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Posts Tagged ‘story analyst’

Endings: Grace note?

September 1st, 2011 No comments

The ‘Holy Trinity’ of Story

Every screenplay has a beginning, middle and ending – and, as has been noted more than once before in For Bards Blog, the ending is usually the hardest part to get right. For those reading a novel or otherwise immersing themselves in some form of entertainment, reaching the ending is usually a bittersweet experience. On one hand, you have a feeling of accomplishment, but it is inevitably tinged with a sense of loss: this vicarious experience has drawn to a close. For a screenwriter, creating a solid ending that resolves their story to the audience’s satisfaction is a tricky balancing act, but hopefully it gives birth to the urge to create anew. Often it leads to re-examination, second guessing and unlimited fussing in the name of ‘getting it right,’ even though it’s possible the first choice may have been the right one. In other words, it’s hard to let a project go, but it’s necessary. Your script must be complete before it can be produced – and the desired throngs can enjoy it on the big screen, from beginning to end – at which point it will be their turn to yearn for more …

Lasting Impressions

Whether your script is a comedy, a drama or anything else, it will first be judged on its ending. Just the way making a good ‘first impression’ is important when meeting someone, the ‘final impression’ a reader or studio executive takes away from your script’s last page is likely to make the difference between a ‘consider’ or a ‘pass.’ (If you’re lucky enough to garner a rare ‘recommend,’ you probably nailed it way before the last page.) So the ending of your screen story is vital to the success of your project – and you should ensure that it hits the correct notes to offer your audience an entertaining, insightful and emotionally satisfying experience.

The End… or is it?

One of Hollywood’s latest ‘innovations’ in terms of story endings harkens back to the earliest days of film, when all movies were shorts, and many were serials. Now movies have ‘bulked up’ into $200 million behemoths, so studios must hedge their bets by implanting a cryptic plot point at the end of their tentpole films so that they have pre-positioned a sequel in their (presumed) franchise. All superhero films have them, every ghost story, all genre-mashups… If you are lucky enough to get your script made these days, it had better have franchise potential – if you decide to work for a big studio, that is.

Still a place for dignity

Fortunately, there still is a market for original films with challenging themes and endings. That’s the good news. Here’s the bad news: if you’ve written a screenplay with a ‘downer’ ending, or something that is open-ended, be prepared for requests to change it to something ‘more commercial.’ Because even if you’re fortunate enough to sell your screenplay, the people who bought it still would like to make money off of it, and if that means changing the ending, they will. It’s called show business, not show art. The best way to avoid having your script’s ending changed is to write the strongest one possible in the first place. And that’s where an experienced story analyst can help make a difference.

Omega and Alpha

Endings are part of the nature of things. Everything that has a beginning has an ending. In screenwriting, the one trick to an ending that is emotionally resonant and satisfying is this: there is no trick. There is only hard work, trial and error, and solid writing. So go out there and write – and re-write, if necessary – your screenplay’s ending. But finish it, with a real ending you can justify; if you can argue successfully for a downer, open-ended absurdist nihilstic finale, then that’s probably the right ending for your work. Get it right, and get it done. That way you can start your next  script with a clear conscience…

Homework during summer? BUMMER!

July 27th, 2011 No comments

 

 

Dude, hope you’re havin’ a bitchin summer!

OK… you’re a screenwriter. So where’s your homework?

HOMEWORK?! Nobody said anything about homework…!

WHAT Unwritten Rules?

Aha! Homework is another of the unwritten rules of screenwriting. (As the saying goes, “There are no rules to sure success in the movie business – but you break them at your own peril.”) And everyone has to do homework – even if they’re the teacher.

Homework, but no Phys Ed, right?

No Physical Education, but you should get off the couch, your movie theater seat or desk chair every once in a while. In the case of screenwriting, homework really consists of knowing your business. Literally. The more movies you have seen, the more scripts you have read, the better your chances of writing a strong, original screenplay. Although it may seem illogical, being original is really a matter of knowing what’s gone before – so you can avoid the same territory. As a story analyst, I can usually tell a writer’s formative film and scripting influences as soon as I read their work. It’s human nature to emulate writing which we think is ‘quality,’ even if it involves unconscious borrowing or, in the worst cases, plagiarizing. It’s helpful to know if you’re unwittingly channeling a story that’s already been told (and which you saw and didn’t remember) before you submit your script – afterwards is too late, particularly for that script opportunity or your reputation.

