RMFW Workshops – Screenwriting, Presented by Eldon Thompson

I wanted to post some of my notes from the RMFW conference. You'll have to excuse me if these are a little sparse in certain spots. The only real point that I can criticize Eldon Thompson on as a presenter is that he spoke EXTREMELY fast. I'm a quick note-taker (law school, hello), but even I couldn't keep up at times.

So, you might be wondering – why take a screenwriting class, Jen?

What can I say? I love movies. Love, love, love, LOVE me some movies. You might say I'm slightly obsessed with them, though I haven't seen a new one in ages. And one comment I've heard over the years is that some of my scenes are "very cinematic." I'm not sure that's always a good thing in writing – guess it depends on who you're talking to. That said, I really didn't know much about screenwriting before taking this class. Even now, I'm not sure it's something I could do – well. I definitely want to try, though. Especially after taking this class.

Okay…screenwriting.

Eldon started off by talking about some of the differences between novels and screenwriting.

1. For one, novels have more freedom while screenwriting is much more structured. For a two hour film, you'll need 120 pages. It's 1 page per minute. Therefore, if you're writing for TV, you'd be shooting for 40 pages, etc. No going crazy on the word counts, people!
   
2. Certain events HAVE TO happen on certain page numbers. This all helps to provide a tempo and/or the beats that are expected in films. In novels, we can pretty much do just about anything and get away with it. Within reason, of course.
   
3. While writing a novel is a solo venture, writing a screenplay is very collaborative. Eldon made a point of saying you'll get opinions from every direction – the actors, the director, the boys in the office, etc. Actually, he made this part of screenwriting sound very tiresome. In novels, specificity is the key. You can go on and on about using a certain dog breed in a scene, while in screenplays you simply have to say "there's a dog." Why? Because you're not the only one working on the project. Someone else might come along and see a different breed. (Jen's aside: Are you getting the sense that while you're giving a lot of creative input into a project, you're not allowed to go hog wild on details? Cuz I sure am.)
   
4. Films/TV shows are dictated by cost. Obviously in novels you can place your characters in the wildest, most extravagant setting you can imagine. In film, things come back to the Benjamins. Can you really afford to shoot at the top of the Eiffel Tower or would the backyard of your mother's house be more reasonable? (I think we all know the answer to that one.)
   

Eldon finished this section by reminding us of The Golden Rule: Every rule is made to be broken. But, Eldon pointed out, understanding why the rules exist is always a good idea.

So, some tips on writing a screenplay:

1. You want a major event to occur every ten pages. At the 30 page mark, you want a culmination of the previous two events. AKA – The Payoff.
   
2. Conflict (as in novels) is the key element. You want two characters with opposing objectives in every scene.
   
3. Avoid dinner scenes!
   
4. One of the big mistakes first-time screenwriters make is that they want to add direction. (i.e. try to dictate camera angles, how emphasis should be placed on certain lines of dialogue, etc.) Basically, they want to be the directors. They want their screenplays to play out in their minds just like a novel would. Well, folks, Eldon said to NOT do this. You'll step on peoples' toes. Big time. I mean, just imagine if I wrote a screenplay that eventually starred Jack Nicholson. Do you think Jack would want me to tell him he has to say his line like a little girl? Yeah, don't think so.
   
5. There's a lot less time in film, so you need to keep your writing lean and mean. Central character focus is very, very important. You'll want to focus mostly on your primary characters, a little less on your secondary, and leave out your third altogether.
   
6. Scenes should build on the previous one. NO tangents.
   
7. You don't need to describe setting with a lot of detail. (Goes back to the Benjamins and stepping on peoples' toes again.) You pretty much want to stick with whether the scene takes place indoors or outdoors; whether it's day or night; and the location (once again, bearing in mind that this is subject to change. Ah, you just know most of it will be shot at your mom's house.) Remember Eldon's BIG RULE: SIFYN – SAVE IT FOR YOUR NOVEL.
   
