A good technique is write down lists. Imagine you want to write about robbing a bank, what you need to do is get a paper and pen and write a list of 10 ways to rob a bank, number 8, 9, and 10 should be the best stories and the most creatives. Doing this forces you to think outside the box, and can use it with anything. Ps: You can also use this when you're stuck with a scene or a character and you dont know what to do with them.
Science magazines are a good source of theme for a movie. Try to find things that are likely to affect humankind.....a new technology or technique and look at it from different perspectives, good and bad. Imagine if that new technology/technique were used for positive and negative reasons. Lots of stories there, especially when human emotions come into play.........
I highly recommend three books: 1)Characters Make your Story by Maren Elwood, 2)Story Plotting Simplified by Eric Heath, and 3)Inside Story: The power of the Transformation Arc by Dara Marks, and an extra bonus "Plots and Characters: A Screenwriter on Screenwriting" by Millard Kaufman.
Mine started with a thought that emerged from my severe illness: "Who are you when everything that defines you is stripped away?" It's turning into a middle-grade fantasy.
Very helpful, thank you... I would love to hear an interview with Debbie Horsfield, episode writer of POLDARK. Her Poldark scripts are published and they reveal how she describes character thoughts. I had learned describing thoughts was a no-no. Horsfield said, in an interview, that nowadays the actor needs to know what the character is thinking and feeling because they don't have time to explore or interpret the script to come up with it themselves. The production schedules are so tight. Then the actor can build upon and interpret how the writer has described the interior map of the character. I'm not sure if this is just a BBC thing, or if it's now okay to do this in the US as well? It seems a necessary thing now, because the current style is all close ups and abstraction and less dialogue. In the past, writers could rely on dialogue for character development, more like a play, but if a film relies on imagery more than dialogue, it seems you'd need to describe the character's thoughts and feelings in the script. This is what I've found, at least...
Great stories are a misnomer. Brandon Sanderson (in his free, online videos on RUclips) noted that a bestselling author said a formula existed. Anything can be made a bestseller if the formula is followed. Someone strongly disagreed. The author told him to name two things, anything. He chose Pokemon and the Roman Empire. Sanderson never named the author, but I think it is Jim Butcher and his 6-book series starting with Furies of Calderon. It became a bestseller.
Totally agree with Scott's comment on people telling you how a story should be created. There is no EXACT way to tell a story in film, and you learn that by reading various screenplays from professional writers as he suggested. In my experience, a great story had always started with a full developed character & their ultimate goal, or a core story concept. A prime example of the former is Thanos from Infinitt War and Endgame, and it's because he feels a like a human in desperation to do what he believes will save the universe, even though we KNOW he's the villain, and his goal is to collect the Infinity Stones to snap his fingers and erase 50% of life in the universe. These two alone made Infinity War great. A core concept can definitely make for a great story, and a great example of this is Minority Report where you have a Pre-Cog unit that uses a system where you can see someone committing a crime in the future and stop them before they can even initiate. However, when the leader of the unit John Anderson ends up being one of the future suspects, the story becomes one where a man has to clear his name, and in the process we learn that this system known to be accurate might actually be flawed.
@@filmcourage You bet I do. If I can't do three films in a week, I'll usually break down one or two just to really understand the story buildup from the perspective of both the director and writer.
@@filmcourage It has led to me writing what I consider some of my best scripts to date. Because of me learning why story is so essential to film, it has led to my scripts being as polished and complete as possible.
i wanna write i found that is a way of expressing some aspect of me. I would start with stories about me, like telling my life and see if i can discover a new structure, a new voice, moods, and the study some books about experts.on the craft like this man. Very good work.
What I need from you Film Courage is a structure on how to create a story for an action/comedy film. I saw the comedy one but action and comedy combined I never seen a video about that when it comes to the story. If you have done it can you send the link. Thanks in advance...
I'm in the process of coming up with a new story, and concept is definitely the first part of the process for me. If I don't have a concept that interests me I can't get as engaged in the story, and I know I do my best writing when I'm engaged in the world.
He said it's that or character-driven intro but why can't it be both. If the story is really great and you're spot on about the theme, then how could it not be both?
