WRITERS WORKSHOP SCRIPT DOCTOR Dorian Scott Cole VisualWord Atlanta, 1996 Words in scenes, words online http://www.visualword.com (Nov 96) ii Writers Workshop Script Doctor Copyright 1994 By Dorian Scott Cole Copyright 1996 By Dorian Scott Cole All Rights Reserved Published by VisualWord Co; Dorian Scott Cole, owner VisualWord is a trademark of VisualWord Co. 2613 Suzanne Lane, Acworth, GA 30102-2213 (National Writers Workshop, a nonprofit organization, also publishes a version of this book for members - not for the retail market. A portion of the profit from all retail and Workshop sales is contributed to National Writers Workshop.) Library of Congress Catalog Card Number: ISBN 1-890039-02-0 Temporary cataloging information: Cole, Dorian Scott Writers Workshop Script Doctor Includes index, and complete text on computer disk 1. Motion picture authorship Technical: 85,000 Words, 236 pages Times New Roman 11 pt. Softkey: Chancery Cursive 16 pt. Formal Script 16 pt. Manufactured in the United States Of America iii SOURCES AND ASSOCIATIONS NATIONAL WRITERS WORKSHOP: formerly WRITERS WORKSHOP; formerly AMERICAN FILM INSTITUTE ALUMNI ASSOCIATION WRITERS WORKSHOP; Willard Rodgers, Director; located in Los Angeles, California, is a nonprofit institution. This book draws from Writers Workshop methods and files, but is not associated with Writers Workshop. A percentage of royalties from this book goes to Writers Workshop. The Writers Workshop name is used by permission. Writers Workshop supplied files which were used for compilation, statistical analysis, and categorizing. Information about reading and critiquing scripts or examples, by Writers Workshop readers, moderators, or associates, were not used in this book. Any use, quote, or interview information is noted with credit, and is included by permission. Interviewees were provided with advance text for editing and approval. DISCLAIMER The views expressed in this book are solely the views of the author and do not necessarily reflect the views of Writers Workshop or its associates. Examples, sample story lines, critiques of existing movies, or example critiques are solely the product of the author and are not based on any script or critique by Writers Workshop, submitted scripts, or official critiques. Examples in this book are fictitious, and any resemblance to any person, living or dead, or character in any work of fiction, is purely coincidental. For informal stylistic reasons, other’s comments are paraphrased, except direct quotations enclosed in quotation marks. ACKNOWLEDGMENTS My grateful appreciation: To Willard Rodgers for his bountiful assistance in all phases of creating this book. To the readers, writers and actors who graciously contributed interviews. To Rachel Talbot and my wife, Sheila, for assistance in editing content, grammar, and proofreading (errors are now intentionally mine). And to my mother, Frances, whose support is behind the lines. iv Writers Workshop Script Doctor DEDICATION In grateful appreciation to all those who contributed indirectly to the information in this book through interviews or sharing information or assistance with editing, and especially to all who labor for the benefit of others with helpful readings, critiques and advice. May the hills you climb become the measure of your rewards, and may all your literary dreams come true. - Scott - Contents v WRITERS WORKSHOP SCRIPT DOCTOR CONTENTS Contents v Top Twenty List x Introduction: Writing Is Illusion xi The People At Writers Workshop xii PART 1: FIXING A WEAK SCRIPT Twenty Most Common Problems & How To Fix Them The Reel Compleat Screenplay Test 2 SECTION I. CHARACTERIZATION: PROBLEMS & CURES 1 - Motivation: Motivating Puppet Characters 5 2 - Originality: Fixing Stereotypes With Added Dimensions 8 3 - Consistency: Resolving "Out of Character" Problems 10 4 - Main Character: Deciding Who Drives 12 5 - Change and Growth: Making Characters Change 14 6 - Dull and Uninteresting: Making Characters Sparkle 17 Excursus One: How To Raise Dead Characters 21 Reader Profile: Andrea Minnieweather 26 vi Writers Workshop Script Doctor SECTION II. STRUCTURE: PROBLEMS & CURES 7 - Plot: Strengthen Weak Or Unfocused Plots 28 8 - Originality: Outrun Tired, Predictable Storylines 30 - Nothing New Under The Sun? - Last Resort Mind Stretching Technique 9 - Confusing: Watch For Contradictory And Unexplained Actions 33 10 - Manipulated Or Contrived: Avoid Mechanical Solutions 35 11 - Payoff: Make Every Scene And Setup Have Punch 38 12 - Credibility: Make Your Premise And Plot Believable 40 13 - Anecdotal Stories: Avoid The "Storyteller's" Pitfall 42 Excursus Two: Five Power Points In Three-Act Drama 43 - Avoiding Formulas - Crisis And Decision Points Reader Profile: Scott Manders 49 SECTION III. SCENES & DRAMA: PROBLEMS & CURES 14 - Originality: Using Conflict And Viewer's Imagination To Develop Original Scenes 51 15 - Consistency: Making Action Follow From Previous Drama53 16 - Movement: Making Action Move The Story 55 - Entering: Making An Entrance 17 - Risk: Increasing Emotion And Tension 57 SECTION IV. DIALOGUE: PROBLEMS & CURES 18 - Relevant: Moving The Story Forward 61 19 - Showing: Avoiding Exposition And Sermons 62 20 - Length: Less Is More 66 Contents vii Reader Profile: Judy Cochran 68 PART 2: THE WRITING PROCESS Developing Honest Characters & Powerful Plots SECTION I. MOTIVATION 21. A Character Motivation Primer 72 - Becoming Free To Explore 72 - Writing As Discovery And Integration 76 - Destiny? 81 - Character Growth 99 - Originality: Stretch Your Writing Skills 101 22. The Process Of Change 103 - Quick Cues To Character Motivation 107 - Developing Characters Using Motivation 118 Excursus Three: The Human Condition 123 23. How To Use Motivation To Form Characters And Plot 131 Actor Profile: Spencer Scott 138 SECTION II. CHOICES 24. Choosing A Genre 139 - Genre Is Perspective, Mood And Style 140 - Comedy: Highest Art 141 - Romantic Comedy: Always Good 142 - Action/Adventure: Best Seller 142 - Mystery, Suspense Thrillers 142 - Tragedy 145 25. Using Concept To Focus The Story 146 26. Base The Story On Character Or Situation? 153 27. Realism: Where To Draw The Line 155 28. Sequences: Advanced Writing Technique 157 viii Writers Workshop Script Doctor Actor Profile: Catherine Eads 158 Contents ix SECTION III. VISUAL WRITING 29. Visual Writing: Advanced Writing Technique 160 - What Is Visual Writing? 160 - Pumping Up Dialogue 161 - Keeping The Director And Actor In Mind 162 - Interacting With The Environment 162 - Electric Scenes: Getting What You Want In A Scene 163 - Show Or Tell 164 - Finishing Touches: 166 - Mood Settings 166 - Developing Motifs That Set Mood And Texture 166 - Using Symbols 167 Actor Profile: John Wayne Myers 170 PART 3: GETTING FEEDBACK SECTION I 30. Critiquing 172 - How To Be A Help Without Being Destructive 172 Writer Profile: Christina Cottles 175 31. Where To Get Help: 177 - Writer's Groups 177 - Workshopping Scenes 178 - Feedback Forms For Friends 179 - The Writers Workshop Process 183 x Writers Workshop Script Doctor SECTION II 32. Staging A Screenplay: The Rodgers’ Technique 186 Excursus Four: The Movie Making Process 193 Director Profile: Willard Rodgers, Founder And Director 195 Flatus & afflatus (Gas & Inspiration) 199 Glossary Of special Terms 203 Appendix A: Reference Shelf - Books & Movies 205 Topical Index 209 Contents xi TOP TWENTY LIST OF SPECIFIC PROBLEMS RANK PROBLEM 1 Characterization: Weak character motivation 2 Structure: Plot weak, unfocused, wanders, no concept 3 Character originality: Non-dimensional, stereotypical, no voice 4 Structure: Confusing, contradictory, explanations lacking 5 Structure Originality: Tired storyline, predictable, overused 6 Characterization: Action out of character, inconsistent 7 Structure: Mechanical solutions: manipulated or contrived 8 Structure: No payoff to setup 9 Structure: Misleading, doesn't deliver what is promised 10 Characterization: No main character (or antagonist) 11 Characterization: Character doesn't change 12 Characterization: Dull, uninteresting, out of place 13 Structure: Premise, storyline, scenes not credible 14 Scenes & Drama: Action doesn't follow from previous drama 15 Dialogue: Tells information, motivation, or is preachy 16 Dialogue: Wasted, doesn't move story forward 17 Format: Scene descriptions tell thoughts 18 Scenes & Drama: Action doesn't move story forward 19 Scenes & Drama: Lacks emotion, stakes too low 20 Dialogue: Length, less is more Screenplay Script Problem Areas Typical Ratings Structure fair to poor: 77% Superior 0% Characterization fair to poor: 80% Excellent 8% Originality fair to poor: 77% Good 40% Premise fair to poor: 77% Fair 42% Dialogue fair to good: 85% Poor 10% Scripts with some excellent elements: 15% xii Writers Workshop Script Doctor INTRODUCTION: WRITING IS ILLUSION Being a writer is a state that's like a hologram - it's there, but it isn't - it permeates every cell of your being, is present every moment of the day, and like a holographic illusion, stays just out of reach. This is a book for writers who would like to raise the odds of success on those hundreds to thousands of hours they invest in writing. I hope it brings the illusion within reach. Screenwriting may be a communicable disease. Every other person in L.A. is tantalized by the reward from screenwriting. The competition is intense, the prizes are high, and what it takes to win is a story that is the creme de la creme. Just who are these people who spend so much time and energy talking to a piece of paper, hoping to create