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Billy Wilder was nominated for the Best Screenplay Oscar eight times and won the award three times. He was a top screenwriter in his native Germany who fled to the United States after the Nazi's came to power... and ended up sleeping on Peter Lorre's sofa while he learned English. Maybe it was because he was unsure of writing American dialogue, but Wilder soon became famous for his visual storytelling. Paramount had a script that was too long and hired Wilder to trim it. The original writer had a brilliant ten page dialogue scene where a husband and wife discussed how the thrill was gone in their marriage... how they were just going through the motions. It was a great scene... but Wilder replaced it with a half page that gave the audience the same information visually. The husband and wife are on an elevator, standing on opposite side of the car as if they don't know each other. They are silent. The woman caries her purse, the man has his hat on. The elevator stops and a pretty girl gets on. The man takes off his hat and smiles at her. The wife looks away.

Ten pages distilled to half a page that *shows* us how the thrill has gone from their relationship. All of this was done through actions - characters *doing things* that expose character. No long winded dialogue scenes, no talking heads. We witness an action first hand, rather than hear about it later through dialogue. Actions are more *immediate* than words... and more subtle than words.

Billy Wilder said, "The more subtle and elegant you are in hiding your plot points, the better you are as a writer." So let's look at sneaking in plot points in a way that don't need all kinds of exposition...

If you haven't seen THE APARTMENT (1960), shame on you! The film only won *five* Oscars including Best Picture, Best Director, and Best Screenplay... and was nominated for five more! It's the story of office worker C.C. Baxter (Jack Lemmon) who has a nice rent controlled apartment not that far from the huge office building he works in for Consolidated Life Insurance Company. Baxter dreams of moving upstairs someday... but how does one of hundreds of employees at the company get a promotion? Well, Baxter does favors for several executives by loaning them his apartment for their extramarital affairs with secretaries and women they meet in bars. While the executive is getting lucky and drinker Baxter's booze and eating his snack crackers... Baxter is often standing around outside in the rain waiting for them to leave so that he can go home. All of these mid level executives keep telling him that they are putting in a good word for him, but he's still working in that pit on a lower floor.

Then he gets a call to see Mr. Sheldrake (Fred MacMurry) way up on one of the top floors! His promotion? He tells the sweet elevator operator he flirts with every day Fran Kubelik (Shirley MacLaine) that this is his big day: he's getting a promotion!

But Sheldrake just hints at some future promotion... like everyone else, he wants to use Baxter's apartment for his affair. And wants Baxter to make him a key (for the others, he just left his key under the door mat). And Sheldrake wants to use the apartment *tonight*, even though Baxter is suffering from a cold and just wants to get to bed early. But Sheldrake offers an incentive: 2 tickets to the hottest show on Broadway!

On the elevator ride down, Baxter asks Fran if she'd like to see that hit Broadway show with him tonight... these are grade A tickets, best seats in the house! Fran says she has to see someone first, but she could meet him at the theater. It's a date!

But Fran never shows.

Baxter sees the show alone.

The next day, Baxter goes to see Mr. Sheldrake... it seems the woman Sheldrake was with in his apartment the night before left her compact. The mirror in the compact is broke, but Baxter says it wasn't his fault... he found it that way. Sheldrake explains that the woman *threw it at him* the night before, which is why it's broken. They had a little disagreement, but now everything is okay. They put the apartment to good use.

Yes, this is a film from 1960. We never see people having sex, but we know that's what they are using the apartment for. In fact, those other executives have some pretty overtly sexy lady friends and Baxter has found things far more suggestive than a compact in the apartment.

At the Office Christmas Party, Fran apologizes for standing him up. What she thought was going to be just one drink with a friend took a little longer than expected. Baxter completely forgives her (he's in love with her) and offers to show her his new office. Really just a walled corner cubicle with it's own door, but so much better than being in that pit with hundreds of other employees. It's *quiet* in his new office. He also shows her his new hat, an executive bowler. He tries it on for her, but there's no mirror in the office so he doesn't know what he looks like. So he takes out her compact, pops it open so that he can look in the mirror...