@@alexispapageorgiou72 Having good characters is very important, no question. Still, I just came from a writers conference where I noticed that if the premise doesn't grab the people you are pitching too even a compelling character won't sell the story. Because of that and how the concept of my second novel is what got the most interest from people at the conference, with my new story I brainstormed 28 ideas and then pitched my top five to my writing group. Now that I found my top concept and am developing it, while I don't know who all of the characters in the story will be I'm not worried about finding interesting ones since I know the concept energizes me. At the same time though, I'm just getting started on the novel, so feel free to check back with me in a month and I'll let you know if the approach is working!
@@joshliam1967 You misunderstood me ... I'm not canceling either premise. I'm saying that in really good films, both coexist, effortless if I might add
@@alexispapageorgiou72 Of course a great film can have both great characters and a great concept, I would still start with a concept personally but it sounds like he starts with character and either can work well. To make sure I understand you, are you saying you want to find a way your characters interact with a concept and figure out both at once? If you can do that go for it, but I know I work best when I'm figuring out one central element at a time. Still, there's no wrong way to have a creative process so if that works for you go for it.
Creation of a great story begins in an intriguing story or subject that fascinates you. 3 Lines per parapraph? But my paragraphs are up to 7 lines long at times, does it mean I'm old fashioned? Should I be drawing the scenes out? Should I be including emojis?
My thought is this - write your 7-8 lines. Then edit it down to the bare minimum of text that communicates effectively. The quicker and easier it is for others to read your material, the more likely they are to actually read and appreciate it.
I'm surprised Hollywood still accepts screenplays, it seems like a massive waste of time on each end. If I were a writer I'd be sending in full storyboards, or even a low-budget 30 minute film of a few important scenes to introduce the characters/plot/setting etc. Also, I'd be writing about franchises they're already involved with, like a story called Space Battles, which is clearly meant to be the next Star Wars film, or a story about Mary Marlowe (who just happens to be an actress that looks exactly like and has the same life as Marilyn Monroe). You might have to check the legality of that but it seems like a good way to sneak your story into something they're already keen on making. Hollywood seems to be a lot like the music industry in that they're unwilling to risk massive production costs on an untested entity (who can blame them?). If you're a writer the best course of action, in my opinion, would be to start with books, graphic novels, comics, plays, and/or short online production pieces, and test those in the marketplace (via the internet preferably). If you achieve enough success in those venues it's pretty inevitable that Hollywood will come to you. Basically, Hollywood wants to make money by producing movies, and the only way you're gonna be a part of that is if you have a brand, name or idea that they can use to do so. Building your audience first, in my opinion, is a much better way to go about things, since it will be a lot easier to cut a deal with them if you bring a million other people (and their wallets) to the table.
Fascinating post. SO confident in your opinions yet wrong on pretty much every point. The script writing world/business in LA is very different from what you imagine.
@@hd-xc2lz I love it when people respond to my posts with 'you're wrong!' but never explain why or offer any advice. Yes, Hollywood is really interested in dropping 50 million in production costs on untested stories by no-name writers. Don't listen to me at all I'm stupid and know nothing.
@@ataensichahgwehdiyu9479 Sorry, but you're too cocky AND misinformed to make conversation interesting. But in a nutshell... 99% of scriptwriters start at the bottom, working as part of a team on rewrites, often on tv or straight-to-video films. It's a business like any other, and one makes important contacts in those early years that help one facilitate getting a script through the many stages/edits required. Generally speaking, screenplays are strictly formatted, and studio readers don't have the time to interpret storyboard intention.
@@hd-xc2lz I'm very cocky, and very right. I'm also not worth talking to (which is why you continued on with another paragraph). The top ten franchises of all time in Hollywood were created by people who achieved success in other venues.. they weren't screenwriters. Hey, if you want to grind out episodes of MacGyver for the next 30 years folks, feel free to listen to this guy; otherwise it's probably best to become an author, comic book creator or director first before you waste your life on other people's grunt work.
@@ataensichahgwehdiyu9479 Goodness, such a whiner. You bitched about me not explicating in your 1st response, so I do, and then more bitchiness follows. Want to actually make a living selling stories to Hollywood studios? Give up the idea ASAP that any one particular script is something no one has seen, as there are THOUSANDS of never-filmed scripts that still circulate, and receive new treatments despite having been around for several decades. Your AMAZING, previously UNIMAGINED story is likely to be merged/combined with such a script. Also know that there isn't a movie you see, from shitty Hallmark romance to a "greatest film of the decade" that didn't go through a minimum 20 edits, and many of those edits coming prior to studio purchase. Feel free to puff yourself up that you're an inspired storyteller, above MacGyver retreads, if that helps you put pen to paper, but keep sober about the hard work that is writing, never be precious about any element within a script, and know that every film-able script is the product of numerous editors/writers. Good luck.
