Elements of Successful Screenwriting - Part 1

Once again, I am a novice.

However, I am studying the subject matter from many different resources: books, screenplays, Master Classes, seminars and watching television interviews with award winning screenwriters on shows like Close Up With The Hollywood Reporter.

It seems logical that successful books and screenplays combine the writer's unique voice with their life experience vs their interest. Meaning, I may be interested in rocket science, but I'm not a rocket scientist, so my writing will suffer from an authentic relationship with the subject matter -- if I try to write outside my knowledge.

As they say, "Write only the story that you can tell."

You may admire another writer, but you shouldn't copy or mirror a work that isn't true to your voice or knowledge. Fan fiction may be the exception? However, finding one's voice takes time.


The first thing film school applicants should learn is how to tell a story with a beginning, middle and end. It is less about the cinematic vision, than it is about story.

When our daughter Blair toured film schools in her junior year of high school, she had an awakening. We traveled to UCLA, USC and UCF. We didn't make it to tour NYU (a movie in itself). But being a a gifted director, Blair made lots of films in high school with little written. She directed her talent and fed them what they needed to know. Every film school we visited expected her to be a writer.

Film Schools should state, "only writers need apply."

Because a lot of filmmakers are techies and don't realize they need to sharpen their storytelling skills, as well as their technical abilities. It can be quite jarring to discover your dream requires you to take English and Creative Writing seriously.

Tim Albaugh back row 2nd from right & workshop students.

 

Anyway, back to the Successful Screenwriting - when writing a book there are many roads the writer may travel, but in film there are limits. 


Tim Albaugh of UCLA Film School says, "the beginning of the film is the promise of the end." Meaning, the opening scene must give us a hint as to what will ultimately be resolved in the final scenes.

How many times have you seen a movie and been disappointed by the ending?

A powerful opening requires a meaningful conclusion. The stuff in between is equally difficult. However, there is hope.

Stay tuned -- Elements of Successful Screenwriting - Part 2 next.

Thanks,
Emily

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To learn more about Tim Albaugh

Taking Master Classes

I discovered Master Classes on Facebook. My daughter Blair recommended the James Patterson novel writing class. That was my first Master Class.
Patterson reminded me of my mentor, Harry Whittington. Both work at a fast pace. It was a wonderful experience and I came away with a complete outline and chapter for a book I will be writing as soon as I'm done with my other projects.
I answered the MC survey after the Patterson class and recommended Aaron Sorkin. Sorkin may have already been on their list, but I was ready to sign as soon as they posted Sorkin was developing a class.
I have no affiliation with the Master Class site, other than being a fan and student. As mentioned in a prior blog post, I completed a script for my novel Marquel.
Taking Sorkin's class helped me understand some of my story issues. I was having problems with the resolution in Act 2, though I didn't know it was Act 2, until I learned more.

I was also one of the lucky students who got to call in and ask Sorkin a question. Master Class offers different bonus events from contests for co-authoring, to office hour Q&A, to live events like the one I participated in.
I asked Aaron Sorkin something like this, "If I disagree with the notes I've been given on the setting or period of my script, do I have to follow that advice." I say I said something like this, because I was so in awe of the chance to speak with Sorkin that I just remember part of my question and his reply.
Sorkin said something like, "If you feel strongly about something, you can tell Mr. Spielberg  why it has to be this way." Hurray! I thought. Because I had a note from a producer, who wanted me to change the period and challenges of my screenplay from the 1990s to the 1950s.
I am still a novice, but it is nice to hear a pro say that you can stand up for your work. However, the reality is if you are being paid to write a script, you may not have the luxury. It depends on the agreement.
After taking Sorkin's class, I took Shonda Rhimes Television Writing and David Mamet's Dramatic Writing Master Class.
All four of the classes were honest, instructional and provided recommended reading and resource materials. To think that you can learn from the top experts for less than the price of a college text book is mind blogging.
The Master Class format is entertaining, if one just wants to watch an educational program. However, if you ever wondered what it would be like to be a college student who enjoys a guest lecture from one of the industry experts, you'll find Master Class a treasure.
I am super lucky, because I enjoyed working with a pulp master, Harry Whittington. And now I have resources online that make it possible for me to get closer to my book to film reality.

- Next,  What I've learned about Successful Screenwriting

Typos happen.

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How to write a script based on a book

 Writing a film based on a novel sounds hard, unless you wrote the book as a movie. Not that I am an expert...

When I wrote the novel Marquel, I saw it as a movie.

The chapters are plotted in the progression of a suspense film, short and enough info to keep you guessing.

I was taught plotting by my mentor, the late master of the pulps, Harry Whittington. Harry approved the outline and sample chapters of Marquel before he passed away.

My chapters are film scenes with just enough background, emotion and dialogue to keep the reader engaged. Well, I hope so.

I work with my completed novel in Microsoft Word open, along with Final Draft Screenwriting software open.

I’m pretty much toggle between them.

Knowing that a book and film need to grab you from the opening doesn’t mean they’ll have the same initial start. A film might introduce a scene later in the book. Regardless, both book and film should interest the audience immediately.

I cut and paste sections I want to work on from Word into Final Draft. Naturally, it will be a bit jumbled moving from one program to the other.

Films have a specific format and the software is easy to use once you’ve read enough scripts and learned the structure.

However, I still mess up.

I put in camera shots and direction that shouldn’t be there. I get complaints in script coverage about formatting. So, I’m still learning.

Each page is a minute of screen time, so I edit down everything that isn’t dialogue. I pretty much wipe out all the descriptive stuff and get to the bare bones of the discussions my characters are having.

From there I add in the scene headings, action and such.

It takes time to learn how to set up the introduction to a scene, but reading award winning film scripts helps you get the hang of it.

I’m not going to explain what gets capitalized and such, I’m just talking translating book text to a script.

Good storytelling is key in book and film, however in film there is a three-act structure that Hollywood expects. Masterclasses and workshops will help you become more familiar. 

-Next, Taking Masterclasses

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