Monday, April 26, 2021

Plot Like a Screenwriter with Douglas J. Eboch #scriptchat #scriptwriting #amwriting

If you've been following this blog for long, you've probably “met” my brother, scriptwriter Douglas J. Eboch. I love talking about writing with him and following his screenwriting blog,
Let's Schmooze. Novelists can learn a lot from movie writers. Here's an excerpt from the essay Doug wrote for my book Advanced Plotting. This works with our exploration of building your novel.

Plotting Like a Screenwriter
by Douglas J. Eboch

Now let’s look at the components of three act structure. Probably the most important is the Dramatic Question. If you understand nothing else but the Dramatic Question and the Moment of Failure (which I’ll get to in a bit) you’ll probably end up with a fairly well structured story.

What the Dramatic Question Is

The Dramatic Question is the structural spine of your story. On some level all Dramatic Questions can be boiled down to “Will the character solve their dilemma?” Of course that’s not very helpful to the writer trying to crack a particular story. You need to ask that question with the specifics of your character and dilemma.

So in Star Wars (written by George Lucas) the question is “Will Luke Skywalker defeat Darth Vadar?” In E.T. The Extra-Terrestrial (written by Melissa Mathison) it’s “Can Elliot save E.T.?” In Little Miss Sunshine (written by Michael Arndt) it’s “Will Olive win the beauty pageant?”

Those sound simple, right? Simpler is better when it comes to the Dramatic Question. But it’s not always easy to be simple. You have to know who your character is and what their dilemma is before you can craft a nice simple Dramatic Question. But then if you haven’t figured out your character and their dilemma, you’re not really ready to start writing yet anyway!

I also think it’s good to phrase the Dramatic Question as a yes or no question. So it’s not “Who will Susan marry?” it’s “Will Susan marry Bill?” Keeping it yes/no helps you tightly focus your narrative.

What the Dramatic Question Is Not

The Dramatic Question is not the theme of your movie. It’s not the hook. It’s not necessarily the character arc (sometimes it is, but not usually.) It doesn’t define whether your story is sophisticated or facile.

Do not think the Dramatic Question determines the quality of your story. It’s simply the spine on which you’re going to build your story. What you hang on that spine is going to determine how good your script is. Just because a person doesn’t collapse under the weight of their own body doesn’t mean they’re beautiful, intelligent, interesting, or emotionally complex. However, if your spine isn’t solid, none of the other stuff is going to work properly either.

How to use the Dramatic Question in your story

The Dramatic Question is an unspoken agreement with the audience. It tells them what the scope and shape of the story is going to be. They need to know what the question is fairly early in the proceedings or you will lose them. If too much time passes before they understand the Dramatic Question they’re liable to walk out of the theater or turn the DVD off or put down your script. They’ll say something like, “I couldn’t figure out what the movie was about.”

The moment when the Dramatic Question becomes clear is called the Catalyst. The Catalyst is where the audience understands who the main character is and what their basic dilemma is. They may not understand the entire dimension of the problem, but they have an idea what the story arc will be about.

So in E.T. the catalyst is when Elliot sees E.T. for the first time. We don’t yet know that his mission will ultimately be to get E.T. home or even that first he’ll have to hide E.T. And we don’t know that E.T. will start dying from the Earth environment. But we know that this kid who nobody takes seriously just found a little lost alien—and that some scary men are looking for it. We have a character with a dilemma.

Similarly, when the audience knows the outcome of the Dramatic Question, your story is over. The audience will stick with you for a few minutes of wrap up, but if you go on too long after resolving the dramatic question, they’re going to get restless. They’ll say things like, “it was anti-climactic” or “it had too many endings.”

Once E.T. takes off in his space ship, the movie ends. Credits roll. The story is over. Compare that to the Lord of the Rings trilogy (screenplay by Fran Walsh & Philippa Boyens & Peter Jackson). The Dramatic Question is “Can Frodo destroy the ring?” He does, but then the movie continues for another forty minutes or so. Kind of got tedious didn’t it? The story was over. We wanted to go home.

The structural beat where you answer the Dramatic Question is called the Resolution.

Douglas J. Eboch wrote the original script for the movie Sweet Home Alabama. He teaches at Art Center College of Design and lectures internationally. He writes a blog about screenwriting at Let's Schmooze  where he shares techniques like the ones in this article.

See Doug’s entire 4000-word essay covering all the dramatic story points of three-act structure, plus much more, in Advanced Plotting. Get more essay like this one in Advanced Plotting, along with a detailed explanation of the Plot Outline Exercise, a powerful tool to identify and fix plot weaknesses in your manuscripts. 

Buy Advanced Plottingfor $9.99 in paperback or as a $4.99 e-book on Amazon - free in Kindle Unlimited.

Sunday, April 11, 2021

Critique Group Characters: #amwriting tips for better feedback on your #writing

This 
excerpt from How to Write Great Stories, Articles, and Books for Kids and Teenagers is from the chapter on Critiques. See the list of topics to the right to find more on critiques.

Here are some specific character types to watch out for in your critique group.

Critique Group Characters

Watch out for the following personality types in a critique group:
  
It's all wonderful!
Art by Lois Bradley
  • The Cheerleader. She loves everything you do! This is gratifying, especially when you are doubting your talent, but it’s not particularly helpful in improving your work.

  • The Grammarian. He doesn’t have a lot to say about the content of your work, but he’ll circle every typo in red pen and may insist you follow strict grammar rules that have gone out of date. (By the way, I never use red pen on critiques – blue, purple, or green ink stands out from the black text, without that negative association of graded English papers.)

    Me? An opinion?
  • The Mouse. You can’t tell whether or not she likes your work, because she never voices an opinion. She might hide behind the excuse that she’s not experienced enough to offer feedback. She’ll do this for years.

  • The Perpetual Beginner. He truly isn’t experienced enough to offer feedback, and he never seems to improve. This type can be divided into The Rut, who brings in the same manuscript over and over without ever making substantial changes (despite all your thoughtful advice) and The Hummingbird, who throws away a manuscript as soon as it’s gotten one negative comment, preferring to work on something new.

  • The Chatterbox. She wants to talk about anything and everything – other than the manuscripts you’re supposed to be critiquing. This person sees a writing group as a social occasion, not a way to improve your craft.

    That's not how I'd do it.
  • Father Knows Best. He always has an opinion, which he voices clearly and often. He prefers to discuss how he would write the story if it were his own, ignoring the author’s vision.

  • The Bully. She enjoys tearing apart your manuscript. No suggestions, just criticisms bordering on insults.

All these characters have one thing in common. They don’t help you improve your work. Having one Cheerleader in the group can be nice, as it means you’ll hear some praise. The Grammarian may be useful, although often those comments are unnecessary and time-consuming when you are still developing a story and focusing on the big picture, not proofreading.

The Mouse and the Perpetual Beginner don’t do a lot of harm, but they waste your time. Why should you spend hours doing thoughtful critiques when you’re not getting anything in return? (Note, sometimes these people can learn over time. Ask for the type of feedback you want, such as "Please point out where you got bored or confused," or encourage them to use a critique form that asks specific questions. But if they won’t make an effort to be better critique partners, it may be time to end the relationship.)

Some people hate everything
The Chatterbox is an even bigger time waster. Sometimes that person can be controlled by having a set time for visiting, perhaps the first or last half hour of each meeting. Including some social time is a way for the group to bond. Some critique groups like to start or end with a nice potluck meal. You could also have one or two meetings a year that are purely social. If there’s a way to get Father Knows Best or the Bully to change their behavior, I don’t know it. They should be avoided.

A good critique is kind and supportive, pointing out both good qualities and weak spots in your manuscript, and giving you ideas for how to improve it. The best critiques leave you fired up and ready to get to work on revisions, even if you know you have a lot of work ahead. Look for people who can provide that.

If you've run into these characters, do you have advice on dealing with them? Are there other character types to watch out for?

You can get this whole essay, and a lot more – including a chapter on Advanced Critique Questions – in You Can Write for Children: A Guide to Writing Great Stories, Articles, and Books for Kids and TeenagersOrder for Kindle, in paperback, or in Large Print paperback.

Cat emoticons by Lois Bradley.

Chris Eboch is the author of over 60 books for children, including nonfiction and fiction, early reader through teen. Her novels for ages nine and up include The Eyes of Pharaoh, a mystery in ancient Egypt; The Well of Sacrifice, a Mayan adventure used in many schools; The Genie’s Gift, a middle eastern fantasy; and the Haunted series, about kids who travel with a ghost hunter TV show, which starts with The Ghost on the Stairs. Learn more at chriseboch.com or her Amazon page.