@@filmcourage Well, Scott is a new face and I like how he understands as well as explains that screenplay evolves. When he relates how images are shaping the screenplay world I tend to agree. If you can interview the creators of the stranger things bible I'm sure many viewers would value that content.
American Productions presents... a film by Dennis villeneuve.... Jesus Christ 2024...second arrival.... starring. Chris bale as Jesus... Scarlett Johansson as the Angel.. Jessica chastain as the evil enterpriser
A good technique is write down lists. Imagine you want to write about robbing a bank, what you need to do is get a paper and pen and write a list of 10 ways to rob a bank, number 8, 9, and 10 should be the best stories and the most creatives. Doing this forces you to think outside the box, and can use it with anything.
Ps: You can also use this when you're stuck with a scene or a character and you dont know what to do with them.
Thank you so much. It would be of great help really!! Do share more such tips again 🙏
Science magazines are a good source of theme for a movie. Try to find things that are likely to affect humankind.....a new technology or technique and look at it from different perspectives, good and bad. Imagine if that new technology/technique were used for positive and negative reasons. Lots of stories there, especially when human emotions come into play.........
More of this guy, please.
And, yes, my stories begin with a concept, but there is no guarantee that the concept survives the writing process.
Absolutely Lon, this is the first segment we have released with Scott. Definitely looking forward to sharing more. Lots to learn from this interview.
I highly recommend three books: 1)Characters Make your Story by Maren Elwood, 2)Story Plotting Simplified by Eric Heath, and 3)Inside Story: The power of the Transformation Arc by Dara Marks, and an extra bonus "Plots and Characters: A Screenwriter on Screenwriting" by Millard Kaufman.
Thanks for the comment Demetrius, what did you love about each of those books? What did they teach you?
Mine started with a thought that emerged from my severe illness: "Who are you when everything that defines you is stripped away?" It's turning into a middle-grade fantasy.
@Abhishek Biswas At this rate sometime in the next millenium...
Here is a guy that knows. I would love to have him as a mentor.
This is his blog - gointothestory.blcklst.com/@scottdistillery
Fleurette Van Gulden and Troy.
Very helpful, thank you... I would love to hear an interview with Debbie Horsfield, episode writer of POLDARK. Her Poldark scripts are published and they reveal how she describes character thoughts. I had learned describing thoughts was a no-no. Horsfield said, in an interview, that nowadays the actor needs to know what the character is thinking and feeling because they don't have time to explore or interpret the script to come up with it themselves. The production schedules are so tight. Then the actor can build upon and interpret how the writer has described the interior map of the character. I'm not sure if this is just a BBC thing, or if it's now okay to do this in the US as well? It seems a necessary thing now, because the current style is all close ups and abstraction and less dialogue. In the past, writers could rely on dialogue for character development, more like a play, but if a film relies on imagery more than dialogue, it seems you'd need to describe the character's thoughts and feelings in the script. This is what I've found, at least...
My concepts come from listening to music.
mine too everything from motorhead to motzart!!
Psychopunk XXX
Same here brother, not exclusively. But significantly.
Thank you for sharing about the history/evolution of screenplays! Super helpful
Very informative, I like the idea of Action lines being camera shots, that's helped a great deal, thanks
Thanks for having Scott on. I’ve been a fan of his site for a few years now
Credit goes to Scott for helping to make this happen. We're thrilled we had the opportunity. We consider ourselves very lucky.
Great stories are a misnomer. Brandon Sanderson (in his free, online videos on RUclips) noted that a bestselling author said a formula existed. Anything can be made a bestseller if the formula is followed. Someone strongly disagreed. The author told him to name two things, anything. He chose Pokemon and the Roman Empire. Sanderson never named the author, but I think it is Jim Butcher and his 6-book series starting with Furies of Calderon. It became a bestseller.
I like Brandon Sanderson's videos, Ive watched them several times over the years.
I follow Scott on twitter. His posts are always useful, and lead to great stuff.
