Plan of attack

[1mper1um]

Originally Posted by jcgary

Wait. Think about it. Consider it. Spend time on something else. Come back to it later. Pitch it to someone else. Talk about it with people. Watch similar movies, see how they do it.

This stuff takes me weeks and weeks to do.

There's no rush. Let it simmer.

I can put it one side, sure, but with regards to talking it over with people, that's what I'm doing here. I don't know any writers in person.

[Klenic]

I haven't written many scripts. I've only got one under my waistband (Don't have a belt). But with my experience of spending about 2 months on the first one. I can tell you first hand that it is ****ing hard to just go in with a concept. That's what I did. I thought of an idea for a story, held my breath and went into it. The entire time I felt I didn't know my characters as well as I wanted to, and the character arc just wasn't there at all. There were too many exposition scenes, because I myself was actually trying to figure out where the story was going for most of the writing. Once I finished the first draft, I did a very, very quick rewrite that involved writing a beat sheet and a in-detailed synopsis. I fixed the character arc, and gave my characters their own individual voice. The funny thing is, I don't think I would have been able to do this before I had actually wrote the story with total a improvised approach. I learned a lot of things I wouldn't have known before, due to the many times I got stuck in places. It really helped me.

However, with the script I'm writing now... I did myself the favor of really writing the main plot in-detail on a loose sheet of paper. If I ever wonder too far off the trail I originally intended, I'll take a look at the paper. I also really enjoy writing this script, unlike the first one. My main characters' dialogue comes really natural for me. I can spit it out instantly. The secondary characters are more realistic, too. Actually, the idea of the story is that everyone surrounding my main character are very real people, and he is stuck in his own fantasy. The hook of his character is that he thinks OUT LOUD, talking as if he's doing a voice over for a really cheesy Film Noir movie from the 50's. He doesn't realize that, though. So when people stare at him funny, like he's nuts, he calls them *******s in their face, because he's really just thinking aloud. That's where most of the humor comes from too. Everything else falls into place.

[jcgary]

Originally Posted by 1mper1um

I can put it one side, sure, but with regards to talking it over with people, that's what I'm doing here. I don't know any writers in person.

Do you know anyone who likes movies?

Pitch it to friends. Pitch it to your mom. Pitch it to your shrink. Talk about it with anyone who'll listen.

(Also, all you're doing here is talking about it generally. Post the beats in the development section if you like, maybe people will assist. Frankly, though, nothing beats talking it through with someone sitting across from you. The internet is good for a lot of things, but this isn't one of them.)

[ducky1288]

Originally Posted by 1mper1um

A few of you have said the same and what I want to know is how do you know what's the best route? Currently I figure my basic route (the start, midpoint and the act breaks) within minutes and then run with that. I probably have enough for a trailer: cool line of dialogue, a set piece or two etc. Thing is, unless I am supernaturally gifted in this respect (and I'm not!) your first ideas are very rarely the best. And this concerns me.

Like how do you know a certain plot line isn't working? Or isn't the best? Look at Transformers and it's sequel. Of all the strong storylines from the comic book, of all the ideas great screenwriters can come up with, they settled on the uber lame idea of the All Spark and that it's location is imprinted on an old pair of glasses. What the...!?!?!?!

At what point in your deliberation will you realise a plot idea isn't working? Do you write 60 pages and then go "naah!"?

I honestly pick how I think the story should go -- in other words what I like best. I don't usually change it unless I get a note about it then I'll come up with something else.

I know a plot line won't work when I do an outline or treatment and the story doesn't match up or feel right. Just go with your gut. Write what you want, isn't that the point? You create it you make those decisions, that's the great thing about a speccin'. Just wait until you have someone telling you what to write, now that's not as fun...

[mr_purple]

Originally Posted by 1mper1um

Some write off the bat - with nothing more than a concept. Others have a beginning and an end and let their imagination fly inbetween. And there are those who have it all figured out, detailed beat sheets, and transcribe into script form. My post is aimed at the latter. How do you guys go about it? I've been through the other two stages and am now a bit more prepared. Now I have the concept, a basic plot line and the act breaks and midpoint.

Eg: If I wrote Jaws my notes would be:

Act I
Girl goes night swim - eaten. Bf reports the death, Brody looks into it. Show chief is alien to Amity. An outsider - hates the sea. Body found, Brody: "shark attack". Mayor furious. Second person killed and into...


Act II
Town crazy. Brody hires marine expert. Shark caught but not the right one. Quint says he'll catch shark. Boy's mum blames Brody even though not his fault. All 3 go out to sea (MIDPOINT). Personalities clash. Bait shark, see how it acts etc. Into...


Act III
Shark is tougher than expected. Hooper eaten. Quint eaten. Brody must face external/internal fears alone. Shark lunges as boat finally sinks - brody kills it.

It's a very rough template. The plus side is I get to let my creative juices flow but the downside is I stare at a blank page for hours. Do you guys sit down and think and it all flows out of you in one sitting? Which is amazing. Or do you mull over it for days/weeks, sizing up potential plot turns, dialogue, scenes and then commit to a detailed plan that is later conveted into a script?

