Bibliography

The Screenwriter's Bible by David Trotier. Silman James.

Screenwriting 434 by Lew Hunter. Perigee.

Writing for Screen and Television by Ronald B. Tobias. Writer's Digest.

2005 Guide to Literary Agents by Kathryn S. Brogan (Editor). Writer's Digest.

The Screenwriter's Problem Solver by Syd Field. DTP.

The Screenwriter's Workbook by Syd Field. DTP.

Screenplay by Syd Field. DTP.

Screenwriting for Dummies by Laura Schellhardt. Wiley.

Comedy Writing Secrets by Mel Helitzer. Writer's Digest

The Writer's Guide to Character Traits by Linda N. Edelstein, Ph.D. Writer's Digest

Write Great Fiction: Dialogue by Gloria Kempton, Writer's Digest

Letting-Go and Getting-In

Adam Salazar (Screenwriter/Producer LEAF Productions), glanced at my screenplay but obviously was looking for something other than story. He skimmed through pages and pointed out certain words used and theme continuity. I didn't expect this. "One-hundred sixteen pages," he said, "Can you cut it down to one-ten?" A sheepish grin came over him.

A screenplay normally runs between 90 to 120 pages. I was well within that limit and I'm sure he knew this as well. He'd been in the business for sixteen years. So I said, "Absolutely." He placed the script aside and said, "I want you on movie crew and I'd like to eventually move you to my writing team."

This is a common occurrence in Hollywood. He didn't care about the script, and cared even less about how long it was. He was sizing me up. What type of person was I? Did I get too attached to my writing? How would I react to the realities of the writing business? Adam had a method to his madness: the skimming, the apathetic attitude to the script, threatening to alter it. He was trying to get a rise out of me and complain that he didn't even read it, or complain that I liked the script exactly as it was. When that didn't happen, I was welcomed to the team. Later he called me up and told me he was actually enjoying the script.

Don't get too attached to your writing. As a novel writer, one has full control. It goes from the writer, to the editor, to the printer, and to the shelf. But in screenwriting, everyone involved pours a piece of themselves into it. Your life is baked into the script to get it at its best to put in the hands of a producer. He alters it to something he can sell. The director then does his artsy-fartsy job of taking a great story and making it pleasing to the eye (further altering it). The actors change lines to better suit the character to their acting style. Before you know it, you're baby has grown to a full fledged film with only a mild semblance to what it once was.

When you learn to accept this, then dealing with the producer/director/agent... or whatever, isn't so bad. They know this. There's a stigma to being a writer. The phrase, "Writer on the set," is a common one filled with animosity and anger. It is usually followed with grunts, scoffs, sighs, and complaints from the crew, because the last thing they want to hear after weeks of filming is a writer screaming, "This isn't what I had in mind!"

Learn to let go and you will have a better chance of getting in the door.

Jump-Starting Your Career: Networking

THE SIX DEGREES OF KEVIN BACON: A game of linking any actor to Kevin Bacon in six movies or less. This was spawned by a theory (and movie starring Kevin Bacon) called "The Six Degrees of Separation." Everyone 1) knows someone 2) who knows someone 3) who knows someone 4) who knows someone 5) who knows someone 6) who can help you.

With this, you can wedge your way right into the business by networking. Finding a few contacts is easy. Directories are full of them. But what do you do when you find one? Well, this can help.

You finally have a contact! You call, and suddenly they respond, "You caught me during pilot season and I am swamped. Call me in a week." -- Next week, it's something else. Then again. UGH! It's not hard to be at the right place at the right time. Networking is a great way to catch someone at the right time. Here are a few rules when talking to someone on the phone so you can make the most of your contact. Remember, they are doing YOU a favor and owe you NOTHING.

1) NETWORKING PT.1: keep a call log and contact log with you at the phone. Write new contacts on your contact log. Write all calls on your call log (including who, what, when, where, why).

2) THE LITTLE CHEESE: You are never going to get to the Big Cheese without going through the secretary. She is your doorway in. If she is not happy, you don't get through. Flattery will get you everywhere and remember to be polite. Her position is no light one and she will make or break you.

3) HAPPY FEET: Your demeanor should be confident, energetic, and in good cheer (not cocky, hyper, and fake). Don't be pushy either! Start small. If you are inquiring about a job, ask to send a resume. If you are inquiring about where to send a manuscript, ask to send a query letter. Don't shove everything you have down their throat.

4) YOU'RE A WANNABE: You know it, and THEY know it. There is nothing wrong with being a wannabe. This is why you're calling. So don't be afraid to ask questions and advice.

5) NETWORKING PT.2: Always ask, "Who else should I contact about this" or "Would you be able to refer me to someone who may be interested" -- This is how you get more contacts.

6) KINDNESS OF STRANGERS: Make for friendly conversation and be a person that your contact can vent to. Say something like "Oh, I'm sure, it must be real stressful." Before you know it, they're telling you their life story like you're a personal friend. Then be understanding and say something to the effect of "Well, then don't let me take too much of your time. When would be a better time to call you back?" -- at this point, your contact will MAKE time for you.

7) WHO SENT YOU?: And finally, ALWAYS ask for permission to use their name as a reference. Never tell a contact, "So-and-so referred me to you" unless you have permission. This is a BIG no-no in the industry.

Product Placement

The following is an article from Carol Dean's newsletter. While she focuses on film, it applies to all projects.

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“We are a branded nation so the brand names actually lead authenticity to a character and or to a set. Product placement agencies actually began popping up to be the intermediary between the studios and the corporations working in the best interests of both; providing the product and also protecting the brand from any placements deemed to be in bad taste or damaging to the brand name. Putting brands in films had the instant ability of making a brand “cool,” hip” and “relevant.” Our companies facilitate the legal clearances for the use of brand name.” - Ms. Ganguzza, President of AIM Productions

Lots of young and emerging filmmakers apply for product placement because product placement has taken a major spotlight roll in feature film marketing and most independent filmmakers assume these corporations are financing the entire film and this is not the case. You need to read websites and find who handles the products that fit your film remembering how many millions Coke or Starbucks spend to have that “family” image so you can’t put them into an R or even some PG films.

The film has to fit the product. Remember, you pitch is “my demographics are your demographics.” Once you find a product placement company that has what you want, send them a 2 page recap of the film and your script. Remember, it all starts with your script. For example, don’t say “on you way home get sandwiches and soft drinks.” Put in the script “bring home Cokes and a Subway meatball sandwich.” Then when you send your script to Coke and Subway film representatives they can envision their products in your film and think it is not an after thought. The secret is the product needs to belong.

