COURSE CODE BSGAV2305 SCRIPT WRITING

Unit 1

How to Write a Screenplay: A Primer

How stories work

The human brain is prone to
becoming distracted. It is
thought to spend up to half of
its awake hours wandering and
to have up to 2,000 daydreams
per day. The wolf is burned
when he falls into a boiling
soup pot.
Stories synchronize the
listener’s brain with the teller’s brain.
The neurons in the brain fire in the same ways as the brain of the speaker when it sees or hears
a story. We call this neuronal coupling. Coherence between a speaker's and an audience
member's brain is produced by "mirror neurons."
Storytelling connects listeners to the storyteller emotionally.
Good stories emotionally captivate listeners through a process known as "narrative transfer,"
according to psychologists. Empathy for the speaker is generated by engaged emotions.
Stories “light up” more of the brain than factual reporting.
Just two areas of the brain light up when factual information is provided to it. According to
FMRI research, storytelling lights up a lot of other places. When a narrative is told, the listener's
brain reacts to the events as though they were real.
Storytelling enhances memory.
When facts are presented as stories, they are easier to remember (just think of Isaac Newton
and the apple). Maybe this is because the same region of the brain that controls memory is also
responsible for creativity and story-telling.
Stories command human attention.
The human brain is prone to becoming distracted. It is thought to spend up to half of its awake
hours wandering and to have up to 2,000 daydreams per day. However, this mental straying
stops when there is an engaging narrative.
Situation, conflict, and resolution—the flow of the story
Every story has an emotion at its core. We share horror, comedy, and melancholy tales. Conflict
is a tool used by data-driven problems to provide emotion.
What is the first step in a data story? Clearly state what the conflict is.
Which issues need to be resolved? Why do these issues matter so much? Maybe your data
makes a problem very evident. However, ignorance can be the root of the issue.
Consider the characters after determining the conflict. We now want to make the problem more
relatable. Business issues go beyond report statistics. They have an impact on actual people.
Name these individuals. They might be investors, clients, or staff members, for example. They
could be members of the organization itself or the broader public. The more people that are
impacted by the circumstance, the more compelling narrative you can provide.
It is critical to recognize the feelings our characters experience as a result of the struggle. The
organization might be perplexed. Perhaps customers are feeling irritated. It is possible that
workers are upset. Perhaps investors are feeling nervous.
Being aware of the unpleasant feelings that your conflict evokes will make your story more
engaging.
A satisfying story has to end. A dispute must be resolved. This could be a modification to the
rules, the application of machine learning models, or additional funding for a project. This is
when your situational observations become crucial. You comprehend the issue and are aware
of the solution as a data specialist. By removing the characters' conflict, you can bring the
characters back into balance.
Lastly, consider the feelings your characters are going through now that the issue has been
resolved. Are clients satisfied? Do workers have optimism?
Similar to earlier, telling a better story will come from being able to pinpoint the feelings of
positivity that your solution evokes.
The lowdown on high-concept
The majority of Hollywood folks would most likely characterize "high concept" as a narrative
that fits into one or two lines. But, a tale is not always a high concept just because it can be
summed up in a few sentences.
Story-layering, plot, and genre
Shallow Stories

Three primary levels of storytelling, in my opinion, set stories apart from other forms of
literature. What I would refer to as superficial stories are the first. These are narratives that
recount incidents for the purpose of providing context in conversations or just for fun. There is
not much substance to a story when you are telling someone about yourself, catching up with
an old buddy, or talking about your day. It is merely for sharing. That is okay; sometimes all
you really need to know is how something got from point A to point B, maybe with some tears
or laughter in between.

Applicable Stories

What I would refer to as appropriate stories make up the second level of storytelling, which is
a little more complex. More information are provided in the relevant story (perhaps by
metaphor or example) to give the listener something to ponder over in greater detail. Because
these tales are so overtly educational, most people undoubtedly associate them with Aesop's
fables or even the parables of religious figures like Jesus. However, educational tales are not
always necessary; sometimes the lesson is as simple as encouraging you to consider an
experience that differs from your own. Even without understanding the deeper meaning, these
stories can be enjoyed in the same way as superficial ones, but the reader is more likely to
retain the deeper meaning of applicable stories.

Crafted Stories

Crafted stories, in my opinion, are the most complex and difficult to write since they employ
various narrative techniques to convey the plot. Both in their composition and storyline, they
narrate stories. This most commonly refers to the language used in the narrative and how it can
impact the story itself, including diction, syntax, plot structure, etc. In poetry, the poet can
evoke specific feelings in the reader by utilizing specific sounds, forms, images, and
implications. In larger fiction pieces, the way the story is organized or the usage of subsidiary
tales may serve to emphasize key elements, such as the primary conflict or narrative arc.

