RUTH ATKINSON

Script Consultant & Story Editor

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The End Is Just The Beginning

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It’s summer and people across the country are making travel plans. The first thing they do is figure out where they want to go. You can’t plan your trip until you know your final destination, right?

Lately when I’ve been working with writers to develop their scripts I’ve been using the same approach – beginning at the end. If you know where you want to end up it’s far easier to know where to begin. Looking at your script in reverse can be a really helpful tool when writing your piece.

Where your protagonist ends up tells us where they need to begin.

Screenplays are all about transformation – we want to see a character grow and change over the course of the story – this is the spine of their inner journey. In order to give the protagonist a meaningful transformation the first thing we need to do is determine where they are at the end of the story. How have they changed and grown? By looking at what they have learned we know what kind of shift needs to take place and can make sure we properly set this up at the beginning.

For example in Silver Linings Playbook Pat learns to move on from his marriage, embrace a relationship with Tiffany and manage his illness. Since we know this is where the story has to end we can backtrack to the first act and make sure we set up the fact that he’s fixated on getting his wife back, uninterested in any other romantic relationship and is not in control of his illness. In Little Miss Sunshine our family ends the story united this means they need to begin the story separated by their dysfunction. In The Descendants Matt ends the story having forgiven his wife for being unfaithful. This means he needs to begin the story being deeply upset about her infidelity.

When we know where our protagonist is at the end of the script it’s much easier to determine what information we need to give the audience about who they are and what state they are in when the story begins.  This helps us give the protagonist a clear arc. Yet in order for a shift such as this to feel emotionally satisfying and not arbitrary and forced it has to be properly plotted. Once again starting at the end can help us here.

Plotting the protagonist’s transformation – All is lost and their epiphany.

For example in Up Carl comes to terms with the loss of his wife, gains a surrogate son in Russell and becomes a happier person overall. In order for this to work we need to open the story with Carl being unable to move on after the death of his wife, avoiding relationships and being unhappy and curmudgeonly. The key beats that help make this shift feel believable are the protagonist’s “all is lost” moment at the end of the second act and their corresponding epiphany.

All is lost. 

In Up Carl’s “all is lost” moment is when he’s forced to choose between losing his house and saving Kevin and Russell who have been captured by Muntz. Carl chooses to stay with his house. This is his lowest point and suggests that while he may achieve his goal of getting to Paradise Falls he’s not going to reconcile the loss of his wife or form a lasting friendship with Russell which is what we know he really needs to do.

Epiphany.

Carl ultimately decides to go after Russell but in order to do this he has to be able to let go of his commitment to fulfilling his and Ellie’s dream. This is beautifully done when Carl looks at their scrapbook and finds a note from her thanking him for the adventure of their life together. This is Carl’s epiphany. It allows him to reconcile the loss and fuels his decision to rescue Kevin and ultimately to let go of the house and go after Russell.

In this way the protagonist’s “all is lost” moment and their epiphany are the two main beats that work together to create their transformation. So once again if we know where the protagonist needs to be at the end of the story we can determine what “all is lost” moment and epiphany will help them to get there.

Second act linking beats.

So we know where we need to be at the beginning and at the end. We have a good understanding of what “all is lost” moment and epiphany will naturally lead them to change but we still need to link these beats so the transformation feels earned and emotionally satisfying. To do this we need to plot the protagonist’s shift over the course of the second act. This means seeding in small changes along the way.

In Up there are multiple interactions between Carl and Russell and we see Carl slowly open up to the point where we believe he would make the decision to rescue Russell and let go of his house. In The King’s Speech Albert meets with Logue giving the story a natural way to show Albert healing both his stammer and the childhood wounds that weakened his self-confidence. This helps us buy him standing up to the Archbishop and successfully giving his wartime speech. In Silver Linings Playbook Pat and Tiffany’s dance rehearsals bring them closer and help us to believe that Pat would fall for Tiffany and reconcile the fact that his wife has moved on.

Begin at the end.

