photo by Meredith_Farmer
@Chrissy_M sent me a link to his article this week. The article poses an open question to other screenwriters about the limitations of using the most commonly taught principles of screenwriting. In basic terms he asks whether a scene can be viable, if it doesn't fulfil Blake Synder and Bob McKee's requirement for either a plus/minus shift, and an identifiable element of conflict. Following last week's kerfuffle in the comments section about the "principles" of screenwriting, I wanted to write about my take on the principles of screenwriting, anyway. So, let's have at this poisoned chalice. The first thing I need to say is that there is nothing wrong with learning what Syd Field, Bob McKee and Blake Snyder have to say about screenwriting. I think buying and reading three books is a fairly small investment in understanding the craft of screenwriting. In fact, to that list I would add "Write and Sell the Hot Screenplay" by Elliot Grove, founder of Raindance. I'd add his book because it is the most practical and pragmatic book on the fundamentals of the writing and selling screenplays I've ever read. I've a massive amount of respect for Elliot and for Raindance. What I really like about Elliot and his book, is that there isn't an ounce of dogmatism in it. It is all couched in the language of "you could try this, it works for some people." That, in my opinion, is how to write a screenwriting book... as a guide rather than as a guru. I believe that as well as opening new doors for writers to improve their understanding of how to write, these books also contain a trap. I honestly believe that screenwriting books and screenwriting gurus can destroy a potentially good writer. This happens when a writer becomes an apostle of one particular way of approaching a screenplay and judges their writing only from that view point. The writer become blinded to anything but the "principles." My take is that where this really shows up, is at the level of the scene. For many "principled" screenwriters the heavy lifting in the writing process is focused purely on story. The scene is merely a tool that serves the overall needs of the story. It has little or no significance outside of its assigned role in the structure. One of the main reasons that I now only pay a passing lip service to the perceived principles of screenwriting is exactly because I believe they engender a blinkered view of what the actual work is. For me, the actual heavy lifting in screenwriting is understanding the relationships between the characters and the way in which the audience is presented with question to ask and puzzles to solve. More important than the hero's journey is the audience's journey. The audience's journey is one of uncovering the story you are presenting. So, instead of asking what the conflict is in the scene and whether there is either a plus/minus shift, to me what is more important is to ask, what does this scene reveal for the audience about the relationships in this story? Conflict in a scene is one possible means to the end; the end being the revelation of something significant. However, before anyone picks up the idea of relationship and revelation as a new, fix every problem, principle, there is something that is worth considering. The only important principle of screenwriting is the ability to think critically and creatively. What I really believe is that every screenwriter has a responsibility to create their own principles of story telling. Principles that will reflect their world-view, their interests, their sense of story. Here are some of principles that I use, for what they are worth:Observe and see what is actually happening. (observation always beats abstract principles, in terms of impact)What story is this particular location telling me? (stories are specific to specific places) Guide the audience's attention to that which is significant. Empathise and understand the perspective of the scoundrel and the dark-hearted harlot. (the antagonist is the hero of his own story)The simplicity of the sentence is paramount. Except when it isn't. A moment of truth is engaging, as is a moment of honest vulnerability. The character owns the story, the story does not own the character. (if all you care about is hitting the arc, your characters are just lifeless dolls, they'll never speak to you)What a character does with a cigarette, or a ping pong ball, is more important than what she says. Applied critical thinking is a good thing. Move subtext into the furniture, clothes and the action. (screenwriting is hardly at all about the ability to write dialogue)Don't work with thieves or idiots.Wear comfortable shoes.Sunglasses are good... bow ties are cool (steal good lines)What is important to me, about my way of working is that it frees me from the narrow and blinkered restriction of seeing the script as a vehicle for story told through conflict. Story telling is actually more complicated than that. On top of that, cinema and TV aren't the same as classic mythology. Writing a novel and writing a screenplay are not the same crafts. Writing a screenplay is as much about understanding the language of cinema, as it is about understand the eternal principles of story-telling. If I wanted to tell Greek myths, I'd get myself a toga. This is the main point I wanted to make this week. If as a writer I focus only on the rules of story telling as taught by the holy trinity of McKee, Snyder and Field, I will miss everything else that is happening. I have watched writers deconstruct a movie according to the principles of their favourite screenwriting guru and believe that in doing so they have learnt something. When, in fact, all they have done is confirmed their belief that the rules work. Personally, I believe writers are required to work a bit harder than that. I believe we are required to observe and to see what actually happens and then we have to actually sit down and think for ourselves. Sometimes the most significant parts of the story are told in the movement of the camera, something they are told in the soundtrack, sometimes they are told by the touch of a hand on an arm or the fear in the eyes of a woman when the phone rings. keep writing, think for yourself and viva la revolution
Posted via email from Filmutopia's Sunday Morning Movie Blog