Totally agree with Scott's comment on people telling you how a story should be created. There is no EXACT way to tell a story in film, and you learn that by reading various screenplays from professional writers as he suggested. In my experience, a great story had always started with a full developed character & their ultimate goal, or a core story concept. A prime example of the former is Thanos from Infinitt War and Endgame, and it's because he feels a like a human in desperation to do what he believes will save the universe, even though we KNOW he's the villain, and his goal is to collect the Infinity Stones to snap his fingers and erase 50% of life in the universe. These two alone made Infinity War great.
A core concept can definitely make for a great story, and a great example of this is Minority Report where you have a Pre-Cog unit that uses a system where you can see someone committing a crime in the future and stop them before they can even initiate. However, when the leader of the unit John Anderson ends up being one of the future suspects, the story becomes one where a man has to clear his name, and in the process we learn that this system known to be accurate might actually be flawed.
Love to see this analysis AJ. Do you break down and analyze movies as part of your weekly routine?
@@filmcourage You bet I do. If I can't do three films in a week, I'll usually break down one or two just to really understand the story buildup from the perspective of both the director and writer.
Impressive AJ. Love to see you putting in the work on your craft. How has it helped your creative output?
@@filmcourage It has led to me writing what I consider some of my best scripts to date. Because of me learning why story is so essential to film, it has led to my scripts being as polished and complete as possible.
Scott Myers yess now were talking!
been following Scotts free pdf principle guides // total holly grail for beginners or hobbyists like myself!
Pretty cool, huh? Had a great interview with Scott. Excited to share more.
@@filmcourage absolutley been actually working on work ha ha
i wanna write i found that is a way of expressing some aspect of me. I would start with stories about me, like telling my life and see if i can discover a new structure, a new voice, moods, and the study some books about experts.on the craft like this man. Very good work.
You got me thinking now! Some really great ideas here 👍😃👍
Nice to see some sparks ignited!
Very nice loved this!!
So helpful
This guy is incredible.
What I need from you Film Courage is a structure on how to create a story for an action/comedy film. I saw the comedy one but action and comedy combined I never seen a video about that when it comes to the story. If you have done it can you send the link. Thanks in advance...
I'm in the process of coming up with a new story, and concept is definitely the first part of the process for me. If I don't have a concept that interests me I can't get as engaged in the story, and I know I do my best writing when I'm engaged in the world.
He said it's that or character-driven intro but why can't it be both. If the story is really great and you're spot on about the theme, then how could it not be both?
@@alexispapageorgiou72 Having good characters is very important, no question. Still, I just came from a writers conference where I noticed that if the premise doesn't grab the people you are pitching too even a compelling character won't sell the story. Because of that and how the concept of my second novel is what got the most interest from people at the conference, with my new story I brainstormed 28 ideas and then pitched my top five to my writing group.
Now that I found my top concept and am developing it, while I don't know who all of the characters in the story will be I'm not worried about finding interesting ones since I know the concept energizes me. At the same time though, I'm just getting started on the novel, so feel free to check back with me in a month and I'll let you know if the approach is working!
@@joshliam1967 You misunderstood me ... I'm not canceling either premise. I'm saying that in really good films, both coexist, effortless if I might add
@@alexispapageorgiou72 Of course a great film can have both great characters and a great concept, I would still start with a concept personally but it sounds like he starts with character and either can work well.
To make sure I understand you, are you saying you want to find a way your characters interact with a concept and figure out both at once? If you can do that go for it, but I know I work best when I'm figuring out one central element at a time. Still, there's no wrong way to have a creative process so if that works for you go for it.
@@joshliam1967 Did you say you wrote two novels?
Sometimes they do others it starts off as a moment..that I have to get to...or a feeling I want to show.
Thanks for the comment Isaac. Can you give us an example of a feeling you wanted to show?
“Brightburn” = What if Superman was evil?
I make a basic out line and take it from there
Anyone call dibs on the pilot son flying his dad’s remains home story?
Creation of a great story begins in an intriguing story or subject that fascinates you. 3 Lines per parapraph? But my paragraphs are up to 7 lines long at times, does it mean I'm old fashioned? Should I be drawing the scenes out? Should I be including emojis?
My thought is this - write your 7-8 lines. Then edit it down to the bare minimum of text that communicates effectively. The quicker and easier it is for others to read your material, the more likely they are to actually read and appreciate it.
My concepts come listening to men sitting around telling each other stories.
That’s where my “what if” moments come from.
I had a stupid director tell me that there are rules that can’t be
Broken. That’s why he’s doing what he’s doing now. Nothing.
great
A script page with a single letter on it? That'll fly, for sure.
kind of like, starting like a Agatha Christie story, but you add in neko people,,, What if the Alien movies take place in the Matrix?