You should consider water, drinks of all types, restaurants, clothes, stores, cars, cell phones, computers, ipods, etc. All of these things you can easily use in your film and you should be able to get through a product placement company if your script fits their customers. If you are a first time filmmaker you may only get free goods but who cares, you’re in it for the long run. Next film could be money too!
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A very special thanks to Carol Dean and her newsletter for this article. Be sure to visit her site at fromtheheartproductions.com

Writing for Television and Sitcoms

Writing for television is very competitive and difficult, even taking to consideration that you'll be working with a team of eleven other writers. But the pay-off is well worth it.

MARIE: These breadsticks are old.
FRANK: Well, you are what you eat!
MARIE: Bobby, give your father his helping of Miserable Bastard.
- Everybody Loves Raymond

Remember that most sitcoms are character driven stories in situational comedy.

The Heart of every Sitcom is the What If? scenario. The plot is determined by the reaction of the main character when he is placed in a unique -- frequently uncomfortable -- situation. Not all sitcom dialogue is humorous. In Fact, more than 65 percent of a sitcom's time is taken up with serious situations, which are highlighted by comic relief.
- Comedy Writing Secrets

With this in mind, here are the ten most common setups in sitcoms. These setups are epsiode themes which provide plenty of opportunity for comedy and allow you to build an episode. Think of them as the story concept. While they tend to theme entire sitcoms, these are episodic ideas.

FAMILY AGGRESSION: People who live together long enough become bitter, even when they love each other.
WORKPLACE AGGRESSION: Scrubs and Just Shoot Me are filled with these.
MISTAKEN ASSUMPTIONS: Mistaking one fact for another can lead to disappointment and comedy. For example, Cartman mistaking the Ultravibe Pleasure 2000 in his mom's closet for a cool Christmas toy.
INTRUSIONS: A "breaking of the rules" and sometimes "cover-up" also leads to comedy. Especially when the audience experiences the extent and frequent close-calls the character goes through to continue the facade.
HEARTBREAK: Desperate Housewives and most family sitcoms test the boundaries of relationships.
MORAL AND ETHICAL CONFLICTS: Inner conflict of "right and wrong" is often extroverted in sitcoms.
SYMPATHY FOR THE DISADVANTAGED: Handicapped people have been targets secretly for a long time, and now it is becoming more acceptable to fire shots at them. A good example is Joe from Family Guy.
PHYSICAL MISHAPS: An accident of sorts renders the character helpless in some way for a short period of time.
SOMETHING OF VALUE: ...and the extents people will go through to achieve or protect it.
FAILURE TO COPE: Often includes the lead character unable to cope with a new situation.

Colorful Dialogue: Paint-by-Number

A friend came to me once and said, “Rene’, you know how to write. Help me.” I half-expected a sheaf of papers and an idea to work with and perhaps he needed help with taking an idea and turning it into a story. Instead, he handed me a complete, and correctly formatted, manuscript. He said that everything in the prewriting was perfect and the story should be larger than life by now, but it still seemed “plain”.

It’s true that concept, structure, outlining and all other prewriting steps are essential to a good story, but his script was still just black and white. I told him to “Paint by number.” -- “Paint by number?” he asked. At this point, the script is all lines and shading with no color. The detail is there, but it’s not aesthetically pleasing yet. Take the following for example:

“Based on what you know about him, what do you think Abraham Lincoln would be doing if he were alive today? One: Writing his memoirs of the Civil War. Two: Advising the President. Or Three: Desperately clawing at the inside of his coffin.” -David Letterman

The statement only has a punch to it because of the line “Desperately clawing at the inside of his coffin”. It wouldn’t have the same effect as “Trying to get out of his coffin“. A picture is painted for the reader of desperation, fear, and hopelessness. Combined with the imagery of a cool and collected presidential figure in a 10-gallon top hat, it’s funny. Use as few words as possible with more effect. With that in mind, think of more colorful ways to say:

Watching T.V.
Hailing a cab
Vomiting
Staring

Anything can be made dramatic. Know where to put it and use it to its maximum potential. This is especially useful in dialogue. Remember, don’t just outline the words… paint a picture.

Bad Reviews, Hecklers and Rejection

"Y'know, you can't please all the people all the time... and last night, all those people were at my show." - Mitch Hedberg

In entertainment (all aspects of), you must realize that you are bound to find more people who despise your work than those who love it (even if you are a hit). Do not let this discourage you. There was once a donkey who fell in a hole. The farmer thought, "Well, I can't get him out of there, so I guess I better cover him up." He called his neighbors and friends to come help him and they all threw dirt on the donkey. The donkey merely shook it off and took a step up. Eventually the dirt got so high, he was able to climb out himself. The moral of the story is: "When a little dirt is thrown at you, shake it off and step-up." Though some humorists like to add that once the donkey got out, he walked right over to the farmer and bit him, adding: "Cover your ass or it may come back to bite you."

I'll keep this article short. I think the parable does well enough. Don't let it get to you and keep writing.

2nd Time Back: Poetics

Aristotle. His doctrine entitled Poetics has become the founding work on which all works are based. Imagine, if you will, a guide on how to write ANY STORY. Such is the work of Aristotle.

Your story is like a newly carved piece of wood. It's choppy, blocky, and rough. The piece is there in it's entirety, but now it's time to make it into a work of art. Using Aristotle's manual, we are going to go through your story and smooth out the edges.

Aristotle's Poetics are described as such: Imagine that you have a key chain with six lenses. Each lens is a different color with a different power/purpose. We will go through your script with each lens one-by-one. Remember, when scanning with a lens, ignore all other aspects of the story. You are looking through your script with a specific purpose.

lens 1: PLOT - A plot is a series of events that chain together. If one action does not lead to another, it is not a link, and therefore not an event that is part of the plot. If your events don't link, then the story does not hold together from beginning to end. What this lens searches for is broken links. Each link must be solid. Don't count on any "iffy" events to be an important part of your plot. Be sure there is a chain you can follow from catalyst to showdown.

lens 2: CHARACTER - With this lens, you are going to examine each character and their growth through the story. Like plot, their events need to chain. Each character's actions must be within the character's capability and personality. You cannot have the villain, for instance, help the hero without some purpose. That would be out of character. You cannot have a acrophobic leap from building to building without going through some growth period throughout the story. That would also be out of character. While you are looking for out of character issues, you must also look for ways to define the character. If a character is acrophobic, then make it apparent in some way. Don't just have him avoid jumping a building. This will just make your audience cock their heads curiously wondering what the force-field is that is blocking the character.

lens 3: THOUGHT - This is the intangible spirit of the script. From the conceptual thought to the mindless dazing in between writing. You go back and re-examine what you were thinking when you wrote it. You examine what the characters are thinking at the moment. Rather than dialogue, through this lens, you will look at their actions and expressions (and lack thereof) so your audience can "see" into their heads without hearing the voices. In other words, can the audience get the message you are trying to send without the dialogue?

lens 4: DICTION - Now that we've examine the negative space (the space in-between), it's time to examine the dialogue. Your story is there in action, expression, and plot, now to strengthen it with diction. Your characters need to be so unique from each other that your audience can tell who is speaking without looking at the name. This comes from accents, attitude, vocabulary, and education. It's easy to do this if you have built your characters from the ground-up with a background.

lens 5: MUSIC - Music? Are you serious? Like music, writing is measured in beats. When you have a character pause for a second, it is referred to as a beat. With this lens, you are going to measure the pace of the story, imagine the background music that could be playing and see if it fits the mood you intended. In addition, you can imagine the background sounds and see if you included that in your story to set the mood for the reader. Birds sing, ironworks, clang, cars speed past - all these are "instruments" that play in your symphony and add "zing". Even The Magic Flute included an entire symphony of instruments. Use them.

