Useful tools but hopelessly confusing Question: When is a plot not a plot? When is a sequence not a sequence?
Answer: When a playwright provides a book on screenwriting that exploits dramatalurgical theories developed by a lawyer over 100 years ago.
Confused? Not as half as confused as you will be after you've read this book.
In fairness, the author, a classically trained playwright, sets forth some useful tools for dramatic storytelling. The tools were originally developed by William Thompson Price, a lawyer turned playwriting teacher, who founded a playwriting school in New York back in 1901.
For example, the book provides useful tools for developing and maintaining a true character dilemma, i.e. a character forced to chose between two equally unacceptable alternatives. The book also sets forth a useful technique for outlining a story that involves working backward from the end to create a cause-and-effect chain of story beats. Though originally developed for use with theatrical plays, these tools are equally helpful in developing screenplays, novels, and any other form of dramatic storytelling.
Unfortunately, the explanation of the tools is hopelessly complicated. "Plot" (with a capital P) means something different from "plot" (with a little p). The same is true for "Sequence" and "sequence". (Where was the editor and/or Editor in all this?)
The main problem here is that the author chose to retain the original terminology developed by Price. So we get "logical propositions", "formal syllogisms", "conditions of the action", etc. (What a shock that playwriting terminology developed by a lawyer over a hundred years ago would be confusing and antiquated today when applied to modern screenwriting.)
Those with an abundance of patience can dig through this book and find some useful techniques. Others should probably skip it.
P.S. The author might consider preparing a second edition of the book, which clarifies and simplifies the terminology (and which, even more importantly, changes that atrocious cover design!)
Holy Grail for screenwriters I'm sitting in a room with the only light coming from my laptop. I've just run into the same roadblock I have crashed into throughout my ten years of writing. It is familiar, but no less frightening. In the scriptwriting process, this would be equivalent with the green flag at the Indy 500. It is the beginning of the adventure. It is both exciting and scary. However, I am now in a much better place. I've been given a map. Just keep taking a left and you'll end up at the finish line.
Until I read "Writing a Great Movie: Four Advanced Tools for the Dramatist" I only knew how to punch the gas and hope for the best. That fearful moment of the unknown, and lack of preparation at the beginning of screenwriting is gone. It is still exciting, but no longer terrifying.
Why? This book has given me very simple and straight-forward tools to pre-plan, organize, evaluate, modify, and lay out a map to the end goal -- a dramatic script.
I have studied numerous books. I've taken several classes. This is the ONLY course of study that has solved my specific problem. I have an idea ... but how do a work it before I sit down to write. In some cases this methodical preparation will tell you that story isn't there. Even more so, it will help work out the problems in advance, while giving you the confidence in the project/idea before you sit down to write.
I've done preparations in the past, but none have given me the confidence to know I've done the work and the story is there. There is something terrible in sitting down to write -- getting 60 pages in and realizing "I have no idea where I'm going OR what avenue I'm taking to get there".
I offer this book at a cure to those that share this problem. For me, this book and these tools offer a variety of solutions. I'm focusing on this "lack of guidance" issue, because I image there are many people who share this problem. And because I've never found another course of study that solves this specific problem.
While I focused on the lack of direction issue, I should note that this book helps in every aspect of dramatic writing. It has helped in building stronger characters, better drama, and more. I utilize these tools with EVERY script I'm writing. And most importantly, the tools have NEVER failed me. I still may write a crappy script in concept, but it is because of the decisions I made rather than a lack of dramatic structure.
The only reason I would not endorse this book, is that I fear it will create a lot more competition in the script writing world. I'll set my self-centered fear aside and suggest this script for anyone that is interested in writing.
Scott Schlichter
Want 'dramatic' improvement in your writing? This is the best book on dramatic screenwriting I've come across. I've read most of the major screenwriting books in print and, though they all have their good points, Jeff's "Writing a Great Movie... " gets to the heart of what story is all about: drama. He presents four amazing tools that will whip your idea into a structurally solid story, if you are willing to do the work. Nobody said it would be easy but if you have the discipline to apply these techniques you'll find your work is 'touching' its audience in all the right places. Excellent book.
Understanding Your Story Jeff Kitchen's book is truly a "find." There are tons of books on writing, but so few of them focus on the most critical element to successful fiction writing: having a solid story.
Although primarily intended for screenwriters, Jeff's book is useful for anyone who is trying to structure a story. His discussion of dilemma is enough to get any author of fiction headed down the right path. Further, his coverage of the 36 dramatic situations has proven critical to my ability to add depth to my stories. These two concepts, plus his presentation of "sequence, proposition, plot" will help anyone, beginner or published author, create compelling fiction.
A must for screenwriters As a novice I found this groundbreaking to my education in film creation. Screenwriting is an art of word to visualization, and can be extremely complex when dealing with the human condition. With Jeff Kitchen's in depth however symplistic utilization, of dramatist' ideals of the past, melted with his own teachings, provide a compelling set of tools from which to work. It's as essential to a screenwriter as a hammer and chissel is to a sculpter.
Anything Goes Trivia
Megaton Man
Tailipoe
Trevor