The protagonist’s transformation is the destination and knowing this helps us to plot the stops along the way. Deciding where you want your story to go and how you want the protagonist to change is a vital part of your screenplay and can be a very useful tool to use when developing your piece.

 

A Writer’s Worst Nightmare: The Dreaded Synopsis

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I’d have to say that for many writers their worst nightmare is having to write a synopsis of their own script. (Did I hear a “hell ya?”) Most writers are way too close to their material to be able to step back and see the key beats they need to include. The issue here isn’t what to put in it’s what to leave OUT which is for the most part huge chunks of the story. For a writer who’s spent months or years working out every small detail of the plot this can be very, very hard to do.

Over the years I’ve written well over 600 synopses both for coverage and for projects I’ve helped develop. But I still remember the first synopsis I ever wrote. Back in the day I was working as a writer’s assistant for a Showtime series called Fast Track and writer/story editor Ashley Gable gave me a crack at writing the synopsis for an episode the writers were working on. I took a stab at it. Ashley gave it a read and returned it to me a short time later completely covered in red lines. Basically it was a total mess. A lengthy conversation ensued and multiple drafts later we had something workable. While back then I was embarrassed by my inability to pull off what seemed like a simple task I now know how difficult it can be to write a succinct synopsis. I’m extremely thankful that Ashley was willing to take the time to show me how to do something that is far harder than it looks. She taught me a lot.

Suffice to say many synopses later I’ve come up with a few tools that make writing a synopsis a little easier. In the spirit of Ashley’s ever so patient instruction (remember we were in the middle of shooting a series and juggling multiple episodes) want to pass them on here.

1. Spin the story

Never do a beat by beat synopsis. You don’t need to include every single plot point to tell the story. Instead “spin the story” reorder events, leave things out, embellish, paraphrase etc. While you want to make sure you stay true to the main beats of the story you’re trying to capture the essence of the piece not tell every single thing that happens. You’re also trying to “sell” your script on the page so the synopsis should be simple and clear but also fully engage the reader. If you write a linear retelling of the story beat by beat your synopsis will likely be too long and confuse and bore the reader.

2. Think in three acts

The basic format for the synopsis should be comprised of the three main acts and run three to four paragraphs. For example the first paragraph is the first act and sets up the protagonist, their goal and the main obstacle. The second and third paragraphs will cover the second act and the final paragraph will be the third act including the climax and resolution.

3. Use active, present tense

Just like in a screenplay a synopsis should be written in active, present tense.

4. Set up the protagonist

The synopsis needs to clearly establish who the protagonist is. While a script may use most of the first act to set up the main character you want to distill this into one or two sentences that tell the reader who the protagonist is. For example if we’re writing a synopsis of The Descendants we could open with “Matt, a successful lawyer, estranged from his wife and an emotionally absent father to his two girls learns his wife has had a boating accident and is in a coma.” If we were doing Silver Linings Playbook it might be something like “Pat, recently released from a mental hospital, is struggling to manage his illness and stay on an even keel. His erratic behavior troubles his parents, who he’s moved back in with, and turns him into a powder keg just waiting to go off.” Once again you’re looking to spin their main traits and flaws into one or two sentences.

5. Tell the story from the perspective of the protagonist using the three acts

Once you’ve established the protagonist you want to get right to their goal and what the main problem is. The synopsis needs to stay focused on the protagonist through the entire piece. So for The Descendants we’d establish that with his wife in a coma Matt now has to care for his daughters, Alexandra and Scottie, which is something that doesn’t come easily. We’d then get right to the reveal that his wife, Elizabeth, had an affair. In Silver Linings Playbook we’d establish that Pat wants to reunite with his wife but she’s moved on. This would then lead to him meeting Tiffany which complicates Pat’s goal of getting back together with his wife.

