Screenwriting Midterm

Major beat

- Moves plot forward, usually consists of one of the types of Scene Completions - Should be the climax of the scene - connective moments between Major beats - Reversal: A change so significant that it causes the plot to reverse itself and change direction; a type of Interruption

"You're not just writing about what these people are doing, or what they did. It always has to be about why."

- Rebecca Sugar, on Steven Universe character development

A Scene should do at least 2 of 3 things,ideally all

1. Advance the Plot 2. Reveal Character 3. Deepen Audience Understanding by Conveying Theme orBack-story

3 Tips for Writing the Perfect Logline

1. Clearly lay out the narrative (but not the ending!). A good logline clearly and succinctly lays out the dramatic narrative of a screenplay and hooks the reader, enticing them to read the entire script. For this reason, a logline never gives away the ending. 2. Use active and visual language. Good loglines use active language that articulates the visual possibilities for the film. Words like "struggles," "journeys," and "fights" are much more intriguing to read in a logline than "learns, "wonders," or "comes to find out." 3. Hone in on the irony of the premise. The best loglines contain a sense of irony. Irony draws the reader in and tells us that we are in for an unexpected and unconventional story. • For example, the logline for Erin Brockovich contains a sense of irony between who the protagonist is and her goal: "An unemployed single mom gets a job as a legal assistant so that she can take down a Californian power company that is polluting a city's water supply." If Erin Brockovich was an accomplished attorney and not an unemployed single mother, the story (and logline) would be less compelling.

Tips for Workshoping:

1. Focus first on what is working. 2. Don't tell the writer what to do. 1. "What's ifs" can be appreciated but not forced 3. Say what you think the writer is trying to communicate. Not what you think they should. • Note where where ideas may not translate 4. Allow conversation and space for follow up after comments • Receive the feedback as it pertains to the work, don't take it personally. 5. Point to what is interesting.

Regarding Character goals, there are "three"types of completion

1. Gets! The Character gets what they want/what they need 2. Doesn't get...• The Character doesn't get what they want/what they need 3. Partial• The Character gets what they want, not what they need• The Character gets what they need, not what they want 4. Interruption• The Character's want/need changes or escalates

Short-form Screenwriting Fundamentals

1. Keep screenplay focused • Build narrative around a single, clear dramatic action (progressive movement of plot), which arises from a single, clear conflict • Dramatize a pivotal moment, rather than an entire life 2. Limit timeframe of the action* • Compress the action to the briefest period of time possible • Goal is to maintain a sense of urgency; "Why this moment?" • Consider a timelock, a deadline by which the goal should be achieved... or else 3. Limit number of characters* • Primarily for clarity of story, ensembles should be used for very specific reasons 4. Visualize • We tell stories through images, even as we write a screenplay • Find a visual equivalent for what is going on beneath the surface 5. Say more with less (limit dialogue) • Allow room for the actor to express through their craft; collaboration 6. Make it new; find your angle • Let your unique experiences inspire or influence your stories * Screenwriting is subjective. Dan Gurkis has his views (as do others in the field), and there are reasons (clarity of story, ease of production, budget limitations). But you make the choice about what best serves your story.

Goals of film dialogue

1. Move the plot forward 2. Reveal character 3. Provide story information 4. Establish tone 5. Convey theme 6. Add to the backdrop of the story

Five Aspects of Character

1. Objective - Goal that motivates a character's choices and actions; a.k.a "a want" 2. Need - Character's subconscious desire or unacknowledged emotional want Internal Conflict - pitting a character's objective against their need 3. Outlook - Character's worldview (internal) 4. Attitude - World's view of the character as they present themself (external) 5. Arc - Growth or change character experiences during course of film's action

Save the Cat Story Beats for Short-form Format

1. Opening Image (page 1) 2. Theme Stated [Thesis] (1) 3. Set-Up (1-2) 4. Catalyst (2) 5. Debate (3-4) 6. Break into Two [Antithesis] (4) 7. B Story * (5) 8. Fun and Games (5-8) 9. Midpoint (8) 10. Bad Guys Close In (8-10) 11. All Is Lost (11) 12. Dark Night of the Soul (11-14) 13. Break into Three [Synthesis] (14) 14. Finale (14-15) 15. Final Image (15

