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Screenwriting 101
Mastering the Art of Story
Course Guidebook
A
ngus Fletcher is a Professor of English and Film at The
Ohio State University and a core faculty member at Project
Narrative. He has previously taught at Stanford University,
the University of Southern California, and Yale University. He holds
a Ph.D. in English from Yale.
Professor Biography ii
Table of Contents
INTRODUCTION
Professor Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i
Course Scope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
LECTURE GUIDES
SUPPLEMENTARY MATERIAL
Table of Contents iv
Screenwriting 101
Mastering the Art of Story
T
he goal of this course is to teach you how to write any kind of
feature film or TV pilot script by using a technique employed
by scriptwriters from Shakespeare to Pixar: reverse engineering.
Aristotle outlined this technique in the ancient world. It remains at the
center of the empirical method used by modern story scientists to
analyze narratives today.
The opening two lectures cover the basic two-step process for applying
reverse engineering to film and TV scripts:
The next four lectures organize the ingredients of scripts into four major
story components: story world, character, plot, and tone. You will learn
to create new story worlds by modifying the rules of comedy, tragedy,
horror, and any other kind of story genre. You will learn how to establish
main characters, minor characters, and antagonists, and how to create
their action and dialogue. You will see how to plot scenes and full-
length scripts by starting from the final scene and working back. And
you will learn how to wield a screenwriter’s most powerful tool, tone, by
creating a narrator who helps the reader see just how the script should
be filmed.
Course Scope 1
In the following 12 lectures on film, you will practice the course’s method
for analyzing and writing scripts by applying it to a dozen film scripts
that have been selected by the Writers’ Guild of America as some of
the best of all time. In each case, the lecture will identify the special
psychological effect of each script and trace it back to its own special
blueprint of story world, character, plot, and tone. This provides you
with a blueprint to produce work like each script yourself. More broadly,
it gives you a general method for writing like any script you choose.
In the next five lectures on TV, you will learn about the major innovation
of TV writing: a story engine that allows TV writers to generate hour
after hour of consistent material without ever falling into formulaic plots.
You will see the general qualities of all TV engines and then learn the
specific features of the TV engines that drive cable dramas like Game
of Thrones, sitcoms like The Simpsons, procedurals like CSI, and prime-
time soap operas like Grey’s Anatomy.
The final lecture provides some practical tips for using this course to
increase your appreciation of films and TV, for honing your own personal
storytelling style, and for writing a film or TV script and getting it out
into the world.■
Course Scope 2
LECTURE 1
THINKING LIKE
A SCREENWRITER
T
here are three main benefits to studying scripts. The first is that
studying scripts can boost your storytelling powers. The second
is that it deepens your appreciation of films and TV. The third
benefit is that studying scripts can help you learn how to write them
yourself. This course is designed to help you gain all three of these
benefits. They all start from the same place: breaking down scripts to
see how they work.
3
EFFECTIVE STORIES
nn To grasp the secret of an effective story, let go of the widely peddled
cliché that there’s a universal set of formulas for all great stories.
Story structure is not a preprogrammed, eternal piece of neural
hardware. It’s better understood as a flexible form of software that
your brain uses to map the world and imagine different pathways
through it.
nn To discover your own most effective stories, use the technique
known as reverse engineering. It goes all the way back to the
ancient Greek philosopher Aristotle. In his Poetics, Aristotle
gathered up the most popular scripts of his time and decided to
figure out the nuts and bolts of how they worked.
nn Reverse engineering will also allow you to develop your own original
voice. It gives you the freedom to choose your own storytelling
models because the premise of reverse engineering is that there
are endless ways to write a good story.
7
nn But even so, there are a few basic rules that almost every
script observes. The first rule of formatting is to get yourself
a screenwriting program. This will do most of the formatting
automatically, saving you endless wasted time and effort. Current
examples include programs from Google Docs, Amazon Storywriter,
and Final Draft (the industry standard); many more are out there.
nn Now for writing a scene. Each scene begins with a slugline, and
each slugline has three main parts. The first part of the slugline
is EXT. for exterior if the scene is outside or INT. for interior if
it’s inside. Sometimes, EXT/INT is appropriate if the scene shifts
between the two.
nn The second part of the slugline is the physical location, like Andy’s
Bedroom or Fargo, North Dakota. The final part of the slugline is
the time mark. This is often DAY or NIGHT, to let the crew know
whether they need to prep the set for noon or midnight.
nn After the slugline, there are two big types of script content. The first
kind of content is scene descriptions or action beats. An example:
“A car bursts through the curtain of snow.”
nn Action is always in the present tense, and you can use capital letters
to highlight important beats or objects in the action or descriptions:
“A car BURSTS through the curtain of snow.” Just don’t overdo it
with the capital letters.
nn To begin your script, you can write instructions like FADE IN or
COLD OPEN. Alternately, you can just start without any of those
directions, allowing the director to make the call.
nn If you have more technical formatting questions, study a few of your
favorite screenplays and crib from them. If you can’t find an answer
to your formatting question in these screenplays, the chances are
it’s not that big of a deal. In that case, do whatever makes most
sense to you.
EXERCISE
FURTHER READING
REVERSE
ENGINEERING
SUCCESSFUL SCRIPTS
I
f you want to become a more effective storyteller, the first step is
to learn to differentiate between all the different cognitive effects
that stories can create. The second step is to trace these differences
back to their own special forms of story structure, the unique recipes
that make them work. By repeating the two-step process of tracing
cognitive effects back to story structures, you can reverse engineer
a huge catalog of blueprints for moving people’s hearts and minds.
To get you started on this personal guide, this lecture goes back to
the dawn of scriptwriting to reverse engineer three major storytelling
innovations from Greek tragedy and comedy.
ANCIENT ATHENS nn When the ancients wanted to write tragedies, they told stories
about the crushing power of the heavens. For example, sometimes
nn Ancient Athens is as far back as the recorded history of scripts gods like Dionysus would literally impose themselves upon the
goes. Athenians can seem rather traditional today, but they were characters onstage.
incredible, dynamic innovators. The innovations of ancient Greek
playwrights continue to form the basis for a huge variety of scripts nn Since comedies elicit the opposite cognitive effect from tragedies,
today. Therefore, the Greeks can teach some enduring recipes for one would expect them to flip the plot structure of tragedy. In fact,
story. They can also show how to innovate. that’s what the earliest comic scripts do. Instead of imposing the
heavens down on the earth, they imprint earth up on the heavens.
nn There is one major difference between the cognitive effects that For example, the ancient comedy Frogs bestows a case of intestinal
these ancient plays cause. Some of the scripts make people smile. diarrhea upon immortal Dionysus. In other words, it inflicts a human
The others make people weep. The Greeks called the first kind condition up onto a god.
comedy and the second kind tragedy.
nn These stories are inverted tragedies. Instead of crushing down
nn Human brains are primordially wired to separate the world into human life, they let it burst heavenward, which is why these stories
sources of pleasure and pain, and so it’s revealing that the most bring pleasure, not pain.
ancient forms of scripts were developed to carry people toward
both of these destinations. nn That, in its broadest form, is the method of reverse engineering:
taking a body of scripts, discriminating between their cognitive
nn This is the earliest empirical evidence that there isn’t one best kind effects, and tracing those effects back to differences in their
of script, because scripts have worked from the very beginning to story structure.
touch the full capacity of human experience. They don’t privilege
good experiences over bad. They engage with all that human
minds can do.
INNOVATION IN OEDIPUS
nn One of the intoxicated worshippers who rips apart the king’s body
is his own mother. In the final moments of the play, she appears
on stage, triumphantly holding his head. On the other side of the
stage, her father enters, holding the king’s arms and legs and
weeping for the death of his grandson.
nn The same situation gives one character joy and another character
misery. There’s pain on one side of the stage and pleasure on
the other. Because the audience sees both sides of the stage
simultaneously, they experience pleasure and pain coming from
a single story event: the death of the king.
nn This split paved the way for an ending where one character saw
tragedy as tragedy and the other character saw tragedy as
comedy. A new scriptwriting technique was born. If you want to
create a tragicomic effect in your own scripts, imitate the structure
of The Bacchae and create two main characters who experience
the same thing oppositely, giving the audience two ways to see it
too. An example of a modern work that does this is the film Eternal
Sunshine of the Spotless Mind.
nn At around the time that Alexander the Great pacified Athens in
335 BCE, scriptwriters started penning comic plays whose happy
endings had a very different cognitive effect from the original
comedies crafted in the days of Athenian democracy. The happy
endings of the older comedies had triggered an almost manic
sense of euphoria. The happy endings of the newer comedies were
more sedate, generating a feeling of satisfied contentment.
nn What was the big innovation in story structure that caused this?
Speaking broadly, the big difference between the two kinds of
comedy is the problem or crisis that initiates the plot. In older
comedies, of which the surviving examples are all written by
Aristophanes, the plot begins with an apparently intractable real-
world problem like war or famine or civic corruption.
nn This new kind of comedy proved so popular that it has become the
basis of most modern sitcoms and romantic comedies. For example,
there’s The 40-Year-Old Virgin. Here, the unnecessary problem
is that the main character is too embarrassed to confess his total
lack of sexual experience. The more he won’t admit it, the more
ridiculous his difficulties become. Finally, at the end, he confesses,
and the problem of his virginity dissolves.
FURTHER VIEWING
FURTHER READING
BUILDING YOUR
STORY WORLD
T
his lecture covers where most scripts start: the story world, or
world for short. In a superficial sense, the story world is the
physical space where the story occurs. That’s why many movies
begin with an establishing shot of a city or a wild outback or some
other geographical place. But the real world of a story is much deeper
than just this physical space. The real world of a story is the rules of
this space, which govern what kinds of action happen here. There are
endless story worlds that scripts can create. But the one thing they all
have in common is that their rules are established crisply and clearly
at the beginning of the story. These rules provide the context for the
audience to appreciate what follows.
THE RULES
nn To figure out how to help your audience orient, think of the rules of
a story world as the rules of a game. You’ll want to keep the rules
simple. This allows audiences to jump right in. Think, for example,
of tic-tac-toe. The rules are so simple they take only a few moments
to learn.
nn If you introduce the rules of your world in the opening few pages of
your script, audiences will always accept them. They’ll accept that
superheroes can die or that cartoons can come alive.
nn Think about the end of Raiders of the Lost Ark, when Indiana Jones
rides on a submarine toward a secret island where the Nazis have the
Biblical chest containing the remnants of the Ten Commandments.
This is not a very plausible scene, yet the audience’s hearts race
in genuine suspense for Indiana’s situation. That’s because in the
opening moments of the script, we’ve seen that he inhabits a world
where brilliant supervillians meddle with archaeological treasures in
exotic locales.
nn Keep in mind that you don’t have to create your story worlds from
scratch. You can borrow the rules of an existing story genre that
lays down the basic rules for superheroes, secret agents, fairytale
princesses, and all sorts of other exotic characters.
nn You simply have to begin your script by signaling that it’s part of
a preexisting story genre, allowing you to import the big rules of
that story world into your own. Then, illustrate the one way in which
your story world is different.
TRAGEDY
nn The script adds its own special twist to the existing rules of
tragedy by revealing the particular form of the watchman’s earthly
helplessness: He’s stuck on a castle roof, waiting for a signal. That
signal will be conveyed by a row of signal stations that stretch from
Troy to Greece, so that a chain of signal lights will reach across the
known world, telling the watchman what to do.
nn And this chain reaction is in fact exactly what happens in the script.
First, a king murders his daughter to get good sailing winds for
Troy. Then, the king returns from Troy and is murdered by his wife,
who is then in turn killed by her avenging son. One family killing
begets another.
nn Therein lies the two-step method for establishing a story world. First,
the Oresteia aligns itself with an established genre or subgenre:
tragedy. Second, it creates its own new rule: the cascading actions.
nn For example, the script for Shakespeare in Love starts with a clever
scene where a gang of men torture a theater owner with hot coals,
until the theater owner saves his skin by claiming to have a new
comedy by William Shakespeare that promises: “Mistaken identities,
a shipwreck, a pirate king, a bit with a dog, and love triumphant!”
nn This opening beat establishes that the old comic rule of triumphant
love still exists in the script’s cynical story world of greed and
violence. But it also establishes that the rule exists in a new form:
Triumphant love isn’t to be found in marriage. It’s to be found in the
words and performances of the stage.
