Index
Italic page references indicate figures.
achievement beat 120
Achilles Heel 92
action: character as agent of 83–86, 99; description 167–174, 187; formatting 168–169, 189; imitation of 13–16, 36; mimesis and 36; nonverbal 176; unity of 37–39
Act One: beats in 109–113, 114, 115, 140; Break 76–78, 80, 113; components of 71–72; consequences in 112; Equilibrium in 111; First Cause and 71–72; function of 75, 109; Inciting Incident in 111–112; Opening Hook 109–112; Point of No Return in 112; Prologue and 71, 75, 80; in Shawshank Redemption, The 110–111; in Some Like It Hot 109–110; in Star Wars 110–113; Stepping Stones of 109–113, 115
Act Three: aftermath in 123–125; beats in 123–127, 127, 141–142; catalyst in 126; Climax in 125–126; components of 72, 78–79; Denouement and 72; end and 72; New Equilibrium in 126; plan of action in 126; Resolution in 78–79, 123–127; in Shawshank Redemption, The 124–125, 127; in Some Like It Hot 124, 127; in Star Wars 123, 127; Stepping Stones 123–127
Act Two: achievement in 120; adaptation in 118–119; beats in 115–121, 122, 140–141; Big Gloom in 121; Break 77–78, 80; complications and 72, 77, 115–121, 122; components of 72; crossroads in 118–119; function of 77; midpoint of 119–120; One-Hour Crisis Point 118–119; in Some Like It Hot 116–117, 120; in Star Wars 115–116, 120; Stepping Stones 115–121; struggle in 115–117
Aeschylus see Philoctetes
American Beauty (film) 111
Anchor Points 75–81; see also specific type
Aristotle 5, 7; see also Aristotle’s Guiding Principles (AGPs); Poetics (Aristotle)
Aristotle’s Guiding Precepts (AGPs): believable character 85, 102; causal connections 106; Change of Fortune, providing 56; character in service of story 84, 102; closure, providing 33; conflict, infusing story with 30; defining 4; description 161; dialogue 178; dramatizable objective 38, 84; fatal flaw of character and 62; fatal flaws, overcoming or being overcome by 62, 84; list of 225–226; plot, good 49, 62; plot construction, proper 67; reading drama 160; reversals and recognitions, building plot on 53; rewriting 211; story, importance of 19, 22; storytelling, good 10; successful screenwriting 221; truth, importance of 25; unity of action, providing 37; universal truth 214
Assignments, writing: Act One beats 113, 114; Act Three beats 127, 127; Act Two beats 121–122, 122; Anchor Points 81; Beat Sheets 142–150; Change in Fortune 63; character traits and backstory 96–97; facts and lies 28; function of 4; list of 227–232; loglines 43; Opening Hook 198; premise 43; putting beats together 131, 131–136; rewriting 221; rough draft 202; synopsis 103
A story 56
attributions, list of resources for 236–237
beats: achievement 120; in Act One 109–113, 114, 115, 140; in Act Three 123–127, 127, 141–142; in Act Two 115–121, 122, 140–141; adaptation 118–119; defining 106–107; putting together 129–131, 131–136; selecting 137–142; variety of 127; see also Stepping Stones
Beat Sheets 137–142; see also Assignment, writing
beginning of story 33–34, 37, 70, 72, 109
Big Gloom 78, 80, 121, 125, 127
Black, S. 167
Break: First Act 76–78, 80, 113; Second Act 77–78, 80
B story 56
Burton, T. 27
Butcher, S.H. 4
Call to Adventure 76
Cameron, J. 164
Campbell, J. 76
Card Players, The (Cezanne) 47
catharsis 8–9, 11, 16, 156, 173
causal connections 49–50, 54, 102, 105–107
Cezanne, P. 47
Change of Fortune: as Anchor Point 80; Assignment, writing 63; character and 55–56, 72, 83, 95, 106; plot and 55–57, 153; Poetics and 55, 59
