I am cranky.
Recently, I covered a script that failed to remember the Rule of Two.
Thus, I am cranky.
And lost. I got really lost b/c the script wandered from the Rule of Two.
What is the Rule of Two? Glad you asked.
I will not be cranky at you if you remember the Rule of Two.
The Rule of Two = The story always, always, always revolves around the PROTAGONIST & ANTAGONIST fighting.
I do not care if you have an ensemble cast. How does the ensemble support or conflict with the Two?
I do not care about your jokes unless they involve the Two.
I do not care if there's a monkey stealing the scene. If the Two are using the monkey as a carrier pigeon, then that's ok. Otherwise, I don't care about the monkey.
Why is this rule so important? Because otherwise the script:
- goes off on tangents. ex. The script veered off from the athlete (protagonist) & became a documentary (bystander started commenting at the camera).
- becomes individual episodes, not one continuous story. ex. I can't follow 3 A stories with 3 different protagonists. Please don't make me do it.
- gets thrown in the slush 'cause it's too hard to follow.
WHAT I'VE LEARNED: All you need is Two.
Tuesday, September 28, 2010
Friday, August 6, 2010
TODAY'S 2nd NUGGET: William Goldman & a 2nd @#$)(*%!! Great Introduction
Goldman does it again.
Dang.
Here's the description of Coop, the lawman. Watch how Goldman:
1) describes Coop as the lawman every man wants to be;
2) inspires our trust in Coop.
" As Maverick turns --
JUST AN INCREDIBLE-LOOKING MAN
[THIS IS#1. I want to be called "just incredible looking," don't you?!]
--we'll find out son enough his name is ZANE COOPER.
He is raw-boned, blue-eyed, muscle & sinew; rugged as they come. There is also something about him we don't know yet but we will: Coop is so good, so fucking honorable, he seems like someone out of another era --
--which in point of fact, he is. Coop is the western hero who dominated movies for the most of this century. In other words, we are looking at John Wayne or Gary Cooper.
Not only has he never done anything bad, the thought of doing anything bad has never crossed his mind."
[THIS IS #2. We now believe anything Coop says. This continues until Act 3 when he shows himself to be a double-crosser. But by that time, we've been rooting for Coop so long that it really is a surprise.]
WHAT I'VE LEARNED: This intro is crafted very specifically so the audience has complete, utter confidence in Coop.
Why is this important? Because too many scripts today try to be smarter than the audience.
Here, Goldman sets up our expectations & doesn't betray us.
No red herrings.
No "look how clever I am" hints.
Until the crucial moment.
Then WHAM! The twist.
This is why he's William Goldman. Story is first.
Dang.
Here's the description of Coop, the lawman. Watch how Goldman:
1) describes Coop as the lawman every man wants to be;
2) inspires our trust in Coop.
" As Maverick turns --
JUST AN INCREDIBLE-LOOKING MAN
[THIS IS#1. I want to be called "just incredible looking," don't you?!]
--we'll find out son enough his name is ZANE COOPER.
He is raw-boned, blue-eyed, muscle & sinew; rugged as they come. There is also something about him we don't know yet but we will: Coop is so good, so fucking honorable, he seems like someone out of another era --
--which in point of fact, he is. Coop is the western hero who dominated movies for the most of this century. In other words, we are looking at John Wayne or Gary Cooper.
Not only has he never done anything bad, the thought of doing anything bad has never crossed his mind."
[THIS IS #2. We now believe anything Coop says. This continues until Act 3 when he shows himself to be a double-crosser. But by that time, we've been rooting for Coop so long that it really is a surprise.]
WHAT I'VE LEARNED: This intro is crafted very specifically so the audience has complete, utter confidence in Coop.
Why is this important? Because too many scripts today try to be smarter than the audience.
Here, Goldman sets up our expectations & doesn't betray us.
No red herrings.
No "look how clever I am" hints.
Until the crucial moment.
Then WHAM! The twist.
This is why he's William Goldman. Story is first.
TODAY'S NUGGET: William Goldman & a @#$)(*%!! Great Introduction
My Ode to Goldman:
"William Goldman, I bow to thee.
You are one oh one in clarity.
Your intros are deceptively easy.
