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The fine folks at Script Pipeline are now offering a 10% entry discount for their 2013 Screenplay...

Thu, 25 Apr 2013 15:00:30 -0600

The fine folks at Script Pipeline are now offering a 10% entry discount for their 2013 Screenplay...

Finalists, Feb/March, 2013

Wed, 10 Apr 2013 12:31:00 -0600

#TLLjournal || #feb #march || #finalists || #loglines ————— The...

Congrats to Stephen Ready & Tim Kozlenko who just signed...

Wed, 27 Mar 2013 11:07:05 -0600

Congrats to Stephen Ready & Tim Kozlenko who just signed with Credence Talent! Credence will be representing their script THE PRICE OF PROGRESS. Credence discovered Stephen and Tim’s script via TLL’s logline contest! Great work, guys.

Screenwriters attending Cannes, check out this great...

Mon, 11 Mar 2013 12:22:00 -0600

Screenwriters attending Cannes, check out this great opportunity!

http://www.maisondesscenaristes.org/en/actualites/

On FB: https://www.facebook.com/MDScenaristes

On Twitter: https://twitter.com/maisonscenarist

Congrats to this rounds winner, Ian Patrick Williams. He just...

Mon, 11 Feb 2013 17:43:00 -0700

Congrats to this rounds winner, Ian Patrick Williams. He just got a request from Relativity Media to read his script, based on his logline that he submitted to our contest!

Good luck, Ian! Great logline.

#TLLjournal || #december #january || #finalists || #loglines ————— The...

Mon, 11 Feb 2013 15:53:00 -0700

#TLLjournal || #december #january || #finalists || #loglines ————— The...

TLLjournal is happy to announce that Relativity Media is now...

Mon, 14 Jan 2013 16:50:45 -0700

TLLjournal is happy to announce that Relativity Media is now on-board to read our finalists’ loglines!

http://www.relativitymediallc.com/

#screenwriting #film #story

Just Effing Ask Julie Gray: What Qualifications Are Needed to...

Sat, 12 Jan 2013 14:02:04 -0700

Just Effing Ask Julie Gray: What Qualifications Are Needed to Break Into Screenwriting?

source: @scriptmag & Julie Gray

#screenwriting #film #story

“Hi Julie,

Question: As a neophyte wanting to enter the world of screenwriting, which is the most effective method or path to follow? I work full-time and reside in Cape Town [South Africa]. My biggest fear is obtaining a qualification in scriptwriting and then arrive in any country overseas and find out that it’s invalid or insufficient. I am not looking for short-cuts or quick-fixes. I have a passion for writing and love being creative. Therefore, I would put in the effort [and more] required to become a great screenwriter.

Love, Candi

Dear Candi,

Thank you for a great question!

Well, first of all, when you say “obtaining a qualification” do you mean a screenwriting certification or degree? The bad/good news is that will not necessarily help you at all, no matter where you live. If you have the opportunity to pursue a formal education in screenwriting, go for it. But I would not mistake that for a prerequisite or entree into the world of a screenwriting career.

No, what you need is a good script. And that is something you can write from anywhere in the world. I’m glad you realize there are no shortcuts; the average sold screenwriter has written upward of ten scripts. That is how long it takes to both gain any mastery of the craft and to make the kinds of inroads you need to get noticed.

My advice to you would be to write your heart out and to amass a body of work before you take the next step of looking for representation. Do some thinking about what your “brand” is – what kind of writer you would like to be regarded as, which also includes genre. Are you the hot new female horror writer from South Africa? Or the new voice of the romantic comedy, with an African twist? Make sure you write the genre that you most love and that you establish not only a body of work but a body of work that speaks to who you are…..”

Snatch (2000) source: @TheScriptLab #screenwriting #film...

