Scriptnotes 403 - How to Write a Movie
Summary
TLDRIn this insightful episode of Scriptnotes, screenwriter Craig Mazin dives into the intricacies of screenplay structure and character development. He challenges the conventional approach to structure, emphasizing that it should not dictate the writing process but rather be an outcome of well-crafted character interactions with a central dramatic argument. Mazin illustrates how a character's journey should evolve from embodying the anti-theme to the theme through conflict, doubt, and a series of dramatic reversals. He also highlights the importance of creating an ironic and poignant narrative that pushes characters to their limits, ultimately leading to a cathartic resolution. The episode is a masterclass in understanding the thematic structure of storytelling, providing valuable insights for aspiring and seasoned screenwriters alike.
Takeaways
- đŹ **Structure as a Symptom**: Craig Mazin emphasizes that structure in a screenplay isn't a formula to follow but a symptom of a well-written character's relationship with the central dramatic argument.
- đ¶ **Creating Characters**: A character-driven approach is crucial; characters should evolve around a meaningful central argument, not just fit into a structural template.
- đ **Understanding Theme**: The theme, or unity, is the central dramatic argument of the story. It's what the story revolves around and what the protagonist will eventually embody through action.
- đ€ **Ignorance to Embodiment**: The purpose of the story is to take the protagonist from ignorance of the theme to full embodiment of it, signifying a transformative journey.
- 𧩠**Disrupting Stasis**: The inciting incident should disrupt the character's stasis, forcing them to leave their comfort zone and confront the central argument.
- đ **Desire for Return**: Initially, the protagonist's goal is to return to their previous state of stasis, which is often characterized by a belief in the anti-theme.
- đ€ **Rational Heroes**: Heroes should be rational, capable of recognizing a better way of living, even if fear initially keeps them from it.
- đš **Fear and Vulnerability**: Fear is a key element that drives empathy for the character and is central to their transformation.
- đ **Dramatic Reversal**: The story should include dramatic reversals that test the character's beliefs and push them towards the theme.
- đ **Defining Moment**: The climax of the story presents a defining moment where the character must act in accordance with the theme, proving their transformation.
- âš **Catharsis and Resolution**: The narrative should lead to a cathartic resolution where the character's actions and the story's outcome are harmonious with the theme.
Q & A
What is the main topic of discussion for Craig Mazin in this episode of Scriptnotes?
-Craig Mazin discusses the structure and character development in screenwriting, sharing his theory on how to write a movie.
Why does Craig Mazin believe that traditional screenplay structure is a 'trap'?
-Craig Mazin believes that traditional structure is a 'trap' because it is often taught from an analytical perspective, which is not helpful for the creative process of writing from scratch.
What is the purpose of the inciting incident in a screenplay according to Craig Mazin?
-The purpose of the inciting incident is to disrupt a character's stasis, making the continuation of balance and stasis impossible and forcing a choice upon the character.
What is the role of theme in Craig Mazin's approach to screenwriting?
-Theme, or unity, is central to Craig Mazin's approach. It is the glue that holds the changes in a story together and is the central dramatic argument that a character's journey revolves around.
How does Craig Mazin describe the process of creating a story?
-Craig Mazin describes the process of creating a story as taking a character from ignorance of the theme's truth to the embodiment of the theme through action.
What is the significance of the 'ordinary world' in the beginning of a story?
-The 'ordinary world' signifies the protagonist's life that exemplifies their ignorance of the theme. It is a state of stasis that the character has settled for, which will later be disrupted.
What is the term used by Aristotle that Craig Mazin refers to as 'theme'?
-Aristotle used the term 'unity' which Craig Mazin refers to as 'theme' in the context of a central dramatic argument in a story.
Why does Craig Mazin emphasize the importance of a character's fear in storytelling?
-Craig Mazin emphasizes a character's fear because it is the heart of empathy, allowing the audience to connect with the character on a deeper level.
What is the irony involved in the story of Jose Fernandez as told by Craig Mazin?
-The irony is that Jose Fernandez, who saved his mother from the water, dies in a boating accident, suggesting a strange kind of order to the universe, even when it results in tragedy.
How does Craig Mazin suggest a writer should treat their characters?
-Craig Mazin suggests that a writer should treat their characters as if they were gods, creating tests and challenges for them, pushing them to grow and change in relation to the theme.
What is the fundamental difference between the first and last scene of a hero's journey in a movie, as described by Craig Mazin?
-The fundamental difference is that in the beginning, the hero acts in accordance with the anti-theme, while at the end, the hero acts in accordance with the theme, signifying their transformation.
Outlines
đïž Podcast Introduction and Solo Episode Announcement
Craig Mazin introduces himself as the host of Scriptnotes, a podcast focusing on screenwriting. He mentions that this is Episode 403 and it's unique because he is the only host, with no guest, as John is visiting family in Colorado. Mazin expresses his excitement about discussing screenwriting structure and character, a topic he has covered at the Austin Screenwriting Film Festival. He also talks about an upcoming live show in Los Angeles benefiting Hollywood Heart, with a notable lineup of guests.
đ The Misguided Focus on Screenplay Structure
Mazin critiques the common approach to teaching screenplay structure, arguing that it's often analyzed from a wrong perspective. He emphasizes that structure should not be a rigid set of guidelines but a natural outcome of well-written characters interacting with a central dramatic argument. Mazin asserts that structure is not a tool but a symptom of good writing and that real writers focus on character development rather than adhering to a structural template.
đ§ The Philosophy of Storytelling and Basic Structure
The discussion shifts to the philosophy behind storytelling, questioning why certain structural elements like three acts and inciting incidents are prevalent. Mazin ponders the origin of these concepts and their necessity. He touches on how humans naturally create narratives and that actors embody characters who never forget their motivations. Mazin also explains the three axes of story change: internal, interpersonal, and external, and how they are represented in scenes through the Hegelian dialectic.
đ The Role of Theme in Unifying a Story
Mazin delves into the concept of theme, or unity, as described by Aristotle. He stresses that a theme should be a central dramatic argument rather than a vague concept. Mazin advises that while the theme itself doesn't have to be revolutionary, the execution around it should be interesting. He also suggests that a good screenplay can be built around a clichéd theme if it's well-executed.
đ The Transformational Journey from Anti-Theme to Theme
The focus is on how a story's purpose is to transition a character from ignorance of the theme to embodying it through action. Mazin explains the importance of starting a story with a protagonist in an ordinary world that reflects their anti-theme beliefs. He outlines the role of the inciting incident in disrupting the protagonist's stasis and forcing them to make choices, setting the stage for their transformative journey.
đœ The Descent into the Second Act and the Introduction of Doubt
Mazin discusses the second act, emphasizing that it should be a source of excitement rather than fear. He advises reinforcing the anti-theme through new experiences for the hero, creating tension and motivation for the character to return to their original state. Mazin also talks about introducing an element of doubt that challenges the protagonist's beliefs and leads to a moment of acting in harmony with the theme.
đą The Emotional Rollercoaster of the Midpoint and Reversal
The midpoint change is explored as a moment of realization for the hero that their anti-theme beliefs may not be sufficient. Mazin uses examples from Finding Nemo and the real-life story of Jose Fernandez to illustrate the power of dramatic irony and reversal in storytelling. He encourages writers to use irony to push their heroes back towards their old ways after tempting them with a glimpse of the theme.
đ The Defining Moment and the Path to Catharsis
Mazin describes the third act as the defining moment for the protagonist, where they face their worst fear and greatest challenge. He emphasizes that the hero must prove their belief in the new theme through action, leading to a resolution of the story and their life. Mazin also discusses the importance of the relapse, where the hero is tempted to revert to their old ways before ultimately embracing the theme.
đ Crafting Characters Through Theme and Anti-Theme
In the final paragraph, Mazin advises on creating characters by considering the theme and designing a story that guides the character from the anti-theme to the theme. He stresses the importance of making characters active in their choices and not passive recipients of the plot. Mazin concludes by encouraging writers to embrace the challenge of storytelling and to torture their heroes to create compelling narratives.
Mindmap
Keywords
đĄStructure
đĄCharacter
đĄCentral Dramatic Argument
đĄInciting Incident
đĄStasis
đĄAnti-Theme
đĄTheme
đĄDefining Moment
đĄCatharsis
đĄIronic Disruption
đĄDenouement
Highlights
Craig Mazin discusses the importance of structure and character in screenwriting, emphasizing that structure is a symptom of a characterâs relationship with a central dramatic argument.
He argues against rigid structural forms, stating that they are synthetic and not how great writers create.
Mazin introduces the concept that structure isn't a tool but a result of writing well, and it manifests from the character's journey around a meaningful argument.
The podcast covers the three-act structure and questions the 'why' behind common structural elements like the inciting incident and low point.
Mazin explains that humans naturally create narratives and that this innate ability should inform the writing process more than strict structural guidelines.
He introduces the idea that every scene in a script follows the Hegelian dialectic, starting with a thesis and leading to a synthesis that becomes the new thesis.
The concept of theme as unity is explored, with Mazin suggesting that the theme is the central dramatic argument that a screenplay revolves around.
Mazin emphasizes that the theme should be an arguable point, not a vague concept, providing examples of strong and weak themes.
He outlines the purpose of a story as taking the protagonist from ignorance of the theme to embodiment of it through action.
The discussion includes the importance of introducing an element of doubt in the second act to challenge the protagonist's beliefs.
Mazin explains the necessity of a defining moment in the third act where the protagonist's faith in the theme is tested.
The concept of dramatic reversal is introduced, where the story punishes the hero to reinforce their journey and transformation.
Mazin stresses the importance of the protagonist's rationality and their capacity to change, which is often impeded by fear.
He provides a real-life example of irony in storytelling, using the story of Major League Baseball pitcher Jose Fernandez.
The transcript includes practical advice on creating a compelling second act by focusing on the protagonist's internal journey and challenges.
Mazin discusses the role of the writer as a 'cruel god,' designing narrative obstacles that force the character to grow and change.
The importance of the denouement in showing the character's new synthesis with the theme is highlighted.
Finally, Mazin encourages aspiring screenwriters to focus on the character's thematic journey and to embrace the complexity of the writing process.
Transcripts
Craig Mazin: Hello and welcome. My name is Craig Mazin and this is Episode 403 of Scriptnotes,
a podcast about screenwriting and things that are interesting to screenwriters.
On todayâs show, something we have never done before. Itâs just me. No guest. No
John. Heâs off visiting family I believe in Colorado. So itâs just me today. And
weâre going to do something that Iâve been looking forward to doing for a long time.
Iâm going to be talking to you today about structure and character. Iâm kind of giving
you my whole theory on how to write a movie.
I know it sounds like a lot. And it is a little bit of a lot. Itâs a talk that Iâve done
at the Austin Screenwriting Film Festival a number of times. I havenât done it in
a while. And I feel like their exclusive right to it has ended, so now Iâm giving it to
you. This is sort of my how-to write a movie.