Oh, how I love the simplicity."
In the script "Maverick," notice how Goldman:
1) describes Maverick;
2) makes us like him;
3) adds conflict so we're waiting for Maverick to act.
"MAVERICK's 30, give or take. Enormously appealing. Whether that's because of his considerable physical skills or his sunny personality, who knows. It might be his quiet wit.
[THIS IS #1 & 2. I like him. I don't know why. But I do.]
In any case, we are looking at a handsome young man that everybody likes --
--oops --
--make that almost everybody." [THIS IS #3. I can't wait to see who doesn't like him.]
WHAT I'VE LEARNED: Goldman's writing is not just simple and clear.
It also has conflict, a sense of humor, fun, & keeps escalating.
Brilliant.
"William Goldman, I bow to thee.
You are one oh one in clarity.
Your intros are deceptively easy.
Oh, how I love the simplicity."
In the script "Maverick," notice how Goldman:
1) describes Maverick;
2) makes us like him;
3) adds conflict so we're waiting for Maverick to act.
"MAVERICK's 30, give or take. Enormously appealing. Whether that's because of his considerable physical skills or his sunny personality, who knows. It might be his quiet wit.
[THIS IS #1 & 2. I like him. I don't know why. But I do.]
In any case, we are looking at a handsome young man that everybody likes --
--oops --
--make that almost everybody." [THIS IS #3. I can't wait to see who doesn't like him.]
WHAT I'VE LEARNED: Goldman's writing is not just simple and clear.
It also has conflict, a sense of humor, fun, & keeps escalating.
Brilliant.
Monday, August 2, 2010
TODAY'S 2ND NUGGET: "Recipe" for Rom-Coms
In line with my previous "recipe" for comedy scripts, here's my "recipe" for rom-coms:
Rom-coms are like fruit cobblers.
Why?
Because it's 80% fruit (romance b/t protagonist & lover).
[Romance = an emotional ride in which the conflict between them reveals flaws & issues ---> which then MUST MUST MUST be resolved by showing why the protagonist & lover are good together as a team.]
The crust is 10% butter (protagonist & lover against the antagonist) plus 10% flour (comedy).
-------------------------
NOTE: Many people don't like fruit & that's ok.
THREE common reasons people don't like rom-coms b/c:
A) Fruit is too predictable!
My two cents: Rom-coms are predictable b/c the emotional arc for falling in love tends to take a predictable journey.
ex. Cute meet --> a period of discovery & courtship --> tests --> then a moment the parties admit they're in love.
If any part is missing, it feels false.
If it's too much out of order, it feels unorganized.
But ask anyone how they fell in love & it follows a certain arc.
B) Fruit should be mashed with other fruits!
My two cents: I'm all for making cross genre films. However, action films w/ romance, or dramas w/ romance, are mostly about the ACTION or the DRAMA, not purely about the emotional journey of falling in love.
Rom-coms are about the trials & tribulations of figuring out how to put your heart in someone else's care. We don't really care about the action or events around relationship. We care about the RELATIONSHIP.
C) Fruit is kinda rotten these days!
My two cents: I am not a big fan of recent "so called rom-coms" either.
There are lots of things that sour audiences:
ex. We don't believe the girl should choose a guy who abuses her. Why is that funny? Or romantic?
ex. We don't believe a guy who obviously doesn't "get" a woman, but suddenly falls in love w/ her in Act 3. That's shallow. It's a disaster. How is this going to last when they're not even a good team in Act 1 & 2?
ex. We want to believe that these two are going to be ok together. If they fall apart in the end, then it's not a rom-com.
I WANT A HAPPY ENDING. The End!
Rom-coms are like fruit cobblers.
Why?
Because it's 80% fruit (romance b/t protagonist & lover).
[Romance = an emotional ride in which the conflict between them reveals flaws & issues ---> which then MUST MUST MUST be resolved by showing why the protagonist & lover are good together as a team.]
The crust is 10% butter (protagonist & lover against the antagonist) plus 10% flour (comedy).
-------------------------
NOTE: Many people don't like fruit & that's ok.
THREE common reasons people don't like rom-coms b/c:
A) Fruit is too predictable!
