1 What Makes a Good Story? Successful storytellers have a variety of opinions about what makes a good story.

Keep in mind that not everyone will love, or even like, our story. Not everyone will love, or even like, us as storytellers. I will attempt, however, to discuss what I feel creates a good story that is strong and that most listeners do enjoy and remember the true test. A good story is one that touches people in some way. As storytellers, our mission is to involve the audience, make them interact with us and the story, even if it is just in their thoughts or core. A really good story has a sense of truth and resonates with some basic universal aspects of being human. It doesnt have to be profound, but a good story should move the listener, make him/her laugh, think, and ponder it afterward. A good story has to have substance. Storytellers often talk about the bones of a story. This is the basic outline or its skeleton. If the skeletal structure is strong and it fits snugly, chances are you have a good story. Sometimes the story has lots of pieces, but no deep truth running through it no backbone or substance. Even young listeners want to hear a story with direction and purpose. (We, as storytellers, should never talk down to our listeners, no matter how old or young they are.) A good story needs conflict and resolution. Stories are made up of people, places, and happenings. Strong stories usually have a well-defined main character a he, a she, an animal, a machine, or whatever that encounters some kind of trouble (conflict). There is something blocking our protagonist, whether it is nature, another person, or even the main character him or herself. The action taken signifies personal growth and change possibly an ah ha! and finally, some sort of redemption. It is the believable action moving the story from beginning to middle to end that keeps the audience entranced. They want to know whats going to happen. A good story creates vivid images. Through our knowing, as the storyteller, what vivid images the story creates for us, we will create images for our listeners. They may not see the same images we see and imagine, and that is the exciting part of storytelling. We want them to imagine their own images that relate to them and their experiences as the story unfolds. This is the part that makes interaction so important. If our stories help the listener to think of his/her own stories, we have succeeded in igniting a storytelling spark. A good story does not give the solution very simply The difference between a good story and a wimpy story for me is the wimpy story gives too easy a solution. A wimpy story is one that points toward something very obvious, that doesnt have resonance inside, that doesnt provide an experience. says, To me, the strongest mark of a good story well-told is its sincerity. I think there is something about a wimpy story that is insincere; its unauthentic. Its not true to the person who is

2 telling it.When you find interesting people, you are going to find interesting stories. I think, if you open your senses and maybe even your heart to people, you will find an unending source of un-wimpy stories, good strong stories. A good story is a story that you love and love to tell. Never, never, never, tell a story you dont like, even if a client has requested it. As a storyteller, we are never on the outside looking in as we tell the story. We are a part of the story. We have internalized that story and we truly care about it. We cant do that, if we dont like the story. Keep on telling your good stories, and they will become better and stronger with each telling

Coming up with story ideas

For many people, the toughest part of any writing task is getting started.

Listing: Brainstorm a list of possible topics. If the assignment deals with your own experience, try a list of important events in your life related to the topic. If the assignment deals with material from a class, brainstorm all of the things you've talked about in the class that you remember or that interest you. The important thing is not to censor yourself at this point - write down anything that comes to mind. Freewriting: Freewriting simply means writing without stopping for a set amount of time. Start with shorter amounts of time (2-5 minutes) and build up "stamina" slowly. Again, as in listing, it's important not to censor ideas at this point; simply write down anything that comes to mind. Sometimes, if you keep your hand moving, you'll come up with details and connections that never occurred to you until you wrote them down! Looping: Looping is a variation on freewriting. Pick one aspect of your topic to begin writing on. Freewrite for five minutes. Then, read over what you have written and underline the most important or interesting idea or sentence. Start with this idea or sentence and freewrite for another five minutes. Find your "center of gravity" sentence again. If you continue this process, you'll often find you've started a rough draft of the assignment. Clustering: Write the topic in the middle of the page and put a circle around it. Then, branch out from the circle with associations and details about the topic. Write down anything you can think of, making connections as you see fit (see "Guidelines for Selecting a Subject," next page, for an example).

3 Cubing: This is another way to look at one topic from many angles (like the pentad exercise). Write for one to three minutes on each of the six "sides": Describe, Compare/Contrast (How is it like something else? How is it different from something else?), Analyze (What parts does it have?), Evaluate, Apply (What can you do with it? How can you use it?), Argue (for or against). All sides will not work equally well for all topics. Answering WH-questions: Write the five "Wh" questions (who, what, where, when, why) across your paper. List as many questions as you can think of that a reader might ask about your topic in those categories. Write down answers or features of your topic that might address those concerns. Story Board: This is ideal for narrative assignments. In each "screen," sketch the stages of a story (like a comic strip). Under the sketch, briefly define the action. In a large box below, list at least three descriptive phrases or adjectives which clarify the action. Invisible Writing: If you have trouble writing without constantly re-reading and editing what you've said, this may work for you. Using a computer, turn the contrast down on your monitor so the screen is blank. Type for at least 20-30 minutes without looking at what you've written. Then, turn the contrast up and, ignoring typos, find out what you have to say!

Plan your story 1.Entertain First. And Last. And Everywhere in Between Stories must engage before they can do anything else. You dont have the luxury of choosing between an entertaining story and a story that has a powerful message. Every story must be entertaining even if it means enhancing the truth. When I tell storytellers to embellish the story theyll say, But thats not the way it really happened. Too bad if the way it really happened is going to put your audience to sleep. Your first priority is to make it interesting, not to stick to the facts. 2.Know Your Storys Purpose Every story serves a purpose even if its simply to get your audience to laugh. Know the purpose of your story. Know the message. Know why youre telling it and what you hope to accomplish by telling that story. Know what will make that story entertaining and powerful. 3.Tell Your Story in One Sentence No, Im not saying that your story must be one really long sentence. But before you write it, I want you to be able to tell it in one sentence. You dont have to include the entire plot, but you do need to include the moral of the story. For example: This is a story of how a girl learns that being different can sometimes be good. When you are able to tell your story in one sentence, you start out with control over your story and where it is going. You find out right away if youve got a story thats not about anything. 4.Write What Your Reader Needs to Know I actually make a list. Yes, thats right. As boring and uncreative as it sounds, I make a list of the things that my reader NEEDS to know. Not the things that I want to tell them, but the things that they need to know for the story to make sense. The fun stuff can come later.

