Premise and Theme
People arrive at the task of writing a screenplay in a number of ways. Many have an idea that comes to them as inspiration, involving a central character and a situation. Some people want to work in a genre they love, like science fiction or action adventure. Some people have a strong theme or concept for a film that seems to preoccupy them. Still others wish to illustrate a point about contemporary society. All of these are good solid reasons for starting to write, but they are only the foundation. Understanding what will make a good story involves the complex weaving of premise and theme.
Many definitions of the premise of a film exist within the film industry. Some use premise as a kind of philosophical statement about what are actually the themes of the film. Others use premise to describe a one-line synopsis of the story. The best version of a premise is four or five words that capture, in a nutshell, what the film is about. An example of a good premise is "love conquers fear" or "good always overcomes evil". The truth of a premise is in the mind of its creator, but a good premise holds a value or an ethic that is universally identifiable. Whether or not you agree that "good overpowers evil" is not important, but the fact that such a premise can be readily understood by others is important. A premise that is obtuse or complicated will not lead to a successful story.
Just as many definitions of premise exist, so opinion varies on what makes a good theme. Theme is often confused with premise and premise with theme. A theme is even more general in nature than a premise. We could say that the film "Saving Private Ryan" (1998) deals with the themes of war, bravery and sacrifice. A premise is the genetic structure of a script -- its DNA. But the theme is like the skin that spreads over the whole body of the screenplay. It should be discernible in almost every scene. The theme is a bell that, once rung, reverberates in every page of the script
Linear and Nonlinear
Storytelling
The next time you find yourself telling a story, stop and listen to the way it flows. Most stories move in a straightforward way, from beginning, to middle, to end. They have a flow. We call that structure linear storytelling, because the events of the story progress in a line, and one event clearly follows another. Each new development in the story is the result of what came just before it.
But not all stories move with this kind of simplicity. How many times have you heard a friend say, "Oh no! I forgot to tell you an important part!". Stories can also move backward and forward in time and space, sometimes logically and sometimes illogically, to establish events that are required in order to make sense of the story. This way of storytelling is called nonlinear, because the story does not move in a continuous forward-moving timeline.
The events of stories are linked together by a common element -- usually the hero, or the person telling the story. Whether you have chosen a linear or a nonlinear style, that common thread is essential to keeping the story clear.
In filmmaking, there are a number of ways to create linear and nonlinear storytelling. Although camera and editing techniques can help to make both linear and nonlinear flow, the most important choices are made in the use of narrative forms.
Understanding Story
Some people have an innate feeling for story, while others rely on the study of forms to guide their inspiration. The next section takes a snapshot look at the history of storytelling. It shows some of the ways in which stories have been freely adapted through the ages. Understanding the history of dramatic story is not essential to writing a screenplay, but it sure helps. The evolution of any art form can be as inspiring as learning the craft. And some of the necessary tools are hidden in here too.
Remember the rules? All drama develops from character. And the most important journey is the hero's journey of self. If you haven't already taped those two sentences to the top of your computer screen, or put them in a prominent place in your workspace, do so now.
But how do we actually apply those rules to the story we want to tell?
Like any art form, screenwriting involves a certain amount of free-flowing expression and inspiration, but it also requires a mastery of craft. The craft of screenwriting is the same in many ways as the craft of writing a novel or a play. It starts with the love of words. The passion for ideas. But in cinema it also particularly requires the obsession with images. If you do not see your story, then you will not be able to render it visually. And if you don't feel any of these inclinations, the chances are that you are not really a screenwriter. How do you decide?
Understanding your own investment in a story is a critical first step in knowing whether you should be writing a screenplay. If you see a story primarily in terms of camera angles and image sequences, perhaps you are a director or cinematographer. If your story obsesses you in the way that the images are put together, perhaps you are an editor. Many people are not screenwriters, but have terrific story ideas for movies. Working with someone who is a screenwriter can dramatically increase the chances of having the story told well. Would you want to have a suit designed and made by a car mechanic? Never underestimate the craft involved in being a writer.
I have terrific ideas, but every day I work at the craft of SCREENWRITING, which I have not mastered yet, and I fear it is not something that I can master.
Professional screenwriters agree on the importance of studying good screenplays. Here's an Internet link to http://www.joblow.com/ script gallery which contains numerous screenplays you can download.
Not sure which scripts to read? Here are some recommendations:
• The Usual Suspects
• Pulp Fiction
• The Sixth Sense
• Shakespeare in Love
• As Good as it Gets
• Witness
• Chinatown
• Get Shorty
• Network
• Silence of the Lambs
• Good Will Hunting
• Jerry Maguire
• LA Confidential
All personal favorites of mine.
Written By: Richard James
No comments:
Post a Comment