My two cents: Rom-coms are predictable b/c the emotional arc for falling in love tends to take a predictable journey.
ex. Cute meet --> a period of discovery & courtship --> tests --> then a moment the parties admit they're in love.
If any part is missing, it feels false.
If it's too much out of order, it feels unorganized.
But ask anyone how they fell in love & it follows a certain arc.
B) Fruit should be mashed with other fruits!
My two cents: I'm all for making cross genre films. However, action films w/ romance, or dramas w/ romance, are mostly about the ACTION or the DRAMA, not purely about the emotional journey of falling in love.
Rom-coms are about the trials & tribulations of figuring out how to put your heart in someone else's care. We don't really care about the action or events around relationship. We care about the RELATIONSHIP.
C) Fruit is kinda rotten these days!
My two cents: I am not a big fan of recent "so called rom-coms" either.
There are lots of things that sour audiences:
ex. We don't believe the girl should choose a guy who abuses her. Why is that funny? Or romantic?
ex. We don't believe a guy who obviously doesn't "get" a woman, but suddenly falls in love w/ her in Act 3. That's shallow. It's a disaster. How is this going to last when they're not even a good team in Act 1 & 2?
ex. We want to believe that these two are going to be ok together. If they fall apart in the end, then it's not a rom-com.
I WANT A HAPPY ENDING. The End!
Sunday, August 1, 2010
TODAY'S NUGGET: Seeking Romance
Rom-coms - the Final Frontier.
I'm fascinated with how hard rom-coms are to write.
Billy Mernit describes the rom-com plot essentially as "why 2 people should be together."
But oh, how that often fails in the movies.
I recently found Popcorn Dialogues, a podcast/blog by two highly acclaimed, award winning, romance authors Jennifer Crusie and Lucy March. (And, oh yeah, they've both taught romance writing for years.)
Every Friday night, they watch a classic rom-com movie & simultaneously host a Tweet chat (#PopD). On Saturday, they post an hour long iTunes podcast analyzing & rating the structure, romance & comedy.
The goal is to see how the romance does/does not develop in the film.
I was very surprised how many good movies suck at romance, but are still considered "classic rom-coms."
I've listened to #1-9 so far, & love the nuggets hidden within:
- Farce usually squashes any romance (Bringing Up Baby)
- If the romance isn't there, all the craft in the world can't save it (Pillow Talk)
- Wanting to be together isn't enough. You must show the characters relating & connecting.
(every single movie)
WHAT I'VE LEARNED: The mistake too many screenwriters make is that the man (usually) doesn't show that he "understands the woman."
Now THAT'S romance.
Please adjust accordingly.
('Cause if you don't, Crusie/March won't sell you the movie rights to their books.
Just kidding. I have no idea if the movie rights are sold.
But if they're not, they should be.
Preferably to me.)
I'm fascinated with how hard rom-coms are to write.
Billy Mernit describes the rom-com plot essentially as "why 2 people should be together."
But oh, how that often fails in the movies.
I recently found Popcorn Dialogues, a podcast/blog by two highly acclaimed, award winning, romance authors Jennifer Crusie and Lucy March. (And, oh yeah, they've both taught romance writing for years.)
Every Friday night, they watch a classic rom-com movie & simultaneously host a Tweet chat (#PopD). On Saturday, they post an hour long iTunes podcast analyzing & rating the structure, romance & comedy.
The goal is to see how the romance does/does not develop in the film.
I was very surprised how many good movies suck at romance, but are still considered "classic rom-coms."
I've listened to #1-9 so far, & love the nuggets hidden within:
- Farce usually squashes any romance (Bringing Up Baby)
- If the romance isn't there, all the craft in the world can't save it (Pillow Talk)
- Wanting to be together isn't enough. You must show the characters relating & connecting.
(every single movie)
WHAT I'VE LEARNED: The mistake too many screenwriters make is that the man (usually) doesn't show that he "understands the woman."
Now THAT'S romance.
Please adjust accordingly.
('Cause if you don't, Crusie/March won't sell you the movie rights to their books.
Just kidding. I have no idea if the movie rights are sold.
But if they're not, they should be.
Preferably to me.)