Other storytelling techniques can make use of extraneous details to strengthen the narrative
itself: When narrating a narrative aloud, the theatrical aspects of your voice and body language
might retell certain details. The form and craft of those can also highlight components of the
story in stories with visual elements (illustrations, animation, camera work, etc.) or stories with
music (movies, TV shows, musicals, etc.).
Any and every one of these storytelling tiers can be created by a skilled storyteller, and they
know when to use them. To be able to do this, one must possess a tremendous degree of
knowledge, practice, discipline, and the ability to "read the room," and even then, it is not
always easy. (You have probably heard of "writer's block.") However, the fact that almost every
word in the Bible is written at all three literary levels is one of its most astounding features.
And that is one way, as a writer, that I know the Bible was not authored by one person.

What is a plot?
A story's plot is comprised of a series of interconnected events and the protagonists' sense of
development or change. It is a well-thought-out sequence of events with a beginning, middle,
and end. In general, the events need to be related in a cause-and-effect manner.

Main parts of the plot

All plots follow a logical organization with a beginning, middle, and end.
 Beginning Middle End
Exposition Rising action Falling action
Conflict Climax Resolution

Beginning: A story's introduction sets the scene, introduces the characters, and drives home
the main conflict.

Middle: There are things that happen in the middle of a storyline that have an immediate effect
on what happens next. To keep the viewer interested, they, in other words, introduce multiple
subplots, hurdles, and/or crisis moments along the road.

End: T The conflict is

concluded and resolved at the
end of a story, usually leaving
the audience feeling more
fulfilled, valuable, and
knowledgeable.
Most stories have a particular
storyline structure that they
adhere to. There are actually six
primary story
points: exposition, conflict,
rising action, climax, falling
action and resolution.

1. Exposition or Introduction
The story's introduction is known as the exposition. We learn about the setting and the
characters. Exposition gives background knowledge that makes the listener more emotionally
invested in the story. The queen in Snow White is enamored with appearances and overcome
with jealousy of Snow White's superior beauty.

2. Conflict
The conflict is the primary problem that drives the plot of the story, often a main goal for the
main character to achieve or overcome. The main character must fight against another person
or group or against a non-human force such a storm.

3. Rising action
As the action picks up, the plot gets more intricate. There are several heated exchanges that
heighten the suspense and reveal the main character's problem.

4. Climax
The action reaches its zenith at the climax. The primary character now faces the major conflict.
This is where there is the most action, drama, change, and excitement. A decision that will
impact the remainder of the narrative must be made.

5. Falling action
The conflict that resulted from the climax can begin to be resolved in falling action. The plot
slows pace and problems start to get resolved.
6. Denouement or Resolution
The resolution, which marks the conclusion of the narrative, determines whether it ends happily
or tragically. There is now a resolution to the conflict from the climax. The reader gets the
impression that there is nothing more to be learned or gained from the story because of the
sense of finality and closure present in this passage.

Plot of tale "Three Little Pigs"

Exposition
Three young pigs get out of the house and start building.

Conflict
A wolf that is hungry appears one day. Three young pigs get out of the house and start building.

Rising actions

• Wolf comes to the first house of straw and blows it down.

• Wolf destroys the second stick house.
• Wolf goes to the third brick house, huffs, puffs, but can't tear it down.

Climax
The wolf resolves to steal the piglets by tiptoeing down the chimney.

Falling action
The wolf is burned when he falls into a boiling soup pot.
Resolution/Denouement

• The wolf is so scared of the

three little pigs that he runs
off into the forest.
• The three little pigs are
never bothered by the wolf
again.
• They live happily ever
after.

A cinema genre is a category for films that share stylistic or thematic features, such as narrative
devices, artistic approaches, or audience reactions.

Film genres are typically distinguished by "conventions, iconography, locales, narratives,

characters, and performers," with a strong influence from literary-genre criticism theories.
Other classifications for movies include target audience, budget, tone, format, theme/topic, and
mood. The genre films that "commercial feature films [that], through repetition and change,
portray familiar stories with familiar characters and familiar situations" in a certain genre are
the ones that best exhibit these traits.
 Sr.No. Genre
1 Action film
2 Adventure film
3 Animated film
4 Comedy film
5 Drama
6 Fantasy film
7 Historical film
8 Horror film
9 Musical film
10 Noir film
11 Romance film
12 Science fiction film
13 Thriller film
14 Western

Ten keys to creating captivating characters ARACTERS

A GOAL AND AN OPPOSITION
Your character wants a goal. A dramatic goal is specific and measurable. Dealing with life is
not a goal. Happiness is not a goal. Seeking $10 million worth of doubloons on an old Spanish
shipwreck off the Florida Keys is a goal. Winning the Pan American Ballroom Dance
Competition is a goal. The nature of the goal reveals a lot about your character.
Whatever the goal is, it should not be easy to attain. There must be opposition to the
goal. Opposition creates conflict, and conflict makes drama. Conflict reveals character and
motivates people to learn. Ask yourself, What does my character want and what does he/she
most fear? The opposition will forcer the character to face the fear.
MOTIVATION
Your character must be motivated. Ask yourself this question: Why does my character want
what he wants? The answer to that is the motivation. And the more personal, the better. In
fact, the more personal it is, the more the audience will identify with the character. It's the
emotional touchstone between your audience and your character.
A BACKSTORY
Before your first ever RP you do, something significant happens to your character. That event
is called the backstory. Basically, this is his past, and reasons why he wants to fulfill his
goal. A biography is a great way to create a backstory.
THE WILL TO ACT
How do you judge a person? By Words? Or by actions? Don't actions weigh more heavily
than words for you? As the saying goes, "What you do sounds so loud in my ears, I cannot
hear what you say."
Action reveals character, and crisis reveals his true colors, because a person does what he does
because of who he is. Problems and obstacles reveal what he's made of. Since actions speak
louder than words, your character will generally reveal more through action than through
dialogue. Yes, dialogue can tell us a lot, particularly about what is going on inside, but actions
tell us more. Remember, dialogue can be an action.
A POINT OF VIEW AND ATTITUDES
Everyone has a belief system, a perception of reality that is influenced by past experience, a
point of view that has developed over time. Our current experience is filtered through our past
experience. This means two people may react in totally different ways to the same stimulus. It
depends on their perception. Their point of view is expressed in attitudes.
Your character also has a past. We're going to discuss how to create that past shortly, but for
right now realize that your character has a point of view expressed through attitudes. What is
your character's point of view about life? What is your character's concept of love? How does
he or she view the opposite sex? What is your character's attitude toward growing old? sex?
falling rain? grocery shopping? Dental hygiene and regular professional care? Is happiness a
warm puppy or a warm gun? These are just examples of what might be a way to react...of
course you will have other examples that you can use.
ROOM TO GROW
Your character also has a point of view of herself. This point of view of self called self-
concept. I'm a winner, I'm a loser. I'm clumsy, I'm graceful. All of us act from this point of
view of ourselves, and so do your characters. Here's what happens in the well-written set of
chain RP's.
Metaphorically speaking, your character is a fish. Certain ideas will pull him out of the
water. He tries to swim. It's worked in the past, but it doesn't work now. And so he is forced
to take new actions, different actions, but things get more and more difficult right up the the
Crisis. Mustering all the courage and faith he has, he takes the last final action; then he emerges
from the climax with a new self-concept - he's a fish no longer.
Theme
How can a movie be great? There is no one thing that is the solution. From the story, narrative,
and acting to the directing, soundtrack, and cinematography, it is a collection of disparate
components coming together to create a cohesive whole. Together, these components create
the deep, resonating feeling that enables the film to make a statement about the state of the
world or human nature. The theme of the movie is this.
What Is a Theme in Movies?
A theme is the main, overarching idea of the movie. One word or brief phrase that encapsulates
a universal human experience is a theme (e.g., "love," "death," or "coming of age"). The film's
narrative, language, photography, and soundtrack—including the memorable Batman theme
song—all serve as examples of the topic, even though it is never expressed clearly.
What Is the Purpose of a Movie Theme?
The theme offers viewers a general means of connecting with the particular subject matter of
the movie. Strong themes are another factor that helps a movie stay with you long after you
have seen it. The subject serves as both a creative process guide and the central notion for
filmmakers. As you write, you can question yourself, "Which choice links more to my theme?"
while deciding between many prospective story twists.
What Is the Purpose of a Movie Theme?
The theme gives viewers a common language to interact with the particular subject matter of
the movie. Another factor that helps a movie stay with you long after you have seen it is its
strong themes. For filmmakers, the theme serves as both a creative process guide and the central
idea. You can use the question "Which option relates more to my theme?" to help you decide
between many possible plot developments while you write.
10 Classic Movie Themes and Why They Matter
Certain recurrent themes appear repeatedly in many films because good themes address
important and universal aspects of the human experience. Here are a few instances of recurring
themes:
Love.
Who does not appreciate a nice romance? The whole plot of Titanic revolves around love, even
down to the Oscar-winning theme music. Extreme barriers like calamity, disapproving family
members, and class differences can all be overcome by love. Characters in a movie undergo
change when they fall in love. Rose becomes aware of the injustices in the world and comes to
terms with her freedom. Jack changes from a charming aimless wanderer to a person with a
strong sense of purpose who would sacrifice everything for the one he loves.
Humanity vs. technology
Science fiction provides unique avenues for delving into concerns of technology. A Space
Odyssey from 2001 is a superb illustration. The bone club, a weapon of death, is described in
the prehistory sequence as our species' first significant technological advancement. In the
future, most human connection is limited to view screens for long-distance communication, and
an intelligent computer on a spaceship will try to kill its human crew members. At last, a
godlike extraterrestrial intelligence emerges that is as efficient and mysterious as any machine,
rather than being sentient and anthropomorphic. It is a cold, black monolith.
Sacrifice
The concept of sacrifice is the most recurring subject throughout the Lord of the Rings trilogy,
however, there are other themes as well. Heroes, like as Gandalf, Sam, and Frodo, set
themselves apart by their readiness to give their lives in order to save others and advance the
common good, whereas Sauron and Saruman are distinguished by their hunger for power. The
virtue of sacrifice is able to rehabilitate even faulty personalities, such as Boromir.
Good vs. evil
Good versus evil is the primary subject of the Star Wars saga, and the series offers a superb
example of how all the components of cinematic language may support a central idea. Not only
may their words and deeds distinguish the good from the bad characters, but so does their
outward design. Clad in earthy, natural tones, the Rebels and the Jedi are a diverse set of
people, including humans and aliens. The Empire, led by Darth Vader, is a machine-like
hegemon that crushes the individual. It is cold, polished, and uniform.
Death
Particular genres work better with particular topics. In the hyperrealistic American West,
arguments soon descended into violence, and both black and white hats carelessly dished out
deaths. Though revisionist Westerns have provided more in-depth examinations of the issue,
traditional Westerns occasionally use death only as a story device or to set up stakes. No
Country for Old Men, Lonesome Dove, and Unforgiven serve as reminders the.
Perseverance
The protagonist of Rocky is an underdog who, with perseverance and hard effort, overcomes
overwhelming obstacles. Once more, this concept is reinforced by the montage and other
genre-specific devices in addition to the story and dialogue. (Recall the iconic scene where
Rocky is shown working out, pounding chunks of meat, and sprinting up the steps of an art
museum while a choir from the soundtrack screams, "Trying hard now... I am growing stronger
today. I am going to take off now. In the end, the movie proclaims that tenacity is a greater
triumph than physical conquest.
Coming of age
The Harry Potter series exemplifies this idea not just because the characters age before our
own eyes throughout the movies, but also because the storyline incorporates the essential
experiences of growing up. As Harry takes on the leadership of "Dumbledore's Army," he
matures and stops depending on older people. He also loses his innocence when he sees Cedric
and Sirius die, and—perhaps most importantly—he develops a more nuanced perspective on
the world after learning more about Dumbledore and Snape.
Family drama
The famous quote from Tolstoy reads, "Every sad family is miserable in its own manner; happy
families are all alike." That so many interesting stories center on family conflict may not come
as a surprise. Everybody struggles to break free from their parents, and we all inevitably take
a lot from them—both materially and figuratively. At the start of The Godfather, Michael
Corleone is adamant about leading a life apart from his father's, but as the narrative
progresses, Michael takes up Vito's role. Marty McFly, in the movie Back to the Future, thinks
as though he cannot possibly connect with his parents and rejects their plans for his future.
However, when he goes back in time to meet them when they are adolescents, he discovers that
he has a lot more in common with them than he initially believed.
Reason vs. faith
While Raiders of the Lost Ark is every bit as exciting and action-packed as a James Bond
picture, it stands out from other adventure movies thanks to its deep and meaningful premise.
Despite his daring, Indiana Jones is a man of reason who disbelieves in "superstitious hocus-
pocus." He is an academic and a skeptic. But as the movie progresses, he is compelled to face
an unexplainable supernatural force that is represented by the Ark. When he can not bring
himself to destroy the sacred artifact, he appears to fail in his quest to vanquish the villains
and save the heroine—a rather unusual set of events for an action hero. Nevertheless, Indy
overcomes the obstacle by shutting his eyes and embracing an unearthly force in the movie's
finale. John Williams' musical theme for The Ark is eerie, regal, and old all at once,
wonderfully conveying the idea of a God who is impossible to fully comprehend or understand.
Justice
The Adventures of Robin Hood, Disney's Robin Hood, and Robin Hood: Prince of Thieves,
among many other film versions of the Robin Hood legend, spin an adventure tale around this
profoundly meaningful concept decade after decade. The hero turns as an outlaw in order to
bring about true justice in a period when the established legal systems have been tainted,
enabling the wealthy to take advantage of the poor and the powerful to exploit the weak.