777
how to get this guy pitch my story? he sounds really know something.
How does a writer know when screenplays have evolved
Shift in format, length, type of character info added or subtracted, level of setting detail, etc..
History of scripts, remakes, and styles.
Lol. I did that stuff in a few of my pieces while studying at Iowa and people gave me the stink eye. God I hate people.
I'm surprised Hollywood still accepts screenplays, it seems like a massive waste of time on each end. If I were a writer I'd be sending in full storyboards, or even a low-budget 30 minute film of a few important scenes to introduce the characters/plot/setting etc. Also, I'd be writing about franchises they're already involved with, like a story called Space Battles, which is clearly meant to be the next Star Wars film, or a story about Mary Marlowe (who just happens to be an actress that looks exactly like and has the same life as Marilyn Monroe). You might have to check the legality of that but it seems like a good way to sneak your story into something they're already keen on making.
Hollywood seems to be a lot like the music industry in that they're unwilling to risk massive production costs on an untested entity (who can blame them?). If you're a writer the best course of action, in my opinion, would be to start with books, graphic novels, comics, plays, and/or short online production pieces, and test those in the marketplace (via the internet preferably). If you achieve enough success in those venues it's pretty inevitable that Hollywood will come to you.
Basically, Hollywood wants to make money by producing movies, and the only way you're gonna be a part of that is if you have a brand, name or idea that they can use to do so. Building your audience first, in my opinion, is a much better way to go about things, since it will be a lot easier to cut a deal with them if you bring a million other people (and their wallets) to the table.
Fascinating post. SO confident in your opinions yet wrong on pretty much every point. The script writing world/business in LA is very different from what you imagine.
@@hd-xc2lz I love it when people respond to my posts with 'you're wrong!' but never explain why or offer any advice. Yes, Hollywood is really interested in dropping 50 million in production costs on untested stories by no-name writers. Don't listen to me at all I'm stupid and know nothing.
@@ataensichahgwehdiyu9479 Sorry, but you're too cocky AND misinformed to make conversation interesting. But in a nutshell... 99% of scriptwriters start at the bottom, working as part of a team on rewrites, often on tv or straight-to-video films. It's a business like any other, and one makes important contacts in those early years that help one facilitate getting a script through the many stages/edits required. Generally speaking, screenplays are strictly formatted, and studio readers don't have the time to interpret storyboard intention.
@@hd-xc2lz I'm very cocky, and very right. I'm also not worth talking to (which is why you continued on with another paragraph).
The top ten franchises of all time in Hollywood were created by people who achieved success in other venues.. they weren't screenwriters.
Hey, if you want to grind out episodes of MacGyver for the next 30 years folks, feel free to listen to this guy; otherwise it's probably best to become an author, comic book creator or director first before you waste your life on other people's grunt work.
@@ataensichahgwehdiyu9479 Goodness, such a whiner. You bitched about me not explicating in your 1st response, so I do, and then more bitchiness follows.
Want to actually make a living selling stories to Hollywood studios? Give up the idea ASAP that any one particular script is something no one has seen, as there are THOUSANDS of never-filmed scripts that still circulate, and receive new treatments despite having been around for several decades. Your AMAZING, previously UNIMAGINED story is likely to be merged/combined with such a script.
Also know that there isn't a movie you see, from shitty Hallmark romance to a "greatest film of the decade" that didn't go through a minimum 20 edits, and many of those edits coming prior to studio purchase.
Feel free to puff yourself up that you're an inspired storyteller, above MacGyver retreads, if that helps you put pen to paper, but keep sober about the hard work that is writing, never be precious about any element within a script, and know that every film-able script is the product of numerous editors/writers. Good luck.
More great content, without saying stranger things... he references the style of that story bible's style
Thanks Mac, which part are you referring to?
@@filmcourage Well, Scott is a new face and I like how he understands as well as explains that screenplay evolves. When he relates how images are shaping the screenplay world I tend to agree. If you can interview the creators of the stranger things bible I'm sure many viewers would value that content.
There are no rules...
American Productions presents... a film by Dennis villeneuve.... Jesus Christ 2024...second arrival.... starring. Chris bale as Jesus... Scarlett Johansson as the Angel.. Jessica chastain as the evil enterpriser
Is a same guy filmed 9/11 ???????