Audio Classes
Why do producers, agents and managers usually not respond to queries to read a script, even if they are open to receiving them?
It’s because the logline and synopsis in the query does not strike them as being the basis for a screenplay they could do anything with, business-wise. In other words, someone looks at the query and decides “pass” – even if they never tell the writer this.
And the problem is generally not in the writing of the query itself. It’s in the basic idea for a movie that it describes.
I see the same thing in scripts I read as a consultant. 90% of my notes deal with the basic underpinnings of the story, which would be found in a logline or synopsis. This is where most projects fail.
I have seen so many common issues in writers’ approach to story concept, main character, and three-act structure, that I have developed a set of keys to getting things right in each of these areas, which I’m now offering — in the form of five half-hour audio lectures.
I didn’t come at any of this easily, or quickly. This is the result of 20+ years of study and practice, and a lot of “trial and error” in my own writing – and what I’ve learned in the business as a professional. I really believe that if you can master what’s in these five half hours, you will conquer 90% of what leads to major “notes” from people like me – and “passes” from buyers and representatives.
These audios are geared for repeated listening via computer or smart phone (or burned to a CD) — so you can absorb the material while driving, or engaging in other activities.
Check out the free one-minute samples below.
Get all 5 for $49 by adding them all to your shopping cart and using the discount code “Five49” at checkout!
When you purchase, a secure link for each 15-20 MB file will be e-mailed to you. Clicking on it initiates a download into your computer web browser’s “Downloads” folder. This might take a few minutes, and I suggest waiting until it’s complete to start listening — to avoid having the playback stop partway through. Once each file is downloaded onto your computer, it can then be transferred to mobile devices through iTunes or similar software.
STORY CONCEPT
Covering such topics as…
- Why managers and agents consider this the most important part of the process
- The point and function of loglines
- How entertainment value is often the missing piece
- The need to use an established genre, with originality
- What high concept means, and why it matters
- How the SAVE THE CAT story types can help
Movie examples include: PRETTY WOMAN, THE 40-YEAR-OLD VIRGIN, WEDDING CRASHERS
Listen to a sample:
MAIN CHARACTER
Covering such topics as…
- Using point-of-view to get the audience inside the story
- How failure and struggle but active persistence are key
- Do you need a single antagonist?
- How relatable problems create audience connection
- The role of character flaw and arc
- How ensemble stories work, using multiple “main characters”
Movie examples include: ERIN BROCKOVICH, LIAR LIAR, JERRY MAGUIRE, GONE GIRL
Listen to a sample:
ACT ONE
Covering such topics as…
- Getting your main character “up a tree”
- Why hitting the ground running can be counterproductive
- How to get the audience caring about the main character
- Why jumping around in time can be counter-productive
- The all-important Catalyst or Inciting Incident
- Why the genre elements need to be present in the first act
Movie examples include: DIE HARD, THE MATRIX, LIAR LIAR
Listen to a sample:
ACT TWO
Covering such topics as…
- Creating a “punch-counterpunch” dynamic
- The importance of a passionately active main character
- The different types and levels of character stakes
- Constantly “changing the game” of the story problem
- How much of a “story” does the “B Story” need to be?
- How “lost” do things have to get at the Crisis?
Movie examples include: BROKEBACK MOUNTAIN, LEGALLY BLONDE, THE HANGOVER, GUARDIANS OF THE GALAXY
Listen to a sample:
ACT THREE
Covering such topics as…
- Keeping the outcome uncertain and the energy ever rising
- Mixed emotion endings
- Does the main character have to change?
- The role of Dramatica’s “Influence Character” and 4 throughlines
- What it takes for a “hero” to finally resolve their problem
- The need to create a huge emotional rush for the audience
Movie examples include: THE GODFATHER, JERRY MAGUIRE, STAR WARS
Listen to a sample:
