I read a lot of Middle Grade novels, which are basically books about 8-13 year olds, and lots of YA, which is 14-18. (Of course, the age of the protagonist doesn’t necessarily match the age of the reader, which is always displaced by a few years.)
I also read books that could be one or the other because they never bother to specify the age of the hero. Of course, there are clues: Are they in middle school or high school? If that’s not clear, do they have a cell phone or not? Are they driving or not? I also read books that are clearly MG but it isn’t clear for the first hundred pages whether the hero is 8 or 13.
Don’t do this. Don’t make me search for clues. When I pick up your book, one of the first things I need to do is picture your hero. And no, that doesn’t mean I need to hear about their one lock of hair that won’t stay tucked behind their ear, that means I need to know their age, and their race.
Writers are even more coy about race. There’s starting to be a shift on this, but for a long time writers considered it politically incorrect to come out and tell us the race of their characters so they would only use food comparisons. “My skin is cashew-colored, my best friend is almond, and her sister is peanut.” Ugh. No more food, please
One book was set in a fictional metropolis in a fictional country in a post-Apocalyptic world, but a character was still referred to as African-American just to avoid saying black, although this was the only reference to America in the whole book.
When the Hunger Games movie came out, some racist moviegoers were pissed that Rue was black, but then others pointed out that she was black in the book, too, but Collins had skirted using the word.
Yes, the terms “white” and “black” are problematic, but they’re the terms we use in our own minds, so just use them already. And let us know right away, so we can picture who we’re reading about. It’s hard to identify with a hero we can’t picture.
Podcast
Sunday, September 17, 2017
Thursday, September 14, 2017
Storyteller’s Rulebook: Readers Are Hungry for Conversation
When we pick up a book, we start reading it provisionally, wondering, “Am I actually going to read this whole damn thing?” And our answer is always the same: “It all depends on whether or not I fall in love with the hero.” So we’re waiting for a scene that will let us make that decision. Specifically, we’re impatiently waiting for a scene where your hero has some dialogue with another character in the book’s present.
It’s tempting to begin your book with pages upon pages of your first-person hero telling us all about himself. And that’s fine. Sometimes those pages are very charming and they win us over…sort of. We can decide we mostly like a hero, but we’re still not going to fully commit.
We know that everybody is great in his or her own mind. Anyone can claim to be one of the good guys and argue persuasively for that. But only dialogue tests us. It could be that, once you leave your house, everybody you talk to says, “No, you’re actually an unbearable loser.” Is that going to happen with your hero? We want to know as soon as possible.
If we’re going to decide whether or not we like your hero, we’re going to need to listen to a conversation, which is the same way we decide whether or not we like somebody in real life. You can only find out so much from reading the resume, then you’ve got to sit down for the interview.
This speaks to another issue: Get to your “present” as soon as possible. It could be your book is mostly set in 1971 but your first three chapters cover the first twenty years of your hero’s life from ’51 to ’71. Well, we’re going to want to hear some actual ’71 conversation as soon as possible, so you either have to shoehorn some in before flashing back to cover the hero’s life heretofore, or squeeze that preamble down to about 20 pages and arrive in your book’s “present” so that we can finally meet the present-day-hero and decide if we like him or her enough to stick around and actually read this thing.
In fact, 20 pages is a good deadline. It’s great to have dialogue on the first page, but if not, try to have it by page 20 at the latest. And make it authentic-sounding dialogue that is appealing in one way or another. We don’t have to like your hero, but we have to believe in him or her, and we have to start to fall in love with him or her. Maybe we’ll start to fall in love with his or her strengths, or with his or her weaknesses.
It’s tempting to begin your book with pages upon pages of your first-person hero telling us all about himself. And that’s fine. Sometimes those pages are very charming and they win us over…sort of. We can decide we mostly like a hero, but we’re still not going to fully commit.
We know that everybody is great in his or her own mind. Anyone can claim to be one of the good guys and argue persuasively for that. But only dialogue tests us. It could be that, once you leave your house, everybody you talk to says, “No, you’re actually an unbearable loser.” Is that going to happen with your hero? We want to know as soon as possible.
If we’re going to decide whether or not we like your hero, we’re going to need to listen to a conversation, which is the same way we decide whether or not we like somebody in real life. You can only find out so much from reading the resume, then you’ve got to sit down for the interview.
This speaks to another issue: Get to your “present” as soon as possible. It could be your book is mostly set in 1971 but your first three chapters cover the first twenty years of your hero’s life from ’51 to ’71. Well, we’re going to want to hear some actual ’71 conversation as soon as possible, so you either have to shoehorn some in before flashing back to cover the hero’s life heretofore, or squeeze that preamble down to about 20 pages and arrive in your book’s “present” so that we can finally meet the present-day-hero and decide if we like him or her enough to stick around and actually read this thing.
In fact, 20 pages is a good deadline. It’s great to have dialogue on the first page, but if not, try to have it by page 20 at the latest. And make it authentic-sounding dialogue that is appealing in one way or another. We don’t have to like your hero, but we have to believe in him or her, and we have to start to fall in love with him or her. Maybe we’ll start to fall in love with his or her strengths, or with his or her weaknesses.
Tuesday, September 12, 2017
Storyteller’s Rulebook: Begin by Showing Your Hero Losing Because of His or Her Flaw
It’s always good to introduce your hero doing something active. If this takes the form of a physical competition, or even just hitting on someone, then it’s good to show your hero lose in a way that hints at their overall flaw, without calling attention to that fact at the time.
The hero will still not realize he or she has this flaw, and the reader may not realize it as well, but for both the hero and the reader, when the big flaw is finally confronted at around the ¾ point of the story, the fact that this first loss also traces back to this flaw will resonate. Eventually, we want your hero to realize that he or she must overcome this flaw in order to defeat the antagonist and/or win over another character.
Don’t begin by highlighting the wrong flaw, because that can get you on the wrong track. In one book I read for my notes service, the hero lost the competition in the first scene because he was distracted by a woman, conditioning us to think that this will be a problem throughout the book. But this didn’t turn out to be the hero’s flaw. His flaw was that he was too contemptuous and snobby. If he had lost the match because he had too little respect for his opponent, that would have set up the rest of the story better.
Let’s go back to Raiders of the Lost Ark. Indy begins by trying to replace a religious idol with a bag of sand, because he doesn’t see any difference, but the altar can tell the difference, and it triggers all sorts of booby traps that delay him long enough for Belloq to steal the idol. It’s not obvious to us or him at the time that this speaks to his overall flaw, his lack of respect for spirituality, but it subconsciously sets us up for the for the moment when he overcomes his big flaw to “win” at the end (simply by closing his eyes out of reverence.)
The hero will still not realize he or she has this flaw, and the reader may not realize it as well, but for both the hero and the reader, when the big flaw is finally confronted at around the ¾ point of the story, the fact that this first loss also traces back to this flaw will resonate. Eventually, we want your hero to realize that he or she must overcome this flaw in order to defeat the antagonist and/or win over another character.
Don’t begin by highlighting the wrong flaw, because that can get you on the wrong track. In one book I read for my notes service, the hero lost the competition in the first scene because he was distracted by a woman, conditioning us to think that this will be a problem throughout the book. But this didn’t turn out to be the hero’s flaw. His flaw was that he was too contemptuous and snobby. If he had lost the match because he had too little respect for his opponent, that would have set up the rest of the story better.
Let’s go back to Raiders of the Lost Ark. Indy begins by trying to replace a religious idol with a bag of sand, because he doesn’t see any difference, but the altar can tell the difference, and it triggers all sorts of booby traps that delay him long enough for Belloq to steal the idol. It’s not obvious to us or him at the time that this speaks to his overall flaw, his lack of respect for spirituality, but it subconsciously sets us up for the for the moment when he overcomes his big flaw to “win” at the end (simply by closing his eyes out of reverence.)
Sunday, September 10, 2017
Storyteller’s Rulebook: Let Us Guess From a Character’s Introduction How Important He or She is Going to Be
A character enters the room. You write, “The door opens. Everybody turns to look. In steps a quietly commanding figure, Sergeant Elias Quartermain, son and grandson of generals and destined to make it himself someday. Three women break away from their conversations to sidle up to him, but he brushes past them all.” Then we never hear from this character again. Don’t do that.
On the other hand, you’ll have this: “I was taken down to the command room where I met analysts named Adamson, Bowers, Cahill, and Dumont. They all shook my hand and then we turned our attention to the briefing.” Then, by the time the book is over, Bowers turns out to be the love interest. Don’t do that either.
As I mentioned here, audiences want to keep track of as few characters as possible. Every time you introduce a character, you’re asking your reader for a favor, “Sorry, but I’ve got yet another character I want you to remember and keep track of.” Audiences are always looking for permission to lose track of a character.
When they read the first intro above, they think “Oh boy, I’d better clear out a bunch of head space to keep track of Quartermain, even if it means forgetting about some of the earlier characters.” When they read the second intro, they think, “Oh good, these four analysts are not being given any distinguishing characteristics, so I don’t have to keep track of them. Their four names can go in one ear and out the other.” Then later, when Bowers becomes more and more important, they’ll think “Wait, who is this guy, did we meet him before? I forget, let me flip back…” Trust me, your readers will be pissed with you if they have to flip back.
Let us guess correctly how important a character is going to be. Don’t bother to name Sgt. Quartermain if he’s never going to be mentioned again, and if your heroine is going to fall in love with one of those four analysts, have him stand out when he’s introduced. You don’t have to mention how hot he is or tip off the fact that he’ll be the love interest, but at least give him a little character note, so we’ll (begrudgingly) remember who he is later.
On the other hand, you’ll have this: “I was taken down to the command room where I met analysts named Adamson, Bowers, Cahill, and Dumont. They all shook my hand and then we turned our attention to the briefing.” Then, by the time the book is over, Bowers turns out to be the love interest. Don’t do that either.
As I mentioned here, audiences want to keep track of as few characters as possible. Every time you introduce a character, you’re asking your reader for a favor, “Sorry, but I’ve got yet another character I want you to remember and keep track of.” Audiences are always looking for permission to lose track of a character.
When they read the first intro above, they think “Oh boy, I’d better clear out a bunch of head space to keep track of Quartermain, even if it means forgetting about some of the earlier characters.” When they read the second intro, they think, “Oh good, these four analysts are not being given any distinguishing characteristics, so I don’t have to keep track of them. Their four names can go in one ear and out the other.” Then later, when Bowers becomes more and more important, they’ll think “Wait, who is this guy, did we meet him before? I forget, let me flip back…” Trust me, your readers will be pissed with you if they have to flip back.
Let us guess correctly how important a character is going to be. Don’t bother to name Sgt. Quartermain if he’s never going to be mentioned again, and if your heroine is going to fall in love with one of those four analysts, have him stand out when he’s introduced. You don’t have to mention how hot he is or tip off the fact that he’ll be the love interest, but at least give him a little character note, so we’ll (begrudgingly) remember who he is later.