HEROIC
nn The two-step method allows you to innovate any genre you want.
But you also use this method to bring whole new genres into being.
The most spectacular historical example of this creative possibility
is the heroic genre. The heroic genre emerged after comedy and
tragedy in opposition to them.
nn This is the first occasion in their lives that the two men have ever
met—but somehow Lawrence remembers the other man. How
could this possibly be? Lawrence’s chronology-busting memory is
the script’s way of telling us that Lawrence has seen the opening
scene of the script. He was there at his own funeral, and so really,
this has not been a flashback.
EXERCISE
FURTHER VIEWING
FURTHER READING
DEVELOPING YOUR
CHARACTERS
C
haracters are the key ingredients to most successful stories. If
you create an engaging character, audiences will follow them
anywhere. Characters set something apart, and scripts typically
introduce world before they introduce character. The world is the
standard state of affairs and the way things usually work. By laying out
the story world first, a script provides the norm against which characters
can establish their own uniqueness. In this lecture, you’ll discover the
recipe for creating compelling characters and putting them in your
scripts. The recipe has three ingredient techniques. Two are essential
for every character, and the third is an optional but powerful technique.
CONFLICT
nn An example: The first scene of Hamlet introduces the tragic rule
of its story world through Horatio and the watchmen. The second
scene introduces the title character as he challenges the story
world’s rote action with his own independent thought.
nn The second big technique is to reverse engineer the deep fear that
drives the character into conflict. Fear is the deepest psychological
level of every character; it’s the force that propels them to act as
they do.
nn This might seem a rather dark view of characters. But when you’re
building your characters, you want to think of them primarily as
creatures of fear for two biological reasons.
First,
fears are the most powerful drivers of human behavior.
Our hopes and desires are essential for us to thrive, but before
we can thrive, we first need to stay alive. And because our fears
are our guardians against death and destruction, they motivate
our most revealing, urgent, and extraordinary acts.
The
second reason to build your characters out of their fears is
because these fears are what cognitively bonds audiences to
characters, making them care.
What
kind of fear could drive a slave to disobey his master?
A fear of losing his own self-respect. That’s the comic character
Pseudolus.
What
kind of fear could drive a woman to mock male courtesy?
A fear of having her heart broken again by empty promises.
That’s Beatrice in Much Ado About Nothing.
SOLILOQUIES
DIALOGUE
nn To write these beats and dialogue, return to the three big
techniques. To know what your characters will do or say in any
given moment, you have to enter their minds. And the way to enter
a character’s mind is to experience their deep conflicts by tapping
into the fears that drive them.
nn By tapping into a character’s fears, you can also imagine all of
their dialogue. That dialogue contains two broad elements. The
first is the underlying intention of the dialogue. The second is the
particular nouns and verbs and other words that the character uses
to put that intention into effect.
nn You can find both of these dialogue elements by tapping into your
character’s fears. The first element of dialogue, the character’s
intention, is an action like any other action. It’s an attempt to push
away some bad outcome with another better one.
nn Then there are the less conscious parts of your character’s speech,
like vocabulary and diction. For example, a character’s vocabulary
and diction and patterns of speech may reflect a kind of anxious
overcompensation. A character who’s afraid of being an academic
failure will talk with an eccentrically outsized vocabulary learned
through secret hours of study. A character who’s afraid of being
inauthentic will talk with a more of a local dialect. A character who’s
afraid of being uncool will have a mind filled with archaeological
layers of slang.
nn As an example of how this works, take the cop Edmund Exley in
the script for L.A. Confidential. His conscious fear is not measuring
up to his dad, who was a legend on the force, so he goes out of his
way to do everything by the book.
nn But then later in the script, as he becomes more and more afraid
that his by-the-book approach is hurting his ability to be a good
cop, he puts on a tough-guy act in an interrogation and begins
cursing. And at the end of the script, when he thinks he’s about
to get killed, he quietly curses. In that moment, his primal fear of
death overwhelms the professional anxieties that led him to talk so
religiously by the book.
EXERCISE
1 Imagine a conflict between a person and their story world.
Maybe the person is a questioner in a totalitarian society,
or a liar in the halls of truth, or a rationalist in a culture of
feeling. Now, outline a scene where you draw attention to
this character by dramatizing the conflict.
2 Write a short scene that reveals the fear that drives your
character’s conflict, or if you want to be more ambitious,
the two fears that the character is pulled between. Tap into
the fear or fears to help you craft the character’s conscious
verbal intentions, their unconscious dialect, and every other
aspect of their dialogue. Once you’ve made one character,
make more. Of all the things you can create, nothing will
give your audience more meaning or delight.
FURTHER VIEWING
TONE: THE
SCREENWRITER’S
LENS
T
one is the way a story is told. It’s the voice of the storyteller,
real or implied. And it’s so powerful that you can flip an entire
story simply by changing the tone. There are endless ways to
modulate a story’s tone. You can communicate any perspective, no
matter how subtle or strange, if you strike the right tone.
This lecture explores how to use tone to put your script in the best
position to get its unique voice across. First, you’ll learn the main tool
that screenwriters use to establish tone. And second, you’ll learn the
fundamentals of four popular screenwriting tones: the god’s eye, the
ironic, the comic, and the sentimental.
THE NARRATOR
nn There are many ways that your narrator can shape the tone, but
from a screenwriting perspective, the two most important ways are
what your narrator focuses on and how they focus on it.
nn The same goes for the people in the rooms. If a narrator focuses
on a person’s clothes, it creates a public sense of social place. If
a narrator focuses on a person’s eyes, it creates a more private
sense of intimacy.
nn Now for the other part: the how. This is the way you describe the
objects you focus on. Do you use technical terms or slang? Do
you use warmer adjectives or cooler ones? Do you avoid adverbs
entirely and opt for a more laconic style? Do you make your verbs
more active or passive? Do you describe objects as they are or as
your characters see them? All of these factors affect the tone.
nn The first major tone this lecture will focus on is known as the god’s-
eye. A god’s-eye narrator has the properties of a divine eye, all
seeing and all knowing. It’s above the things it describes. It sees
into their essence and has dominion over them.
nn Some of what the narrator focuses on is still very big objects: Hades
and a goddess. But there are also smaller objects like food and
dogs and vultures. And many of these objects are plural: pains and
men and souls and heroes. Moreover, in keeping with the Greeks’
polytheism, this god’s eye is one among many. It communicates
a sense of strength without insisting upon its own totality.
45
THE COMIC NARRATOR
nn One classic comic narrator who’s had a huge influence on film and
TV is Huck Finn from Mark Twain’s The Adventures of Huckleberry
Finn. Here’s how Huck tells a story:
All the streets and lanes was just mud; they warn’t nothing
else but mud—mud as black as tar and nigh about a foot deep in
some places, and two or three inches deep in all the places. The
hogs loafed and grunted around everywheres. You’d see
a muddy sow and a litter of pigs come lazying along the street
and whollop herself right down in the way, as happy as if she was
on salary.
Then
the script hops to 40-something Sheryl as she inhales
nicotine and promises to pick up a bucket of chicken. Then, it
hops to 80-year-old Grandpa as he snorts heroin and relaxes
on the toilet, and then it hops to 15-year-old Dwayne as he
pumps iron and reads Nietzsche. Just like Huck Finn, the
narrator of Little Miss Sunshine gets up close and personal with
a rich cast of lowly folk.
nn To give you a taste of the possibilities available, here’s the narrator
from Toni Morrison’s Pulitzer-winning Beloved:
CONCLUSION
nn To expand your library of possibilities, you can also splice together
different narrators. Romantic comedies, for example, often use
a more comic tone in the beginning and a more sentimental tone
at the end.
nn But these four big blueprints can get you started on developing
your own screenwriting voice, enabling you to take control of the
What and the How of storytelling, injecting subtle forms of mood
and atmosphere into scene descriptions, actions, and even plot
and dialogue.
FURTHER VIEWING
FURTHER READING
PLOTTING YOUR
STORY BEATS
H
umans brains are naturally good at plotting; that’s why humans
are the planet’s dominant species. But if that’s the case, then
why do so many first-time screenwriters get lost or stranded or
swamped with subplots that just won’t converge? And why do so many
professionals struggle too? The answer is that writers make the mistake
of plowing forward from the start. As this lecture shows, when you plot,
it’s much easier to do it backward. Reverse engineering is all you need
to plot your next film script.
A SHAKESPEAREAN EXAMPLE
nn What if your hero did something darkly magical, without the aid
of dark magic? To that end, what amazing spell could your hero
cast? The biggest miracle in the Bible is the resurrection, so what
if Richard III did his own demonic version of a resurrection, turning
something dead into something alive? What if he showed up at
a funeral and turned it into a wedding?
nn History books tell you that Richard III married Lady Anne. They also
tell you that Richard murdered a number of Anne’s family members.
What if you wrote a scene where Richard turned up to a funeral
for Anne’s murdered relative and convinced the angry and grieving
Anne to marry him and start a new family? That would definitely
astonish audiences with Richard’s devilish powers of speech.
nn Back to your scene: How could Richard convince the relative of one
of his victims to marry him? The most straightforward approach
would be to convince her that the killing was done out of love. That
way, what seems an act of hate would be transformed into a kind
of valentine.
nn Then Richard should flip her moral universe by suggesting that bad
things can be good. The conflict will be between Anne’s world of
moral certainty and Richard’s character of moral inversion.
nn To establish that conflict, you can have Anne utter moral
pronouncements that Richard then flips through his dark arts of
wordplay. Anne will snap: “Villain, thou knowst not law of God nor
man; No beast so fierce but knows some touch of pity.” To which
Richard will respond: “But I know none and therefore am no beast.”
nn When you’re not writing, always make time to mine your favorite
scripts for general story structures that generate cognitive effects
you like, creating your own mental library of story structures to
tweak, adapt, and refine.
nn And if you ever find yourself stuck at this middle part of the process,
here’s a guideline that might help: The overarching story structure
of most scenes is usually a change in one character’s emotions
or understanding or perception of the world. Start by identifying
the character who needs to change and then put yourself in that
character’s place, asking: What would alter my mind?
A FULL PLOT
nn That way, you’re starting with a proven plot structure, and you can
learn from the story choices that the original author made. This
can seem derivative, but Shakespeare adapted almost all of his
scripts, and every year the Academy gives out an Oscar for best
adapted screenplay.
nn When you adapt, don’t just blindly copy a plot you like. Use reverse
engineering to select a specific plot that has untapped script
potential, and then use the same reverse-engineering method to
refine and tailor the plot to achieve your intended effect.
FURTHER VIEWING
Chinatown (1974)
FURTHER READING
SENTIMENTAL
RETURN: CASABLANCA
T
his is the first of 12 lectures on specific movie scripts, each
picked by the Writer’s Guild of America as one of the best of
all time. Each is a different story genre, and each opens the
door to a different cognitive experience. To get the most out of each
lecture, it’s advisable to watch each movie or read the full script first.
This lecture kicks off the 12 movies with Golden Age Hollywood’s most
celebrated script: Casablanca. It will contain spoilers and a discussion
of the ending, so if you haven’t read the script or watched the film and
want to avoid spoilers, do so before reading further.
THE ENDING
nn To preserve Ilsa’s marriage and Laszlo’s fight against Hitler, Rick
gives them his own plane tickets to freedom. Then Rick releases the
Nazi collaborator, Renault, who he’s been holding at gunpoint, and
heads south with him to join the resistance, cheerfully remarking: “I
think this is the beginning of a beautiful friendship.”
nn Critics often complain that this ending is utterly illogical. But Rick
isn’t ashamed of being an illogical sentimentalist. In fact, he sees
his illogic as a way to fight back a Nazi advance that, at the moment
Casablanca was written, seemed poised to envelop the world. Rick
places this enormous confidence in his illogical decisions because
his sentimentalism has deep roots that go back to a time when
being a romantic wasn’t seen as a bad thing.
nn Rick, like all romantics, believes that this deep love lies in their pasts,
and his final actions help Casablanca get back to its old self too. By
killing the Nazi officer who invades Casablanca at the beginning of
the script, by generously sacrificing his own happiness to save Ilsa’s
marriage, and by walking off arm-in-arm with his old foe Renault,
Rick returns the world to its ancient ways of generosity.
nn That modern force is the Nazi’s regime of law and order. And the
opening beats of Casablanca demonstrate the special menace of
this regime by showing that it’s destroyed the civilian’s humanity
long before cops shoot him.
nn In these opening beats, the civilian is reduced to a series of lies and
obfuscations. He claims not to have his papers when he knows he
does, and he then tries to bluff the cops by producing papers that
he knows are expired. These pathetic efforts at lying and cheating
reveal that the Nazis haven’t just physically conquered Casablanca.