Tuesday, July 20, 2010
TODAY'S NUGGET: Comedy Should Be Added Last
I see a few common problems with comedy specs, but none so much as trying to be funny without laying the foundation.
Comedy plots should be built like cakes.
First you figure out measure out flour (what the character wants).
Then add eggs (antagonist).
Add baking soda (conflict).
Pinch of salt (flaw being exposed).
Stir things up. Then bake.
When the plot has cooled, then ice with the comedy layer.
Why is comedy last? Isn't the audience looking for the funny?
Yes, the audience is looking for that icing layer. They want to laugh.
But as soon as they take that first bite, they will spew it out --- unless there's a good foundational cake underneath.
WHAT I'VE LEARNED: Although cakes are consumed icing first, they are built cake first.
I can spot new writers b/c their comedy scripts have no plot, & are based on joke-joke-joke.
Real writers set up the script as if it's a drama. Then upon rewrite after rewrite, they add the comedy, jokes, prat falls, etc.
Comedy plots should be built like cakes.
First you figure out measure out flour (what the character wants).
Then add eggs (antagonist).
Add baking soda (conflict).
Pinch of salt (flaw being exposed).
Stir things up. Then bake.
When the plot has cooled, then ice with the comedy layer.
Why is comedy last? Isn't the audience looking for the funny?
Yes, the audience is looking for that icing layer. They want to laugh.
But as soon as they take that first bite, they will spew it out --- unless there's a good foundational cake underneath.
WHAT I'VE LEARNED: Although cakes are consumed icing first, they are built cake first.
I can spot new writers b/c their comedy scripts have no plot, & are based on joke-joke-joke.
Real writers set up the script as if it's a drama. Then upon rewrite after rewrite, they add the comedy, jokes, prat falls, etc.
Sunday, July 18, 2010
TOP 10 CHECKLIST: Before You Submit...
I wrote this checklist awhile ago, but don't remember posting it here.
(And if I did, world, you're not listening. So read this list again.)
1. The script should be stripped to bare bones. No unessential plots, characters, or scenes.
If not, I will put down your script.
2. Electricity should shoot through your script easily. If there are wandering or confusing scenes, electricity will stop.
And I will put down your script.
3. Have you addressed all the things I will look for: Premise, Character, Conflict, Structure, Dialogue?
4. Have you properly introduced: a) the rules to your world (ESPECIALLY in Sci-fi and Horror), and b) the characters in the 1st ten pages? Don't make me guess.
5. All chase, fight, & love scenes must develop character & push the story forward.
A gratuitous love scene can kill the mood. An emotionally laden one will get you a Twilight-like following.
6. All subplots should mirror, or support the main plot. This is NOT the minor character's story.
7. Tension-release (also known as hope-fear) is crucial. Not tension-tension-tension.
8. Does your script read vertically? If not, read this.
9. Typos, grammar errors, & exceeding the proper page limit, begone.
(And if I did, world, you're not listening. So read this list again.)
1. The script should be stripped to bare bones. No unessential plots, characters, or scenes.
If not, I will put down your script.
2. Electricity should shoot through your script easily. If there are wandering or confusing scenes, electricity will stop.
And I will put down your script.
3. Have you addressed all the things I will look for: Premise, Character, Conflict, Structure, Dialogue?
4. Have you properly introduced: a) the rules to your world (ESPECIALLY in Sci-fi and Horror), and b) the characters in the 1st ten pages? Don't make me guess.
5. All chase, fight, & love scenes must develop character & push the story forward.
A gratuitous love scene can kill the mood. An emotionally laden one will get you a Twilight-like following.
6. All subplots should mirror, or support the main plot. This is NOT the minor character's story.
7. Tension-release (also known as hope-fear) is crucial. Not tension-tension-tension.
8. Does your script read vertically? If not, read this.
The standard is still 120 pgs for drama, & around 90-110 for comedies. Err on the side that less is more.
10. Cover page should be title, name, address (yours or your agent’s), email, phone. No need for WGA # or copyright. We assume you’ve registered with WGA &/or Library of Congress.
WHAT I'VE KNOW: Keep me reading = I boogie-woogie.
Slow me down = I slush.
Tuesday, July 13, 2010
TODAY'S NUGGET: I Want, I Want, I Want
What do you do when you're stuck writing?