Wednesday, September 06, 2017
Storyteller’s Rulebook: Sometimes It's Better to Humanize Than Incentivize
This is a rule that James mentioned in our sixth podcast, and I thought I should give it its own post.
In Raiders of the Lost Ark, Indiana Jones begins the story with a very standard social humiliation, losing the idol he just found to another archaeologist. He then returns home to his university empty-handed, only to find out about an intimidating opportunity to redeem himself when the government comes around and asks him to find the ark of the covenant. First, however, he hangs out with his friend and senior colleague Brody.
As James pointed out, if you were writing strictly according to how a guru told you to write, it would tempting to pile on another humiliation and escalation here. Brody could be critical of Indiana coming back empty-handed, and even tell him that he’ll be fired if the doesn’t bring back something better soon. On paper, that sounds like a good idea. The hero now has more motivation for the story going forward and bigger emotions (more humiliation) to deal with. So why not?
Because it’s more important to humanize Indy at this point. Let him be a human being for a few scenes, won’t you? Give him a nice normal friendship and some comfort. You’ve already started your story off with a bang, so your audience should be willing to put up with a few scenes of downtime before we launch back into the big conflict.
Don’t get me wrong, downtime is risky, and under-motivation is deadly, but if you’ve earned a breather, take it. We want to like Indy, and so we want to see that at least one other person likes Indy.
(After writing this, I remembered that two of my very first posts seven years ago were on the dangers of over-motivation. This is a good example of a movie that avoided that problem.)
In Raiders of the Lost Ark, Indiana Jones begins the story with a very standard social humiliation, losing the idol he just found to another archaeologist. He then returns home to his university empty-handed, only to find out about an intimidating opportunity to redeem himself when the government comes around and asks him to find the ark of the covenant. First, however, he hangs out with his friend and senior colleague Brody.
As James pointed out, if you were writing strictly according to how a guru told you to write, it would tempting to pile on another humiliation and escalation here. Brody could be critical of Indiana coming back empty-handed, and even tell him that he’ll be fired if the doesn’t bring back something better soon. On paper, that sounds like a good idea. The hero now has more motivation for the story going forward and bigger emotions (more humiliation) to deal with. So why not?
Because it’s more important to humanize Indy at this point. Let him be a human being for a few scenes, won’t you? Give him a nice normal friendship and some comfort. You’ve already started your story off with a bang, so your audience should be willing to put up with a few scenes of downtime before we launch back into the big conflict.
Don’t get me wrong, downtime is risky, and under-motivation is deadly, but if you’ve earned a breather, take it. We want to like Indy, and so we want to see that at least one other person likes Indy.
(After writing this, I remembered that two of my very first posts seven years ago were on the dangers of over-motivation. This is a good example of a movie that avoided that problem.)
Tuesday, September 05, 2017
Podcast Episode 6: Raiders of the Story Circle
Hey guys, it’s been a long time since we put up a new podcast episode, hasn’t it? Well we’re back, baby! In this episode we start off by comparing my structure to Dan Harmon’s Story Circle, then we basically just end up talking about Raiders of the Lost Ark for a long ass time, so long that this is our second longest episode, and it doesn’t even have a free story idea! Nevertheless, I think you’ll like it.
Lots of links this time around:
Lots of links this time around:
- NEW FOR THIS EPISODE, I’ve expanded my classic structure guru concordance to include Dan Harmon’s story circle and Film Crit Hulk’s five act structure (which we never get around to discussing)
- Here are my massive charts of how 50 movies line up to my structure.
- http://channel101.wikia.com/wiki/Story_Structure_101:_Super_Basic_Shit
- http://channel101.wikia.com/wiki/Story_Structure_102:_Pure,_Boring_Theory
- http://channel101.wikia.com/wiki/Story_Structure_103:_Let%27s_Simplify_Before_Moving_On
- http://channel101.wikia.com/wiki/Story_Structure_104:_The_Juicy_Details
- http://channel101.wikia.com/wiki/Story_Structure_105:_How_TV_is_Different
- http://channel101.wikia.com/wiki/Story_Structure_106:_Five_Minute_Pilots
- http://danharmon.tumblr.com/post/57779240046/could-you-explain-your-story-breaking-process
- http://danharmon.tumblr.com/post/57889437682/could-you-explain-a-particular-community-episode
Monday, September 04, 2017
Monday, August 21, 2017
Weeds: The Archive
Our final TV show archive! Thanks for putting up with me as I archive all these old posts. The upside is that I didn’t take the summer off like I usually do.
- The Ultimate Pilot Story Checklist: Weeds
- Straying from the Party Line: The Lack of a POV Character in Weeds (and Why Satire Must be Center-Cut)
- Rulebook Casefile: Potential Energy in the “Weeds” Pilot
- Storyteller’s Rulebook: Strong Metaphors Aren’t 1 to 1
- Storyteller's Rulebook: Know and Show the Bad Reasons
- Storyteller’s Rulebook: Great TV Heroes Should Be Self-Aware, But Not as Much as They Think They Are
Sunday, August 20, 2017
Transparent: The Archive
A brilliant show.
- The Ultimate Pilot Story Checklist: Transparent
- Straying from the Party Line: Transparent and the New Reality of Streaming
- Rulebook Casefile: The Masterful Subtext of Transparent
- Storyteller's Rulebook: Let Words Belie Actions (But Make Sure We Notice)
- Storyteller’s Rulebook: Let the Listener Rewrite the Scene
- Rulebook Casefile: Showing Off a Spectrum of Moods in the “Transparent” Pilot
Thursday, August 17, 2017
The Sopranos: The Archive
Lots of good stuff here, especially the Masterful Weave breakdown.
- The Ultimate Pilot Checklist: The Sopranos
- Rulebook Casefile: The Masterful Weave of The Sopranos Pilot
- Rulebook Casefile: The Short-Lived Framing Sequence in the Sopranos Pilot
- Straying from the Party Line: Separating Plot and Character Scenes in the Sopranos Pilot
- Rulebook Casefile: Details from Life, from Research, and from Imagination in the Sopranos Pilot
- Storyteller’s Rulebook: Add Realism, But Don’t Subtract Unrealism
- The Hero Project #9: Freud and Jung and Tony and Don
- Hero Personality Profiles, Part 2: The Underappreciated
- Storyteller’s Rulebook #7: Movies Are About Change, TV is About Fate
- Storyteller’s Rulebook #41: Drama Is How It Is, Genre Is How It Feels
- Storyteller’s Rulebook #152: Give Every Hero a Part of Yourself
Wednesday, August 16, 2017
Scandal: The Archive
A great pilot that’s worth studying.
- The Ultimate Pilot Story Checklist: Scandal
- Rulebook Casefile: Swiftly Differentiating the Ensemble on “Scandal”
- Rulebook Casefile: Art vs. Entertainment in the “Scandal” Pilot
- Storyteller’s Rulebook: Use Ironic Set-Up and Pay-Off Dialogue
- Storyteller’s Rulebook: Hypocrisy Can Build Sympathy
- Straying from the Party Line: Overdoing the Ticking Clock in the “Scandal” Pilot
- Rulebook Casefile: The Effortless Moment of Humanity in the “Scandal” Pilot
Tuesday, August 15, 2017
Modern Family: The Archive
I had a lot to say about what this show does wrong and what it does right.
- The Ultimate Pilot Story Checklist: Modern Family
- Straying from the Party Line: The Failure to Bring Different Classes Together on Modern Family
- Storyteller’s Rulebook: Stay on the Edge of Edgy
- Rulebook Casefile: Backstory vs. Front Story on Modern Family
- Rulebook Casefile: Generating Empathy in Modern Family (as Opposed to Trophy Wife)
- Straying from the Party Line: Co-Equal Heroes in the Modern Family
- Rulebook Casefile: Concise Comedy in Modern Family
- Storyteller's Rulebook #129: Comedy Requires Pain
- The Ironic Statement of Theme on "Community"
Monday, August 14, 2017
Mad Men: The Archive
My all-time favorite show. I miss it badly.
- The Ultimate TV Pilot Checklist: Mad Men
- Straying from the Party Line: “Mad Men”
- Rulebook Casefile: The Importance of Being Good at Your Job in “Mad Men”
- Rulebook Casefile: How “Mad Men” Creates Its Own Sense of Right and Wrong
- The Hero Project #9: Freud and Jung and Tony and Don
- Storyteller’s Rulebook #42: People Only Want What They Want
- Storyteller’s Rulebook #96: The Difference Between Literature and Entertainment
- How to Create a TV Show, Part 15: Establish the Philosophy And/Or Theme
Sunday, August 13, 2017
How I Met Your Mother: The Archive
Yes, I wrote all these before the finale but I’d do it all over again because I thought the finale was brilliant, heartbreaking, honest TV. If you hadn’t figured out the mom was dead years in advance I don’t even know what show you were watching.
- The Ultimate TV Pilot Checklist: How I Met Your Mother
- Straying From the Party Line: How I Met Your Mother
- Rulebook Casefile: The Vainglorious Moment of Humanity in “How I Met Your Mother”
- Rulebook Casefile: Unique Point of Entry in “How I Met Your Mother”
- Storyteller’s Rulebook #206: Have a Reversible Metaphor
- Finally: the Corrected Statement of Philosophy on "How I Met Your Mother"
Thursday, August 10, 2017
Community: The Archive
How many of these people are starring in their own shows right now? (I guess Joel McHale and Danny Pudi’s new shows just got cancelled, but Brie, Olver, Glover and Jacobs are going strong.)
Wednesday, August 09, 2017
Cheers: The Archive
This was one of the first ones I did, back when I didn’t do as many posts about each one. I should go back and add some more at some point. There’s certainly no shortage of things to say about this great pilot.
Tuesday, August 08, 2017
Monday, August 07, 2017
Breaking Bad: The Archive
I’ve had a lot to say about this show over the years, partially because it was I was blogging almost the whole time it was on.
- The Ultimate Pilot Checklist: Breaking Bad
- Straying from the Party Line: The Lack of Hard Choices in “Breaking Bad”
- Straying from the Party Line: Sacrificing the Other Characters In Favor of the Lead in “Breaking Bad”
- Storytellers Rulebook: Save Your Flashforwards For Stories With (Initially) Passive Heroes
- How to Build a Scene: Evaluating every scene in one episode of Breaking Bad
- How to Build a Scene, Epilogue: Mix and Match
- Storyteller's Rulebook #126: Some Scenes are More Ambitious Than Others (Further evaluating every scene from that episode)
- Rulebook Casefile: Empathy Lost and Regained on “Breaking Bad”
- Rulebook Casefile: Everything and the Kitchen Sink in the “Breaking Bad” Pilot Script
- Storyteller's Rulebook #124: Every Scene is a Mini-Movie
Sunday, August 06, 2017
24: The Archive
No, I’m not going to update these TV checklists, just archive the posts, if that’s okay. Can we all pretend the most recent season of this show never happened? Good!
