Without hyperbole: putting this up for free is a public service. 15 years from now, we'll be watching a great movie because a young person had access to this content today.
.... Like he said, the character needs to go through challenges not because we want him/her to, but because he/she will learn something that'll make them better people. So also God allows us to go through challenges that will build us up and make us better people because he's interested in seeing us become the best we can.
Notes for self: Structure happens because you wrote well. What is my motivation - a story is about a state of change. Types of Change - 1. Internal change - 2. Interpersonal - 3. external Theme - Central dramatic argument (your theme should evoke question) Characters journey from Anti theme to embodiment of the theme Thematic structure - The purpose of the story to take a character from a place of ignorance from the true side of the argument and take them all the way to the point where they become the very embodiment of the argument and they do it thru action. Inciting incident should specifically disrupt a characters stasis. It destroys the imperfect continuity and forces a choice on character Your character must have some weakness or fear which he tries to avoid the entire story but they are forced to face it. Take away the safety blanket from your character and let them expose to their fear Be hard on your character Character loses their old belief and has no choice to go backwards and struggles to move forward (Character is lost) Your character must face a defining moment (Their worst fear). It will bring the new stasis to the balance - Design a moment that is gonna test your protagonist faith in the theme. prove that they believe in the new theme. Now in the end give them the choice to go back to their original belief and they have to reject the temptation Hero acts in accordance with the theme.
This one little episode where Craig just happened to be alone ends up being one of the most helpful, insightful, and just full-on mind-blowing episodes ever....ep 403 and ep 99 have helped me more than any other screenwriting resource out there...'that's a bold statement'
You are writer God. 1. Come up with Story Idea 2. Select Theme or central dramatic argument (Ironically of story idea) 3. Protagonist Character is in ordinary world - stasis (acceptable imperfection, not happy or perfect) 4. Character believes in opposite side of argument (ignorance of theme) 5. Disturb the stasis by inciting incident. Destroy it. Force a choice on character. Write ironic disruption of stasis - contradictions, sharp contrasts to break character’s soul. (explosion or tiniest little thing which will disturb only this character’s life) 6. Character will try to get back to the stasis. Character will not want to change at all. A feeling of fear in the character. This connects us with him/her and creates empathy. 7. Hero is knocked out of stasis. Hero will experience new things. Create new things which will reinforce his belief in anti-theme. They want to go to beginning even more. 8. You are forcing them forward but also going to put things in their path that make them want to go backwards. Create torture chamber. 9. Hero is coming towards you backwards, push them forward, again they come backwards, push them forward. Design moments like this. Tension 10. Write your world to oppose character’s desires. 11. Introduce an element of doubt. Make them run into someone or something who believes in theme. This doubt creates natural conflict in the hero. But it is attractive for him. 12. Hero will realise little value of theme. This is magical midpoint of the story. But they still don’t believe or understand this other side of theme. They think: Was I living a lie? (by believing in anti-theme). 13. He thinks there is no fear living like this. But then something bad happens again. The moment he takes bait of switching sides, hammer him back to other direction. Tragedy. Be mean and sadistic. Dramatic Reversal. 14. Create terrible ironic events to push them back and forth, hammer them, punish them. Pull out irony out of drama - unexpected, ironic. 15. Keep thinking ironically for: Designing your obstacles, your lessons, glimpses of other way, rewards, punishments, beating back and pushing forward. 16. Make your characters lower their defences. Convince them everything is Ok. And then punch them right in the face. 17. When you are wondering where to go in your story and what to do with the character, Ask: Where is my hero on her quest between anti-theme and theme? What would be the meanest and worst thing I could do to him right now? Then do it. Do it. Do it again until hero is left without a belief at all. 18. They don’t understand central dramatic argument and also lost belief in their original point of view. Trap them between rejection of old and acceptance of new. They are lost. Old ways don’t work anymore. New way seems impossible or insane. This is the low point. 19. What we need in drama? - The moments where we connect to another person’s sense of being lost. Because we have all been lost. 20. These approaches will help you develop your character as they move through a narrative. Their relationship to them changes - from I don’t believe that to Ok, I don’t believe what I used to believe but I cant believe that yet. End of 2nd Act. 21. There are no acts. It is only one act - and that’s your story. 22. End of the story: Create a defining moment - worst fear, greatest challenge. This moment will not only resolve the story but resolve the life of your character. It will bring them to new stasis or balance. 23. How to design defining moment: A moment that is going to test your protagonist’s faith in the theme. They have to prove it. It is not enough to say, Ok I get it. They have to prove it. 24. But before they do that, Torture them again. A nice ironic relapse. Right before the defining moment. You have to say: Go ahead, go back to the beginning. You get it. The thing you wanted on Page 15, I am giving it to you. Don’t go forward. Don’t change. Go back. 25. What they have to do? They have to reject that temptation. And do something extraordinary to embody the truth of the Theme. He/She has to act in accordance of the theme. 26. And then it is Denouement: Faith in theme rewards. We need to see new synthesis. We see that afterstory life of character is in harmony with theme. 27. This should help you to create your character. When creating character, think of a theme. Imagine a character who embodies anti-theme. Be subtle about this. The story is a journey from character’s belief in anti-theme to belief in theme. 28. You can write the story of your character as they grow from thinking this to the opposite of this, and you will never ask what will happen next.