The second paragraph (and third if needed) encapsulates the second act. We want to stay focused on the protagonist’s main goal and what obstacles this runs into as they try to achieve it. For The Descendants this is Matt tracking down his wife’s lover, Brian, and discovering he’s on vacation with his family. Matt decides time is of the essence and takes both girls and Alex’s tag along friend, Sid, to Kauai. There Matt confronts Brian and learns the affair was just a fling and he was never in love with Elizabeth. Shaken by this the group returns to Honolulu where they are told Elizabeth will never recover and should be taken off life support. This is essentially the end of the second act.

The final paragraph is the third act and summarizes the climax and resolution. In The Descendants the family gathers to say their goodbyes and take Elizabeth off life support. Brian’s wife Julie arrives to pay her respects and tells Matt that she knows about the affair and while she wants to hate Elizabeth she doesn’t and instead forgives her. This triggers Matt’s forgiveness and having come to terms with her infidelity he gives Elizabeth a tender kiss before she passes.

6. Consider leaving out subplots

Subplots are where most writers go off the rails. Clearly subplots are in the story for a reason and play an important role but they are not always needed in the synopsis. Part of this depends on how long a synopsis you’re writing. If you’re sending a synopsis to an agent or manager they are likely looking for something no longer than a page often shorter. For a crowdfunding campaign you may want something that’s no longer than a paragraph. Occasionally there may be the need for a synopsis that’s two pages long. Much longer than this and you’re heading in the direction of a treatment or beat sheet.

In The Descendants the primary subplot involves Matt handling the sale of his family’s ancestral land. Turns out that Brian is related to the developer they plan to sell it to and he’s in a position to make a lot of money from the commissions on the sale. This further complicates Matt’s feelings around his wife’s infidelity and his decision to approve the sale. Ultimately despite incurring the wrath of his extended family Matt chooses not to sell the land and to look for another solution. This subplot helps us to understand Matt’s relationship with his family, sets up an underlying theme around the importance of nature and the environment, and adds texture to Matt’s interaction with Brian but it’s not necessarily a vital part of the synopsis. If you’re writing a very brief synopsis the story can be told without it. Matt’s relationship with Sid is another subplot. Matt is somewhat put off by Sid and suspicious of his relationship with his daughter Alexandra. Towards the end of the story Matt and Sid have a wonderful moment together where Matt learns Sid’s father was killed in a drunk driving accident. This humanizes Sid and helps Matt to see beyond his slacker nature. While this is a poignant moment their relationship is not essential and can be left out of the synopsis entirely.

7. End on theme

If you can it’s great to end your synopsis by elegantly and economically touching on the theme. With The Descendants this is the final scene that shows Matt snuggled on the couch watching TV with Alexandra and Scottie. This beat tells us that Matt has forgiven his wife and is not going to be the “backup parent” anymore. This shows Matt has grown and changed and tells us the story is ultimately about the healing power of forgiveness.

8. Flashbacks, flash-forwards, parallel narrative and non-linear structure

Stories with an alternative structure such as Crash, Pulp Fiction, Slumdog Millionaire or alternate worlds like Looper, Twilight or even Midnight in Paris can be the most difficult to write in synopsis form. It can be helpful to remember to structure the synopsis along the three acts and to “spin the story” not tell it beat by beat. So for example while the script might intercut several different storylines the synopsis can tell them sequentially. The main beats of a flashback sequence might be summed up in one or two sentences and the placement in the synopsis might be different than in the script. If a key piece of information is revealed in a flashback then succinctly include it in but don’t worry about revealing the entire sequence. Something like “in flashback we learn Jack came from an abusive family” is just fine. Action can be significantly truncated touching on what kind of sequence it is (ie: car chase, gun battle, fist fight), who’s involved and what the outcome is. Alternate worlds can be set up in a couple of sentences in the first paragraph. Phrases like “time passes…” can be helpful in summing up events that don’t necessarily play a key role. Different time periods or locations can be indicated by: Ohio, 1945 and then the main beats of what happens. Though these kinds of synopses probably warrant their own blog post!

9. Format

In general just like in a script the first time characters are introduced their name is written in capital letters with their age in parentheses. You can include a description if pertinent. I.e.: MATT (49) “African American overweight and disheveled.” Occasionally it can be helpful to include direct quotes or pieces of dialogue but do this sparingly and only if it helps convey something specific such as the writer’s unique voice.

