8 Elements Of The Nutshell Technique (Story Structure) - Jill Chamberlain
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- เผยแพร่เมื่อ 16 ก.ค. 2024
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In this Film Courage video interview, Author Jill Chamberlain talks about the 8 elements of The Nutshell Technique (story structure).
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Jill Chamberlain is the author of one of the highest rated screenwriting books on Amazon entitled The Nutshell Technique: Crack the Secret of Successful Screenwriting.
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#writing #screenwriting #screenwriting101 - ภาพยนตร์และแอนิเมชัน
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Watch the full episode with Jill Chamberlain: th-cam.com/video/Wwh6P34MpLI/w-d-xo.html
I love Film Courage. Over the last two years, I feel that I have gotten a masterclass education. I can't praise your content enough. Every interview I learn more from.
Mac Bizzo agreed
Another great interview
Same I can’t believe what I’ve become capable of!!
*8 E l e m e n t s*
0:25 what the character wants
0:33 point of no return
3:23 main part of the story
3:48 Aristotelian comedy/tragedy
5:50 the flaws
10:47 they get what they want and don't want in the point of no return
13:15 climatic choice
14:17 timewise
- Have a great day💖-
appreciate this! - - pumpkin💖-
THANK YOU!
Thank you!
Ms. Chamberlain is very insightful in her analysis of what makes a good script and what's essential for a story.
I appreciated that she walked us through so many examples. I'm surprised at all the details that I would have missed on my own.
Film Courage - you are my morning coffee. Thank you!
Makes our day to hear that, thank you back!
"The flaw is really the DNA of the whole story."
I downloaded the forms and used the tradegy one to identify points in one of the screenplays I am writing. It DID help.
*tragedy
Wow, that Sunset Blvd. breakdown was excellent.
I am glad I got to know about this interview from Jill Chamberlain which is simply enlightening. Finally, I now got a huge clue to a meaningful story. Please keep sharing your brilliant techniques for a powerful storytelling. ☺️
We're doing our best to provide you insights. Thanks for watching Pallabi Naik. We're glad you got something out of this one.
I just tested the Nutshell technique on my script ! It works ! I'm so happy !
This method Is brilliant !
Thank you Film Courage for introducing me to Jill Chamberlain in an earlier video. I bought her book and it was just the guiding hand I needed to help me to finally complete a compelling outline
How awesome is that. Our best to you as you move forward with the story!
Film Courage Thank you!
This is absolutely excellent for any writer, and of course screen writers as well. Great quality content.
Great video! I love that you go straight into it without an intro ... every second counts. 🙌
Love that as well.
Jill, you are amazing, I love your book and I have been enjoying you on Film Courage! Wonderful job!
You covered this quite well and seem to be hitting the mark for me in general. Very nice!
This approach feels holistic, intuitive.
As for the pilot I'm putting the finishing touches on, it's good to know the point of no return is in 5th episode not the pilot itself. Thanks!!
Chamberlain s good..Good interview throwing light on new areas..happy learning
This was priceless. The different acts for comedy and tragedy was mind blowing of how television writers keep characters growing. with the switch of comedy to tragedy and back to comedy again in a constant cycle.
Thanks for offering this insight and the technique template.
Wonderful Explanation Jill! Thank you very much :)
Love her energy! Such incredible insight. Thanks again Film Courage!
Ive watched so many videos from this channel and Jill is amazing, by far the best. Also kudos to this channel I’m learning a lot!
GREAT presentation. Thank you for sharing your knowledge with us.
Wow. This is so so cool. I've read so many books on screenplays, and this is fantastically simple and fun.
I highly recommend Jill Chamberlain's book, "The Nutshell Technique". I'm about halfway through it and I've only had it for a day. It's very easy to read and understand. Given that, it makes me feel excited about coming to understand the technique and applying it to my own stories. At this point, I'm feeling great about picking up this book.
Thanks for the follow up. We like to hear that you are enjoying the book and already benefiting from it.
Todd,
I was quite interested in her book, however NOW... I'm confused as hell about what she's saying! %-(
It seems she is simply swapping out character traits and saying 'see, this proves it's episodic and not a story', then says 'this one is a story because the situation proves it'... and she did not swap out and traits to disprove it.
With so many 'likes' I'm sure it's just me...
What are you finding so valuable and applicable?
Tnx
What are
Love Jill. She's awesome.
Thank you, thank you, thank you, you have helped to breath life into ideas that had no substance.
I suggest this course to every screenwriter. Novice and seasoned. Priceless!
Wow! Thank you so much for making that free!
Thanks for watching JT, glad to see you find value here on this channel.
EXCELLENT INTERVIEW! LOVE IT
Glad this video found you!
I love this interview! Right! 😄
PD: I like the nutshell technics. Is a good structure easy to remember
Wonderful.