character: as agent of action 83–86, 99; appropriateness of 85, 89, 99, 101; backstory of 95–97; believable 85–86, 89–90, 93, 100, 102; Change of Fortune and 55–56, 72, 83, 95, 106; consistency of 88, 90, 99; defining 20; description 162–165; dialogue and 183; effective movie 100–102; as element of narrative 20; empathy and 89; fatal/tragic flaw of 59–63, 84, 92, 126; 5Ps of attributes of 93–95; forming, steps in 93; goodness of 88–89, 99; immediate goal of 105, 176–178, 182, 185; layers of 101–102; likeness of 88, 90–91, 99; moral disposition and 20–21, 85–86, 100, 102, 105–106, 213–215; motivation 99–103; personality of 94; persona of 94; physical presence of 93–94; primary motivating factors of 94; psyche of 94; representative behavior of 112; in service of story 84, 102; story and 20, 90; thought and 21, 83, 85–86, 102, 105, 213–215; thread 215; traits 87–90, 96–97; voice of, individual 183; see also hero
character name, formatting 190
Chinatown (film) 37, 112, 127, 139, 188–189
Chitlick, P. 70
Citizen Kane (film) 111
clarity and formatting 187
classical narrative elements 6
complications 72, 77, 115–121, 122
conflict 29–31, 37, 115–117, 155
correlation of experience and formatting 187
Crossing of the Threshold 76, 112, 118–119
description: action 167–174, 187; Aristotle’s Guiding Precept on 161; character 162–165; clear style and 160; exotic expressions and 160–161; mimesis and 173; in Philoctetes 161; plot 73–75; Poetics and 159; precision and 168; reading and 159–160; scenes and 154; setting 165–167
dialogue: Aristotle’s Guiding Precept on 178; character and 183; economy of 184; effects of speech and 175; exposition and, avoiding 184–185; factual statements in, avoiding 184–185; in Fargo 181; formatting 190; immediate goal of character and 176–178, 182, 185; mimesis and 183; modes of utterance and 175; nonverbal actions and 176; personal in, avoiding 185; Poetics and 175, 183; revealing versus expressing thought and 177; scenes and 154; in Shawshank Redemption, The 179–180; in Some Like It Hot 178–179; in Star Wars 180–181; subtext and 177; in Tootsie 181; truth and 184; truth in 176, 183–184
dramatic thread 215
dramatizable objective 37–38, 72, 75, 78, 84, 153, 155
Edward Scissorhands (film) 27
Egri, J. 93
Emerson, R.W. 6
emotions 9; see also specific type
empathy 89
Empire Strikes Back, The (film) 52
end of story 33–34, 37, 70, 72, 123
episodes, filling in 67, 105–107
Euripides see Iphigenia in Aulis
exposition 184
Fargo (film) 100–102, 111, 170–171, 181
fatal flaw of character 59–63, 84, 92, 126
filling in episodes 67, 105–107
First Action 75
First Cause 71–72, 76, 80, 111–112
Ps of character attributes 93–95
formatting: action 189; action description 168–169; character name 190; in Chinatown 188–189; clarity and 187; correlation of experience and 187; dialogue 190; elements 189–191; paragraphs 168; parenthetical 190; prose passages, avoiding lengthy 168; scene heading 189; scene numbers 191; sluglines 189; transitions 190–192
Godfather, The (film) 110–111, 180
Gone with the Wind (film) 22
Graduate, The (film) 111–113, 127
Greek writers, influence of ancient 5–6; see also specific work
Guay, P. 78
Hamlet (Shakespeare) 37
Harold and Maude (film) 111–112
Harris, T. 164
head story 56
heart story 56
hero: Change of Fortune of 55–57, 59; fatal/tragic flaw of 59–63; objective of 37, 62; transformation of 56–57, 106; see also character
Homer see Odyssey, The
identity 48
imitation of an action 13–16, 36
immediate goal of character 105, 176–178, 182, 185
Inciting Incident 76–77, 80, 111–113
inner conflict 155
Intention, Writer’s 154, 156, 197
Iphigenia in Aulis (Euripides) 61–62, 66, 75
Jenkins, B. 70
Kelley, W. 53
King Lear (Shakespeare) 39
Koepp, D. 193
Lawrence of Arabia (film) 111
Liar, Liar (film) 78
literary theory 5
Little Miss Sunshine (film) 33–34, 119, 215–216