4 5.Beware of Personal Stories Something happens to a story when it happens to us. We lose objectivity. Be very careful of trusting a story that actually happened to you. Test it out on others. See if it gets laughs in social settings. If it doesnt, then its not as good as you thought it was. I actually take myself out of the story and picture someone else telling the story. 6.Find the Story That Fits You This is the story that speaks to your heart. If it doesnt mean anything to you, it will not mean anything to them. Be authentic. Its everything. 7.Short and Simple The more you cut from your story, the better it will be. Period. Its not about how many words you use, but what words you use. Say more with less. Replace three paragraphs with three sentences. Dont write long stories, write short stories and put them together if you need something longer. 8.Be Specific Enough To Be Believable, Universal Enough To Be Relatable The more specific and the more personal you get, the better your story will be. Aim for stories that happened to you, not people you heard about. Avoid stories that most people cant relate to. Find stories that have themes that most people can relate to. 9.Start and End With a Bang You have thirty seconds to get their attention. Dont start a story with ten minutes of introductory material. I cant stand it when someone takes fifteen minutes preparing me for a story they are about to tell. Start with a bang and end with a bang. Dont hang around at the end driving your point to death. End the story and get out. 10.The Storys in the Details Its in the characters and the descriptions, and describing things in a way that no one else has before. Use your senses. Show us the story instead of telling us about the story. 11.Make Characters Real, Interesting and Believable I believe that its not the plot that makes the story, but the people. Make your characters real with personalities and quirks and if youre at a loss, look around you. Real life has more material than you could ever hope to create in your own imagination. 12.Write and Tell Your Story As If You Are Talking To a Friend Youre not giving a news commentary, youre telling a story. So write it the way you speak. Make it comfortable. Make it easy to understand and follow. 13.Learn Your Story Learn your story every word. Then practice telling it as if you didnt memorize it. Learn the story in

5 scenes. Write an outline and learn the outline. If you dont know your story well, then you run a big risk of filling in gaps with unnecessary information. 14.Bring Out the Best in People Stay away from stories that scare or instill guilt. Dont take them to the depths of despair unless you really know what you are doing. They need to know that you are okay. Stay in control of your own emotions. When you get too emotional you run the risk of being perceived as manipulative. 15.Leave Them Feeling Hopeful Audiences want stories with a happy ending. If you take them down, bring them back up again. Good grief, at least let this be one place where they can live happily ever after. 16.Dont Hold Back Its the best story that wins in the end not the right one. Dont hold back because you are afraid of appearing corny. Dont play it safe. Safe is boring. 17.Display Your Humanity and You Will Touch Theirs Whether its the writing or the telling of the story - put your personality into it. Be yourself. Be passionate, be convincing, and be real. You must bring your emotion into the story or it will have no connection with your audience. Display your humanity and you will touch theirs. 18.As With Most Things in Life, Its Not About Talent, Its About Perseverance Ive often heard that the most successful people arent always the ones with the most talent, but the ones who stick it out. Its the same with stories. Sometimes your story wont hit the mark. Sometimes stories take time to evolve and truly become your own. Keep at it. It will be worth the work you put into it.

Building a story People are natural-born storytellers. All of us. Ever since a particularly clever caveman drew stick figures on a wall to record the details of his hunting expedition, people have been telling each other tales. We do it every day; and Im not just talking about the people who write novels and make movies. We all do it: in bars and in restaurants, over the phone and in our emails and letters and diaries. When you tell a friend about the funny thing that happened to you on Friday night, or about how your car got that dent in the right fender, you take the seemingly random events of your life and you give them shape. How did you find out you were allergic to grapefruit? How did you get that scar on your upper lip? How did you meet your best friend? Why did you quit your job? We tell stories all the time, without even being aware that were doing it. Howd They Do That? Weve all experienced bad storytelling: the movie that was so boring you walked out in the middle, the book you could never seem to get into, the co-worker who always forgets the punchline to the joke, the

6 uncle whos always going off on tangents until he loses his point completely. We sigh, we shift position in our chairs, we look out the window. When will this person stop talking? But weve also all experienced good storytelling: the novel that kept you up all night because you couldnt wait to find out what would happen, the movie you saw three times and then bought on videotape, the television show you look forward to all week, the friend who people tend to gather around at parties, the grandfather who makes up outlandish and wonderful bedtime stories off the top of his head. They hold our interest, we cant tear ourselves away, we lose track of the outside world. We are enthralled. Those of us who want to tell stories whether in print, on film, or at parties look at stories and storytellers like these and wonder, How do they do it? Well, some of its just talent, but it also requires skill at using the five main tools of the storytellers trade:

setting Where is this story happening? character Whos the story about? plot Whats happening? backstory What happened before, to create and inform this situation? detail Which specific things should your audience notice?

In this article, well briefly look at each of these tools to explore what they are, how they work, and how you can use them to tell better stories. Well approach the topics primarily from the viewpoint of fiction writing, though the same tools can be used with differing degrees of emphasis for any type of storytelling. Setting The first tool in your storytelling toolbox is setting. Where is your story taking place? A story set in a prison raises very different expectations than one set at a Buddhist monastery. The setting tells your audience valuable information about the characters, and also about what sort of action they might expect to take place. You may (and hopefully will) surprise them, but at least youve given them a rug to stand on before you pull it out from under them. One of the keys to writing good settings is props. Theres an old saying along the lines of If theres a gun over the mantle in Act 1, it has to go off by the end of the play. Now, a gun over the mantle has become a clich, but its a good example how setting can enable plot. If that gun hadnt been over the mantle in Act 1, no one would have had the opportunity to use it later in the play. In writing your setting, you have the chance to create the opportunity for later action and drama in your story. You might include something large, like a pit, or a lion. Or it might be something small, like a pearl earring sitting on the coffee table. You might not know, when you place it in your setting, what purpose the item will serve. But characters often have minds of their own, and if you set them loose in an interesting setting full of potential for action, youve increased the chances of something interesting happening. Whatever you choose to create, your setting and the items within it can play an important role in helping your story take shape and move forward in interesting ways. Character

7 Okay, so youve written an interesting setting, but now whats going to happen? Nothings going to happen without characters. Your characters make the story happen; they perform actions, make choices, interact with their setting to cause interesting results. So who is your story about? And why should your audience care about what happens to them? If youre telling a story about a boring person, its going to be difficult to hold your audiences attention, no matter how fascinating the setting. So youll make your own task easier if you create a character who interests you, makes you (and, likely, your audience) curious to learn more. One good way to create an interesting character is to create a character whose personality includes some contradictions. In the real world, there are few purely good or purely evil people, few who are purely selfish or purely rational or purely anything. People are complicated. Thats what makes them interesting. And so characters should be complicated, too. That doesnt mean you need to know everything about your character, especially not at the very start. Maybe you just come up with the idea that shes very kind, but also vain ... or that hes stubborn, ethical, and has a weakness for blondes. But make sure to leave some room for your character to develop, because another thing that makes a character interesting is potential for change, whether that potential is ever realized or not. Its the potential that matters, because it helps to keep your audience interested, wondering what this character is going to do next. So, say youve got a rough sketch of a character whose personality includes some contradictions, and who seems to have some potential for change. Now what do you do with her? How do you communicate to an audience these ideas youve expressed in your mental character sketch? Thats easy. Youve got three primary sub-tools within characterization:

appearance dialogue actions

Your characters appearance, though the least powerful of these three sub-tools, can communicate some useful information to your audience. Is his hair dyed green? Is she wearing a ballerinas tu-tu? If she is wearing a tu-tu, is she a svelte twenty-year-old or a pudgy five-year-old or a frail eighty-year-old? Dialogue communicates character even more effectively to your audience, since it allows your characters to speak for themselves. Does she use dialect, jargon, or slang? Does he have a stutter? Does she make rude, judgmental pronouncements? Does he talk for long stretches without letting anyone else get a word in edgewise? What your characters say and how they say it can tell your audience a lot about them. Your characters actions the third sub-tool define them most powerfully of all. A character may be young and handsome, smile winningly, describe himself as kind, and talk charmingly with every other character in your story, but if he then savagely kicks a helpless old woman, your audience will draw their own conclusions. Plot Plot is what happens in your story, and your characters actions are an important part of it. An old saying among fiction writers is Character is plot, meaning that all good plots develop as a result of choices and actions resulting from the interaction of personalities in a story. Plot should not be something imposed upon characters, but rather something that grows out of their choices.

And yet, as I said, your characters actions are only one important part of plot. Plot is something more: Its the overall arc of your story, including external events that happen to the characters as well as and in combination with their own actions and choices. One easy way to think of plot is as a 3-step process: 1. set-up 2. build-up 3. pay-off So, in the early part of your story, you need to set up your plot: introduce the characters and setting, communicate to your audience the situation in which the story begins, and present some sort of problem or tension. You then build up that tension, perhaps with events that challenge the characters in unexpected ways. And finally, often after a few rounds of build up, you must provide your audience with some sort of pay-off. Since fairy tales are good examples of nearly pure plot, we can walk through these three steps using the familiar tale of Cinderella: 1. set-up: Cinderella is at the mercy of her evil step-mother and step-sisters. There is going to be a ball, which they dont want to let her attend. 2. build-up: a. Cinderella finds a way to attend the ball in disguise. b. She meets the prince and they fall in love. c. She flees at midnight and returns to her slavery, without the prince ever learning her identity. d. The prince searches and searches, but cannot find her. 3. pay-off: The prince finally does find her and makes her a princess. One of the most important keys to plot is motion. You must make sure to keep your story in motion toward some end. Notice how each stage of the build-up not only escalates the tension, but keeps the plot moving toward the pay-off. Without motion, action, tension, and change however subtle your story will stagnate. Your audience will begin to squirm in their seats, look out the window, and wonder when the story will end. And that is not a happy ending to any tale. One of the other keys to plot is significant consequences. Your audience will still get bored with your story if its in constant motion, but the motion has no potential to cause changes that will truly matter. The consequences dont have to be earth-shattering they dont have to mean the difference between a life of slavery and becoming a princess but they do need to matter in the world of the characters, and you do need to build toward them from the very beginning and throughout your story. Yet another key to writing good plot is coherence. The plot of your story should hang together as one piece, regardless of the number of sub-plots or mini-climactic moments. Your audience should feel that they are hearing one coherent story, with a beginning, middle, and end. The amount of digression you can get away with along the way depends primarily on the length of the story. In a 500-page novel, you can probably tell numerous sub-stories, including various sub-plots that dont relate directly to the central

9 movement of the story. But if youre telling a 5-minute anecdote at a party, digressions will glaze your listeners eyes over before youve even noticed whats happening. When in doubt, stay on track: stick with plot events that move the action forward toward the pay-off. Backstory Remember that pearl earring I mentioned back in the section on setting? Well, its unlikely to be of much use in your story unless it has some backstory, some history behind it. Perhaps its evidence of the husbands illicit affair, or the teenaged daughter stole it from her mothers jewelry box, or it bears a curse which will affect its wearer, or whatever your imagination comes up with. This backstory might never be explicitly stated in the story, or it might be openly discussed. Either way, it crucially affects the progress of the story. One example of effective usage of backstory for setting comes from the film The Blair Witch Project, in which the three characters hear tales early in the film of a man who lived in an isolated house where he killed several children in mysterious circumstances. When the characters late in the film happen upon a deserted old house in the woods, the audience remembers the backstory and understands the significance. This example shows backstory (the tales of past murders) working together with setting (the abandoned house and its contents) and plot (the characters arrival at the house and their behavior within it) to create potential significant consequences. In fact, significant consequences often depend largely on backstory. The consequences of a mans discovery of the pearl earring on the coffee table would vary widely, depending on who the earring had belonged to and how it got there. Its a rare story that starts at the true beginning. Most stories throw their audience into the middle of events, when things have become interesting, when a turning point is near, and that means theres plenty of backstory . And backstory continues to accumulate as a story charges ahead. Half-way through the story, your character receives an antique sword. Well, where did this sword come from? Whats its story? Your hero meets an enchantress. Where did she come from? Whats her story? You dont necessarily need to explicitly tell your audience the backstory, but it should be there, leaking through to inform and develop the characters (What happened to them in their lives before this story began?), the settings (What happened here before? And how does it affect the present drama?), and of course the plot (What important events preceded the beginning of the story? And how do all of these backstories work together to create significant consequences?). Detail Like backstory, detail interacts with all of the other tools in the storytellers toolbox. You must give details about the characters, setting, events, and backstory of your tale in order to bring your story vividly to life in the imaginations of your audience. The good storyteller throws in plenty of juicy details the way a character walks, the color of the living room rug, the expression on a characters face, the song playing on the radio. But there are two main questions to ask yourself when putting detail into a story:

How many details do you need? and

Which details do you need?

10 As with the coherence of plot, the answer to the first question lies primarily in the length of the story. A 500-page novel allows for levels of detail that would be simply ridiculous (and impossible) in a 5-minute anecdote told at a party. You dont want to leave your audience confused by the vagueness of your tale, but neither do you want to give them a 30-minute description of a landscape where a relatively unimportant, 5-minute scene will take place. While in a novel you might be able to explore and describe the subtlest details of a characters psyche, in a brief anecdote you may only be able to single him out as the guy with the cigar. And, depending on the intent of your story, that will probably be fine. In order to get the punchline of most jokes, an audience doesnt need to hear a lot of descriptive details, and in fact they would overwhelm and ruin the effect. So you must gauge the appropriate number of details for your story, based on its length and your intended audience reaction. But even in a 500-page novel, a storyteller must choose details carefully, because they focus the audiences attention. Mystery writers love to detail unimportant props and actions, in order to prolong the mystery by misleading their readers. The reader quite naturally thinks, consciously or not, That vase on the nightstand must be important, or why would they have mentioned it? If that vase actually isnt important, dont tell us what color it is, or reveal a characters thoughts about it, or describe the moment when the hero places it there, or otherwise call attention to it, unless like the mystery writer you have a darned good reason for doing so. Misleading your readers about what is important in your story is okay, as long as its intentional and purposeful, but you should try at all costs to avoid confusing your audience accidentally through superfluous detail. Essential elements of story conflict There is no story without conflict. Too often writers forget to tell a story. There's lots of character development, establishing of setting, but I don't know what the fight's about. If I don't know that, you've lost me." When a character wants something very badly but must overcome obstacles to get it, this creates an interplay of opposing forcesin other words, conflict. Conflict is about struggling for power in ways big or small. Luke Skywalker wants to beat Darth Vader. Three bachelors taking care of a baby want it to stop crying. The stakes may be different, but both are power struggles that give a story its essential conflict. The choices a person makes when faced with extreme conflict bring out his or her deepest character. That's why conflict is so compelling dramatically. We get to live through the hero's dilemma vicariously and wonder if we ourselves would be as courageous or as foolish. There are four elements essential for story conflict: The character must have a goal and encounter obstacles along the way. The goal must be essential to the character. He must not be willing to give up. There can be no compromise. The goal can't be too easy to achieve. The odds should be stacked against him. The character must stand SOME hope of achieving it, otherwise the story will come across as implausible.

