StoryNotesNewsletter #26

Some great issues coming up --
conversations and nitty-gritty
interviews with Linda Seger,
Lew Hunter, and Dona Cooper ...
talking about craft, in-depth.
You know how you sometimes have
questions about things they say
in their books that you'd like
to ask them if you could? Well,
I did.

Also ...

For details about the new

StoryNotes SCREENPLAY CONTEST

(a mere $20 entry fee ... and yes,
you get feedback -- and bonus
articles!) click on the "Contest"
link at http://storynotes.com

And now ...


ISSUE #26


DON'T BE THOUGHTLESS
WITH YOUR SCREENPLAY!

GIVE IT A


THEME


Does your current story have a unifying thematic idea --
one that functions as a thesis statement, a controlling
idea, or at least a central concern? In fact, some stories
have not one, but several thematic ideas, in which case the
ideas are generally complementary and mutually supporting.
When there is more than one thematic idea, usually one of
them is predominant.

Why is theme employed? What are its benefits?

A theme lends a story some significance. There is now a
point behind all the sound, fury, and fun. It imparts some
substance. Some relevance. True, there are some
purposefully light, superficial movies that have no theme --
but most movies do. Even most TV dramas and many sitcoms.

A theme need not be a moral or a message, although it
can be. But more often, it's simply an observation on the
part of the author about life, people, and/or society. It's
the *thought* behind the story.

In many ways, *the overall story should illustrate the
theme. And within the overall story, many specific plot
events illustrate, prove, or lay the foundation for the
theme*.

A movie without a theme -- or several intertwined themes
-- seems rather empty. We tend not to want to watch it
again -- it was (hopefully) fun or entertaining, but too
unsubstantial. A theme is the "so what?" behind the story.
It gives the audience something to think about, maybe even
learn from -- although often on a subconscious level.

THEME VS. SUBJECT

By the way, there is a distinction between *theme* and
*subject*. A subject can be quite broad: love, unchecked
ambition, alienation, greed, etc. A theme would be a more
developed idea concerning the subject. It's a more specific
statement. The subject of "love," for instance, could lead
to perhaps dozens of thematic statements, each one
different. Any given movie would probably utilize only one
or perhaps a few of them.

For instance:

"Love connects us to others, exhilarates us, makes us
feel more alive, and prompts us to become a better person;
love is worth the pain it often causes."

"Love, when blind, causes misery for self and others."

"A selfish love is worse than no love at all."

"Those who have never received love, can never give it."

Most stories where a subject such as "love" is the theme
will have one predominant, "umbrella" theme, and one or
several subordinate, contrasting, or complementary themes on
the subject.

EXPRESSING THEME

A few examples of other themes: in the fable "The
Tortoise and the Hare," the primary theme is "Persistence
Pays." In other words, "Slow-but-sure will often lead to
victory." The complementary theme is "Overconfidence and
arrogance can sabotage success."

To consider a far more complex example, DEATH OF A
SALESMAN contains several complementary themes. One of them
might be stated, "Misdirected goals lead to waste." Two of
the related themes in ROMEO AND JULIET might be "Hatred and
Revenge lead to tragic and senseless loss, even death," and
also "Great Love can sometimes overcome Hatred, although
often at a great cost."

The theme should not be so heavy-handed that the
audience goes out articulating it. Usually, the theme is
sensed. It's felt. In fact, the theme should rarely be
stated flat-out in the story, except maybe in a disguised
fashion, or partially, in the course of an argument or an
off-hand comment. The theme is best and most powerfully
expressed by the specific actions and by the overall sweep
of the story (i.e., by the basic concept or situation).

Theme is also connected, often, to a character's Inner
Need and/or Key Flaw, and to a character arc. Character,
plot, and theme are intricately interwoven.

So a theme not only imparts some substance and
significance -- allowing some thought to accompany the
emotions -- it also helps to unify the story. It provides
for a sense of cohesiveness. The characters, traits,
decisions, actions, and events all relate to each other not
just in terms of goal or plot, but in terms of the
underlying thematic idea or ideas.

Many comedies have themes -- TOOTSIE, BIRDCAGE,
PARENTHOOD. Many of the better melodramatic action movies
do, such as TERMINATOR 2. If movies like these can have a
theme and benefit by them, so can many others.