Long Kiss Goodnight, The (film) 167
Mazur, S. 78
Memento (film) 70
middle of story 34, 37, 70, 72, 115
mimesis: action and 36; appropriateness of character and 85, 89; believable character and 85, 89; description and 173; dialogue and 183; likeness of character and 91; personal experiences and 156; storytelling and 8–11, 16; universal truth and 24
Moonlight (film) 70
moral disposition of character 20–21, 85–86, 100, 102, 105–106, 213–215
movies, recommended 234–235; see also specific title
narratives: Aristotle’s list of elements of 19–22; classical elements of 6; evolution of 6, 14; history and 26, 29, 49; modern elements of 22; observing 10, 15–16, 25; participating in 16, 25; personal experiences and 27; Poetics and, use of 3, 67; reading 159–160; see also screenwriting; specific element; story; storytelling
Nolan, C. 70
nonverbal action 176
objective: dramatizable 37–38, 72, 75, 78, 84, 153, 155; false 78; of hero 37, 62
objectivity 219
Odyssey, The (Homer) 13, 38–39, 60, 66, 75
Oedipus Rex (Sophocles) 51–52, 60, 62, 95, 214
Opening Hook (OH) 109–112, 198
outline, writing 65–67, 105, 137, 211
parenthetical, formatting 190
personality of character 94
persona of character 94
Philoctetes (Aeschylus) 161
physical presence of character 93–94
plan of action 126
plot: causal connections and 49–50; Change of Fortune and 55–57, 153; combinations 60–61; complex 48, 55–57; constructing 65–67; defining 20; descriptions 73–75; double outcome and 60, 62; episodic, avoiding 47–50; of E.T. 74; fatal flaw of character and 59–63; outlining 65–67; paradigm, basic 63; playing out scenes and 156, 168; recognitions and 51–54, 62; reversals and 51–55, 66, 75–76; simple 48, 55–57; of Some Like It Hot 74; of Star Wars 73; story versus 20; subplots and 38–39
Poetics (Aristotle): Anchor Points and 75; background information about 5–6; beginning of story 109; believable character 102; Change of Fortune and 55, 59; character and thought and 83; character likeness and 91; character motivation and 99; character traits 87, 91; complexity of 5; conflict and 29; description and 159; dialogue and 175, 183; double outcome and 60; effects of speech and 175; end of story 123; episodic plot and 47; essence of story and 41; fatal flaw of character and 59; filling in episodes 67, 105; formatting and 187; historical context of 5, 7; imitation of an action and 13, 36; learning and 7; lies and, skillfully telling 24; literary theory and 5; magnitude and 35–36, 69; middle of story 115; modes of utterance and 175–176; objectivity and 219; outline, making 65–66, 105, 137, 211; personal truth and 219; philosophical aspect of drama and 23; playing out scene before writing 156; plot combinations and 60–61; plot paradigm and 63; premise and 23; probable impossibilities versus improbable possibilities and 26; putting it all together and 193; reading drama and 159; recognitions and 51; reversals and 51; rewriting and 205; rhythm and 130; rules and, following 199; scenes 153; screenwriting process and 4, 6; simple versus complex plot and 55; story and 19; storytelling and 3, 24, 217; structure and 5, 65, 69, 73, 129; theme and 213; title of, origins of 5; translation used 4; use of in narratives 3, 67; wholeness and 33
Point of No Return 76, 80, 112, 118–119
premise: Assignment, writing 43; closure and 33–34; conflict and 29–31; defining 23; magnitude and 35–39; question at core of 38; truth and 23–28
primary flaw 92
primary motivating factors of character 94
primary story 56
probability, laws of 49–50, 53
psyche of character 94
Pulp Fiction (film) 70
reading, recommended 233
Resolution 78–79, 123–127, 127
