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16 MovieMaker guide to making movies 2005

a successful screenwriter needs to understand what brings an audience into the cinema in the first place. Audiences look for a variety of qualities in a film, depending on their own personal tastes and desires. Some people go to the mov-ies to see sex and violence or thrills and spills, while others hope to walk away with the belief that love and beauty still exist in the world. Some are looking for a solution to their everyday problems, while many more are simply looking for libera-tion from their mundane daily reality.

For this reason, you need to know what kind of audience “belongs” to your material. You need to know what makes that audi-ence tick. Unless the audience invests in your story, the screenplay simply will not have any muscle.

Your first duty as a screenwriter is to create a story that will reach your chosen audience. Inspiration for such a screen-play can be found almost anywhere: in the library, in folktales and urban myths; in the ongoing drama of everyday life.

Since going to the movies is like enter-ing a parallel universe, as creator of that world’s blueprint, you have the power to craft an entire reality. (That’s the fun part.) But you also have the awesome responsibility of developing the entire backbone of a film that an army of people with a mountain of money will someday be working to bring to life.

By asking yourself some essential ques-tions along the way, the task of writing a great screenplay won’t seem so daunting.

W h a t M a k e s a G o o d s t o r y ?

The journey of the everyman struggling against some insurmountable dilemma has been driving plots since cave dwellers be-gan painting their bison hunts. By ritually enacting or rehearsing human problems in an artistic realm, artists not only allow us to relive the excitement of the moment, they help us come up with solutions for real-life challenges.

Even if your movie is populated with A-List actors, a messy storyline will disappoint or even anger a paying audience. They’ll give it bad “word of mouth,” and will tell their friends not to bother seeing it. An elegant story is the writer’s first priority.

A story should also be timely. This means it must be relevant to today’s audience and to current issues. It’s important for the writ-er to be in touch with the zeitgeist or spirit of the times. In fact, the writer must be slightly ahead of the times. Considering that it takes a few years to get a script into production af-ter it has been sold, the writer must actually have a grip on what tomorrow’s mood may be. To ensure his or her place in an ever-changing market, the writer needs to be on the crest of the new wave of oncoming ideas. (If you see a bandwagon, stay off it!)

At the very least, a story needs a clearly identified main character, as well as clear outlines and themes to “hook” the audience and get their interest. We refer to these key structures as the four Ps: Plot, Protagonist, dramatic Problem and Premise.

s t r u c t u r e a s t h e s c r e e n W r i t e r ’ s B l u e p r i n t

The structure of the screenplay is like the scaffolding of a building. It must be sturdy enough to support the entire weight of the story—its characters, their worlds and the writer’s intentions.

The screenwriter specializes in creating a two-dimensional plan, which is imple-mented by the producer, director, techni-cal crew and cast, who then construct this plan into a three-dimensional world for the screen. Like a musical score or an

The Four Ps oF GreaT ScreenwritingscreenWritinG by Dr. Lisa Dethridge1

You may not feel ready to commit to one

particular idea at this point, but the dis-

cipline here is to claim what is important

now as a starting point. Refine ideas as

you begin to explore and understand the ele-

ments that you are committing to paper. The

following exercises will help!______________________________

1. Define a concept that you would like to

explore. For example, you may want to

explore the idea that “Good will always

overcome evil if guided by love.”

2. Define a protagonist who might help

you explore your premise.

3. Decide upon some problems the pro-

tagonist may have that leads him or

her into struggle.

