Go into the story, or don't go in at all.

Jentri Chancey

Fri, 12/11/2009 - 12:00

Right now I want to talk about story, because story is our foundation for making good films - and my first love. :)

I'm currently watching The Bridges of Madison County (for about the 3rd time in my life) and realizing there's a reason we watch a movie again and again - and unless your a guy who only thrives on special effects - it's story. TBOMC has a simple premise, with wonderful actors. The quiet moments in between the dialog, the way Meryl Streep touches her body, heavily sighs, or rolls her eyes - these are all things that bring the story to life.

So, what are some things that make a good story great? What makes that kind of actor want to be in your story? I think it's a combination of things.

First, a good story starts with a good idea. It doesn't have to be fancy, but it needs to be heartfelt. Scripts without heart are lifeless and dull. If you don't love what you're writing, how could you ever expect anyone else?

Next, commit to the story. Don't worry about fancy dialog at first, but do think about what's going to separate your story from others. Trust me, it's ALL been done before. The best you can do is commit to the story you're telling, and make it your own. I'd like to recommend thinking of themes early on. Theme helps me when I get stuck on action (i.e. Lost In Sunshine's theme is self discovery - finding one's self). If a character's motivation was ever unclear, I would revert to
that for guidance.

Everything needs a purpose. No scene should be left hanging around aimlessly in your script. I know this can be particularly difficult to axe when someone is attached to a certain scene or particular dialog. But letting go of these things & not being as attached or offended when someone tells you your joke is dumb, is a simple sign of maturity for a writer, I think.

Practice listening to how others speak for the most natural dialog, if you're having problems. Speak your dialog out loud - it can help. The impact of great dialog (or lack of) should not be underestimated, as Clint Eastwood so brilliantly delivers in TBOMC, "Don't kid yourself Franchesca, you're anything but a simple woman." That sentence is soft, but powerful. Natural, yet packs a punch to the heart. He's listened to her, and understands her dilemma. And we know all of that from one simple line. :)

Don't forget about subtext. Subtext is essential for delivering messages without being too on the nose, (obvious!) as they say. It adds layers and texture.

And then there's the constant debate about voice over & when it's OK to use it. We've all been hammered with "show, don't tell" in our intro to screenwriting classes. But the best article that's ever helped me on this topic was in one of my creative screenwriting magazines. I promise that I'll dig up the old issue and post them for you later (if they're not already in my blog somewhere!). It's important not to say what the audience already knows. It's redundant. VO is often better left unvoiced. :) However, I'm a huge fan of it when used correctly. Cheesy narration or unnecessary VO will ruin your masterpiece. One of my favorite types of VO is called "book ends" (i.e. think American Beauty). It hooks you in from the minute you hear it, and tells you things you would never know otherwise. Now that's effective. Telling me what I already know is... well.. boring.

While we're talking about story, I'll go ahead and mention this one again, (I'm sure most of you are sick of hearing it) but when they say tell what you know, that doesn't mean your life story, verbatim. Unless you're Cameron Crowe, were almost famous, & are a brilliant writer, it's probably not going to be as cinematic as you imagined it might. And it must at least be that if you planning on turning it into a moving picture- cinematic.

There are a million tips I could give, and I'm sure I could get from some of you (so do share, please!), but my advice to you here and now is this - go into the story, or don't go in at all. Don't skimp on committing to a voice, writing & re-writing dialog, carefully choosing actions to make the most of a scene, spending time on character development, using visuals (they don't have to be CGI ones), or your dedication to being flexible to a certain degree and just doing whatever it takes to bring your story to fruition. Let go of EGO, and seek help when needed. What's the point of putting half of your life into something that won't see daylight? Unless you're doing it for fun, you need an audience, so start with you. What do YOU like? What do YOU watch? Answer the question, and write that.

That's what I did with Lost In Sunshine, and it's a love & inspiration that keeps giving back.

New to screenwriting? Here are some recommended (& cost effective!) reading tools for telling your story: