Story structure based on character statements and questions.
ACT 1 - I am.
ACT 2 - Am I?
ACT 3 - I am or I am not because to be is to
ACT 4 - See I am, or Now I am, or I will never be.
Monday, April 28, 2014
Friday, April 25, 2014
finding your voice - screenwriting
If you are analyzing other scripts, I mean, voices, you will not find your own.
Finding your voice requires writing. On good days and bad. Writing high moments and low. Pushing character to search and ask and doubt and declare and say who they are, what they want, why they want it, how they will get it etc.
Finding your voice means developing your rhythm. Cutting to the next scene when you know it feels right.
Finding your voice means locking in on a tone. Playing that tone consistently.
Finding your voice is picking your audience and writing with them in mind.
So stop with the analysis and start finding your voice today!
Thursday, April 24, 2014
Story Engine = 2 Stroke = structure
DO YOUR screenplays FAIL TO CONNECT WITH READERS?
TEST THEIR STROKES:
A story has two engines, I mean strokes. It's a 2 stroke engine.
ONE is the plot, situation, cool, funny, scary, heart warming, stuff.
TWO is the profound soul searching question plaguing your main character.
*Some movies lack one of these. They usually suck. Probably.
OAK-K,
The second stroke, non-sexual if you will...is the goddamn question.
A question that derives from the motivation.
EXAMPLE:
I want to do this, We need to reach this goal. etc BECAUSE I'm going to prove that I am - ambitious, successful, a good person, strong, smart, beautiful, and the list goes on and on.
THEN
Your character will reach a point, possibly a PLOT POINT, in which they ASK....Am I ambitious? Am I successful? Am I a writer?!
And that question will be answered by another character.
THEN
Your character will reach another point, possibly another PLOT POINT, in which they will DECLARE... I AM "fill-in with descriptive word" or I AM NOT "fill-in with descriptive word" BECAUSE "To be X you've got to do Y"
So AGAIN
At first, because of inciting incident, they will say:
1) We need to achieve this goal(engine stroke 1) because we need to prove we are X(engine stroke 2)
Then, because of obstacles they will ask:
2) How will I ever reach goal(engine stroke 1) and Am I even "X"(engine
stroke 2)
Finally, because of more obstacle they will declare:
3) I am or am not X(engine stroke 2) because a person who is X would act like Y. And in order to reach the goal(engine stroke 1), I am going to have to do Y.
TEST THEIR STROKES:
A story has two engines, I mean strokes. It's a 2 stroke engine.
ONE is the plot, situation, cool, funny, scary, heart warming, stuff.
TWO is the profound soul searching question plaguing your main character.
*Some movies lack one of these. They usually suck. Probably.
OAK-K,
The second stroke, non-sexual if you will...is the goddamn question.
A question that derives from the motivation.
EXAMPLE:
I want to do this, We need to reach this goal. etc BECAUSE I'm going to prove that I am - ambitious, successful, a good person, strong, smart, beautiful, and the list goes on and on.
THEN
Your character will reach a point, possibly a PLOT POINT, in which they ASK....Am I ambitious? Am I successful? Am I a writer?!
And that question will be answered by another character.
THEN
Your character will reach another point, possibly another PLOT POINT, in which they will DECLARE... I AM "fill-in with descriptive word" or I AM NOT "fill-in with descriptive word" BECAUSE "To be X you've got to do Y"
So AGAIN
At first, because of inciting incident, they will say:
1) We need to achieve this goal(engine stroke 1) because we need to prove we are X(engine stroke 2)
Then, because of obstacles they will ask:
2) How will I ever reach goal(engine stroke 1) and Am I even "X"(engine
stroke 2)
Finally, because of more obstacle they will declare:
3) I am or am not X(engine stroke 2) because a person who is X would act like Y. And in order to reach the goal(engine stroke 1), I am going to have to do Y.
Friday, April 18, 2014
Theme and Thesis - Shawshank Redemption - PART 2
My name is Haruki Titsoto and I doing guest post on one of my favorite movie, The Shawshank Redemption.
What's the theme of Shawshank Redemption?
You might ask....what are the three themes?
Three themes? A person has three dimensions!
Yes! You've got:
1) Physical Theme
2) Intellectual Theme
3) Emotional Theme
The physical theme of Shawshank Redemption is, "How do I get out of this prison?"
The intellectual theme of Shawshank Redemption is, "How do I get out of this "intellectual" prison?"
The emotional theme of Shawshank Redemption is, "How do I get out of this "emotional" prison?"
Red(emption) is mentored by Andy Dufresne. Andy teaches Red the thesis answers to all three themes.
The first is, dig your butt out.
The second is, read and self-educate.
The third is, embrace hope.
Wednesday, April 16, 2014
theme = motivation
Turn your characters motivation into a profound question.
Example: I want to reach this goal because it will show that girl I'm successful. = Am I successful?
After numerous failed attempts to reach the goal your character will ask that question. And they may just learn what it means to be "successful" "ambitious" "a friend" "good looking" "a Jedi" etc.
Example: I want to reach this goal because it will show that girl I'm successful. = Am I successful?
After numerous failed attempts to reach the goal your character will ask that question. And they may just learn what it means to be "successful" "ambitious" "a friend" "good looking" "a Jedi" etc.
Friday, April 4, 2014
CHARACTER CHANGE - SIGNS AND SYMPTOMS - ACT 2 - Second ACt
There is common problem in screenwriting in which screenwriters get lost in Act 2. They get stuck. They get bored!
And if they would just plot it all out before hand it would make the screenwriting soooo much easier. Ha!
The irony here lies in the reality that if you make it easy...the screenwriting ends up hard.
What?!
Well, if you've ever had to make a change in your life...
What do I mean by change in your life?
I'm addressing a situation in which you had to break apart from a person place or thing.
That definition is the same for your main character. Their character arc or character change or character growth is forged in the fires of breakup and fused in the fires of bonding.
So, if you've ever had to make a change in your life...
Think about that change.
Thing about the steps you had to take. Maybe even forced to take.
What do I mean by steps?
A step is an action that keeps you from the person, place, or thing you do not want to let go of, or you want to let go of but it seems to follow you.
How does a step feel?
It can feel like shit. It can make you look back and say "Why am I doing this?" It can make you say "I would rather be doing that than continuing to work toward this goal."
What about steps that feel good?
The first step you take towards your goal will probably feel fantastic. It's the second and third and fourth, etc. that start to feel crappy. They start to form the realization in your head that your goal is leading you away from a person place or thing, leading you away from a person place or thing you may not have realized it was going to lead you away from.
You wanted to write a screenplay by the end of the month but your friends are all hanging out tonight...oh the pain of missing out on social events!!!
It's these thoughts and feelings that need to be inserted into action and reaction scenes within your screenplay as the main character continues toward their goal, wrestles with the costs of trying to achieving their goal.
Eventually, you and your main character will start to see the light at the end of the tunnel. You will let go of the old person place or thing along with those feelings that came with it. And you will being to fuse with a new person place or thing and new feelings will arise.
Now you may have to deal with the person place or thing that you've left behind and their feelings. Because they may just seek to hurt you. But of course that depends on your story.
THE POINT IS:
To keep moving toward the goal, keep your main character moving toward the goal, infuse the story with those good and BAD feelings that arise with character change, and experience the miracle of transformation happen right before your heart and mind.
So if you've ever had to make a change in your life...
Think back on the positive and negative feelings you went through.
Those were the signs and symptoms that your main character must also experience.
I'm not just talking about moving to a new town, breaking up with a lover, or letting go of your legos.
Change can also be a lifestyle issue.
If you decide, or your main character decides to give up unhealthy eating and relaxing...the first day of eating well and exercising might feel great...but as you continue to strive toward your health goals, those old fast food meals and nights out with friends eating and drinking all you want are going to call to you like a siren. And bad feelings of regret, desire to give up and go back to your old ways, those feelings will return at some point. Put those feelings in your characters words and actions and push them to overcome them and continue on their journey to their goal.
Change can be a set of beliefs:
If you decide to befriend a person your family doesn't want you to hang out with... the first time you hang out it might feel fun, like your rebelling...but if you keep hanging out and doing new things, meeting more people like your new friend, your family will start to "Attack" and their beliefs and your desire to forge with beliefs of another kind are going to start to release feelings inside of you or your character.
So if you find yourself getting stuck in act 2...
Awaken to the fact that your actually getting somewhere and let those feelings of change start to sneak into your screenwriting. And thank your lucky stars, because that means you're a fucking human being!
Ahhhh CHANGE. Change your shorts. Change your hairstyle. Change your relationship with me and leave a goddamn comment!
Please.
And if they would just plot it all out before hand it would make the screenwriting soooo much easier. Ha!
The irony here lies in the reality that if you make it easy...the screenwriting ends up hard.
What?!
Well, if you've ever had to make a change in your life...
What do I mean by change in your life?
I'm addressing a situation in which you had to break apart from a person place or thing.
That definition is the same for your main character. Their character arc or character change or character growth is forged in the fires of breakup and fused in the fires of bonding.
So, if you've ever had to make a change in your life...
Think about that change.
Thing about the steps you had to take. Maybe even forced to take.
What do I mean by steps?
A step is an action that keeps you from the person, place, or thing you do not want to let go of, or you want to let go of but it seems to follow you.
How does a step feel?
It can feel like shit. It can make you look back and say "Why am I doing this?" It can make you say "I would rather be doing that than continuing to work toward this goal."
What about steps that feel good?
The first step you take towards your goal will probably feel fantastic. It's the second and third and fourth, etc. that start to feel crappy. They start to form the realization in your head that your goal is leading you away from a person place or thing, leading you away from a person place or thing you may not have realized it was going to lead you away from.
You wanted to write a screenplay by the end of the month but your friends are all hanging out tonight...oh the pain of missing out on social events!!!
It's these thoughts and feelings that need to be inserted into action and reaction scenes within your screenplay as the main character continues toward their goal, wrestles with the costs of trying to achieving their goal.
Eventually, you and your main character will start to see the light at the end of the tunnel. You will let go of the old person place or thing along with those feelings that came with it. And you will being to fuse with a new person place or thing and new feelings will arise.
Now you may have to deal with the person place or thing that you've left behind and their feelings. Because they may just seek to hurt you. But of course that depends on your story.
THE POINT IS:
To keep moving toward the goal, keep your main character moving toward the goal, infuse the story with those good and BAD feelings that arise with character change, and experience the miracle of transformation happen right before your heart and mind.
So if you've ever had to make a change in your life...
Think back on the positive and negative feelings you went through.
Those were the signs and symptoms that your main character must also experience.
I'm not just talking about moving to a new town, breaking up with a lover, or letting go of your legos.
Change can also be a lifestyle issue.
If you decide, or your main character decides to give up unhealthy eating and relaxing...the first day of eating well and exercising might feel great...but as you continue to strive toward your health goals, those old fast food meals and nights out with friends eating and drinking all you want are going to call to you like a siren. And bad feelings of regret, desire to give up and go back to your old ways, those feelings will return at some point. Put those feelings in your characters words and actions and push them to overcome them and continue on their journey to their goal.
Change can be a set of beliefs:
If you decide to befriend a person your family doesn't want you to hang out with... the first time you hang out it might feel fun, like your rebelling...but if you keep hanging out and doing new things, meeting more people like your new friend, your family will start to "Attack" and their beliefs and your desire to forge with beliefs of another kind are going to start to release feelings inside of you or your character.
So if you find yourself getting stuck in act 2...
Awaken to the fact that your actually getting somewhere and let those feelings of change start to sneak into your screenwriting. And thank your lucky stars, because that means you're a fucking human being!
Ahhhh CHANGE. Change your shorts. Change your hairstyle. Change your relationship with me and leave a goddamn comment!
Please.
Wednesday, April 2, 2014
Shawshank Redemption - An Archetypal Story
WARNING: Not intended for story creation. The following information will not make you a better writer.
I love this movie. People love this movie. And readers love to break it down in terms of character archetypes.
What's the theme they ask? What's the thesis they want?
But you can also analyze it in terms of story form archetypes.
For example, the story has the classic Comedic story form. No not the "haha" definition.
It starts with a funeral - Andy and his wife are done. She's dead and he is sentenced to prison.
It ends with a wedding - Andy and Red unite at the beach in Mexico.
How else is this story archetypal of the Comedy?
Well, let's dig deeper into the Comedy story form.
First of all you've got two types of movies. Comedy and Tragedy.
Comedy ends high with the formation of a new relationship whether that be love, friendship, a new job with a new boss, a rekindled hobby etc.
Tragedy ends low with the death of a relationship whether that be lost love, friendship, a job, maybe giving up on a dream, etc.
Below each of those two definitions you've got a SPECTRUM or a CIRCLE.
On that spectrum or circle in no particular order are what some people call GENRE: drama, action, thriller, horror, slapstick, farce, adventure, romance, bromance, dog movie, etc, These color your foundation. Anyone reading this wear makeup?
So, the Shawshank Redemption falls into dramatic comedy with a period piece sentimentality sewn in for good measure. My GOD did you see those prison uniforms? Shoe in for the Oscars.
WARNING: Mind Blowing Tangent: Here's a kicker that you won't read ANYWHERE but here on Screenwriting Non-Essential:
SHAWSHANK REDEMPTION - Notice the name "Red" in redemption.
That's important. And I will be posting more on this key to unlocking the secrets of Shawshank Redemption depending on if anyone leaves a comment about it.
Okay back to business:
You can break each of the "genres" into "situational" archetypes.
So for the dramatic comedy you've got:
The Dark Situation
The Glimmer of Hope
The Bitter Event
The Crossing of Axis
and The Final Success
That's funny...you say you've never heard of these?
Well, you're not crazy. I just fucking made them up.
Why? Because I think it's pointless BS to analyze your favorite movies.
Just enjoy them and relax.
Yes, and the secrets to Shawshank. There is no secret!
The author probably chose the name Red because it's in the word Redemption and Red and Andy form this incredible relationship in which they are both Redeemed. It's not because he's fucking IRISH. LOL
COME ON PEOPLE. Give it up!
Let's have fun.
Subscribe to:
Posts (Atom)