Day 32: Roadmap into the industry

Topics & links - 1st 31 days

Day 31 • http://bit.ly/nF06Sk • Put. The. Remote. Down.

Day 30 • http://bit.ly/nJuFBr • Writing visually, with precision

Day 29 • http://bit.ly/qE7LnS • Using real people to create fictional characters

Day 28 • http://bit.ly/nS1DQ7 • Kiss her, you fool (when the audience just wants t0 have fun)

Day 27 • http://bit.ly/pQwYrK • Changing in place

Day 26 • http://bit.ly/pd7xok • Breathing life into your antagonist

Day 25 • http://bit.ly/l7xrEw • Controversial topics, an opportunity for great storytelling

Day 24 • --

Day 23 • http://bit.ly/mDCgRj • Story ideas: Monsters to Shakespeare to Oscar

Day 22 • http://bit.ly/mGwW0Z • What I learned from Jackie Chan

Day 21 • http://bit.ly/jQGShO • The War Room

Day 20 • http://bit.ly/lt1WiG • Who's the director?

Day 19 • http://bit.ly/lVryP0 • Creating unforgettable moments

Day 18 • http://bit.ly/lgxqqy • Naming characters

Day 17 • http://bit.ly/lQLh5Z • Notes/Directing Actors course, SWP Workshop Part II

Day 16 • http://bit.ly/maD7G3 • Notes/Directing Actors Course, SWP Workshop Part I

(..."The bigger the lie, the better the line).

Day 15 • http://bit.ly/iWNJqi • Why is this day different?

Day 14 • http://bit.ly/lj5Uzj

Day 13 • http://bit.ly/mIrUay •

Day 12 • http://bit.ly/kiCJIT • Creating unforgettable characters

Day 11 • http://bit.ly/kFr1XJ • What to write?

Day 10 • http://bit.ly/kD2ftA • Irvin Kershner - memories

Day 9 • http://bit.ly/jL1yCO • Frank Wuliger, acting courses

Day 8 • --

Day 7 • http://bit.ly/kln6iZ • Ron Friedman

Day 6 • http://bit.ly/mNAGqQ • Join me on my journey

Day 5 • http://bit.ly/lJUYzd • Stick with one genre

Day 4 • http://bit.ly/mHxVC7 • I miss my friend, part II

Day 3 • http://bit.ly/kVV8rj • I miss my friend, part I

Day 2 • http://bit.ly/lsSU8w • Getting started

Day 1 • http://bit.ly/mO9J9c • Intro (the beginning)

NOTE: These entries are inspired by the final assignment for "The Business of Writing for Screen and Television," a School of Cinematic Arts' course taught by Frank Wuliger. Hoping to help his students become working screenwriters, he asked us to create a personal, five-year road map into the industry.

Day 31: Roadmap into the industry

Put. The. Remote. Down.

Why Planting and payoff is such a powerful storytelling tool

I'll never forget the way a friend watched a DVD she had rented--it was a movie she'd never seen before.

She kept the TV remote in her hand the whole time. She fast forwarded if the pace slowed, she fast forwarded during predictable sections. She only stopped to watch the movie in real time if something interesting were happening or if something unusual appeared onscreen. She didn't care about the days the screenwriter had struggled over character development and rewrites, she didn't care about the work the director and actors had done or the hours spent editing. When the movie ended she felt satisfied about her experience; she had succeeded in not being bored.

I've sometimes felt the same way while watching a movie. The experience would be much more enjoyable if I could fast forward during all of the boring parts.

Bad movies are worth studying--how are they different from the amazing ones?

In Advanced Screenplay Analysis class, as we learned about the structure of movies, we studied planting and payoff. It's one of the most powerful techniques to keep the audience engaged and entertained.

Planting and payoff is when the audience sees and/or hears an image, a sound, dialogue that may not have meaning the first time it appears, but when it reappears and is tied into the story it has deep meaning.

An example we studied appears in the movie Jerry Maguire. The planting happens when Jerry has been fired and as he leaves his workplace with Dorothy. A couple in an elevator are very much in love; they're communicating using sign language. Dorothy translates what the boyfriend is saying for Jerry: he's telling the girl, "You complete me." The payoff happens at the end of the story; after Jerry has learned to love, he repeats the same words to Dorothy to prove to her that he has changed.

A quick Google search will reveal many more examples of planting and payoff.