Pitching Tips - Giving the Pitch

1. Pitch the right people. Make sure the investors or producers are the right fit for your screenplay. For instance, if your script is a comedy, don't try to set up a meeting with a production company that only makes horror films—unless your story happens to be a horror film with comedic elements. 2. Find pitching opportunities. Attend pitch fests or use networking opportunities to try and get people interested in your ideas. Contact production companies to see if they accept unsolicited pitches from new writers. Be assertive but polite when contacting those you want to pitch to. 3. Know the elements of your film, inside and out. Make sure you rehearse your pitch before you get in the pitch room and that you are familiar with all the elements of your story. Start at the beginning and progress through the story, limiting your pitch to the most essential elements of your film. Avoid going over the allotted amount of time that you're given. 4. Prepare to answer questions. The story you've been rehearsing may make perfect sense in your own mind but remember it's an entirely new story to someone else. Be prepared for questions from your listeners, and make sure you can answer them when the time comes. 5. Be passionate and confident. You want to convince your audience that your idea is worth their investment of time or money. Even a great idea may not sound appealing if you sound hesitant or nervous. Being confident during your pitch will likely inspire your audience to get just as excited as you are about your film idea. 6. Follow up. It can take a few weeks, or sometimes longer, for some execs to respond to your pitch. Once about a month has passed, craft a polite follow-up email checking in with those you've pitched to. 7. Shop your script around. If you get a "no" after your first pitch, don't take it too personally. There are many conditions that go into buying a film script, and sometimes certain ideas don't fit within a studio's confines. If one studio doesn't work out, you can always shop the idea around to other studios. You should believe in your script, so don't give up on it.

Formatting Review

1. Scene Heading or Slug Line 2. Action / Scene Direction 3. Character cue 4. Parenthical 5. Dialogue 6. Transition

The "Three Part Nature" of a screenplayconsist of these three stages

1. Set-Up 2. Rising Action 3. Resolution

How to Write a Treatment in 6 Steps

1. Start with your title. A title should be something that encapsulates the essence of your story. Some titles use the characters ("The 40-Year-Old Virgin"), the setting, ("Manchester by the Sea"), or the premise, ("Get Out"). Titles can also be metaphorical, ("Silence of the Lambs"). Titles should be as original as possible, and not sound like or be too close to an existing film title. 2. Compose your logline. A logline is just a brief sentence (or two) that captures the general premise of your movie. In your log line, include who the protagonist is and what they're up against in their world. This condensed summarization of the overall concept of your film should make the reader want to see the rest. 3. Summarize the concept. Here is your chance to expand on the shorter log line and provide the next step in understanding how the film will play out. This is also where you can establish theme, tone, and cite any relevant background related to the conception of your story. 4. Set up the main characters. Who is going to be in this story? What do these characters want? How will they develop? Give a brief version of their possible arcs. You want to emotionally invest the reader by giving them a sense of who these characters are and what will become of them. 5. Explore the acts. Once you've set up the world and its inhabitants, it's time to delve into the story itself. Write out how the story begins: What do we open on? Who do we see? Tell the tale of your film as if it were a short-story and include the juicy moments to keep the reader engaged in the world you've created. 6. Epilogue. The final paragraph of your treatment wraps up the narrative. State what the ending is, how the premise concludes, what happens to all the characters, and what they learn (if anything). Here is where you tie up any loose ends and give the reader a sense of what will now happen to this world.

Working Outlines

1. The Film Title and Your Name 2. (Reworked) Premise Logline 3. Scene-by-Scene Breakdown of the entire story of your screenplay • Scene Header • Scene Details • Be specific, minor and major beats: They don't have to be specifically labeled as such, but the details should be as complete as possible at this stage. • [+/-] : Emotional Shift of the Scene Protagonist • [><] : Scene Conflict

The 4 Elements of a Film Treatment

1. Title. Give your treatment a title, even if it's just a working title. 2. Logline. This is a short sentence summarizing the premise. [See slides ahead.] 3. Plot summary. How long you want your story summary to be depends on you as a writer—some writers give short one-page summaries, while others use 70 pages to tell their film's story. 4. Key characters. Provide a breakdown of key characters, including their arc or how their character develops in the story.

The Four Elements of Character are

1. Want/Objective 2. Need 3. Obstacle 4. How (Choices)

What condition would be applied to a Character Cue for a voice that does not originate in the same physical location as the Action or cannot be heard diegetically (withinthe story world)

?(V.O.), or Voiceover

What is "Pitching"?

A- Film pitches are useful tools that briefly convey the important elements of a film project, like premise, characters, plot, and budget. - a screenwriter presents an idea for a film to people who can help finance or produce it (or those who can help in the writing process), in hopes of securing money to write the first draft or produce the project.