- The Ultimate TV Pilot Checklist: 24
- Straying From the Party Line: 24
- How to Create a TV Show, Addendum: Create Sparks
- Rulebook Casefile: Character Descriptions in the “24” Pilot Script
- Rulebook Casefile: Predicting National Pain in “24”
- Storyteller’s Rulebook Follow-Up: A Hero Split In Two
- How to Alienate An Audience, Part 4: The Hero Agrees with Everybody
Thursday, August 03, 2017
Film School Confidential: The Archive
Don’t go to Film School, folks! There’s a fair amount of anti-MFA stuff in the book, but there used to be a lot more before we slimmed the autobiographical element. Here it is in all its gory glory. Feel my rage!
- Film School Confidential, Part 1: A Confession
- Film School Confidential, Part 2: It’s Worse than Nothing
- Film School Confidential, Part 3: It Feeds Your Worst Instincts
- Film School Confidential, Part 4: You're The Whale
- Film School Confidential, Conclusion: Instead of Film School, Listen to the Crickets
Wednesday, August 02, 2017
Mackendrick's Rules: The Archive
Writer-director
Alexander Mackendrick made underrated movies such as The Man in the White Suit, then became a revered film professor
and published a great book called “On
Filmmaking.” Commenter
J.S. found a list of 41 Mackendrick truisms online, so I spent a few days discussing how those excellent rules lined up with my own advice...
Tuesday, August 01, 2017
Beyond Good Vs. Sucky: The Archive
This was my very first attempt to break down writing into different categories and give a list of advice on each. Still lots of good stuff here.
Monday, July 31, 2017
The Shining: The Archive
Yay, it’s my final updated checklist ever! (Unless I do the TV checklists. I don’t think I will because those checklists were only slightly updated. I still may archive them though.) Unexpectedly, this movie did a pretty terrible job with the checklist, mainly because it kept switching heroes.
Sunday, July 30, 2017
Infographic on Theme
Hi, everybody! Before we do the next archive, a reader named Martin Cavannagh asked me share a big infographic he made about Theme. He defines Theme slightly differently than I do, but there’s a lot of good insights here, so I’m happy to share it. Check it out!
Thursday, July 27, 2017
The First 15 Minutes Project: The Archive
So back before the Road Tests of the Ultimate Story Checklist, I had a series where I would go step by step through the first 15 minutes of a film or TV pilot and figure out how they got us on the side of the hero. Many of these eventually got checklists, but many never did, so they can only be found here (How have I never done The French Connection or The Apartment?) The above graphic is from the fifth piece below where I went through the first four and noticed something: One shortcut to sympathy is to have your white character high-five a black person.
- The First 15 Minutes Project #1: Clarice Starling in Silence of the Lambs
- The First 15 Minutes Project #2: The 40 Year Old Virgin
- The First 15 Minutes Project #3: Popeye Doyle in The French Connection
- The First 15 Minutes Project #4: Mickey Ward in The Fighter
- The First 15 Minutes Project #5: Shortcuts to Sympathy
- The First 15 Minutes Project #6: Rick Blaine in Casablanca
- The First 15 Minutes Project #6: The Little Tramp in Modern Times
- The First 15 Minutes Project #7: Dave in Breaking Away
- The First 15 Minutes Project #8: C.C. Baxter in The Apartment
- The First 15 Minutes Project #9: Jake Gittes in Chinatown
- The First 15 Minutes Project #10: Dave Chappellet in Downhill Racer
- The First 15 Minutes Project #11: Tom Ripley in The Talented Mr. Ripley
- The First 15 Minutes Project #12: Richard Boyle in Salvador
- The First 15 Minutes Project: Buffy the Vampire Slayer
- The First 15 Minutes Project: Cady Heron in Mean Girls
- The First 15 Minutes Project: Peter Parker in Spider-Man
- The First 15 Minutes Project: Max Fischer in Rushmore
- The First 15 Minutes Project: Juno McGuff in Juno
Wednesday, July 26, 2017
Problem, Opportunity, Conflict: The Archive
I enjoyed making graphics like the one above, and it was a bit of a let-down to realize that none of them were going to make it into the book, but it’s probably for the best. It might have made it harder to set up the audiobook.
Tuesday, July 25, 2017
The Meddler: The Archive
This was a series I did where I would take a movie or book, break down all my problems with it, and then pitched my rewrite of all or part of it. I just had a blast re-reading these. I put a tremendous amount of work into these.
- The Meddler #1: Some problems with The Town...
- The Meddler #2: ...And My Fixes For The Town
- The Meddler #3: Some problems with The Ghost Writer...
- The Meddler #4: …And My Fixes for The Ghost Writer
- The Meddler #5: Some Problems with Julie and Julia...
- The Meddler #6: ...And My Fixes For Julie and Julia
- The Meddler #7: Some Problems with Walk the Line...
- The Meddler #8: My Fixes for Walk the Line, aka Man in Black
- The Meddler Presents: Harry Potter Week!
- Meddling With Harry Potter Book 4
- Meddling With Harry Potter Book 5
- Meddling With Harry Potter Book 6
- Meddling With Harry Potter Book 7
- The Meddler #9: Some problems With Flags of Our Fathers
- The Meddler #10: ...And My Fixes For Flags of Our Fathers
- Gone Girl Meddler Week, Part 1: Where the Movie Blows It
- The Meddler: Gone Girl (Book and Movie), Part 2: Amy’s Nonsensical Plan
- The Meddler: Gone Girl (Book and Movie), Part 3: The Three Big Pregnancy Problems
Monday, July 24, 2017
How to Write a Screenplay in 30 Easy Steps: The Archive
This is obviously a relic from the days when this was pretty much exclusively a screenwriting blog, but this method (which is no longer really my method) could apply to other types of writing as well. I love the comic I chopped up to use as illustrations for this. I totally forget what it was or where I found it...
- How To Write A Screenplay in 30 Easy Steps, Part One: Ideas
- How To Write A Screenplay in 30 Easy Steps, Part Two: The Homework
- How To Write A Screenplay in 30 Easy Steps, Part Three: Troubleshooting
- How To Write A Screenplay in 30 Easy Steps, Part Four: The Rough Draft
- How To Write A Screenplay in 30 Easy Steps, Part Five: The Second Draft
Sunday, July 23, 2017
Now You Can Finally Finetune (How to Revise): The Archive
One of my mottos is “Don’t Revise, Rewrite!”, so I always direct writers to my “How to Rewrite” series first, but yes, eventually, once all your rewriting is done, you will be ready to revise, so I’ve got this additional series as well. Some of these got moved to other places in the book.
- NOW You Can Revise, Introduction: When It’s Finally Time to Fine Tune
- NOW You Can Revise, Step 2: Cut Ten More Pages Out
- NOW You Can Revise, Step 3: Build a Theme Tree
- Now You Can Revise, Part 4: Add More “I Understand You” Moments
- Now You Can Revise, Part 5: Set Up More of Your Pay-Offs
- Now You Can Revise, Part 6: Use the Final Draft Tools
- Now You Can Revise, Conclusion: You’re a Poet But You Don’t Know It.
Thursday, July 20, 2017
How to Rewrite: The Archive
A series that mostly made it into the book, but the section below on Common First Draft notes was mostly cut, and is well-worth reading...
- How to Re-Write Part 1: Don’t Revise, Re-Write!
- How to Re-Write, Part 2: First You Have to Fall Out of Love
- How to Re-Write, Part 3: Heed The Notes You Get and the Notes You Don’t Get
- How to Re-Write, Part 4: It’s Hard to Fill a Hole Without Digging a New One
- How to Re-Write, Part 5: Don’t Paper Over the Problem
- How to Re-Write, Part 6: Pair Off Your Problems
- How to Re-Write, Part 7: Allow Your Changes to Snowball
- Common First Draft Notes, Part 1: General Notes
- Common First Draft Notes, Part 2: Character Notes
- Common First Draft Notes, Part 3: Dialogue Notes
- How to Re-Write, Addendum: Motivation Too Weak? Don’t Multiply It—Simplify It!
Wednesday, July 19, 2017
Interweaving an Irreconcilable Theme: The Archive
Well, it’s happened again, I went searching for my Theme series only to discover that I never did one! As with Dialogue, I apparently just stitched that portion of the Checklist together out of Storyteller’s Rulebook pieces, so I have to dump all my Theme pieces here and let you put it together yourself!
- Storyteller’s Rulebook #7: Movies Are About Change, TV is About Fate
- Storyteller’s Rulebook #12: Depth is Found in Holes
- Storyteller’s Rulebook #41: Drama Is How It Is, Genre Is How It Feels
- Storyteller’s Rulebook #44: Leave A Question Unanswered
- Storyteller's Rulebook: The Rule of Evidence, Part 1
- Storyteller's Rulebook: The Rule of Evidence, Part 2
- Beyond Good vs. Sucky, the Conclusion: Theme
- Storyteller’s Rulebook #51: Nothing's Wrong Until You Make It Wrong
- Storyteller's Rulebook #64: Know The Way The World Works --Any World
- Storyteller’s Rulebook #65: The Mastermind Exception
- Storyteller’s Rulebook #66: If You Laugh At Death, You Suffer the Consequences
- Storyteller’s Rulebook #68: Don't Flip That Metaphor!
- Storyteller's Rulebook #70: If You Want To Be Lean, You Have To Be Dense
- Storyteller’s Rulebook #71: Screw-Ups Don't Screw Up All Day Long
- Storyteller’s Rulebook #72: Beware the Dark Side (Of Bio-Pics)
- Storyteller’s Rulebook #76: Redemption Requires Actual Guilt
- Storyteller’s Rulebook #81: Dare To Confront the Great Hypocrisy
- Storyteller’s Rulebook #95: Money Is Too Generic. Be Specific.
- Storyteller’s Rulebook #96: The Difference Between Literature and Entertainment
- Storyteller’s Rulebook #100: Theme = Good Vs. Good
- Rulebook Casefile: Unintended Consequences in The Apartment
- Storyteller's Rulebook #112: Audiences Are More Interested in Ethics Than Morals
- Storyteller's Rulebook #119: Great Genre Stories Must Be Metaphors
- Storyteller's Rulebook #120: Reboots Must Re-Establish the Metaphor
- Storyteller's Rulebook #121: Don’t Presume Your Premise
- Storyteller's Rulebook #:133 Tough Decisions Must Have Tough Consequences
- Storyteller's Rulebook #164: Ideas are the Enemy of Observations
- NOW You Can Revise, Step 3: Build a Theme Tree
- Know More Than You Show, Conclusion: Theme
- Storyteller's Rulebook #188: Have Something Authentic to Say About Your Setting
- Storyteller's Rulebook #192: Tap Into Real Life National Pain
- Rulebook Casefile: Exchange of a Symbolic Object in Iron Man
- The Big Idea, Addendum: The Ironic Conclusion
- Storyteller’s Rulebook: The Ending Should Lean Towards One Side of the Thematic Dilemma
- Storyteller’s Rulebook: More Thoughts on Object Exchanges
Tuesday, July 18, 2017
How to Manage Expectations (aka Tone): The Archive
This section got completely cut from the book at one point, then put back in at half its original length, so there’s lots of good stuff here that didn’t make it into the book...