8. Everything in a script has to be seen on the screen. You can have someone frown, but you can't say WHY they're frowning. EVERYTHING is visual rather than internal. If it can't be seen on the screen, take it out.
   
9. Do not let reality cloud your story. Hollywood could care less if the scene you're describing really happened. A movie has to be the most dramatic version of an event possible.
   

 

How can you get started?

1. Try to adapt an established story. You'll need permission if you want to shop it around (an option from the writer), but it's a good way to get practice.
   
2. Eldon warns it's difficult to adapt your own work. In order to adapt a novel to a screenplay, you must be ruthless. You have to yank out entire threads/subplots, delete characters you love, etc. You must be ruthless if you attempt this. Go into it open-minded, and DO NOT be afraid to KILL your darlings!
   

Software options for screenwriting:

1. Movie Magic
   
2. CeltX (free download)
   
3. Final Draft (industry standard)
   

Okay…now we're going to get into the nitty-gritty of writing a screenplay. The "set-up" so to speak.

Three things you should always keep in mind: Character, Desire, and Conflict. Repeat after me. Character, Desire, and Conflict. Got it? K.

For this section, he used Michael Hauge's Six Stage Plot Structure, seen here: http://www.dramatica.com/theory/articles/hauge-plot.html

I'll go through because Eldon listed some great examples for each stage/turning point, etc.

Stage 1 – Setup. (0-10%)

1. Basically, you introduce your hero doing what he/she does.
   
2. You should draw the reader/viewer into the setting, establish identification with your character, etc.
   

Examples:

• Erin Brockovich – We see Erin is a broke, single mother who has fallen onto hard times.
  
• Castaway – Fedex guy who has to leave the love of his life to go on an impromptu business trip.
  
• Gladiator – What's his bucket – Russell Crow – leads his troops to victory.
  

Turning Point #1: Opportunity (approx. 10% of the way in)

1. The new opportunity. A new, visible desire develops that will start a character on his/her new journey.
   
2. The character goes in WILLINGLY.
   

Examples:

• The Empire Strikes Back – Luke goes off alone to find Yoda.
  

Stage 2 – New Situation (10-25%)

1. Hero reacts to his/her new situation.
   
2. Formulates a specific plan to tackle new problem/journey.
   
3. Will often see a geographical shift (i.e. the character moves)
   
4. The characters go into the situation willingly. They're excited and believe the obstacle can be solved easily.
   

Examples:

• Mrs. Doubtfire – Robin Williams devises a plan to see his children. (Becoming a female housekeeper)
  

Turning Point #2: Change of Plans (Approx. 25% of the way in)

1. Something happens that makes it clear things won't be as easy as they first thought.
   
2. Audience should be cheering them on.
   
3. Character's inner journey may be different, invisible. But you must develop a visible desire that the audience can see on the screen.
   

Examples:

• The Empire Strikes Back – Leia and Han Solo escape Hoth, thinking they are well onto their destination when their light speed doesn't work.
  
• Working Girl – Tess realizes her boss has stolen her idea and is determined to sell it herself.
  

Stage 3 – Progress (25-50%)

1. The hero's plan seems to be working.
   
2. He/she has avoided all obstacles for now
   

Examples:

• Erin Brockovich – Erin gets Ed to represent the Hinkley residents. She also establishes her relationship with biker boy.
  
• The Empire Strikes Back – Luke finds Yoda and begins his training.
  

Turning Point #3: Point of No Return (Approx. the 50% mark)

• The character must fully commit to his plan
  
• There is no way out but forward
  

Examples:

• The Truman Show – Truman crosses the bridge.
  
• Titanic – Rose sleeps with Jack.
  
• Erin Brockovich – Ed's firm hires the new, bigger firm.
  