Really, really stuck so you can't make heads or tails of the problem?
Pick one:
A. Indulge in the 20 scoop Vermonster, hot fudge, banana, cookies, brownies, and all of your favorite toppings at Ben and Jerry's.
B. Call me to brainstorm consult the crap out of the story.
C. Read actor/writer/director/amazing Alan Alda.
For me, "Alan Alda's interview on storytelling on film" is my new go-to, how-to article. http://pov.imv.au.dk/Issue_06/section_2/artc2A.html
I was particularly drawn to his words on what the character wants:
"I can always tell, I think, when conflict is concocted in a hastily written television drama, like a cop drama, because it looks like the writer has struggled to find ways in which the characters disagree, because that writer's convinced that the essence of it is conflict.
But that's missing the point, I think. You automatically get conflict if people in fact want something, and want it so passionately that they believe they deserve to have what they want."
WHAT I'VE LEARNED: It's all about following what the character wants. When you're stuck, follow the want.
Don't miss the example about the 2nd story window.
"I think people are drawn to watch people who want things."
Really, really stuck so you can't make heads or tails of the problem?
Pick one:
A. Indulge in the 20 scoop Vermonster, hot fudge, banana, cookies, brownies, and all of your favorite toppings at Ben and Jerry's.
B. Call me to brainstorm consult the crap out of the story.
C. Read actor/writer/director/amazing Alan Alda.
For me, "Alan Alda's interview on storytelling on film" is my new go-to, how-to article. http://pov.imv.au.dk/Issue_06/section_2/artc2A.html
I was particularly drawn to his words on what the character wants:
"I can always tell, I think, when conflict is concocted in a hastily written television drama, like a cop drama, because it looks like the writer has struggled to find ways in which the characters disagree, because that writer's convinced that the essence of it is conflict.
But that's missing the point, I think. You automatically get conflict if people in fact want something, and want it so passionately that they believe they deserve to have what they want."
WHAT I'VE LEARNED: It's all about following what the character wants. When you're stuck, follow the want.
Don't miss the example about the 2nd story window.
"I think people are drawn to watch people who want things."
Friday, July 2, 2010
Shameless Plug for: theOffice
I got a nice email from theOffice about their shared workspace built specifically for writers. I've been by & it seems like really calm writing digs for those times when you need to run away from home.
They're located in Santa Monica & offer one week free memberships for Twitter followers!
http://www.theofficeonline.com/about.htm
They're located in Santa Monica & offer one week free memberships for Twitter followers!
http://www.theofficeonline.com/about.htm
Thursday, July 1, 2010
TODAY'S NUGGET: Midpoint Madness
Bill Pace (http://twitter.com/scripteach), a NYC writer/teacher/filmmaker, twittered 2 articles that he uses when he gets stuck at the Midpoint. They're worth downloading. Thanks to him for generously sharing with us!
The 1st is a list of helpful midpoint definitions & examples.
The 2nd is titled ACT II - THE ELUSIVE HEART OF THE SCREENPLAY by Jengo Robinson, a London script consultant, which analyzes The Graduate.
I really liked the latter article b/c it shows WHAT the midpoint's purpose is (heighten drama) and more importantly, HOW to ramp up to it and what to do after it.
WHAT I'VE LEARNED: Many scripts flatten in Act 2. Why? Often it's b/c they are not driving toward a midpoint where something drastically changes & now the protagonist is in an unforeseen mad, mad world.
(In the article above, Robinson calls this the "flip the script" moment.)
The 1st is a list of helpful midpoint definitions & examples.
The 2nd is titled ACT II - THE ELUSIVE HEART OF THE SCREENPLAY by Jengo Robinson, a London script consultant, which analyzes The Graduate.
I really liked the latter article b/c it shows WHAT the midpoint's purpose is (heighten drama) and more importantly, HOW to ramp up to it and what to do after it.
WHAT I'VE LEARNED: Many scripts flatten in Act 2. Why? Often it's b/c they are not driving toward a midpoint where something drastically changes & now the protagonist is in an unforeseen mad, mad world.
(In the article above, Robinson calls this the "flip the script" moment.)
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