FRIDAY'S SCRIPT TIP:
Film is a visual medium, a *dramatic* medium, and that requires conflict that we can
see. If we look at the movies playing this weekend we see a bunch of physical conflict -
from FANTASTIC BEASTS to BAD SANTA 2. But what should
we do when we have a story where the conflict is more internal and emotional? Well,
the first thing I'd suggest is to write it as a novel.
If I were to make a list of top 5 internal conflict movies of all time, HIGH FIDELITY
would be on it. HIGH FIDELITY began as a novel by Nick Hornby, but there are lessons
we can learn from the adaptation... methods of dramatizing internal conflict so that it
can be seen on the screen. First - the movie does something completely unusual. It's
not Voice Over, it's not Narrated, the protagonist actually talks to the audience
throughout the film. It's as if we're his best friend, or maybe his shrink. He spends the
whole film talking to us - even when other characters are present. It's not a Woody
Allen aside - it's the whole danged film! Though this gives us a way to know what the
protagonist is thinking, it isn't *dramatic* and film is a dramatic medium. See, we need a
way to *show* that internal conflict - to turn thoughts into something concrete.
HIGH FIDELITY is about a typical Hornby man-child struggling with responsibility.
Society wants Rob (John Cusack) to grow up - to put on a suit and tie and get a real job
- but he just wants to run his little Chicago record store. Champion Records specializes
in *vinyl* - because records have a more realistic sound quality than CDS. Rob loves
making Top 5 Lists and compilation tapes of *his* favorite songs to give to people. He
is the king of his little universe instead of participating in everybody else's universe.
"You guys are snobs!" a customer tells him. "You're totally elitists. You feel like the
unappreciated scholars, so you shit on the people who know less than you." "Which is
everybody," Rob answers. At Champion Records Rob is king - no reason to join society
when you're king, right? Rob's own mother thinks it's time for him to find a real job and
grow up - but Rob is happy just the way he is...
Until his girlfriend Laura (Iben Hjejle) pulls the plug on his existence and moves out.
Now Rob is going through one of those What Does It All Mean? things - reassessing his
life. He's broken hearted and depressed - but both of those are *internal* conflicts. Why
does he have such bad luck with women? Why is his life in constant turmoil? The
struggle is going on inside Rob, but we can't see that and film is a visual medium. So
we need to find ways to dramatize that conflict - to externalize it. On film, if we can't see
the conflict, it doesn't exist. So all of the characters in the script end up symbolizing
different aspects of the conflict within. You MUST have a conflict we can SEE in your
script. You MUST figure out ways to SHOW THE STRUGGLE. That means you need to
DRAMATIZE emotional conflict - to turn what happens in a character's heart and mind
into actions (and interactions with characters) that demonstrate this emotional conflict.
The best way to do that is to create characters which are symbols for Rob's problems.
The reason why Laura left him was because he's self-centered and refuses to grow up.
He's irresponsible. I've done tips in the past on contrast, and that's the tool we're going
to use to illuminate these problems within Rob. Laura didn't just leave Rob, she left him
for another man - Ian (Tim Robbins). Ian is a symbolic antagonist - he has all of the
qualities that Rob is lacking. Ian is a caring, nurturing therapist who cooks and provides
a shoulder for Laura to cry on. He's understanding, he's mature, he has a real job. Ian
used to live in the apartment above Rob & Laura, but he's since moved into a much
nicer apartment... which is where Laura goes to when she moves out of Rob's place.
After Laura leaves Rob, he embarks on a massive project - reorganizing his record
collection. Not alphabetically, not by year, he's organizing it "autobiographically" - based
on when *he* first heard the song. Talk about self-centered!
On film, you have to find ways to SHOW THE CONFLICT - so "man against himself"
conflicts won't work on their own. You need to have something physical the protagonist
can struggle with - that may be a "personification" of the conflict like Ian. He's a
symbolic antagonist. The reason why Laura moved out is what Rob *isn't* - but you
can't show what a character *isn't* - so you create a character who *is* those things.
Instead of Laura just moving out, she moves in with Ian (the anti-Rob).
Laura makes $60 thousand a year - she has a grown up law job. Ian is a therapist who
makes enough to move into a better neighborhood. Rob's record store is so successful
that he has to borrow $5 thousand from Laura and hasn't been able to pay it back.