Stage IV – Complications and Higher Stakes (50-75%)

This should be fairly self-explanatory. IOW, I have a hole in my notes. (g) If you need help, read one of Donald Maass's books. J

Turning Point #4: Major Setback (75% point)

1. Should take place around page 90 in a two hour movie
   
2. This is the hero's darkest moment. All hope seems lost.
   
3. If the hero is pulling off some great deception, this is when he/she is revealed.
   
4. Couples break up.
   

Examples:

• The Matrix – Morpheus is captured.
  
• Titanic – It's clear the ship is going to go down.
  
• Working Girl – Tess is caught by her boss and gets canned.
  

Stage V – The Final Push (75 to 90-99%)

1. Hero must gather resources to achieve goals.
   
2. The conflict is overwhelming, nothing is working.
   

Examples: (these are my own – more holes)

• Titanic – Jack and Rose try to save themselves; get to a boat.
  
• The Matrix – Keanu Reeves is fighting the matrix guys, but he isn't strong enough.
  
• Gladiator – Crow's escape/coup attempt fails and his men are killed.
  

Turning Point #5: The Climax (90-99% point)

1. The hero must determine his/her own fate.
   
2. He/she cannot rely on someone else to save them.
   

Examples:

• Gladiator – Final battle scene in the coliseum
  
• The Empire Strikes Back – Luke fights Darth Vader and discovers DV is his father. (Jen's aside: Luuuuke… I am your faaaather. Umm, sorry if I spoiled that for any of you.)
  

Stage VI – The Aftermath (90-100% point)

1. The hero's challenge has been overcome.
   
2. This gives a look at where the hero is NOW.
   

Examples:

• Erin Brockovich – Erin receives her bonus check and is now working on a new case.
  
• Gladiator – Russell is reunited with his family. I remember there was a lot of wheat.
  

 

And that's it, folks. You've just got the lowdown on how to write a screenplay. Anyone dying to give it a try?

Oh…just a few last notes.

Genre standards:

Comedy/Rom. Comedy – 90 min/pages

Action – 120 min – pages will likely be less because of the big action scenes.

Historical Drama/Epic – 120 min/pages

NOTHING goes under 85 minutes.

 

Eldon's final tips:

1. Create balance. White space is very important!
   
2. Less is more for dialogue.
   
3. Flashback/dream sequences: As a rule, don't use them. (But what was it Eldon said earlier…what was THE GOLDEN RULE?? Ah yes, all rules are made to be broken.)
   

• When using a flashback, use headers – end/begin flashback.
  
• Patterns CAN work well, but don't use them as a crutch to get backstory in.
  
• Use them very carefully. Most people consider them a cheat. (Jen's Aside: There must be a lot of people REALLY mad about the show Lost.)
  

 

And Eldon's one last piece of advice. This is important. I'm putting it in big bold letters:

YOU CAN'T MOP A FLOOR BY POLISHING ONE TILE AT A TIME.

Jen: Wha? When did floors come into it? I mean, I know there has to BE a floor, but I DIDN'T specify whether it was hardwood, marble, or parquet. SWEAR!!

No, no, no. That's not what he meant.

He simply meant you can't fixate on/polish one section of your screenplay forever. Move on. Push through to the end. Go, team, Go!

 

Hope this was useful! Thanks Eldon – great class!

RMFW III -- The Art of Mingle

Umm, let me preface this with the fact that I SUCK at mingling. The very idea of striking up a conversation with an agent or editor...or even another writer, somewhat frightens me. To put it bluntly, I suck at small talk. My go to conversation piece is writing...my books...and if I'm feeling particularly bold, the fact that I used to do undercover work (upon which I have based one of my books). THAT, of course, is always a crowd favorite which inevitably ends with people insisting (or if I'm on the sauce -- ME insisting) that I show them how to fake snort cocaine. I have done this numerous times over the years, and it's never pretty.

I once bent over and started my hair on fire with the candle sitting in the middle of the table. Clearly, that was one of my saucier moments.

'nuff said?

Is it abundantly clear that I often end up...well, making an arse of myself?

Okay, then.

That said, what's the point of going to a writer's conference if you stay holed up in your room, too afraid to talk to anyone? This, my friends, is when you rely on the people who DO NOT have a problem striking up conversations with random strangers. In fact, you should SURROUND yourself with people who have no problem doing this. They should come armed with cupcakes.

Yes, cupcakes.

I know that sounds weird, but you, like me, have probably underestimated the power of a little sugar and flour. And icing. Don't forget the icing.

The night before the RMFW conference began, I, along with my fellow gnomies, camped out in the bar with three dozen cupcakes...cookies...cheesecakes...and other assorted goodies, including one called Texas Trash. Which was total YUM, btw.

Then we just sat back and waited for everyone to come to us.

It totally worked. (g)

Okay, there was more to it than that. We happen to have gnomies who kick butt at the whole "hello, how are you" thing, and they busted their butts making sure people received invitations, and that everyone who happened by felt welcome. This allowed shy schmucks like myself to pretend for a moment that we're social genuises.

I know what you're thinking -- especially those who have met me. JEN, you are SO not shy.

Well, pssst...I really, really am. I cover it by acting the fool.

Don't believe me? What if I told you it took all of five minutes for Janet Reid* to threaten me with "her people?" I won't go into the specifics, but as you can see, I make an impression. Granted, most people probably wouldn't think a death threat is a GOOD thing. In my world, though, it's just an average day. And well...fun. (g)

Oh...and there was that writer fellow. *cough*James Born*cough* Very, very funny guy. From Florida. Cop. Liked to talk reeeeeeeeeeeeeeaaaally slowly to the hick from Nebraska -- afraid she wouldn't understand otherwise. Personally, I think he must have played football down there at some point, and perhaps got knocked senseless by the Huskers a few too many times. For the record, I tried to take HIS cake back. :)

Then there was the lovely Becca Stumpf. So young. So sweet. So STALKED by half my group. She was awesome.

Jenny Rappaport...Mario Acevedo...Margie Lawson (who is totally made of awesome!)...and many, many others fell prey to our sugar bait.

I know it sounds silly, but those goodies were a great way to break the ice. They certainly made my debut into the conference world a whole heckuva lot smoother. So don't be afraid to try something outside the box. You never know who might stop by.



*And just for the record... Janet Reid really isn't as scary as she likes to pretend.

See!



When you speak to her face to face, you actually forget about those teeth. And they're not really as sharp as they look. Promise.

RMFW Gold Conference, Part II

I know I said I was going to talk about mingling and getting to know agents/editors/writers outside the organized conference, but I want to touch back on the critique circle with Kristin Nelson. There are some points she made that I think were very important.

So, how's this for an issue: What if you have an agent read your pages, tell you she/he loves your writing, thinks the story is fantastic, but there's no way they could sell it.

*blink blink*

You think there's no way in the world this could happen. Well, my friends, it happened in our critique circle.

Without going into specific details, Kristin said pretty much these very same things about one of the submissions. I gotta tell you, that has to be hard to hear as a writer. Sure, there's a lot to love in a situation like this. Namely, the agent loves your writing and thinks your story has a lot of potential.

There's also a lot to really be bummed out about. Because even though the agent is feeling the love, they've told you flat out that your project will never sell.

OUCH.

I mean OUCH.

You've essentially done everything right, but there's one minor problem. You didn't give enough consideration for the market, nor the way your book will be sold.

Kristin made a very good point in our circle. As writers, we're always being told we're artists -- and that as artists, we shouldn't try to write to the market. We should instead write what we love. Write what is speaking to us. Write what makes the angels weep and the birds sing. Oh, yes. This is what we all want to do.

But Kristen pointed out that while all that is great, at the end of the day, your agent still needs to be able to sell your manuscript. And whether or not we want to, we must think about what is selling--what your agent can compare your book to--where it would ultimately be shelved in a bookstore, etc. IOW, you have to give the business side of things due consideration when choosing what to write.

