I've read more than a 100 books on writing and I swear your content has taught me more on how to actually apply the information than all of them combined. Thank you so much.
I frequently mention this: you are a fantastic teacher. I've watched almost all the videos at least one time through and now I am on to more organic sessions. The way you opened up about learning the mechanics vs world creating is one piece I had trouble understanding about myself. I now have more time and am back to listening to your lessons on repeat as I appreciate the process better as I mature. Looking forward to catching up on the live recordings with fellow artists!
Caught you on Film Courage, followed you here - you’re in my brain! I love your story about creating a board game format for synthesizing whatever plot the “Powers” wanted. I just came up with a similar idea: how to convey lots of information? Make it a journey, spaces on a board game, rooms in a doll house - something to make it easier for viewers to understand and for me to write! Just wanted to say thank you for making people like me feel less alone in struggling with things we might otherwise think we shouldn’t be struggling with. Thank you for providing clarity on how to overcome the inherent problems that (apparently) *everyone* has to resolve. And, thank you for “talking shop” in such an accessible and authentic way. You’ve truly brightened my day (and my outlook). I look forward to getting to know your work better. 🙏🏻🌿
Thank you so much for this comment, I'm really glad to know the story helped you! So many creative problems and feelings are more common than we think. Each artist has to make their own path, that fits their own personality and vision and reality - but one of the best ways to do that is by learning about how many DIFFERENT paths there are. (The game idea was a wonderfully inventive way for me work out my frustration and confusion - but I do need to be responsible and remind you that it was an ineffective choice in that particular professional/business context! In the screenwriting business, the artist must make choices, not present equal-and-alternative paths; that's the job. As a creator, it was exciting - as a person who had to please the powers, it was just treading water and after it I still had to create a conventional story...which failed! But getting fired that particular time wasn't the end of my journey, just a step. We learn and grow every time we take a step - so never fear doing something, taking a step.) I hope that my videos continue to provide you with ideas and tools you can try and use in a way that works for you. Keep creating!
Keeping us focused on the process allows us to be more creative, from what I gathered in this session. The consistency prioritizes creativity; I also appreciate your toolbox analogy and is explained very well! Thank you!
Thanks! The first part, where you go through your own organization to your writing process, was really helpful and it will help me refine my own process. Somehow, my research file(s) and folders grow exponentially until I go into analysis-paralysis, and then I get overwhelmed. Something to work on. About the second part, "Is It a Rule?": I've seen this many times, and my understanding (as a perpetual would-be writer of no fame, yet) is that it's from Campbell's Hero's Journey, where the "point of no return" is described as the "first major plot point" or "crossing the return threshold", essentially where the main character must make a decision that will change their life irrevocably. Essentially, it's a key turning point. They can back out and return to their old life as a failure, and the story ends. Or they can decide to go forward, enter new territory, never before explored (by them). If they go through with it, they cannot return to their old life, and expect it to be the same. It's similar to the expression "You can never go home again" (based on Wolfe's "You Can't Go Home Again"); not because you can't physically go back, but when you do go back, people and environment will have changed in your absence (they are not static and not as you nostalgically remember) and you will have changed as well. I do see this "point of no return" in many, many films. I've read (somewhere) that there's an unspoken "rule" that going by the three-act structure (as if that's the only structure out there!), the first act ends with the "point of no return" and is about 1/4 into the film, and the third act begins at about 3/4 into the film. I haven't done exhaustive research, but some films (especially more recent films [that seem to all follow a "recipe"]) do fall almost bang on to this: In Thelma and Louise, it's when Louise shoots the rapist (but it can also be when they commit their second crime, the robbery). In Braveheart, it's when Wallace kills the prick who murdered his wife. In Casablanca, it's when Rick instructs « La marseillaise » to be played (or so I read). In The Godfather, it's when Michael shoots the police captain. I don't think it's a hard and fast rule, but I see it often enough. Think of it another way: it's a point of commitment. The hero commits to the path towards climax. Sure there are hundreds of decision points in a story, but the key turning points are what makes it THIS story rather than THAT story. But hey, it's all relative! Be well and be safe.
Very interesting insights! Thank you! I agree: something has to propel our characters into the risky new world of the tale - and that's as good a "point of no return" as any. You definitely need that, somehow, somewhere. And yes - it is hard (ongoing!) work to keep the research and noteas from sprawling everywhere and taking the place of creation. Took me DECADES to get even a bit of a grasp on wrangling that. Actually part of my work-to-do today is - archiving some stuff to clear my workspace/mind. You be well and safe too!
Thanks so much for sharing your wisdom, Glenn. I'm working on my first novel and finding your videos super helpful with regards to the craft of storytelling and writing in general. Your thorough explanations and sense of humor make your videos informative AND fun to watch. Thumbs up!