Dialogue, subtext, and exposition

The last time, we looked at the three elements of effective dialogue—which, regardless of the
media, is very challenging to achieve. We all write and speak in various ways, therefore one of
the main issues I hear from readers at the covering firm I work for is that it can be challenging
to make our characters sound distinct from each other. The next two most common comments
I receive from readers are regarding inadequate subtext and strange exposition.
Exposition is the process of simply providing
the audience with relevant information. It can
take several forms, such as a voiceover from the
narrator, an info dump, or a simple text crawl
that begins with the entire content on the page.
For the purposes of this post, we will only be
focusing on exposition that takes place in
speech. There are countless additional visual
methods to convey information in movies.
Exposition is similar to a steak in many respects;
when prepared properly, it is tasty and a
component of a well-rounded dinner. Gout,
however, is brought on by consuming too much
of it or cooking it incorrectly. Exposition in
moderation is acceptable when it comes to backstory disclosure or conveying your main idea.
Really, how would the movie Star Wars work if Obi Wan had not sat Luke down and explained
the workings of the Force and the circumstances surrounding Vader's father's murder? Imagine
a world in which Doc and his 1.21 gigawatts are absent from Back to the Future.
Which just serves to highlight how effective an uneducated character can be in naturally
conveying information through dialogue. This is commonly employed with teacher, medical,
or scientific characters to convey to the naive characters all the relevant details the viewer needs
to know about the scenario.
Hermione from Harry Potter is maybe the best example of an educated character explaining
things to an ignorant character in a way that makes sense. Her speech tics were ingrained in
her character from the beginning, as was Harry's in that he is completely uninformed about the
ways of magic. She thus serves as a little exposition bot, able to provide important information
to Harry and the audience through a proxy while remaining loyal to both of their personas. Yes,
it did come to the point where it was almost unbearable at times, which is why the scene in
Deathly Hallows where Ron gets to explain things to them both was so amazing. because the
authors chose to experiment with Hermione's role while remaining conscious of it.
However, the worst possible example of exposition in dialogue is when a character informs
another character of something that they both ought to know beforehand. Something like,
"Brother, Father passed away three years ago today."
That sentence makes a lot of attempts there, but in the process, it tears its hernia: First of all,
the two characters are brothers; second, their father has been deceased for three years; and
third, they are not close because, in any other case, the brother would be aware that today is
their father's death anniversary.
The issue is that all of this information should already be known by both characters, therefore
the audience is being spoon-fed it rather than the author (myself) coming up with a more
effective, natural approach to convey all of this information nonverbally. The finest instance
of solely non-verbal exposition in screenplay is when a character in Grosse Pointe Blank
approaches his father's grave in a fit of rage, spills a bottle of whiskey on it, and then turns to
leave. Once more, all the important details behind his father's passing and their connection are
revealed to us, and nobody had to speak.
Subtext is essentially stating something without explicitly saying it, and screenwriters find it
difficult to do so well. I believe McKee is the one who first notes in Story—I am too lazy to
search it up—that the line "I see pals shaking hand, saying how do you do/ They are really
saying, I love you" from What a Wonderful World finest captures the subtext.

How to make a scene

8 Steps to Writing a Perfect Scene—Every Time
1. Identify Its Purpose
2. Identify the High Moment
3. Emphasize Conflict: Inner and Outer
4. Accentuate Character Change
5. Determine POV
6. Leave Out Boring Stuff
7. Perfect Beginnings and Endings
8. Inject Texture and Sensory Details

Suspense, comedy, and television

Suspense is a feeling of unease or exhilaration brought on by ambiguity, doubt, or indecision.
Suspense in a literary work is the audience's heightened excitement in the story or conflict
(which can be enhanced by a violent scene, tense situation, riddle, mystery, etc.), especially as
it relates to a sympathetic character. Suspense, though, is not limited to stories.
Comedy is a genre of fiction that includes stories or writings meant to make people laugh,
notably in stand-up comedy, theater, movies, television, radio, books, or any other kind of
entertainment.
Television is a kind of communication that sends sound and moving pictures. In addition, the
phrase can be used to describe a real television set as opposed to the transmission medium. A
mass media for sports, news, entertainment, and advertising is television. The term "radio
broadcasting" describes the transmission of an audio signal to radio receivers; nevertheless, the
medium is capable of more.
2 7 Steps to a Stunning Script: A Workbook

1. About this workbook

This workbook takes you through the seven steps of the writing process. I've tried to make it
simple and easy to follow.