I listened to this a year or so ago and it opened my mind on where my writing needed improvement, and previously I found Chernobyl on HBO Max probably two years ago and LOVED it, and then I found out like 6 months after watching this video that the writer for Chernobyl WAS Craig Mazin and I lost it. I suddenly realized why I loved the characters so much and why the show was so well written as the masterpiece that Chernobyl was. Kuddos and thank you for this amazing piece of knowledge.
I've spent my life chasing something artistic and I haven't been sure what. I've drawn, tried photography, written/performed music, tried story-writing (ah, getting closer!) Then extremely recently I feel I may have found it. through journaling and learning to be authentic with myself I have discovered that so much of my passion comes from the seminal experience of watching movies, particularly Star Wars (George Lucas, not Disney), and now I'm exploring writing movies, even though I'm almost 28. I feel inadequate, uneducated, but ready to just have some fun and grow in honesty. Perhaps my theme? With prayer and exploration I hope to find out. Thank you for this podcast episode!! 😌
This was so good for so many reasons. I'm getting burned out with all these books and seminars and just noise for screenwriting and mostly structure. This strips away all the crap you don't need. I'm glad I was doing most of this in my latest script. Was sick and tired of a paint by numbers thing, went simple, straight forward, and lead with my character. Thanks again. I've listened to this like 5 times.
The email I subscribed with went down. Everything was running fine, but I couldn't access old episodes so I went through all the contact/help stuff just so I could go back and re-listen to this one episode.
I'm gonna join the chorus of praise. I've read so many books on stories: prescriptive, descriptive, analytic, etc... None of them describe story origination so helpfully. Indeed, few of them describe story origination at all. These 45 minutes can replace years of screenwriting classes. ;) Thank you, John and Craig.
Thanks for this. I've started writing again and I don't really think I've worked with a 'structure'. Used to be just: MC has a conflict, they solve it and gets better than the starting point. so somehow, I always get lost in the middle thinking what to do next. This is a really good 'guide' and how the story will write itself.
Milan Kundera in 'Unbearable Lightness of Being' touched on that "strange order to the universe" subject very well. On Anna Karenina, he explains Anna meets Vronsky, at the railway station where a passenger is run over by a train, and then Anna herself throws herself in the end under a train, this he claims is symmetrical composition, the same motif appears at the beginning in end, this resonates because "human lives are composed in precisely such a fashion, composed like music, guided by sense of beauty, an individual transforms a fortuitous occurrence, death under a train forms a motif, which then assumes a permanent place in composition of individuals life, Anna could have chosen another way to take her life, but the motif of death at the railway station unforgettably bound to the birth of love enticed her in her moment of despair, with its dark beauty, without realizing it" "The individual composes their life according to laws of beauty."
Thank you for uploading this, despite the disappointing lack of John. Your grounded, unpretentious approach and candour has really helped to motivate me over the course of this terrible year - thank you!
It's lovely to have someone take a free form open perspective on this. Synthesising from both ends of the effort feels like it'll be very helpful. Knowing some general structure rhythms so you know how and why you may break or abide by is one thing, but approaching it also from a feeling of truth for character and motivation really helps to double down on the path. Thanks man.
After learning about Screenwriting for about a year now from all different sources I find this video ties the most important facts neatly together. Everyone has different wording for the different aspects of a story but hands down this is among the most essential and helpful information out there. Thank you a lot.
Craig, this is the first tutorial, talk, what have you, that I have listened to every word of, taken extensive notes from, and saved in its own folder on TH-cam. This will help me more than any podcast I've listened to on the subject. Yes, I've subscribed! Thank you for knowing how to tell a story how to get writ.
Wow! This was, by far, the best, most thorough, and most thoughtful explanation of storytelling that I have ever encountered. Thank you so much for sharing this with with the world. 🙏🙏🙏
I don't usually comment of yt vids but God Damn! This is pure gold and explained so perfectly. I've listened to so many videos of structure and this is the first one that just cuts all the fluff and explains so perfectly why & how stories work. Thank you so much Craig and john.
Wowwww this might be the first lecture about "story structure" that really made sense to me. Maybe because it wasn't actually about story structure. I've been working on a concept for a comic book which more or less matches the pacing of a traditional movie and I think the tips in this video will take it to a whole other level.
In terms of awkward there is The Office's Dinner Party and Scott's Tots and the episode of Scriptnotes where the Final Draft guys came on an episode to discuss the software with Craig.
I recommend this episode to almost every other writer at my level..even just the transcript! thank you so much for making it accessible. So much clearer to listen than to read.
"Don't just stab your characters, twist the knife in them." - Mazin, Scriptnotes #403 31:49 Which is to note: screenwriters reference this episode in casual conversation the way the religious reference their scriptures.
It's amazing how incredibly Joel's journey in The Last Of Us Part 1 maps to the structure Craig is talking about here. We as viewers tend to reject "Conventions" and call them lazy writing, but what really matters is the execution of those conventions, and Neil Druckmann beautifully tells a conventional story that catches you off-guard. This also makes me appreciate what he did with TLOU P2, seeing how much more complicated that narrative is and how (arguably) beautifully Neil laid it out.
I’m so glad to have found this. I’m in an intro to screenwriting class, and we are working on the outline for the 15 page final. This really helped put my story into perspective. Thank you!
Thank you for making this available, I've listened to it 3 times so far. It breaks down story and theme better than books I've read on screenwriting. I hope to keep it in mind while writing my next script.
This is one of the most amazing realisations of writing a movie. Very grateful for this video. I want to ask: Can we first select a theme and then from chosen theme, create a story world and characters?
I have seen so many videos on screenwriting and oh Man! This podcast shine a lot more information and knowledge than so many other videos. Thanks a lot. I will hear it again a few times though :)
Loved this, it helped me a lot to understand storytelling beyond the surface. Also, I almost cried when talked about Marlin's family being killed, I don't know if I'll have the guts to play God and torture my characters like that hahaha
34:01 "They're trapped between rejection of the old and acceptance of the new." So much in this video is reminiscent of how Chernobyl and The Last of Us unfold.
Thank you very much for this. So helpful and insightful. I have a question though, when making a Short Film, what is the best way to condense this method of writing a movie to fit a short fillm? Thank you
Is the theme clashing with the antitheme then what we call the story engine? So Dory and Marlin being forced on a journey together is the engine in Finding Nemo? Or am I off
Mazin tells us: Behind the resistance to change, the reason is fear. But fear of what? Where does this fear come from, and what role does it play in the narrative?
Enlightening! Request: Since you're not using any video, have you considered posting these as podcasts on Audacy and/or Spotify? It'd be awesome to listen to these during my arduous commutes into and out of LA from the IE.
Without hyperbole: putting this up for free is a public service. 15 years from now, we'll be watching a great movie because a young person had access to this content today.
that eleven year old working in his moms basement with an internet connection
@@pikiwiki All of us start somewhere
I downloaded this video because of this comment, and indeed, it's true
.... Like he said, the character needs to go through challenges not because we want him/her to, but because he/she will learn something that'll make them better people. So also God allows us to go through challenges that will build us up and make us better people because he's interested in seeing us become the best we can.
me
Best 45 mins on screen writing out there 🙌🏼🙌🏼
for real.
Yup. Revisiting for inspiration boost.
Notes for self:
Structure happens because you wrote well. What is my motivation - a story is about a state of change.
Types of Change - 1. Internal change - 2. Interpersonal - 3. external
Theme - Central dramatic argument (your theme should evoke question)
Characters journey from Anti theme to embodiment of the theme
Thematic structure - The purpose of the story to take a character from a place of ignorance from the true side of the argument and take them all the way to the point where they become the very embodiment of the argument and they do it thru action.
Inciting incident should specifically disrupt a characters stasis. It destroys the imperfect continuity and forces a choice on character
Your character must have some weakness or fear which he tries to avoid the entire story but they are forced to face it. Take away the safety blanket from your character and let them expose to their fear
Be hard on your character
Character loses their old belief and has no choice to go backwards and struggles to move forward (Character is lost)
Your character must face a defining moment (Their worst fear). It will bring the new stasis to the balance - Design a moment that is gonna test your protagonist faith in the theme. prove that they believe in the new theme.
Now in the end give them the choice to go back to their original belief and they have to reject the temptation
Hero acts in accordance with the theme.
Two years left until the next talk.
Do this more often, Craig, I beseech thee.
Very few authors actually share something so valuable, but they sure talk A LOT. Thank you for all your time, effort, and your and John's films!
This one little episode where Craig just happened to be alone ends up being one of the most helpful, insightful, and just full-on mind-blowing episodes ever....ep 403 and ep 99 have helped me more than any other screenwriting resource out there...'that's a bold statement'
You are writer God.
1. Come up with Story Idea
2. Select Theme or central dramatic argument (Ironically of story idea)
3. Protagonist Character is in ordinary world - stasis (acceptable imperfection, not happy or perfect)
4. Character believes in opposite side of argument (ignorance of theme)
5. Disturb the stasis by inciting incident. Destroy it. Force a choice on character. Write ironic disruption of stasis - contradictions, sharp contrasts to break character’s soul. (explosion or tiniest little thing which will disturb only this character’s life)
6. Character will try to get back to the stasis. Character will not want to change at all. A feeling of fear in the character. This connects us with him/her and creates empathy.
7. Hero is knocked out of stasis. Hero will experience new things. Create new things which will reinforce his belief in anti-theme. They want to go to beginning even more.
8. You are forcing them forward but also going to put things in their path that make them want to go backwards. Create torture chamber.
9. Hero is coming towards you backwards, push them forward, again they come backwards, push them forward. Design moments like this. Tension
10. Write your world to oppose character’s desires.
11. Introduce an element of doubt. Make them run into someone or something who believes in theme. This doubt creates natural conflict in the hero. But it is attractive for him.
12. Hero will realise little value of theme. This is magical midpoint of the story. But they still don’t believe or understand this other side of theme.
They think: Was I living a lie? (by believing in anti-theme).
13. He thinks there is no fear living like this. But then something bad happens again. The moment he takes bait of switching sides, hammer him back to other direction. Tragedy. Be mean and sadistic. Dramatic Reversal.
14. Create terrible ironic events to push them back and forth, hammer them, punish them. Pull out irony out of drama - unexpected, ironic.
15. Keep thinking ironically for: Designing your obstacles, your lessons, glimpses of other way, rewards, punishments, beating back and pushing forward.
16. Make your characters lower their defences. Convince them everything is Ok. And then punch them right in the face.
17. When you are wondering where to go in your story and what to do with the character, Ask: Where is my hero on her quest between anti-theme and theme? What would be the meanest and worst thing I could do to him right now? Then do it. Do it. Do it again until hero is left without a belief at all.
18. They don’t understand central dramatic argument and also lost belief in their original point of view. Trap them between rejection of old and acceptance of new. They are lost. Old ways don’t work anymore. New way seems impossible or insane. This is the low point.
19. What we need in drama? - The moments where we connect to another person’s sense of being lost. Because we have all been lost.
20. These approaches will help you develop your character as they move through a narrative. Their relationship to them changes - from I don’t believe that to Ok, I don’t believe what I used to believe but I cant believe that yet. End of 2nd Act.