We pretty much have the same approach. The downside is that you run out of story. What would help you is to have a detailed back story for all of your principle characters. Don't worry about making it tie in to your current story. Those tidbits of information will help you progress the story based on the protags conscious and subconscious motives and give you ideas of how the theme may be developing. I usually have 90-110 pagers, when I got to know my characters better, that's when I had my first 120+ script. Not saying its a good/bad thing to go north of 120 but I understand how it can happen.

As far as the structure issues you mentioned in another post. Consider applying the sequence method. It allows you to attack your story in 15 page burst or "mini-acts". Give your protag something to get to(goal) by page 15,30,45,60 ect. You'll still come out with a classic 3 act structure but the story will have more focused emotional crescendos that keep the reader/audience interested.

[FADE IN]

Originally Posted by mr_purple

We pretty much have the same approach. The downside is that you run out of story. What would help you is to have a detailed back story for all of your principle characters. Don't worry about making it tie in to your current story. Those tidbits of information will help you progress the story based on the protags conscious and subconscious motives and give you ideas of how the theme may be developing. I usually have 90-110 pagers, when I got to know my characters better, that's when I had my first 120+ script. Not saying its a good/bad thing to go north of 120 but I understand how it can happen.

As far as the structure issues you mentioned in another post. Consider applying the sequence method. It allows you to attack your story in 15 page burst or "mini-acts". Give your protag something to get to(goal) by page 15,30,45,60 ect. You'll still come out with a classic 3 act structure but the story will have more focused emotional crescendos that keep the reader/audience interested.

In other words, something big has to happen every ten or fifteen pages.

[Ronaldinho]

Originally Posted by FADE IN

In other words, something big has to happen every ten or fifteen pages.

I'm going to suggest another way to think about this.

First of all, you only have 110 pages. So something better be happening on nearly every page.

Secondly, think about what people are paying their big bucks to see. Often we get so caught up in the details of our story that we forget: "People are going to see this horror movie because they want it to be scary." "People are going to this action movie because they want it to be exciting," etc. It's not some arbitrary thing - it's what people are plunking down the price of their ticket to see.

That being said, I try to use the sequencing method a lot - it helps me organize the second act and have it flow logically.

[FADE IN]

Originally Posted by Ronaldinho

I'm going to suggest another way to think about this.

First of all, you only have 110 pages. So something better be happening on nearly every page.

Indeed. I was being a little facetious and speaking very, very generally.

Originally Posted by Ronaldinho

Secondly, think about what people are paying their big bucks to see. Often we get so caught up in the details of our story that we forget: "People are going to see this horror movie because they want it to be scary." "People are going to this action movie because they want it to be exciting," etc. It's not some arbitrary thing - it's what people are plunking down the price of their ticket to see.

That being said, I try to use the sequencing method a lot - it helps me organize the second act and have it flow logically.

We need something to help us organize our second Acts, they're long and often arduous to get through while maintaining story cohesion, logic, and dramatic punch. I don't use sequencing per se but I sure do devote a lot of thought to my second Acts; what I do is probably tantamount to sequencing. I developed my approach long before anyone ever introduced the idea of sequencing in any sort of formal way, but it undoubtedly amounts to the same thing.

I usually start by telling myself I want this guy (my protag) to encounter and have to deal with five or six big obstacles over the next 50 or 60 pages and I want them to become progressively more difficult and complicated, until the last one is so challenging it appears to take his life.

So then I can have him rise like a Phoenix from the ashes and make his dash to the end through the third Act, whereupon he conquers all in a climactic scene that provides the audience with a meaningful emotional experience. Whew!

That oughta give them their ten bucks worth.

And despite its often maddening experience, give me two months and I'll usually get through it!

Damn! It's such fun!

[Mr Scribble]

I've tried a heap of techniques in aide of composing a decent story. But, strange as this may seem, what makes the words flow for me is when I have a sense of what should happen and a feel for the emotion that should drip from the pages. Specifics just seem to bog down the creativity, or tie me to something that isn't working. If I can feel the emotion of the characters and have a sense of the plot, good things happen.

In my current script I drafted Act I, then Act III, and now I'm working on Act II. Seeing as I know exactly where Act I ends and how Act III starts, and with the knowledge that the story ends tie together neatly (ie. Act I and III in sync) it's a pleasure writing Act II. I'm sure I'm the only one who does this, but hell, it's working for me.

[cshel]

Originally Posted by FADE IN

I don't use sequencing per se but I sure do devote a lot of thought to my second Acts; what I do is probably tantamount to sequencing. I developed my approach long before anyone ever introduced the idea of sequencing in any sort of formal way, but it undoubtedly amounts to the same thing.

Wow, you must be really old, then!

I read that "the sequence approach has its foundation in early Hollywood cinema" and that "until the 1950's, most screenplays were formatted with sequences explicitly identified". It's been taught at some universities for decades. Gulino taught the method and wrote a book on it way before that "Million Dollar" guy popped up to make a buck off of it.