- How to Manage Expectations, Prologue: Every Criticism is the Product of an Unmet Expectation
- How to Manage Expectations, Step 1: Choose a Genre
- How to Manage Expectations, Step 2: Choose a Sub-Genre or Two (But Not Three)
- How to Manage Expectations, Step 3: Pay Off Two Genre Expectations For Every One You Defy
- How to Manage Expectations, Step 4: Set the Mood
- How to Manage Expectations, Step 5: Plant the Right Questions...
- How to Manage Expectations, Step 6: …And Evade the Wrong Questions
- How to Manage Expectations, Step 7: Put A Frame On It
- How to Manage Expectations, Step 8: Drop One Shoe, Then Wait
- How to Manage Expectations, Step 9: More Fun With Foreshadowing
- How to Manage Expectations, Addendum: Know the Dramatic Question
Monday, July 17, 2017
How to Craft Dialogue: The Archive
So, funny story: I go to archive my “How to Write Dialogue” series and discover that it isn’t in the sidebar, which seems weird. So then I search for it. It turns out that it doesn’t exist. Because I never wrote one. The other six sections of the checklist were based on series I wrote, but I apparently just cobbled together the Dialogue section of the checklist from “Storyteller’s Rulebook” posts I’d written. So I decide that it’s high time this was in the sidebar, so I make a list of all the posts with a tag that says Dialogue, and I realize that I haven’t been doing this with the other categories, because it’s a ton of work, because I’ve written hundreds of “Storyteller’s Rulebook” posts. Nevertheless, here you go: I never wrote this series so you get more than you could have asked for:
- Storyteller’s Rulebook #22: Be An Armchair Journalist
- Storyteller’s Rulebook: Bonus Follow-Up Report!
- There were lots of posts about Head-Heart-Gut, so I’ll just link you to the archive I’ve already done of those posts: Head-Heart-Gut (aka How to Create a Polarized Ensemble): The Archive
- Storyteller’s Rulebook #29: Know What They Do All Day
- Storyteller’s Rulebook #30: Be A Good God
- Storyteller’s Rulebook #33: Be Unhateable
- Storyteller’s Rulebook #42: People Only Want What They Want
- Beyond Good Vs. Sucky, Part 5: Dialogue
- Storyteller’s Rulebook #55: Angry Minds Don't Think Alike
- Storyteller’s Rulebook #59: Upsetting News Is The Best News
- Storyteller’s Rulebook #61: Sweet Potato Is Better Than Sweetheart
- Storyteller’s Rulebook #63: If They Hang Themselves, It Should Probably Be Accidental
- Storyteller’s Rulebook #67: Be A Little Bit Incomprehensible
- Storyteller's Rulebook #105: Explaining the Plot is Not Your Characters’ Job
- Storyteller's Rulebook #115: People Lie About Their Feelings
- Storyteller's Rulebook #116: Listen to Despicable People
- Storyteller's Rulebook #118: Limit Your Hero's Perspective
- Storyteller's Rulebook #121: Sympathy Isn’t Necessary, But Empathy Is
- Storyteller’s Rulebook #127: Have One Gutpunch Scene
- Storyteller's Rulebook #130: Practice Loving Everybody
- Storyteller’s Rulebook #132: What We Talk About When We Don’t Talk About What We’re Really Talking About
- Storyteller’s Rulebook #138: People Don’t Speak in Complex Sentences
- Storyteller's Rulebook #167: Don't Make Them Say It
- Now You Can Revise, Part 4: Add More “I Understand You” Moments
- Storyteller's Rulebook #172: Commas Are Death
- Storyteller’s Rulebook #173: Beware of Instant Conflict!
- Storyteller's Rulebook #173: Know How to Dog Whistle
- Storytelling Rulebook #181: Know the Three Levels of Tradecraft
- Storyteller's Rulebook #182: Cut the Dull Bits Out (And Keep the Personality In)
- Storyteller’s Rulebook #196: Ban Parallel Construction
Sunday, July 16, 2017
How to Build a Scene: The Archive
Listen to the Nazi monkey!
- How to Build a Scene, Part 1: Stop! Go Back!
- How to Build a Scene, Part 2: Figure Out What The Scene Has To Do
- How to Build a Scene, Part 3: Choose an Emotional Location
- How to Build a Scene, Part 4: Push and Pull and Give and Take
- How to Build a Scene, Part 5: Tricks and Traps
- How to Build a Scene, Part 6: Don't Stay on Topic
- How to Build a Scene: The Checklist
- How to Build a Scene, Epilogue: Mix and Match
- Storyteller’s Rulebook #108: Give Each Scene Its Own Ticking Clock
- Storyteller’s Rulebook #109: Create Subconscious Anticipation
- How to Build a Scene, Addendum: Know What the Audience is Rooting For
- How to Build a Scene, Addendum: Do You Have a Surface Conflict and a Suppressed Conflict?
Thursday, July 13, 2017
How to Structure a Story Around a Big Problem: The Archive
It’s interesting to see how much this all changed on its way into the book:
- How to Structure a Story Around a Big Problem, Introduction
- How to Structure a Story Around a Large Problem: What's the Difference Between Problems, Flaws, and Goals?