21. There are no acts. It is only one act - and that’s your story.
22. End of the story: Create a defining moment - worst fear, greatest challenge. This moment will not only resolve the story but resolve the life of your character. It will bring them to new stasis or balance.
23. How to design defining moment: A moment that is going to test your protagonist’s faith in the theme. They have to prove it. It is not enough to say, Ok I get it. They have to prove it.
24. But before they do that, Torture them again. A nice ironic relapse. Right before the defining moment. You have to say: Go ahead, go back to the beginning. You get it. The thing you wanted on Page 15, I am giving it to you. Don’t go forward. Don’t change. Go back.
25. What they have to do? They have to reject that temptation. And do something extraordinary to embody the truth of the Theme. He/She has to act in accordance of the theme.
26. And then it is Denouement: Faith in theme rewards. We need to see new synthesis. We see that afterstory life of character is in harmony with theme.
27. This should help you to create your character. When creating character, think of a theme. Imagine a character who embodies anti-theme. Be subtle about this. The story is a journey from character’s belief in anti-theme to belief in theme.
28. You can write the story of your character as they grow from thinking this to the opposite of this, and you will never ask what will happen next.
Thanks! I was going to look for a transcript to make my own summary but I think this will work.
Oo
O
Incredible work. Thank you so much.
I listened to this a year or so ago and it opened my mind on where my writing needed improvement, and previously I found Chernobyl on HBO Max probably two years ago and LOVED it, and then I found out like 6 months after watching this video that the writer for Chernobyl WAS Craig Mazin and I lost it. I suddenly realized why I loved the characters so much and why the show was so well written as the masterpiece that Chernobyl was. Kuddos and thank you for this amazing piece of knowledge.
this is so great. now I know how to let my heroes travel through the narrative and why they travel . Thanx.
I've spent my life chasing something artistic and I haven't been sure what. I've drawn, tried photography, written/performed music, tried story-writing (ah, getting closer!) Then extremely recently I feel I may have found it.
through journaling and learning to be authentic with myself I have discovered that so much of my passion comes from the seminal experience of watching movies, particularly Star Wars (George Lucas, not Disney), and now I'm exploring writing movies, even though I'm almost 28. I feel inadequate, uneducated, but ready to just have some fun and grow in honesty. Perhaps my theme? With prayer and exploration I hope to find out. Thank you for this podcast episode!! 😌
I just realized the scriptnotes logo is being zoomed in throughout the whole clip. Cool
This was so good for so many reasons. I'm getting burned out with all these books and seminars and just noise for screenwriting and mostly structure. This strips away all the crap you don't need. I'm glad I was doing most of this in my latest script. Was sick and tired of a paint by numbers thing, went simple, straight forward, and lead with my character. Thanks again. I've listened to this like 5 times.
Literally got my subscription to premium months ago so that I could always revisit this episode. Glad to know there's a big demand for it.
The email I subscribed with went down. Everything was running fine, but I couldn't access old episodes so I went through all the contact/help stuff just so I could go back and re-listen to this one episode.
What a gift this episode is. Talk about inspiring, gives you some serious guard rails to work with.
I just listened to this twice and it changed how I think about storytelling. Thank you so much for sharing this brilliant talk!
So when do we get the “whole other talk”? This was so great and I’m sure I’m not the only one who wants a part 2 for this talk.
I'm gonna join the chorus of praise. I've read so many books on stories: prescriptive, descriptive, analytic, etc... None of them describe story origination so helpfully. Indeed, few of them describe story origination at all. These 45 minutes can replace years of screenwriting classes. ;) Thank you, John and Craig.
Thanks for this. I've started writing again and I don't really think I've worked with a 'structure'. Used to be just: MC has a conflict, they solve it and gets better than the starting point. so somehow, I always get lost in the middle thinking what to do next. This is a really good 'guide' and how the story will write itself.
Genius is another word for Craig Mazin.
Hello from Moscow, Russia. Thank you for this. 🙏
This is one of my all time favourite episodes. Not just of scriptnotes but all podcasting.
Milan Kundera in 'Unbearable Lightness of Being' touched on that "strange order to the universe" subject very well.