Great interview
She is awesome, love and respect. :)
Great insight into Sunset Boulevard
Thank you.
Wonderful video
Very insightful 🙏🙏🙏
Great content !
A little visual summary would be nice to see all the points discussed.
GREAT BOOK FINISHED A MONTH AGO
Jill is wonderful
I would really love to see you do a parallel series for novel writers. So much of the same applies and we call that "point of no return" something different and arguably more succint: "the inciting incident". This would broaden your viewership significantly, so it makes solid business sense to expand.
Ty Fowler the point of no return is not the same as an inciting incident.
Costa Botes what makes it different?
Yes, I learned more about creating a riveting novel from watching instructional videos like this about how to write an effective screenplay. It seems to be more effective for me to learn this way.
:0040 "Point of no return". I've always referred to this as the "lock in", the point at which you're really locked into the story. Like when Marty goes past 88 miles per hour and is "locked in" to 1955, there is no turning back at that point.
Anything that we missed with this video? What would you like more of?
Film Courage it would be awesome to have someone or multiple people talk about the actual writing side of it and teach how to format in a way that is both direct/informative and entertaining/captivating-and any other actual script writing tips and tricks. i reckon that's one of my biggest roadblocks as a writer. story structure kine and story theory is always super helpful, but this facet is rarely talked about in any depth and is a main gatekeeper.
thank you for all the lessons! y'all are the best!
I'd love to learn about the parts to a story:
Love interest, ally, protagonist, antagonist, goal, mentor and the structure to a story, whether it's a Web series (I'm writing), Movie, Tv series, book.
I want to know the components to them that make them good stories that captivate and attract the audience.
@Film Courage It would be awesome to have Jill back and cover the Tragedy worksheet (each of the 8 elements with another screenplay like Groundhog Day for Comedy). Great video!
Would like to know how to make a satisfying ending
@Player_1 and @Film Courage, definitely agree, a conversation about crafting “closure” or satisfying story endings and closing images, as crucial story elements to every story, would be really useful and interesting.
I understand the ending either includes a resolution to the main conflicts, or the conflict goes unresolved, and it can be exciting to either withhold some information or add brand new information at the end to suggest a continuing story, but I’d like to hear any further suggestions and detailed advice about making these decisions for the story and how to construct satisfying imagery for the closing images. It would be neat to do an analysis of a handfull of films with very satisfying endings and closing images
We could've followed the conversation better by actually seeing the pattern she's explaining, but no complaints. I think that in the crisis situation/rock bottom, she forgot to mention that that's a major arc, implied it though. Actually, it's turning point arc wise, because he can now face his flaw with absolutely no fear. He even embraces it, and that allows the rise to begin again. And the next part that's described as a tough choice, which is to accept his situation/staying in the same day, isn't really a tough choice. It's simply the consequence of that decision he made at crisis that eventually gave the writer his resolution ... That he now wants to stay there. Come to think of it, I'm now wondering if he knew his ending beforehand
Ít s a great video ! May I know TH-cam clip should have a movie structure and write a script like movie plot ??? Thanks
Great video, what's might be some adaptations of we shift from writing screenplays to writing rpg adventures?
I only count 7. I'm missing something. Could someone list the 8 elements?
Might be nitpicking but I'd quibble with her definition of the "point of no return". It sounds more like she's describing the "inciting incident", an external event that happens to the protagonist to change their situation (e.g. in Groundhog Day, the day starts repeating). The "point of no return" is more of a choice that the protagonist makes in response to the inciting incident which in turn kicks off the story - i.e. once the protagonist acts, there is no turning back (e.g. in Groundhog Day, Phil decides to take the drunks' advice and act like there's no tomorrow - he's started using the time-loop to change things for himself, and this will eventually lead to his self-improvement and redemption).
I was thinking the same thing. In her view the point of no return in Little Miss Sunshine would be the family embarking on the road trip to go to the dance competition (Which is a full choice). The inciting incident is the answer phone message letting them know the kid was accepted into the competition which is external. However the key point that I think she missed is that the point of no return can, in fact, be a choice. There are also two points of no return - both act breaks.
Once you know the strategy, you can create something that is not part of it. In order to break the rules, you need to know them first.
I will end up a millionaire film director thanks to film courage.
Update?
@@eradian1 Rome wasn't built in a day.
Jill knows her stuff
I have a question for anyone who could share their input - do the guidelines that she outlines in this (and her other) videos apply to fiction writing as well? I know there are differences between novel story and film story, but as someone working on his first book, should I take her advice as a (beginning) fiction writer? Or should I watch these videos with a pair of "this applies to film narrative not print novel narrative" goggles? Thanks
A good story is a good story, whether you read it or watch it.
@@frostyfingers9282 well said
I've always felt stories told with considerable flashbacks (like Citizen Kane) or flash-forwards (like Sunset Boulevard) are not as moving for the audience than those stories told in chronological linear fashion.
Citizen Kane was still pretty good though, but I understand what you mean.
Hello friends. I have a story question regarding element 1. What the character wants? For example, The Long Kiss Goodnight. The main character has amnesia. The easy thing is she wants to remember who she was in the past. Fine. But what if its not amnesia. What if the character is adopted? Or abandoned by his/her parents? Again, its easy right...they want to know why they were abandoned or why they were put for adoption. But I don't want that. What if my character doesn't care about that. What else can an amnesiac or an adopted adult want? Thank you everyone.
"Point of no return" sounds like Joseph Campbell terminology. Seems like all these script doctors work from the same traditional sources. Why are stories all the same? Though Campbell would agree. Fellini took the story to a different place. Chamberlain is talking about commercial works. But what is Hollywood now but cartoons! Is there room for something like Tootsie in Hollywood?
AMFM
Correct. Point of No Return is taken directly from Campbell. I was surprised she didn’t give credit to him.
@@Evanderj Campbell"s work is the headwater for all that is written about scriptwriting. But even his work refers to what has already existed, our culture, archetypes, etc. I suppose it's a waste of time to mention all one's influences.
@@Evanderj she does in her book.
@@amfm2662 she mentions him in her book.
AMFM stories aren’t all the same. There are good ones and bad ones depending on the artistry of the writer and film makers. Aside from traditionally structured stories, there also two other broad categories of story, anti-narrative (i,e Some Fellini films, and Welles, and Tarantino, Nolan et al); and Minimalism, which prioritises subjective experience over plot (i,e Lost in Translation or most films by Robert Bresson).
Ground Hog Day will be studied forever 🙏🙏
JJ & RJ should have listened to these videos. God damn.
GEM
Thanks for watching!
This channel is great. I just think boxing screenwriting in, like in this technique she's talking about, limits the movie experience too much, it's too formulaic and people are kind of tired of it. They want to see something that starts shifting the way their emotions are led during a movie.
Heat is one of the few films out of Hollywood that qualifies as tragedy in the classical sense. It would even appeal to the Elizabethans.
As an actor and director no one actually thinks about the actors that have to act,they make it about themselves
Point of no return: "You're a wizard, Harry"
So is it just for comedy?
Point of no return in Before sunrise?
Character flaw in 'The Truman Show', 'Saving Private Ryan', 'Shawshank Redemption' ?
Film Courage I love and rarely have a strongly different view, usually just need to see how the presenter is trying to apply the ***they are presenting.
On this video I'm totally confused and not sure I understand anything she's taking about when discussing 'episodic/situational' vs 'a strory'.
Forgive me, but it seems like she keeps switching the two back and fourth as one thing, then saying they are different.... or something liked that.
I'm confused :-/
I take it that in Midnight Cowboy, there is no third act. We never get to se what will happen.
but there's a huge gap in this outline, no landmarks between point of no return and crisis
Okay. Let's pretend serialized programming follows this same structure - even though simplifying several seasons into something like a three act structure is probably kind of ridiculous - I imagine most people would incorrectly identify the point of no return for Walter White in Breaking Bad as the moment he is diagnosed with cancer. (If you're only taking the story element and its name at face value.) But embracing the idea that the point of no return must always come with a "give" and a "catch" then the point of no return is the opening of the whole series. Walter White has exerted his agency, which he feels is lacking. He feels like he doesn't make any choices. So, when two guys show up with guns to kill him, because they think he's a cop, a problem falls into his lap that allows him to make a very serious choice that will affect his life going forward, but it's one he doesn't want to make, specifically because it's a point of no return, morally speaking.
I'm sure there are many others as the show goes on, but the catalyst of the whole show is the moment he's forced to kill to validate his new life choices. It's the "Would you like to finalize your purchase" of selling his soul.
I think the point of non return in BRBA is when he went with DEA to Jess laboratory and he sees Jess. Here a seed is planted and then renforecd by his choice to enter the meta business.
if you write by formula then your story will be formulaic?
Not sure if I agree with her totally about just having a "Victim". I mean what about RAMBO? That story is literally a "victim of circumstance".
I can't show a graphic in Comments, but can't a tragedy go downhill all the way from Point of No Return? Is that long, long climb to Triumph truly Aristotelian, or just Hollywood?
The only people who can legitimately talk with authority about how to write great screenplays are great screenwriters.
Can you imagine some academic or journalist-type person claiming to be an expert on how to perform brain surgery or claiming he or she can teach you how to write great songs? Where are the non-directing directing gurus? The only reason these non-writing or hack-writer script gurus have gained such power in the industry is down to increasing production and marketing budgets and the fear of failure of executives.