I'm so glad to hear they're fun - for obvious reasons, I can't enjoy them myself so the only way I know I'm not boring others or embarrassing myself is these comments. Thank you! Best of luck on the novel - enjoy the journey, make it something you like, step by step.
i recently watched your video on film courage and went down a rabbit hole of your content! it's kind of confirming things within my process that i did naturally but never knew the technical "why" behind it. i can tell this video is going to help me with my process and your content overall has me excited to write and develop stories again. thank you very much!!!
I am SO glad to hear it's helpful, and that you feel excited to write! Thank you for sharing that with me! I always thought I'd like to create a rabbit hole, but now that apparently I've made one, I actually feel a little uneasy :)
i am so glad i found you. Was dreaming of a teacher like you. What i found a bit confusing to my mind, starting up is the difference in and "Notes" and "text". When i write every day, it goes in notes, then why text? Also, please advise i am writing as i think - so my notes are huge paragraphs with words including self motivation or what ever comes in mind trying to get an idea - hence long and descriptive. Is that bad?
Hi Siddhartha -thank you! The "Text" is my name for the script itself. The text of the project, the actual words. As opposed to note or summary. Regarding your question about huge paragraphs: I talked about it some during today's livestream (STEP BY STEP #248 - ) but the short answer is: it's not "wrong" - especially if it is just your own method of "talking to yourself." But I would suggest you make an effort to think and write in short sentences and paragraphs if you are screenwriting. Long dense paragraphs arte probably made up of many points and thoughts. Try to break them into shorter, independent statements, so they can be used. A script is NOT primarily a work of writing or literature - it's a complex, unique art form which has to be a "plan for production" at the same time that it is conveying story and characters. No one reading scripts is reading them for the experience of reading. Anyone who reads a script has another job to do, which involves using the script. So they want the script to be practical and clear and easy-to-use. That usually means short sentences and paragraphs: specific thoughts in a useful presentation. Remember: complexity is the combination of simple things. Any process that is productive and pleasant for you to follow is not "wrong." But any document that is full of long paragraphs really doesn't do well in film or tv production.
I feel you! I am OFTEN there. I try to steer each note, one by one, into either the outline or the trash (well, archive)...if I can turn the notes into scenes, moments, actions, then there is hope it will become creative writing.
I've read more than a 100 books on writing and I swear your content has taught me more on how to actually apply the information than all of them combined. Thank you so much.
Thank YOU so much - that is really inspiring for me to keep doing this!
Thank you.
I frequently mention this: you are a fantastic teacher. I've watched almost all the videos at least one time through and now I am on to more organic sessions. The way you opened up about learning the mechanics vs world creating is one piece I had trouble understanding about myself. I now have more time and am back to listening to your lessons on repeat as I appreciate the process better as I mature. Looking forward to catching up on the live recordings with fellow artists!
Thank you! 😃
Caught you on Film Courage, followed you here - you’re in my brain! I love your story about creating a board game format for synthesizing whatever plot the “Powers” wanted. I just came up with a similar idea: how to convey lots of information? Make it a journey, spaces on a board game, rooms in a doll house - something to make it easier for viewers to understand and for me to write! Just wanted to say thank you for making people like me feel less alone in struggling with things we might otherwise think we shouldn’t be struggling with. Thank you for providing clarity on how to overcome the inherent problems that (apparently) *everyone* has to resolve. And, thank you for “talking shop” in such an accessible and authentic way. You’ve truly brightened my day (and my outlook). I look forward to getting to know your work better. 🙏🏻🌿
Thank you so much for this comment, I'm really glad to know the story helped you! So many creative problems and feelings are more common than we think. Each artist has to make their own path, that fits their own personality and vision and reality - but one of the best ways to do that is by learning about how many DIFFERENT paths there are.
(The game idea was a wonderfully inventive way for me work out my frustration and confusion - but I do need to be responsible and remind you that it was an ineffective choice in that particular professional/business context! In the screenwriting business, the artist must make choices, not present equal-and-alternative paths; that's the job. As a creator, it was exciting - as a person who had to please the powers, it was just treading water and after it I still had to create a conventional story...which failed! But getting fired that particular time wasn't the end of my journey, just a step. We learn and grow every time we take a step - so never fear doing something, taking a step.)
I hope that my videos continue to provide you with ideas and tools you can try and use in a way that works for you. Keep creating!
Keeping us focused on the process allows us to be more creative, from what I gathered in this session. The consistency prioritizes creativity; I also appreciate your toolbox analogy and is explained very well! Thank you!
The more I try to share writing lessons from my life, the more I realize process is the heart of SO much. Thanks for this comment!
Thanks! The first part, where you go through your own organization to your writing process, was really helpful and it will help me refine my own process. Somehow, my research file(s) and folders grow exponentially until I go into analysis-paralysis, and then I get overwhelmed. Something to work on.