On Anna Karenina, he explains Anna meets Vronsky, at the railway station where a passenger is run over by a train, and then Anna herself throws herself in the end under a train, this he claims is symmetrical composition, the same motif appears at the beginning in end, this resonates because "human lives are composed in precisely such a fashion, composed like music, guided by sense of beauty, an individual transforms a fortuitous occurrence, death under a train forms a motif, which then assumes a permanent place in composition of individuals life, Anna could have chosen another way to take her life, but the motif of death at the railway station unforgettably bound to the birth of love enticed her in her moment of despair, with its dark beauty, without realizing it"
"The individual composes their life according to laws of beauty."
This was so very helpful! Knowing the 'why' makes this so much easier to understand. Thank you!
Thank you for uploading this, despite the disappointing lack of John. Your grounded, unpretentious approach and candour has really helped to motivate me over the course of this terrible year - thank you!
Wow!
Finally I found something that makes sense, when it comes to writing stories. I've been scouring the internet for ages.
This literally helped me tie every single thing in my story together. I am so grateful for this❤ my story will be amazing
It's lovely to have someone take a free form open perspective on this. Synthesising from both ends of the effort feels like it'll be very helpful. Knowing some general structure rhythms so you know how and why you may break or abide by is one thing, but approaching it also from a feeling of truth for character and motivation really helps to double down on the path. Thanks man.
After learning about Screenwriting for about a year now from all different sources I find this video ties the most important facts neatly together. Everyone has different wording for the different aspects of a story but hands down this is among the most essential and helpful information out there. Thank you a lot.
Loved your way of putting every little structure down by the example. MUCH LOVE FROM INDIA❤️🇮🇳
Craig, this is the first tutorial, talk, what have you, that I have listened to every word of, taken extensive notes from, and saved in its own folder on TH-cam. This will help me more than any podcast I've listened to on the subject. Yes, I've subscribed! Thank you for knowing how to tell a story how to get writ.
I've mentioned this a few times, but this is my all time favorite episode of Scriptnotes!
Wow! This was, by far, the best, most thorough, and most thoughtful explanation of storytelling that I have ever encountered. Thank you so much for sharing this with with the world. 🙏🙏🙏
I don't usually comment of yt vids but God Damn! This is pure gold and explained so perfectly. I've listened to so many videos of structure and this is the first one that just cuts all the fluff and explains so perfectly why & how stories work. Thank you so much Craig and john.
For those who want more on all of this, you may want to do a close reading of the book THE ART OF DRAMATIC WRITING by Lajos Egri.
This is the first video from this channel I’ve come across. So thought provoking, and an instant sub!
this is pretty much the ONLY video you need to watch to understand how to structure a story. thank you.
Lajos Egri's book in action. Excellent podcast. Maybe follow up with an episode on Themes, what they are and how to design them?
STUNNING STUNNING and the single best explanation of crafting a screenplay !
2 years on and I have just seen this. It's so, so good! Waiting for the next one! Thank you
Wowwww this might be the first lecture about "story structure" that really made sense to me. Maybe because it wasn't actually about story structure. I've been working on a concept for a comic book which more or less matches the pacing of a traditional movie and I think the tips in this video will take it to a whole other level.
2:03 is where it starts
Thank god someone called out “structure” for what it actually is
This is genius I’ve never seen it like that this is going to make my stories so much better
"I don't know any other software" so savage Craig xD
In terms of awkward there is The Office's Dinner Party and Scott's Tots and the episode of Scriptnotes where the Final Draft guys came on an episode to discuss the software with Craig.
I recommend this episode to almost every other writer at my level..even just the transcript! thank you so much for making it accessible. So much clearer to listen than to read.
"Don't just stab your characters, twist the knife in them." - Mazin, Scriptnotes #403 31:49
Which is to note: screenwriters reference this episode in casual conversation the way the religious reference their scriptures.
Ahh no wonder Joel suffers so much in The Last of Us. Craig Mazin was one of his sick, sick writer-god.
Well, to be fair, that’s not really Craig. That should be more so attributed to Neil Druckmann.
It's amazing how incredibly Joel's journey in The Last Of Us Part 1 maps to the structure Craig is talking about here. We as viewers tend to reject "Conventions" and call them lazy writing, but what really matters is the execution of those conventions, and Neil Druckmann beautifully tells a conventional story that catches you off-guard. This also makes me appreciate what he did with TLOU P2, seeing how much more complicated that narrative is and how (arguably) beautifully Neil laid it out.