Finally, lens 6: SPECTACLE - This refers to drama and design. Ever heard about someone making their "grand entrance"? This is a spectacle. Think "spectacular". You are looking for ordinary things that may be better if made extraordinary. Remember when Justice entered the restaurant in Jay and Silent Bob Strike Back? What about when the Alien hissed inches from Ripley's face in Alien 3. Of course we do! They were spectacular! Now, what color were Indiana Jones' boots? We can easily find out but that particular detail did not stick with us because it wasn't important enough. Know what to make into a spectacle and DO IT!

Now, you are half way done. "Half way?!" Yes. If you write just for the hobby, then you're finished. But for a career, then it's time for the hard part... selling your script.

1st Time Back

Okay. You've caved-in and humbled yourself enough to break your work down and make it better. Now what to do?

The first step is to do a read-through. Read your entire work in one sitting. If this is not possible (for example, you're rewriting a novel), then get the first act out of the way and try to do the second and third act in one sitting.

In this read-through, you are going to realize that your work is crap. Not that you are a bad writer, but you will find so many screw-ups that you did not see before: bad grammar, stupid dialogue, scenes that don't belong. So much, in fact, that you're going to want to scrap it. Don't. Don't give up. This is why you have come to the rewrite. Every writer does it and experiences the same thing. As tempting as it is, don't make any corrections. Just press-on.

After your read through, get a red or green pen (something easy to see), print out a hard-copy (as it is easier to see mistakes and red-ink them), and be ready for another read-through. Now determine what symbols you are going to ink-in (the margin) for easy reference. You will need symbols for:

- Misspellings
- Grammar
- Format Issue
- Awkward Wording
- Unanswered Plot Questions
- Character Inconsistencies (Not like the character)
- Character Implausibilities (Not possible by the character)

When you encounter these, don't make ANY corrections. You will be tempted, but take note, and move on. If you like, you can take note of BIG ISSUES by jotting the page number down on the cover.

Next we will cover the second time back (yes... more revisions).

If Your Work is Perfect...

...then don't read this article, or any other article. In fact, stop reading altogether because you know it all. Those who are willing to humble themselves (including myself; I'm not above you) can press-on.

After months of blood, sweat, and tears, you complete your work. You have so much pride in your accomplishment. You have a story from beginning to end and it's just the way you want it. Well, guess what: it's time to tear it back apart. You may think you've been through your first draft, but your first draft is complete when you say "I'm done" and think you're finished with the story.

The hardest part (and still a required part of the writing process) is the rewrite. Admitting to yourself that you need a rewrite is a difficult task. But you need a rewrite because:

- The story is fresh in your head; it makes sense there
- Each page is imprinted in your brain making it easy to overlook OBVIOUS ISSUES
- It's not perfect (and never will be) but it can always be better
- Nobody gets it right the first time

But before you do the rewrite, you must take a break... at least two weeks, preferably two months. This retreat is important because:

- Your brain needs to refuel with ideas and imagination
- You need time to soak in the story and where it went
- After a while, you can see the story as a whole
- If you're gonna tear it apart, then its best that it's done after you've rid yourself of the emotional connection

Remember, focus on the art of storytelling, and not your recent work. Here are some things to do in the meantime:

- Watch lots and lots of movies or read lots and lots of books
- Compare your stories with theirs
- What works in theirs that may not be working in yours
- Why do their stories work so well
- Research the genre or topic that your story was about

You're ready to return for the rewrite when:

- You think about writing something else.
- You no longer think about your work every day.
- You've forgotten details about how your story develops.

In a later article, I will actually discuss the rewrite.

10 Keys to Great Story Scenes

DOES IT MOVE THE CHARACTER AND PLOT FORWARD? - Often, scenes are removed because they just don't belong. If it doesn't move anything in the story, its best to cut it out.

NEVER TELL WHAT YOU CAN SHOW. - Moving lips are boring. If people wanted to listen, they'd turn on the radio. Use visualizations.

AVOID TALKING HEADS. – Cutting back and forth between faces in a conversation just doesn't work. When the director says "action", give him action!

DOES IT HAVE A BEGINNING, MIDDLE, and END? - Every element of a movie has a beginning, middle, and end. This includes the movie, the acts, and the scenes.

PACE YOUR SCENES. - Too much dialogue can be boring. The story should give the audience a ride on a roller coaster. Keep the dialogue and action alternating.

DOES IT CULMINATE IN SOMETHING DRAMATIC? - Nobody cares about the everyday mundane chit-chat. People have lives and watch movies to escape that reality of life.

DOES IT HAVE AN EFFECTIVE TRANSITION? - The scenes should flow together. Each scene should move the audience further into the story and not stop or move them backwards.

DOES IT HAVE A DEFINITE MOOD OR EMOTION? - If the audience does not sympathize with the characters, they won't care about the outcome. Play with their emotions.

DOES IT HAVE A WELL-MOTIVATED CONFLICT? – A conflict without a purpose is hard to swallow. While its fun to watch, there's no drive for the audience. Give them a reason to cheer for somebody.

CUT THE FAT ANYWHERE YOU CAN - Every line in the script should have a place in the story. If its only for filler or color, get rid of it. The meat for a movie should be lean.

Broadening Your Inspirations: Music

In order to broaden your options when writing, you must open yourself up to new inspirations. Music is a good place to start when broadening your tastes. The word "music" itself derives from "muse". But how do you expose yourself to new tastes? By the time you see a band on television or hear them on the radio, they are already mainstream.

