There's more to screenwriting than a few broad strokes. But if you're just starting out, then these 12 principles should give you something to hold on to, something to live by and something to grow with. Now go write!
31 May 2011
The 12 screenwriting principles
Moses had his commandments (as does McKee), I have my principles. They may not be written in stone - then again they might as well be because these are, in my view, essentials.
17 May 2011
Just starting out? Learn from Jason Arnopp
You may be wondering - who the hell is Jason Arnopp? Well, if you're just starting out on your screenwriting journey, I can tell you that Jason is exactly the kind of guy you want to be - industrious, prolific, intrepid.
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| Scary or not, you need to get out there. |
It may come as no surprise to you that you're not the only one hoping for a career in the fabulous world of screenwriting. You need craft and talent, you need stamina and discipline - but you also need something called pazzazz.
If you want to beome a screenwriter - you need to do more than writing, you need to show up and you need to make yourself known.
So what's so special about Jason? Well I'll tell ya! In 2007 my agent convinced me to attend the Screenwriters' Festival in Cheltenham. I hopped up there, had a blast, listened, networked, yacked and drank some pretty decent brew. Among the crowd was Jason and we enjoyed some long yacking at the Cheltenham train station after a fun-filled festival. Our ways parted and we loosely stayed in touch. Here's Jason's blog post about the 2007 Cheltenham Festival.
If you want to beome a screenwriter - you need to do more than writing, you need to show up and you need to make yourself known.
So what's so special about Jason? Well I'll tell ya! In 2007 my agent convinced me to attend the Screenwriters' Festival in Cheltenham. I hopped up there, had a blast, listened, networked, yacked and drank some pretty decent brew. Among the crowd was Jason and we enjoyed some long yacking at the Cheltenham train station after a fun-filled festival. Our ways parted and we loosely stayed in touch. Here's Jason's blog post about the 2007 Cheltenham Festival.
It's an interesting read especially when you compare it to the one following right after the 2008 Cheltenham Festival, which he attended again. Jason had made the most of all his many 2007 contacts and was sharing his insights and knowledge in his blog posts. He engaged pre 2008 Cheltenham Festival, telling newcomers what to watch out for, what to worry about, what to expect. Within the space of one year - it was quite a different festival experience for him. Now don't think that was easy - he hustled, he followed-up, he engaged and wherever he went he made himself known as the quirky guy who can. He certainly talked a good game - and, having worked hard - he was ready to strut his stuff when he was hired to write. He did the 2009 Festival, too, by then blogging about it from beginning to end. Well - I think you get the point.
You must write, of course. Then write some more, absolutely. Then write again why don'tcha! But do not neglect getting out there. You want to be a screenwriter and films are collaborative works. Films are made by bunches of people and if you want a chance of making it as a writer - learn to be out there, meet those people, have fun and grow with them. Where's Jason today?
The industrious Mr. Arnopp has successfully tried his hands at all sorts of things by now - but this year is certainly the momentary high point of his screenwriting adventure. His first feature, a horror flick called Stormhouse, was shot last year (directed by Dan Turner) and will premiere this year at the Edinburgh Festival.
Congrats, Jason and may your intrepid attitude inspire!
07 May 2011
Oh, what a coincidence!
There are different dos and don'ts for the various genres. There are rules you may creatively break and rules you shouldn't mess with. One that I don't mess with is the "one coincidence only" rule.
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| Less coincidence, more impact |
I focus on writing crime, crime drama and, whenever possible, very dark serial killer thrillers and I always go with my time-tested "one coincidence only" rule. I'm sure I picked it up somewhere many years ago. Some book or guru must have mentioned it - all I can tell you is that this is one of the rules that has stuck with me - and that works. Why restrict yourself like this, you may wonder - here's why:
Most times you get frustrated in movies when coincidences are hurled at you. Things just conveniently happen, fall into place at the right time and place for the story to proceed, for the protagonist to be confronted with obstacles, for the next concoction to become remotely plausible. For every lazy coincidence, there's a stronger alternative (and isn't that what screenwriters are supposed to do? Find the strongest possible way?)
Films often begin with a coincidence. Something, out of the blue, happens to the protagonist and throws his life out of whack within the first five or so screen minutes. THAT's the coincidence I obviously allow myself. That one is the one that every audience will never question - something DOES need to happen to get the film rolling and coincidence is a very valid option.
Ha! I've just googled "coincidence screenwriting" and wouldn't you know, the great John August pops up with valuable insights on this very topic. He's not quite as harsh as I am by allowing just one coincidence - but he very clearly supports what I mean - well worth reading, folks. BTW, John mentions the Die Hard example - it's a good one. John McClane just happens to show up at the Nakatomi building when Hans Gruber is about to have his bit of fun. That's the major coincidence. From then on, there's cause and effect - things happen for very good, very clearly thought-through reasons. And that's why the film was huge and the script is still considered to be one of the best and tightest ever written.
When it comes down to it - just remember the "one coincidence only" rule. Feel free to break it - but if you remember it, it will force you, at every step, to think twice about coincidences you write into your stories. Trust me, they weaken your character, your overall story - and your audience will hate you for them.
Whenever coincidence looms - look for the stronger alternative.
Whenever coincidence looms - look for the stronger alternative.
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