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Got 10 minutes?
COF
the
FEE BREAK
Screenwriter
W r i t e y o u r s c r e e n p l ay.
Screenwriter
2nd Edition
Pilar Alessandra
M I C H A E L
W I E S E
P R O D U C T I O N S
Contents
Introduction xi
ABOUT THE SECOND EDITION xii
How to Use This Book xiv
CHAPTER 1: The Story 1
EMOTION TELLS THE STORY 2
CHARACTER FLAW TELLS THE STORY 3
PREMISE TELLS THE STORY 7
SECONDARY CHARACTERS TELL THE STORY 9
COMPLICATION TELLS THE STORY11
SYNOPSIZING TELLS THE STORY12
RESOLUTION TELLS THE STORY14
PLOT AND CHARACTER ELEMENTS TELL THE STORY 16
YOU TELL THE STORY17
CHAPTER 2: The Structure 21
FEATURE STRUCTURE MADE SIMPLE22
TV PILOT STRUCTURE MADE SIMPLE 23
ORGANIZING YOUR STORY24
THE STRUCTURE SHEET25
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C o n t e n ts
THE
THE
THE
THE
THE
THE
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Introduction
ouve got ten minutes. No, really, thats all youve got. After
all, you had to use your lunch hour to feed yourself. You
had to get to that meeting. You had to make that phone
call. You had to get the kids in the bath. There were things to do,
and no time to do them!
But now youve crammed your lunch in, sat through the meeting
you dont know why you took in the first place, and cleaned up
the kids. Youve managed to take a deep breath and sit down for
a second and focus perhaps for ten whole minutes. Perhaps,
even on your screenplay.
Remember your screenplay? That wonderful, visual story that
youve been dying to finish or just start. The one you keep nagging yourself to write every time you leave a movie theater and
think, I can do that!
You think you need days, weeks, years that you dont have. You
think you need to study theory, create long outlines, and carefully
pick each word before it even hits the page. You think youll never
have the time to even consider an idea, let alone write it. And
youve only got ten minutes. Ten lousy minutes.
Good enough.
If only every screenwriter were as lucky as you. Ten minutes
gives you the ticking clock every writer secretly needs: a deadline.
As a screenwriting instructor, Im an advocate of in-class writing
work that gets people writing in the moment. I give students ten
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I n t r o ducti o n
added writing tools that expand upon the world of the script. Ive
additionally provided new exercises that bring dimension to character relationship. Toward the end of the book, Ive updated pitch
templates and story examples. I even updated the pronouns to
reflect what is beginning to be a more even playing field of male
and female writers and main characters. Since the first edition, Ive
met and heard from hundreds of writers both beginning and
professional who said The Coffee Break Screenwriter streamlined
their process, helped them finish their scripts, and made them
better writers. This edition intends to build on that success, making
the writing tools accessible for all mediums: feature, TV, and web. I
hope youll enjoy this second edition as much as I enjoyed writingit.
xiii
his book will help you use your stolen ten minutes of time
to make real progress on your screenplay or television
script. Each chapter focuses on a different phase of the writing process: THE STORY, THE STRUCTURE, THE OUTLINE, THE
CHARACTERS, THE FIRST DRAFT, THE DIALOGUE, THE REWRITE,
THE CRAFT, THE FINAL EDIT, THE PRESENTATION, and THE
OPPORTUNITY.
This second edition has also allowed me to incorporate new
and additional television-writing tools. So, it doesnt matter if youre
writing a feature script or a television pilot, the chapters will help
you each step of the way.
Within these chapters there are subsections to help you work
through each phase. As you move through, youll also see Take
Ten writing tools and exercises. These have been created to help
you move through the writing process quickly and efficiently, ten
minutes at a time. When a Take Ten exercise comes up, try it out.
Not every tool is going to work for every writer. But you should be
able to find at least one new thing that will help you to brainstorm,
outline, expand, or polish your script.
At the end of each Take Ten exercise, youll see a summary of
What Youve Accomplished. This should remind you that you actually have moved forward in your story despite the short amount
of time in which youve worked. Youve finished something, theyll
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How
to
Use
T his
Book
say. So dont go back and make it perfect. Turn the page and do
somethingelse!
And, from time to time, youll also come across a Ten-Minute
Lecture. These are meant to quickly distill and demystify current
screenplay theory or common screenwriting language.
If youre just beginning a new project, Id suggest following along
chronologically, using the book to build your story from concept to
finished script. Even if youve already written a screenplay or pilot,
youll find outlining tools and writing tips that will streamline your
process.
If youre a writer who only needs help with certain areas of your
script, feel free to jump from chapter to chapter. Even skipping
around, you should find a writing tool that will work for you.
Its up to you. All I can tell you is that time is wasting, so start
writing! Youve only got well, you know!
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CHAPTER 1
The Story
While you have ten minutes, lets put these elements in order
and see what you come up with.
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TAKE TEN:
THE OVERVIEW
MAIN CHARACTER
What kind of person is he or she?