10. Tone

Ideally the synopsis will capture the overall tone of the script. So if the piece is a comedy the synopsis will incorporate some of the comedic beats, a horror some of the scares, a thriller will convey the tension. If it’s a big budget action piece the synopsis should make sure to touch on the elements that suggest this such as car chases or action based set pieces. We also want to get a sense of the world of the story so if it’s small town America then include a couple of details that tell us this. Ultimately whether a synopsis is being written for coverage, being pitched to a studio, or part of a crowdfunding campaign it’s essentially a selling tool designed to succinctly capture the story in a compelling way. So keep this in mind and make sure your synopsis is well written and engaging modelling the tone of the script is one way to do this.

 

Writing an effective synopsis is an important skill to have. Wikipedia is a great place to read synopses for completed films and can give you a sense of how to summarize 120 pages into one. Thinking about how you’d pitch the script to a friend can also help you focus on what beats are essential and what can be left out. Writing a synopsis might be a writer’s worst nightmare but with practice it gets easier and hopefully these tools will help you along the way. Happy Writing!

FIND Project Involve Shorts

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I was just at the Los Angeles Film Festival to screen this year’s Film Independent Project Involve shorts which we started developing in January. It’s a whirlwind process for the filmmakers who go from treatment to the big screen in just under 6 months. The theme this year was cultural celebrations and the writers explored an amazing array of ideas including Day of the Dead, sitting Shiva, a same sex wedding, Diwali, a Korean funeral, a family reunion and the 4th of July. As the finished films, all under 10 minutes, played on the big screen I was reminded of the power of short films to pack an intense emotional punch.

I love shorts and they’re finally being given their due. They’re screened at every major festival from Cannes to Slamdance, can be entered in several on-line competitions and are being distributed internationally theatrically. One of the reasons for this sudden explosion of short films is that digital technology and access to the web are creating a perfect storm that dovetails beautifully with shorts. Clearly audience’s viewing habits are changing and more and more people are going to youTube, Vimeo, and iTunes for content which they watch on their smartphones, tablet or computer – there’s even an App that streams short films from top festivals. Smaller scale narratives are perfectly suited to these devices as they offer a brief burst of entertainment without the time investment of a feature film.

With this kind of exposure short films can launch a feature film career, help filmmakers gain recognition in the industry, hone writing and directing skills, provide a platform for a feature script, and give filmmakers an opportunity to experiment with new ideas, stories or cinematic techniques. This is a great time for short films and I was honored to be part of helping these very gifted Film Independent Project Involve filmmakers bring their stories to the big screen.

Podcast True Confession

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True confession time. I’ve been a bit of a late adopter to podcasts partly because I don’t have an iPhone (an entirely different late adopter story) which makes them easier to listen to on the go but mostly because they are missing a key aspect of print…

The ability to skim!

Yup, there I said it. I’m constantly reading about screenwriting, filmmaking and distribution but have stayed away from podcasts and video interviews because it’s difficult to fast forward lest you miss something important. Print’s not like that. It’s far easier to quickly scan a page and make sure you’ve absorbed everything you need to.

But then I was invited to be a guest on Pilar Alessandra’s highly acclaimed screenwriting podcast On the Page and I figured I better get up to speed. So I listened to some of podcasts I often see mentioned on twitter (screenwriter Amanda Pendolino put together a top five list here.) and of course I was immediately hooked.

I love the personalities and the conversational tone. It’s like sitting at Starbucks and eavesdropping on the conversation at the next table. This totally trumps the whole skimming thing. Doing a podcast was even more fun. I’ve been interviewed on the radio and often give screenwriting presentations but this was even better. Pilar’s a great host and Aadip Desai a fabulous co-host. It was great to talk theme (one of my favorite subjects) and within a few minutes I forgot about the microphones and whether or not I was within the required six inch range (from mic to mouth).

So I may be late to the table but I’m finally here. Grab a coffee and click here if you’d like to join in. 

