STORY SENSE

PREFACE = xiii Part One : WRITING THE STORY 1. Selecting an Idea for a Motion Picture Story = 3 Characteristics of Good Story Ideas = 4 Adaptation = 12 Additional Sources for Stories = 19 Using the Six Story Archetypes to Develop the Idea = 24 Populating the Story Idea with "Temp" Characters = 29 Enriching a Story Idea: An Example = 30 Summary = 33 Exercises = 34 2. Building the Story Structure = 35 The Frame of the Story = 35 Defining Story and Event = 39 Developing a Story Structure Based on the Dramatic Problem = 43 The Story Concept = 46 Using the Problem to Create a Dramatic Crisis = 48 Using the Crisis to Interrupt the Status Quo of the Story = 49 The Internal Problem and the External Problem of a Story = 51 The Nature of Dramatic Conflict = 52 How the Villain Creates Conflict = 55 The Thematic Dimension of Drama = 57 Background, Foreground, and Theme = 58 Using the Story Template to Rough Out the Three-Act Structure = 62 The Time It Takes to Write a Story = 65 Summary = 65 Exercises = 67 3. Writing the Plot = 68 Working Out the Plot Outline = 69 Three-Act Story Structure = 70 The Outline of Traditional Plot Incidents = 71 Traditional Moments Found in Act Ⅰ = 73 The Act Ⅰ Setup = 77 Traditional Moments Found in Act Ⅱ = 79 Traditional Moments Found in Act Ⅲ = 82 Theme and the Happy Ending = 85 Lifelines and How They Can Solve the Problem of the Story = 87 The Epilogue = 88 Continuity of the Plot = 88 Story Logic = 90 Subplots = 92 Blocking the Story = 94 Grouping Story Beats into Sequences = 100 Blocking the Story for a Short Film and Expanding It to Feature Length = 101 Writing a Feature Story from a Scene = 102 Multiple Storylines = 103 Summary = 107 Exercises = 108 4. Scene Structure and the Basic Dramatic Units = 109 The Sequence As a Dramatic Unit = 110 The Scene As a Dramatic Unit = 112 Dynamics of the Scene: Content, Structure, and Conflict = 113 Analysis of a Scene from The Verdict = 119 Critique of the Galvin-Sweeney-Concannon Scene = 125 Blocking: Another Definition = 130 The Montage = 133 Summary = 135 Exercises = 136 Part Two : WRITING THE SCRIPT 5. Creating Emotionally Dimensional Characters = 141 Imagination = 142 Imagining the Settings = 143 Imagining the Characters = 144 Creating Characters with Psychological Dimension = 146 Psychological Imperatives = 148 Backstory and the Psychology of Character = 151 Backstory and "Life on the Page" = 153 Writerly Perspectives on Character = 157 The "Empty Chair" Exercise = 161 Writing Interesting Minor Characters = 161 Summary = 162 Exercises = 163 6. Dialogue and Character = 164 Writing Dialogue = 164 Reel Dialogue versus Real Speech = 166 How Dialogue Is Constructed = 168 Exposition and Dialogue = 170 Freighting Dialogue with Exposition = 171 On-the-Nose Dialogue = 173 Dialogue and Subtext = 173 Subtext and "Actable" Dialogue = 175 Deeper Levels of Dialogue = 178 Dialogue and Narrative Drive = 182 Telephone Dialogue = 185 Summary = 186 Exercises = 187 7. Dramatization = 189 Credibility = 190 The Dramatic Engine = 192 Inventiveness = 196 Additional Dramatic Strategies = 197 Sentimentality and Empathy = 209 Dramatizing with Momentum = 211 Tension = 216 "Hinging" the Plot with Twists = 217 Summary = 220 Exercises = 221 8. Writing for the Camera: Visual Storytelling = 222 Cinematography for Screenwriters = 223 The Four Elements of Visual Content = 226 The Three Prime Camera Angles = 233 The Visual Design of the Film = 235 Visualizing Action Scenes and Character Scenes = 237 How Sound and Images Work Together to Tell the Story = 241 Strategies for Enhancing Visual Content = 243 Summary = 252 Exercises = 253 9. Writing Stage Directions = 254 Writing Stage Directions = 257 Stage Directions for Action = 260 Writing Character Descriptions = 263 Breaking the Rules = 268 Describing Secondary Characters = 269 Using Capitalization and Punctuation in Stage Directions = 270 Summary = 271 Exercises = 272 10. Script Format for Feature Films and Television = 273 The First Pages of Your Script = 273 Sample Script: Try Again Tomorrow = 274 Explanation of Notes in Sample Script = 280 Sitcom Format = 284 Summary = 286 Exercises = 287 11. Rewriting = 288 Rewriting Problems with the Story = 292 Rewriting Problems with the Characters = 299 Rewriting Problems with the Scenes = 302 Rewriting the Dialogue = 306 Rewriting to Improve Dramatization = 309 Rewriting for the Camera = 311 Rewriting Exposition and Fixing Format Problems = 312 What About the Title? = 314 Summary = 314 Exercises = 315 12. Career Counseling for New Screenwriters = 317 Advice for New Writers = 317 To Be or Not to Be in L.A.? = 320 The Literary Agent = 322 How Scripts Are Evaluated = 324 The Pitch Meeting = 326 The Story Conference = 330 Case Study: The Santa Clause = 333 Making Movies Out of the Mainstream = 334 Summary = 338 Exercises = 339 APPENDIXES A. Media That Illustrate Points Made in the Chapters = 341 B. The Screenwriter's Reference Shelf = 345 C. Cast List, Sequence Breakdown, and Shot Numbers of The Verdict = 347 D. Professional Version of the "Marry Me—or Else" Scene = 359 E. Rewrite of Immigrant Scene Exercise in Chapter 11 = 361 F. Writers Guild of America TV Market List = 366 G. Script Evaluation Forms = 368 H. Writers Guild of America Minimum Basic Agreement 1991-1995 = 373 I. Writer's Deal Memorandum = 375 GLOSSARY = 378 BIBLIOGRAPHY = 388 INDEX = 393

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