Ian is a symbol of what Laura wants Rob to become.... just without the ponytail and
karate class pictures. Even in though Ian is in very few scenes, his *character* is
present from the very beginning. He is Rob's rival for Laura's love. Ian is all of the
things that Rob hates - because they are the changes Rob *knows* he needs to make
in himself. He's fighting those changes... and he's fighting Ian for Laura's love. If your
hero's character arc is to grow up you need someone who *has* grown up so that we
can see the struggle. Rob is in a battle with Ian for Laura's love. Remove Ian and how
can we see the battle?
Another method would be to have a mirror character - someone else who has the exact
same emotional problems as Rob. You know how we can't stand people who have the
same flaws as we have? Mirror characters are a way for Rob to struggle with his
surrogate self and come to realize his own faults.
Rob has two connected internal problems - his relationships with women and his anti-social attitude. Both are symptoms of his refusal to grow up. In order to create a way for
Rob to struggles with these two aspects of himself, we give him a pair of employees.
Dick (Todd Louiso) is shy and paranoid around women. He is afraid of becoming
involved in a relationship for fear that he'll get hurt. He mirrors Rob's relationship
problems - his broken heart, his fear of being hurt in a relationship, and his weird
paranoia that he's just not worthy of any of the women he's gone out with. Though we
get to see this aspect of Rob first hand in his flashback relationship with Charlie
(Catherine Zeta Jones), the character of Dick allows us a reference point throughout
Barry (Jack Black) insults customers, comes to work late and is fun and totally
immature. Barry is about as anti-social as you can get. He's an exaggeration of Rob's
flaws. Rob is a music snob - Barry actually chases off customers who don't have his
taste. Rob isn't ambitious enough to change his life, Barry isn't even ambitious enough
to show up at his slacker job on time. Barry has a dream of fronting a band - but is
afraid to do anything about it. He's rather be a minimum wage slave than take a chance
on doing something better. Those are all Rob's flaws! As Rob struggles to turn Barry
into a more responsible employee, he's really struggling with his own flaws. Can he see
himself from Laura's and realize that he needs to mature?
Mirror characters can work two ways - you can use them as the unchanging "control" in
order to show how your protagonist is changing... or you can have them change in order
to show how your protagonist is stuck in a rut. HIGH FIDELITY uses the mirror
characters as a catalyst for Rob's change. All three are stuck in the same rut, stuck in
the same store... but Dick and Barry begin to mature - leaving Rob behind.
Dick forces himself to overcome his fears of relationships by asking out Anna (Sara
Gilbert), a customer who likes the same music as he does. Barry puts his anti-social
behavior on hold long enough to talk to a musician about forming a band. Up until this
point he has insulted any musician who approached him. When he stops being anti-social,
Barry lowers his walls of self defense and is able to access his dreams. This is
the lesson that Rob needs to learn.
There's a great scene in the movie where Rob suggests the three of them go out to a
club, but Barry says he can't - he's got to write lyrics for his band, and Dick says he
can't - he's got a date with Anna. Rob is left alone in his store while his mirror
characters move on with their lives. This scene ends with a great moment - as Rob is
locking up he sees Dick and Anna across the street kissing. Talk about rubbing it in!
Rob realizes what he doesn't have by seeing his mirror character obtain it. That acts as
a catalyst - Rob realizes he must change in order to be happy. He must get over his
fear of relationships and lower his defensive walls and take a chance on his dream.
Rob has a Top 5 List of dream jobs - and two of the jobs are producing records.
Of course, he's stuck in a rut working at his record store. Producing records would involve
working with others, and he's too anti-social for that.
The next day he hears a music tape made by the skateboard kids who hang around
outside his store, likes what he hears, and goes out and signs them to his record label.
Record label? What record label? Rob has stopped being anti-social long enough to
figure out that he has the connections to start his own label. He's going to put out a CD
(not a vinyl album) and put his music knowledge to good use. Instead of just talking
about music, he's going to *do something*. This is the first step in Rob's maturing
process, which ends with him winning Laura back and asking if she'll marry him.
"I've started to make a tape in my head for Laura. Full of stuff *she'd* like. Full of stuff
that would make *her* happy. For the first time, I can sort of see how that's done." Rob
has been transformed rom a guy who only thinks about what is important to him into a
guy who thinks about what is important to others. He's learned what love really is... and
grown up. We SEE this happening through the use of symbolic characters.