PROBLEM
What difficult situation occurs?
ACTIVITY
What does he or she do about it?
STAKES
Ultimately, what does he or she have to lose?
The
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Story
TAKE TEN:
EMOTION + ACTION = STORY
Start your main character off on an active, emotional journey by asking the
following questions:
In the beginning of my story, this event occurs: .
It makes my main character (MC) feel this way: .
So he does this: .
But that makes someone else do this: .
That event makes MC feel: .
So MC does this: .
Keep asking these questions and see how much story you can invent in
your ten minutes.
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character off on an intriguing rocky road. But sweetness, humbleness, and charity carried out to the extreme can also be flaws.
What would Its a Wonderful Life be like if the MC wasnt restless? What would the movie Whiplash have been like if the MC
wasnt obsessed with his goal? What kind of a journey would
Sophies Choice have taken if the MC wasnt in denial? What would
Sideways have been like if the MC wasnt a drinker?
In Cast Away, William Broyles, Jr. wrote a story about a man
ruled by time. He even gave the man a flaw-related job: FedEx
supervisor. Then he simply stranded this man on an island, an
island where he had all the time in the world.
Instant movie.
Lets see what trouble your flawed main character can get into
and out of. Answer the following questions and see what movie
develops.
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TAKE TEN:
THE MAIN CHARACTER FLAW BRAINSTORM
First, determine the flaw of your character. Then, discover his story by
asking the following questions:
1. K
eeping your main characters flaw in mind, whats the WORST
SITUATION he could find himself in?
2. What is the FIRST ACTION your MC would take?
3. How might that action BACKFIRE?
4. W
ho is the LEAST LIKELY PERSON who might help the MC or team up
with him?
5. What NEW ACTION might that person push the MC to take?
6. Who or what might GET IN THE WAY of this new activity?
7. How might the flaw of the MC turn into a SKILL?
8. W
hat SURPRISING FINAL ACTION could be taken that is the least likely
thing your character would have originally done?
The
Story
Character-Driven Structure
How did you structure your entire script by answering a few questions about your characters flaw? Well
Questions 13
In a movie, Act 1 usually ends when a character creates a problem
or makes an existing one worse. Its not just that something terrible
happens to him or her. The way that flawed person takes action
as a result of that event is usually the more interesting act break.
He or she makes the wrong choice and, ultimately, the adventures
within the movie lead to a better one. In a TV pilot, a main character has the same tendency, though that bad choice might launch
an entire series (such as Breaking Bad).
Question 4
In the first part of Act 2 for a movie, or Acts 2 through 4 for a TV
drama, the main character often works directly or indirectly with a
supporting character. This builds a relationship, creates a B-story,
and gives the MC someone to interact with. Making that character
the least likely choice builds tension. Will these two characters be
able to achieve a goal while also managing their personal conflict?
Question 5
The supporting character in a movie, or the ensemble of characters in a TV show, are often the outside influence that causes the
main character to take a new action or begin to change. Supporting
characters arent there just to support; theyre there to change the
game. They push; they come up with new ideas, they influence. By
the end of a movie, or by the end of a series, these new actions
may also force your character to confront his or her flaw and start
thinking differently.
Question 6
In the second part of Act 2 for a movie, or Acts 3 through 5 for
a TV drama, an opposing force often shakes things up by trying
to prevent the main character from achieving a goal. This is the
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Question 7
Now were in Act 3 of your movie or Act 5 of your TV drama. So,
how will your character ever get out of this situation? Well, your
character always had a distinguishing characteristic: his flaw. Perhaps
that could actually be of use and translate into a skill. Selfish =
survivor. Loose cannon = risk taker. Obsessive = k nowledgeable.
The goal in a movie is not to abandon what makes your MC interesting, but to use those traits to help. Looking for a key to character
development? There it is. In TV, the skill/flaw marriage is played out
week after week. The character of Don Draper from Mad Men is a
hard-drinking womanizer who also happens to be a great ad-man.
Rarely do we imagine that he could be one without theother.
Question 8
By scripts end, your MC has learned from his or her journey not
to make the same mistakes as the first time. In short, to do the
least likely thing he or she would originally have done. In a movie,
we see the MC make the correct choice instead of the wrong one
made at the Act 1 break. With this new approach, he or she finally
solves his or her problem. In TV, a procedural uses this same tactic
to solve problems all the time. By making a new choice, a character loses his or her blind spot with a suspect, and the real killer
is revealed. In a half-hour comedy, a character usually has to fix
a mess he or she has made as well, and making the right choice
is one way to do it. But dont be quick to completely solve the
problem if this is an episodic or serialized drama. You might need
an entire series to get there!
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The
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TAKE TEN:
FIND YOUR LOG LINE
What if ?
See the big idea in that one sentence? Didnt think you could boil it down
like that, did you?
Now, scratch off the what if? so you turn your statement into a workable
log line.
What if .