Sat, 12 Jan 2013 11:21:15 -0700

Snatch (2000)

source: @TheScriptLab

#screenwriting #film #story

“Screenplay Genre: Crime / Thriller

Movie Time: 103 minutes

INCITING INCIDENT

Franky Four Fingers (Benicio Del Toro) heists an 84 carat diamond that sparks the interest of diamond sellers Avi (Dennis Farina) and Doug the Head (Mike Reid) during the time unlicensed boxing promoter Turkish (Jason Statham) and his partner Tommy (Stephen Graham) reach a deal for their fighter Gorgeous George (Adam Fogerty) with malicious boxing kingpin Brick Top (Alan Ford). (00:11:44)

LOCK IN (End of Act One)

Acting on a tip, Boris the Blade (Rade Sherbedgia) commissions two-bit thugs Sol (Lennie James) and Vince (Robbie Gee) to take down a bookie and steal a briefcase from a man with four fingers. They hire Tyrone (Ade) who fusses over Vince’s dog, to be their getaway driver. Meanwhile, Tommy puts Gorgeous George in a bare-knuckle fight against the gypsy Mickey (Brad Pitt), but Mickey breaks Gorgeous George’s jaw, knocking him out of Brick Top’s fight. Turkish and Tommy have no choice but to get Mickey to replace Gorgeous George and fight for them. (00:29:50)

FIRST CULMINATION (Midpoint)

Sol and Vince botch the robbery and learn they held up one of Brick Top’s bookies. They discover the briefcase contains the massive diamond and want in, but Boris has other plans and Avi is on his way to get his diamond. Brick Top assures the betters that Mickey will go down in the fourth round, but Mickey knocks his opponent out with one punch, landing Turkish and Tommy in Brick Top’s debt. Turkish and Tommy need to make Mickey fight again, but he won’t do it unless they buy his mom a new camper. (1:02:19)

MAIN CULMINATION (End of Act Two)

Brick Top smashes up Turkish and Tommy’s casino and burns down Mickey’s mom’s camper, with her still inside, in order to make Mickey fight. After the wake, Mickey goes on a wild bender and is stone drunk minutes before the fight. Brick Top warns Mickey that his gypsy camp is fucked if he doesn’t cooperate this time. In the city, Avi and his…..”

John Ostrander: Freelancers Live Without A Net source:...

Thu, 10 Jan 2013 14:01:37 -0700

John Ostrander: Freelancers Live Without A Net

source: @TVWriterCom

#screenwriting #film #story

“As the comics world knows, writer Peter David recently had a stroke. I’ve known Peter for a long time and I both respect and often envy his talent, skill and the breadth of his work. Peter has health insurance but there are plenty of bills that just won’t get covered and, as pointed out here on ComicMix, fans who want to show financial support can do so by purchasing his work at Crazy 8 Press. That’s incredibly easy; not only do your help Peter and his family but will probably get a damn fine read out of it at the same time. Like I said, Peter is a very talented writer.

Peter’s better prepared (as far as anyone can be prepared for something like this) than many in the field; he has health insurance and most other freelancers – including myself – don’t. It’s hard to get, and harder to afford, health insurance when you’re a freelancer. By it’s very nature, a freelancer’s life is precarious.

Take for example, job security. There isn’t any. Beyond your current contract (ifyou have one), there’s no guarantee you’ll have a job when it ends. You may be on a title for a long time, but that always ends. I had a “continuity contract” at one time with DC which guaranteed me so much work (and health insurance) within a given time frame, but that is long since gone. I don’t know if it’s offered any more. It was difficult for me to get a mortgage back when I bought my house (which I no longer own) and I dare say it’s tougher now if you’re a freelancer.

When you’re a freelancer, you only get paid for the work you actually do. There’s no sick pay, there’s no paid holidays, there’s no paid vacation. You sometimes get royalties ( or “participation” or whatever term a given company chooses to call it) and that’s nice. Amanda Waller’s “participation” in the Green Lantern movie sent me some nice bucks that were sorely needed at the time but that’s like finding an extra twenty in your jeans that you forgot you had. You never know when it’s coming and you can’t rely on…”

Balls of Steel: Do You Write for You or for Fame? source:...

Thu, 10 Jan 2013 11:01:46 -0700

Balls of Steel: Do You Write for You or for Fame?

source: @scriptmag

#screenwriting #film #story

“By now, most of you know I’m not 25, living in L.A. and full of Botox, but in case you don’t, let me assure you, I’m none of those things. I have teenagers, live in New York, and all my wrinkles have been earned… by working my fingers to the bones at all hours of the day and night in pursuit of my dreams.