WOW!!!!!! Craig is amazing, he really knows his stuff!!!! Brilliant
Most excellent lesson sir, thank you. Your delivery was sterling, by the way.
Your opening about the swirly things reminds me of Dead Poet’s Society. Lol
Another incredible piece of help. One of the best.
Best video on story, structure, theme, and character arc, I’ve come across.
Mikael
Thank you so much for this. This is very helpful!
I’m so glad to have found this. I’m in an intro to screenwriting class, and we are working on the outline for the 15 page final. This really helped put my story into perspective. Thank you!
Cheers for this - most helpful!
Amazing master class. Thank you so much for sharing these gold tips.
as a philosopher, the part where Aristotle's poetics is a bathroom read just cracked me up XD however, it's true.
And what did he talk about halfway through this? THE MIDPOINT. Genius!
WOWWWW, this has changed everything for me this really all makes sense now
Thank you for making this available, I've listened to it 3 times so far. It breaks down story and theme better than books I've read on screenwriting. I hope to keep it in mind while writing my next script.
This is one of the most amazing realisations of writing a movie. Very grateful for this video. I want to ask: Can we first select a theme and then from chosen theme, create a story world and characters?
I really wish to see all of these concepts applied by taking 2 to 3 film examples. Can you do that for us Craiz? Grateful 🙏
I am using this for my novel, this is the real thing. Thanks
I have seen so many videos on screenwriting and oh Man! This podcast shine a lot more information and knowledge than so many other videos. Thanks a lot. I will hear it again a few times though :)
This is just amazing. Really unlocked so much in my screenplay. Thank you!
Fantastic listen! Listening to it I understood so much more about films that I've watched and their narrative.
The best book dovetailing into this episode is Brian McDonald's "Invisible Ink." It goes deeper down the theme/armature rabbit hole IMHO
If everyone said "Calm down" like Craig does, we might already have world peace.
Amazing content. Thank you for sharing.
Thank you!
Love this episode. Thank you for sharing! It's exactly what I needed to get unstuck in a feature script.
incredible offering, thank you so much ❤
I'm going to try and combine the log line with the major dramatic question.
Where did you go to school? I went to SU, Scriptnotes University. Tuition Free.
Thank you so much Craig That was amazing and truly helpful
This was so incredibly helpful - cannot thank you enough!
Loved this, it helped me a lot to understand storytelling beyond the surface. Also, I almost cried when talked about Marlin's family being killed, I don't know if I'll have the guts to play God and torture my characters like that hahaha
Incredible, huge thanks!!
This is a phenomenal video
You have an amazing skill for explaining things.
This was really good! Thank you so much Craig! This helps.
This is all well and good.. But choosing the concept/themes is the hard part! I never know which story to pick.
Thank you everyone... Appreciated & Charm'd...
34:01 "They're trapped between rejection of the old and acceptance of the new."
So much in this video is reminiscent of how Chernobyl and The Last of Us unfold.
Loved it !
Brilliant!
This is fantastic! It’s helped me massively - thank you so much!
Thank you very much for this. So helpful and insightful. I have a question though, when making a Short Film, what is the best way to condense this method of writing a movie to fit a short fillm? Thank you
Without a theme, you'll run outta steam!
Absolutely terrific
Is the theme clashing with the antitheme then what we call the story engine? So Dory and Marlin being forced on a journey together is the engine in Finding Nemo? Or am I off
Amazing! Thank you
thank you Craig!
Mazin tells us: Behind the resistance to change, the reason is fear. But fear of what? Where does this fear come from, and what role does it play in the narrative?
Enlightening!
Request: Since you're not using any video, have you considered posting these as podcasts on Audacy and/or Spotify? It'd be awesome to listen to these during my arduous commutes into and out of LA from the IE.
Wow are you going to be happy! There are 500+ episodes of Scriptnotes available as a podcast wherever you listen to podcasts.
@@johnaugust can’t find all 500 on Spotify, or am I dumb?
@@StriderGG back episodes are available on Scriptnotes.net as part of a premium subscription.
NICE
Loved it! Thank you!
The current Pixar writers need to watch this
Great Episode!
Amazing John!