Nine Act Structure

Act 0: Someone toils late into the night 1. start with an image 2. something bad happpens 3. meet the hero 4. commitment 5. go for the wrong goal 6. the reversal 7. go for the new goal 8. wrap it up

_______ is the progressive movement of plot; moving from one event to the next. "It [also] means an exertion of energy, an effort to achieve some objective, involving the character's thought, emotion, and will. In other words, ________ implies a purposeful pursuit of an objective.

Action

The fundamental opposition between characters or between a character and a dramatic force. The 5 types are

Character vs. Character • Character vs. Self • Character vs. Society • Character vs. Nature • Character vs. Fate (remnant of Greek theatre; rarely seen in film

From this list, select the terms that are Core Needs that Drive Character Wants

Comfort• Safety• Justice• Validation• Love• Respect

A ______ is a situation with a choice to be made inwhich neither alternative is acceptable. The[external] manifestation of a struggle that occurs within the mind of a character. - Can be more apparent in Long Narratives than Short because more time to develop - Forces protagonist, and sometimes antagonist, to struggle, make choices and evolve

Dilemma

Writing Effective Dialogue

Do: • Write dialogue that is dynamic and progressive • Be concise • Keep lines simple • Keep speeches short • Take care in representing a dialect or accent on the page Don't: • Don't turn every beat through dialogue • Don't always write "on the nose" [see "Subtext"] • Avoid filler words and phrases • Link = Article/List of Fillers • Avoid stammering or stuttering except when the dramatic situation demands it • Don't be inflexible

The event that introduces the primary conflictand launches the main character on theirjourney is called the _______.

Inciting Incident

Match: What do INT. and EXT. stand for?

NT. = Interior EXT. = Exterio

Types of Characters:

Protagonist (Hero or Antihero) • "Main character" works toward the central story goals • Antagonist works against the goals Often foil of Protagonist Pushes protagonist toward growth and change throughout the story

Stepping Into Character

Release Ego Connect through curiousity about others experiences and chooices without judgement - stand in their shoes (engage with media & socialdemographic diveristy) Empathy - Instilling Wonder into your life

Minor Beats

Smaller changes that make up structure of a scene (ex. a character enters the scene,performs a physical action, or adjusts in emotion or psychology

Three Act Structure

The classical model of narrative form. The first act introduces characters and inciting incident / dilemma ; - the second act offers midpoint , rising action = - the third act contains the climax and resolution.

Active voice example

The dog chews a bone The boy looks at the ducks

Tone

Though a lot of a film's tone is generated through cinematography and soundtrack, the shaping of those elements begins at the script. • Feeling, Mood, or Attitude • Emerges from between the lines; from the mixture of structure, narrative development, character, and dialogue How to Shape Tone: • Verb choice (Ex. ran vs. sprint; throw vs. launch; hug vs. embrace) • Description choice (direct, aggressive, sharp v. gentle, soft, flowing adjectives and descriptions) • Setting (Location, Time Period, Time of Day/Lighting, Sounds, Character Descriptions) Genre: • Knowing the genre will help guide the tone

Object v. Subject

To view someone/something as • Object: loss of complexity, denies authenticity/consciousness of the other • Subject: understands depth of motivation, considers validity of a different perspective than one's own

Pitching Tips - Writing the Pitch

Writing a Pitch 1. Write an introduction. A brief overview including the title, logline, genre, and theme; and whether your story is entirely fiction or based on a true story. May include why this screenplay is important/what it means to you. 2. Include a synopsis.Discuss the basic plot of the story without giving it all away. 3. Discuss the characters. Describe the protagonist, any antagonists, and/or important secondary characters. Briefly discuss their motivations/ arcs, or traits that make them compelling. 4. Address the filmmaking elements. Your pitch may include specific formal elements (cinematography, lighting, music, etc.) that inspire you or add to the mood of your film. Mention the budget, existing financing, or if any directors or actors are currently attached. 5. Write a compelling conclusion. Discuss how the story ends. Can also end on a cliffhanger, but leave the listeners wanting more, rather than confusing or leaving them unsatisfied. Can also discuss significance of making film at this very moment, and any other interesting personal elements that could help sell your idea. Convince your audience you are the only one who can make this movie.

4 Primary Parts of a Logline

[Protagonist] + [Inciting Incident] + [Protagonist's Goal] + [Central Conflict] • It is not necessary that your logline read in this exact order. However you decide to structure your logline, these four components should be clearly defined. • Common industry practice dictates that loglines are only one sentence long. Some screenwriting gurus even cap loglines at 30 words. That said, an effective logline can be as long as a couple sentences, especially if it's a complicated film.*

Even "small" dilemmas

can lead to a crisis and a decision that has long-term consequences for your protagonist • Ex: Who to invite to a birthday party or to eat lunch with in the cafeteria?