The other night, I sat in my living room, trying to steal quality time with my almost-off-to-college teen, and the TV remote landed on one of the spin offs of Real Housewives. I don’t remember the name, but it was the one with a gaggle of gorgeous young waiters and waitresses in hot pursuit of careers in entertainment (yes, these are things a mother watches for the sake of teen time). At varying moments during the show, each one declared, “I just want to be famous!”

Really?

It wasn’t simply the declaration of their sole goal being fame that shocked me, it was the way in which they said it. Their eyes sparkled at the thought of getting all dressed up, walking the red carpet with cameras blinding them. One even said she’d know she finally arrived when the paparazzi ran her off the road.

I may be old enough to be their mama, but I cannot imagine having fame be the motivating factor of what career I pursued, especially this one!

I apologize in advance if this post turns into a rant, but this is a subject I feel very strongly about because, in my opinion, your attitude and priorities will make or break your odds of success.

Pursuing a writing career is going to take every ounce of your energy. Every. Single. Ounce. You will lose friends. You might even lose your spouse – it’s extremely difficult to find someone to share your life with who understands the drive of an artist.

And I’m not talking about the drive of fame.

A real writer will stop at nothing to create. Writing becomes their main focus and is as important as air. Whether they had time to write in a given day affects their mood, their ability to focus, and their concentration.

If a “writer” is only looking for fame, s/he will fail. Miserably.

Why?

Because the narcissist who only wants fame won’t…..”

Syd Fields Three Act Structure Paradigm source:...

Wed, 09 Jan 2013 18:01:20 -0700

Syd Fields Three Act Structure Paradigm

source: @gerryhannan

#screenwriting #film #story

“…..Syd Field’s ‘three-act-structure’ model is a perfectly natural device; not one that can be avoided by screenwriters. It is no more than a variation on the ‘start, middle and end’ model of all narratives. Using two films, Network (Lumet, 1976) and Magnolia (Anderson, 1999)it can be demonstrated that Field’s three-act structure; set-up, confrontation and resolution, is unavoidable and inevitable regardless of screenwriting and filmmaking techniques.

Network and the vast majority of Hollywood output are films with a classic linear story structure; send hero to battle, fire missiles at him, get him home dead or alive; it is a simple model, logical, chronological and embraced by the majority of film makers. The beginning, middle and end is the trusted template which defines American cinema. However, “a distinctly nonlinear structure has crept into Hollywood’s cinematic repertoire.” (Smith, 1999/2000) The emergence of films such as Pulp Fiction, Lone Star, English Patient and Magnolia do not use linear structure. But the question remains can the three-act formula be avoided?

Screenwriting expert Professor Robert McKee once described a story as a human being living a life that is more or less in balance; then comes the “inciting incident. The protagonist reacts, his life falls out of balance, and he now has had aroused in him a conscious or unconscious desire for whatever it is that will restore balance; “launching him on a quest for his object of desire against the forces of antagonism.” (Parker, 2003) McKee nailed the concept of the three-act structure that was the basis of debate initiated by Syd Field, an American writer and popular screenwriting guru.

Syd Field argues “The nature of the screenplay is as it has always been; a story told with pictures, dialogue and description, and placed within the context of dramatic structure” (Field, 2005). Field’s popular paradigm of three-act structure consists of set up…..”

Rewriting Your Script, Part 1: Set It Aside source:...

Wed, 09 Jan 2013 14:01:52 -0700

Rewriting Your Script, Part 1: Set It Aside

source: @GoIntoTheStory

#screenwriting #film #story

“Since dozens of writers used Go On Your Own Quest to pound out a first draft of their original screenplay, I decided to start off the New Year with a week-long series on rewriting, to honor their commitment and effort, and to encourage them [and everyone else] on their creative journey.

We’ve all heard the adage, “Writing is rewriting,” right? Perhaps nowhere is that more true than screenwriting. Aspiring screenwriters know this because of the number of drafts they go through to whip their script into readable shape. Professional screenwriters understand this because of the multiple drafts they do on any project, whether on spec or assignment.

Rewriting is just the nature of the screenwriting beast.

But that begs the question: How? What are some keys to the rewriting process? Instead of wandering around in the dark not knowing if you’re improving the story or not, is there a coherent approach to rewriting your scripts?

