Act I – Unity/Orphan/Loner
The Hero and his flaw:
CHANGE: Pre-contemplation – Protagonist is unaware of problem.
The Hero’s Redeeming Qualities:
The Hero’s Enabling Circumstances:
The Hero’s Motivation and Point of View:
CHANGE: Contemplation – Protagonist now knows a problem exists but he still hasn’t committed to take action.
The Opponent and the Hero’s Ally:
The Life-Changing Event:
FEAR: Taking small steps – Protagonist is overwhelmed. Strong flight or fight response. Usually chooses flight.
Act II – Deconstruction/Wanderer/Explorer
The Objective and Subjective Storylines:
The Ticking Clock:
CHANGE: Preparation: Protagonist decides to take action.
Hero’s Emotional Reaction to the Life-Changing Event:
Hero’s Physical Reaction to the Life-Changing Event:
Hero’s Ally Offers Help:
FEAR: Concrete, positive motivation: Protagonist meets his mentor. Protagonist knows he must act. Point of no return.
Hero Determines the Course of Action:
Hero and Hero’s Ally Instigate the First Action Against the Opponent:
Opponent Counter-attacks and States His Point of View:
Ally Confronts Hero About Balk:
Hero Renews His Determination to Meet the Life-Changing Event:
Hero Expands His Area of Concern:
Hero Confronts His Character Flaw:
Hero Convinces Ally to Give Him Another Chance:
Hero Proves Himself to Ally:
Hero Partially Redeems Himself, Bonds With Ally:
Second Act Confrontation Between Hero and Ally:
Hero Reveals Part of His Character Flaw to Ally:
Ally Makes Demand of Hero:
Ally Reveals Own Struggles:
FEAR: Sees failure and rejection in a new light: learns from his mistakes. Realizes he has been chasing after a false goal. Learns the true goal.
Act III – Reconstruction/Warrior/Activist
Hero’s Choice:
Hero and Ally Unite Against Opponent:
Hero Expands His Area of Concern Wider:
The Opponent Counters Hero and Ally, the Unraveling:
Opponent Performs Act Forcing Hero to Completely Abandon His Flaw:
Hero Learns True Danger:
CHANGE: Action: Protagonist must modify his behavior/environment in order to overcome his problem. Requires considerable commitment of time & energy.
Second Circumstances, Challenge, Decision, Self-Definition, and Emotional State:
Final Expansion of Hero’s Area of Concern:
The Point of No Return:
FEAR: Being in the NOW: Protagonist must not let thoughts and emotions reside in the future or the past. Concentrate on the Goal at hand.
Act IV – Unity/Martyr/Death
All or Nothing:
Damage to Hero Mounts:
The Low Point:
Hero Discovers Way to Fight Back:
The Audience Discovers Full Extent of Opponent’s Threat:
Hero Learns of Increased Threat:
The Final Battle:
Hero Fully Engages Opponent:
Hero Restates Point of View:
FEAR: Redefining Self: Protagonist must understand/fix the inner problem before he can solve the outer problem. Protagonist must change.
Hero Defeats is Defeated by Opponent:
Hero, Changed by Events in the Story, Faces the Future:
CHANGE: Maintenance: Protagonist must not relapse. He should consolidate the gains/changes made during the Action phase.
Optional Final Twist:
Notice I did not include the Five Stages of Grief – not all characters will have to deal with the loss of a loved one so use at your own discretion, mileage may vary, etc. etc.
Try using the stages of Fear, Change, and Grief to add depth to you characters and depth to your screenplays. Feel free to let me know what you think and how it works for you.
Keep Writing!
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Keep Writing!
]]>Some of the Done Dealers will argue that the theme, premise, CDA of a screenplay can be stated in a single word (eg. greed; hate; lust) while Mr. Mazin vehemently believes that is not enough. To quote: “A good theme is one for which one can make a reasonable argument in support of either side.”
To support Mr. Mazin’s case (as if I have to) I will cite the late, great Lajos Egri: “…every good premise composed of three parts, each of which is essential to a good play. Let us examine ‘Frugality leads to waste.’ The first part of this premise suggests character—a frugal character. The second part, ‘leads to,’ suggests conflict, and the third part, ‘waste,’ suggests the end of the play.”
But, he doesn’t stop there. Mr. Egri argues, as does Mr. Mazin, that premise must be stated in the form of a question so both sides can be argued. In the example above, frugality leads to waste, should be presented as: Does frugality lead to waste?
Bottom line: Theme, Premise, Unity or the Central Dramatic Argument is an assertion that can be argued and will have your Protagonist on the first page NOT believe in A, and on the last page, believe A.
Along with the Done Deal Pro discussion, you can learn/hear more at John August and Craig Mazin’s excellent screenwriting podcast: http://johnaugust.com/podcast
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1. Denial or the “this can’t be happening to me syndrome”. Your character looks for their loved one in familiar places, or sets the table in hopes they return. There’s no crying – no acceptance – no acknowledgement of the loss.