Using planting and payoff is powerful because a sound, an image, a musical phrase, can make people feel something before the characters say anything and even when they don't say a word:

• Humor.
• Fear/terror.
• Longing
• Sadness

When an entire audience experiences the same emotion, there is electricity in the room.

In storytelling, when used creatively, planting and payoff is something that will make my friend put down the remote and enjoy every second of the story.

NOTE: These entries are inspired by the final assignment for "The Business of Writing for Screen and Television," a School of Cinematic Arts' course taught by Frank Wuliger. Hoping to help his students become working screenwriters, he asked us to create a personal, five-year road map into the industry. This post is day 31.

Day 30: Roadmap into the industry • Writing visually, with precision

Writing visually, with precision

I mentioned recently that sometimes a when a movie I'm watching ends it seems like five minutes have passed, while after watching another movie for a few minutes it seems like 10 hours have passed. Ten miserable hours.

Screenwriting teachers and mentors had begun telling me that I didn't need to take more classes, that I was ready--that it was time for me to "go for it." I didn't lack confidence but I knew something was missing, and I needed to figure it out.

Answers have came from not only screenwriting professors, but directors, other students, and interestingly, from Dr. Jeanine Turner, a professor in Georgetown University's department of communication, culture and technology.

A friend invited me to the university's George Carroll Weekend this year, and I attended a seminar presented by Drs. Turner and Philip Boroughs: "Real Presence: Challenges to Relationships and Spirituality in a Technological World." I still have notes I took during the presentation on my iPhone.

Dr. Turner told us that research has shown that people think four to five faster than others speak. This impacts every conversation and every interaction we have. And it also impacts every word that goes into crafting a screenplay.

As I begin to experience the first few moments of a movie I wonder: who is the hero? Who is the villain? I'm picky and so the buy-in isn't easy.

As the characters are introduced, they begin to reveal who they are and what they want; supporting characters words and actions show the relationships they have with the main characters and with each other. This is where time stops and I disappear into the story, or where I begin to want to check Twitter or email.

Within a few minutes I begin to see where the characters' conversations are going (when there is dialogue, the entire audience is thinking four to five times faster than the characters are speaking).

So much of the enjoyment, the magic comes from watching the other things that appear on the screen (the set, costumes), from planting and payoff (which I will write about next time), and from sound.

Though I'd completed the master of professional writing degree/emphasis screenwriting, the first class I was allowed to take from the School of Cinematic Arts' writing division was beginning screenwriting. Ron Friedman was the teacher, and at the end of the semester I told Ron that I'm convinced that more working screenwriters will come out of his classes than from any others I've taken. Ron can take a mediocre or just plain bad scene that doesn't work and make it sing faster than anyone I've met, and explain how he did it. I treated his class as a master course in screenwriting, and learned about things that were new to me: pacing and writing with precision.

A student wrote an introductory scene where all that's shown is a tree-covered mountain in the fall. I think the colors may have been changing (spectacular, yes), but Ron wasn't satisfied. "The audience," he told us, "will be confused. You will lose them. They will see an entire movie screen with thousands of trees, every one the same. They won't know where to look and this is disorienting. Make something stand out." He then suggested adding a small cabin to the hillside, with smoke drifting from its chimney. What is happening inside of that cabin?

In the past, I'd concentrated on the story itself: concerned only about what was going to happen next. What obstacles were going to get into the protagonist's way? The fact that the screenwriter can write with such intricate precision that they can control, can pinpoint the very place on the screen where everyone in the audience will look, continues to be a revelation.

NOTE: These entries are inspired by the final assignment for "The Business of Writing for Screen and Television," a School of Cinematic Arts' course taught by Frank Wuliger. Hoping to help his students become working screenwriters, he asked us to create a personal, five-year road map into the industry. This post is day 30.

Day 29: Roadmap into the industry

Using real people to create fictional characters

A few days ago I opened Facebook and read this post: "My boyfriend's dad puts cornflakes in his hot coffee and wears two pairs of reading glasses at a time. His wife has made 50 different costumes for their toy dog."

Those brief sentences help answer a challenge I've struggled with: how to create memorable fictional characters. Just a few descriptive words in that Facebook post capture strong, unforgettable characters, people who are unlike anyone who has lived, or who will ever live.*

In fiction writing workshops at USC, we discussed using real people as inspiration while creating fictional characters. Is it ethical? What should a writer consider as we began to write?

A guest speaker shared that she had included a much-despised agent as the antagonist in one of her projects. A mentor revealed that a crazy lady who lives in her neighborhood and who owns dozens of cats, has appeared in several of her books.

And during the "Academy Series" class, Nia Vardalos told us that some of the most memorable lines in her movie, "My Big Fat Greek Wedding," are from conversations she'd had with family members. One of my favorite examples (paraphrased): "The man is the head of the family. But the woman is the neck. She can turn the head any way she wants." Professors and guest lecturers agreed: the people who have inspired a character do not recognize themselves. They may insist to the author, however, that they're certain a character is someone else whom they both know.

Here is an article by my mentor, Gina Nahai: http://bit.ly/n4hicx

Gina recalls several stories about memorable people she has known. The words below, excerpted from her article, describe why experiencing stories (many with characters inspired by real people), is something people around the world thirst for.

Gina writes:

..."Now I don’t know if it’s just me, or if most people revel in the notion of such extraordinary creatures existing within the folds and wrinkles of our ordinary lives. I realize, of course, that what we hear or remember of them — the surprise wedding, the serendipitous arsenic, the red dress and red hat and the fork stuck in the raw chicken — is a sliver of an otherwise epic, multifaceted tale. It’s not fair, not something any of us would wish for ourselves — for everything we have ever done or felt or wished to be reduced to a single story, and for that story to become our legacy. And yet, it’s also true that without those odd, perhaps even misperceived, traits, without those radical deviations from the customary, there wouldn’t be much to remember any of us by."

This is what I live and breathe for; this is why I write.

*"If you can't show in your story why this child, his father, his grandmother, are unlike anyone who has lived or who will ever live, you don't have anything." ~Irvin Kershner

NOTE: These entries are inspired by the final assignment for "The Business of Writing for Screen and Television," a School of Cinematic Arts' course taught by Frank Wuliger. Hoping to help his students become working screenwriters, he asked us to create a personal, five-year road map into the industry. This post is day 29.

Day 28: Roadmap into the industry

Kiss her, you fool

Forget about screenplay structure, sometimes the audience stays engaged just by having fun.

While I was in college I spent a weekend with a friend and her family. We enjoyed a perfect Sunday--while still wearing PJs we made popcorn on the stove, mixed up a batch of brownies, and then watched a classic romance movie.

The characters' onscreen chemistry developed and just as he was going to kiss her for the first time, there was an epic misunderstanding between them. He changed his mind.

That's when the entertainment in the room took off. In unison, my friends' family exclaimed: "Kiss her, you fool!" As the story unfolded, they must've shouted "Kiss her, you fool," 15 times during the movie.

It was as obvious that the characters would eventually be together but if they had hooked up immediately, with no drama, my friend's family wouldn't have had nearly as much fun.

A few years later a roommate would often talk about a guy she had met at the hospital where they both worked. They were attracted to each other and everyone around them could feel the tension and sparks. Finally a mutual friend took them out to breakfast. The waitress hadn't even brought their coffee before she said, "I brought you both here because you know you like each other and you're driving everyone at work crazy."

She was telling him, "Kiss her, you fool," and she was telling my roommate--"You know you want him to kiss you, you fool!"

I learned about what had happened during their breakfast when my roommie came home, slammed the door, and immediately called the girl who had invited them to breakfast and began screaming at her.

Things were awkward but within a few weeks the guy took her advice; I was in their wedding about a year later.

Nothing in life is simple and we probably wouldn't value or cherish the people in our lives as much if it were.

Movies do mirror real life, and that's part of the magic.

NOTE: These entries are inspired by the final assignment for "The Business of Writing for Screen and Television," a School of Cinematic Arts' course taught by Frank Wuliger. Hoping to help his students become working screenwriters, he asked us to create a personal, five-year road map into the industry.

This post is day 28.

Roadmap into the industry: "Changing in Place"

Day 27: Roadmap into the industry

Screenplay structure: "Changing in Place"

Professor Ron Friedman tells his introductory screenwriting students that movies filmed in the U.S. have a global audience. In order for a play, or movie to resonate, from the country's earliest days Americans had learned to tell stories so that people from many cultures who had settled in the United States could understand and enjoy the storytelling.

While watching some movies I squirm and never feel comfortable. After 15 minutes I feel as if I've been sitting for 10 hours. Ten miserable hours. When other movies are over, the hour-and-a-half has passed in what seems like only a few seconds.

For years I tried to figure out why. What has been included that makes me lose track of time and become lost in the story?

Last year I was thrilled when the USC School of Cinematic Arts' Writing Division gave me permission to attend Don Bohlinger's Screenplay Structure class.

I had never tried harder or studied more. I'd never worried about grades while studying writing, but just before the midterm I was afraid that I wouldn't earn a "C."

I'd study the assigned films more than once before class and would watch them again as Don showed them in class and narrated. The class discussions were amazing; Don patiently explained the various elements to the class (most were directing students), and he even asked if he could add some of my thoughts to future lectures.

He also invited our class to sit in on any of his future lectures, especially if we were working on a screenplay similar to a film his class was studying.

Slowly, I began to understand the subtle elements the audience anticipates and expects as part of masterful storytelling. The Screenplay Structure final test was open book; that may sound easy but it wasn't. I searched through detailed outlines Don had spent hours preparing, scribbled with notes I'd taken during class. And I learned about screenplay structure until the moment I completed the final, attached the file to an email and pressed "send."

While taking the final test I learned about a storytelling technique used in American Beauty. It's called "Changing in Place.

Near the beginning of the movie the Lester Burnham character (Kevin Spacey) is in the kitchen. He returns to the kitchen at the end of the story. He is surrounded by the same objects and decor; but at the beginning of the story he is unaware of a family picture in front of him. His family means nothing to him; and as the story begins he tries to relive his teen years.

Lester changes during the story, and the audience understands how much he has changed when, at the end of the film he's once again in the kitchen. He notices at the family portrait that he had been so blind to when the story began. He picks up the photo and gazes at the picture of his family; the image has new meaning for him. He's standing in the very same place as he was at the beginning of the movie, but now he is a changed man.

I used this storytelling technique recently as I wrote about a child who needed surgery to correct a cleft palate. As a newborn, she would begin to choke on her tongue when she slept. She needed to wait until she turned one to have corrective surgery, and though her parents were given a special monitor, they never left her side. Every night they took turns staying by her side as she slept, so they would know immediately if she began to struggle to breathe.

At the end of the story, the little girl has recovered from corrective surgery. Her mom tucks her in and says goodnight, then turns off the light and closes the door. The imagery is powerful; the same little bed, but the child now sleeps soundly and her mother can relax, assured she is OK.

Finally the magician's techniques began to be revealed. I learned how to use screenplay structure to create a better screenplay. And Screenplay Structure class provided dozens of future topics to review and to write about here.

NOTE: These entries are inspired by the final assignment for The Business of Writing for Screen and Television, a School of Cinematic Arts' course taught by Frank Wuliger. Hoping to help his students become working screenwriters, he asked us to create a personal, five-year road map into the industry. This post is "Day 27."

Day 26: Roadmap into the industry (Breathing life into your antagonist)

"What writers do, taking a blank piece of paper and telling a story: that is something to cherish and respect." ~Frank Wuliger

Last night I struggled to write about breathing life into characters. After several attempts, I decided that that's a fun topic to explore over years, not in one brief post.

When I began writing fiction I had a hard time with my antagonists. "You're too nice!" Irvin Kershner would bellow after reading new pages of a story or screenplay I was working on. "She's too nice," were the first words he'd tell a student worker or colleague I'd bring with me to his home during my visits.

No matter how hard I tried, I knew I was creating characters, both good and bad characters, that were as fulfilling as the emotionless people filling the stands in a computer generated crowd scene.

I'd often heard and read the advice: "No antagonist is fully evil and no protagonist is perfect." This didn't help; so a man pauses to pet a cat before committing a murder and that makes him human? That makes him a more fascinating character? It didn't make sense to me.

Irvin Kershner thought that being nice was hampering my writing. He told me he wanted to make me into a top documentary filmmaker, a place where he knew I could explore truth to my heart's content. I would love to meet with him again and debate this; for I now know that there is truth to the best characters, no matter in which genre they reside.

Last year at work I wrote about kids who cut or self injure. The therapists I interviewed talked about using Dialectic Therapy as they work with the kids, and how their lives are changed as they learn to become self-aware and present. During intense therapy, a child goes back in time, discovering the exact moment when they made the decision to self-injure.

So as I'm working with a new character whose actions I despise I can make them a better opponent. Maybe the antagonist has been given more than he can handle in life; a tragedy. However, the good guy must survive and live his life, and the antagonist must be defeated.

Being too nice; being understanding? Maybe that will help me create a really, really great antagonist.

NOTE: These entries are inspired by the final assignment for The Business of Writing for Screen and Television, a School of Cinematic Arts' course taught by Frank Wuliger. Hoping to help his students become working screenwriters, he asked us to create a personal, five-year road map into the industry.