But before we get into that we do have a little bit of business to go through. And itâs
about our live show. Our next live show, weâve talked about this before. Itâs going to
be on the evening of Thursday, June 13 here in Los Angeles at the Ace Hotel which is a
beautiful venue. And it is benefiting Hollywood Heart. We do this every year. Itâs a great
charity.
We have probably the best guest lineup weâve ever had. We have Alec Berg, the showrunner
of Silicon Valley and Barry. We have Rob McElhenney, showrunner of Itâs Always Sunny in Philadelphia.
We have Kourtney Kang, writer of Fresh Off the Boat. And we have Melissa McCarthy and
Ben Falcone. And by the way thatâs â Melissa McCarthy and Ben â Iâm not talking about
other Melissa McCarthy and Ben Falcones that you donât know. I mean the ones you know.
Those.
It is just about the most comedy firepower I think we can ever assemble on one stage
for this show. Youâre not going to want to miss it. Tickets I believe are still available
but weâre getting close to running out, so take a look at the link in the show notes
and get your tickets.
All right. Letâs get into it. So when we talk about writing a script a lot of times
weâre talking about structure. There are, I donât know, four million books about structure.
I went online and I looked for just images based on screenplay structure and what I saw
was kind of mind-blowing. There are these long narrow lines with little ticks on them
and then thereâs a pie chart. And then thereâs a swirly thing that kind of looks like a snail
shell. Thereâs a triangle. Thereâs a diamond. I think thereâs a parallelogram. And if
thereâs not a trapezoid maybe one of you can get on that.
All of this is designed to help you learn how to structure a screenplay. Hereâs the
problem. All of it is done from the wrong end. All of it. Itâs all done from the point
of view of analysis. They look at things, they take them apart, and then they say, look,
all these pieces fit into this swirly shape, or this diamond. The issue is thatâs not
going to help you actually write anything because when you write youâre starting from
scratch. Youâre not breaking something apart. Youâre building something out of nothing.
And when youâre building something out of nothing you need a different set of instructions.
I can think of a doctor who takes bodies apart. Thatâs a medical examiner or a coroner.
Thatâs not the doctor you want to go to to make a baby for instance. Itâs just a
very different thing, right? So weâre going to come at it from the point of view of making
babies and your baby is your script. Donât worry, weâre going to keep this safe for
work.
So, structure. Structure, structure, structure. Screenplay is structure. You need to know
how to do your structure. Structure Iâm here to tell you is a total trap. Yes, screenplay
is structure, but structure isnât what you think it is. Structure doesnât say this
happens on this page, this happens on that page. Hereâs a pinch point. Hereâs a stretchy
point. Hereâs a midpoint. Structure doesnât tell you what to do. If you follow strict
structural guidelines in all likelihood you will write a very well structured bad script.
Structure isnât the dog. Itâs the tail. Structure is a symptom. Itâs a symptom of
a characterâs relationship with a central dramatic argument. Take a moment. Think about
that for a second. Iâll repeat it. Structure is a symptom of a characterâs relationship
with a central dramatic argument. Structure isnât something you write well. Itâs something
that happens because you wrote well. Structure is not a tool, it is a symptom.
When we think of rigid structural forms I have to tell you thereâs nothing honest
about them. Thereâs nothing true about them. Theyâre synthetic. Thereâs never been
one single great writer who created one single great screenplay following a structural template.
Not one.
What real writers follow are their characters. And what great writers follow are their characters
as they evolve around a central dramatic argument that is actually meaningful to other human
beings. Let me stop for a second and tell you that we are going to get into real practicals
but for a bit now weâre just going to talk a little bit of philosophy. First, letâs
consider what we call basic structure. Thereâs a Syd Field point of view. You have your three
acts, your inciting incident, act break escalation, magical midpoint character shift, third act
low point, and kick off to climactic action.
We also have the Chris Vogler Heroâs Journey, ordinary world, call to action, refusal of
call, acceptance of call, and blah, blah, blah. Save the Cat is a lot of stuff.
Thereâs a lot of what to do but whereâs the why? Who came up with this stuff in the
first place? Why is it there? Why are there three acts at all? Why is there a low point?
Why do we like it when thereâs an inciting incident? Why do we like it when thereâs
a low point? If we donât know why those things are there how are we supposed to know
how to write them? Because we process the world through our consciousness and our consciousness
is sort of a natural storyteller, all of us are actually walking around doing this right
all the time. We just donât know it. Weâre narrativizing our own lives better than most
who try and do it on purpose on Fade In or WriterDuet, or Highland2. I donât know any
other software.
Right now youâre sitting there, youâre riding along in your car, youâre being passive.
You are accepting this structure talk, wondering when Iâm going to get to the practicals.
And I will. But later if someone asks you about this experience youâre having you
will naturally, without thinking, create a story. You wonât have to consult a graph
or a chart or a swirly thing. Youâll just tell the story.
Hereâs a story. I listened to a podcast. It was on the following topics. Reasonable
people could agree or disagree. Anyway, Iâm the same. Thatâs not a very good story,
is it?
Hereâs another story. I was listening to a podcast and it was OK, it was sort of a
little boring, but then the person said this one thing and it reminded me of something
else Iâd heard once and that tied back to this moment in my life where something really
interesting happened. And now Iâm wondering maybe if I was wrong about that thing and
I should be doing it this way instead. Huh. There you go. And that story has character,
meaning you. That story is about you and maybe itâs about me. Itâs about a relationship
that weâre having right now through this podcast, for better or worse.
