Don't Forget the Blueprint
Every writer has their own unique trajectory and approach. Some writers write two or three or six scripts and then decide to take a class or read a screenwriting book. Others take classes concurrent with writing their scripts. Some never read a book or take a class at all, thinking themselves natural geniuses.
Here's the thing. I talk to writers every day, whether on the phone or in my notes, about every element of a script. Character, dialogue, structure, storyline and premise. And I'll be honest - for some newer writers in-depth discussion of these elements outside of their particular story is new and difficult to grasp. And they think that a discussion of character from an academic point of view is esoteric; what they really want to know is how to make George more "likeable". Or that a discussion of stakes and motivation in the storyline is b-o-r-i-n-g when they really want to know how to "just make it bigger".
This is the point at which newer writers - and I stress that because more experienced writers already know this - need to step back from their particular story and study up on the element at hand. Because looking at the micro-view and making quick fixes is like slapping spackle on a wall that is already crumbling. You need to understand the architecture inside the wall rather than just spackling and painting it til it crumbles. George will not only be no more likable, he'll be a mess. And worse - with each successive script, you will be no better a writer.
How do I know this? Because I've done it myself. Don't be so impatient to just make your script better. There's no magic solution. Slow down, take a deep breath and endeavor to gain a deeper understanding of the way character works in general. Or structure. Or writing a great premise.
A house crumbling from within will never stand, no matter how much spackle you use.
Here are some of the books I recommend to clients:
Screenwriting: The Sequence Approach by Paul Joseph Gulino
Inside Story: The Power of the Transformative Arc by Dara Marks
Story: Robert McKee
Save the Cat: Blake Snyder
Backwards & Forwards: David Ball
The Art of Dramatic Writing by Lajos Egri
Here's the thing. I talk to writers every day, whether on the phone or in my notes, about every element of a script. Character, dialogue, structure, storyline and premise. And I'll be honest - for some newer writers in-depth discussion of these elements outside of their particular story is new and difficult to grasp. And they think that a discussion of character from an academic point of view is esoteric; what they really want to know is how to make George more "likeable". Or that a discussion of stakes and motivation in the storyline is b-o-r-i-n-g when they really want to know how to "just make it bigger".
This is the point at which newer writers - and I stress that because more experienced writers already know this - need to step back from their particular story and study up on the element at hand. Because looking at the micro-view and making quick fixes is like slapping spackle on a wall that is already crumbling. You need to understand the architecture inside the wall rather than just spackling and painting it til it crumbles. George will not only be no more likable, he'll be a mess. And worse - with each successive script, you will be no better a writer.
How do I know this? Because I've done it myself. Don't be so impatient to just make your script better. There's no magic solution. Slow down, take a deep breath and endeavor to gain a deeper understanding of the way character works in general. Or structure. Or writing a great premise.
A house crumbling from within will never stand, no matter how much spackle you use.
Here are some of the books I recommend to clients:
Screenwriting: The Sequence Approach by Paul Joseph Gulino
Inside Story: The Power of the Transformative Arc by Dara Marks
Story: Robert McKee
Save the Cat: Blake Snyder
Backwards & Forwards: David Ball
The Art of Dramatic Writing by Lajos Egri
If you enjoyed this post, follow me on Twitter or subscribe via RSS.
3 comments:
You're just a wealth of helpful info aren't you?
When I got serious I didn't write word one (mostly) until I read The Bible, Gotham's Writing Movies, Ken Atchity's Writing Treatments and my Holy Grail, Linda Seger's Advanced Screenwriting.
I'm about to do a new batch but I may just read in the library, who knows. I actually stole Elliott\Rossio's Index cards (5x8) for sequencing\outlining.
I seem to like more granularity than the 8-sequence method, but to each his own.
I just got finished ripping up a script that just didn't work out the way I originally planned.
Fortunately because of the granularity I use, it really just amounted to taking out some characters and dividing up their stuff amongst those who "made the cut."
I do highly recommend an intermediate step before FADE IN: as it gives you something to look at when you're deciding if the murder on page 7 works with the resolution on page 49.
I guess the key is "Reading is Fundamental" to good writing.
Yes, Christian, why yes I am a wealth of helpful info!
And that's only on the topic of screenwriting. IMAGINE if I let this blog get off topic what I could impart to Rouge Wavers! How long to soak beans! How to do the backstroke! Where to buy the best insoles!
I'm sure it would be interesting. Go for it. Soaking beans is a hidden desire I harbor.
Post a Comment