4. Define one or more obstacles that may

lead the protagonist into a struggle or

dilemma with one—or both—of the

two key support roles.

h o W t o B a l a n c e t h e d e M a n d s o f a r t , i n d u s t r y a n d M a r k e t

a successful screenwriter is a highly skilled literary technician, a mouthpiece for the peo-ple, a witness to the history of the day and a magician who conjures illusions for the masses. a successful screenwriter is someone who holds up a mirror to a culture; who uses language as an art form to express ideas and personal convictions. Most of all, a sucsessful screenwriter is someone who, every day, harnesses a powerful impulse to both create and communi-

Get Your exerciSe

guide to making movies 2005 MovieMaker 17

architect’s blueprint, it requires certain skill to both write and read a screenplay. Be-cause a screenplay includes so many aspects of narrative—character, locations, chronol-ogy and action—story structure is often the most complex aspect of the screenplay to organize.

t h e p r o t a G o n i s t

The term “protagonist” refers to the lead character, defined by five main features:

1. His or her physical and psychological nature—his or her inner and outer worlds.

2. His or her back story or past history—

things that occurred before the story be-gins.

3. His or her immediate dramatic prob-lem—the key dilemma that helps to shape the plot in the “here and now” of screen time.

4. His or her character arc or journey—how he or she ends up in a different state from where he or she began.

5. The premise or viewpoint of the writer.During the course of the plot, the au-

dience needs to like (and preferably even love) the protagonist in order to relate to his or her problem and thus stay commit-

ted to the story. Audience members imag-ine themselves as the heroes or heroines of the story; they identify with each prob-lem or success and have a tremendous emotional release or catharsis at the end of a successfully resolved story. To help this process along, the writer must cre-ate a fully realized, sympathetic pro-tagonist—a character who hits the screen complete with a rich back story, plus a psychological profile that mirrors our own problems and needs.

t h e d r a M a t i c p r o B l e M

The dramatic problem refers to the way a writer lures an audience into the story by providing an organized set of obstacles or dilemmas for the protagonist to solve. If we can relate to the central dramatic prob-lem, we are more likely to “buy” the story and empathize with the protagonist. This problem is what will drive the plot, by pro-viding complications and obstacles for the protagonist to deal with. It is crucial that this problem be resolved in a way that is satisfying to the audience. This is the es-sence of the audience’s cathartic release or pleasure in the story.

p l o t

Plot relates to the choice and arrangement of events, action and dialogue within the timeframe or chronology of the overall sto-ry. The audience watches the plot closely to pick up clues and cues relating to the emo-tional and physical journey or character arc of the protagonist.

The writer’s first priority is to create a plot that’s logical, “tight” and coherent. If the story is interrupted by gaps and holes that don’t make sense, the illusion of the story is shattered and the general effect is one of audience confusion and disappoint-ment.

More than the cast, the art direction or the locations, the plot is what sells a film. The organization of the story is therefore the first concern of the writer and of the pro-ducer who evaluates the screenplay.

The Four Ps oF GreaT ScreenwritingscreenWritinG by Dr. Lisa Dethridge1

h o W t o B a l a n c e t h e d e M a n d s o f a r t , i n d u s t r y a n d M a r k e t

18 MovieMaker guide to making movies 2005

t h e p r e M i s e

The premise is the overall concept or theme that governs the story. It is the statement the writer wishes to express through the un-folding of character and plot. The power to move an audience comes from a writer who has a strong attitude or viewpoint to com-municate. There must be an emotion at the center of a story: a sense of conviction, an-ger or humor that the writer imparts to the characters.

Good writers construct the plot , protagonist and the dramatic problem as vehicles for their premise or viewpoint. The audience is not usually aware of the writer’s premise—it’s an invisible support that works from deep within the structure.

The premise is like a private guideline that helps the writer to shape every scene. It helps the writer stay on track, organizing plot, protagonist and problem according to a clear vision and a definite viewpoint. The premise is the writer’s secret weapon; their ace in the hole. It often comes out of the moral, philosophical, spiritual or intel-lectual idea that drives the writer to write in the first place. It is an abstract idea that the writer must struggle with to make con-crete, using the structural means at his or her disposal.

h o W t h e f o u r p s i n t e r l o c k

The four Ps are interlocked in a seamless whole that may be thought of as the frame-work or structure of the story. This invisible structure is like a house of cards: if one of the Ps is not in order, the rest of the struc-ture will collapse. For instance, the writer can never really consider the protagonist without also considering the dramatic problem. This problem, in turn, will af-fect the events in the plot. Finally, each of these structures is determined by the prem-ise, which provides the writer with a sense of the big picture, or an overall logic that guides the story.

s t a r t W r i t i n G !