11 The Basic Three Act Structure The simplest building blocks of a good story are found in the Three Act Structure. Separated by Plot Points, its Act 1 (Beginning), Act 2 (Middle), and Act 3 (End) refer not to where in time in the story they lie but instead fundamental stages along the way.

In the Beginning you introduce the reader to the setting, the characters and the situation (conflict) they find themselves in and their goal. Plot Point 1 is a situation that drives the main character from their "normal" life toward some different conflicting situation that the story is about. Great stories often begin at Plot Point 1, thrusting the main character right into the thick of things, but they never really leave out Act 1, instead filling it in with back story along the way. In the Middle the story develops through a series of complications and obstacles, each leading to a mini crisis. Though each of these crises are temporarily resolved, the story leads inevitably to an ultimate crisisthe Climax. As the story progresses, there is a rising and falling of tension with each crisis, but an overall rising tension as we approach the Climax. The resolution of the Climax is Plot Point 2. In the End, the Climax and the loose ends of the story are resolved during the Denouement. Tension rapidly dissipates because it's nearly impossible to sustain a reader's interest very long after the climax. Finish your story and get out.

12

Character Arc and Story Structure

Act 1
o

In the Beginning of a story the main character, being human (even if he of she isn't), will resist change (inner conflict). The character is perfectly content as he is; there's no reason to change. Plot Point 1 Then something happens to throw everything off balance. It should come as a surprise that shifts the story in a new direction and reveals that the protagonists life will never be the same again. In Star Wars this point occurs when Luke's family is killed, freeing him to fight the Empire. It puts an obstacle in the way of the character that forces him or her to deal with something they would avoid under normal circumstances. Act 2 The second Act is about a characters emotional journey and is the hardest part of a story to write. Give your characters all sorts of challenges to overcome during Act 2. Make them struggle towards their goal. The key to Act Two is conflict. Without it you cant move the story forward. And conflict doesnt mean a literal fight. Come up with obstacles (maybe five, maybe a dozendepends on the story) leading up to your plot point at the end of Act 2. Throughout the second act remember to continually raise the stakes of your characters emotional journey.

13

Simultaneously advance both inner and outer conflicts. Have them work togetherthe character should alternate up and down internally between hope and disappointment as external problems begin to seem solvable then become more insurmountable than ever. Include reversals of fortune and unexpected turns of events surprise your reader with both the actions of the main character and the events surrounding him.

o o

Plot Point 2 Act Two ends with the second plot point, which thrusts the story in another unexpected direction. Plot Point 2 occurs at the moment the hero appears beaten or lost but something happens to turn the situation around. The hero's goal becomes reachable. Right before this unexpected story turn, the hero reaches the Black Momentthe point at which all is lost and the goal cannot be achieved. In order to have a "Climax", where the tension is highest, you must have a "Black" moment, where the stakes are highest and danger at its worst. During this moment, the hero draws upon the new strengths or lessons he's learned in order to take action and bring the story to a conclusion. o Dorothys gotta get a broom from the Wicked Witch before she can go home. o Lukes gotta blow up the Death Star before fulfilling his destiny. o Professor Klumps gotta save face with the investors of his formula and win back Jada. Act 3 The third Act dramatically shows how the character is able to succeed or become a better person. Resolution/denouement ties together the loose ends of the story (not necessarily all of them) and allows the reader to see the outcome of the main characters decision at the climax. Here we see evidence of the change in a positive character arc.

o o

THE RESOLUTION The climax is the action the protagonist chooses to take after facing the moment of crisis, where he or she is pushed to the edge with no way out.

14 This section of the screenplay is what gives the rest of the story meaning. It often delivers the moral, or theme of the story and it is where the writer can make sense of everything. But endings are often the hardest part to write. Thats why too often, writers settle for the obvious or overly simplistic solution instead of digging deeper to find an ending that is both satisfying and surprising. The Height of Intensity The Chinese symbol for crisis actually delineates two words: Danger and Opportunity. This idea can help writers beef up the endings of their scripts. The moment of crisis, which leads to the climax, needs to be full of danger, either emotional, physical, or both. Something of great value is at stake a human life, a relationship, or as Joseph Campbell calls it, "the treasure." Whatever it is, it is in grave danger. But at the same time, there is an opportunity, for new life, for growth, and for a payoff nobody could have imagined 100 script pages ago. If there is a twist at the end of the story, it should be revealed in conjunction with the climax. The twist is not in the climax, but around it, and gives new information, or a shift in the world view of the main character. It re-informs the action and enables the climax to unfold. Answer All the Questions A definition of resolution is to explain or make clear. One way to approach the climactic scene is to make a list of all the things that need clarifying, based on what has happened so far in the story. This keeps the writer honest about the questions theyve raised in the script, and forces the writer to answer them. By answering those questions, the writer has a better handle on what supreme, catastrophic, all encompassing and irreversible event they can design for the climactic scene. This will be something that answers the storys question of how is this going to turn out? but in a way never imagined by the audience. Show Character Growth A good climax is also a revelation of the protagonists growth. The audience first meets the main character in Act I. They grow and change throughout Act II as they overcome all of the obstacles and conflict thrown their way by the antagonistic forces of the story. Ultimately, the protagonists reversal in the end leads to his or her ultimate growth. The reversal usually involves a change of heart or mind. Sometimes it is the way in which the protagonist lets go of one goal in order to pursue another. Climaxes require the highest level of artistry and sometimes cant really be written until after a full outline or rough draft has been written. Its only then that the writer knows the trajectory of the story well enough to decide on a climax that is the most satisfying, surprising, and which for the audience, may prove unforgettable.