Here are two ideas in exposing yourself to new bands and new styles of music:

1) VARIOUS ARTISTS CD'S: "Powerful lyrics inspire powerful situations" - Hit the "Various Artists" section of your music store. Many of these CD's are so cheap they hardly dent your pocket. PUNK-O-RAMA sells for $5-$7 and you get anywhere from 23-29 bands. HOPELESLY DEVOTED TO YOU does the same as well. Soundtracks are also good for exposing yourself to various artists. How many of us were exposed to LORDS OF ACID for the first time when we bought MORTAL KOMBAT and STRANGE DAYS?

2) ORCHESTRATED: "Powerful emotions inspire powerful scenes" - What would CONAN: THE BARBARIAN have been without the soundtrack. Basil Pouledoris extracted the best of the scenes with this music. I recommend (especially if your into the fantasy genre) buying this album and listening to it. Other soundtracks may bring the same emotion. With this, maybe you can imagine a scene you are writing out and organize it better. Action oriented music may inspire a better action scene. Or maybe a love scene, etc.

Accuracy in the Systems at Hand

As I assisted a dear friend with her works, she ran into a road block. She needed a doctor who knew much about medicines. Her problem was the need for a medication what would have the effects and side effects that would suit the story. It was a pivotal point and would eventually be the saving grace of the heroes. So she researched until she could research no more and found nothing. This would have made her re-write her whole story.

A common cause of Writer's Block is the "dead-end" realization of needing to explain yourself. In sci-fi, this usually involves rationalizing how the technology works, in Fantasy, it's usually the system of magic. In espionage and modern day works, it's usually the systems at hand such as law and military issues. To resolve this, be sure your research is accurate, but the story only has to go as in depth as you make it. You don't have to explain, for example, why a teleporter only works one way. If it's your rule, your readers will accept it.

The solution to my friend's problem was simple. It came to me as I watched THE FUGITIVE (with Harrison Ford). The plot revolved around a fictional medication called "Provazic". What's so wrong about inventing our own? We gave it a name and the benefits and flaws we needed to suit the story.

What I'm getting at is: it's your world, do with it as you wish. You can color outside the lines as long as the big picture remains the same. Research the basics, then fictionalize it to suit your needs. If you believe what you are writing, your readers will believe it as well.

It's in Every Part of Me

You've decided that this is what you are made for. You are a writer and there's no two-ways about it. It begins to consume every part of you and you pour yourself out into every story and spend almost every waking moment doing it or discussing it. But how much is too much?

It's a good feeling to discover that you are good at something worth while. And it is also good that you've found your little niche in society and wish to make a career out of it. But remember that there are other aspects in life that need attention.

Even Jesus Christ himself wasn't cocky enough to think his God (father) could consume every aspect of your life. "Render unto Caesar that which is Caesar’s and render unto God that which is God's." I'm sure other religions have their version of this quote as well. Life is very taxing. But before we can satisfy OUR needs, OTHER needs have to be met.

Do not forget that there is life outside the stories: school, work, friends, etc. We all have bills or dues to pay of some sort. Do not let your writing interfere with this. If you can't meet these needs, you may not be able to satisfy the needs of your writing. Finishing school and continuing work will give you an excellent foundation for a future in writing.

Rejection: What Happened?

You wait for weeks for a response. You have the greatest confidence in your work and you greatly anticipate what they are going to say about it. You wait for the mailman everyday like a soldier on the front lines as if expecting a gift from your rich uncle. And finally it comes in! The envelope is nearly ripped to shreds as you open it with your thumb rather than a letter-opener.

“Thank you for your query and the opportunity to look at your screenplay or manuscript. Unfortunately, I must pass at this time. Please excuse this form letter response. The submission volume that this office receives precludes the preparation of a more personal communication. I wish you great success in finding the perfect representative for it.”

What happened? There are many reasons for this. Here are the most common ones:

1) You send your work unsolicited (without permission). You must send a query letter first.

2) The agency already represents too many clients and is not taking any new ones.

3) The agency does not accept works from new authors. There are many other agencies willing to take new writers.

IF YOU GOT YOUR WORK READ, THEN:

1) Improper format. Learn the proper format for the manuscript.

2) The work was not in their listing of genres. Research the agency before you send anything.

3) The work was bad. This is the most feared one. But most works are rejected for the reasons above first.

Don’t be discouraged. Most authors (even the good ones) get rejection letters so often, that they make a game out of collecting them. Lew Hunter (One of the most knowledgeable screenwriters in the industry) once received 64 rejection letters before receiving one interested letter. He almost tossed it in the “rejection” pile without reading it. Be persistent. But remember, an agent never reads the same work twice. So be sure it’s at its absolute best before sending it. And NEVER send a “work-in-progress”.

Plagiarism

I always find people telling me, “Okay, I’ll tell you. But you have to promise not to steal the idea,” So I’ve decided that this issue warranted an article.

A common fear for the beginning writer is the theft of work. You pour yourself out into the story. Your life is in the pages of your work. And you feel it can be taken from you on a whim and carry someone else’s name. There is nothing wrong with this fear. However, the outright expression to someone else about this fear is the sign of an amateur that turns agents off.

Theft is not something that happens in the industry as often as you think. It is a very PERSONAL business and everyone knows everything about everybody. In addition, everyone has their own style of writing and agents are familiar with these styles.

The same time that ARMAGEDDON was released, so was DEEP IMPACT.

Before that, James Cameron released THE ABYSS. At the same time, other production companies released DEEP STAR SIX and LEVIATHAN. It was the summer of deep water horror.

So why do works come out that are similar to each other? Did someone steal something? Here’s how it works in Hollywood.

1) Someone writes a great story and it is bought by an agent.

2) This agent sells it to a production company who puts it in a vault.

3) Then some crackpot decides to film what they think is a blockbuster, and other production companies try to cash in on the summer theme and look through their vaults for similar stories to compete.

So don’t be afraid if a story comes out that is quite similar to yours. It happens, but is most likely not theft.

Like fashion, Hollywood looks for “What’s Hot” this summer and cashes in on it.

A Better Villain

The B-movie genre is great and has a vast following. Typically, the villain is inherently evil. Why does the werewolf kill? Because it’s evil. This little bit of absurdity is easily swallowed by the fans of the genre because this cheesiness is rather appealing.

However, a need-driven story requires that the villain has a “sympathy-for-the-devil” factor. The audience needs to have some sort of emotional connection with the villain in order to believe his need to pursue the hero. This depth generates a more powerful ending when the villain wins or loses in the end. He should go through the character development process just like any hero in your story.

In addition, you can test this depth by interviewing your villain. Picture him in a talk show. Ask him a few questions.

So, Manglor, what do you do for a living?

Why did you choose this career?

Who impacts you the most?

What influence did they have in your life?

Why was a life of crime an ideal choice for you?

Why do you Pursue our hero, Nicholas?

What do you think you two have in common?

What factors do you respect about him?

