I love the "sell" part of the w.i.s.e screen writing method. It gives me hope that I can actually use some of my charisma to convince people of my work. I love the method and I am going to print out a copy if that is okay with you and put it on my wall.
I loved your analogy about the revolving door of talent. This applies to every facet of the entertainment industry, but I think people forget that it extends to screenwriting as well. You would think that the quality of programming out there would rise to this challenge, but unfortunately, so many scripts seem to have fallen flat. I wish there was a Pixar for live action films that churned out quality continuously.
The part about selling yourself is so true. I can't believe how many writers underestimate the importance of selling their skills & services. Sure, it may be a little uncomfortable to act like a salesman, but it's necessary if you want the job!
I do sales myself and looking at your last acronym of "E=Ethic" is so important no matter the job. It is hard to realize that so many people that have become successful have had to pay the price. It is rare to have overnight success. It takes patience and many closed doors to become "successful." Thank you for helping me remember how important it is to stay the course. Have a great day!
Great advice. I used to write back in the day before word processors. I finally gave up. Getting rejections is hard. Your advice is exactly what a new writer needs to follow. I hope you all have great fortune.
I must say, it really burns me when I see movies such as this with "tacked on" character arcs and forced "growth." It's condescending to the audience to say the least.
But it's also offensive to the throngs of aspiring writers who are reamed by script doctors for doing the exact same thing.
So why am I racking my brain as we speak (or as I type) making sure that the main emotional relationship in my current actioner is tied directly to the central question of the plot?
Can't I just write some cool action and some CGI-inspired set pieces and "toss in" some tear-jerking moments in a re-write? Hey... I'm sure it'll sell, right?
Peter Dunne says it best... the plot is merely there to serve the emotional journey of your protagonist... without the emotional story, the plot is meaningless. It also shows the importance of pairing any given protagonist with the right plot... ie, the plot that will force him/her to face their deepest fears. One that will thrust them into changing for the better.
Why is there so much info on this in books and from the gurus... but none of it in the final product on the silver screen?
It can help if you're familiar with the film, but it's not necessary (and actually sometimes can make you less able to see the parts apart from the whole). When I watched and analyzed ALIEN, I hadn't seen it in about eight years; so, effectively, I was watching it "fresh."
No, it's not at all a dumb question! Many screenwriters do indeed use something similar to this to help outline their films. It's called the Notecard Method: just take a stack of notecards and use one per scene, describing each scene in a sentence or two. Also note the value charges (+/-) and how and to what they change by the end of the scene. Finally, on the back of the notecard, also take note of what purpose the scene serves structurally - i.e., ACT ONE CLIMAX OF THE CENTRAL PLOT, INCITING INCIDENT OF SUBPLOT C, etc.
And yes, image systems are wonderful: They can elevate a film subliminally from good to great.