PROTAGONIST & ANTAGONIST

15 A protagonist is the main character in a novel or film. A protagonist is not always a good character. They can be a bad character or a character that isn't particularly nice but somewhere in between. Protagonists are usually put in a position where the reader may empathise with them. Protagonists usually have an arch enemy, who is known as an antagonist. Antagonists are usually a hinderance to the protagnists, preventing them from carrying out certain tasks and generally being a nuisance. Character Traits When developing characters, many writers draw up detailed character profiles. But a list of individual events or details about a person doesn't necessarily lead to understanding. I once dated a man for three years. Although I knew many things about him, I never fully understood him. In contrast, there have been other people in my life I understood perfectly without needing to know their every detail. When creating characters, search for their dominant traits, not the details. "Think of people you know down to the core," says Hal Croasmun. "You can predict how they'll react to situations and you can tell when they are out of character. The core isn't a whole compilation of details. It is the part of each person that is always present." Going back to my ex-boyfriend, one of his dominant traits was to be elusive. No matter what happened, I could never predict his reactionother than knowing it would surprise me. One of my brother's dominant traits is he's trusting. He approaches every situation with an attitude of openness and a smile. Another of his dominant traits is self-confidence. Do you see how, together, "trusting" and "confident" already begin to paint a fuller character picture? A trusting man who isn't confident could easily be taken advantage of. But a man who's trusting because he's secure in himself is a different story. One of my brother's details happens to be that he's a fourth-degree black belt in karate. But that detail alone doesn't make him confident. A person might acquire a high level of proficiency in karate in order to hide his insecurities without ever achieving true confidence. Details contribute to character traits or are shaded by them, but they don't define character. If it helps you, write extensive character profiles. But keep in mind that, in the end, we know people through a few dominant traits that are revealed in everything they say and do.

Character backstory screenwriting begins and ends with emotional needs. Or it should do. It's not about dreaming up events and episodes from the past that you can 'tack on' to your character's life. You have to explore the possible impulses behind what he or she feels, what they do and want they want.

16 Character backstory screenwriting has to be mostly about the emotional past life of a character because the story being told in this screenplay now is (or should be) driven by impulses already set in motion. Your character's backstory should feel to you that it doesn't 'end' where the story proper begins. It needs to be still there, under the surface. And if it's strong enough it will help immeasurably in creating a powerful screenplay. But only if it functions as a hidden power for most of the script. It may surface in hints, suggestive moments, and when it does come out more in the open, it has to be treated with subtlety. No clunky exposition. A moment that reveals backstory can make for a powerful dramatic impact. The basic Character Profile like the one I created for myself when I started out screenwriting is important. (Click on the link above for this). I've been reluctant to include it because lists always look as though the only thing you have to do is tick the items on it. But also because it can encourage people to think up 'tags' to hook onto a character. But I like to think the ideas I've come up with can be useful, with the proviso that creating a backstory for your characters involves much more. To be a truly powerful force in your screenwriting, character backstory requires you to dig deeper. Standard screenplay character profiles can be too generalized. They can encourage screenwriters to create a merely superficial set of 'characteristics'.

Character Arc At the beginning of the story, Little Red Riding Hood is a sweet, innocent thing. But we know that by the third act she'll be tough or she'll be toast. Her evolution is called a character arc. It's one of the most important elements of storytelling, and for a simple reason: when a character grows, we experience her change vicariously and are transformed along with her. We get involved with a character because we want to know if his dilemma will change him. Will it force him to overcome a deep flaw (Liar, Liar), realize his potential (Rocky), or heal an emotional wound (Silence of the Lambs)? We want to see the hero grow and change, because it gives us hope for ourselves. The character needs to be capable of change from the very beginning, otherwise the change won't ring true. Take Rocky, written by Sylvester Stallone. Rocky Balboa is an underdog. The odds are stacked against him, but he's determined. It's this quality that will help him transform from a nobody to someone who has achieved his potential. The change has to happen gradually. If it's too sudden, it will seem forced and implausible. Another way to think of the character arc is as a map of your character's beginning, middle, and end. Your character might start off as selfish, like Jack Nicholson in As Good as it Gets (written by Mark Andrus and James L. Brooks). As the story progresses, he faces situations and conflicts that increase his selfawareness. By the end of the movie, the character has let go of his original identity and has become more generous and thoughtful.

17

Make sure that at least your protagonist has an arc. Depending on your story, the antagonist and some of the supporting characters might have arcs too. A character arc doesn't necessarily require improvement. If you're going for a down ending, your protagonist will change for the worse (Chinatown, Raging Bull). LOGLINES A logline is a one-sentence summary of your script. It's the short blurb in TV guides that tells you what a movie is about and helps you decide if you're interested in seeing it. It's the grabber that excites your interest. Your logline answers the question: What is your story about? Your friends and others probably ask you this question when you tell them you're writing a screenplay or that you've already written one. You need to be able to state the main concept of your story in one concise sentence. "But my story is complicated with many plot twists, and I couldn't possibly tell you what it's about in one sentence," you say. You must learn to express the story concept in one powerful sentence if you want an agent or producer to read your screenplay, For that reason, your logline is also step number one of planning your screenplay. Before you even begin to write, you must write down this one key sentencethe logline. Keep it in front of you while you write your script. It will keep you focused on the story when you stray. So, there are two main reasons why you need a logline:

1. A logline keeps you focused as you write.

2. You need a logline to sell your screenplay.

When writing your logline, try to answer these questions: 1) What is my concept? My main conflict and story? 2) What is my theme? What am I trying to say with this script? 3) What is the genre?

18 4) What is the beginning, middle and end? Overall, the LOGLINE needs to convey the full arc of your story. Three sentences, max.

SYNOPSIS A STORY synopsis is simply a very short description of the main theme of a nonfiction work. The synopsis deals with the novels central characters, their conflicts and their relationships. However, it does not get into any subplots unless they directly affect the central plot. The STORY synopsis is typically used by editors to determine if they want to work with a new (or seasoned) author. Though editors (and agents) will probably read a sample chapter or two of a novel first, theyll then want to skim the synopsis to get a feel for the whole work. Note: If youre having difficulty visualizing this definition of a synopsis, consider that the synopsis is acting in lieu of a STORY jacket or marketing device. Consequently, your synopsis should be actionoriented, written in the present tense and interesting enough to cause someone to say to him- or herself, I have to read this STORY! When Do I Need a Synopsis? Have you written a STORY? Are you contemplating writing one? If so, youll sooner or later want to write a synopsis. Some authors actually prefer to write a synopsis before starting their STORYs; that way, they can have a game plan for their novels before the weeks, months and quite possibly years of writing begin. Other authors wait until their STORYs are finished before sitting down to write a synopsis. Either way allows a writer to have a synopsis that he or she can use in the future. When Dont I Need a Synopsis? You dont absolutely need a synopsis for your STORY if a) youre planning on keeping your STORY for your own eyes and never want to become published; or b) youre going to self-publish your novel, thereby eliminating the need for an editor or agent. With that being said, writing a synopsis is still an exceptional exercise for authors and shouldnt be avoided simply because its difficult. (Who ever said the easy route was the best one?) What Should Be Included in a Synopsis? As mentioned previously, your STORY synopsis should focus on:

The Main Characters The Main Plot The Main Conflicts

19 Anything superfluous should be jettisoned from the synopsis. Not surprisingly, for most writers, it takes quite a long time to pare down a novel into a pithy synopsis. Some authors even request help from trusted writing companions to get them through the process or pay others to help them construct their synopsis. (And why not? After all, a strong synopsis could mean the difference between snagging an agent or having your work languish in the slush pile.) How Long Should My Synopsis Be? Theres no one acceptable length for synopses; in fact, editors and agents will probably have their own requirements when it comes to how long they expect synopses to be. With that being noted, a general target is anywhere from two to twelve pages, but that definitely varies. Its probably best to trim your synopsis down as much as you can without losing the intensity, action and flavour of your work. When youre ready to send it to an editor or agent, find out what length he or she requests. Should My Synopsis Give Away My STORYs Ending? A synopsis should tell the entire plot of your STORY from beginning to end, and that includes your shocking ending. Many authors bristle when told to reveal their STORYs secrets, but to an editor or agent, knowing how a novel concludes is critical. Remember that the synopsis isnt for the publics eye; its for the eyes of someone who has the potential to bring your work to the public. So dont hold back anything thats important to the central theme of your STORY. Will a STORY Synopsis Help Me Sell My Work? Its a fact a well-written, gripping STORY synopsis that holds the readers attention is more likely to win kudos than a poorly written one. With that being said, your entire STORY manuscript has to be just as wonderful. In other words, the synopsis and the full text work hand-in-hand so start polishing them both!

When writing your SYNOPSIS, try to answer these questions: 1) Who is your main character? 2) The audience will relate to your main character because...? 3) Your main character's objective is...? 4) Who is your antagonist? 5) Your antagonist's objective is...?

20 6) What is the main conflict of the script? 7) The catalyst is...? 8) The climax is...? 9) What is your beginning, middle and end? Overall, when writing your SYNOPSIS, use visual images to convey the story as much as possible. If the reader can see the story in their head, then they will want to watch the film.

Enemy at the Gates is a 2001 The movie follows Soviet sniper Vasily Grigoryevich Zaytsev and his German rival, Major Erwin Knig, as they stalk each other during the Battle of Stalingrad. Plot Stalingrad, 1942. The German invasion of Russia has reached the city of Stalingrad, reducing the city to rubble as the Soviet and Nazi armies battle for the fate of Russia. Vasily Zaitsev, a poorly educated peasant from the Urals conscripted into the Red Army, manages to survive both a suicidal charge without a weapon into the front lines of the German attack and the NKVD machine gunners shooting survivors who tried to flee. Acquiring a rifle, Zaitsev an expert marksman manages to kill five German officers in a row with the only five bullets he has, impressing a witnessing political officer, Danilov .Writing an account of Zaitsev's achievement in the military newspaper, Danilov manages to inspire the broken, morale-sapped people of the Soviet Union to renew their efforts against the German invaders, and Zaitsev becomes a national hero and propaganda icon. The bond between the two men is to be tested, as both have fallen in love with Tanya , a Jewish citizen of the city who, inspired by Zaitsev, has joined the sniper division. Fearing the Soviet snipers and the demoralizing effect they are having on their own men, the Germans have sent for Major Erwin Knig, the best sniper in the German military, to seek out and eliminate Zaitsev. Synopsis The story focuses on the exploits of Vassili Zaitsev , a Ural peasant who was taught how to hunt and shoot by his grandfather, now fighting on the Eastern Front of World War II. A Red Army soldier, he is traveling in a train's cattle truck along with other soldiers and civilians, where he notices a young woman before the train is converted into a military convoy headed for Stalingrad, a city that is now under attack by the German Army. Upon arriving on the city's outskirts, the soldiers attempt to cross the Volga on unprotected river barges, bombarded by German dive bombers and artillery, resulting in many casualties. When the survivors disembark on the other side, only half of them are given rifles, while the rest - among them Vasily - are given only a clip of ammunition. In a desperate charge against German lines, the poorly-armed Soviets are massacred both by the enemy, and the Soviet commissars who have been ordered to shoot retreaters. After the battle, a car races through the streets, under artillery fire. Knocked off the road, the driver - Danilov, a Soviet political officer - flees to the safety of a drained fountain and feigns death amongst the corpses. Here he meets Vasili, and witnesses with amazement as he shoots down five nearby German soldiers with a single clip of his rifle. Later, Nikita Khrushchev arrives in Stalingrad to coordinate the city's defences. At an officer's meeting he demands for suggestions to improve morale, and Danilov comes forward with the idea of publicizing heroes for the people to idolize. Through

21 propaganda, Vasili's exploits becomes national news, and he is transferred from the regular forces to the Soviet sniper division. As Zaitsev and his fellow snipers take their toll on the German forces, he and Danilov the author of the articles become firm friends. Vasili then learns that the girl he had seen on the train (whose name is Tanya), has joined the Red Army local militia as well. Due to Zaitsev's fame, and the immense casualties being inflicted by the Soviet snipers, Major Erwin Knig is deployed to Stalingrad to help counter this threat and boost German morale. A renowned marksman himself, he immediately sets his sights on killing Zaitsev. The next day, Vasili and two other snipers are assigned to kill an enemy sniper lurking in the Department Store sector. Zaitsev dispatches the enemy sniper in short order. When they go to retrieve the sniper's dog tags, they discover that it was only a decoy. Knig, hiding in the building, kills the other snipers while Zaitsev manages to escape in the confusion caused by a German air raid. Upon learning that Major Knig was sent to kill Vasili, another sniper and former Knig student named Koulikov is called upon to assist Vasili in fighting the Major. Knig's skill and resourcefulness proves to be too much, however, and in a failed plan to draw him out, Koulikov is killed himself, shaking Vasili's spirits considerably. Danilov has since recruited a double agent - a boy named Sacha Fillipov, a fan of Vasili who has also managed to become close with Knig; Sacha would give Knig false information about Vasili's whereabouts, allowing Vasili opportunities to ambush him, but Knig's cunning would keep him a step ahead of his enemies. The Major eventually learns of Sacha's betrayal, and hangs him to enrage Vasili into an error. Running alongside the main plot is Vasili and Danilov's attraction to Tanya, which causes underlying tension between the two men amidst the chaotic atmosphere, especially when Tanya finally chooses Vasili as her lover. This personal conflict comes to a head when Tanya is presumed to be dead after being struck down by shrapnel. As Vasili and Danilov hunt for Knig to avenge Sacha, Danilov laments his jealousy for Vasili and his disenchantment with the communist cause as a result. Danilov then exposes himself in a final act of friendship, allowing Knig to shoot him but revealing Knig's position. Knig leaves his position to inspect the body, only to be shot dead by Vasili. Two months later, it is revealed that Stalingrad is liberated and Zaitsev is reunited with Tanya, who was only wounded by her ordeal. Plot FINDING NEMO Shortly after the clownfish Marlin and his wife Coral, move into a new home, Coral is killed by a Barracuda along with all of their eggs, except for one. Marlin finds that egg and promises it he will never leave it, naming it Nemo as suggested by Coral. The attack has left the egg damaged. Some time later, Nemo begins his first day at school, but is frustrated and embarrassed by his overprotective and neurotic father. Marlin has constantly warned Nemo about the dangers of the ocean because he himself fears them, and also because one of Nemo's fins is much smaller and weaker than the other due to the damage to his egg (his "lucky fin"). Disobeying his father in order to show him that these fears are unfounded, Nemo deliberately swims out to open water; in the process, he is captured by a scuba diver. Marlin races after the diver's boat but quickly loses it. As he desperately searches for help, he bumps into Dory, a regal tang who suffers from short-term memory loss but is nonetheless relentlessly optimistic, in contrast to Marlin. The pair soon encounter three sharks, Bruce, Anchor and Chum ,who are members of "Fish Eaters Anonymous," an organization modeled after AA. Marlin and Dory find the diver's scuba mask and, in a scuffle over the mask, inadvertently spark Bruce into a feeding frenzy and are forced to flee into a deep trench, only to be nearly eaten by an angler fish. Dory remembers that she can read and they discover that Nemo has been taken to Sydney, Australia. Dory surprises herself by being able to remember the name and address written on it. A passing school of fish gives them directions to get there via the East Australian Current, and also advises them to go