About the second part, "Is It a Rule?": I've seen this many times, and my understanding (as a perpetual would-be writer of no fame, yet) is that it's from Campbell's Hero's Journey, where the "point of no return" is described as the "first major plot point" or "crossing the return threshold", essentially where the main character must make a decision that will change their life irrevocably. Essentially, it's a key turning point. They can back out and return to their old life as a failure, and the story ends. Or they can decide to go forward, enter new territory, never before explored (by them). If they go through with it, they cannot return to their old life, and expect it to be the same. It's similar to the expression "You can never go home again" (based on Wolfe's "You Can't Go Home Again"); not because you can't physically go back, but when you do go back, people and environment will have changed in your absence (they are not static and not as you nostalgically remember) and you will have changed as well.
I do see this "point of no return" in many, many films. I've read (somewhere) that there's an unspoken "rule" that going by the three-act structure (as if that's the only structure out there!), the first act ends with the "point of no return" and is about 1/4 into the film, and the third act begins at about 3/4 into the film. I haven't done exhaustive research, but some films (especially more recent films [that seem to all follow a "recipe"]) do fall almost bang on to this:
In Thelma and Louise, it's when Louise shoots the rapist (but it can also be when they commit their second crime, the robbery).
In Braveheart, it's when Wallace kills the prick who murdered his wife.
In Casablanca, it's when Rick instructs « La marseillaise » to be played (or so I read).
In The Godfather, it's when Michael shoots the police captain.
I don't think it's a hard and fast rule, but I see it often enough. Think of it another way: it's a point of commitment. The hero commits to the path towards climax. Sure there are hundreds of decision points in a story, but the key turning points are what makes it THIS story rather than THAT story.
But hey, it's all relative! Be well and be safe.
Very interesting insights! Thank you! I agree: something has to propel our characters into the risky new world of the tale - and that's as good a "point of no return" as any. You definitely need that, somehow, somewhere.
And yes - it is hard (ongoing!) work to keep the research and noteas from sprawling everywhere and taking the place of creation. Took me DECADES to get even a bit of a grasp on wrangling that. Actually part of my work-to-do today is - archiving some stuff to clear my workspace/mind.
You be well and safe too!
Thank you
You're welcome - thank you for letting me know it was helpful!
Thanks so much for sharing your wisdom, Glenn. I'm working on my first novel and finding your videos super helpful with regards to the craft of storytelling and writing in general. Your thorough explanations and sense of humor make your videos informative AND fun to watch. Thumbs up!
I'm so glad to hear they're fun - for obvious reasons, I can't enjoy them myself so the only way I know I'm not boring others or embarrassing myself is these comments. Thank you! Best of luck on the novel - enjoy the journey, make it something you like, step by step.
i recently watched your video on film courage and went down a rabbit hole of your content! it's kind of confirming things within my process that i did naturally but never knew the technical "why" behind it. i can tell this video is going to help me with my process and your content overall has me excited to write and develop stories again. thank you very much!!!
I am SO glad to hear it's helpful, and that you feel excited to write! Thank you for sharing that with me!
I always thought I'd like to create a rabbit hole, but now that apparently I've made one, I actually feel a little uneasy :)
@@writingforscreens LOL its a fun rabbit hole. i'm learning so much!
You rock bro
Thank you!
i am so glad i found you. Was dreaming of a teacher like you. What i found a bit confusing to my mind, starting up is the difference in and "Notes" and "text". When i write every day, it goes in notes, then why text? Also, please advise i am writing as i think - so my notes are huge paragraphs with words including self motivation or what ever comes in mind trying to get an idea - hence long and descriptive. Is that bad?
Hi Siddhartha -thank you! The "Text" is my name for the script itself. The text of the project, the actual words. As opposed to note or summary.
Regarding your question about huge paragraphs: I talked about it some during today's livestream (STEP BY STEP #248 - ) but the short answer is: it's not "wrong" - especially if it is just your own method of "talking to yourself." But I would suggest you make an effort to think and write in short sentences and paragraphs if you are screenwriting.
Long dense paragraphs arte probably made up of many points and thoughts. Try to break them into shorter, independent statements, so they can be used. A script is NOT primarily a work of writing or literature - it's a complex, unique art form which has to be a "plan for production" at the same time that it is conveying story and characters.
No one reading scripts is reading them for the experience of reading. Anyone who reads a script has another job to do, which involves using the script. So they want the script to be practical and clear and easy-to-use. That usually means short sentences and paragraphs: specific thoughts in a useful presentation. Remember: complexity is the combination of simple things.
Any process that is productive and pleasant for you to follow is not "wrong." But any document that is full of long paragraphs really doesn't do well in film or tv production.
@@writingforscreens thank you so much!
brabo
Thanks!
18:35 - If you come up with better text, that's cool! ROFL!
Just being real :)
LOL... I am still live.... I hope so.
:)
i think im on that too many notes stage
I feel you! I am OFTEN there. I try to steer each note, one by one, into either the outline or the trash (well, archive)...if I can turn the notes into scenes, moments, actions, then there is hope it will become creative writing.