Also, you may try writing a eulogy for your hero. Imagine the hero has died and the villain must write the eulogy? What would he say about your hero?

These exercises will help you draw out a better and more believable villain.

More on Public Domain

A while back, I posted a site (gutenberg.org) that announced and housed works that have become public domain. But there are other things that are public domain.

HISTORY: History cannot have a copyright. Personal experiences, however, can. For example, you can write about WWII, but you cannot write about a living man's personal experience... at least not without his permission.

CURRENT EVENTS: Current events fall under the same category as history, and follow the same guidelines.

These items always make excellent back-drops for your story. What would JACOB THE LIAR have been if it wasn't set during the war? Perhaps THE SCARLET LETTER would have been completely different.

The setting adds as much to the story as your plot. Keep this in mind.

Project Gutenberg

As I posted earlier, I find a jewel here and there. This one is quite a find.

www.gutenberg.org

Project Gutenberg is an organization that wishes to provide the public with free literature and access to other “Public Domain” works.

What is Public Domain?

Public Domain means the rights to a specific piece of work have expired. There are several advantages to this:

Free Access = Once rights become public domain, the works become available for anyone to read. Project Gutenberg makes these works available for download on their site.

Free Publishing = This means any publishing company can package the story however they wish and sell it.

Free Usage = Any writer can write works based on the original without fear of copyright infringement.

Right Opportunities = For a price, one can buy the rights to a piece of work. These are usually rather expensive.

These include works such as DRACULA, FRANKENSTEIN, most works by the BROTHERS GRIMM, etc.

This is a great place for those who write fanfics to write a story they can sell as their own!

WARNING: Rights are purchased all the time. Be sure to check on the availability of these rights before writing anything based off these works.

Why Isn't it Working?

One of my friends brought a handful of pages to me. She said something was wrong. When I asked here what the problem was, she couldn’t point it out to me. All she could say was “Something isn’t working”.

This is a common issue. Her story was about a teen forced to move from the city to a backwoods town in Kentucky. The teen witnesses a murder and resorts to calling her friends back in the city for help. But there was something very linear about it. The story seemed to move from point “A” to “B” to “C” too fast, with no real “story” other than its face-value. It was almost like watching a series of events rather than “experiencing” the story.

We discovered that there was a problem in her character development. Each character brought something to the story with them, but neither one had a story of their own or conflicts. It was merely four teens solving the problem through a series of events, then getting caught and escaping certain death. She had her outside/action, but not her inside/need.

While this problem was unique to her, many writers find that their scene is too bland (talking heads), they’ve written themselves into a corner, (failure in structure), the characters are too flat (failure to develop characters). It is important that you solve a problem as you approach it rather than leaving it alone and hoping it will solve itself later as the story develops. The second you realize that something isn’t working, step back. Don’t wait till your stuck to stop. By then, it may be too late and the story may require more repair.

Learn and practice how to identify a problem before it becomes a bigger one.

Finding a Good Agent's Directory

A hard part of breaking into the business is finding an agent. Agents are very secretive about their locations and mostly can only be found through referrals form other agencies or being an established writer. But there are directories which agents allow exclusive rights to print their location and contact information. These can be expensive, so you want to make sure you choose the right one. Here are some things to look for in a good directory.

Current as of this year with the following information: Agency, Agency Profile, Agents, Contact, Address, Phone Number, Fax Number, e-mail (some agencies prefer not to release this information), Types of media represented, Types of clients represented, Preferred Genres, Recent sales (some agencies prefer not to release this information), Preferred method of contact, Estimated response time, Terms, and Qwerks.

EXAMPLE: (The following information is not real and should only be an example of a good entry in a solid agent’s directory)

MOORLEY LITERARY AGENCY

99696
Low St., Laredo TX 78045. (956) 555-1212, Fax: (956) 555-1213. E-mail
queries@moorley.com CONTACT Rick Moorley, Estab. 1992. 10% of new
clients are new/unpublished writers. Currently handles 90% fiction, 10%
nonfiction

CONSIDER THESE AREAS: Crime/suspense, techno-thriller

# This agency only takes new writers through referrals.

HOW TO CONTACT: Query with SASE, accepts multiple simulations submissions, will not respond without SASE.

RECENT SALES: Cthulhu Rising, `lectropulse

TERMS: 10% domestic, 10% foreign

This company does not accept romance.



A good book is:

2005 Guide to Literary Agents; Brogan; © 2004 Writer’s Digest Books

The Difficulties of Comedy

Comedy is a very difficult but effective venue to present your story. It takes timing and orchestration, just like a military assault. In other words, a “sense of humor.” What makes comedy so difficult is the prerequisite of mastering the art of story writing. A comedy must have all the elements of a good story AND be funny. Just because a tale is full of humorous scenes and lines doesn’t make it an effective story. In many ways, a comedy is merely an upbeat DRAMA. You must have your basics (structure, character development, delivery, etc.) AND be funny.

BE ORIGINAL! Nothing kills a joke faster than “Oh, I’ve heard that before”. You want your readers to be taken by surprise, even in conversational lines. Here’s a scene from my script, SAMPSON. It may give you a few ideas. Mind you, here format is difficult, so ignore the format issues.

Sampson is a dog who made a wish to understand what it is to be human. God gave Sampson the body of his owner’s dead husband. In this scene, Eve and Sampson are on their way to the museum for research. But, as usual, letting go of doghood is difficult.

EXT. STREET

Eve realizes Sampson is not by her side. As she looks for him,
she hears some gasps and turns to find Sampson urinating on a
fire hydrant.

EVE
Sampson Yesod!

Sampson quickly zips-up, shakes his leg, and jogs to Eve.

EVE (CONT’D)
What the hell was that?!

SAMPSON
Sorry, couldn’t help myself.

Eve takes his arm firmly in hers.

EVE
Stay right here with me.

They cross another fire hydrant. Sampson stops.

Without a glance, Eve yanks at him to continue walking.

EVE
(firmly)
Hold it.

Breaking Through: Competitions

One of the best ways to “break through the Hollywood wall” is screenwriting competitions. Many of the hosts to these competitions also do Novel writing, Stageplays, and Television. A simple search on the internet will produce hundreds of sites who host these competitions. Some even have lists of hundreds of other competitions.

Many of these have an entry fee that averages $20-$50 ASD (American Standard Dollars). Do not be afraid to enter these competitions due to plagiarism. This fear is the sign of an amateur. Plagiarism does not occur as much in Hollywood as you think. The reasoning is this: Why would a production company pay another writer upwards of $200,000 to rewrite and put his name on a script, when they can buy it from you for $20,000?