Each step is marked with checkpoints to keep you on track. In all, there are 26 checkpoints and
more than 150 key questions to help you evaluate your progress. Not every question needs to
be answered. Not every checkpoint needs to be reviewed in the order it's presented. These are
not hard-and-fast rules, but fluid guidelines to help
you craft a stunning script. In fact, many writers
like to begin the process by developing their
characters; if you are one of those, you may want to
do Step 4 before Steps 2 and 3. Some writers allow
the steps to overlap. Adapt the process to your
needs.

This workbook becomes a more effective tool if

you've studied the primer (Book I) first and have
the nascent concept for your script.

Take a moment now to congratulate yourself. You

are embarking on a great journey. I hope you enjoy
the adventure of creating movie people and plotting
the events of their lives. May success be yours.

2. Summon your muse

At the start of the workshop, two writing students were arguing. Sheila insisted that writing was
purely a creative endeavor, while Sam argued that screenwriting was an analytical process.
Back and forth they went. Finally, Robert, my teacher's pet, chimed in. "Stop! You're both right.
Screenwriting is both an art and a science. The professional writer uses the head as well as the
heart." Both wondered how Robert could possibly be right. But he was, and here is why.

The writing process begins with the

creative urge, a desire to express
something. Like a tiny seedling, an idea
emerges from your heart and pushes its
way through the soil of your conscious
mind. Often, several ideas will sprout.
Like any birthing process, this can happen
at any time and any place. And with the
emergence of your idea comes that
wonderful creative feeling.

How do you nurture that young seedling of an idea? What makes it grow? Thought and hard
work make it grow. You think about the possibilities. Then, you blueprint the core story, which
consists of a beginning, a middle, and an end. All this head work will act like a shot of
adrenaline to your heart. More ideas will flow, and the story will emerge and evolve until it
 matures.

Every writer has two natures: the heart and the head. The heart is the passionate creator, the
emotional artist, the child, the intuitive subconscious. The head is the detached critic or editor,
the parent, the logical and analytical scientist or surgeon. And quite conscious of the "rules."
Good writing utilizes both natures, but often operates like an alternating current between the
two. When you're in the creative, artistic mode, you shut off the head. You encourage the
creative flow. You don't correct the spelling or improve the grammar. You just play in your
sandbox. There are no rules or restrictions. It is imperative that you remain in a relaxed state of
mind; you cannot write when you're uptight. Relax and have fun!

3. Dream up your movie idea

1. Put your mind in a relaxed state through meditation or deep breathing. Visualize a
natural setting where you feel safe, or drift off to the setting of your script. The right brain, the
Inner Creator, always works best when the left brain, the Inner Critic, has been tranquilized.

2. Rely on the Inspiration Cycle: Input, Incubation, Inspiration, Evaluation. After a few
days of jamming your brain, relax and tell yourself that you need a breakthrough; then incubate.
In other words, wait. It
may take a few days.
Soon enough, while
falling asleep or taking
a shower-Eureka!-the
inspiration comes.
You're flying. It may
continue to flow for
some time. But don't
stop when it does.
Evaluate it (the Inner
Critic has been waiting
for this moment) as a
means of bringing on
the next cycle of inspiration.

3. Stimulate the senses. Engage in a physical activity such as gardening, chopping wood,
sewing, shoveling snow, fishing, dancing, aerobics, kneading clay, washing the dishes,
tinkering with the car, and so on. "Mindless" physical activity not only relaxes you, but it
stimulates the senses, and sensory details will stimulate your writing. It also keeps the left brain
occupied, freeing your childlike right brain.

4. Stir your creative desire by inventing writing rituals. Acquire a baseball cap and imprint
or embroider the word "writer'' on it. Whenever it's time to write, you can tell your loved ones,
"I'm wearing my writer's cap tonight." I know a writer who begins every session with an herb
tea ceremony, instructing her "analytical brain to sleep so that the creative brain can come forth
with a masterpiece." Speaking of ceremonies, why not conduct opening and closing ceremonies
for the Writer's Olympics, starring you? Writing should be fun, so every writer must discover.