Now that we’ve defined the key structural features of the screenplay, you can begin some activities to advance your screenplay. These will be the basis of your blueprint.

Consider what is motivating you to write by asking yourself these questions:

n What kinds of locations and characters do I want to write about?

n Is there a particular set of human problems or themes I need to dramatize?

n Which aspects of human behavior and culture would I like to capture on screen?

Remember—you are not writing a novel.

The script format is about action and be-havior. If you find yourself writing dia-logue or stage directions about a char-acter’s state-of-mind or emotions, stop and think. The characters’ inner world must be demonstrated (not discussed) in action and behavior. You are reporting on action that represents emotion, after all. The actions must speak volumes, which leads to the axiom, “show, don’t tell.”

Ensure that the audience gathers more intelligence at every turn. In your outlining process, consider each and every scene:

n Identify both the high point and pur-pose of the scene.

n Each scene should reveal something about the protagonist’s conflicts—both in-ternal and external.

n Ensure that there is new information (set-ups, revelations, obstacles, pay-offs) so that the story continues to move forward.

n Aim for the highest point of the drama, not for details that can clutter the crucial moments.

One good rule to remember is that if a scene reveals nothing new, cut it. Remain focused on the main plotlines that emerge from your four Ps.

Outline your story ideas using the pro-tagonist and the other key structures as pivots for the process. Read a lot of screenplays and keep a journal of notes, including character biographies—especially for the protagonist and the two key supporting characters who form the central triangle of the story. Remember that conflict is the very definition of drama, and orchestrate the plot around key mo-ments as the protagonist moves toward his or her goal.

While the technical process of screen-writing is complex and time-consuming, the real learning is in doing. Get into the habit of writing daily. Buy a reputable book for tips on the outline of the three-act structure. Chris Vogler’s “Writer’s Journey” and my own “Writing Your Screenplay” each provide a solid template for this complex process. When you have two or three polished scripts in hand, the time will be right to find a producer. In the meantime, keep generating pages and remember to keep stoking that fire in your belly! MM

The “Who Cares?” Question at their first meeting, hollywood producers usually ask a key question of the nervous writer. “hmm, this is a cute romantic comedy about the love affair between an unemployed fireman and a one-legged olympic athlete. So tell me,” the producer asks, cutting to the core issue, “who cares?”

If the writer has done his or her job and thought about the audience, he or she can point out to the producer that unemployment is one of the world’s big problems; it’s both an emotional and an economic problem to which most people can relate. What’s more, he or she can point out how firemen are recognized for their heroic qualities and therefore earn a signifi-cant share of audience interest and sympathy. “Yes, maybe,” admits the producer.

The pitch? This story promises action and drama: anyone can relate to the loss of a limb—it’s a uni-versal nightmare—while the characters struggle for victory! We all love the excitement of fire and racing, two great themes. “Okay,” says the producer, “this shows you have thought about an audience for your story. Maybe we can work together. But does the ath-lete have to be one-legged?”

Producers will nearly always ask a writer to make changes to the script before committing to a project. So the writer must be flexible and prepared to change elements of the story in line with a producer’s needs. “Maybe the athlete character is blind instead?” suggests the producer. The writer needs skills in diplomacy to handle this aspect of the job. If you feel you need to stick to your original idea, be prepared to offer several good reasons why it is essential!

The WaiTinG GameSo you’ve finished your script and just know it will make a great movie—but can’t find the money? Don’t fret. It took 32 years for The Doctor and the Devils to go from script (written by Dylan Thomas and Ronald Harwood) to screen (directed by Freddie Francis); the film was released in 1985. Source: GuinneSS World recordS

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