First off, the same thing applies to rewriting as to writing: There is no right way to write. There is no right way to rewrite. Every writer is different. Every story is different. And every rewrite is different.

That said, this week I will lay out some keys to the process. If they help you, great. Use them with my blessing. If they don’t help you, feel free to chuck them.

Part 1: Set It Aside

So you just typed FADE OUT / THE END. First draft done. Huzzah! What a bear that was. Days, weeks, months of work.

You feel good about getting through the first draft, but you know the script needs work.

First step: Set aside your script for two weeks.

That’s right: Two. Whole. Weeks.

Why? Several reasons.

#1: You need to celebrate. For most writers, there is nothing harder than completing that first draft. Every single scene represented an opportunity for you to turn back, give up and stop writing. Yet you prevailed. That is a victory, my friend, an achievement that deserves acclimation.

So call up some of your friends and go out on the town. Or locate your significant other… you know that person who’s been looming at the edge of your consciousness for months now… and take them out for a really nice dinner.

Best advice: Go to Costco and pick up a bottle of Veuve Clicquot for about $45. A great champagne and if there’s one time to drink some bubbly, it’s when you finish that damn first draft!

#2: You need to recharge your batteries. Writing a first draft is like……”

Get a “God’s-Eye View” of Your Story source: Jeffrey Scott &...

Wed, 09 Jan 2013 11:58:19 -0700

Get a “God’s-Eye View” of Your Story

source: Jeffrey Scott & @ozzywood

#screenwriting #film #story

“…….The reason I use Excel is based on a writing principle I discovered years ago. I call it getting a God’s-Eye View of the story. I realized that by typing out my outline beats in a normal word processing program it took screen after screen to go through my scenes. So while I was looking at one portion of my story the rest of the story was totally out of sight. And as they say, “Out of sight, out of mind”. But when I write I want all of my story in my mind, or at least as much as possible.

This concept is used in the military as well. If you only have a narrow view of the battlefield (such as through binoculars) you can’t get a good picture of what’s going on, nor make as effective of a decision. But if you can see it all (with, say, a satellite) you can make much more effective decisions because you have more of a “God’s-Eye View”.

I initially solved this problem in Word by typing out my scenes on a single line in small type. But then I discovered how much easier and customizable it is in Excel.

Let me describe what you’re seeing in the above screenshot. This is a scene breakdown of the film Independence Day. I’m using this just as an example to show you how a familiar film might be broken down.

Each narrow row is a scene. And I keep the rows as narrow as I can so that as many as possible appear on one screen. This is generally done by reducing the font size, which automatically resizes the row height. But you can also right-click on any row number (on the left side of the window) and then click on “Row Height” to adjust it.

Column A is just a simple act number breakdown. In a three-act structure I like to number my acts 1A, 1B, 2A, 2B, 2C, 2D, 3A and 3B. This gives me smaller and easier units to work with. I color code the left column black and gray only to visually separate the…..”

December 2012 Spec Market Roundup

Tue, 08 Jan 2013 17:10:47 -0700

source: Scroggins Report #screenwriting #business #film As you’ll see from this week’s Scoggins...

Hat Trick’s Short & Funnies source:...

Tue, 08 Jan 2013 14:02:02 -0700

Hat Trick’s Short & Funnies

source: @ScriptwritingUK

#screenwriting #film #short

“Comedy production power-house Hat Trick Productions are looking for short films for their new competition, Short & Funnies. Films can be between 2-5mins long, but the hook is that they have to a rabbit in the film in some way (as a nod to Hat Trick’s logo, and to show that the film is specially made for the competition, but don’t use a live rabbit!).

The prize is £3,000 and a pitching session with the Hat Trick comedy team.

Closing date for entries is midnight, 14th February 2013.

Full details and how to enter HERE.

Also, a final quick reminder to vote for the UK Scriptwriters podcast in this year’s European Podcast Awards. It takes 4 clicks, and no registration is required. Easy! Click HERE to vote.”

Sweden’s “Bloody Boys” win brussels script...

Tue, 08 Jan 2013 10:01:40 -0700

Sweden’s “Bloody Boys” win brussels script award

source: @CannesorBust

#screenwriting #film #story

“The Best Screenplay Award went to Sweden’s “Bloody Boys/JÄVLA POJKAR), written and directed by Shaker K. Tahrer. The films traces three families going through rupture and turmoil. More here.

The full list of awards is as follows:

GOLDEN IRIS AWARD for best film + Cineuropa Award DEATH FOR SALE by Faouzi Bensaïdi (France/Belgique/Maroc)
WHITE IRIS AWARD for best first film CLIP (KLIP) by Maja Miloš (Serbia)
AUDIENCE AWARD ITALY LOVE IT OR LEAVE IT by Gustav Hofer and Luca Ragazzi (Italy/Germany)
FEDEX CINEPHILE AWARD KAUWBOY by Boudewijn Koole (Netherlands)
RTBF TV AWARD QUAND JE SERAI PETIT by Jean-Paul Rouve (France)
Be TV AWARD NO REST FOR THE WICKED (NO HABRÁ PAZ PARA LOS MALVADOS) by Enrique Urbizu (Spain)
PRIME TV AWARD THE DEEP BLUE SEA by Terence Davies (USA/UK)
BEST SHORT FILM AWARDS: A NEW OLD STORY by Antoine Cuypers (Belgium) LE CRI DU HOMARD de Nicolas Guyot (Belgium) and ROBYN O. by Cecilia Verheyden (Belgium).

For more informtion, visit the Brussels Film festival.”

Get A New Story: Set Smarter Writing Goals source: @JennaAvery...

Sat, 05 Jan 2013 10:01:41 -0700

Get A New Story: Set Smarter Writing Goals

source: @JennaAvery & @scriptmag

#screenwriting #film #story

Setting a goal like “I’m going to work on my script today,” may work for some people, but for others it can be a deterrent to taking action because it’s nebulous. There’s not enough for your mind to grab hold of and you can end up floundering or procrastinating as a result.

Defining a clear, specific goal, however, makes it easier both to take action because you know what to do, and to know when you’ve reached your desired outcome.

In a class I taught for The Writer’s Store, “10 Practical Tips for More Consistent, Productive Writing,” I discussed the use of “SMART goals” to help you create actionable goals for your writing projects.

What are SMART goals

The concept of SMART goals, or “S.M.A.R.T.,” is popular in the coaching world, and translates well into the realm of writing, particularly because writing tends to be such a long-haul prospect. Writing a script isn’t something we typically do over a night or a weekend, but rather a project we work on for a longer period of time. (At least usually, though most of us have heard the fabled Sylvester Stallone story of writing Rocky and Joss Whedon and Drew Goddard’s The Cabin In The Woods in 3 days and dream of such things ourselves.)

Setting SMART goals can help you properly pace yourself and keep you focused on the task at hand.

How to use SMART goals

SMART goals can be a powerful implementation tool when it comes designing and implementing both daily actions and bigger visions.

Here’s how it works:

SMART, as an acronym, stands for Specific, Measurable, Achievable, Resonant, and Time-Bound.

(Note: There are different variations you can find online about how to define SMART goals. This particular version comes from The Right-Brain Business Plan by Jennifer Lee. I prefer and recommend her approach to my clients and Writer’s Circle members because it brings in an intuitive aspect that’s important for creatives.)

S = Specific

Making your goal specific means choosing a clear action-step within a specific project. For example, rather than a goal like, “I’ll work on my script today,” you might choose something like “I’ll write the new scenes at the end of Act 1.”

For a bigger vision goal, still aim to be as specific as possible.

Here’s my broader goal for my next projects: “To expand my spec script library with one low budget time travel romance script and one bigger budget sci-fi action story.” Being specific gives you clarity about what to work on. Even better if your goals fit your storytelling brand as well.

If you’re not that clear on your brand or your next projects, make that your priority. Think about what the market is looking for. Contemplate which projects can best showcase your talents. Think about where you’re feeling most called to write.

And when it comes to selecting specific projects, keep a running list of concepts that you can choose from when the time is right.

M = Measurable

To make your goal measurable, choose a……”

Did You Ever Wonder source: Paul Peditto &...