6. Carry around a recorder or notebook, or use a smart phone app. (There's scarcely been
a writing instructor or adviser who hasn't recommended this helpful tip.) When you carry
around a notebook or recording device, you are asking your subconscious to find ideas for you.
Armed with one of these tools, you'll be more observant and open to wandering ideas looking
for a home. Write down, or record, these ideas and bits as they occur to you.
 7. See movies in your genre. In fact, see eight good films and two dogs. Read a
screenwriting book. Read screenplays-yes!-read screenplays, even though virtually all of them
are shooting scripts replete with camera directions and lots of CAPS. Page through old movie
books or books of foreign films. Attend a seminar or workshop.

8. Read and steal. Shakespeare did. Are you greater than he? Look to the classics for plot
and character ideas. Creativity is not creating something out of nothing; it's a new twist on an
old idea. It's making new combinations of old patterns. It's converting the Big Dipper into the
Little Ladle. Creativity is disrupting the regular thought patterns to create a new way of
connecting. Gutenberg took the wine press and the coin punch and created the first printing
press.
Read fairy tales, folklore, mythology, and history. Many classic plots can be easily adapted.
Romeo and Juliet became West Side Story and Titanic. Faust became Damn Yankees,
Rosemary's Baby, Wall Street, and Blue Chips. Homer's Odyssey became Falling Down and O
Brother, Where Art Thou? The Tempest has been transformed into several movies. Pygmalion
became My Fair Lady, which became She's All That. Moby Dick became The Life Aquatic
with Steve Zissou.

1. How solid is your story idea, premise, or concept? Is it naturally intriguing, or just
average, requiring perfect execution in the script?
2. Will it appeal to a mass audience? Or is it just right for a niche market?
3. Is it fresh? Original? Provocative? Commercial?
4. Does hearing it make people say, "I want to see that!"?
5. Is it large enough in scope to appear on the silver screen?

1. Does it have "legs"-stand on its own as a story without big stars?

2. Do you have a working title that inspires you?
3. Will this title titillate the audience? Is it a "grabber"?
4. Does it convey something of your story concept or theme?
5. Does it conjure up an image or an emotion?
6. Is it short enough to appear on a marquee (not always necessary)?

1. Is there a striking visual image that will stop passersby?

2. Is there a headline that plays off the title or conveys a high concept?
3. Will people (in a general market or niche market) want to see this movie?

4. Develop your core story

Step 3-Develop your core story

What is your story about? You
need to know this and you need
to know it now. There are
producers who believe that if
you can't tell them your story in
a sentence or two, there isn't a
story. They may be right.

A story presents a character who

wants something and who is
opposed by at least one other
character. This opposition causes conflict and a series of critical events, all leading to the Crisis
and Showdown at the end. What follows is a quick review of the critical events (plot points) in
virtually all dramas and comedies. (See Book I for a complete explanation of each.) As you
know, not all movies follow this exact pattern, and yours may not as well. The point is to create
a brief sketch of the main events of your story. Although outlining is the fifth step in the process,
it could certainly be done at this point if you prefer.

BACKSTORY
This is an event that happens before the movie begins. It's usually traumatic enough that it
haunts the character throughout the story, often giving rise to a character flaw (as in
Casablanca). In some cases, it's an overall situation from the past (as with Hiccup in How to
Train Your Dragon, who has always been an embarrassment to his father, the village chief). In
some movies, there is no Backstory ( as in Psycho). Sometimes the backstory is shown as the
first scene in the movie and is generally followed by a jump in time to the "present day" story
(as in Vertigo and The Sixth Sense). On rare occasions, it involves the historical past (as in
Argo).

CATALYST
Your story starts out in balance, but the Catalyst upsets that balance (usually around page 10),
giving the central character a desire, problem, need, goal, mission, or something to do. The
story now has direction and movement. In How to Train Your Dragon, the Catalyst is when
Hiccup makes a dragon-killing weapon because he is told he must capture a dragon.
BIG EVENT

This is an event that changes your central character's life in a big way, thus the Big Event. It
comes in around pages 20 to 30. This is when Hiccup shoots down a Night Fury and is unable
to kill him in How to Train Your Dragon.
MIDPOINT (OR PINCH)
About halfway through the script, there is another major plot twist. It is often a point of no
return for the central character, or the moment when the character becomes fully committed, or
when the motivation is strengthened or becomes clear. In How to Train Your Dragon, It's when
Astrid discovers that Hiccup his trained Toothless, the Night Fury he earlier shot down. This is
a point of no return for Hiccup.