They’ve conquered it psychologically.
nn Of those heroic characters, the main one is Rick. The script crisply
establishes Rick’s conflict with the story world through a little
vignette where a rival bar owner asks Rick to buy his musician. Rick
replies: “I don’t buy or sell human beings.” The rival remarks in dry
surprise: “That’s too bad. That’s Casablanca’s leading commodity.”
nn In the opening beats of the script, before Rick’s refusal to sell his
musician, Rick is cool to everyone. He plays chess by himself. He
never drinks with the customers. He speaks coldly to the black-
market hustler Ugarte and is called “very cynical” by him.
nn When Sam plays Rick and Ilsa’s old song, “As Time
Goes By,” the script reveals that there’s a deep,
buried romance at its heart. And when Rick begins
drinking with his customers and the story flashes
back to Ilsa and Rick’s love in Paris, the script makes it
seem like this romance will be quickly and powerfully
restored.
65
nn The Germans close in, Rick apparently betrays Laszlo, then double-
crosses Renault, then gives up the love of his life, then shoots
a Nazi leader in broad daylight, and then escapes Casablanca. The
artificial constraints break and the true emotions burst through.
nn That doesn’t mean you can’t adapt the plot of Casablanca in your
own scripts. Because if you want to give audiences the feeling of
sentimental return, the plot of Casablanca is a great one to imitate:
An extremely slow build to a release in the final 10 percent of
the script.
TONE
nn To write a script with the tone of Casablanca, you want to create
a special kind of sentimental narrator. Like Rick, the narrator should
be a closet sentimentalist, so that its action and scene descriptions
are generally matter-of-fact and even dryly ironic. That lasts until
the key story beats: The narrator’s heart breaks through, focusing
empathetically on the characters’ deep fears and vulnerabilities.
Laszlo
is afraid of losing Isla, but he’s also afraid of forcing her
heart, because that wouldn’t be love.
Meanwhile,
Ilsa is afraid of hurting Laszlo by concealing the
truth, but she’s also afraid of hurting him worse by telling him
the truth.
EXERCISE
FURTHER VIEWING
Casablanca (1942)
FURTHER READING
T
o American audiences in the 1970s, The Godfather felt like a very
fresh kind of story. But its origins were in fact very old. By telling
a story about larger-than-life passions that collide in a dark
and frightening world, The Godfather was reviving one of the ancient
experiences of tragedy, giving American audiences their own version
of Hamlet or Oedipus. And the result was an enormous success. The
Godfather became the highest grossing film up to that point in history,
beating out Gone with the Wind and The Sound of Music in worldwide
receipts; it became an American classic, endlessly quoted and imitated.
This lecture studies The Godfather’s blueprint for reviving the cognitive
experience of ancient tragedy, enabling you to write a modern tragedy
of your own. If you haven’t read the script or watched the film, do so
before proceeding.
ENDING
nn His power has made him into the kind of god worshipped by his
more ancient, Italian ancestors: the Romans. They believed that
a man with the power of a Caesar could literally make himself a deity.
nn The most powerful god in the Roman pantheon was not a kind god
or an honest god. He was Jupiter, a god of violence and sexual
conquest, who took what he wanted through murder and rape. He
had no interest in being equal partners with his wife or treating
her honestly.
nn How did the Romans feel when they imagined this god? They
experienced a cognitive effect called the tragic sublime; it’s
terror mixed with wonder. And it’s the feeling produced at the
end of The Godfather. The audience catches a glimpse of a great
inhuman force that shuts them out before they can rationalize or
understand it.
nn To convey this world-building rule, the script begins on the face of
the minor character Bonasera, who has come to visit Don Corelone,
the original godfather. But the audience doesn’t see Don Corleone
at first—only Bonasera. That’s because the way to preserve a sense
of majesty is to hide the god from view.
nn The script then heightens this mood of the tragic sublime by having
Bonasera tell a story about the American dream. It turned out to
be a lie. In good, democratic fashion, Bonasera gave his daughter
her “freedom.” But the result of freedom was not a happy one. His
daughter was treated “like an animal” by men who tried to satisfy
their lust on her. So now Bonasera has come to Don Corelone for
one thing. He has come “for justice.”
nn The Godfather takes the Roman view that humans are by nature
animals of lust and violence. And in this wild of nature, the only
thing that can save people from destruction is a strong patriarch:
the godfather.
CONFLICT
nn But of course, Michael will become his father. In tragedy, the main
character’s deepest fears always come true.
nn In the case of The Godfather, the plot has to turn Michael into his
father, pulling him back into his family and making him an old-
world patriarch. And the script does this simply and elegantly
through revenge.
nn The plot of The Godfather uses the blood cycle of revenge to break
democracy. To accomplish this, The Godfather reverse engineers
a sequence of plot points that draw Michael step-by-step into the
code of revenge, severing his connection to American democratic
justice and pulling him back into his family.
nn From here, it’s a short step from passively defending his family to
actively defending them, and Michael will soon gun down the drug
baron who shot his father. With that, Michael gets pulled into the
ancient vortex of revenge.
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SCENE
nn The script’s most important scene is the one where Michael finally
crosses over, leaving democracy to become his father’s son. To
accomplish Michael’s transition from democrat to demagogue, the
script first needs to create an opening for Michael to insert himself
into the godfather’s realm.
EXERCISE
FURTHER VIEWING
FURTHER READING
ROMANTIC
SATISFACTION: WHEN
HARRY MET SALLY…
T
he film When Harry Met Sally offers a blueprint for the third
of the three classic genres discussed in the earlier lecture on
story world. Those three are the heroic, discussed through
Casablanca; the tragic, discussed through The Godfather; and the
comic, discussed in this lecture. Unlike the characters of classic heroic
narratives, the characters of comedies don’t succeed in changing their
story world. Instead, just like in classic tragedies, the characters start
out at odds with the rule of the story world and end up submitting to it.
But in comedies, the characters’ submission to the world is a source
of joy. As always, if you haven’t read the script or watched the film, it’s
advised to do so before proceeding with this lecture.
ENDING
nn The script of When Harry Met Sally ends by giving Harry and Sally
exactly what they want. Harry and Sally have spent over a decade
flirting and fighting and dating other people, but never finding what
they really want: someone who loves them for their imperfections,
freeing them from their fears and anxieties, and allowing them
to know the blissful peace of the older couples who pop into the
movie on a loveseat to tell their true stories of love.
nn At the end of the movie, Harry and Sally sit on that loveseat
together, describing their wedding. This ending gives a sense of
completion. Its cognitive effect is known as romantic satisfaction.
STORY WORLD
nn When Harry Met Sally begins exactly where it ends: on the love
seat. There, a man sitting with his wife gives an opening vignette.
With this opening vignette, the script establishes the core rule of
its story world. That rule is this: Love seems a crazy and impossible
dream, but it’s real and it can last forever.
nn Now this lecture turns to how the script establishes its two
main characters, Harry and Sally. When Harry and Sally are first
introduced, they seem very different from each other. But in one
key way, Harry and Sally are identical: They both think they have all
the answers.
nn Sally says up front: “I have this all figured out.” At the beginning
of the script, the characters of romantic comedies always believe
they’ve got everything figured out.
nn The rule of the comic story world is the rule of true love. Harry
and Sally’s shared conflict with this rule is that they think that true
love is a naïve old fiction. Harry knows that love is really about sex.
And Sally is sure that the point of Casablanca is that women are
too “practical” to fall in love. Ingrid Bergman gets on the plane
because she’d rather be in a passionless marriage as the first lady
of Czechoslovakia.
nn With these introductions of Harry and Sally, the script reveals the
two big lessons for introducing main characters into a comedy.
First, if you want to write a classic comedy, create a character who
deludes himself or herself into thinking they know more than their
parents and their generation. And second, if you want to write
a classic romantic comedy, create two characters who delude
themselves into thinking they know more than their parents.
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nn To then get Harry and Sally over this shared fear and bring them
together, the script follows the second part of the romantic-comedy
recipe by having the characters humbly admit that they didn’t have
things all figured out like they thought they did.
Harry
shakes off his god-like contempt for human mortality by
confessing that it’s the ephemeral things that he loves about
Sally the most: the peculiar way she orders food, the way she’s
always cold, the little crinkle on her nose.
Sally confesses that Harry breaks all her rules of practical logic:
“You say things like that and you make it impossible for me to
hate you. And I hate you Harry. … I really hate you.”
nn If you want to craft a classic romantic comedy, this is the way to
build your plot. Have your characters start by clinging to self-
protective fears. Then, keep them clinging for page after page after
page until they bravely humble themselves at the very end.
nn The lesson: Use your plot to build the audience’s sense of longing
by showing the main characters get closer and closer and closer,
and even sleeping together, but never becoming one. Make your
audience imagine how happy the main characters would be by
showing other couples getting together and finding happiness,
again and again and again.
TONE
nn Like the plot of When Harry Met Sally, the tone is reverse
engineered to humble the audience’s certainty. The narrator of
When Harry Met Sally is a comic narrator who shows the audience
life through the main characters’ eyes. And crucially, the particular
part of life that the narrator of When Harry Met Sally shows is their
moments of ironic discovery.
nn For example, the script gives this action description in its opening
beats: “Harry spits a grape seed out the window, which doesn’t
happen to be down.” As written, this description shows the reader
the world exactly through Harry’s eyes, leading the reader to
repeat Harry’s mistake of thinking the window is open: “Harry spits
a grape seed out the window.”
nn You can create the same authentic tone in your own scripts by
using a comic narrator. Win your audience’s trust with a narrator
who doesn’t fall for the old lies and clichés, but honestly depicts
the real world. When your script shows two regular people falling in
love, the audience will buy it.
SCENE
nn In that scene, both characters are revealed in the inner sanctums
of their bedrooms, and both of them are still afraid of admitting
that they don’t have it all figured out. Harry plays the wise guy and
mocks Sally for her youthful opinions. Sally denies that she ever felt
that way.
nn By revealing Harry and Sally’s fears, this scene follows the old recipe
for empathy, making the audience care for the couple and desire
their happiness. And to intensify this desire, the scene continues
by showing that the characters have regressed all the way back into
their deepest, teenage insecurities.
nn As they lie in their beds, their hearts exposed and vulnerable,
they’ve never been closer. And so Sally reaches out, asking Harry:
“What will you do?” But instead of taking the opportunity to ask
Sally to be with him, Harry cracks a joke. They hang up the phones,
still friends but unable to admit they secretly want something more.
EXERCISE
FURTHER VIEWING
FURTHER READING
SUSPENSE AND
RELIEF: JAWS
T
he blockbuster Jaws’s overall structure and cognitive effect
confirms the value of reverse-engineering. That’s because when
director Steven Spielberg first read the novel on which the script
would be based, the one thing he knew for certain was that he liked
the ending. Spielberg, in other words, wanted to keep the ending and
reverse engineer the rest. Spoiler alert: If you haven’t watched the film
or read the script yet, you’ll want to do so before proceeding.
ENDING
nn The novel ends with the main character, Martin Brody, watching
as the wounded shark approaches him; doom seems apparent,
but the fish dies. The key phrase from the ending is: “Nothing
happened.” The reader is tensed in expectation, waiting for a shark
to kill Brody—and then nothing. This allows an exhausted Brody to
kick toward the shore.
nn The feeling is not one of triumph, although Brody does defeat the
shark. Instead it’s a feeling of relief. The bad thing the audience is
afraid of doesn’t occur.
nn Spielberg wanted the movie script to end just like this, and it does.
After a great white shark launches a series of terrifying attacks in
the waters of New England summer beach town, the new police
chief, Brody, recruits oceanographer Matt Hooper and a local shark
hunter to search for the great white in the middle of the ocean.
nn The shark rams their boat, killing the hunter and trapping Brody and
Hooper. But just when it seems like Brody and Hooper are doomed,
Brody finally kills the shark. In an instant, the terror is gone. Brody
and Hooper swim back to shore, exhausted and relieved.
STORY WORLD
nn To reinforce this rule of action, the script then moves from the
shark’s belly to a summer beach party fueled with alcohol and the
hope of casual romantic hook-ups. This is the human version of the
shark’s belly.
nn That dark side is that the appetites of different animal natures will
inevitably conflict. And when they do, the result is violence.
nn Since Brody feels out of place in nature, he can’t fully trust his
instincts. He’s more cautious than everyone else around. When
Brody’s son runs in bleeding from his hand, Brody reminds the
boy in exasperation that he told him not to use the swing until he
fixed it. In the little contrast between Brody and his son, his central
conflict with the world emerges.
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TONE
SCENE
nn Just like the teen swimmers at the beginning of the movie, Alex
loves the water. It’s a visceral, animal pleasure for him. He’s been in
the sea so long that his fingers are starting to prune. But he doesn’t
care; he can’t wait to get back on his raft. Alex reintroduces the
audience to the core rule of the story world: a world filled with
material appetites.
nn In conflict with Alex is his mother. She notices his pruning fingers
and sets a time limit on his water play. The mother is a mini-version
of Brody. She’s the vigilant, thoughtful character who worries about
our appetites and where they might lead.
nn It’s like a sitcom: The world is suddenly one where people’s greatest
concern is who’s parking the garbage truck where. This tone is
infectious. Even Brody, who begins the scene fidgeting nervously,
is encouraged to join in the banter with the locals and his wife.
nn By boosting the urgency with its opening conflict, and then relaxing
the mood with its unserious tone, the scene sends a mixed signal
to the audience’s brains: Is there an active threat here or not?
nn To further scramble the audience, the scene repeats this dynamic of
building up tension and then releasing it by layering in a sequence
of fake shocks. First, Brody mistakes a black bathing cap for the
shark. Then, he mistakes a couple wrestling in the water for the
victims of an attack. Finally, accepting that his mind is playing tricks
on him, Brody relaxes and lets the kids go out and swim.
nn As Brody enjoys a massage from his wife, the film eases out into
a relaxed wide shot of the ocean—when terror strikes. The dog
disappears. The shark’s point of view appears. Brody, who hates
the water, is trapped on the shore, unable to help the kids. And the
scene creates a sense of claustrophobia in the audience’s minds by
increasingly anchoring its gaze in Brody’s point of view, boxing the
audience in.
nn At last, everyone gets out of the water. This turns out to be
a moment of false hope: The script shows Alex’s mother, weeping
mournfully on the beach, unable to find her son. Making us realize
that we can never relax, even when we’re out of the water.
EXERCISE
FURTHER VIEWING
Jaws (1975)
FURTHER READING
ROMANTIC LONGING:
ANNIE HALL
W
oody Allen’s film Annie Hall promises comedy and delivers
tragedy. But the script’s journey in and out of dream shows
the audience a deeper fact about the nature of their lives:
People’s most profound sense of meaning comes not from happiness
but from desire. If you want to fill audiences with the life-affirming sense
of longing, Annie Hall can give you a blueprint to chase. As always,
check out the film’s script or watch the movie before proceeding to get
the most out of this lecture.
ENDING
nn From the beginning, Allen knew exactly what he wanted for the
cognitive effect of the ending. It was there in his original title for
the movie: Anhedonia, which means a feeling of emotional want.
That certainty about his desired cognitive effect enabled him to at
last reverse engineer a plot ending that generates anhedonia in
audience’s minds.
STORY WORLD
nn The script begins by introducing the core rule of its story world
through a monologue by Alvy. The world is a place of rampant self-
absorption. To establish that this self-absorption is the essential
rule of the entire story world, the script cuts right into a scene
where young Alvy is dragged by his mother to see a doctor.
nn Again and again, the characters of Annie Hall make efforts at love,
trying to find something outside to complete them. But because
the characters are all egocentrics who can never really get past
themselves, they inevitably end up returning to their own self-
involved expectations, still yearning for something more.
nn To maintain this cognitive effect through to the end of your script,
keep the monologues coming, until you conclude, like Annie Hall,
with a monologue by the same character who began at the start.
CHARACTER
nn Alvy is not at war with the Nazis or the Feds or a shark. Instead, he’s
at war with his own mind, his own desires, his own insecurities, his
own hopes and fears. For example, in one dialogic monologue (or
soliloquy), past Alvy and present Alvy disagree with each other.
PLOT
nn Woody Allen’s goal from the beginning was to create a story that
generated romantic longing, an unrequited desire in the heart
for love. The plot is reverse engineered to generate a feeling of
endless yearning by repeating the same mini-narrative of hope and
disappointment over and over. It catches Annie and Alvy in a circle
of desire and frustration, never bringing them full satisfaction, but
also never letting them give up.
Woody Allen
nn But then the plot spirals back. Annie and Alvy’s relationship frays
apart and the mood reverts to what it was at the beginning of
the script. The script showed the audience at the start that things
went bad.
nn If you want to write a script that generates this same aching sense
of romantic longing, you can engineer your plot the same way. Start
your script with the collapse of a character’s dream, then flash back
for an in-depth account of the heady days of hope when the dream
first began, showing your audience all the ways that this dream is
different from previous dreams that didn’t work out.
nn Then, when the story finally catches back up to the failure that
kicked off the start of the script, introduce a moment of false hope
before the dream collapses one more time. Even as the fantasy falls
apart, end your script on the promise of a future dream.
nn At that point, Annie’s mind separates from her body, like a ghost,
and sits down in a chair to draw. Her body remains in the bed,
locked in an embrace with Alvy. In a single instant, the audience
sees both the honest truth about how Annie really feels, and the
greater irony in it.
nn At first, Alvy is scared of a lobster, and Annie thinks he’s being
silly. But when Annie finally catches the lobster, Annie and Alvy’s
perspectives flip. Annie turns serious and Alvy begins joking.
nn Even though the core of the scene remains the honest emotions
of the characters, the audience’s minds are spurred into a meta-
commentary state by the realization that Annie and Alvy have just
swapped roles.
nn If you want to recreate Annie Hall’s tone, have your main characters
earnestly contradict themselves again and again. Make the
audience feel that their actions are at once authentic and ironic.
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criteria. But at other times, they’re afraid this act will get them into
an empty relationship with someone who doesn’t know them, like
when Annie worries that she’s attracting a schmuck.
nn To learn to use this subtext yourself, all you need to do is write
a line of dialogue that expresses one of a character’s two fears,
then follow it with an unspoken action beat that expresses the
character’s opposite fear. Then, for the character’s next line of
dialogue, express that opposite fear, and follow it with another
unspoken line of subtext that reverts back to the original fear.
Continue this cycle.
nn If the transitions between fears feel too abrupt, slow them down,
so that the fears more gradually wax and wane. And once the
dialogue is working, you can erase the lines of subtext. It was just
scaffolding to keep the structure clear in your mind. That’s what
Annie Hall’s scene does in its second half when it drops its subtitles;
the cognitive effect of romantic longing remains.
EXERCISE
FURTHER VIEWING
FURTHER READING
BIG WONDER:
STAR WARS
G
eorge Lucas wrote the script for the original smash-hit Star Wars
film over many years and many different drafts with input from
many other creative partners. It was a self-conscious attempt to
create a universal myth that would resonate with audiences everywhere.
Note: For brevity, this lecture will refer to the film as simply Star Wars,
though its official title is now Star Wars: Episode IV—A New Hope.
You’ll get the most out of this lecture (and avoid spoilers) if you’ve
watched the film or read the script before proceeding.
THE HERO’S JOURNEY
nn To explain how cultures who’d never interacted could all have
arrived at this complex, multi-stage story, Campbell adopted Carl
Jung’s view that all human brains shared a deep story language
made up of universal archetypes. This idea is enormously influential,
but hasn’t managed to live up to its promise.
nn At the end of Star Wars, Luke Skywalker manages to save the Rebel
Alliance from the evil Galactic Empire by destroying the Death
Star. As the script tells us: “The Death Star bursts into a supernova,
creating a spectacular heavenly display.”
nn This turn toward the spiritual is the distinct, cognitive effect of Star
Wars. The ending of the script encourages the audience to believe
that there is a heavenly wonder beyond. Terms for this effect
include spiritual awe or big wonder.
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nn Second, Lucas distills the idiosyncratic details of Flash Gordon
into simpler, more general concepts. For example, instead of Flash
Gordon’s Ming the Merciless, Star Wars has the Empire. Ming the
Merciless has never been seen by anyone, but everyone knows
what an empire is.
STORY WORLD
nn Star Wars opens on a chase scene that crisply reveals the story
world’s core rule of action:
nn Here a giant imperial ship, so massive that it’s earned the name
Star Destroyer, attacks a tiny rebel spacecraft that’s designed not
to fight, but to flee. The world of the story is governed by power.
nn The Empire is bigger than everyone else, and it uses its power not
to protect the weak but to crush them. That’s the big rule that
defines the story world of Star Wars: Might makes right.
CHARACTER
nn In conflict with this story world are the film’s three main characters,
Luke, Leia, and Han Solo. This part of the lecture will focus on Luke
and his antagonist, Darth Vader. Here’s how Luke is introduced:
PLOT
nn There are some major story points of Star Wars that match
Campbell’s narrative of the Hero’s Journey, for example, Luke’s
refusal of the call when he initially refuses to learn from Obi-Wan.
But the script also ignores many stages of the Hero’s Journey and
draws heavily on other sources like Akira Kurosawa’s 1958 peasant-
princess adventure The Hidden Fortress. It also draws on Flash
Gordon, which begins with a death ship that’s been sent to kill
a whole planet and draws to a close when the hero pilots his ship
into the enemy’s fortress, exploding it.
nn If you want to recreate the plot of Star Wars, start by sequentially
introducing three heroes. Don’t write a script about a single hero
on a journey. It will come off flat, especially since different audience
members connect more to different heroes.
nn In plot terms, this means that the story should be reverse
engineered as a giant loop, ending on a sacred return to a place
that had previously embodied the regular rule of the story world.
That is exactly what happens in the “heavenly” moment at the end
of Star Wars when Luke returns in his X-wing to the Death Star that
he had previously escaped in the Millennium Falcon.
nn In your own script, you can similarly choose any point to begin and
end your story loop. The important thing is simply to bring your
audience back to an ordinary place that they can reexperience with
new spiritual belief.
SCENE
nn The script provides its best answer in the form of Obi-Wan, who
solemnly informs Luke that the path to victory is to join with the
Jedi and believe in the Force. In 1977, audience members likely
would have found this hokey: a half-baked spiritualism totally at
odds with the darker, skeptical, post-Vietnam ethos of the 1975
Oscar-winner One Flew Over the Cuckoo’s Nest and the 1976
Cannes Film Festival winner Taxi Driver.
nn The script for Star Wars includes a clever device to ease the
audience out of skepticism. The script inserts Han Solo into this
scene to explicitly call out the Force for being a hokey religion. The
cognitive effect: The audience drops its guard.
nn Then the script illustrates the uglier side of being a skeptic. It notes
that Han Solo has an air of “smugness,” which is not a great look.
When Luke can’t find the Force, he flails around “blindly” with his
lightsaber, which isn’t a great look either. This scene acts as a mirror
for the audience’s jaded unbelief.
nn That lasts until the last beats of the scene, when Luke lets go of his
own doubts and suddenly succeeds. This made the 1970s audience
wonder what would happen if they dropped smugness and gave
belief a chance.
EXERCISE
FURTHER VIEWING
FURTHER READING
CHARM: THE
PRINCESS BRIDE
T
he Princess Bride was not a blockbuster. In fact, it was the
41st-highest-grossing film of 1987. Though it wasn’t an instant
hit with audiences, it became a sleeper hit after its release on
home video and grew into one of the most beloved films of all time.
The reason: It became a secret treasure shared between people. This
lecture takes a look at how that happened. To get the most out of it and
avoid spoilers, read the movie’s script or watch it before proceeding.
ENDING
nn The script’s final line is an in-joke: “As you wish…” In the secret
language shared by the characters in the fairytale, “As you wish”
means “I love you.” Now this secret language is shared by the
child, his grandfather, and the audience. The technical term for this
cognitive effect is charm: the forming of a secret connection and
special sense of pleasure.
