One key to a focused script is to know who your antagonist is, and what his objectives and plan of action are. Though your hero may have to abandon her plan of action, the villain's plan of action will always remain an unchanging constant. An out of control bus knocking over anything in its path.

In Graham Yost's SPEED Dennis Hopper is going to blow things up until he gets his money. He starts with an elevator. When that doesn't work, he tries a city bus or two. When they set a trap for him, he goes so far as to strap explosives to HIMSELF in order to get the money he feels he deserves. The quest for the money by using explosives is a constant for the villain. He never changes that plan, even though Keanu Reeves' smart young bomb squad guy does everything possible to stop him. The villain is focused to the point of tunnel vision, and the bomb squad cop must force Hopper (and a subway car) out of that tunnel in order to stop him.

In my book Secrets Of Action Screenwriting I note that the Villain's Plan is the most important part of any action or thriller script... but it's really the most important part of ANY script. The antagonist creates the story no matter what the genre. In a romantic comedy like MY BEST FRIEND'S WEDDING Julia Roberts seems content to live her life as a single woman until Cameron Diaz comes along and grabs her ace-in-the-hole potential husband. If Dermott had never met Cameron, he'd still be available if Julia ever decided to get married. The antagonist is the character that sets the plot in motion... which makes the ANTAGONIST the most important character in your script, and their plan is the action that your entire story is in reaction to. Antagonist is active, protagonist is reactive. Note that "reactive" is not the same as passive... it's still active.

In Bruce Joel Rubin's GHOST Patrick Swayze and Demi Moore are living the perfect life - they've just bought a loft apartment and remodeled it with their pal Tony Goldwyn, Demi is creating some great pottery, Patrick is making money on Wall Street... but when Tony Goldwyn begins using company accounts to launder drug money and Patrick notices the irregularities, the story kicks into gear. Goldwyn has no choice but to have his friend mugged to steal a notebook from him, and that mugging turns into a murder. That action on the part of the antagonist is what creates the plot - Swayze as a ghost trying to discover who killed him, why they killed him, and protect Demi from danger. Without Goldwyn's money laundering scheme, no story at all! Swayze and Demi would still be making pottery together and he would NEVER have told her that he loves her (he would still be saying "Ditto"). Comedy, thriller, love story, action flick, drama, rom-com... the antagonist is the character who creates the story. No antagonist, no plan, no story!


Every *story* needs conflict, and filmed stories need conflicts that we can *see*... and that usually means an antagonist. In SAVING PRIVATE RYAN we don't have a single antagonist - we have an ARMY. The German Army. Our team of protags are behind enemy lines - trying to avoid the enemy - as they make it to the place they believe Ryan parachuted to. No shortage of conflict, and we can SEE all of that conflict. Tanks and bombs dropping and an entire army firing guns at them! Even then we have "Mickey Mouse" - the German officer who they spare at one point who eventually kills some of them. That's the "face of the German army" - a flesh and blood person who symbolizes the army. Someone they can actually struggle with - so that we can see the conflict. In a screenplay, we must have a visible conflict - and that means a visible antagonist.

Movies like REQUIEM FOR A DREAM, FORREST GUMP, and THE GREEN MILE are all based on novels - so they used whatever was in the books they were based on. REQUIEM is the ever-tough to pull off addiction-as-antagonist. That works great on the page - where the struggle can be within one's mind - but it doesn't translate well to the screen. We can't really see the struggle - the conflict - we can only see the "symptoms" of the conflict. Though this film does one heck of a job of making us feel the desperation of addiction and the rush of the high. We also get conflict through characters trying to get the money together to buy their drugs...but the actual cravings for drugs? That's internal and can not be seen - just the "symptoms" show up on film. These films usually don't connect with mass audiences; and despite getting great reviews, I don't think many people saw REQUIEM... probably a hundred times more people saw the SIMPSONS parody episode. That doesn't make it a bad movie - I'm a big fan of the film - but it does make it a hard sell as a screenplay. It *did* have a human antagonist, though - the drug dealer they are in debt to... The one Jennifer Connelly sells her body to for the next fix. That guy is symbolic of her addiction - and provides someone for them to struggle with... to have a physical conflict with... that way we can see the lengths to which they will go for their addiction. Again, we're "putting a face on it" so that we can see the conflict.