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TAKE TEN:
YOUR SECONDARY CHARACTERS LOG LINEs
What if ?
Love interest log line
What if ?
Mentor log line
What if ?
Best friend/family member log line
What if ?
Antagonist log line
WHAT YOUVE ACCOMPLISHED
By seeing the script through the eyes of the other characters, youve seen
them as richer individuals with their own stories. If, indeed, youve found
out that the more exciting story to tell is that of another character, dont
worry. Its early enough in your writing process to make a new choice.
The
Story
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TAKE TEN:
DISCOVER COMPLICATION
Find the big complication of your movie story or TV pilot:
Problems occur when .
The
Story
Use the Brief Synopsis template to get you there. Notice that the
Solution section presents different options. Feel free to use one
or more of these.
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TAKE TEN:
BRIEF SYNOPSIS
PREMISE WITH HOOK:
(What if) ?
COMPLICATION:
SOLUTION:
OR
Fortunately, .
OR
Tragically, .
Use descriptive, active language to help you see your movie. Characters
dont just feel; they do! Use verbs!
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TAKE TEN:
ESTABLISH YOUR LANDING POINTS
1. By the end of my script, this event needs to happen:
2. By the end of my script, this relationship needs to be established:
3. By the end of my script, this secret needs to be revealed:
4. By the end of my PILOT script, this series goal needs to be established:
The
Story
While its great to know whats going to happen at the end of your
script your sweethearts get married, your cop gets the robber,
your good guy defeats the bad guy how all that happens can be
a challenge.
Remember that audiences invest their interest and their money
in a movie or TV series in order to discover how a character will
solve a big problem. Wimp out with that solution and theyll shut
off the TV or demand their money back.
Many writers do know what the big discovery will be for their
character; they just dont know how to get there. Often, the answer
can be found in the small, clever details what I call the trigger
moments that lead to the big revelation.
In Willy Wonka and the Chocolate Factory, the entire story is
turned around by one honest moment in which Charlie returns the
top-secret new candy hes been asked to steal. His act of honesty
triggers the third-act reward.
In Casino Royale, James Bond is asked about funds he was supposed to transfer, triggering his realization that the love of his life has
betrayed him.
In Eternal Sunshine of the Spotless Mind, main character Joel
Barish is given the cassette tape that talks about his former girlfriend, triggering him to reclaim his memories.
In Homeland, the nervous tapping of fingers causes the lead
character to believe that a war hero is actually sending coded
messages to a terrorist enemy. Again, its a small moment and
ultimately a false lead but its a trigger for the main characters
revelation.
Discover your scripts major trigger by working backward from
the big revelation.
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TAKE TEN:
WORK BACKWARD TO FIND YOUR ENDING
1. S
tart with the final reveal: What does the character discover that is most
painful, shocking, surprising, or delightful?
2. Where did that person discover it?
3. What physical clue led him or her to that place?
4. What was said that triggered the character to search for that clue?
5. What event occurred that caused that character to speak the line?
6. What problem occurred that created that event?
7. How did the main characters own actions create that problem?
8. What goal did the main character have that caused him or her to
behave badly enough to create this problem?
9. What circumstances in the main characters world inspired that goal?
The
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Story
TAKE TEN:
INTENTION SHEET
Use this sheet to sum up your take ten exercises so far.
Main Character Flaw
Log Line
Secondary Character Log Line
Major Complication
Revelation Trigger
Fortunately/Unfortunately Ending
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TAKE TEN:
DESCRIBE YOUR MOVIE LIKE A BEDTIME STORY
Ten Minutes:
BEGINNING
Once upon a time, there was a
character flaw
When ________________ happened, he or she .
screw-up
So the MC decided
goal
and had to .
Ten Minutes:
MIDDLE (part 1)
In order to take this action, he or she decided to .
strategy
Unfortunately ___________________________ happened, which caused
obstacle
!
complication
Now he or she had to ____________________ or risk !
The
Story
Ten Minutes:
MIDDLE (part 2)
Where the MC once wanted to ,
old desire
he or she now wanted .
new desire
But how could that happen when ?
obstacle
Filled with __________________________, the MC .
low point
WHAT YOUVE ACCOMPLISHED
Youve used your antagonist to mess things up for your main character
and fooled the audience into thinking that theres no way out. This will
make Act 3 when your main character solves the problem feel like
even more of a victory.
Ten Minutes:
ENDING
Fortunately, this helped the MC to realize !
the solution
All he or she had to do was !
victorious action
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Unfortunately, .
final hurdle
But this time, he or she !
clever strategy
This resulted in .
change in situation
WHAT YOUVE ACCOMPLISHED
Youve drawn from your MCs journey, using the characters, skills, and
resources obtained along the way, to help solve the problem. Just to make
sure it doesnt end too neatly, youve added a final hurdle, a staple of
modern structure, to give the screenplay one last hitch.
To get here, you made up a story on the spot filling in the blanks as
you went. If any of the beats dont work for you, just replace a word.
Doing so may change the whole story!