CRISIS
This is an event that forces a crucial decision. Often it is simply the low point in the story, the
moment when all looks lost (as in Avatar), or when the lovers are separated (as in Pretty
Woman). It's when Benjamin Franklin Gates is abandoned underground by Ian in National
Treasure. In How to Train Your Dragon, Hiccup is stuck in the village while Vikings take
Toothless to the dragon lair.

SHOWDOWN (OR CLIMAX)

This is when the central character and opposition character square off. It's the final battle or
fight in each of the Star Wars movies, and the final struggle between the Incredible family and
Syndrome in The Incredibles. In How to Train Your Dragon, Hiccup and Toothless defeat the
monster dragon.

REALIZATION
Just after the Showdown, or during it, or occasionally before it, the audience realizes that your
central character has grown, changed, or figured something out. In Little Miss Sunshine, it's at
the end of the dance, when the family admires how important the family is; and of course, with
How to Train Your Dragon, Hiccup understands that he is useful and that he has changed his
village's view of dragons.

Write the logline or concept statement for your story.

Who is your central character?

What is his/her main goal? (This is the goal that drives the story.) • Why is the goal so important
to him/her?
 Who is trying to stop your character from achieving the goal?

Identify the parameters of your story.

1. What is the genre (action, adventure, thriller, romantic comedy, etc.)?
2. What is the time and setting?
3. What is the emotional atmosphere, and the mood?
4. What, if any, story or character limits exist?
5. What is the Catalyst that gives your central character a direction?
6. What Big Event really impacts your character's life?
7. Is there a strong, rising conflict throughout Act 2?
8. Does the conflict build? Or just become repetitive?
9. Is there a pinch, a twist in the middle, that divides Act 2 in half and more fully motivates
your character?
10. What terrible Crisis will your character face?
11. Will the Crisis force a life/death decision, and/or make the audience fret about how
things will tum out in the end?
12. How does your story end? What is the Showdown?
13. In the end, does your character learn something new?

5. Create your movie people

Our central character wants something specific. That something is the goal. The character, who
is conscious of this desire, strives for it
throughout most of the story. Of
course, the character is opposed by at
least one other person.

In most stories, the character also has

an inner need, something she may not
be consciously aware of until the
Crisis. This need is a yearning for the
one thing that will bring true happiness
or fulfillment to the character. The
need is blocked by a flaw, usually a
form of selfishness or hubris. The flaw
emerges from a past traumatic event-
the Backstory.

The main plot of most movies is driven by the goal. It's the Outside/Action Story.

The main subplot is driven by the need. It's the Inside/Emotional Story. It is usually focused on
the primary relationship in the story. It's concerned with character dynamics.

The Outside/ Action Story is the spine; it holds things together. The Inside/Emotional Story is
the heart; it touches the audience with the key relationship. To make the Outside/Action Story
and Inside/Emotional Story work, you need to understand your movie people and how they
function.

6. “Step-out” your story

Outline your story. This is where you find out if your story is going to work or not, or at least
get a good idea if it is. For many writers, the outline is their first step after they get an idea. This
outlining effort will make the actual writing much easier than it would ordinarily be. Of course,
an outline is never written in stone and may be very simple or complex, depending on what
works better for you. What follows is an outline of The Mission in its eight main beats.
 1. The Cardinal writes a letter to the
Pope, explaining what has happened.
2. The Man of Peace, a Jesuit priest,
replaces a murdered priest and converts the
Guarani tribe.
3. The Man of War enslaves the
Guarani and kills his brother for sleeping
with his fiance.
4. The Man of Peace oversees the
penance of the Man of War and ordains him
a priest.
5. The Cardinal must endorse the Treaty of Madrid by vacating the missions; he
announces this to the Guarani converts at the missions.
6. The Guarani choose to fight rather than vacate the missions. The Man of War vows to
help. The Man of Peace will stay but not fight.
7. The Guarani and the priests are slaughtered.
8. The Cardinal concludes his letter to the Pope: "Thus, we have made the world."

7. Write your first draft

Write your first draft from the heart. Keep your head out of it as much as possible. It's okay to
change the outline. It's okay to ignore the outline. It's okay to overwrite. It's okay to include too
much dialogue. It's okay to do this step first and then go through Steps 1-5. Anything goes,
everything flows. If you are writing full time, you can knock this out in a week or so.
Essentially, you are a story sculptor molding your clay into basic shape.