STORY WORLD
nn Early on, the script establishes that the rule of the framing world
is an unhealthy loneliness: A sickly coughing kid is playing a video
game by himself. Likewise, the fairytale world is introduced with
the character Buttercup playing her own solitary games, riding by
herself and bossing a character named Westley around.
nn Like the child, Buttercup gets a kind of pleasure from these lonely
pursuits. But it’s not a deep and lasting satisfaction. It’s just
a passing ego trip.
CHARACTER
nn But slowly, the more this pattern repeats itself, the more a hidden
meaning becomes clear. Eventually, Buttercup realizes the words
mean, “I love you.” And to Buttercup’s surprise, she then realizes
that she loves Westley back.
TONE
nn In a script filled with quirky moments, this is one of the quirkiest.
Two men are about to duel to the death, when Inigo asks the other
if he has an extra digit on his right hand. It seems utterly random.
It’s funny, but only in the sense of being peculiar.
nn If you want to establish a tone that charms your reader, follow
the lead of The Princess Bride’s ironic narrator. Make gentle
juxtapositions between the serious and the silly that hint at
something more beneath the surface. Bundle every beat of action
and dialogue in delicate layers of irony that hold the promise of
a special connection, a chance to join a community sharing in the
same secret gift.
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SCENES
nn Even though the overall script isn’t tightly plotted, its individual
scenes are. If you want to write a script that charms, copy the
model of the two individual scenes in this section, and then string
them together.
nn The most powerful sources of charm are things that the entire
world has written off as ugly but that your eye reclaims. The the
script is able to make even its undistinguished minor antagonists,
the assassins Inigo and Fezzik, into charmers. Their breakthrough
occurs in a scene where they quietly rebel against their leader
Vizzini, telling him that they think there’s something wrong with
killing Buttercup, since she’s innocent.
nn This scene begins by introducing the core rule of the story world.
The rule is that each person is unhealthily stuck on our own
private island. That’s what Vizzini threatens to do quite literally to
Fezzik: send him back, friendless and hopeless, to Greenland.
EXERCISE
FURTHER VIEWING
FURTHER READING
ALIENATION EFFECT:
DO THE RIGHT THING
S
pike Lee’s scripts are designed to make audiences think deeply
and critically. His drive to make audiences think is why Lee
wrote the script for Do the Right Thing, which became a cultural
phenomenon and a box-office sensation, earning a nomination for an
Academy Award for best original screenplay. This lecture looks at Spike
Lee’s special recipe for making people think. Read the script or watch
Do the Right Thing before proceeding.
ENDING
nn The script draws to a close with two quotes, one from Dr. Martin
Luther King and one from Malcolm X. Here’s a shortened version of
King’s quote: “Violence as a way of achieving racial justice is both
impractical and immoral. […] Violence ends up defeating itself. It
creates bitterness in the survivors and brutality in the destroyers.”
nn Here’s the end of Malcolm X’s quote: “…I am not against using
violence in self-defense. I don’t even call it violence when it’s self-
defense, I call it intelligence.” King, in other words, utterly rejects
violence, while Malcolm X calls it smart. It’s up to the audience to
figure out which is right.
nn During the rise of Nazi Germany, Brecht used the alienation effect
in scripts that spurred people to think critically about what the
Nazis were doing. This was a counterpoint to Joseph Goebbels’s
use of pro-Nazi propaganda, which shut off people’s minds by
drenching them in fear, hate, and other strong emotions.
nn That’s how the script establishes the world. It’s a world of media
patter that seems so smooth, yet is really just an empty surface. If
you want to create your own alienating story world, you can follow
Do the Right Thing’s blueprint. Find the most convincingly cool
piece of propaganda you can. Then, let it play a few beats too long
so that it loses its gloss and its freshness, revealing its superficiality
and making your audience suddenly question.
CHARACTERS
nn At first glance, the scene has an almost erotic feel. And when the
revelation of Mookie’s true intentions comes, it’s startling to the
audience, because their feelings were wrong.
nn The script then departs further from the usual Hollywood model in
its depiction of the characters’ motivations. The script invests each
character with a mix of motives. For example, Mookie is portrayed
as a nuisance, then a hustler, then a father, then an opportunist,
then a social conscience. This begs the questions: What is he
fighting for? What does he most deeply believe?
First,
create an ensemble of main
characters, all of whom rupture the smooth,
superficial cool of the propaganda world.
Second,
give your characters an ironic
mix of heroic and ignoble motives, so the
audience has to think it out themselves.
Third,
introduce an antagonist who seems
to be the face of the world’s propaganda
cool, but is then revealed to hate it. Even
if viewers identify at first more with the
antagonist than with the ensemble main
characters, they quickly feel alienated too.
PLOT
145
nn Mother Courage lives in a world where money is everything, so
each time she gets involved in a financial transaction, she haggles.
And every time she haggles, another of her children dies. So even
though the audience starts out feeling empathetic for Mother
Courage’s situation, the repetition of the same error, again and
again and again, makes the audience start to experience it less
emotionally and analyze it more critically.
nn Likewise, the whole plot of Do the Right Thing is filled with identical
loops, repeating the same basic story beats over and over. An
example: Racial conflicts flare up, then die down, then flare up, and
then die down.
nn The story world, in other words, isn’t going to change of its own
accord. The plot will keep going around and around—unless the
audience wakes up and starts to question. As Mookie’s sister Jade
puts it: “I don’t mean to be disrespectful, but you can really direct
your energies in a more useful way.”
nn If you want to craft a plot that encourages your audience to direct
their energies more usefully, try following Do the Right Thing’s
Brechtian blueprint. Give your audience a story where a negative
situation repeats itself over and over. Keep it going until your
audience’s brains wake up and decide to critically intervene.
TONE
Malcolm X
nn Here, the script’s narrator does a little double take. Mookie’s bills
are bills, and then they’re not. They’re dead presidents.
nn If you want to establish the same tone in your next script, you can
follow Do the Right Thing and create a narrator that sees with two
different gods’ eyes. One set sees the truth, and the other sees
another, conflicting truth. Then speak both truths, like Malcolm X
and King.
SCENES
nn Do the Right Thing is filled with scenes that generate alienation,
from the shocking destruction of the pizzeria to the moment where
characters break the fourth wall to spit racial slurs. But none of its
scenes better creates a feeling of deep and unresolved emotion
than the one where Sal gives a special slice to Mookie’s sister.
nn If you want to prompt Do the Right Thing’s effect of critical thinking
in your audience, study Lee’s script and learn from its blueprint.
Write an unresolved ending, a superficial world, an ensemble
of irritant characters with ironically mixed motives, a conflicted
antagonist, a double-talking tone, and a circular plot filled with
equally circular subplots that go around and around.
EXERCISE
FURTHER VIEWING
FURTHER READING
REDEMPTION:
UNFORGIVEN
I
f you want to write a Western, Unforgiven is a great model to
work from. But it also offers a lesson in something bigger: how
to reclaim any story that Hollywood has left out in the cold. The
world is full of classic genres that Hollywood has forgotten: courtroom
dramas, historical epics, political thrillers, and so on. This lecture
examines how the script for Unforgiven revived the gritty soul of the
Western to give you a blueprint for bringing your own favorite lost story
back. If you haven’t watched Unforgiven or read the script, take a look
before proceeding.
ENDING
STORY WORLD
nn The other women react in horror to Little Bill’s decision, but Little
Bill responds by defending the woman’s attackers. To Little Bill,
the men with the knife are actually more virtuous than the woman
they cut.
nn That’s what passes for justice in this story world. And it reveals
that the core law of Unforgiven’s story world is a deep and ugly
dishonesty. Little Bill talks in lofty, moral tones, but instead of
enforcing justice, he excuses a horrific crime, sets the attackers free,
and then blames the victims.
nn The lesson here is that if you want to lead your audience into
redemption, begin your script by introducing a story world where
the belief you want to redeem is dead. This meets the audience
in their current state of disenchantment, and it paints the grim
consequences of living in a place where that belief is gone.
CHARACTER
nn With this, the script reveals that the cunning old thief and murderer
still lives in Munny. Honesty isn’t automatic to him. It’s just that he
wakes up every morning determined to work on it.
nn The more cash the women have, the more unspeakable the acts
they’ve done, which is to say, that the women have been engaged
in their own form of dishonesty. They’ve acted in ways they haven’t
admitted, even to each other, aligning them with the tragic rule of
their fallen story world.
PLOT
nn To feed the audience’s desire to see more of the bad William
Munny, the script ramps up the dark actions of the false heroes.
And to kick off those dark actions, it introduces English Bob, who
has a hack writer, Beauchamp, follow him around to mythologize
his achievements. However, Little Bill viciously beats down English
Bob and steals Bob’s writer to mythologize his own lies.
nn This is the old writing trick of having one shark get swallowed by
another shark. That’s how you know the second shark is really bad:
He snacks on other predators.
nn With this story beat, the script tells the audience: the longer that
Munny keeps his hands clean, the more innocents will die. The
only way to fix things is for the antihero to do good by once again
acting bad.
nn In the closing beats of the story, the script unleashes the antihero.
But Munny is far worse than the audience expects: He kills in a haze
of drunkenness, later remarking: “I’ve always been lucky when it
comes to killing folks.” And he doesn’t just defeat the antagonist in
a shootout. He executes Little Bill in cold blood, while Little Bill lies
wounded and defenseless on the floor.
SCENE
159
nn The second and final part of the script’s recipe for redemption is
the doubling down on the one true myth. And there’s no better
example of this than the moment where Munny talks to Delilah, the
woman cut up in the brothel.
nn For a moment, Munny seems almost heroic. And then the script
reminds the audience of who Munny really is. To avoid either
sleeping with Delilah or hurting her feelings, Munny lies. When
Munny mentions his wife, Delilah thinks he means his wife is still
alive. So Munny dishonestly tells Delilah that his wife is back in
Kansas, watching over his “young ones.”
nn With that, the scene shows you how to double-down on the old
myth of the antihero. Give the audience a character whose selfish
fear of death opens their eyes to the greater world. Give the
audience a character who turns the bad rule of the world into an
unexpected kind of good.
EXERCISE
FURTHER VIEWING
Unforgiven (1992)
SURREAL
CONNECTION:
PULP FICTION
P
ulp Fiction ushered in the indie movie revolution of the 1990s.
It became the first independent film to gross over $100 million
at the American box office, and it went on to earn an Oscar for
its two screenwriters, Quentin Tarantino and Roger Avary. The film
has its own clear cognitive purpose, and its core story techniques are
derived from a clearly defined artistic tradition that stretches back to
the early 20 th century. The film’s script provides a blueprint for making
new stories feel accessible. As always, you’ll get the most out of this
lecture—and avoid spoilers—if you read the script or watch the film
before proceeding.
ENDING
nn One is about to be dead and the other has just seen the light.
They’re wearing swim trunks and crazy t-shirts; they have guns
stuffed into their waistbands. Then they step out into the sunshine
with a mysterious briefcase.
nn This ending doesn’t make much sense unless it’s considered with
the script’s other endings: The script is broken into three discrete
chapters, each with its own conclusion.
nn The first chapter ends with Mia and Vincent shaking hands and
sharing a private joke. The second chapter ends with two former
enemies hugging and having the exchange:
nn And the third chapter ends with four desperados getting together
for a group photo. All of these endings are moments of friendship.
To experience the end of Pulp Fiction is to feel like you’ve just
made a friend. The movie provides a goofy sense of exuberance—
though it’s almost haphazard and illogical.
nn Pulp Fiction brilliantly employs this same technique in the final beat
of its script. That beat is filled with scraps of pop culture: the “I’m
with stupid” t-shirts, the gangsters, the briefcase of money, and
the other cheesy genre clichés.
nn Yet these scraps don’t feel random. They’re carefully arranged into
an imaginative pattern that makes them feel at one with each other.
That’s surreal connection.
STORY WORLD
CHARACTER
166
nn Contrary to the objections of critics, the characters of Pulp Fiction
are carefully and appropriately constructed in conflict with the
story world. In fact, the very qualities of Pulp Fiction’s characters
to which critics have objected are what make these characters
appropriately surreal.
