Tag Archives: film structure

A PROPHET… And You’re Worried YOUR Character Is Unlikable!

There are many reasons to brave the shocking violence of Thomas Bidigain and Jacques Audiard’s new film, A Prophet (Un Prophéte).  This brilliantly crafted screenplay, which takes you into the brutal world of a French prison through its main character, Malik, makes the prison world of The Shawshank Redemption look like daycare.  As you follow [...]
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Final Challenge Check In

Wow!  It’s hard to believe we’ve already reached the official end of the 2010 Screenwriting Challenge.  To everyone who participated, congratulations!  You’ve made a huge commitment to your writing life that will continue to pay dividends far into the future. Thanks to everyone who came out for the fabulous Challenge Party last night.  We had a [...]
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Challenge Check In #2: What To Do When It's Just Not Coming

We’re now more than halfway through the 2010 Screenwriting Challenge. For those of you who are still writing every day, congratulations! You’re taking a giant step toward becoming the writer you want to be. But what if you’re struggling? What if your writing schedule is spotty or uneven? What if there were [...]
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Power Your Plot: With These Vital Structural Elements

POWER YOUR PLOT With These Vital Structural Elements With 2009 just ending and a New Year beginning, I thought it would be a good time to talk about completions.   Not just the kind of completions you make in your life.  The kinds of completions you make in your scenes. Completions are the single most important element in distinguishing [...]
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2010 Screenwriting Challenge

Begin Your New Year WRITE!  With Jacob Krueger’s 2nd Annual 2010 SCREENWRITING CHALLENGE Why The Challenge? Let’s face it, the holidays are a brutal time for writers. We all do our best writing when we get into a rhythm. But during the holiday season that rhythm can be impossible to maintain.  Schedules get jammed with Christmas parties, gifts to [...]
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Is Your Character An Adjective or a Verb?

It's no wonder that some of the greatest writers began their careers as actors. The art of writing and acting have always been profoundly intertwined. That's because structurally, movies grow out of character. And character is the thing that actors understand best. So what is character from an actor's perspective? And how can that help you as a writer?
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Got an issue with Robert McKee? Me too.

Don't throw away the baby with the bath-water. As with any screenwriting book, there are some good things to be discovered in Robert McKee's "Story". But there's also a lot that can be misleading, confusing or even just plain wrong. And for young writers who take his words as gospel, McKee can pose a real danger to finding your voice, truly understanding your character, and discovering the organic structure of your screenplay. I believe that a big part of that is because McKee teaches screenwriting from a critic's perspective, rather than that of a writer...
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Wild Thoughts About WILD THINGS

Script Analysis: WHERE THE WILD THINGS ARE SPOILER ALERT: If you haven't yet seen Where The Wild Things Are, you may want to check it out before you read this article. Let's set aside the question right now of whether or not Where The Wild Things Are is a good movie. Let's set aside the question of whether you liked it or not (or were a little bit embarrassed for liking it as much as you did). And if you feel like you wasted your twelve bucks on a movie in which essentially nothing happens, let's set that aside too. Love it or hate it, Wild Things is a movie worth studying, because of the bold and unique ways it is structured to reflect its authors' premise, both in its most wonderful, and its most problematic elements. PREMISE? WHAT PREMISE? Wild things is governed by a simple idea-- or at least a strong suggestion-- that we are seeing the whole world through the perspective of a young boy-- as he works out his rage over his isolated life (and more importantly, his parents divorce) by playing with a bunch of stuffed animals in his room. The writer-director team of Jonze & Eggers make a very strong (and very risky) decision that nothing in the world of the Wild Things is going to exist outside what a boy Max's age could reasonably imagine. This is embodied in every element of the film:
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The Writer's Most Dangerous Desire

It may be hard to tell from some of the stuff you see coming out of Hollywood, but believe it or not, no one sets out to be a mediocre writer. No writer dreams of writing that crappy screenplay with the unintelligible plot. No writer fantasizes about creating paper thin characters, canned dialogue, or predictable plot points. As writers, we share a common desire: we want to write great scripts, fascinating characters, brilliant dialogue, and breathtaking stories that catch people and won't let them go. We want to say something that matters to us, have our voices heard, and create the kind of movies we grew up loving. All writers want to be great writers. Unfortunately, for many writers this need to create something great is actually the biggest obstacle to their writing...
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What Happens Next? Getting Un-Stuck When You Are Lost In Your Story

I was recently giving a lecture on using hypnosis to combat writer's block, and was asked a profound question by one of the students. She explained that her block had nothing to do with fear of writing, procrastination, the desire to get every scene "right" or any of the other common causes of writer's block that students were describing. Her problem that she simply didn't know what happened next in her story. She was just plain stuck. And she felt like until she figured it out, she couldn't write another word. How many writers have felt EXACTLY like that? More than you think. It's easy to convince ourselves that if we don't know what is going to happen, that there's no way to move forward in our writing. But the truth is exactly the opposite. And if you want proof, all you have to do is think about your life...
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