Here are some hints to find you a good, legit competition. First, any legit competition (with the exception of the Nichols Fellowship Awards) offers feedback to it’s competitors (I.e. a treatment of your work and how to make it better). Second, most legit competitions are hosted by a major company, famous actor, educational institution, or website with some sort of screenwriting credentials. If you have your doubts about it, don’t enter it.

Finally, don’t be disappointed if you don’t win, especially on your first few tries. It takes a while to perfect your work, and sometimes your writing doesn’t suit the “flavor of the day” for the reader.

Suppressing the Director

It’s a hard habit to break. I find myself doing it often. But sometimes, you can’t help but get a wild idea in your head about how a particular scene can “look”: camera angles, POV, even sometimes a mysterious blur during a flashback. But when writing a spec script, the director in you should be handcuffed and caged. You are presenting your ability as a writer, not a director.

Spec Script means “Speculative“. The story leaves much to the imaginations of the reader. Let them “speculate” about the look. You don’t want everything presented in black and white because it leaves nothing to their imagination. Sometimes a reader wants to put in their two-cents. YOUR vision of the story robs them of this.

In fact, Basic Instinct sold for $2.5mil and had nothing more than action, dialogue, character names, and scene headings. It had no fancy camera angles, scene numbers, flashbacks, montages, inserts, cut to’s, etc.

In other words, if your story and the ability to tell it is solid, you don’t need the fancy stuff. The reader wants the cake, not the icing. Keep this in mind and you will be well on your way to a good script without all the pitfalls that lead a script to the garbage can.

The Query Letter

It's time to advertise your work, but you don't want to pay the shipping for an entire manuscript 25 times. Well, there's good news! You don't have to. In fact, most agents find it rude to have unsolicited works sent to them. The proper thing to do is send a query letter. This is a letter asking permission to send your work, while at the same time, advertising it. It should consist of your logline and about 2 paragraphs of brief description along with any awards you or the manuscript have won (last paragraph). Here's an example of my Sampson Query. The top should include your name and contact information, but I won't include mine here ;)

Dear Reader,

The human spirit is a difficult thing to understand. But what if you were only given a week to find your answer or die? And what if you were a dog given the body of your owner‘s dead husband?

After a few months of neglect from a very loved owner, Sampson, a German shepherd, has made a wish to understand humans. God grants him this wish. Now he has 7 days to find the answer to his question, “What is it to be human?”. If he fails, he dies.

Sampson wakes to find himself in the body of his owner’s dead husband! Now he must convince her of who he is, regardless of the impossibility. He must regain her love, in spite of who he looks like. He must rebuild her faith, though she no longer believes in God. And he must find his answer, even though mankind has yet to find it. But letting go of doghood is proving difficult, and God is curiously evasive about supplying answers.

SAMPSON is a romantic comedy that explores of the human spirit and entertains the very soul. You will never see your dog the same again.

I would like to hear your ideas on this exciting and fresh idea, or other projects you have in mind. I look forward to meeting you.

Sincerely,
Hector Rene’ Segovia

And there’s your Letter!

Where Do They Come Up With This Stuff?

Not only does life imitate art, but truth is stranger than fiction. Tale-worthy events happen around you every day. Strange coincidences lead to awkward moments. Or someone catches the wrong end of a conversation and completely misconstrues what was said. These little things often make good ammunition in a story. Especially if organized just right.

My advice is, keep a little notebook and pencil with you. They’re 3 for $1 and fit in your pocket. There’s no excuse. Whenever something comes up that makes you say “That couldn’t have been scripted better”, write it down. Maybe an idea will pop into your head. Write it down. Even if you are not writing a story that uses this material, write it down. Write it down. Write it down. Remember WHEN HARRY MET SALLY? What was the most famous line from that movie? “I’ll have what she’s having.” Believe it or not, this was merely overheard in a restaurant.

Put all these little tidbits in a shoebox or something and forget about them. Whenever you have writer’s block or you’re about to begin a new endeavor, bring them out and look for something useful you can use. It’s amazing how much more colorful you can make a scene or story when you have your little bank of experiences.

The notes don’t have to be long. Sometimes they only make sense to you. Here’s an example of things that can be written down:

- Mecha car alarm

- Rick was casting D&D spells in his sleep. If an actual wizard talked in his sleep, would he accidentally cast spells?

- Monkeys fling poo.

- Even gorgeous women fart in their sleep.

Now imagine a shoe box with over 200 of these!

Screenplay Format

-Front and back cover: 65-110lb solid color card stock

-Title page & script: 8 1/2" x 11", 3 hole punched plain paper

-Bindings: #5, #6, or #7 brass fasteners 1 1/4" long

-Binding Method: 1st and 3rd holes ONLY

-Font: Courier 12pt, 10 pitch

-Alignment: Align left. Do not justify, leave right ragged

-Left Margin: 1.5" (15 spaces)

-Top, Bottom, & Right Margin: 1" (10 spaces)

-Dialogue: 2.5" left margin, 3.5" wide (35 spaces)

-Parenthetical: 3.1" left margin (31 spaces)

-Character Name: 3.7" left margin (37 spaces)

-Page # Alignment: Upper Right, Flush Right, Never number page 1

-Photocopies are OKAY

NO-NO'S

-No artwork, storyboards, fancy covers

-No scene numbering

-No fancy fonts

-No margin justification

-Do not type "CONTINUED" at the bottom and top of every page

-Don't bold or italicize

-Avoid camera and editing directions

-Don't date your work

-Don't write "1st draft", "Final draft", or ANY draft

-Don't suggest your cast

-Don't include a list of characters or sets

-Don't include a synopsis unless requested

-Don't include a budget

The First 10 Pages

This article covers what is essential to capture a reader. Let's assume your work (novel or script) is going to run about 120 pages. Act one should end by page 25, but the average reader loses interest if nothing interesting happens by page 10. This is a critical point. The following things must happen by the first 10 pages:

-Main character(s) and background established.

-Approximate setting defined.

-At least the Catalyst (preferably the Big Event) occurs.

-Genre clearly apparent.

Professional readers must cover a number of works to determine if they have a sellable piece on their hands. If their interest doesn't happen within the first 10-15 pages, they'll toss it in the trash and move on to the next. And believe me, readers don't read the same work twice, no matter how re-written it has become. A few things to keep in mind as well:

-Avoid long dialogue (large black blocks act as reader repellant).

-Get your formatting correct (If the basics are wrong, the reader will assume that everything else is even worse).

-Spelling & Grammar ARE important! (If the writer can't spell or punctuate, then they're not literate enough to write well)

While all these are unimportant in determining the artist’s ability to write, the reader must find if they have a sellable piece of work on their hands without wasting too much time. I cannot stress enough... the first ten pages are critical!

On a side note: there are screenplay competitions that ask you to submit (and give awards and reads for) the first 10-15 pages of your script!