PLOT
nn The big lesson here is that the way to write a surrealist plot is to
start by writing any regular genre plot. Then cut it into pieces and
arrange it into a collage. Make sure that the final story fragment
completes the first fragment, so that your plot ends on a note of
coming together.
nn At first, the tone of Pulp Fiction seems all over the place. It’s
a mashup of different pulp genres, by turns poetic and harsh,
violent and philosophical, nightmarish and absurd.
nn By recycling each other’s words, the characters bind each moment
to the next, so that their odd-couple conversations become the
thread that stitches the whole collage together.
nn If you want to create a surreal tone in your writing, this is a great
technique to steal. Smooth the transitions between your collage
fragments by having them experienced simultaneously by two
characters who blend together into one by talking the same.
nn The lesson here is that if you want to create the same surreal
effect as Pulp Fiction, you have to introduce sharp shocks like the
unexpected gunshot into your script. The cognitive precondition
for surreal connection is the feeling that all reason has been blown
apart, and so to put your audience in the right frame of mind to get
surreal, you have to give them shellshock.
nn From here, the next step is to continue the double story structure
by laying in an element that guides your audience’s minds out of
shock into surreal connection. That is what the accidental shooting
scene does by transitioning into a moment of collage. Here’s how
it works.
nn As Jules panics about getting pulled over by the cops with blood
everywhere, Vincent tries to reassure him. This scene is thick with
the devices of collage. The characters stop arguing and go back to
repeating each other’s words: “Friendly places … friendly places …
Toluca Lake … Toluca Lake.” Jules brings unexpected parts of the
world into juxtaposition through the phone call. He and Vincent
make a new friend in Jimmie.
nn After you write one scene like this, do what the screenwriters for
Pulp Fiction did and write more. Because when you leave behind
the plot techniques that traditional Hollywood scripts use to keep
the audience’s attention taut, you need to continually recreate
a sense of narrative urgency and dramatic stakes by refreshing the
cognitive conflict between nihilism and surreal connection.
EXERCISE
2 Jot down the big story beats of one of your dreams. Now,
write a scene in which two characters journey through those
story beats together, constantly recycling each other’s
dialogue as they go.
FURTHER VIEWING
FURTHER READING
BIG SYMPATHY:
TOY STORY
T
o keep the business going, Hollywood studios have a huge
incentive to make writing as mechanized and reliable as
possible. Rather than encouraging writers to develop creative
and innovative new stories, studios instead ask them to take the less
risky approach of copying what has worked in the past. But the success
of the 1995 movie Toy Story reveals that even within this industrial
storytelling machine, there’s still room to innovate. Pixar, the film’s
parent studio, cast away the current Hollywood formulas for children’s
movies and then identified a specific cognitive effect that audiences
craved but that Hollywood had been neglecting. Reminder: To avoid
spoilers and get the most out of this lecture, read the script or watch
the film before proceeding.
ENDING
nn For most of the script, Woody tries to get rid of Buzz and reclaim
his old place in Andy’s affections, until at the end, the two toys
open their hearts to each other and become buddies. They join
forces to escape the clutches of the toy-destroying neighbor, Sid,
and make their way home.
nn In the final beats of the script, Buzz and Woody sit together as
Andy opens his Christmas presents. The first present is a Mrs.
Potato Head, and the toys all cheer and congratulate Mr. Potato
Head on his new life partner. But the script doesn’t end on this
upbeat moment. Instead, there’s one more present left for Andy to
open—which turns out to be a toy-chewing puppy.
nn Even though Buzz and Woody do their best to laugh, this is not the
ending they were hoping for. The script began with Woody being
replaced by a new plaything, and the script now ends with both
Woody and Buzz being replaced.
nn The key difference: Buzz may have arrived exactly back where
Woody was, but now there are two of them sitting in Andy’s
bedroom, grimacing and smiling weakly together. Woody no longer
needs to look alone into the tragic truth that time is passing. Buzz
feels sympathy for Woody, and Woody feels sympathy for Buzz.
nn The very first thing the script shows is a row of moving boxes.
This signals that this is a story world of transitions and change.
The second thing the script shows us is that the world doesn’t
acknowledge these changes as upsetting. Instead, it does its best
to pretend they’re no big deal.
nn That’s why the moving boxes are decorated with crayon and
incorporated into a game. And why the game is a goofy Western
spoof where Mr. Potato Head terrorizes other toys for “Money.
Money. Money.” The reason for this emphasis on money is that
money is the moment childhood ends: Children don’t understand
money as adults do.
nn Yet the story world of Toy Story’s script doesn’t acknowledge this
dark side of money. Instead, through the buffoonery of Mr. Potato
Head, it makes the audience laugh past it.
CHARACTER
nn Against its story world of smiling change, Toy Story juxtaposes two
main characters, Woody and Buzz. Woody sees the future coming
and he does his best to stop it. Buzz doesn’t see the future and he
crashes on, unchanging.
The
five-part structure involves first bereaving the character
(Hamlet loses his father).
Then
comes external conflict (Hamlet feuds with the world,
killing his mother, for example).
Next
comes inner conflict (which manifests in Hamlet’s “To be,
or not to be” soliloquy).
After
that comes inner resolution (Hamlet realizes he is not
alone).
The
final step is bereaving the audience (Hamlet dies).
nn The script of Toy Story follows this same five-part structure. Here’s
how it works.
The
first part is when Woody is confronted by the arrival of
Buzz. This displaces Woody.
The
second part occurs when Woody throws a temper tantrum
that ends with Buzz being knocked out the window.
The
third part is when Buzz and Woody fight. As they fight,
they drag themselves into deeper and deeper problems.
The
fourth part is when Buzz and Woody stop fighting and
recognize their shared mortality. Buzz finally realizes that he is
just a toy, and although this is a brutally disillusioning moment,
it enables him and Woody to reconcile.
nn If you want to generate big sympathy in audiences, you won’t find
a more time-tested model than Hamlet and Toy Story’s five-part
plot. Write a plot about someone who suffers a loss, driving them
to rage against the world and themselves, before they see that
others have suffered the same loss. In the very last moment, they’re
lost themselves.
TONE
nn To reverse engineer a tone that creates big sympathy, Toy Story’s
script alternates between a sentimental and a comic narrator.
This has the effect of turning the entire script into a soliloquy
between the perspectives of Woody and Buzz. When the narrator
is sentimental, the tone is anxious, worried, and dark, like Woody.
When the narrator is comic, it’s playful, carefree, and joyfully
oblivious, like Buzz.
nn One of the dark, Woody moments occurs when Sid blows up the
toys’ friend Combat Carl with a firecracker, prompting the script
to bleakly intone: “A large black scorch mark is all that remains
where Combat Carl once stood.” This terrifyingly solemn moment
literalizes the ultimate horror that Woody worries about. Childhood
will end, and the toys will be destroyed.
nn At the opposite end of the spectrum are the comic moments of
narration where the script breathes with Buzz’s oblivious sense of
joy. An example is when Buzz and Woody are about to be blown up
like Combat Carl, until Buzz activates his toy wings and they escape.
The moment is so joyful even Woody forgets to worry.
nn Woody tries to talk Buzz out of his funk, telling him how great and
important it is to be a toy. But Buzz can’t go back to being a child.
He finally sees what Woody sees, grasping his own mortality.
nn This seems to be the end of the line for Buzz and Woody. They
finally agree—but unfortunately, what they agree on is that being
a toy is hopeless. And then suddenly, Buzz leaps into action. He
hoists the milk crate off Woody and the two of them join forces to
get back to Andy.
nn A moment of mirroring is what causes Buzz to shake off his despair.
When Buzz glimpses his own feelings of insignificance in Woody,
he loses his sense of tragic isolation. He realizes that someone
else feels exactly like him, and so he experiences a deep sense of
sympathy that bonds him and Woody together.
nn If you want to create big sympathy in your next script, write a mirror
scene like this. Have your main character see the reflection of their
own condition in their great rival, finding a moment of sympathy.
Then, snatch both characters away to a fate that mirrors back the
audience’s own future doom.
FURTHER VIEWING
FURTHER READING
EXISTENTIAL
MEANING: FARGO
F
argo was the Coen brothers’ sixth film, shot modestly on an indie
budget. Expectations were low. But it became an international
hit and earned an Oscar for best original screenplay. However,
everything about the script is a little odd. Which raises the question:
How does something so peculiar become so popular? A place like
Fargo, North Dakota, has its special charms, but most people don’t live
there. This lecture explores how Fargo negotiates this paradox. To get
the most out of it and avoid spoilers, read the script or watch the movie
before proceeding.
ENDING
nn At the end of the film, after the failed arch-villain Jerry is dragged
away weeping in his underwear, Fargo’s script closes with an
intimate domestic scene of Brainerd, Minnesota, police chief Marge
Gunderson and her husband Norm in bed together.
nn In the same way that Norm cherishes his duck and Marge
cherishes Norm, fans cherish Fargo for its eccentricities. The
broader, philosophical term for this feeling of personal meaning
is existentialism.
STORY WORLD
nn In the film’s opening scene, Jerry arrives in a dive bar with a plan to
take control of his life. He’s going to hire a couple of men to kidnap
his wife and extort a hefty ransom from his bullying father-in-law.
But no sooner has Jerry met the prospective kidnappers than he
promptly finds himself out of his depth.
nn When the world doesn’t turn out like Jerry wants, he becomes
exasperated and panicked and angry. He eventually attacks his
own car with an ice scraper. He tries to get the money he thinks
is his due by lying to his father-in-law and double-crossing the
kidnappers.
nn Jerry, in other words, tries to impose his will on the world. But
instead, he only adds to the chaos and the conflict.
CHARACTER
PLOT
nn A second method: The script makes Marge a detective. Rather than
being the source of the conflict that moves the plot forward, Marge
is a cop who tries to eliminate that conflict and restore the peace.
nn Having put these two plot elements in motion, the script then builds
them out into a simple, two-part story structure. First, the script
ramps up the nihilist conflict. Jerry and his various confederates
all hatch schemes to bend the world to their will, only to see these
schemes backfire.
nn Then Marge takes her existentialism a step further. When she learns
that Yanagita was lying about his wife, she revisits Jerry, thinking
that perhaps he was lying about his wife too. There’s no strict
reason the two men’s behavior should be connected. But Marge
follows her hunch, and it pays off for her.
TONE
This is a true story. The events depicted in this film took place
in Minnesota in 1987. At the request of the survivors, the names
have been changed. Out of respect for the dead, the rest has
been told exactly as it occurred.
SCENE
191
nn Then, as Carl tries to leave the parking garage, he has an exchange
with the attendant. In the attendant, Carl is presented with the
mirror of his own condition: a minor enforcer of someone else’s
grand money scheme. But Carl has no epiphany. Instead, he howls
in fury at his reflection, getting into a public spat over $4.00 when
he’s trying to lay low in order to earn $40,000.
nn This episode doesn’t lead the cops to Carl or cause any plot
developments to occur. It seems significant but turns out to be
meaningless. That’s how you write the first kind of scene, making
your audience feel a vacuum of meaning.
nn The women of the strip club are about as opposite from Marge as
you can get. They have casual sex with men they can’t remember.
Marge is in a committed relationship with a man she never forgets.
nn Like the attendant, the women are absurdly caught up in their own
little worlds, frustrating Marge’s hunt for clues by relating details
that matter to them but have no bearing on anything else. But
unlike Carl, Marge isn’t filled with violent frustration and despair
by this situation. Instead, she patiently accepts it as the way of
the world.
nn That is how to write the second kind of scene: Have your existential
character meet their polar opposite and discover their own private
meaning mirrored back. When you put these two scene types
together, you have the blueprint for writing your own Fargo and
carrying your audience into existentialism.
EXERCISE
FURTHER VIEWING
Fargo (1996)
Fargo (TV show) (2014– )
FURTHER READING
FILM VERSUS
TELEVISION: MASH
AND M*A*S*H
T
his lecture explores key differences between film and TV by
tracing them back to a single innovation in the way that TV
handles conflict. Then, it explores what this innovation means
from a writer’s perspective. This will set up the next four lectures, which
look at how to write for TV.
DIFFERENCES BETWEEN FILM AND TV
nn The most obvious difference between film and TV is quantity.
An average movie is two hours. An average TV series is designed
to run for 100 hours or more. Generating all those hours of content
presents a challenge, which writers answer by developing an
engine to power the show for season after season.
nn There are different ways to build a TV engine, but the most
straightforward is by establishing a deep conflict in the story world.