Return of the King, The (film) 127
Saving Private Ryan (film) 34, 37–38, 139
scene heading 189
scene numbers 191
screenwriting: Anchor Points and 75, 80; choices in, making 138; classical narrative elements and 6; closure and 33–34; conflict and 29–31; entertainment and 218; formatting and 187–192; imitation of an action and 13–16; loglines and 41–42; in narrative evolution 6; outline and 67; Poetics and process of 4, 6; rewriting and 138, 205–212; story and 19–22, 23–28; structure in 70; successful 217–221; truth and 25–28; see also formatting; narratives; specific narrative element
secondary story 56
set-up 75–77, 114; see also Act One
Shakespeare see Hamlet; King Lear
Shawshank Redemption, The (film): action description in 171–172, 187; Act One in 110–111; Act Three in 124–125, 127; catalyst in 125, 127; character description in 163; dialogue in 179–180; setting description in 166–167
Sheinberg, S. 24
shot, paragraph as equivalent to 168
Silence of the Lambs (film) 39, 164
sluglines 189
Social Network, The (film) 113
Some Like It Hot (film): action description in 169–170; Act One in 109–110; Act Three in 124, 127; Act Two in 116–117, 120; adaptation beat in 120; Beat Sheet 143–147; Big Gloom in 127; character description in 162–163; dialogue in 178–179; Opening Hook in 112; plot of 74; Resolution in 124; setting description in 166
Sophocles see Oedipus Rex
Star Wars (film): action description in 171; Act One break in 113; Act One in 110–113; Act Three in 123, 127; Act Two in 115–116, 120; adaptation beat in 120; balance of truth and lies in 27; Beat Sheet 147–150; beginning of 34; character description in 164; dialogue in 180–181; middle of 110; plot of 73; Resolution in 123; setting description in 165–166
Stepping Stones: Act One 109–113, 115; Act Three 123–127; Act Two 115–121; putting together 129–131, 131–136; see also beats
story: A 56; B 56; beginning of 33–34, 37, 70, 72, 109; character and 20, 90; closure and 33–34; defining 20; diction and 21; as element of narrative 20–22; end of 33–34, 37, 70, 72, 123; filling in episodes and 105–107; head 56; heart 56; identity and 48; importance of 19, 22; magnitude and 14, 35–39, 140, 199; middle of 34, 37, 70, 72, 115; moral dimension of 20; passion about 28; plot versus 20; primary 56; secondary 56; song and 22; spectacle and 21; suffering and 29; theme of 213–216; thought and 20–21; see also narratives; storytelling
storytelling: Aristotle’s Guiding Precepts and good 10; catharsis and 8–9, 11; entertainment and 218; history and 26, 29, 49; learning and 218–219; lies and 24–25, 28, 217; managing life and 218; mimesis and 8–11, 16; patterns in 4, 69; Poetics and 3, 24, 217; reasons for 3–4, 7–11; see also narratives; story
structure: Anchor Points and 75; building beats of 129–131, 131–136; defining 20, 65; design patterns 73–80; filling in episodes 105–107; Poetics and 5, 65, 69, 73, 129; in screenwriting 70; sound 57; traditional 70; transformation of hero and 57; see also Act One; Act Three; Act Two
struggle 29–31, 37, 115–117, 155
subtext 177
synopsis, writing 103
taglines 41
Tally, T. 164
Tarantino, Q. 70
Thompson, C. 27
thought: character and 21, 83, 85–86, 102, 105, 213–215; story and 20–21
Tootsie (film) 181
tragedies 9
tragic flaw of character 59–63
transformation of hero 56–57, 106; see also Change of Fortune transitions, formatting 190–192
truth: dialogue and 184; general 25–28, 213–215; personal 27–28, 219; premise and 23–28; universal 24–27, 29, 214
universal truth 24–27, 29, 214
Verdict, The (film) 113
Vogler, C. 76
Wallace, E.W. 53
Wizard of Oz, The (film) 22
Writer’s Intention 154, 156, 197
writing assignments see Assignments, writing