And that mirror is broken.

What does this tell us?

There is no dialogue that gives us any of this information, just that broken mirror. But the audience knows exactly what is going on, how this broken mirror has complicated everything and created a massive problem for Baxter. The woman he loves is sleeping with his boss; and he's not only heartbroken, he can't think of any way to solve this problem. He wants to get ahead in the business... but one of the reasons he wants to get ahead is so that he can afford to take out Fran. Sheldrake might give him more great Broadway theater tickets, but he can never use them to take out Fran.


Baxter goes out to a bar and gets really drunk. How can we tell he's really drunk? Well, he makes a complicated design with his martini olives... and there are a lot of Martini olives! The audience can do the math: if each of those olives is from a Martini, this guy is probably too drunk to walk.

He's definitely too drunk to notice the woman at the end of the bar trying to get his attention. She keeps blowing straw wrappers at him, and they bounce off him without him even feeling them. Soon he is covered in straw wrappers... but still hasn't noticed the woman at the end of the bar, so she gets off her stool and wobbles over to introduce herself. She's married, but her husband is spending Christmas Eve in jail and she would like some holiday company. Baxter is on the rebound, and decides to take this married woman back to his apartment... when the bar closes. Hey, lots of married people have had sex in his apartment, why not join the fun?

Meanwhile, Fran and Sheldrake are using Baxter's apartment...

Fran has a Christmas present for Sheldrake: a record album from the musician at the night club they go to before coming to Baxter's apartment. Sheldrake says he has a gift for Fran... and opens his wallet and pulls out a $100 bill.

So, how does that make Fran feel?

Doesn't even have to be said, does it?

Then Sheldrake makes it worse by saying he's got to get home to his wife and children... this *is* Christmas Eve. Time to be with the family. And he leaves.

And Fran is alone is this stranger's apartment.

She goes into the bathroom to splash cold water on her face and sees something reflected in the shaving mirror... a bottle of prescription sleeping pills on the shelf. She takes the bottle of sleeping pills down from the shelf and looks at them, including the overdose warning... then replaces them. She reaches into her purse, and that $100 bill almost falls out. She grabs it... then looks at the sleeping pill bottle again.

No dialogue, no monologue... but you know what she's thinking, right? And you even know what happens next. The great thing about this scene is that she is *contemplating* suicide. She puts the bottle back, right? Then that damned $100 bill makes her feel used and abused again... and she reaches for the pill bottle.

Do we need dialogue for that?

Then Baxter comes back to the apartment with the drunk married woman whose husband is in jail, tells her to wait outside in the hallway for a moment while he tidies up, and enters to find all of the remnants of Sheldrake and Fran's affair (one unpleasant reminder of an item at a time) and eventually spots Fran in his bed.

Great moment: he probably fantasized about having Fran in his bed a hundred times, and now here she is: his boss's mistress, on a night when Baxter has a rebound woman waiting to share that bed with him... so he must kick Fran out of his bed.

Except he can't get Fran to wake up.

And then he spots the empty bottle of sleeping pills and a sealed envelope on his night stand addressed to Sheldrake.

Okay, do we need any dialogue for this? Can the audience figure out what has happened on their own? And how does this make the audience feel?

That broken compact and this suicide attempt are big plot points in the story. Major turning points in Baxter's life. But none of them have any neon lights or fingers pointing at them or even any *dialogue*. It's all done through the actions of the characters. What happens as a natural result of who they are and what situation they are in.

