by Paula Brancato
A screenplay begins with the creation of a story. Unfortunately, not all stories deserve to be told. You’ve heard it said a million ways: “We’re looking for a premise that’s unique and unusual.” “…a high concept screenplay.” “Something new that knocks our socks off...” “A story with remarkable insight… never done before.” One of our greatest poets was once asked why he turned out only six to eight new poems a year. He said, “Because I only have remarkable insights six to eight times a year.” So, how do you get the remarkable insight that generates the unusual premise that creates the screenplay that’s a winner? It’s done through sheer unadulterated work. PLUS paying attention to what stays in one’s head and what doesn’t. This is the realm of the poet.
The truth? The average professional writer will run through about 100 story ideas – dead cat meets maker and finds out he’s a dog, London schoolteacher launches science fair undoing MI5, a cyberhouse turns on its inhabitants – to get 10 that deserve to be put on paper or discussed in short treatment form. Out of the ten stories deemed suitable for a short treatment, the pro will find maybe only 3 have the meat necessary to become a screenplay. That is after he/she has already written maybe 50 pages.
The pro will be ruthless and relentless about casting less promising story ideas aside. Because each rejected idea brings the writer closer to that remarkable concept. Perhaps the dog as cat theme is appealing, but not something this particular writer can write well. The London School teacher idea might have run out of twists and turns and become a really bad, really sappy romance. And how many interesting ways can a cyberhouse kill people, after all, if that is all it’s meant to do? This writer’s cyberhouse might be a Twilight Zone episode, but it takes more to make a strong feature film. And so on and so on. The pro whittles away and funnels down.
Out of the three stories that do survive, the professional further knows that only one is likely to have that remarkable insight that will not let go of the writer – that’s one in 100. And this is the story that must be told.
So, if your screenplays aren’t shaking anyone up, consider your premise before you start. Is this high concept enough? If not can you handle/make moving something exceedingly character driven? Is this story something you know about, can learn about, can write? Is it fun? Does it turn you on? Is this something important you have to say, something gnawing at you, no matter how hard you try to walk away from this story? Does it excite you down to your very bones? Is there enough meat to warrant two hours of an audience’s time, or is this story a one-note Johnny? Are you certain you have no particular ax to grind – screenplays aren’t lessons, they are insights. Do you just keep finding this darned story knocking around in your head, no matter how hard you try to get rid of it? Are you scared a little at what you might find? Then write, by all means.
Paula Brancato
Full-time Lecturer, University of Southern California
Mobile: 310-429-5181 Office: 212-249-0255
http://www.thewritersplace.org/script_consultation.shtml
TWPBrancato@aol.com
© Copyright 2002 - 2012 ScreenwriterShowcase.com. All rights reserved.