Any many movies -- most of the really good ones -- don't
just utilize a theme. They also make use of a *counter-
theme*.

COUNTER-THEME

With a counter-theme, one of the characters presents an
alternate value or set of values, and may find fault with
the value(s) the movie presents as desirable. Or, this
alternative can be indirectly presented or implied (via
actions, decisions, etc.).

A counter-theme is like the antithesis to a thesis. Pro
and con, positive and negative, yin and yang.

Examples of counter-themes: the contrast between Rick's
and Victor Laszlow's values and goals in CASABLANCA. The
contrast between the opposing philosophies of George Bailey
and Mr. Potter in IT'S A WONDERFUL LIFE, which are
articulated and argued in the boardroom scene about a third
of the way into the film. There's a similar sharp contrast
between the life philosophies and values of Old Fezziwig and
those of Scrooge and Marley. There are several sections
where these contrasting values are vigorously debated in the
1951 Alastair Sim version of A CHRISTMAS CAROL.

Counter-themes also exist in the expressed values (and
actions) of the young and the old Kane in CITIZEN KANE.

Another example: the whole "Hakuna Matata" song in THE
LION KING. It presents a seductive, appealing, persuasive,
and apparently viable contrast to the values Simba learned
as a cub (responsibility, obligations, a regard for the
well-being of others and for the future). Here, his new-
found pals preach a carefree philosophy. A "don't worry, be
happy" attitude. Which, for a time, he adopts. And which,
for a time, the audience (especially the younger members)
are meant to accept. Later they will see that wisdom and
virtue mean rejecting such a lifestyle.

A counter-theme adds thematic depth, vigor, and an
interesting contrast. It challenges the audience, and
provides an added type of conflict (clashing, contrasting
values or beliefs). Assuming you don't present a weak
"straw man" version of the counter-theme, it will make the
ultimate victory of the theme more satisfying and
convincing.

And sometimes it gives you the option of not having
either set of values triumph, but instead you can, at the
end, arrive at a synthesis -- a compromise or middle-ground
formulation of the thesis and antithesis.

Usually, however, the theme prevails over the counter-
theme, which, in the meantime, provides a contrast with the
main theme, thus adding another type of conflict, as well as
testing and challenging the theme (and the audience). And
of course, showing something not just by itself but in
conjunction with its opposite is one way to draw attention
to that thing.

So consider presenting and making a case for an opposite
or opposing value, belief, philosophy, code, operating
assumption, or observation about life. Really try to make
it be credible and convincing -- maybe even appealing.

PRE-WRITING & "THEME-WORK"

Here, then, are some questions you might want to ask
yourself after you've done a good deal of brainstorming
about your concept, characters, and plot possibilities, but
prior to writing your first draft.

What underlying meaning might this concept hold? And is
there any possible or inherent meaning to the set of events
that you've thus far developed?

As for the still-tentative, still-forming characters who
will be challenged by this situation: chances are you've
given them some needs and flaws which somehow relate to the
central situation and conflict. For instance, the situation
and conflict may be particularly burdensome to these
characters partially due to their being out of their element
in some way, and partially due to their needs and/or flaws
-- but of course, the challenge at hand may also act as a
kind of opportunity (difficult and painful though it may be)
to dispel the flaw and fulfill their need.

So, with theme in mind, consider those internal needs --
the way that they feel incomplete (lacking something within
themselves or their lives), and/or the way they have been
emotionally wounded in the past and have not fully healed
but are in need of healing.

And again keeping theme in mind, also consider their
flaws: in particular, the flaw which acts as an internal
opponent and hinders the attainment of the character's inner
need and/or external goal.

Then ponder how these needs and flaws might have
something to say about human nature, or human interactions.
Between the concept, some story incidents, and your
characters, see if one or a few coherent thematic ideas take
shape. What are the central issues and concerns? What
might all of this add up to?

By doing this, it's likely your story will gain more
focus, and the various story elements will become more
unified and cohesive. The story itself will be more
substantial. Thought can accompany emotion. Your story
will appeal to both the head and the heart.

AFTER THE INITIAL DRAFT

Once you've completed your first draft and have set it
aside for a time, then read it over and ask yourself, "Does
the story contain one or more guiding thematic ideas? What
is or are the dominant observations about life, people,
society, and/or existence as expressed within the material?"

"Does the plot illustrate the theme or themes?"