Let's face it. We all want that break out hit. We all think that if we bend genres, come up with some new high concept novel or what not that WE can make it work. That somehow it will make us stand out from the pack. But is that the right attitude to have? In the end, it does work for some people -- but for most, it probably won't. If you're playing the odds, it's something you probably wouldn't want to risk.

But I'm a writer in the end. I would never tell someone not to write what they love. My suggestion would be to keep 90% of yourself trained on your work in progress, and the remainder with one eye on the market. If you're going to go in with something new, know where your book will fit in.

In other words, if you write young adult, you should know what is selling. What books your book would be comparable to. How your agent would go about selling your book -- what you would call it, where it would be shelved. Pssst. That means you actually have to READ YA. (Just a friendly reminder. (G))

I know none of us likes to think about the business side of things. Heck, that's why we have agents, right? But as Kristin said, you have to be there to HELP your agent. Neither the writing nor the selling should be done without direct consideration for the other half of the equation.

RMFW Gold Conference

Okay, so I said I would give a recap of the conference. Well, it may have to be in parts. I've got a lot of work to do (thank the lord) and really need to be doing it instead of blogging. That said, I want to cover some of this stuff while it's still fresh in my mind.

I can't begin to describe how nervous I was about meeting editors and agents and fellow writers (oh my!). And well, I'd like to say that my nervousness went away once I got to Denver. I'd like to say that, but I can't. I was a wreck, and as agent critiques and pitches drew near, I was practically sick with nerves and felt like fleeing the building. I didn't care where I went, as long as I went somewhere else. Not a pleasant feeling to have. Trust me.

If any of you have ever experienced stage fright, then you know exactly how bad it can get. Your knees turn to rubber, your palms start sweating, you feel like you might lose your lunch... You want to lay down, yet you can't sit still. OMG. I think I'm reliving it as I type this. :)

I'll talk about some of the workshops I attended, but right now I want to talk about my critique circle with Kristin Nelson. It was a-mazing. Seriously, it was like a crash course in writing. Not only did I learn a great deal about writing in general, but I picked up a lot of the ins/outs of the publishing world. It was two hours. I can't imagine the amount of information a person could pick up by shadowing an agent for even one day. Well worth my time, money, and effort. In fact, it pretty much made the conference for me.

So, here's how it worked. I had 8 writers in my group, and one agent -- Kristin Nelson, who ran the workshop. We sent our first ten pages and a one page overview in advance and were asked to read and critique each other before the start of the workshop. Going in, we really had no idea what we would be expected to do, and I believe every group ran a little differently.

For ours, Kristin had us read a few paragraphs of our opening chapter, after which the rest of the group took turns sharing their thoughts, etc. When everyone was done, we all got to sit back and soak in whatever advice and/or thoughts Kristin had. Some pages she loved, others she didn't love. I don't think any of us was in complete agreement with her on every manuscript, but I'll tell you what, she never made you feel bad for having a differing opinion.

It was awkward--to the extreme--when I finished saying how I wasn't particularly jazzed over one opening, only to have her immediately follow up with how she thought it was perfect. LOL. But even when we disagreed, I could see her nodding her head in the background while I was speaking. She always made me feel like I had a valid opinion.

I really loved that she let us go first. That way, we weren't colored by her opinions. In the end, what I learned is that everything REALLY is subjective. What one agents passes on, another may embrace. It doesn't mean one agent is right or wrong. It just means that not every book is for each and every person out there. Tastes vary. We all need to remember that!

As for FAKING IT -- I received a great response from the group. I walked away with some good ideas on how to make my pages even better, and all in all, it was a very beneficial experience.

So, I'm sure you're wondering if Kristin liked it? Well, I'll end this by saying that she doesn't rep mystery/suspense. But, that doesn't mean she didn't like it. (g) How's that for a vague answer?

More tomorrow. I'll try to touch on mingling with agents/editors/writers in a setting we all adore: The Bar.

Oh...and one more thing. Kristin thought our critique group kicked butt, too.

HERE. Check out number 3!