FORREST GUMP did connect with the mass audience - but it's a fluke. In a strange way, the whole world is the force of antagonism in GUMP. Because he's a simple guy, and the world is complex. Again and again, Forrest must struggle with the world around him - and we can see these struggles. They tried to catch the same lightning in a bottle with BENJAMIN BUTTON and did not succeed. GUMP is one of those movies that works... but shouldn't work. Like those strange birds that should not be able to fly, but that doesn't stop them.

THE GREEN MILE had an innocent prisoner on death row... that's conflict. I haven't seen the movie since it first came out - but isn't there a warden who is a force of antagonism? I know there's a mean executioner's assistant. These are the "faces" of antagonism in the film, and allow a physical struggle for our protagonist. Oh, and the guy who really did the killings is also a prisoner - and he provides some physical conflict as well. It all comes down to the physical conflict - that's the reason for antagonists. In a film we need a conflict we can see, and struggling with an antagonist (or *physical* force of antagonism). We need a conflict, and a struggle with that conflict, that makes it from the page to that giant screen.

If we can't see the conflict, it doesn't exist - and our job as screenwriters is to make internal and emotional conflict visible. Sometimes that means we "put a face on it" and create a symbolic antagonist.

As always - consider the source. If your story is more like REQUIEM, GUMP, or GREEN MILE - those began as books. A story with a more internal conflict would probably work better as a book - where we can get into a character's mind and understand the internal conflict. Pulling them off on screen is very, very, difficult. We need to externalize the conflict... and still hope that the story is big enough for the screen. When a story begins in another medium, it brings the success of that medium with it. The reason why the make the film is because somebody loved that book. THE GREEN MILE was a successful serialized novel, REQUIEM FOR A DREAM is a classic and FORREST GUMP was a popular cult novel. If you're starting with an original screenplay, it doesn't have the built-in track record that a novel has. As with anything else - if you just have to write your addiction story, write it... just don't expect it to sell.


But what if you are writing a small drama without a mega-villain out to destroy the world? TO KILL A MOCKINGBIRD is a book you probably had to read in school and a movie you may have been required to see. Maybe you haven't seen it since then...

The story is a classic coming of age story, and has two plot threads that are connected by theme, which intersect again and again. Though tomboy Scout is the narrator, it's really her brother Jem's story - and he gets all of the close ups. He's a 12 or 13 year old boy - and the story is about the events that turn him from boy to man.

The "B story" is about Scout and Jem and the kid next door (forget his name) goofing off over summer vacation. Doesn't sound like much, but there's an antagonist - Boo Radley. Boo is a maniac who lives in the creepy old house down the street, and he once stabbed his father for no reason. He's a monster. They once locked up Boo in the basement of the courthouse - because he's a monster - but eventually they let him go back home.

Because Boo is a mostly unseen monster, the story creates two tangible "surrogates" for Boo. One is the creepy old house itself - much of the summer is spent with the kids daring each other to touch the front door of the Radley house. It's kind of like poking a sleeping lion with a stick - the monster could wake up and eat you. Again and again they dare each other - until Jem works up the nerve to crawl under the fence and look through the window. This is a big suspense scene - because you just know Boo will come out of the shadows and grab him... and Boo's shadow *does* creep up on him! It's like the shark fin in JAWS... you see Boo's shadow, you know you're in big trouble!

The other surrogate for Boo is his father - who is very protective of Boo and actually fires his shotgun at Jem in one scene. That's real danger - and an altercation that is tangible, not internal.

