a bunch of "cool" actions and |
| at all. | | | | situations. We then try to write a story to include |
| The one thing I ran into at the very beginning | | | | these ideas because we want them to be in the |
| was the problem of demonstrating the | | | | story. But, this approach will usually fail because --- |
| development of an idea into something that could | | | | what is the point? Define a point, a theme, an |
| be used as screenplay material. The big question | | | | objective that encompasses the feeling and |
| is, "what's the difference between regular material | | | | direction of these "cool" actions and situations and |
| and screenplay material?" The only answer I could | | | | aim your story in that direction. |
| come up with was, "a beginning, a middle, and an | | | | To help to resolve the "meandering" problem and |
| end." They looked at me like I was kidding, but | | | | the evolution of the story toward the point, |
| actually, I'm not. | | | | create a story where your main character is just |
| Put simply, a screenplay is a dramatic story told | | | | this faceless being that quickly and easily achieves |
| with visuals and dialogue. The screenplay describes | | | | his goal. No dialogue. No rhyme or reason. They |
| the actions, the environment, the dialogue, and | | | | just reach their goal without effort or conflict. |
| the situations that move the story forward. | | | | This is boring, but it creates a basis for the story. |
| Screenplays have a formula and a format that | | | | Once you're satisfied with this straight-line story, |
| has been in place for many decades. Yet, the | | | | add a specific characteristic that makes this goal |
| beginning screenwriter sometimes misses this | | | | have meaning to the main character. This would |
| point. I ran into one fellow some months ago who | | | | also mean that you would have to modify the |
| was writing a screenplay that was "325 pages" | | | | environment and characteristics of your main |
| long! After further discussion, he began to realize | | | | character such that, to him, this goal means |
| that, instead of writing a screenplay, he had a | | | | something. Now, with a call to action, he chases |
| novel with a story that meandered without end. | | | | his goal with fervor! |
| You can use any old idea for your story, but | | | | Now, add in an obstacle that keeps him from |
| have a point. Don't just write for the sake of | | | | achieving this goal. This would mean that |
| writing as the story will meander around into a | | | | somewhere in the main character's history, this |
| traffic jam. If you have an idea, define a theme | | | | obstacle came into being, but is now an obvious |
| or objective for the story. What's the point? | | | | problem in his goal achievement. It could be a |
| What is the main character's purpose in "life"? | | | | character flaw, a villain, or any issue that blocks |
| Life? A character's life? Indeed, the character | | | | the main character from his goal. How does he |
| does have a life in the world you create, but a | | | | overcome this obstacle? Again, a character |
| screenplay is not "real life". It's a metaphor of real | | | | modification and backstory is required to show his |
| life presented in such a way as to represent a | | | | ability to overcome this obstacle as well as some |
| particular theme. To write about a real life | | | | level of action to do so. |
| situation, you have to dissect the situation and | | | | Once the core story is solid and directed, you add |
| find the underlying theme. Then, using that theme | | | | a conflict, a twist, and a resolution, one step at a |
| as a guideline, you must reassemble the original | | | | time, until you begin to see your character and |
| idea to best represent the theme. Indeed, some | | | | story evolve. With a story in hand, you can now |
| aspects of the true-story might be fictionalized to | | | | add your dialogue to assist in the forward |
| drive the story toward the point. | | | | movement of the story, but only as needed. With |
| For example, my wife is working on a screenplay | | | | this approach, you can slowly build your story |
| about medical debauchery in Nevada. After a few | | | | while keeping your "point" in mind and following |
| passes, she began to realize that the story | | | | the formula for a solid screenplay. |
| roamed around in circles because of the many | | | | It is essential that you keep an eye on the theme |
| facets of the topic. After much coaching, she | | | | and objective of the story and that you work in |
| began to realize that she had to define one | | | | that direction, otherwise your story will wander |
| particular point and aim the story at it. As a | | | | aimlessly. Keep it tight, start late, leave early, and |
| side-effect, the physical issues of the story would | | | | follow the three-act formula. In the end, your |
| be the driving force that leads the plot around to | | | | screenplay will have the solid story and |
| reach "the point". | | | | professional appeal that producers are looking for |
| After writing and reading screenplays over the | | | | in creating today's interesting, original movies! |