Conflict pushes the plot. The deeper and more substantial the
conflict, the more story you can get out of it.
nn By rooting conflict in the story world, TV writers allow for two key
things needed to please audiences for hundreds of hours. First,
they keep the plot going, and second, they keep the viewing
experience consistent. For example, no matter what episode of
Law & Order you watch, the show’s engine always generates the
same cognitive mixture of intrigue and suspense.
nn The big lesson here is that when you’re writing a TV series, you want
to focus on the deep conflict in the story world, not on superficial
plot formulas. Audiences don’t tune in for plot formulas. They want
psychological consistency, not story-beat predictability. And in
fact, if your plots become predictable, audiences will quickly get
bored and tune out.
nn In the film, the two main doctors drive away in the jeep they stole at
the beginning, as a loudspeaker blares out an ironic final comment
on the movie:
nn And like the loops in Mother Courage and All Her Children, MASH
ends with the doctors driving away in the same jeep they came
in. The war continues on just as it was. This makes the audience
uncomfortably aware that the horror of war is persisting unabated,
encouraging them to stand up and make changes to the world.
nn Then Hawkeye and B.J. hug. And as Hawkeye looks down from his
chopper, he sees that B.J. has written out a message for him. It’s
the word “Goodbye,” spelled out in stones on the chopper pad.
nn Whereas the doctors of MASH the film are in conflict with the world
of war, the characters of M*A*S*H the TV show are windows into
the deeper conflict of the world. Though they all bring unique
viewpoints, the fact that all of the characters of a TV series offer
windows into the same deep conflict means they can always be
swapped out and exchanged.
nn In contrast, in the final episode of M*A*S*H the TV show, the main
antagonist is made an object of sympathy. This antagonist is Major
Charles Winchester, the season six replacement for Frank Burns.
nn In the final episode, after Winchester has tried to teach five Chinese
POWs to play Mozart, he sees them loaded on a truck. Rushing out,
he’s told that the POWs are being collected for a prisoner swap.
Winchester desperately tries to stop the exchange. He’s come so
close to teaching the POWs to play Mozart, giving him a ray of
hope. But Winchester is overruled, and the truck pulls away.
STORY WORLD
nn Suddenly, the air rescue siren sounds and the PA blares: “Attention,
all personnel. Report immediately to admitting ward and operating
room.” This concludes the pilot’s two-step recipe for establishing
the conflict of its story world.
nn You can copy this model for your own pilot: Show little snippets of
both sides of the conflict in your story world, cutting back and forth
between your main heroes and your antagonists. Then, show that
in this world, both your heroes and your antagonists have to work
together, on the same mission, to do the same thing.
CHARACTER
nn This is another simple technique you can try when writing your next
pilot. After you’ve introduced the big conflict in your story world,
introduce your first main character through a voiceover where they
explore both the good and bad of that conflict. This will generate
a soliloquy that encourages the audience to identify with both that
character and the world of the series as a whole.
nn To pull off this scheme, the two doctors concoct a plan to host
a debauched party, raffle off a weekend with a nurse, and then rig
the raffle. The plot, in short, is a tale of doing good by doing bad.
ENDING
nn Even though the general seems like a bad guy, the pilot reveals
that he isn’t. Like everyone in the war, the general sees that the
good always comes mixed with the bad, and so he pardons the
doctors’ bad behavior to preserve their good surgical skills.
FURTHER VIEWING
WRITING
A TELEVISION PILOT:
GAME OF THRONES
T
he pilot episode of a TV series begins the series, but a good one
also provides the engine that sustains the series for seasons to
come, all the way to the show’s end. To give you a blueprint for
how pilots establish their engines from beginning to end, through plot
and character and tone, this lecture focuses on the pilot for the wildly
successful series Game of Thrones. But that’s not the focus just because
the pilot was a success; at first, it failed, bombing with test audiences
until it was restructured. If you haven’t seen the episode or read the
script, do so before proceeding to avoid spoilers and maximize your
enjoyment of this lecture.
ENDING
nn At the end of the pilot, 10-year-old Bran begins to climb a tower in
the northern castle he calls home. Eventually, Bran looks through
a window and sees a man and a woman in a carnal embrace. The
pair is Jaime and Cersei—the queen and her twin brother, in an
incestuously adulterous relationship.
nn Cersei catches sight of Bran. In a panic, she insists that her brother
do something to bury their dark secret. But Jaime instead asks
Bran his age. “Ten,” Bran replies. And Jaime repeats it: “Ten.”
nn Jaime turns away from the window, and Bran exhales, relieved to
have escaped. Abruptly, Jaime sighs: “The things I do for love.” He
causally shoves Bran out of the window.
BEGINNING
nn The pilot opens with three rangers leaving the Wall for the
wilderness beyond. They discover bodies, which strangely
disappear, leaving only a scrap of red cloth. Eventually, a shadowy
creature with blue eyes appears and decapitates two of the rangers
before tossing one of their heads to the survivor.
nn This isn’t the right move for every pilot. But this intriguing seduction
into pain is exactly the right move for Game of Thrones because
it perfectly establishes the core cognitive effect that drives the
whole series. It makes you want to know. And then it makes you
suffer for it.
nn From here, the pilot then introduces a series of characters. They all
get a generous chunk of screen time, and they are all presented as
important. Because pilots introduce a lot of characters, the danger
is that the pilot’s plot can start to feel confusing and overwhelming.
nn For Bran to ascend in the world, he must learn what death looks
like. He forces himself to watch the execution. But in gaining this
knowledge of what death looks like, Bran also discovers the other
less happy side of power: It’s jolting to watch the end of a man’s
life. And so as Bran learns, he simultaneously suffers as part of his
innocence dies.
nn The next main characters the audience meets are the Lannister
twins, Cersei and Jaime. I know, they’re actually two characters.
In the pilot, the Lannister twins are introduced as they watch the
funeral procession of the king’s former right-hand man.
PLOT
213
nn And the final big step of the plot comes just before Ned Stark
leaves to journey to the palace. Here, the script includes a scene
where Ned’s wife reads a note from her sister, informing Ned that
the king’s right-hand man “was murdered. By the Lannisters.” The
scene is crucial because it ramps up the conflict between the Starks
and the Lannisters by giving Ned a reason to pry into Cersei and
Jamie’s affairs.
nn In the later, successful pilot, the writers departed from the structure
of the novel and delayed the introduction of Essos. They waited
until after they had established conflict between the Starks and
the Lannisters and after the king had asked Ned Stark back to
his palace.
nn The big lesson here is that the world of a TV show is not its
geographical places. It’s the core conflict. To establish the story
world, don’t rush into showing all of its physical locales. Instead,
focus on establishing the deeper world-conflict by showing two
main characters in opposition.
TONE
nn The show’s tone is engineered to draw the viewers into the trap of
curiosity, whispering of new things for them to see.
nn A surprised Catelyn replies that even if Tyrion does drink all night,
surely Tyrion couldn’t possibly consume the eight barrels of ale that
Luwin has just brought up from the cellars.
nn When the audience does meet Tyrion and the redhead in the
successful pilot, Tyrion yells for the door to be closed, preserving
a sense that something remains hidden. And finally, the pilot drives
home Tyrion’s character in a moment when Tyrion declares to Jon
Snow: “Let me give you some advice, bastard. Never forget what
you are. The rest of the world will not. Wear it like armor. Then it
can never be used to hurt you.”
nn Here again is the core conflict of the world. Tyrion has gained
knowledge through suffering. He wishes that the world were
otherwise. He has been hurt by its cruelty. But he also knows he
has to make the best of the nightmare he’s been born into.
EXERCISE
FURTHER VIEWING
FURTHER READING
T
o focus on sitcom writing, this lecture takes a look at The
Simpsons. In addition to being the most successful sitcom ever,
The Simpsons is also really clever. It has won 32 Emmys, which is
more than Seinfeld or The Mary Tyler Moore Show or even Cheers. This
lecture examines a popular episode from the show’s prime in season
four. That episode is “Duffless,” where Homer tries to give up alcohol
and Lisa tries to win the science fair. If you haven’t seen it yet or read
the script, check them out before proceeding.
ENDING
ENGINE
nn The sitcom engine is the conflict between the individual and the
society. Individual is a literal term when it comes to sitcoms: Every
character is a one-of-a-kind individual, filled with rogue desires
and dreams.
nn In other words, there are two basic ways to invent your own original
sitcom. The first is to focus on a unique subculture of individuals,
like Broad City does with female college grads in New York City.
The second is to focus on a unique kind of social togetherness,
like Modern Family does with post-divorce American families, or
Seinfeld does with the special bond between misanthropes.
nn But there are also many, many moments where the society is the
menace to the individual. An example is when all the students at
Lisa’s school hoot and cheer when the tomato that would end world
hunger is instead used as a projectile to slime the school principal.
nn That’s why after Bart physically wakes up, the episode goes on to
show the other members of Bart’s family as they remain psychically
marooned in their own waking dreams. When Homer is asked to
help Lisa on her science fair project, he responds: “Yeah. Syrup is
better than jelly.”
CHARACTER
225
nn Toward the end of the episode, the A and B plots intersect when
Homer goes to the science fair. In the episode’s final beats, each
of the plots resolves itself. Lisa loses the science fair, crushing her
dreams of glory. And Homer realizes that he actually likes spending
time with Marge, so he finds a painless way to be sober.
nn At the end, the important thing is that the characters finally stop
making their self-inflicted problem worse. Maybe they give up.
Maybe the world crushes them. Maybe the other characters rescue
them. It’s up to you and what you want your audience to feel.
nn Not all sitcoms have two plots, but most tend to. That’s partly
because it’s hard to stretch a single plotline out for an entire
episode. And having two plots also adds to the comic richness of
the world by involving more characters and more weird problems.
Some even have a third plot.
TONE
nn There are two simple ways to generate a comic tone. First, focus
on everyday people and objects. Second, describe the world in
multiple voices. The Simpsons shows how both of these are done.
nn Second, each character in the episode has his or her own voice. The
Simpsons is a smorgasbord of different dialects. Bart says things
like “Ay Carumba” and “Eat my shorts.” Lisa says things like: “The
hamster has learned a valuable lesson—beware the hand of man.”
nn When you’re writing your first sitcom, set it somewhere ordinary. And
give each of your clowns a little of their own extraordinary dialect.
EXERCISE
FURTHER VIEWING
E
very sitcom begins with a problem that the main character creates.
That problem gets worse and worse, leading to more disasters
and complications, until at the end, the character capitulates
and things go back to normal. In the procedural genre, it’s the inverse.
Every episode begins with a problem that the main character sets out
to solve. That problem is unraveled piece by piece through a series of
breakthroughs and discoveries, until at the end, the character triumphs
and things go back to normal. To expand that basic engine into a more
detailed blueprint, this lecture reverse engineers the pilot episode of
the successful and influential procedural CSI: Crime Scene Investigation.
The show has a two-part pilot episode, which was split into the first
two episodes of season one, titled “Pilot” and “Cool Change.” For
the purposes of this lecture, both “Pilot” and “Cool Change” will be
referred to together as the pilot. The end of the pilot means the end of
“Cool Change.” If you haven’t seen the two-part pilot for CSI or read the
scripts, take the time to check them out.
ENDING
nn The pilot to CSI has a two-part ending. In the first part of the
ending, Gil Grissom, the lead crime scene investigator, solves
a casino crime. In the second part, the CSI team forgives a member
of their unit for making a human mistake.
nn Each part of the ending has its own cognitive effect, which together
make up the total experience of CSI. Grissom wraps this case in
spectacular fashion: He turns back time to witness a murder as it
actually happened, and he sees something that he wasn’t there to
see. The point is that Grissom seems like a god. That’s the first half
of CSI’s cognitive effect: a feeling of euphoric omniscience when
the audience discovers solution to the crime.
nn But instead of ending with a tidy sitcom reconciliation, the pilot for
CSI carries on for one more beat. And in that beat, unlike at the end
of The Simpsons or Friends, the characters don’t go home together.
Instead, each of them goes home on their own. This leaves Brown
in the parking lot, alone.
nn This is a story world where people try to reform and try to forgive
and forget. But as much as the characters of CSI all do their best, at
the end of the day, people still end up alone. This is the other face
of CSI: not the solving of problems but the making of problems.
nn The show’s dual cognitive effect points to the special engine of CSI.