Short Screenplays – Structure

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In my last post I took a look at the unique aspects of writing short film characters. In this post I want to touch on short screenplay structure. Obviously the big difference between a short and a feature is length. While shorts can vary in length (generally no longer than 50 minutes) they still follow the traditional three act structure with some special considerations.

• Time Frame
One of the key things that separates a feature from a short is time frame. Shorts simply don’t have time for the story to unfold over several days or long passages of time. This means short screenplays are generally one moment in time or happen over the course of several hours though occasionally they can take place one or two days (ie: overnight).

• Structure – 3 Acts
Even though a short screenplay is, well, shorter it still needs to have a beginning, middle and end – essentially three acts.

• Set up – Act One
The first act sets up your main character. The challenge in a short film is that this needs to be done in one or two quick beats (hence no elaborate backstory or exposition). This means we need to rely on a visual shorthand to convey information about them. While we don’t want to revert to stereotypes or cliché think of ways to communicate who your protagonist is visually and through one or two specific actions or character traits. These first few beats also set up the main character’s current situation and the world of the story.

While we want to tell the story visually opening with a montage or a slow build of images before we meet our characters works in a feature not in a short. Come into the story as if it’s already in progress rather than having to do a lot of explaining as to why we’re here.

• Inciting Incident
Given the shorter length of a short film screenplay you have less time to get to your inciting incident – the one main beat that kick starts the story. The inciting incident sends the story in a new direction, it’s the problem your protagonist needs to deal with and propels them into action in response. A good inciting incident raises questions about what’s going to happen next.

• Plot – Act Two
Key in all films and particularly in a short is having clear focused action that drives the story forward with energy and tension. The way to do this is through the protagonist’s goal. This goal is the protagonist’s response to the inciting incident. It’s vital that this goal, even if it’s something internal, sparks our protagonist to do something active. The protagonist’s actions drive the plot so whatever they want needs to translate into some kind of action that moves the story forward. In other words – something needs to happen! In a feature the second act is the longest (generally 60 pages) and involves multiple beats including a mid-point twist. In a short we don’t have time to see this kind of progression or escalation so we need to focus on the key moments we need to move our protagonist forward. In a five-seven minute short this may only be 3-4 beats.

In general try to avoid moving the story forward through a lot of talking and dialogue exchanges. Shorts collapse under the weight of this kind of thing because there isn’t enough time to offset them with action. It’s very easy to end up with five minutes of talking and no action. So find ways of having your protagonist pursue their goal actively and visually.

• Conflict
As the protagonist tries to achieve their goal they need to run into conflict. Our investment in their struggle to achieve what they want creates tension and suspense and keeps us hooked. Conflict comes in many forms. For example it can be a specific antagonist, the environment or something more personal and internal. Conflict creates a problem for our protagonist to overcome. It drives the plot and is a key element in ensuring the piece feels active and engaging.

• Resolution – Act Three
In order for your short screenplay to have impact it’s important that your piece end in a satisfying way. What this means will vary depending on the kind of piece you’re writing. For some this beat will lead to humor for others this will be an emotional or heart wrenching conclusion. Regardless what’s important here is that we feel there’s been some kind of shift or change. Keep in mind that in a short film it’s very difficult to have a character make a huge shift ie: from suburban mom to serial killer so look for smaller, meaningful changes that can be articulated in a short period of time. This is also where you can use your protagonist’s arc to tell the audience what your story is about. Generally what your main character learns tells us what the theme is. This is your point of view as a writer. It’s why you’re telling this story and why we care about watching it. (You can find more on theme here.)

Some thoughts on PRODUCTION

While you’re writing it’s helpful to keep production in mind and ensure you’re writing a piece that is actually shootable within the time and budget you have available. This means avoid huge set pieces and action sequences, special FX, scenes involving a lot of extras or unobtainable/expensive locations. Consider using props, locations and settings that are already available to you and keep locations to a minimum to avoid having a lot of company moves.

