Monthly Archives: March 2019

Scene Description — the basics

A scene description sets the mood, action and character of a scene

What is meant by scene description? In a screenplay, dialogue is one of the few things that survives “as is”, albeit in a different format. Of course, actors and directors often change dialogue to suit, but, on the whole, dialogue is meant to transfer to the screen. 

Scene descriptions, on the other hand, have a different function.

A scene description tells the director, art director, cinematographer and actor how to render a performance, select or construct an environment, light, and move through the set.

The words on the page, do not, in themselves, appear in the final product. Rather, they are used as instructions for constructing a movie.

Yet, a screenplay has to be read and enjoyed first if it is to have a chance of being made into a movie. Exceptional descriptions certainly help your story and may prevent it from ending up in the slash pile.

Three Levels of Description

For the sake of brevity we may condense the sorts of description that occur in a screenplay into three main categories:

A. Describing of what is seen and heard on the screen: the environment, characters, action, and events.

B. Descriptions that convey the emotion, tone, attitude, and subtext of the scenes.

C. Descriptions that grant insight into the characters, their relationships, and the overall story.

The Basics of Scene Description

Listed below are some of the specific guidelines that operate within the above categories.

1. Describe your scenes in the present tense. 

2. Limit your descriptions to four lines or less. No one enjoys unpacking dense paragraphs.

3. Be economical—describe only what is essential to your story.

4. Convey the essence of what’s occurring on the screen. Lengthy descriptions about the leading lady’s golden locks will fall by the wayside if the director decides on a brunette.

5. Make every word count. Brevity and efficiency is more impactful. In one of my screenplays, I describe my male lead as “a panther in jeans and teeshirt.” Those six words say more about the character than could be said in one rambling paragraph.

Summary

Scene description in a screenplay acts as instructions for creating viable scenes; it draws in the reader through its vividness and appropriateness.

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Structure Checklist for Stories

A story structure checklist helps us focus on important aspects of story construction. Here is one such list on story structure from Michael Hauge’s book, Writing Screenplays that Sell.

Story structure in The Karate Kid
Story structure checklist in The Karate Kid

1. Does each scene, event and character contribute to the protagonist’s outer motivation. The beginning of the story poses an overall question in the viewer’s/reader’s mind that will be answered by the end of the story. In The Matrix, for example, the overall story question is; Is Neo The One?

2. Is each hurdle and obstacle in the protagonist’s path to his goal, greater than the last one?

In The Matrix, the structure checklist receives a tick — Neo’s journey is strewn with obstacles, from not knowing how to fight, from a lack of self-belief, to finally being shot in the chest by agent Smith.

3. Does the pace of your story accelerate to the climax? In the third act of the The Karate Kid, the scenes are spaced closer and closer together—reconciling with Ali, being admitted to the tournament, participating in the initial matches, suffering a broken knee, and taking part in the final match.

4. Is the emotional through line made up of peaks and valleys? In The Karate Kid, the tournament scenes are interspersed with quieter scenes of plotting by the Cobras, coaching, and fixing Daniel’s leg.

5. Is your story chock-full of anticipation? The karate tournament, which we know about from the start, the fights with Johnny, the anticipated attacks after the party, all add to the overall sense of anticipation in The Karate Kid.

6. Are there surprises and reversals to our anticipation? In The Matrix, our expectation that Neo is indeed, The One, undergoes several reversals when he fails to jump across buildings, or when his meeting with the Oracle seems to indicate the contrary.

7. Does the story create curiosity? In The Karate Kid, we wonder how on earth Mr. Miyagi will manage to teach Daniel the requisite skills to stand up to his brutal opponent.

8. Are your characters, timing, and situation credible? The three month period provides enough time for Daniel to acquire fighting skills under the expert tutelage of Mr. Miyagi, but the time is adroitly condensed by the screenwriter so that the audience can stay involved. 

9. Are the events in the story sufficiently foreshadowed? Q. How can we possibly believe that a boy with a broken knee and three months training can win a tough tournament? A. By introducing a secret weapon in the form of the Crane Stance and Mr. Miyagi’s healing abilities.

10. Does your story have an effective opening and ending? The Karate Kid uses a new arrival opening from New Jersey to Van Nuys to introduce Daniel, which is appropriate to the slow build up of the story. The final match, a do-or-die confrontation between the protagonist and antagonist, is an appropriate climax which settles the overall question established early in the story: Can Daniel win against all odds? 

Summary

The story structure checklist focuses the writer’s attention on important aspects of story construction. Familiarity with such a list makes the task of troubleshooting one’s tale that much easier.

Theme as the Controlling Idea

What is meant by the controlling idea in Stories?

Controlling idea in Groundhog Day
Controlling idea in Groundhog Day: Cynicism and selfishness give way to love and selflessness

A story typically comprises of a sequence of linked events, centering on a protagonist who pursues a difficult goal against a rising tide of obstacles orchestrated by the antagonist, (or antagonistic forces). In achieving the goal, the protagonist has to overcome an inner weakness or limitation, which results in his/her becoming a wiser and more accomplished person.

But how do we, as writers, select the most appropriate incidents to relate? Certainly, verisimilitude, suspense, drama, excitement, and uniqueness play a role. But how do we choose between two actions of equal weight, in terms of this list? One way is to let the theme or controlling idea guide us.

In his book, Story, Robert McKee defines the theme, or controlling idea, as he prefers to call it, as a statement expressed in a single sentence that describes how and why life undergoes a change in value by the end of a story.

McKee explains that the controlling idea has two components: value and cause.