By the way, if you think this is all very dark... it is! And it's even darker because this film is a *comedy*! It's about how Baxter is trying to get ahead in business by loaning out his apartment to cheaters... and all of the funny things that come with that. When Baxter runs from overdosed Fran, past the drunk woman in the hall, to the apartment next door where a doctor and his wife live, and begins pounding on the door in the middle of the night on Christmas Eve, the doctor (Jack Kruschen) grabs his bag and wonders how Baxter managed to get *two* women on Christmas Eve... The Doctor and his Wife are a running gag, because they live next door and hear sex happened next door every single night! And with different women! The Doctor wants to know if Baxter will donate his body to science after he dies, because this guy has *something* that is getting all of these women to sleep with him. So all of these misconceptions are *funny*! And Jack Lemmon is a light comedy lead who does things like strain spaghetti with a tennis racquet. Of course, Wilder and his writing partner I.A.L. Diamond are satirizing the whole Madison Avenue big business world of the 1960s... that world from MAD MEN... and everything is (blank)- wise in dialogue. If you haven't seen it, I won't spoil what happens after this suicide attempt. But you can see how all of these plot points can be made "invisible" with no one sledge hammering in what this means with dialogue. The audience figures it out on their own.

Which brings us to another piece of screenwriting advice from Billy Wilder, "A tip from (Ernst) Lubitsch: Let the audience add up two plus two. They'll love you forever."

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Your story is like a road trip... but where are you going? What's the best route to get there? What are the best sights to see along the way? Just as you plan a vacation instead of just jump in the car and start driving, it's a good idea to plan your story. An artist does sketches before breaking out the oils, so why shouldn't a writer do the same? This Blue Book looks at various outlining methods used by professional screenwriters like Wesley Strick, Paul Schrader, John August, and others... as well as a guest chapter on novel outlines. Plus a whole section on the Thematic Method of generating scenes and characters and other elements that will be part of your outline. The three stages of writing are: Pre-writing, Writing, and Rewriting... this book looks at that first stage and how to use it to improve your screenplays and novels.






Most screenplays are about a 50/50 split between dialogue and description - which means your description is just as important as your dialogue. It just gets less press because the audience never sees it, the same reason why screenwriters get less press than movie stars. But your story will never get to the audience until readers and development executives read your script... so it is a very important factor. Until the movie is made the screenplay is the movie and must be just as exciting as the movie. So how do you make your screenplay exciting to read? Description is important in a novel as well, and the “audience” does read it... how do we write riveting description?

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Should really be called the BUSINESS BLUE BOOK because it covers almost everything you will need to know for your screenwriting career: from thinking like a producer and learning to speak their language, to query letters and finding a manager or agent, to making connections (at home and in Hollywood) and networking, to the different kinds of meetings you are will have at Studios, to the difference between a producer and a studio, to landing an assignment at that meeting and what is required of you when you are working under contract, to contracts and options and lawyers and... when to run from a deal! Information you can use *now* to move your career forward! It's all here in the Biggest Blue Book yet!

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Use your creative energy to focus on the content; let Final Draft take care of the style. Final Draft is the number-one selling application specifically designed for writing movie scripts, television episodics and stage plays. Its ease-of-use and time-saving features have attracted writers for almost two decades positioning Final Draft as the Professional Screenwriters Choice. Final Draft power users include Academy, Emmy and BAFTA award winning writers like Oliver Stone, Tom Hanks, Alan Ball, J.J. Abrams, James Cameron and more. * * * Buy It!

copyright 2017 by William C. Martell

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Naked Class NEW! The NAKED SCREENWRITING CLASS ON CD! The 2001 London Class on 8 CDs! Recorded *live* the morning after the Raindance Film Festival wrapped. The two day class on 8CDs, plus a workbook, plus a bonus CD with PDFs.
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bluebook E BOOKS: New Blue Books and Novelettes!
I am expanding all of the Blue Books from around 44 pages of text to around 200 pages! Some are over 250 pages! See what is availabale and what is coming soon!Also, I've been writing Novelletes and there will soon be novels.


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Each Blue Book is 48 pages and focuses on a different aspect of screenwriting. Dialogue. Visual Storytelling. Your First Ten Pages. Act 2 Booster. Protagonists. Great Endings.
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My nineteen produced films, interviews with me in magazines, several sample scripts, my available scripts list... And MORE!
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