When writing your short screenplay strive to entertain, engage and move people. Hitchcock said, “drama is life with the dull bits cut out” keep this in mind when writing.

Short screenplays present some unique storytelling challenges but a successful short script can be very effective and deliver the kind of punch features can’t. Be brave. Be bold. And tell your story in fifty minutes or less!

Short Screenplays – Character

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Many of my clients write short screenplays and last year I helped develop nine short scripts for Film Independent’s Project:Involve seven of which were greenlit and showcased at the Los Angeles Film Festival. One of these, To the Bone written by Erin Li and Silka Luisa, has been accepted to Slamdance.  We’re gearing up for this year’s program so short films are on my mind.

Shorts are a great way to develop your writing skills and can be an excellent calling card if produced. Short film screenplays are a unique form of storytelling that are not simply pared down features but have their own specific rules and structure. Because they are short they have the ability to deliver a quick, powerful emotional punch. In many ways this gives them greater impact than a feature which has to tease out the same affect over 90+ minutes. In order to write an effective short film it helps to be aware of the aspects of screenwriting that are unique to short films. Here are some character guidelines to keep in mind (my next post will take a look at structure).

• Protagonist’s Goal
Even in a short the plot of the story is driven by what the protagonist wants. This is their goal. As in a feature their goal needs to be compelling, urgent and something we can get behind. We want to emotionally engage the audience so they are invested in the story and want to see the outcome. This doesn’t mean their goal has to be big like saving the world. Sometimes smaller, more internal goals have greater emotional impact partly because they are more relatable.

• Backstory
The challenge in creating a compelling character in a short is you don’t have the luxury of 30 pages to set up your protagonist for the audience. Depending on the length of your short you have only a handful of pages and sometimes even less. This means you don’t have time for elaborate backstory or exposition (which is like a dead weight in a short). So how do you convey important information about your character? Economically, visually and through action and relationships. If there is something we must know about your character’s past or current situation then find ways to convey this with a visual reference. This could be something in the setting, a unique visual attribute (clothes, hair) or gesture. We learn the most about a character through their actions. So what they are actually doing and who they are doing it with tells us a lot. This is your toolbox. Use it to tell us about your character economically without having to involve a whole lot of backstory and exposition which you don’t have time for.

• Protagonist’s Arc
Even in a short screenplay the main character needs to grow and change over the course of the story. Unlike a feature you don’t have 90 pages to develop and arc a character so the shift they make needs to be smaller and not feel like a huge leap. Big changes are just too much to incorporate in such a short time. So what you’re looking for here are protagonists who have shifts in perspective, see things in a new light, and undertake a new or different action. They may have a shift based on the consequences of their actions or we might see a change in their relationships as a result what’s occurred in the story.

Of course this comes with its own challenge which is that these smaller shifts tend to be more internal than external so the trick here is to find visual ways of externalizing the internal change.

• Secondary Characters
While a feature length narrative may have myriad characters a short film needs to focus on the protagonist and a limited number of secondary characters. These are your antagonists, love interests, best friends, parents, boss, co-workers etc. There just isn’t enough time to service more than three-four secondary characters (generally less) and it’s important to decide what characters you absolutely need in order to tell your story. Key here is incorporating secondary characters whose relationship with the protagonist  helps us to understand who they are, their goal and their transformation.  For example the main character’s relationship with their sibling/parent/friend  can tell us whether they are kind, helpful, disconnected, emotionally aloof, self involved etc. traits that would be hard to establish without seeming them in relationship with another character.

• Theme
Knowing what your story is about and what you are trying to say as a writer is vital even in a short screenplay. One of the ways to think about this is what your protagonist learns over the course of the story tells us what the piece is really about. Once again this doesn’t need to be a huge, earth shaking idea or shift but it needs to be clear and we need to understand your point of view and why you’re telling this particular story. Using the protagonist to convey the theme is an effective way to do this. Shorts that are “about” something are more likely to connect with the audience and resonate more deeply.

If you’ve written a short I’d love to hear your comments, ideas and suggestions.