"Does the manner in which the conflict resolves relate
to the theme, or one of the themes?"

"Does the main character's inner need and/or key flaw
relate to the theme? What about the story's strongest
character arc?"

"Is there a counter-theme? If not, could there be?"

SUMMARY

By adding significance and thoughtfulness, theme can
greatly enrich your screenplay. By adding cohesion and a
sense of unity, theme can also help bring focus to your
story, and greatly strengthen the structure.

Theme: it's always worth some thought.

# # #

Copyright 2003 by Jeff Newman

*** STORYNOTES SCREENPLAY CONTEST! ***

$20 Entry Fee only!

Does the screenwriting community *need* another
screenwriting contest? Of course not. So, what's this one
have to offer that most of the others don't?

1. A low entry fee ($20 if entering before August 30).

2. More feedback than most: a 4-page checklist, and a
half page of written comments.

3. Bonus articles on screenplay craft and formatting by
me, Jeff Newman -- ones not available on the net. Over 60
pages ... so even if you don't win, you've gotten some
feedback and some great articles.

4. Since it's a new contest, there won't be thousands of
entrants as with major, long-established contests. Thus, a
better chance of winning one of the top three spots.

Oh, yes, the prizes.

Well, with a low entry fee, and being a new contest,
thus not getting vast numbers of entries, there's not a
large cash prize. But here is what the top three entrants
will win:


1st PLACE:

$1,000 "StoryNotes Deluxe Screenplay Evaluation" by
Jeff Newman -- either on your winning screenplay,
a previous screenplay, or your next one.

Consideration by four WGA-signatory agents

Your screenplay pitched by Jeff Newman to at least
four well-known production companies

Guaranteed to be read by Reel Life Productions

Laser-engraved acrylic award


2nd PLACE:

$600 StoryNotes Screenplay Evaluation (on the script of
your choice, as above)

Guaranteed to be read by Reel Life Productions

Laser-engraved acrylic award


3rd PLACE:

$400 StoryNotes Screenplay Evaluation (on the script of
your choice)

Guaranteed to be read by Reel Life Productions.

Laser-engraved acrylic award


The entry fees for the three winning writers will
be refunded.


Here is a description of the articles you will receive
as a bonus for entering:

1. "20 STEPS TO MAKE YOUR FIRST 10 PAGES TERRIFIC" (four of
these tips can apply to your other pages, too). A 7-page
article.

2. "SPEC SCRIPT" -- a 20-page mini-screenplay which
demonstrates the desired "spec/submission script" style,
preferred margins-tabs-page layout, and which both discusses
and demonstrates various formatting issues, in the form of a
screenplay story.

3. "FORMATTING YOUR SUBMISSION SCRIPT" -- a 16-page article
as originally seen in two parts in "ScreenTalk" magazine.

4. "SCENE DESCRIPTION THAT DAZZLES" -- a 12-page article
about "How to Write Description and Action That Zips Along
and Puts Punch and Power Into Your Writing!"

5. Analyst's Choice: the fifth article will be determined
by evaluator Jeff Newman, based on the reading of your
submission. The six options available are:

"Theme" (a 24-page version of the above 6-page article)
"Dialogue That Delivers"
"Using Commas Correctly"
"Writing Excellent Exposition"
"Writing 3-Dimensional Characters"
"How to Shorten Your Screenplay (Tips on Cutting &
Editing)"

You can order the other five "Analyst's Choice" articles for
an additional $5.

DETAILS: go to http://storynotes.com and click on the
"Contest" link along the left-column buttons.

Note: It's a pdf file, so you'll need the Adobe Acrobat
Reader to open the file, but most computers have that; if
not, it's a free program.

(For those who don't have Adobe Acrobat Reader: go to
http://www.adobe.com ... then, in the "Support" column,
click on "Download Adobe Reader," and then just follow the
simple directions. It's free, and a great program to have
-- you can use it to download copyright forms from the
Library of Congress!)

By the way, as explained in the "Contest Rules & Procedures"
on the pdf document, there are advantages (beyond the lower
entry fee) to entering early -- such as, in July.


Entry Fee:

$20.00 (if entered by August 30th)
$27.50 (if entered by September 30)
$30.00 (if entered by October 31 -- FINAL DEADLINE)

So go to http://storynotes.com -- click on the "Contest"
link, and see if this is for you.

# # #