And if you were to relay this story, this experience, you might share some parts of
this that you thought were interesting or some parts that you thought were stupid, but
you will naturally contextualize it as such. This moment in time did or did not help you
in your desire to change. We live our lives this way, but when we sit down to write we
somehow forget. You know who never forgets? Actors. They have to get it because they are
the characters and we are experiencing them as the characters.
So thereâs that old clichĂ© line: whatâs my motivation? Well itâs not a joke. Believe
it or not that is the key to structure. What is the purpose of all this storytelling that
we engage in, all this narration? Well, narration helps us move through a changing world. And
story is about a change of state. There are three basic ways your story changes. And this
applies I think to every possible story.
The first way is internal. This is what is going on inside the characterâs mind. This
is the things theyâre thinking, theyâre feeling, their emotions. And this axis goes
all over the place. It zigzags up and down. Then thereâs interpersonal. Thatâs the
main relationship of your story. It has a start, it has an end. It usually begins in
a kind of neutral way. Then depending on how your story unfolds it can dip and then rise
and then plummet and then spike. And finally you have the external axis. Thatâs the narrative,
the plot, the things that are going on around you. And that generally is just a straight
line. Start to end.
All of this is made up of scenes. And within scenes weâre doing something that follows
the Hegelian dialectic. Calm down. You donât need to look it up. Iâll help you out. The
Hegelian Dialectic basically is a way of thinking about how we formulate ideas and thoughts
and arguments. You take a thesis. Thatâs a statement. Something is true. And then you
apply to that an antithesis. No, thatâs not true and hereâs why. Those things collide
and in theory what results from that is a new thesis called the synthesis. And that
starts the whole process over again. That synthesis becomes a thesis. Thereâs an antithesis.
A new synthesis. That becomes a thesis. Constant changing. Every scene begins with a truth,
something happens inside of that scene. There is a new truth at the end and you begin, and
you begin, and you begin.
And who is the person firing these antitheses at these theses? You.
So, as we go through this talk never forget this one simple fact. At any given moment
as you begin a scene you have a situation that is involving those three axes and you
are going to fire something at at least one of them to make something new. That is all
story is. But what is the glue that holds all those changes together? Whatâs the glue
that you the creator can use to come up with your antitheses and get your new syntheses
and do it over and over again?
And that brings us to theme. Theme is otherwise known as unity. Unity is a term that was first
used by Aristotle in Poetics and this is one you actually should read. I know youâre
like, Aristotle? Hegel? Hegelian guy. Calm down. Itâs fine. In fact, Aristotle was
really a contemporary writer in his own way. Poetics is an easy read. It will take you
about 30 minutes. Itâs a pretty good bathroom book. And in it youâll find a lot of things
that we hear today, like for instance the worst kind of plot is an episodic plot. Well,
thatâs pretty much true.
What did he think of unity or theme? Well basically theme is your central dramatic argument.
Some of those arguments are interesting. Some of them are a little cliché. And the quality
of the argument itself isnât necessarily related to the quality of the script. For
instance, you can have a really good screenplay built around you canât judge a book by its
cover. Thatâs OK. The theme itself doesnât have to be mind-altering or, I donât know,
revolutionary. Itâs your execution around it thatâs going to be interesting.
But the important thing is that the argument has to be an argument. I think sometimes people
misunderstand the use of theme in this context and they think a theme for a screenplay could
be brotherhood. Well, no. Because thereâs nothing to argue about there. Thereâs no
way to answer that question one way or the other. Itâs just a vague concept.
But, man and women canât just be friends, well, thatâs an argument. Better to be dead
than a slave. Life is beautiful, even in the midst of horrors. If you believe you are great,
you will be great. If you love someone set them free. Those are arguments.
Screenplays without arguments feel empty and pointless. You will probably get some version
of the following note. What is this about? I mean, I know what itâs about, but what
is it about? Why should this movie exist? What is the point of all this?
Now, itâs really important to note you probably donât want to start with an argument. Thatâs
a weird way to begin a script. Usually we think of an idea. And thatâs fine. But when
you think of the idea the very next question you should ask is what central dramatic argument
would fit really well with this? And ideally youâre going to think ironically. For instance,
letâs talk about this idea. A fish has to find another fish who is somewhere in the
ocean. Got it. The animators will love it. Water. Fish. Cool.
OK, letâs think of a central dramatic argument. How about if you try hard enough you can do
anything, even find a fish? Thatâs a bit boring, isnât it? How about sometimes the
things weâre searching for are the things that we need to be free from? Well, OK. Thatâs
an interesting argument. Iâm not sure how it necessarily is served or is being served
by this idea of a fish in the ocean. How about you canât find happiness out there, you
have to find it within yourself? That could work. Thatâs sort of Wizard of Oz-ish.
But letâs go really ironically. How about this one? No matter how much you want to hold
onto the person you love, sometimes you have to set them free. Well, that is pretty cliché
but it is a great central dramatic argument to pair with a fish needs to find another
fish. Because when youâre looking for somebody out there in the deep, deep ocean you the
writer know that what youâre promising is theyâre going to find them and then have
to let them go anyway. And that is starting to get good.
All right. Letâs get into some practicals, shall we? Because this is thematic structure.
This is going to help you write your script. In thematic structure the purpose of the story
â and listen carefully now â the purpose of the story is to take a character from ignorance
of the truth of the theme to embodiment of the theme through action. I shall repeat.
The purpose of the story is to take your main character, your protagonist, from a place
of ignorance of the truth or the true side of the argument youâre making and take them
all the way to the point where they become the very embodiment of that argument and they
do it through action.
So, letâs talk about how we introduce. We begin in the beginning with the introduction
of a protagonist in an ordinary world. Youâve probably heard this a thousand times. But
why? Sometimes movies donât start ordinarily. You probably saw Mad Max: Fury Road. If you
didnât, do so. Well, thereâs no ordinary beginning there. I mean, itâs crazy from
the jump. Ordinary doesnât mean mundane. Although sometimes it can.
What ordinary means here is that the protagonistâs life essentially exemplifies their ignorance
of the theme, of the argument that you want them to believe eventually. In fact, they
believe the opposite of that argument. Thatâs how they begin. Typically in the beginning
of a story your main character believes in the opposite of the theme and they have also
achieved some kind of stasis. Thereâs a balance in their life. In fact, their ignorance
of that theme has probably gotten them to this nice place of stasis and balance. It
doesnât mean theyâre happy. What it means is that without the divine nudge of the writer-god
their life could go on like this forever. Itâs not a perfect life. Itâs not the
best life they could live but itâs the life theyâve settled for. Their stasis is acceptable
imperfection.
If weâre going to circle back around to my favorite fish movie, Marlin can live with
a resentful son as long as he knows his son is safe. Thatâs acceptable imperfection.
I get it. Nemo resents me. Heâs angry at me. He feels stifled by me. Thatâs OK. Heâs
alive. I can keep going this way.
And then along comes you, the writer. Your job is to disrupt that stasis. So you invent
some sort of incident. Ah-ha. Now we know the point of the inciting incident. The point
of the inciting incident is not to go, âOh god, a meteor!â The point of the inciting
incident is to specifically disrupt a characterâs stasis. It makes the continuation of balance
and stasis and acceptable imperfection impossible. It destroys it. And it forces a choice on
the character.
OK, but why? Iâm just going to keep asking that question. But why? But why? But why?
Why do you have to do this to this poor character? Because you are the parent and you have a
lesson to teach this person, or animal, or fish. Your motivation is part of your relationship
to your character. You donât write an inciting incident. You donât write push character
out of safety. That gives you no real guidance to let something blossom. What you write is
an ironic disruption of stasis. Ironic as in a situation that includes contradictions
or sharp contrasts that is, and hear me out, genetically engineered to break your characterâs
soul.
Youâre going to destroy them. You are god. And you are designing a moment that will begin
a transformation for this specific character so you have to make it intentional. It can
be an explosion, or it can be the tiniest little change. But itâs not something that
would disrupt everyoneâs life the way itâs disrupting this personâs life. You have
tailored it perfectly and terribly for them.
So, whatâs the first thing your character wants to do when this happens to them? Well,
it theyâre like you or me theyâre going to immediately try and just get back to what
they had. They have to leave their stasis behind because youâve destroyed it, but
everything theyâre going to do following that is done in service of just trying to
get it back. Shrek doesnât have his swamp, so he has to go on a journey so he can get
his swamp back. The point here is that the hero has absolutely no idea that there is
a central dramatic argument. Theyâve made up their mind about something and their mind
has not changed.
Your heroes should be on some level cowards. I donât mean coward like shaking in your
boots. I mean coward like I donât want to change. Iâm happy with the way things are.
Please just let me be. And underlining that is fear. And fear, especially in your character,
is the heart of empathy. I feel for characters when I fear with them. It is vulnerability.
Itâs what makes me connect. Every protagonist fears something.
Imagine a man who fears no other man. He doesnât fear death. He doesnât fear pain. But, ah-ha,
fill in that blank. But the point is it has to be filled in. You can feel it, right? Like
heâs going to have to fear something. Because fear is our connection to a character. And
a fearful hero should have lived their lives to avoid the thing theyâre afraid of.
You, are taking their safety blanket away. So I want you to write your fearful hero honestly.
What do they want? They want to return to what they had. They want to go backwards.
And believe it or not that is the gift that is going to drive you through the second act.
The second act.
Oh, the thing thatâs so scary. No. No, you should be excited about it. Let me take a
break for a second and say that everything Iâm talking about here is mostly to serve
the writing of what I would call a traditional Hollywood movie. That doesnât mean. It doesnât
mean clichĂ©. It doesnât even mean formulaic. It just means itâs a traditional narrative.
So, I donât know, if youâre looking to be a little more Lars von Trier about things,
well, I donât know how interesting or helpful this is going to be. But Iâm presuming that
most of you just want to write a general kind of movie that conforms to a general kind of
movie shape.
So this is how weâre going to help you do it. And the second act is the part that I
think freaks people out the most. They get scared. But I think you should be excited
about pages 30 to 90 roughly. Please do not quote me on those numbers. But first, are
you getting it? Have you stopped thinking about plot? Have you stopped thinking about
plot as something to jam characters into? Because when you do that thatâs why you
run out of road in your second act. You ran out of plot because it wasnât being generated
by anything except you.
Ah-ha. But when you start thinking of your plot as not something that happens to your
characters but what you are doing to your characters thatâs when you can lead them
from anti-theme to theme. How do we do it?
First, we reinforce the anti-theme. That might sound a little counterintuitive but hear me
out. Youâve knocked your hero out of their acceptable stasis. They are now on the way
to do whatever they need to do to get back to it. The hero is going to experience new
things. And I want you to think about making those new things reinforce her belief in an
anti-theme. Because this is going to make them want to get back to the beginning even
more. Oh, itâs delicious. Weâre creating a torture chamber basically. Keep thinking
that way.
Imagine your hero is moving backwards against you and you push them forward and they push
back. Ah-ha. Good. Design moments to do this. Youâre going to keep forcing them forward,
but youâre also going to put things in their path that make them want to go backwards.
Thatâs tension. Thatâs exciting. And more importantly when they do get past those things
it will be meaningful. You want to write your world to oppose your characterâs desires.
So, youâre going to reinforce their need to get back. Ah-ha. So, letâs see, Marlin
wanders out into the ocean. His theory is the ocean is really, really dangerous. What
should the first thing be? Maybe letâs have him meet some sharks. And actually, oh, you
know what, theyâre not scary at all. Oh god, yes they are. The ocean is in fact way
worse than he even imagined. Thatâs what you need to do. He needs to get his son back
really, really soon so he can return to stasis. And then when youâve done that youâre
going to introduce an element of doubt.
Something or someone lives in a different way. Someone or something in your story is
an example of the life of theme rather than the life of anti-theme. So remember, your
hero believes in one side of the central dramatic argument. Itâs the wrong side. You want
them to believe the other one. OK, but they believe the wrong one. They need to run into
someone or something that believes in the right side of it. This element of doubt creates
a natural conflict for the protagonist because of course I believe this, you believe that.
But itâs also attractive to them on some level because â and again, really important.
Your hero is rational. This is a critical component of a good hero. You are dealing
with somebody that probably lives irrationally, fine, but they have to have the capacity to
see that maybe there is a better way.
Youâre living things maybe the wrong way but you need the capacity to see things going
the right way. It is fear that separates the irrational hero from their rational potential.
And because theyâre rational when they get a glimpse of this other way of being theyâre
going to realize thereâs value to it through circumstance or accident or necessity or another
characterâs actions. These are all things youâre inventing, but hereâs why â the
hero is going to experience a moment of acting in harmony with the right side of the central
dramatic argument.
This could involve their own action or it could be something that they watch someone
else do or something they experience passively. But this is why the magical midpoint change
occurs. See, now you know why. Youâre not just doing it because a book said. These things
generally happen in the middle of the movie because our heroâs belief system has been
challenged. There is an element of doubt. There is not a willingness to go all the way
and believe the other side of the argument yet. They may not even understand the other
side of the argument.
Thereâs only a question that maybe for the first time they have to wonder if their side
of the argument that they started with, the anti-theme, maybe it doesnât explain or
solve everything. Have I been living a lie? Thatâs whatâs happening in the middle
of a movie.
So, remember in Finding Nemo thereâs a moment where because Marlin has to rescue Dory from
this field of jellyfish he invents a game. She forces him to do something that he normally
wouldnât do. Play. Heâs doing it for the old Marlin reasons of neurosis, but itâs
working. Sheâs following him. And as heâs doing it he gets a glimpse of what itâs
like to live without fear. He gets a glimpse of what itâs like to be carefree. To not
worry so much. To be, well, a little less conservative with your own life. And he loves
it.
And then what happens? She gets stung. Oh, glorious. And that gets us to this reversal
of theme. The very moment your hero takes the bait that you put there to think about
maybe switching sides â maybe switching sides of the argument â you need to hammer
them back the other direction. The story has to make them shrink back to the old way. Dory
almost dies in the jellyfish. And why? It happened because Marlin decided in a moment
out of necessity to have fun and then forgot himself, forgot his fear. And whatâs the
price of forgetting fear and not being vigilant? Pain and tragedy. The tragedy of the beginning
is reinforced and the hero retreats once again.
Ah. Itâs good stuff. And it means you have to be kind of mean. Sadistic really. But it
turns out that these are the kinds of things we want out of our narrative. Itâs the essence
of what we call dramatic reversal.
Iâm going to put aside the examples from Pixar for a second and Iâm going to talk
about somebody real. Thereâs a guy named Jose Fernandez. This is a true story. Jose
Fernandez is born in Cuba and at the age of 15 he escapes Cuba with his mother and his
sister and many others, all packed in a very small boat. And during the difficult village
he is awakened to the sound of someone yelling. That someone has fallen overboard.
And Jose, 15 years old, doesnât hesitate. He dives into the choppy water to save whoever
it is. And itâs only when he drags this person back onto the boat does he realize
he has saved his own mother. Wow.
Jose Fernandez grows up, heâs a hell of an athlete. He goes on to pitch. Major League
baseball pitcher. And heâs really good. In fact, he is the National League Rookie
of the Year. And heâs an All Star. His future isnât just bright, it is glorious. Jose
Fernandez is living the American dream and I donât know how much you know about baseball
but ace pitchers they get paid hundreds of millions of dollars.
But at the age of 24 Jose Fernandez dies. He doesnât die from illness. He doesnât
die from violence. He dies in an accident. But not a car accident. He dies in a boating
accident. A boating accident. Now, do you feel that? Do you feel more than you would
if I had said he died of a blood clot? Well, why? I mean, death is death. Why does this
detail of the boating accident make you feel more?
Because itâs terribly ironic. Because this is a guy who saved his own mother from water
and then he dies in water. It implies that thereâs a strange kind of order to the universe
even when that order hurts. And this is where we start to pull irony out of drama. This
is essential to your choices when you decide how youâre going to push back against your
hero. How youâre going to hammer them back. How youâre going to punish them.
Think about that Pixar Short, Lava. And I talk about Pixar all the time because itâs
just pure storytelling and theyâre really, really good at it. So he thinks heâs alone.
Heâs a volcano in the ocean. He thinks heâs alone. And then he discovers heâs not alone.