Writing Your Treatment

Recently, one of my clients came to me with quite a problem: an agent was interested in his book! This was a problem because he has never sold one before and had no idea what to do next. Some of the vocabulary they were using was unfamiliar.

"They said, they wanted a -treat- or something like that."

"It's called a -treatment-, Michael."

Then it occurred to me: this is an important part of selling your work, and perhaps I should inform YOU GUYS on what a treatment is.

A treatment is a 2-7 page (most agents prefer 3 or 4 pages) summary of your story that focuses only on 3 or 4 characters outlining only the key events and some of the emotional highs and lows using little-to-no dialogue. Unlike a Synopsis, a treatment doesn't just outline. This is a sales pitch. It must be as carefully crafted as your story.

TITLE: Should appear at the top and formatted the same as your title page.

FIRST PARAGRAPH: Story's pitch (i.e. Extended logline or concept)

BODY: Double-spaced

Character Design: Avoiding 2D Characters

This is one of the BASICS and should be accomplished before you write the first line of your story.


A big problem that gives a story an amateur feel is 2-dimentional characters. They seem too flat, or have no believability to them. Depth in characters is accomplished in their background. Some of this background may never even be revealed to the reader, but following it gives them the depth that there's "something more to them". Every character in your story should have an outline drawn up. This outline should consist of:

PROFILE: Name, occupation, appearance, dialogue style, clothing, heritage

PURPOSE: Why are they important to the story, what keeps them involved.

PSYCHOLOGY/SOCIOLOGY: Attitudes, relationship with others, sentiments toward others, quirks, habits

TRAITS/FLAWS: Physiology, advantages and disadvantages, subconscious drawbacks

DRIVE/GOAL: Outer goal, motivation, inner need, flaw blocking need

ASSETS/SKILLS: Knowledge, what they bring to the story, what they offer

BACKGROUND: Childhood, relationships, injuries, inheritances, etc...

THEIR STORY: Remember: Catalyst, Big Event, Pinch, Crisis, Showdown, Realization, and Denouement.

10 Elements in Good Stories

EVOKE EMOTION: Appealing to the audience isn't hard. If you've followed the basics, then simply evoking the emotion in the CHARACTER is all that is necessary.

CREATE CONFLICT: Linear stories are not very entertaining. Sub-plots are important. However, sometimes those sub-plots can conflict with each other.

PROVIDE OPPOSITION: The heroes and villains of the story are no fun if their goals are handed to them. They need an opposing force to keep them from their goal.

BUILD EXPECTATION: Many times, a great way to get the audience involved is to let them in on a little secret. They KNOW what is in the dark room that the heroes are about to enter.

INCREASE TENSION: The struggle in any scene cannot constantly be simply overcome. Close-calls are cliché, but if done properly, can easily be disguised and good to a scene.

USE SURPRISE: Twists and Shocks are excellent in keeping an audience on their toes.

CREATE IMMIDIACY: The necessity to accomplish a goal ASAP leaves room for characters to make mistakes. This is a GOOD thing as it can increase your plot possibilities.

ESTABLISH CONSEQUENCES: If the audience has not felt a sense of loss, then there is no sense of involvement. There must be a reason the character has remained involved.

LIMIT TIME: This doesn't mean that a clock must constantly be ticking. But there must be an element to make the audience feel like the walls are closing in.

MAINTAIN DOUBT: If the audience has confidence that good is going to win-out in the end, then there is no involvement. The audience will simply feel their on for a ride and that's it. Killing-off seemingly important characters are good for this. Don't be afraid to kill off semi-loved characters.

Random Tips

Body: When writing a script, avoid using "ing".
EX:

TULIAVILLE FIELD - DAY

Fatima is running across the tall grasses of Tuliaville Field. Ahead of her, three guards are standing.

It is assumed that you are writing in present tense. This sort of redundancy is a sign of an amateur. Instead, try this:

TULIAVILLE FIELD - DAY

Fatima runs through the tall grass. Ahead of her stands three guards.

In addition, keep it short and simple, almost childlike. Do not get to flamboyant or descriptive. A movie script must flow rapidly.

GUILDMASTER'S NOTE: The following tip concerning "author intrusion" was submitted by Arielsweet. She is one of my trusted counselors and is a fountain of these tidbits.

"Never use an exclamation point (!) if the sentence is not in dialogue...example..

Then Suzie fell down!

It makes the sentence seem childish and as an author you are suppose to be non bias.. by adding that simple punctuation you look like you care what happens to Suzie.. which influences how the reader sees the character...BAD IDEA

Adaptations

It is HIGHLY recommended that you finish an original piece of work (AND sell it) before you attempt an adaptation. Many people think an adaptation (or fanfic) is easiest because the storyline is already "set": the hard part is "done". This is NOT TRUE: especially if the work is to be properly presented.

If you still wish to pursue an adaptation, here are some ground rules. Adhere to them sternly, no matter how much you disagree.

STEP 1: You must learn to accept that the vast majority (about 96.8%) of all adaptation requests get DECLINED. Always obtain the rights to do an adaptation before making an attempt. The effort you put into ANY piece of work takes a lot out of you, and it would be crushing to have it declined after months of work.

STEP 2: No matter how many times you have read it before, it is essential to read it once just before starting your work. Identify the story elements (remember, Catalyst, Big Event, Pinch, Crisis, Showdown, Realization, and Denouement).

STEP 3: Pick out 5 to 10 of the best scenes. This is all you are going to use and will be the BASIS for your script.

STEP 4: Write an ORIGINAL script. This is why most adaptations are never similar to the original. You are not taking a story and putting it in another media... you are ADAPTING the story to suit it.

Multi-Genre

When selling your work, it must be classified somehow. You want to limit your genre to TWO MAXIMUM! Nowadays, that is difficult to do because of the huge expansion of multi-genre pieces. A good way to sneak all your elements is to separate it in your advertisement while still handing them the information they are looking for in a silver platter. It gets tricky, but here's an example.

The Movie "Prodigal Sons": Sci-Fi/Horror/Post-Apocalyptic/Action

There are two routs we can go... Action/Horror & Sci-Fi/Horror

Notice "Post-Apocalyptic" was not even mentioned as a choice. That's because even though Post-Apocalyptic is a genre, it can be snuck by as a "setting". Here's what a query letter would consist of:

Prodigal Sons is an ACTION-packed SCI-FI/HORROR set against the background of POST-APOCALYPTIC Earth.

When the reader or agent reads this, they have what they are looking for: Sci-Fi/Horror. But all your other elements are subliminally in there, allowing him to pick it out (if he feels necessary) and throw it into another genre.