2. When reality begins to set in, your character will become angry –”why me?”. Sometimes they may even feel the need to fight back. They get angry at the deceased, blaming them for leaving.
3. Bargaining often takes place next. Your character may attempt to make deals with the spouse who is leaving, or attempt to make deals with God to stop or change the loss. Begging, wishing and praying for them to come back.
4. Depression-overwhelming feelings of hopelessness, frustration, bitterness, self-pity, mourning loss of person as well as the hopes, dreams and plans for the future will overwhelm your Hero. They might feel a lack of control, feel numb. Perhaps, even feel suicidal.
5. Finally, there’s acceptance. Your Hero must accept the loss, not just try to bear it quietly. She must realize that – in the case of divorce — it takes two to make or break a marriage. Or realize that the person, who has left them, possibly in death, is gone and that it was not their fault. Your character’s goal should turn toward personal growth – she stays with fond memories of person.
There it is. The third leg of your character’s Arc. Use all three – but at least two — to add dimension to your character.
Next I will show you how and where I use these stages in writing my scripts.
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Nope. Neither.
I’m a mild-mannered programmer by day – screenwriter by night. Well, not exactly night, more like every weekend (call me a weekend-warrior). But this got me thinking (a dangerous situation at best): how does my day job influences my screenwriting?
As a programmer I have to be a problem solver. I have to be creative. And when I am coding, I have to think ahead: if I code this function this way, how can I use it somewhere else? If I do this first, what has to happen next? What must I do four or five lines of code down the road? You get the idea.
Programming and screenwriting – or writing in general, for that matter – requires similar skills: understanding structure; the ability to think ahead; solving problems in creative ways; etc.
So, how does your day job influence your writing? We are now open for discussion.
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]]>In the past I would, for the most part, develop my characters on the fly, adding attributes as situations dictated. No more – nada – uh, uh. This is my new 12 Step Program for recovering Lazy Writers. Well, maybe not exactly twelve, but close. Here we go – ask yourself (ie. your character):
1. What makes your character really mad? List three examples of what causes extreme anger in your character:
2. Now, find a time in the story when your character gets most angry and let him/her rant: “I’m so angry because…”
3. Pick one of the three examples from above that is not in the script now, but could/should be.
4. Next, imagine three things he might do as a result of the specific anger you are exploring.
5. Now, determine what makes your character afraid? List three examples.
6. Find a time in the story when your character is afraid and again, let her rant: “I’m so afraid because…”
7. Pick an example of fear not in the script now, but could/should be.
8. Imagine three things she might do as a result of the specific fear you are exploring.
9. What would lead your character to lov10. Find a time in the
story when your character feels love and let him rant: “I’m so
in love because…”
11. Pick an example of love not in the script now, but
could/should be.
12. Finally, imagine three things he might do as a result of
love
These are characteristics I never thought of when writing about my characters in the past. How about yourself?
That’s it – what I’ve learned about writing characters – so far. What I’ve learned about my own writing – so far.
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]]>Resolution #1: Get in shape. Lose weight. Get healthy. Okay, that’s three, but they are all related. A healthy writer is an effective writer.
Resolution #2: Write at least two (2)– count ‘em two — new screenplays. I went to Panera yesterday at 6:30 AM and wrote until 11:30 AM. Started rewriting my screenplay, Cocos Island, after receiving feedback from my writing family over at Shmucks With Underwoods.
Resolution #3: Query as many production companies as possible – New York and L.A. I have the list of companies I plan on targeting with ‘canned’ queries and last week I sent out almost 300 queries.
Resolution #4: Update this blog more often. Hey, it’s day fifteen of the new year and this is my second post. So far so good.
What are your New Year’s Writing Resolutions?
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Wishing you all a Happy, Safe and Prosperous New Year. May 2012 bring you all that is good, nothing bad and fulfilled dreams.
And, of course, I wish you success in your writing. But to be successful, you need goals and to size those goals so they are manageable I would suggest you head on over to Scott Myers’ blog Go Into The Story: http://gointothestory.blcklst.com/2011/12/writing-goals-2012-part-1-looking-back.html and read his series of articles on writing goals for 2012. Here’s a list of topics he discusses in great detail:
Part 1: Looking Back
Part 2: Assessing Where You Are
Part 3: Where Do You Want To Go As A Writer?
Part 4: Practical Matters
Part 5: Going Public
Part 6: Schedule
Part 7: Time Management
Part 8: First Draft
Part 9: The Only Way Out Is Through
Part 10: Trust The Process
Read, enjoy and always,
Keep Writing!
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I wish you a Merry Christmas, a Happy Hanukkah and a Happy Kwanzaa. I could have been Politically Correct and said: Happy Holidays! But that’s sooooo, PC.
May all your hopes and dreams for 2012 come true and always….
Keep Writing!
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