The engine of every procedural is broadly the same: The conflict is
between the forces that generate the problem and the procedures
that solve it.
nn Against the problem of human nature, the pilot then pits the other
half of its engine: the problem-solving procedure of the scientific
method. Grissom’s forensic method is to reverse engineer history
through an analysis of the physical data that remains. Grissom
doesn’t just speculate about the past. He can see it exactly.
CHARACTER
nn With this scene, Grissom establishes that his only god is science.
Sure, your stomach might turn at the thought of eating a bug. But
that’s the problem with human nature: It’s irrational. It doesn’t
know that bugs are good for its blood sugar. Grissom is firmly on
one side of the show’s central conflict. He’s on the side of science.
nn The next main character introduced by the CSI Pilot is Brown. He’s
on the opposite side of the show’s central conflict from Grissom,
creating a clash between the two characters. Where Grissom is
cool and scientifically calculating, Brown is so hot for his promotion
that he gets entangled with a corrupt judge. Brown shows human
nature, with all its faults and follies. The other CSI personnel all fall
somewhere in between Brown and Grissom.
235
delays and complications as needed. If one problem isn’t enough
to keep the plot interesting, imagine one or two more, so that you
have multiple plotlines going at once.
TONE
nn The tone of CSI heightens the second half of the show’s cognitive
effect, human emptiness, though its dark and grimy crime scenes.
The show is set at night, allowing shadows to permeate everything,
making the world feel lonely and grim.
SCENE
nn Next, this lecture turns to a scene that captures the whole engine
of CSI in miniature. In this scene, Grissom is brooding over the
physical evidence retrieved from the casino. That evidence doesn’t
add up. The casino security has no record of the electronic lock to
the victim’s room being triggered, so the evidence suggests that
the victim left his room and died elsewhere.
nn But Grissom has found carpet fibers from the room in the victim’s
watchband, so that evidence suggests that the victim was in fact
killed in the room and dragged across the floor. The evidence
seems to point in two directions at once.
nn With this scene, the pilot illustrates both the method and the
miracle of the CSI procedure. By following science exactly, it does
what no mortal eye can do and sees into tomorrow.
EXERCISE
FURTHER VIEWING
THE PRIME-TIME
SOAP: GREY’S ANATOMY
S
oap operas can help people work through emotions they don’t
want to feel as much. Or they can help people intensify feelings
they see as important. Or they can just help people feel more
comfortable and happy, offering respite from a modern world that’s
often too busy to acknowledge how people feel. This lecture looks at
how you can launch your own soap opera by studying the pilot episode
of the most popular prime-time soap of the past decade: ABC’s Grey’s
Anatomy. If you haven’t had a chance to watch or read the pilot for
Gray’s Anatomy, enjoy before proceeding.
238 239
ENDING
nn In the final scene of Grey’s Anatomy’s pilot, Meredith visits her
mom in a nursing home to tell her that she’s decided not to sell the
house. “It’s home, you know?” To which her mom blankly responds:
“Are you the doctor?”
nn With this sharp twist, the scene reveals that Meredith’s mother
has Alzheimer’s. She doesn’t know her own child. This ending is
a heartbreaker. And it breaks your heart in a very specific way: It
makes you feel what it is to have a mother and not have a mother all
at the same time. It’s a feeling of being home and being a stranger
at the same time.
nn In the case of Grey’s Anatomy, the story engine is the conflict
between a person’s desire to belong and their anxiety that they
don’t. Everyone in the pilot of Gray’s Anatomy is constantly striving
to be accepted. Yet no one ever quite manages to feel that they
belong. They feel constantly like strangers in their own homes.
OPENING
nn The engine for Gray’s Anatomy is a conflict in the heart. If you want
to create your own soap, try coming up with your own original spin
on a conflict inside the heart.
CHARACTER
nn Grey’s main characters are dispersed across the full spectrum of the
story world’s root conflict, some more on one side of the conflict,
some more on the other. Like procedurals and serial dramas, the
pilot emphasizes its core conflict by opening on a character who’s
on one extreme of the conflict and then immediately introducing
a character on the other extreme.
243
mysteries. Note: For a soap to be a soap and not a procedural, the
soap engine always needs to govern the action of the procedural
element.
nn Here’s how it works in the pilot of Gray’s Anatomy: Derek kicks off
the problem solving by asking the interns for help. He has a patient
who is a “mystery.” Her labs are clean, her scans are pure, but she’s
having life-threatening seizures.
nn Derek tells the interns: “I need you to play detective, I need you
to find out why [she’s] having seizures.” Over the episode, the
detective-playing interns go at it, trying to crack the case. But
in the end, the solution is not achieved through some rigorous,
scientific method, like in CSI or House. Instead, the solution comes
from an emotional intuition.
nn Meredith and Cristina approach Derek in the elevator and tell him
that they have a hunch. Derek responds by pointing out that their
hunch is wildly unlikely. But the doctors do a scan, and to Derek’s
surprise, the hunch is correct. Emotion is the logic of the world
of Grey’s.
TONE
nn Morevoer, the scene also fuels the specific engine that makes
Grey’s Anatomy its own special soap. First of all, this scene reveals
that in the story world of this soap, belonging always has to be
paired with a feeling of not belonging. Meredith only becomes
part of “the gang” when Alex is kicked off the case. Otherwise, if it
was possible for all the characters to belong at once, the conflict in
the story world would weaken and the show’s engine would sputter.
FURTHER VIEWING
BECOMING
A SCREENWRITER
T
his final lecture asks you to choose where you want the story of
this course to end. By learning how scripts work throughout this
course, you’ve been learning how narrative works. And there’s
almost no end to the things that you can do with narrative. There’s no
better way to enlarge your own narrative skills than by practicing the
three goals of this course, which were to help you appreciate more
films and TV, tell better stories, and write your own scripts.
248
APPRECIATING TV AND FILM
nn With a TV show, if you can appreciate the pilot, you can appreciate
any episode. And the core conflict of the pilot should be there in
the opening scene. Rewatch that scene to find it. If it’s a procedural,
what’s the problem and what’s the problem solver? If it’s a soap,
what’s the core emotional struggle?
nn Once you’ve found the conflict, try to imagine feeling it in your own
life. And watch the show, honing in on that feeling of conflict until
the story takes you away.
nn You can do the same basic thing with films. Watch the first few
minutes carefully to identify the core conflict between the character
and their story world. If you can’t find it, rewatch the first two
scenes. It’s there the vast majority of the time.
nn Or you can ask the person you’re watching the film with: What’s the
character fighting against? What are they most afraid of happening?
Then ask yourself: Have I ever had a similar fear? If you can feel that
fear, you can feel for the character and their conflict. Then you’ll be
in, and the story will start to flow.
EFFECTIVE STORYTELLING
nn There isn’t one right way to tell stories. Everyone has their own
storytelling style, and you don’t want to lose that. But you can
improve your stories in the same organic way that you can improve
a script, simply by reverse engineering.
nn If you have a particular story that’s not working quite right, think
about what you want that story to do. Then think about another
story you’ve got that achieves that intended effect and ask yourself:
What story beat or narrative twist or other plot structure does my
effective story have that my less effective story doesn’t?
nn If you want to charm like The Princess Bride, practice telling your
stories with a light irony. If you want to create wonder like Star
Wars, start with an ordinary thing that suddenly offers a glimpse of
a much bigger something beyond.
SCRIPTWRITING
nn The better you can appreciate films and tell stories, the better
you can write a script. Always work to develop those two skills. Be
a dedicated student of the scripts and stories you admire and tell
stories at every opportunity.
nn As for writing itself: If you like one or more of the blueprints covered
in this course, that’s great. You can steal them. But if you don’t like
any of the blueprints, don’t worry. Since the purpose of this course
isn’t to force you to stick to any single plot structure, the important
thing is not the blueprints themselves.
nn Then, move on to the plot. Write down the main story beats—
the moments in the plot where something major changes—so
you summarize the plot’s whole action with the minimum steps
needed. If you go through these beats in reverse, from the end to
the beginning, reviewing the author’s story choices, you’ll discover
the deep storytelling logic that connects them. Steal that deep
storytelling logic and leave the story beats behind.
nn Finally, identify the what and the how of the tone. What parts of the
story world and the characters does the script focus on? And how
does it talk about them—with a god’s-eye tone, irony, sentiment,
comic generosity, or something else entirely?
nn The more you practice this, the faster you’ll get. Reading one script
a week will give you 52 blueprints over the course of a year.
nn Once you’ve picked your blueprint, start with your ending. For your
first few scripts, that ending should be similar in its broad outlines
to the ending in your blueprint. For example, if your blueprint is
Toy Story, have two strangers bond as they overcome a common
life challenge, only to end by seeing the challenge resurface.
nn If you’re writing a pilot, your next step is to reverse engineer your
engine. What deep conflict in a story world would produce your
chosen cognitive effect? How can you put your own unique twist
on that conflict if it seems too similar to another TV series that you
know? Then, write a pilot that relentlessly establishes this engine
through its opening scene.
nn If it is, you first reverse engineer your story world and then go
back and build your character in conflict. If it isn’t, do the opposite.
Reverse engineer your character first, then build a story word
in conflict.
nn Once you’ve got your characters and your story world, rough
out your plot by working back from your final scene to create the
action beats you need to get you there. If you get stuck or lost, ask
yourself questions like: What would make my character more afraid
than anything? What would threaten the big rule of my story world
more than anything?
FEEDBACK
nn After you’ve written your first script, you’ll want to share it. The
point of a story is to connect with an audience, so you’ll want to see
how effectively you’ve connected.
nn If you want honest feedback that doesn’t wreck your current
relationships, it’s best to build a group of writing friends. Listen to
their notes. But remember, writing groups are better at identifying
problems with your stories than giving you solutions. When
someone tells you that something in your script doesn’t work,
accept their criticism of what’s broken, but try to fix it your own way.
nn When you feel pretty good about one of your scripts, it’s time to
get it out into the world. One way to get your script out there is to
get it made into an indie film so it can be screened at film festivals.
nn Before you make your script into a film, attend a film festival or two,
meet people, enjoy films, and get a sense of how the festival works.
Then, get together with some people you met there
and create and submit your own film. If your film
takes off on the festival circuit, you’ll
touch a huge audience, you’ll meet
new friends and collaborators, and
you’ll get to make more films.
nn Once you figure out how to get your foot in the door, the secret to
getting further is to learn how to pitch. Young screenwriters often
think that a good pitch should condense their script down to a tidy
plot summary, like a kind of snappy logline.
nn But the key to a good pitch is subtler than that. Rather than handing
your audience a finished story, you want to hand them a catchy
beginning, kicking off a narrative chain reaction in their brains so
that they start telling your story themselves.
nn Plot summaries don’t build intrigue. Instead, they kill the suspense
by revealing too much. When you’re preparing a pitch, think about
how you can hook your audience the same way that the first page
of a script hooks a reader.
nn Some writers are just naturally good at pitching. But if you want to
get better, the best way to start is by studying the beginnings of
your favorite scripts and identifying the precise method they use
to hook you. For example, sometimes they grab your curiosity by
posing a puzzle or a mystery. Sometimes they forge an emotional
bond by showing a character in a moment of crisis. Sometimes they
create wonder by opening the prospect of a new world.
nn But even the best pitch will only get you so far. There has to be
a script behind it that lives up to expectations. To ensure that your
audience-pleasing pitches aren’t just empty promises, never stop
writing. Get a screenwriting program and write for an hour each
day—because the world can always use more good stories.
FURTHER READING
IMDBPro.com
Aristotle. Poetics. Not a quick read, but filled with intriguing technical
observations about literature.
Branagh, Kenneth. Henry 5 (film), 1989. The earliest heroic play, ushering
in the blueprint for heroic Hollywood scripts from Lawrence of Arabia
to Pulp Fiction.
Dragnet (radio series), season two, 1950. Listen and be amazed at how
almost every modern procedural developed their blueprint from one of
these episodes.
I Love Lucy, season one, 1951–1952. If you want to learn how sitcoms
work, you can’t find a more elegant blueprint.
Whedon, Joss. Much Ado About Nothing (film), 2012. With its witty,
slang-talking female lead, this movie provides the blueprint for modern
romantic comedy. This version fills in the backstory often missed by
viewers of the stage play.
SCREENWRITING CONTESTS
Academy Nicholl Fellowships
http://www.oscars.org/nicholl
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