- How To Structure a Story Around a Large Problem: 14 Steps x 56 Movies = 784 Examples
- How To Structure a Story Around a Large Problem, Step 1: The Longstanding Personal Problem
- How To Structure a Story Around a Large Problem, Step 2: The Public Humiliation
- How To Structure a Story Around a Large Problem, Step 3: The Intimidating Opportunity
- How To Structure a Story Around a Large Problem, Step 4: Hesitation
- How To Structure a Story Around a Large Problem, Step 5: The Hero Commits
- How To Structure a Story Around a Large Problem, Step 6: Committing Creates Unexpected Conflict
- How To Structure a Story Around a Large Problem, Step 7: The Hero Tries to Solve the Problem the Easy Way
- How To Structure a Story Around a Large Problem, Step 8: The Promise of the Premise is Fulfilled
- How To Structure a Story Around a Large Problem, Step 9: The Midpoint Disaster
- How To Structure a Story Around a Large Problem, Step 10: The Hero Tries the Hard Way
- How To Structure a Story Around a Large Problem, Step 11: The Spiritual Crisis
- How To Structure a Story Around a Large Problem, Step 12: Proactive Pursuit of the True Goal
- How To Structure a Story Around a Large Problem, Step 13: The Timeline is Unexpectedly Moved Up
- How To Structure a Story Around a Large Problem, Step 14: Climax and Epilogue
Wednesday, July 12, 2017
How to Create a Compelling Character: The Archive
Forget what I said yesterday, this is the real backbone of the book. The introduction of this story became the opening of the book and the conclusion became the conclusion. This one was calling out for an archive because the original posts were written out of order and re-numbered later, making them a nightmare to read the way Blogger had them sorted. Lots of interesting stuff here: It’s fascinating how late in the process the Moment of Humanity arrived.
- How to Create a Compelling Character: An Introduction
- How to Create a Compelling Character, Step 1: Establish Their Public Identity
- How to Create a Compelling Character, Step 2: Contrast Their Outer and Inner Lives
- How to Create a Compelling Character, Step 3: Choose A Metaphor Family
- How to Create a Compelling Character, Step 4: Determine their Default Personality Trait
- How to Create a Compelling Character, Step 5: Give Them Something To Fear
- How to Create a Compelling Character, Step 6: Give Them A Painful Dilemma
- How to Create a Compelling Character, Step 7: Let Them Lay Down The Law
- How to Create a Compelling Character, Step 8: Give Them a False Goal and a True Goal
- How to Create a Compelling Character, Step 9: Give Them TWO Statements of Philosophy
- How to Create a Compelling Character, Step 10: Make Them Resourceful
- How to Create a Compelling Character, Step 11: Establish Their Deadline.
- How to Create a Compelling Character, Conclusion
- How to Create a Compelling Character, Addendum: Why Do Their Friends Like Them?
- How to Create a Compelling Character, Addendum: Determine Their Default Strategy
- How to Create a Compelling Character, Addendum: Add A Moment of Humanity
- How to Create a Compelling Character, Addendum: What Are the Rules They Live By?
- How to Create a Compelling Character, Addendum: One Quick Shortcut To Finding A Character’s Voice
Tuesday, July 11, 2017
How to Evaluate a Story Idea: The Archive
These posts formed a lot of the backbone of the book, but it’s interesting to check out their original form, and there’s a lot here that didn’t make it into the book’s slimmed-down narrative.
- The Big Idea, Part 1: Are Ideas Cheap or Valuable?
- The Big Idea, Part 2: Does It Matter What Else Is Out There?
- The Big Idea, Part 3: What is "High Concept" Anyway?
- The Big Idea, Part 4: Are There Too Few Good Ideas or Too Many?
- The Big Idea, Part 5: Do You Start With Plot or Character?
- The Big Idea, Part 6: Story Happens When Character Collides With Plot
- The Big Idea, Part 7: Every Main Character Must Be Volatile
- The Big Idea, Part 8: Won't Somebody Think of the Trailer?
- The Big Idea, Part 9: The Twist is Not the Concept
- The Big Idea, Part 10: The Concept Has to Survive Past the Twist
- The Big Idea, Part 11: All Good Stories Are Ironic
- The Big Idea, Part 12: Keep the Dilemma Alive
- The Big Idea, Finale: Unique Characters are Overrated, Unique Relationships are Better
- Rulebook Casefile: Milking the Unique Relationship in The Apartment
- Storyteller's Rulebook #110: Conflicts Are Better Than Obstacles
- Storyteller's Rulebook #112: Throw in a Left Turn
- Storyteller's Rulebook #121: Don’t Presume Your Premise
- Storyteller's Rulebook #131: Write Down Your Bad Ideas
- The Big Idea, Addendum: What Urges Are You Satisfying?
Monday, July 10, 2017
The Secrets of Story Book Videos: The Archive
Hey guys, I’ve never put my book videos into the sidebar, so here they are! I would love to go back and do some more of these if I get the time (each represents many, many hours of work!)
Video #1 is about how you should let objects do the talking:
Video #2 is about how characters should use tricks and traps:
Video #3 is about creating moments of humanity for your characters. I recently updated this one just a bit:
Video #4 is about how to work exposition into your story:
Video #5 is about the need to have as many ironies as possible:
Video #1 is about how you should let objects do the talking:
Video #2 is about how characters should use tricks and traps:
Video #3 is about creating moments of humanity for your characters. I recently updated this one just a bit:
Video #4 is about how to work exposition into your story:
Video #5 is about the need to have as many ironies as possible:
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