• One "test" is to create a worst-case scenario for your character within the context of the story, then think of another situation

equally as bad. Force your character to choose. • On many occasions, the dilemma involves an ethically wrong decision that may produce a desirable outcome but could have a severe moral consequence • Ex: Do you betray your spouse or your best friend?; Do you tell a dying friend the horrible truth about their son or let them die with their illusions?; Are you trapped in a comic situation in which the person you've met is simultaneously the best thing that ever happened to you, as well as the worst?

Screenplay Formatting

helps us to organize and clearly present Action and production information.

A logline

is a one-sentence summary or description of a movie. • Loglines distill the important elements of your screenplay—main character, setup, central conflict, antagonist—into a clear, concise teaser. The goal is to write a logline so enticing that it hooks the listener into reading the entire script.*

elevator pitch

much briefer form of the standard pitch. The idea is that you deliver the pitch quickly—in about the amount of time you would spend in an elevator ride. An effective elevator pitch should express the essential premise of the idea that doesn't last more than 20 to 30 seconds.

Standard pitch

rehearsed, scheduled pitch in which the screenwriter relays their movie idea to a group of investors or production executives. In some cases, the execs may ask the creator to make a pitch deck to accompany their verbal presentation to help expand upon the screenwriter's vision for the film. These pitches often last anywhere from 15 to 30 minutes.

secondary character

singular purpose • Catalyst • Initiator of an event • Confidant • Supports Protag, provides insight • May speak the theme of the film • Voiceover (external "narrator" or diegetic character)

needs are

subconscious and somewhat nonspecific. - Characters must have a defined, compelling, tangible objective (want), but knowing their need will help - determine their responses to - obstacles and the choices they make in - pursuing the objective. Ask: "What is the opportunity to attempt fulfilling the need?" in every scene Connection to tangible want will develop.

point of attack

the place in the story where a dramatic plot begins - Minor Beats: connective moments between Major beats - Major beat should be the climax of the scene

Short short

• 2-4 minutes • Single dramatic action with one crisis • approx. 1-2 scenes

Medium Short

• 20-25 minutes • Complex dramatic action with multiple crises • Underscored by simple B-plot • 12-15 scenes

Long short

• 30+ minutes • Complex dramatic action with multiple crises • Underscored by dynamic B-plot • 20-30 scenes

Conventional short*

• 7-12 minutes • Single dramatic action with one or more crises • approx. 5-8 scenes

When writing Characters:

• Be curious, and open to following the character • Put yourself in their shoes • Remember the complexity of motivations (Goals are driven by a Core Need; a vulnerability) • Their journey should display a shift in consciousness

external

• Body Movement/Action • Speech (Dialogue) • Emotional Expression • Setting*

• How do we move from objectifying to "subject-ifying" our Characters?

• Curiosity, Empathy, Playfulness, Wonder • Remember, everyone is motivated in their actions by something (a Need/Goal) • Shift in consciousness • For both Protagonists and Antagonists • Our characters often make this kind of journey/shift in consciousness, too • Ex. Lust > Desire > Love; Self-centered > Team Player > Community Builder • Adds complexity to character

Genre

• Each genre contains certain expectations and elements that elicit emotion in the viewer • Stay focused; if genre blending, no more than two genres. More can become muddled.

A "Good" Treatment...

• No right or wrong way to write a treatment, just the way most suited to your story - one that conveys the core idea in the most effective and engaging way by creating a mood and atmosphere, in visual and emotional terms. • Should give a sense of the kind of film you're intending to write, the way it will be told and how it will make the audience feel. [Tone: see slides ahead] • The style might be more relaxed and colloquial if you're writing a comedy; clipped and dynamic if it's an adventure; more poetic if it's a romance or a fantasy. • Perhaps more details about set-up for a thriller or a high-concept idea, the premise that'll drive the story, rather than the pay-off; more detail if we're in a sci-fi world that's completely new to us; more atmosphere and intrigue if it's a mystery, without necessarily revealing the whole story*. • Should be as brief and succinct as possible. It should be well presented and good to look at. Choose an unfussy font and

character conditions

• Plural Protagonist-two or more characters working in pursuit of same objective • Plural Antagonist-two or more characters functioning in opposition to protag • Unity of Opposites- a conflict in which protag and antag objectives are diametrically opposed

Avoid : Screenwriting Fundamentals

• Special/Visual FX • Multiple subplots • Weapons • Serial killing • Parodies and mockumentaries* • Dreams and fantasies • Characters who are walking contradictions

Internal- Avoid

• Thought • Feeling • Intent • Explanation of Motivation