A script guru will never dare take on an established filmmaker of proven talent and pontificate about how the script doesn't work regardlesss of the financial success of the actual movie. They leave that to the critics because script gurus are the enemies of aesthetics and lovers of the bottom-line. I wish just one script guru would lay claim to a successful writer or a great film which strictly adhered to their tutelage. Script gurus are parasites peddling snake-oil remedies to a certain kind of writer, producer and executive.
Damn sacrilegious! Ebay will be filled with McKee's books, and we'll take down another generation of would-be filmmakers who haven't seen Barbie.
I think, sticking to these rules kills our creative sides, following the instructions they give us, causes, kind of producing the same stories, like a giant factory manufacturing the same product over the years. nobody can tell you how to write a good story, there is no formula but after you write something then somebody can evaluate it on its own account.
wow she really likes Tootsie, huh (great advice tho)
Why are we stuck on this Aristocratic loop? Why aren't we trying to reinvent movies for common folk?
FLAW FREE CHARACTERS LIKE James Bond
Mosesty Blaise
Dirty Harry
Conan
Tarzan
Robin Hood
Katniss Everdeen Hunger Games
Lisbeth Salander Dragon Tattoo
Niki Ivanovitch, White Witch series
JB Books, The Shootist
Everyone has a favorite story... What's your favorite?
I think she is a bit square minded. What about films like La Dolce Vita or 2001 a Space Odissey?
can somebody forward this channel to the writer of the last "star wars", "terminator" and "cat woman"?
This woman must have read some other guy named Aristotle cuz this is something he never said.
Why doesn’t she have any film credits?
She does. Two shorts but that doesn't have any relevance to the quality of the information she shares.
You can literally make a career out of writing screenplays that are never produced into film. We have no idea how many she has actually sold. If it was even one, she did something correctly and we could learn at least one thing from her.
Glory, I dislike these untimely added TH-cam ads
getting the "part" is NOT the point of no return....that is still a choice....when the agent says yes, you can still back out....BUT, when you take the part and realize it dictates what happens next outside of your control is the point of no return...I have re winded her words over and over....it's not correct....the 2nd inciting incident comes at 20 mins...that is not the point of no return....one can still back out.....the point of no return comes almost half way through the story.....when the character has gone too far to make a choice...it's no longer theirs to make.... it's suffer the consequences of anything you may choose...there is no good decision at this point. How do we turn any decision into something better is how the story progresses now. I have never heard her speak, but any writer knows she missed the mark with the "no return" example. She says "now we are in the movie Tootsie" as if that moment was not unbreakable.......that's the 2nd inciting incident she speaks about....not the point of no return.. Yes, you can back out at that point......the point of no return is when nothing is your decision. you simply must figure out how to make it better than "what is"......and you will lose something in that decision.
Sorry, but she's right and you're wrong.
Where do they get these people? 15 minutes of pseudo intelligence KMN So many buzz words
Oh, lord. Another "technique".
She makes some good points but has one point backwards and at least one inaccuracy in her „Groundhog day“ exemple.
Where she‘s backwards on it is when she says that in order to address the flaw of the Bill Murray character the good writer comes up with the perfect situation.
In most movies it should be the case, but in this exemple, the opposite is true. That has to do with the fact that Groundhog day is not a normal movie, it is what some call a „concept movie“: it is build around the concept of reliving the same day without end. In this particular case, the choice of characters serves the concept, not the other way around...
The inaccuracy now is when she says that the character‘s flaw is that he is so full of himself. He obviously is, but why? Because he is absolutely, senselessly BORED!
He is stuck in his routine and has lost his appetite on life! That is his biggest flaw, or in other word what he needs to overcome to grow. In that sense, the situation he finds himself in does make him realize there is more to life than what he knows. And the irony of it all is that to understand that he has to lose himself into the most „routine-like“ situation : a looped day, the nightmare of anyone who needs excitement in one‘s life to feel alive.
Sorry, she's right and you're wrong.
You make an interesting point about it being a 'concept' movie. That being said, I believe that the "plot" keeps coming back to Bill Murray's character in the form of the same day, until he grows beyond his selfish self, and gets the girl. In virtually all great character drive stories, the plot serves as a springboard for the character to be challenged and tested. Falling down. Getting up. And so on. True, using the same day Idea is conceptual. That doesn't mean that the character is Serving the concept--the concept is serving the character. Also, your point about him being bored being his biggest flaw is not entirely true. His being bored is Not a character flaw. Perhaps what he does with that boredom (being a jerk) does exhibit a weakness in him (and we audience members too). Perhaps he is bored because he hasn't accepted the choices that he made or was afraid to make. Jill's point, and many other Story doctors, like Michael Haugue, John Truby, etc, have stated is to find the deep flaw or wound of the character and have the plot keep exposing that to see how the character develops. That is what I have learned. Thank you...