The trick is, Identify the two (preferably one) most dominant features of your genre. The others can be snuck-by. Give it a shot. Pick a few good books you've read recently and identify ALL the genre's and where you would classify it. Examples are:

Drama, Comedy, Sci-Fi, Horror, Action, Religious, Musical, Anime, Post-Apocalyptic, Western, Romance... the list is ENDLESS.

Deeper than you Thought

There are two parts to a STORY. I'm not talking about the structure, concept, or any of that. Let's get down to the heart of the story. The two parts are:

OUTSIDE/ACTION: This is often called the "spine" of the story. It is that action driven goals. The face that your story carries. When you sell your story, this is what you’re selling.

INSIDE/EMOTIONAL THROUGH-LINE: This is the need-driven portion of the story. While the reader "enjoys" the outside, this is what the story is REALLY about.

Here is an example:

DANNY DeVITO IN TWINS:
- Outside: $5 million goal
- Inside: Need for family

Let's go deeper:

KATHLEEN TURNER IN ROMANCING THE STONE:
- Outside: She WANTS the stone to save her sister. It is a goal that has all the elements necessary for a story, Opposition, She is aware she is after it,
- Inside: She NEEDS romance. She isn't currently seeking it. She isn't "aware" that she needs it. In fact, her flaw is she won't even try for it. Yet she fulfills her need unknowingly by striving for her goal.

Give this a try. It's easier than you think. But remember, as with all my other advisories, all this is part of the basics and must be covered before you write the first sentence of your story. Build your structure first.

Know Genre

LOVE STORY: They meet, forced to be together, fall in love, separated, and after change they return and by doing the right thing the characters overcome.
EX: One Fine Day

ACTION/ADVENTURE: Reversals are key! Why do we love sports? The ball is always changing hands. The same must occur in an action adventure. The upper-hand must always change sides.

EX: Raiders of the Lost Ark

THRILLER: The focus of a thriller is "suspense". When writing a thriller, you must master the art of "Build Expectation."
EX: North by Northwest

HORROR: While thriller relies heavily on "Build Expectation", a horror story focuses on "Use Surprise". This involves a conflict with evil or lack of moral like monsters or monster-like humans.
EX: Pumpkinhead

SCIENCE FICTION: Also called "Sci-Fi", this is most often used in a multi-genre sense. Typically, sci-fi takes another genre and places it in another time or place.
EX: Star Trek

TRAVELING ANGEL: This is an inversion of Horror, in which the unique entity is a good person, usually a savior or assistant.
EX: Mary Poppins, Phenomenon

MYSTERY: This is typically a brain game in which the audience goes through a puzzle of discovery, and usually has the same twists and turns as a thriller.
EX: Clue

FILM NOIR: "Night Film" is not only a shooting-style, but a genre as well. This is the darker-side of movies. Most "bad-guy-wins" movies fit in the film noir genre.
EX: L.A. Confidential

FISH-OUT-OF-WATER:
This is the easiest, and most fun genre to write. It involves the main, and well capable character being taken out of his familiar element and finding himself inept.
EX: Junior

Story Outline

Only after you've developed your character outlines would you begin the Story Outline. Sometimes, this is referred to as the "step outline". Use index cards to create this. You're looking at about 30-100 scenes all together.

TITLE: Along the top of the card, title your scene.

BODY: Write a short paragraph describing what occurs.

CHARACTERS: It's not necessary, but some writers like to list what characters are in the scene at the bottom left.

TYPE: To pace the story, some writers scribble over the card with a highlighter to quickly distinguish if the scene is action, dialogue, or love.

Lay them out on the floor or post them on a wall. This is how you organize the way your story is going to run. Through this you can rearrange scenes to pace the story. If you have too much dialogue, you can squeeze an action scene or two in there. This keeps the reader's interest and helps you organize how your story is going to flow.

Writer's Block

When a writer encounters writer’s block, he has used up the idea that caused him to pick up the pencil. A new idea must be developed. Like goosebumps, inspiration is not something you bring upon yourself, but simply happens when triggered by an outside force. The key to bringing it back takes patience. “Oh, no. There’s that hated proverbial word: patience.”

Forget about the story. Put the pencil down and stop thinking about it. Read a book, and don’t start writing again until you’ve finished the entire thing. Go watch a movie that fits the genre of your story. Watch several movies. Inspiration strikes at moments such as these because life imitates art. The fact is, one of the essential elements to a great story is “unique with familiar elements”.

“Good authors borrow, but great authors steal” This sounds wrong, but believe me, it’s a trade secret. By no means does this imply plagiarism! But if a good story is to appeal to an audience, it must have familiar elements. The situations must be things the audience can sympathize with. Why is it we love Frodo Baggins? Almost every one of us has been in his shoes (okay, so he doesn’t wear any, but you know what I mean). We didn’t have to take a ring to Mordor, but we realized when we grew-up that to make it in the “outside” world, we had to change our outlook on life. Even Frodo’s adventure wasn’t an original idea. It can be traced back to 1 Corinthians 13, “When I was a child, my thoughts were that of a child, but now that I am a man, I put away childish things”. Give it a rest.

Structure

While the concept is the FOUNDATION, the structure is the... well... structure. This is the building that is placed upon the foundation. Every element of the story: Plot, outline, character development, sub-plots, and character growth, chapters, scenes... all are structured with the following elements.

Catalyst: The catalyst is the event that triggers the Big Event.

Big Event: This draws the character into the story. Typically it ends Act 1 and should occur rather soon in your story.

Pinch: The pinch occurs around the middle Act 2. It is the "point-of-no-return" where the characters do not have a choice but to pursue the "end".

Crisis: Overcoming adversity is the great emotional catch that makes almost every story great. The crisis is the point in the story when all seems lost and the outlook is grim.

Climax: Against all odds, the character faces the end. It occurs towards the end of Act 2 and should be the biggest, and most exciting part.

Realization: If the character does not grow, the reader feels no sense of accomplishment. Every character should have discovered something about himself or his outlook. This element is also highly
overlooked as "not important". Such views are deadly to a story, especially so late in the work.

Denouement (de-no-'mwah): This is where all the "loose-ends" are tied up. Plots, Sub-plots, and the Story comes to a close.

Story Concept

Before any story can be written, you must develop a good concept. This is the most important, and yet most often skipped step. The term "Concept" roots the word "conception" meaning to "conceive" or "create". Without it, there is no foundation. Keep these in mind when creating a concept:

* Is it easily understood by an 8th grader?

* Can it be encapsulated in a sentence or two?

* Is it provocative and big? Character + Conflict = Hook

* Does it have "legs"?

* Can it stand on its own?

* Is it unique with familiar attributes?

This is the very basic tool necessary for a story. Almost every beginner writer disregards it as "too simple to worry about". That is a fatal mistake in the beginning writer.