But when he discovers that he also discovers that sheâs facing the wrong way and she
canât see him. And he doesnât know how to sing anymore. So she doesnât even know
heâs there. Oh, thatâs terrible. Itâs unexpected. Itâs contradictory. And itâs
ironic. And thatâs exactly what you want to do.
So, consider the irony thatâs involved with Marlin. Marlin is worried that he has lost
his son. Every parent who loses a child, even for an instant in a mall, is scared. But thatâs
not enough. Letâs talk about what the people at Pixar understood they needed to do to this
character from the very start to punish him so that his journey would be that much more
impressive. Itâs not enough to say, look, you love your kid, your kid is lost, youâve
got to go find your kid. Everybody loves their kid, right?
OK. But they go a step further. They say, you know what, thereâs no mom in the picture.
Mom died. Itâs just you. Youâre a single dad. Youâre the only parent. Youâve got
to find your kid. No, thatâs not enough. How about this? How about your wife and all
of your other children were eaten in front of you because you couldnât protect them?
And the only kid you had left out of all of that, the only memory you have of your wife
and your happy life before is one tiny egg. One kid.
And that is still not enough. And this is why Pixar is so amazing. Because they knew
that the further they went the more we would feel at the end. Itâs not enough that he
only has one kid. When he looks at that little egg he can see that the one kid thatâs left
is disabled. He has a bad fin. Now itâs enough. Now you have created the perfect circumstance
for that individual, you cruel, cruel god of story.
Now I know why heâs so panicked that that kid is somewhere out there in the ocean. When
youâre designing your obstacles and your lessons and the glimpses of the other way
and the rewards and the punishments and the beating back and the pushing forward, keep
thinking ironically. Keep thinking about surprises that twist the knife. Donât just stab your
characters. Twist the knife in them. If someone has to face a fear make it overwhelming to
them. Donât disappoint them. Punish them.
Make your characters lower their defenses by convincing them that everything is going
to be OK and then punch them right in the face, metaphorically.
So, sorry to tell you that as a writer you are not the New Testament god who turns water
into wine. You are the Old Testament god who tortures Job because, I donât know, it seems
like fun. And when youâre wondering where to go in your story and what to do with your
character ask this question: where is my hero on her quest between theme and anti-theme?
Or I guess I should say between an anti-theme and theme. And what would be the meanest thing
I could do to her right now? What would be the worst way to do the meanest thing right
now? Then do it. And do it. And do it again until the hero is left without a belief at
all.
So as the demands of the narrative begin to overwhelm the hero, the hero begins to realize
that her limitations arenât physical but thematic. Think about Marlin. I promised that
I would never let anything happen to him. But then I suppose nothing ever would happen
to him. Thatâs what Dory says. And Marlin knows sheâs right. He knows that if all
he does is basically lock his kid up to prevent anything bad from happening to his kid nothing
good will happen to his kid. The kid wonât have a real life.
So, now what? Well, the answer is obvious, right? If you love someone let them go. And
Iâm sure that at that point in the movie if you ask Marlin that he would say, âI
suppose thatâs the thing that Iâm supposed to believe.â But they canât do it. Not
yet. In fact, youâre going to want to have a situation where they have a chance to do
it. And they fail at it in some important way because they donât really accept the
central dramatic argument you want for them. They just lost the belief in their original
point of view. Theyâre trapped between rejection of the old and acceptance of the new. They
are lost. Their old ways donât work anymore. The new way seems impossible or insane.
Shrek doesnât want his swamp back anymore. He wants love, but he is also not willing
to do what is required to try and get it. Heâs trapped. And this is why they call
it the low point. Itâs not random. Itâs not the low point because the books say page
90 is the low point. Itâs the low point because your character is lost and in a whole
lot of trouble.
Their goal in the beginning, which was to go backwards to the beginning to achieve stasis,
to re-achieve stasis, that goal is in shambles. Their anti-thematic belief, whatever it was
that they clung to in the beginning of this story, itâs been exposed as a sham. And
the enormity of the real goal that now faces them is impossibly daunting. They canât
yet accept the theme because itâs too scary. When your core values are gone and when you
arenât ready to replace them with new values, well, you might as well be dead. And this
is why people go to movies.
So, granted, we love the lasers, we love the explosions, we love the ka-boom, and we love
the sex, and we love the tears, but what we need from drama â and when I say drama I
mean the drama of comedy and the drama of drama â what we need are these moments where
we connect to another personâs sense of being lost. Because we have all been lost.
And thatâs why the ending is going to work. Because without this there can be no catharsis.
Catharsis comes from the Greek word for vomiting Iâm pretty sure. So just think of a lot
of your plot as shoving really bad food down the throat of your hero because thatâs how
youâre going to get to this catharsis.
Now, I want to say that these approaches donât help you map out a second act. What these
approaches do is help you develop your character as they move through a narrative. And that
narrative is going to impact their relationship to theme. And when you finish that movement
of this character interacting with story so that their relationship to the theme is changing
from I donât believe that to, OK, I donât believe what I used to believe but I canât
believe that yet, suddenly youâll be somewhere around the end of the second act.
And here is the big secret. John and I have said this many, many times. There are no acts.
So you canât really be scared of the second act. It doesnât exist. Itâs not some sort
of weird wasteland you have to get through. Itâs just part of one big piece. Thereâs
one act. Itâs called your story. And now we get to the third act, sorry, end of your
one act. And this is the defining moment. Your character needs to face a defining moment.