22 through the trench that leads to it. However, only Dory hears the warning and she quickly forgets it. Marlin doesn't like the looks of the trench and leads Dory over it, where both are nearly stung to death by a mass of jellyfish. Meanwhile, Nemo is placed in a fishtank in a dentist's office. The dentist, who captured him earlier, plans to give Nemo to his niece Darla as a birthday present; the other fish in the tank fear her greatly, knowing her tendency to handle fish so roughly that they die. Their leader, Gill, a Moorish Idol, has been plotting a mass escape and calls on Nemo to jam the tank's water filter. The first attempt fails, nearly costing Nemo his life, and Gill apologizes for endangering him for personal gain. Marlin and Dory are found by a group of sea turtles who are riding the East Australian Current, and they make a full recovery. As Marlin befriends the turtle Crush and his son Squirt, he tells some of the sea turtles about his reason for venturing so far from home. His story travels among the sea creatures, eventually reaching Nemo via a friendly Brown Pelican named Nigel. Nemo is inspired by this account and makes a second attempt on his own to jam the filter, this time meeting with success. The tank begins to get dirty, and the fish hope that the dentist will take them out so he can clean it; once they are in individual plastic bags, they can roll out the window and into the harbor. However, while they are sleeping, he installs a high-tech filter to keep the tank clean automatically, foiling their plan. Marlin and Dory are swallowed by a blue whale, which delivers them safely to Sydney. Confronted by a pelican and a flock of hungry seagulls in the harbor, they are rescued by Nigel, who takes them to the office as the dentist removes Nemo from the tank and puts him in a bag. When Darla arrives, Nemo pretends to be dead, hoping that he will be flushed down the toilet and thus be able to reach the ocean. Marlin and Dory are shocked to see Nemo belly-up and believe he is truly dead. After they and Nigel are thrown out the window, Gill helps Nemo escape down the drain of the dentist's sink to the ocean. Deeply depressed in the belief that his rescue attempt amounted to nothing, Marlin thanks Dory and tells her he is going home on his own. Dory, however, is reluctant to be left by herself again, claiming that she can remember things better when he is around. Marlin still swims away to go home, leaving Dory hopelessly lost and confused. A chance encounter with Nemo jogs her memory of her adventures with Marlin and the two catch up with Marlin and there is a brief and happy reunion. Moments later, Dory is caught in a fishing net along with a school of grouper. Nemo has an idea to save her by telling the fish caught in the net to swim down, a trick the other fish in the tank had tried to use to save him from being scooped up in the dentist's net. Though Marlin is afraid to let him go out of fear of losing him again, he realizes that he has to let Nemo take this chance. The maneuver works, freeing Dory and the grouper, and Marlin reconciles with Nemo and apologizes for being overprotective. Once they have returned home, Marlin is able to let Nemo "go have an adventure" at school, and he impresses and wins the respect of his neighbors for going across the ocean to find his son. In the epilogue, the automatic cleaner/filter in the dentist's fish tank breaks down, forcing him to put all the fish in plastic bags while he cleans it out; they soon reach the ocean, but are still stuck in their bags. As the credits roll, though, they are seen swimming freely in the ocean. SWADES Plot Swades is a story that is set in the milieu of the citizens of India living overseas . Generally they find that the country lacks opportunity, modernization, ability to make big and then they end up

23 in ignominy the condition of their country. But do they even dare volunteer to make efforts to improvise on the countrys situation? The answer stands no. When these people come to their country, then at time they are able to realize things and then countrys love draws him towards her. No wonder it is called Bharat Mata. Same happened with Mohan Bhargava (Shah Rukh Khan) a young scientist who works as a project manager in NASA. He lives with the nostalgia that the light of success and lifestyle does not illuminates the banks of Ganges. He is a man of principles and considers his duty to look after his childhood nanny Kauveriamma (Kishori Ballal). He returns in the quest to find her and take her along with him to America and look after her. He finally finds her in a village called Charanpur. His nostalgia rules when he prefers to take a caravan to the village as he doubts of the services that he would get. His caravan fantasizes the villagers, specially the village boys. His Kauveriamma lived all her life with the expectation that Mohan would return one day. Mohan encounters Geeta (Gayatri Joshi) an attractive village school teacher who lives with Kauveri along with her little brother Cheeku (Master Smit Seth), who is an uninterested mischievous school boy. Geeta is a simple girl who has an ambition to get more and more children educated . But villagers and the Panchayat take it as a relevant issue. Mohan helps Geeta in the mission. Mohan finds his love in Geeta while first Geeta takes him as a person who finds his country inferior but later on she too finds him as her Mr. Right. Mohan begins to interact with the Panchayat, which has at its head a dogmatic village chief. Along the way he encounters the eccentric but appealing Mela Ram (Dayashanker Pandey), who sees Mohan as his pass to the chain of restaurants he will start on the American highways .Mohan befriends the local postmaster Nivaran (Rajesh Vivek), stuck to his old-fashioned ways. Soon, Mohan finally realizes that it is his scientific temperament as well as his understanding of societal complexities that can drive the villagers to participate in a movement to better their lives. Mohan openly criticizes the myth of the Indians that their culture and tradition makes them stand at par with the world. He helps them to set up hydroelectric power plants. The climax reaches when Mohan plans to return back to America and fosters Kauveriamma and Geeta to accompany him. They refuse to leave their country and finally Mohan sets back on his own. There is an emotional departure. But Mohans life could not remain as same as before. The memories of his motherland harks back at him. He then decides to return to India with a prolonged decision.

24 SWADES Plot Swades is a story that is set in the milieu of the citizens of India living overseas . Generally they find that the country lacks opportunity, modernization, ability to make big and then they end up in ignominy the condition of their country. But do they even dare volunteer to make efforts to improvise on the countrys situation? The answer stands no. When these people come to their country, then at time they are able to realize things and then countrys love draws him towards her. No wonder it is called Bharat Mata. Same happened with Mohan Bhargava (Shah Rukh Khan) a young scientist who works as a project manager in NASA. He lives with the nostalgia that the light of success and lifestyle does not illuminates the banks of Ganges. He is a man of principles and considers his duty to look after his childhood nanny Kauveriamma (Kishori Ballal). He returns in the quest to find her and take her along with him to America and look after her. He finally finds her in a village called Charanpur. His nostalgia rules when he prefers to take a caravan to the village as he doubts of the services that he would get. His caravan fantasizes the villagers, specially the village boys. His Kauveriamma lived all her life with the expectation that Mohan would return one day. Mohan encounters Geeta (Gayatri Joshi) an attractive village school teacher who lives with Kauveri along with her little brother Cheeku (Master Smit Seth), who is an uninterested mischievous school boy. Geeta is a simple girl who has an ambition to get more and more children educated . But villagers and the Panchayat take it as a relevant issue. Mohan helps Geeta in the mission. Mohan finds his love in Geeta while first Geeta takes him as a person who finds his country inferior but later on she too finds him as her Mr. Right. Mohan begins to interact with the Panchayat, which has at its head a dogmatic village chief. Along the way he encounters the eccentric but appealing Mela Ram (Dayashanker Pandey), who sees Mohan as his pass to the chain of restaurants he will start on the American highways .Mohan befriends the local postmaster Nivaran (Rajesh Vivek), stuck to his old-fashioned ways. Soon, Mohan finally realizes that it is his scientific temperament as well as his understanding of societal complexities that can drive the villagers to participate in a movement to better their lives. Mohan openly criticizes the myth of the Indians that their culture and tradition makes them stand at par with the world. He helps them to set up hydroelectric power plants. The climax reaches when Mohan plans to return back to America and fosters Kauveriamma and Geeta to accompany him. They refuse to leave their country and finally Mohan sets back on his own. There is an emotional departure. But Mohans life could not remain as same as before. The memories of his motherland harks back at him. He then decides to return to India with a prolonged decision.

25 SCREENWRITING FOR MAAC STUDENTS

INTRODUCTION TO SCREEWRITING

The importance of screenwriting and various media it is used for(film,TV,web,mobile,new media etc.) IDEAS

Choose An Idea That Excites You. To some extent, the old adage of "write what you know" applies to screenplays, especially first-time efforts. It's just easier to write familiar settings and characters than to invent realistic fancy jargon or authentic details about a wild beast stampede. That said, you're writing a screenplay to explore something new, to have an adventure, to step outside your everyday life. You and your charactersaren't going to make it through 4 days and nights of screenwriting if your subject matter is so familiar it puts you to sleep.So write a story that excites you, one that you want to tell to your friends, one that you can't stop thinking about, one that would be a movie you'd love to go see. Dont worry if it's weird, not in fashion, or doesn't have a built-in audience. The best thing that you and your script can possess is passion. PLOT

If an author writes, "The king died and then the queen died," there is no plot for a story. But by writing, "The king died and then the queen died of grief," the writer has provided a plot line for a story.A plot is a causal sequence of events, the "why" for the things that happen in the story. The plot draws the reader into the character's lives and helps the reader understand the choices that the characters make.A plot's structure is the way in which the story elements are arranged. Writers vary structure depending on the needs of the story.

PROTAGONIST & ANTOGINIST

Protagonist is the leading character of a drama or literary work. The antagonist is the person who is opposed to, struggles against, or competes with the protagonist. This meaning that the protagonist could be against a person, nature, or himself/herself. CONFLICT

Just as you must give your screenplay a main conflict in order to make your story exciting, so too must you create a main obstacle that your protagonist (hero) will struggle to overcome. When a character wants something very badly but must overcome obstacles to get it, this creates an interplay of opposing forcesin other words, conflict. Conflict is about struggling for power in ways big or small. To create your obstacle, ask yourself several questions: 1. What is your protagonist's goal? In other words, what is he trying to do, get, or achieve?

26 2. Who is preventing the protagonist from obtaining this goal? The person who stands in his way is the antagonist (villain). 3. What is the protagonist's main obstacle to achieving his goal?

3 ACT STRUCTURE

Screenplays follow a three-act structure, meaning the standard screenplay can be divided into three parts: Setup, Confrontation, and Resolution. Act I comprises the first quarter of the screenplay. (For a two hour movie, Act I would last approximately 30 minutes.) Act II comprises the next two quarters of the film. (For a two hour movie, Act II would last approximately 60 minutes.) Act III comprises the final quarter of the film. (For a two hour movie, Act III would be the final 30 minutes.)

PLOT POINTS AND MID POINTS

THE RESOLUTION

Resolution is where any loose ends are tied up and we see how the climax affected the other major characters in the story. Act III might be 20-30 pages or just a few pages, depending on the story's dictates. The general rule when it comes to screenplay structure is to get out as fast as possible after the final climax so that the film's emotional impact is not diluted by a lengthy resolution.

27 SYNOPSIS & LOGLINES

Your story is finished. You know every twist and turn of the plot. You know your characters inside and out. Now how do you share all of that with an producer, without her having to read the whole story? Step 1: Start With A Hook. This should be a paragraph or two similar to the blurb on the back of a book. Mood and tone is important here, use special adjectives. Step 2: Introduction of Characters. Introduce the main characters in your story. Tell their MOTIVATION, CONFLICT, and GOALS. Stay away from detailed physical descriptions unless this information is pertinent to your story. Step 3: Construct the Body of Your Synopsis. Here, using paragraphs, write the high points of your story in chronological order. Keep these paragraphs tight, don't give every little detail. Remember, each scene should include, ACTION, REACTION, and a DECISION. Example: Boy kisses Girl goodnight. (ACTION) He makes her forget she does not want to get involved in a relationship. (REACTION) He's dangerous to her hard-earned peace of mind. (DECISION) Step 4: Use Three or Four Paragraphs to Write the CRISIS and RESOLUTION of Your Story. Keep this simple, but make sure you show your main characters' reactions. Don't keep the editor guessing. Your synopsis must include the resolution to your story. Step 5: Rewrite your synopsis until each sentence is polished to the point of perfection. Use strong adjectives and verbs, and always write in the present tense. Make every word count.