Fri, 04 Jan 2013 20:00:41 -0700

Did You Ever Wonder

source: Paul Peditto & Moviebytes.com

#screenwriting #film #story

“I don’t believe in learning from other peoples pictures. I think you should learn from your own interior vision of things and discover, as I say, Innocently, as though there had never been anybody.”
—Orson Welles

Did you ever wonder if it was such a great idea to see every movie ever made? To study every genre, learn the tricks of every director? Could it be that a piece of your - for want of a better word - innocence is lost with every movie you watch? With each writer you emulate? It’s pretty commonly assumed that you GROW as an artist with more exposure to other people’s stuff. What if the truth was the reverse?

Did you ever wonder if you weren’t writer’s blocked at all … but that you simply had NO ENERGY left in your body from your daily toils to devote to screenwriting. I remember from an old Syd Field book he said you need three hours a day to write a screenplay. Utter nonsense. What if I don’t have the three hours, I’m not allowed to write? Or I’ll fail for sure? Not at all. The only way you’ll fail is if you cannot free up enough time with ENERGY, meaning your best. Endeavor to find some block of time during the week where you can bring your best effort to the script. You’ll be amazed at how fast the mind processes ideas when you’re not on the wrong end of a caffeine buzz. You can’t limp home at 8pm, make dinner, deal with the family, ready yourself for tomorrow, THEN sit down at the computer at 11pm thinking you’re gonna be Aaron Sorkin. Never gonna happen. Productivity in screenwriting is about ENERGY, not the amount of hours you put in front of the laptop.

Did you ever wonder why the screenwriting gurus and self-proclaimed experts are always telling you what to do, but when you look at their credits, there’s almost nothing to see? Why would someone talk about how to write instead of just writing themselves?

Because it is MUCH harder to write something of value than to……”

#Screenwriting #Craft Screenplay Study: Win Win, by Tom...

Fri, 04 Jan 2013 18:22:18 -0700

#Screenwriting #Craft

Screenplay Study: Win Win, by Tom McCarthy

by Indigo Wilmann

Win Win is a dark comedy about Mike Flaherty, a struggling lawyer and part-time high school wrestling coach who takes on the guardianship for one of his semi-senile clients without intending to earn the monthly stipend. When his ward’s troubled grandson shows up and turns out to be a star wrestler, he thinks most of his problems are solved…until the boy’s junkie mother arrives wanting a piece of the old-man’s pie and forcing Mike to learn what’s really worth fighting for.

The basic question, or premise, that is set-up in Act 1 is will Mike be able to support his family?

Act 1: Set-Up

First Image (pg 1): Mike jogs alone in the woods.

The description immediately sets the tone:

It’s a bitter cold January morning. The woods are quiet. Desolate. In the far off distance a man is jogging. He banks around the end of a small pond and runs right at us. This is MIKE Flaherty, 42. He is running hard. Or at least as hard as he can.

Suddenly TWO JOGGERS blow past him.

Words like “bitter” and “desolate” combined with the description of Mike running solo until the joggers who blow right by him, help to immediately set the tone of this dark comedy.

Set-Up (pgs 1 – 10): We’re introduced to Mike’s family and financial situation.

(pg 1) We’re introduced to Mike’s 6 year old daughter, Abby, as she sees a stained glass angel fall down and break.

Her response, “Shit” is in perfect harmony with the tone of the movie and gives us another moment to chuckle less than 2 minutes into the film.

(pg 4) First sign of trouble: the dead tree in the yard.

It’s a nice visual metaphor for what’s going on with his business and how it is affecting his family. Having Mike, who’s just admonished his wife for cursing, utter “shit” here also adds a nice bit of ironic humor as well.

(pgs 5 – 7) The sign on the front lawn tells us Mike is a lawyer and he shares his building with Vig, a CPA. This is a quick, visual way to provide exposition.

Neither of their businesses is doing very well, so they choose to pretty much ignore the bad boiler in the basement.

(pg 8) Mike’s assistant, Shelly, informs him the toilets are messed up again, and he tells her not to hire a plumber, he’ll fix it himself. Very soon after that, we see him backing down from his fee and willing to take less.

All of these scenes reinforce the issue – Mike has money problems that could come crushing down on his home like a dead tree or drown his office like a broken boiler.

(pgs 9 – 10) Finally we meet Leo, whose personal situation is crucial to the plot.

(pg 11) Shelly informs Mike that Leo’s guardianship pays $1,500 a month.

This is a “planting the seed” beat. It creates desire in the hero. Mike’s desperate financial situation has been repeatedly illustrated, so when Shelly mentions the guardianship the same thought that goes through Mike’s head, goes through ours. It’s the perfect set-up for allowing the character to do something smarmy, while allowing him to retain the audiences’ sympathy.

Catalyst (pg 21): Mike becomes Leo’s guardian.

This is an interesting catalyst because it serves two purposes. On the surface, it provides a vehicle for Mike to deal with his growing money problems. Yet, its more important function is to inextricably link Mike with Leo – and later, Leo’s family which is essential to the plot.

Plot Point 1 (pg 36): Kyle moves in with Mike and Jackie.

Plot point comes just a touch late in the act. Part of the reason is that the script could be a little tighter. For instance, there’s a short scene at the end of page 4 that takes place in Dunkin’ Donuts when a group of old men waves Mike over and he chats with them for a second. This scene serves no real purpose. It doesn’t push the plot forward, reveal any new information, or pay off later. Perhaps the writer intended it as a “see what a nice guy, pillar of the community Mike is,” but we already have enough information on that front so it just becomes a distraction and throws off both the momentum and the pace.

Regardless of its less than perfect 25% placement, this plot point certainly spins the story in a new direction and provides all the action / reaction of Act 2.

Act 2A: Progress

Development:

(pg 38) Shelly locates Kyle’s mom.

While Jackie is fully on-board with Kyle living with them, Mike isn’t yet. This scene introduces a potential way to get rid of Kyle and also introduces a threat to the guardianship. It works really well to punctuate how this story intertwines plot and subplot. The plot is all about finding the money to take care of his family, and the subplot is really about what makes a family. Ultimately, the subplot is the richer of the stories and really what this script is about. I found that to be the case with my screenplay study of The Help as well. I think I’m on to something!

(pgs 45 – 46) Mike discovers what an amazing wrestler Kyle is and laments to Terry that he’d love to have even one kid on his team like that. Terry convinces Mike that he already does and urges Mike to enroll Kyle.

You’ll note that Mike has been reacting thus far. Becoming Leo’s guard is a last minute reaction as is enrolling Kyle. He hasn’t yet stepped up to the plate, which is perfect behavior for Act 2A.

Midpoint (pgs 66 – 67): Mike lies to Kyle about Leo; Cindy calls Mike.

This midpoint is done as a one-two punch. Mike is taken aback when Kyle asks him point blank if the judge made Leo move to Oak Knoll. He lies to Kyle and is ironically saved by a phone call from Cindy.

Like many midpoint scenes, this scene provides new information we didn’t have before – that Cindy is now in contact with Mike – while it also has Mike fully committing `to the lie he’s told. This scene will be turned on its head in the climax, but for now Mike seems to have chosen a path and is fully walking down it.

Act 2B: Raising the Stakes

Development:

The second part of act 2 is slightly unusual as it illustrates bonding between Kyle and Mike and Kyle and Mike’s family instead of the typical formula of having what Blake Snyder would call the “Bad Guys Close In” segment here where obstacles and complications grow progressively more challenging for the hero and the pace at which these challenges come accelerates at every beat.

(pgs 67-68) Cindy wants Kyle to stay with Mike and Jackie until she gets out of rehab despite the fact that she doesn’t know them.

(pg 70) Kyle wins a match while his temporary family watches on. Later Jackie shows him that the baby has learned to say his name.

(pg79) Because of Kyle’s influence Stemler wrestles and the team wins the match; Mike tells Kyle he’s proud of him.

It works fine in this script, even if it throws the structure off a bit. I believe this is because Kyle’s character doesn’t show up until late in the first act, so we still need more bonding time between him and the family so that it is believable and packs an emotional punch when their relationship is upended by the truth.

That’s not to say it doesn’t lose any momentum, because it does. Scenes of Jackie and Kyle bonding (pgs 72–73) directly followed by Kyle noticing Jackie and the kids cheering in the stands (pg 73) followed directly by Kyle and Jackie walking Leo in the park (pg 73) have a clichéd montage happy feeling that tap us over the head and give the script that afterschool special feel. The film would have been more dynamic had it had a tighter structure.

Yet it still works. Why? Because Mike’s character arc is beautifully written, and a well written character arc becomes part of the structure so that it helps compensate when other structural elements are weak.

Let’s also not forget the crucial rule that at the end of the day, the audience/reader wants to feel something. As Michael Hauge says, illicitting emotion is the screenwriters #1 job, and Flaherty has created extraordinary characters who provide us with that emotional experience we go to the movies or keep turning pages for.

Also, Flaherty doesn’t get too carried away with it. He gets back to pushing the story forward pretty quickly.

(pg 81) Cindy surprises Kyle by showing up at Leo’s.

(pgs 84–85) Kyle escapes out the window when Cindy comes to visit him. Mike asks Cindy to stay in town for 3 more weeks so Kyle can continue wrestling; Cindy agrees if she can stay at her father’s house.

(pgs 88 – 89) Cindy surprises Mike by hiring a lawyer and announcing that she wants to take care of Leo.

While Win Win doesn’t follow Blake Snyder’s Save the Cat template, this scene certainly fits the All Is Lost beat and is a reversal of the midpoint where he was in control and committed to the path he’d chosen. Now he knows he doesn’t have a leg to stand on.

Plot Point II (pg 98): Mike offers to give up the commission, take care of Leo, and take care of Kyle.

With this plot point, Mike’s priorities and intentions take a 180. Thus far, it’s really been about Mike’s life – his family, his team. But this journey has changed Mike and he realizes it when he sees himself in Cindy.

MIKE: And that’s why you’re doing all this? For fifteen hundred dollars a month?

CINDY: Isn’t that why you did it?

This stops Mike in his tracks.

MIKE: Alright, I’ll tell you what. You want the commission? You can have it. And you don’t even have to take Leo. I’ll take care of him for free and I’ll send you the check every month. On one condition.

The condition of course is that she leaves Kyle with them until he finishes high school. She refuses and he is willing to fight her, even though he is certain he will lose.

In this one beat, Mike does something he hasn’t done before: he fights for something (in this case someone - Kyle), with no benefit to himself. He does it because, as Jackie says later, they love Kyle, and he knows it is the best thing for Kyle.

Climax (pgs 108 – 111): Kyle confronts Mike about Leo’s guardianship; Jackie learns the truth.

This is a great climax scene because it manages to fully expose Mike to Kyle and Jackie simultaneously, which is horribly painful to witness, while also ratcheting up the dark comedy tone by providing a wrestling match with Terry as commentator.

(pgs 113-114) Mike tells Jackie he’s going to try to right his wrong and Jackie worries that he’ll lose his practice and destroy their family.

(pgs 114-115) Mike apologizes to Kyle and asks him for another chance. Jackie tells Kyle they love him.

Resolution (pgs 117 – 120): Cindy agrees to let Kyle stay with Mike and Jackie as long as she gets Leo’s commission checks.

This is a particularly satisfying resolution; the good guys get better and the bad guys get gone. Having the answer to his problems come in the form of penance and sacrifice only makes us root for Mike even more and provides us with that quality movie afterglow that only comes from rich conflict doled out to even richer characters.

Final Image (pg 120): Mike works as a bartender.

While structure might not be Win Win’s strongest suit, characterization certainly is. With this final image, we have a model for the perfect character arc. Mike has journeyed from this desperate, egotistical man into a relaxed, humble person. The irony of course is that the thing he did not want to do the most – bartend – is the thing that brings him the peace and security he was seeking.

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Indigo Wilmann is the founder and owner of Visual Yarn, a screenwriting workshop that focuses on writers who are struggling to create a consistent writing practice. Her goal is to transform writers who are entrenched in fear, excuses, and doubt, into writers who are living with passion, consistent creative expression, and joy. When she’s not writing, walking their Chihuahua, or watching a Game of Thrones episode for the 6th time with her fiance, she’s editing her latest short film, Casting Gate.

Catch up with Indigo || twitter || facebook || visual yarn

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