The controlling idea identifies the change from a positive to a negative value (or vice versa) at the story-climax as a result of the protagonist’s final action, and provides the main reason for this change.

Value plus cause, McKee informs us, captures the meaning of the story.

Value is the positive or negative charge found at the end of the story. In an up-ending, good triumphs, as in Groundhog Day, where cynicism and selfishness give way to love and selflessness; in a down-ending, negative values prevail. In Dangerous Liaisons, passion turns into self-loathing, resulting in hatred that destroys.

Cause, on the other hand, provides the reason why the protagonist’s world has been transformed into a positive or negative value. In writing a story, we work back from the end value, to the beginning, and trace the causes within the character, society, or environment that has brought about this change.

In Peter Falk’s Columbo, for example, we track back from the theme or controlling idea — Justice is done because the protagonist is cleverer than the criminal — selecting for inclusion only those story beats that serve the theme.

Sherlock Holmes style scenes in which Columbo uses deductive reasoning to corner the criminal are appropriate for a man of superior intelligence and observation skills. Reaching under his raincoat for a .44 Magnum in order to frighten the criminal into confessing, or beating the daylights out of him, is not, although it is a fitting action for Clint Eastwood’s Dirty Harry.

Summary

The theme or controlling idea encompasses a change in value plus the reasons for it. Keeping the theme foremost in our minds assists us in writing appropriate scenes that stay on track.

How to Keep Your Story on Track

Lajos Egri on how to keep your story in track.
Lajos Egri on how to keep your story in track.

TO ENSURE that your story remains on track, complete the first draft of your novel or screenplay, then answer the following questions drawn from Lajos Egri’s work on dramatic writing.

Fill in your answers next to the appropriate question then adjust your story accordingly.



Keep your story on track:

1. What is your story’s premise? For example: “Unswerving integrity delivers from disgrace.” Define the moral premise/theme of your story.

2. What is your protagonist’s goal? What does your protagonist want, more than anything?

3. What is your protagonist’s compulsive, 100% trait? What is your character insecure about? All characters want self-preservation and security.

4. What is your character insecure about? All characters want self-preservation and security.

5. Why is the character insecure about this condition? How did he or she develop that insecurity about the condition?

6. How did the character develop the condition about which he is insecure? What is this injury for which the character has a compulsive drive to escape? Backstory here. Provide a specific event or series of events that explain how he developed the condition. Those events caused a chain of reaction/action/reaction. Tell the tale.

7. What is the crisis that upsets the status quo? How does it affect the protagonist?
Why is the protagonist dissatisfied?

8. What is the dire necessity that spurs the protagonist to action and keeps him relentlessly trying to reach his goal? This is something that threatens his special insecurity.

9. How does hesitation to take action threaten to worsen the protagonist’s situation?

10. What decision will he make or action will he take to change things? This is his point of attack, the decision or action that starts the conflict.

11. Is the protagonist fighting for or against the status quo? Does he want to keep things the way they are, or change them because they’ve become intolerable?

12. Who is your antagonist? He must be diametrically and militantly opposed to the protagonist.

13. Why does the antagonist oppose the protagonist and his goal? What is the antagonist’s motivation?

14. What is the point of 1) contradiction and 2) conflict between them?

15. What is the unbreakable bond between the protagonist and antagonist? What is so much at stake that they can’t leave each other? Multiple reasons are good.

16. What is the wrong step the protagonist makes that starts the crisis?

17. How does this decision create another problem?

18. What does the protagonist do to rectify this new problem?

19. How does this response create another, worse, problem?

20. How does the final crisis, conflict, and resolution prove your premise?

Summary

Answering the set of twenty questions listed above will help to keep your characters and story on track.

High Concept in Stories

Jurassic Park is a prime example of a High Concept film
Jurassic Park is a prime example of a High Concept film.

High Concept is a term that’s commonly used in Hollywood to refer to a film or story that contains specific characteristics.

Steven Spielberg has referred to High Concept as a high-level idea that can be expressed briefly, allowing one to hold the entire story in the palm of one’s hand.

High Concept, at its most basic, entails three crucial aspects:

1. It contains a core concept that is unique.
2. It appeals to a large audience.
3. It can be stated in a single sentence, allowing us to “see” the overall story at a glance. 

Uniqueness

Of course, no story is truly unique. We’ve often heard that there are only so many stories out there, and they’ve all been told before in one way or another. But this does not mean that elements within these stories can’t be arranged in unique combinations. 

Jurassic Park, is based on one of the most successful high concept ideas of all time.

Jurassic Park is a classical monster movie, but the idea that the monsters spring from the DNA of prehistoric animals, which has been preserved in tree resin, was new and unique at the time. 

Wide Audience Appeal

This is one of the most difficult elements to pin down. After all, if we knew beforehand precisely what would prove popular with audiences or readers, we’d all be millionaires. Having said that, there are sources that we can look to for hints. The top ten most popular books and movies is a good place to start.

Can Be Stated Succinctly

How is it possible that one can encapsulate and visualise an entire story in a single sentence? Well, that’s what’s so marvelous about High Concept – it’s a pithy statement that allows one to intuit the overall shape of the story in a few bold strokes.

The movie Seven, for example, very much a high concept story, can be stated in one sentence: A serial killer selects and murders his victims based on each having committed one of the seven deadly sins. Although the details are missing, we can easily visualise the general thrust of the story, while being intrigued by the idea of the murder plot being based on biblical sin. 

Summary

High Concept is a sentence, describing the story in broad strokes, which encapsulates an element of uniqueness and appeals to a wide audience. Some of the most popular books and movies of all time have effectively utilised High Concept to achieve enduring popularity.