The "A story" - which also kicks in during the first 15 minutes or so - is Jem and Scout's lawyer dad, Atticus, being assigned the job of defending Robinson, a Black man accused of raping a young woman. In this story, the antagonist is Bob Ewell, the girl's drunk, violent, bigoted father. He's a great antagonist - and he seems to pop up every ten minutes, drunk and violent and threatening Atticus (or the kids) because he's "siding with that n*gg*r". Ewell is a real monster. This story is Atticus defending Robinson against the charges of rape - both in court and out. Ewell puts together a lynch mob at one point and Atticus (and the kids!) must keep the *armed* mob from snatching Robinson from the jail and hanging him. Ewell pops up at Robinson's wife's house and threatens Atticus and the kids there, too. Ewell threatens them in the courthouse - and even figures out how to make threats on the witness stand. Though there are great courtroom scenes in this film, Ewell *physically* threatens Atticus and the kids again and again outside the courtroom - where *most* of the story takes place.

Robinson is innocent. Ewell knows this. Atticus ends up not just defending a man, but defending the idea that a Black man can be innocent and a white man can be guilty - the basic prejudice of the town.

So we have *two* antagonists... and the two story threads that are connected by theme: there's a great scene where Atticus tells Scout that you can't judge anyone until you've seen his POV and walked in his shoes. Robinson is being judged by the color of his skin, and Boo Radley by his creepy reputation. Scout - but mostly Jem - learns that you can't judge people from the outside. There's a swell scene where Jem *insists* on coming with Atticus to do the right thing (which leads to a confrontation with Ewell). Jem steps up and becomes a man in this film - and learns some hard lessons that change him forever.

One of the things you always have to consider: is your story *big enough* for the screen? TO KILL A MOCKINGBIRD may seem like a small story - but it's about larger events... and there's even a maniac with a knife! The conflict isn't just whether Jem & Scout will be killed by Ewell, the conflict deals with the racial divisions of an entire nation... and the small town trial in TO KILL A MOCKINGBIRD is a microcosm of the civil rights issues in the United States. Even a small story needs a big conflict. Racism is the force of antagonism, personified by Ewell. That's a big story, and a major force of antagonism... even though this is a small coming of age story.

1) Who is your antagonist?
2) What is their plan?
3) How does your protagonist come in the way of them achieving that plan?
4) Remember: the stronger the antagonist, the stronger the story. The antagonist is the most important character in any screenplay! They bring the conflict - and story *is* conflict.

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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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Screenwriting books have been around as long as films have. This series reprints vintage screenwriting books with a new introduction and history, plus new articles which look at how these lessons from almost 100 years ago apply to today’s screenplays. Anita Loos book is filled with information which still applies. In addition to the full text of the original book, you get the full screenplay to Miss Loos' hit THE LOVE EXPERT, plus several new articles on the time period and women in Hollywood.

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"SECRETS OF ACTION SCREENWRITING is the best book on the practical nuts-and-bolts mechanics of writing a screenplay I've ever read." - Ted Elliott, co-writer of MASK OF ZORRO, SHREK, PIRATES OF THE CARIBBEAN and the sequels (with Terry Rossio). (ie; 4 of the top 20 Box Office Hits Of ALL TIME.)

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Expanded version with more ways to create interesting protagonists! A step-by-step guide to creating "take charge" protagonists. Screenplays are about characters in conflict... characters in emotional turmoil... Strong three dimensional protagonists who can find solutions to their problems in 110 pages. But how do you create characters like this? How do you turn words into flesh and blood? Character issues, Knowing Who Is The Boss, Tapping into YOUR fears, The Naked Character, Pulp Friction, Man With A Plan, Character Arcs, Avoiding Cliche People, Deep Characterization, Problem Protagonists, 12 Ways To Create Likable Protagonists (even if they are criminals), Active vs. Reactive, The Third Dimension In Character, Relationships, Ensemble Scripts, and much, much more. Print version is 48 pages, Kindle version is once again around 205 pages!

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*** BREAKING IN BLUE BOOK *** - For Kindle!

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!

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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!
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