Symbolic Antagonists - DIFFERENT than protagonist - contrast the protagonist to show
what they need to become, what they need to learn, or (sometimes) the protagonist's
Mirror Characters - SIMILAR to protagonist - have exaggerated versions of the
protagonist's flaws, so that the protagonist has to deal with those flaws externally.
Sometimes a Mirror Character contains the protagonist's attributes, and can be used to
show the protagonist taking the wrong road and getting into trouble.
Symbolic Characters are a great way to take an internal struggle and dramatize it. To
take a "man against himself" conflict and turn it into situations where different aspects of
that self are represented by different characters - so that we can SEE the struggle.
This tip is about to be retired because it is a chapter in the Supporting Characters Blue Book!
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OUTLINES & THE THEMATIC!
OUTLINES & THE THEMATIC Blue Book.
ARE YOUR SCENES IN THE RIGHT ORDER?
AND ARE THEY THE RIGHT SCENES?
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.
DESCRIPTION & VOICE Blue Book!
DESCRIPTION & VOICE Blue Book.
IS HALF OF YOUR STORY IN TROUBLE?
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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THE BOOK THAT STARTED IT ALL!
*** THE SECRETS OF ACTION SCREENWRITING *** - For Kindle!
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*** STORY: WELL TOLD *** - For Kindle!
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MOVIES ARE CHARACTERS!
*** CREATING STRONG PROTAGONISTS *** - For Kindle!
*** CREATING STRONG PROTAGONISTS *** - For Nook!
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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Expanded version with more techniques to flesh out your Supporting Characters and make them individuals. Using the hit movie BRIDESMAIDS as well as other comedies like THE HANGOVER and TED and HIGH FIDELITY and
40 YEAR OLD VIRGIN and many other examples we look at ways to make your Supporting Characters come alive on the page.
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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.
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I WRITE PICTURES!
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*** YOUR IDEA MACHINE *** - For Kindle!
*** YOUR IDEA MACHINE *** - For Nook!
Expanded version with more ways to find great ideas! Your screenplay is going to begin with an idea. There are good ideas and bad ideas and commercial ideas and personal ideas. But where do you find ideas in the first place? This handbook explores different methods for finding or generating ideas, and combining those ideas into concepts that sell. The Idea Bank, Fifteen Places To Find Ideas, Good Ideas And Bad Ideas, Ideas From Locations And Elements, Keeping Track Of Your Ideas, Idea Theft - What Can You Do? Weird Ways To Connect Ideas, Combing Ideas To Create Concepts, High Concepts - What Are They? Creating The Killer Concept, Substitution - Lion Tamers & Hitmen, Creating Blockbuster Concepts, Magnification And The Matrix, Conflict Within Concept, Concepts With Visual Conflict, Avoiding Episodic Concepts, much more! Print version is 48 pages, Kindle version is over 175 pages!
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*** DIALOGUE SECRETS *** - For Kindle!
*** DIALOGUE SECRETS *** - For Nook!
Expanded version with more ways to create interesting dialogue! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 50 Professional Dialogue Techniques you can use *today*, Subtext, Subtitles, Humor, Sizzling Banter, *Anti-Dialogue*, Speeches, and more. Tools you can use to make your dialogue sizzle! Special sections that use dialogue examples from movies as diverse as "Bringing Up Baby", "Psycho", "Double Indemnity", "Notorious", the Oscar nominated "You Can Count On Me", "His Girl Friday", and many more! Print version is 48 pages, Kindle version is over 175 pages!
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E BOOKS PAGE
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.
E BOOKS: BLUE BOOKS & NOVELLETES
MY OTHER SITES
B MOVIE WORLD
Cult Films, Exploitation, Bikers & Women In Prison, Monster Movies.
FIRST STRIKE PRODUCTIONS
Producing my own scripts, investment possibilities, pipe dreams.
NAKED SCREENWRITING MP3s
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Each Blue Book is 48
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THE SECRETS OF ACTION SCREENWRITING The Best Nuts & Bolts Screenwriting Book On The
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several sample scripts, my available scripts list... And MORE!
CLASSES ON MP3
CLASSES ON MP3! Take a class on MP3! GUERRILLA MARKETING - NO AGENT? NO PROBLEM! and WRITING THRILLERS (2 Full length classes on MP3). Now Available: IDEAS & CREATIVITY, WRITING HORROR, WRITING INDIE FILMS, more!
Take classes on MP3!