Homework was never this fun

Cheer up. Screenwriting homework, like the ‘work’ of writing, isn’t too tough. In fact, screenwriting homework  is easier than writing. Basically, it involves two things: your mind and subject matter. The instructions go something like this: combine the two, ponder, and repeat. That’s about all there is to it. In other words, stimulate your mind with a film or film script, absorb the story elements, note the tone and pacing, appreciate the characters and plot. Above all, remember. Remember the general story and structure, recall the overall theme. This can all be done from the comfort of your couch – or a movie theater seat – at your leisure. But it needs to be done. Otherwise you may end up writing “Casablanca” due to the fact that you had a great idea for a ‘retro love-triangle story’ because you failed to remember that ‘arthouse movie’ an old girlfriend dragged you to years before…

Look at the blueprints, visit the building

As a story analyst, I have read thousands of screenplays, plays and teleplays (along with treatments, manuscripts, you name it…). And I have seen more than several people’s shares of films and television. While I may lack the zeitgeist sophistication of my youthful nephews and nieces, I could beat the tar out of any one of them when it came to ‘movie trivia,’ (or, as I prefer to call it, ‘knowledge’) or story precedents. And, while I intend to learn the entire Lady Gaga canon some day, knowing whether someone’s script is perilously close to “Blade Runner” comes in a lot handier right now, for me and my clients.

In terms of actual homework, a great exercise is to read the film script, then see the movie. There are a lot of film script sites allowing you to read scripts for free, among them The Internet Movie Script Database (IMSDb). Once you’ve read the script, it’s time to see the film. Apart from heading to theaters for current releases, multitudes of films are available on Blu-ray and DVD, along with streaming titles and on-demand titles, so there shouldn’t be much of a barrier to find the film you are looking for. Ideally, you’ll hang on to the script and make notes if you notice anything that is meaningful to you – but in any case you will have developed a greater understanding of how screenplays are ‘stitched together,’ and what Hollywood looks for in a finished script.

Cheer up – there’s extra credit

Doing your ‘screenwriting homework’ during the summer isn’t so bad. It gets you inside from the blazing heat that seems to be everywhere, and hopefully it’s entertaining. But if it isn’t, that’s where the real work starts: why was it slow? Which character was weak? Did you spot the plot hole? It’s sometimes easier to find the seams in a bad movie than a good one, usually because they’re so obvious – and it’s the same with the script that went before. While reading a script, be aware of the flow and pace, its overall story and characters. Does the dialogue sound right? If any aspect of the script seems questionable, pay extra attention to that when you watch the film – sometimes it really was ‘fixed in editing,’ but often the same deficiencies persist from script to finished product.

The Lone Exception

Of course there’s one screenplay that is simply perfect just the way it is: yours. Or so you hope. Unless you’ve done your homework, you may only find out you’re not ‘completely correct’ when your script gets sent back to you. So do your homework – or benefit from the services of someone who’s helped writers like you by offering constructive criticism. But whatever you do, always put your best effort forward.

Why Analysis?

October 12th, 2010 No comments

Story analysis? (At this point, we touch our fingertips together, lean forward in our chair and observe, while asking “How do you feel about that?”)

Lots of jokes have been made at the expense of touchy-feely psychoanalysis, which is typically represented by a patient unburdening themselves from a psychiatrist’s couch while a thoughtful, goateed doctor listens and occasionally inserts a probing question into the mix. Jokes aside, analysis is a powerful tool to correct deep-rooted problems, and it is why patients visit psychiatrists, doctors specially trained in treating disorders which may very well go unrecognized by others. In doing so, hopefully the analyst gives the patient a new control over their life, leading to success and fulfillment.

Story and script analysis, while mercifully short on comic stereotypes like couches or goatees, are just as powerful tools to offer a screenwriter perspective, focus and context involving their own work. A good story analyst has years of experience and (on the job) training, with a knowledge of film history and current film, as well as a feel for the ebb and flow of the movie industry in general. And at least 1,000 scripts under their belt – read and analyzed; 2,000 is better. Every script read and synopsized, every story analyzed, every set of reader’s comments informs the analyst’s next set of notes; in short, story analysis is cumulative. Over the course of many years, I have analyzed more than 3,500 scripts, manuscripts, plays, teleplays and treatments; as a result, my ability to identify writing missteps, story mistakes, plotting errors and the like has allowed me to assist writers of all kinds, from total neophytes to jaded Hollywood A-Listers.

Regardless of whether you choose a professional story analyst, it’s important to have someone other than yourself read and provide an independent assessment of your work. No one sets out to write a ‘bad’ script – but stuff happens… If you are so immersed in your work you do not recognize logic gaps, uneven characters, plot holes, strained dialogue, formulaic structure or one of the many other traps screewriters fall into, it’s time to bring in a fresh eye – hopefully someone with the skill set to offer constructive criticism that will make the writing process easier and less mysterious for you. I have friends and colleagues who pooh-pooh  the idea of paying a story analyst to read their work (hey – I didn’t say they were good friends…), but they are often the ones who come to me privately and ask me to look at their work. I’ve also offered to read pals’ work gratis and given them advice, but the majority of screenplays I have analyzed have come through the studio system to the production companies or film finance clients I work with, in addition to those personal clients who discovered Forbard Story Services’ website on their own.

So. Analysis. Hmmm… I know how I feel about that – but how about you? It may make all the difference in your pursuit of screenwriting success!