And this defining moment is their worst fear. It is their greatest challenge. This is the
moment that will not only resolve the story that youâre telling but it will resolve
the life of your character. This moment will bring them to a new stasis and balance. Remember
synthesis, thesis, antithesis, synthesis. Here we are again.
But what are you going to do? You have to come up with this thing. This is the difference
between what Iâm saying to you now and what a lot of books say. Books will say, âDefining
moment goes here.â And Iâm saying, yeah, but how? What makes it so defining? Youâre
going to design a moment that is going to test your protagonistâs faith in the theme.
They need to go through something where they have to prove that they believe this new theme.
They have to prove it. Itâs not enough to say, OK, I get it. What I used to think is
wrong. Thereâs a new way thatâs right. Thatâs not enough.
They have to prove it. And they have to prove it in a way where they literally embody the
point of that idea with everything they have. But before you do that donât you want to
torture them one more time? Of course you do.
The relapse. A nice ironic relapse. You want to tempt them right before this big decision
moment. Right before the defining moment. You want to hold that safety blanket up and
say, âGo ahead. Go back to the beginning. You get it. The thing you wanted on page 15,
Iâm giving it to you. Donât go forward. Donât change. Go back.â
And what do they have to do? They have to reject that temptation. You design a machinery
where they have to reject that temptation and then do something extraordinary â extraordinary
â to embody the truth of the theme. And now you get acceptance through action. The
hero acts in accordance with the theme. Specifically by doing so they prevail. They have to act.
So letâs go back to Marlin. Itâs not enough for Marlin to say, âI get it now. Iâve
heard the wise turtles. Iâve seen the way Dory is. Iâve learned my lesson. Iâve
got to let you live.â Thatâs not enough. What Pixar does is create a perfect mechanism
to tempt and then force action. Dory is captured. And Nemo says to Marlin, âIâm the only
one who can go in there and save her.â And this is a great temptation. This is where
Marlin has to reject the old way. Weâre saying go ahead, youâve got your kid, weâre
giving him back to you. Itâs all you wanted. On page 15 you just wanted your kid. Here
he is. Get out.
But he has to act in accordance with the theme. So he rejects that and he says, âNo. Go
ahead, son. And try and save her.â And that simple decision is how he acts in accordance
with theme. And it is terrifying. And now you get one last chance to punish him. Briefly.
Go ahead. Letâs see Nemo coming out of that net and letâs think that heâs dead. And
let Marlin hold him. And let Marlin remember what he was like when he was in that little
egg. And let Marlin kind of be OK with it. Because thatâs what it means to live in
accordance with theme.
If you say, look, sometimes if you love someone you have to let them go, thatâs one thing.
Actually having to let them go is another thing. Letting them go and seeing them get
hurt is yet another. That is the ultimate acceptance of that idea, isnât it? And thatâs
what he sees.
But then, of course, faith in the theme rewards. And Nemo is alive.
So then you get this denouement. What is the denouement? Why is it there? Itâs not there
because we need to be slowly let down and back out in the movie theater lobby. Itâs
there because we need to see the new synthesis. You have successfully fired a billion antitheses
against a billion theses and come up with one big, grand, lovely new synthesis. Please
show it to me. So we now see that the after story life is in harmony with theme.
And hereâs the deal with the first scene and the last scene of a movie. If you remove
everything from the story except the introduction of your hero and the last scene of your hero
there should really be only one fundamental difference. And here it is. The hero in the
beginning acts in accordance with the anti-theme and the hero at the end acts in accordance
with the theme.
Now, this should all help you create your character. When youâre creating character
I want you to think of theme. I want you to imagine a character who embodies the anti-theme.
You can be subtle about this. You probably should be. It generally works better if you
are. And I want you to think of your story as a journey that guides this character from
belief in the anti-theme to belief in theme. Remember youâre god â angry, angry god.
You have created this test. Thatâs what your story is. In order to guide your character
to a better way of living, but they have to make the choices.
Oh, if youâve heard, âThe worst character is a passive character,â thatâs why. They
have to make the choices or youâre making it for them. And then, well, it just doesnât
count, does it?
If you can write the story of your character as they grow from thinking this to the opposite
of this, and guess what, you will never ask well what should happen next ever again. Youâll
only ask how can I make the thing that I want to happen next better. Thatâs a whole other
talk. Maybe Iâll do that one in like five years or something.
I hope that you found this interesting. It was kind of fun to do. I mean, Iâm not going
to do it frequently because itâs scary. I mean, John really does run this show. But
Iâm all here all alone. But I kind of liked a chance to at least talk to you directly
about all this stuff and I hope that you got something out of it. If you did, great. And
you can let us know.
And here comes the boilerplate. Scriptnotes is produced by Megana Rao. It is edited by
Matthew Chilelli. Our outro this week is by, well, I donât know. But itâs a surprise
and weâll let you know who it was the week following.
If you have an outro you can send us a link to [email protected]. Thatâs also a place
where you can send longer questions. For shorter questions on Twitter I am @clmazin and John
is @johnaugust.
You can find the show notes for this episode and all episodes at johnaugust.com. Thatâs
also where you will find transcripts. We try to get them up about four days after the episode
airs.
Some folks have also started doing recaps and discussion on the screenwriting sub-Reddit.
If that continues, terrific. You can check there.
And you can also find the back episodes of the show at Scriptnotes.net or download 50-episode
seasons at store.johnaugust.com.
And I get none of the money.
You may want to check out the Scriptnotes Listenerâs Guide at johnaugust.com/guide
to find out which episodes our listeners recommend most.
And with that, I bid you all good luck. Go torture your heroes.
5.0 / 5 (0 votes)