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March 10, 2005
Seraphic Rules of Screenwriting Part II
Gee willikers, how was I to know there are so many aspiring screenwriters out there. Hey, guys, you're supposed to be learning Talmud in the Beis Midrash, not dreaming up Gwyneth Paltrow's next project. Ladies, you're supposed to be slaving away at three jobs in order to support your husband's learning in Kollel. From the volume of mail I've been receiving you'd think I was writing about something earth shattering and fun, like whether it's okay to torture terrorist prisoners. (Believe me, it's not only okay, it's necessary, but that's another blog I'm working on.)
So, you all want more about screenwriting. The basic question being asked is: Can I be more specific about what goes into the outline and structure?
Okay, no problem. I'm a Hollywood screenwriter, I aim to please the public, so pay close attention, what I'm going to tell you for free is usually peddled in Hollywood by so-called "Story Experts." Short-hand for writers who cannot get hired because they have no idea how to write a film.
To continue with the Seraphic Rules of Screenwriting, which if you can't already tell, I'm totally making up as I go along.
Rule #6: Write to a Theme. That is not the same thing as making up a plot or story. A theme is, well, a theme. It's one or two sentences that tell you, in the most simple terms, what the film is really about.
Question: What's the theme of The Wizard of Oz?
Answer: "There's no place like home."
If you got this wrong, well, uh, you might want to read the rest of this blog v-e-r-y s-l-o-w-l-y.
Usually, the theme is something really simple, like "Love Conquers All." Sounds dumb right? But think about it, it's a powerful (though false) idea, and if you have it in mind during every scene that you write, well, a certain dramatic focus is inevitable. I guarantee that when James Cameron was writing Titanic, that's exactly what he was thinking. So, find a theme and stick to it. It's the magical key to your script.
Rule #7: Start with the End. You know how you Mapquest a route before you go on a trip? Same thing with a script. No way you're going to be able to write a compelling story unless you're headed, like a guided missle, to a specific ending. If you don't know how your story ends, do not start writing. You will end up in the literary equivalent of quicksand. It will happen in Act II and it will be horrible.
Rule #8: Settle on a Main Character. Think of the films you like, one of the reasons you like them is because the main character captures your imagination. And what do you do with a main character? Well, you send him on a journey. Your main character wants something. He/she can't get it. How does he get it? How does he overcome all the obstacles you throw at him? That's the story of every single film that you watch. Oh, almost forgot, sometimes your main character does not get what he wants. That's a valid story too. The lovers in Titanic do not end up together. It's called tragedy. When lovers do end up together, it's called comedy. Back to the main character. The reason there are movie stars is because audiences want to project themselves into a particular personae. So, find a main character and make him or her go through hell on their journey to their goal.
Rule #9: The Better the Bad Guy, the Better the Film. It's important to have a main character. Everybody knows that. But it's even more important to have a great antagonist. Thus: the badder the bad guy, the better the story. Think of those cheesy James Bond films. What do you remember? Girls, gadgets, and the villain. Think of a classic action film and odds are the bad guy is juicy. Sometimes, even better than the antagonist. Shakespeare knew it. Think of Iago in Othello. People kvetch about Iago's lack of motivation, but I say, who cares? this guy drips with such evil he's just delightful.
Rule #10: The Sidekick Defines the Morality of the Film. Every main character in a film has a Sidekick. It's the person the main character talks to. He/She is the sounding board for all the protagonist's ideas and actions. Remember the old Rock Hudson/Doris Day movies? No. Rent them, they are great. Anyway, Tony Randall always played the sidekick. He is the classic sidekick. Side kicks are often gay, by the way, but that's a pretty old convention. Straight side kicks are finally getting a shot. No film is without some moral center. Your protagonist inevitably tells his sidekick what he's doing and the sidekick ends up framing it as, yup, a moral decision. The sidekick is the way in which the protagonist debates his choices and ultimately his actions. If you write a film and your main character does not have a side kick, it's a lot like sticking a firecracker between your teeth, lighting it and then waiting to see what happens.
Only a lot less fun.
Hope this helps all you yeshiva bochurim and rebbetzins who are slaving away at the great American screenplay about, well, I guess tales of yeshiva bochurim and rebbetzins. But honestly, if I can do it, anyone can.
Happy birthday to offspring #3. I love you.
Posted by Robert J. Avrech at March 10, 2005 04:08 PM
Comments
Seraphic Secret is private property, that's right, it's an extension of our home, and as such, Karen and I have instituted two Seraphic Rules and we ask commentors to act respectfully.
1. No profanity.2. No Israel bashing. We debate, we discuss, we are respectful. You know what Israel bashing is. The world is full of it. Seraphic Secret is one of the few places in the world that will not tolerate this form of anti-Semitism. That's it. Break either of these rules and you will be banned.
If I understand, you write the screenplay first and then you or your agent contact producers or studios?
Posted by: Bill at March 10, 2005 07:17 PM