StoryNotesNewsletter #30

 

Newsletter Contents:

1. The Key Elements of Drama (a short article)

2. Special Offer:

~~ 1 slot left for 1/3 off offer for screenplay evaluation ~~  (details after the article)

3. Other Online Articles, and Coming Up

 

THE KEY ELEMENTS OF DRAMA

  Inspired by Paddy Chayefsky

by Jeff Newman

 

Paddy Chayefsky, award-winning writer for TV, stage, and screen, once said that the essence of a dramatic story was this: "Who's the hero, what's he want, and what's in the way?"

He also said, "Drama is only concerned with emotion. Your basic story is also the emotional line of your script."

Here's another Chayefsky insight: he once revealed that as soon as he determined the theme of a play or screenplay, he would type it out in one short phrase or sentence and tape it onto his typewriter. He wanted to make sure that nothing went into the story that didn't pertain to the theme.

And finally, he also said he found it valuable to make use of a simple, basic structure and to be mindful of certain structural principles such as pace, progression, and escalation.

Between these four statements, Chayefsky concisely identified the core elements of dramatic writing:

Character.  Goal. Conflict. Structure. Theme. Emotion. And inherent in them, an intriguing concept.

The primary purpose: to create an emotional experience while exploring and illustrating one or more worthy themes.

CHARACTER, GOAL, & CONFLICT

"Who's the hero, what's he want, and what's in the way?"

These days, we might want to rephrase Chayefsky's statement. Often, we don't really think of our main characters as heroes. Maybe partially so, but only near the end. And of course, to say "what's he want?" is an old-fashioned convention. It's meant to include the feminine gender, but today we're more careful to be inclusive.

So we could rephrase it for our times, to say "Who's the main character? What's the goal? And who and what are in the way?"

A one-sentence story summary for most scripts can use the following model:

"A (main character) wants to ..., but ...."

The "but" refers to the conflict, of course; it prompts us to include a brief listing of the problems, obstacles, opposition, and/or main-character deficiencies that will make achieving the goal difficult, risky, and unlikely.

Chayefsky's phrase, or our modern rewriting of it, reminds us that story is, fundamentally, about one or more people who want something, but for a time, cannot get it. The difficulty of the goal itself, plus problems, obstacles, and opposition, force them to struggle to achieve it. It all comes down to "the obstructed will" --  which is drama described in three words.

EVOKING EMOTIONS

"Drama is only concerned with emotion. Your basic story is also the emotional line of your script."

The second quotation reminds us that a story isn't just about the events, and the plot isn't just a matter of creating a chain of actions that lead us to the outcome. A story is about more than just the conclusion. Merely pressing forward, "getting on with it," and always advancing toward the end isn't enough. It's about the journey as well. Some writers seem to forget that plot is there to serve the story -- and the audience. It doesn't exist for its own sake.

A story -- at least in mainstream and traditional plays and movies -- exists to create an array of emotions in the viewer. Sometimes low-key, sometimes intense, sometimes pleasurable, sometimes dark, angry, fearful, or tense. Successful writers and filmmakers use characters, events, visuals, and sound to evoke emotion. Each and every moment is designed to create particular thoughts and feelings in the majority of the viewers.

Some writers, directors, and producers chart out an Audience Line or Emotional Throughline, to make sure that emotion of some sort or another is nearly always present, and that a suitable variety and effective contrasts are achieved. Drama (including comedy) without emotion is a mere mental exercise. It's flat, cold, and uninvolving. One might as well write an essay or a report.

CONVEYING THEME

In John Brady's book of interviews The Craft of the Screenwriter, Chayefsky said, "The best thing that can happen is for the theme to be nice and clear from the beginning." And then, as mentioned, having figured out the primary theme, he would come up with a concise summation of it and post it where he would see it as he wrote. Writers who do this are then kept aware of their theme, which is what the story is really about. The thematic statement acts as a sentry, turning away events that don't relate to it.

Theme serves two functions: together with goal, it acts as a unifying force in the story; it's a way to make sure the story becomes and remains cohesive. And, of course, theme helps provide some significance and substance to a story which otherwise would seem rather trivial.

Many writers view story -- including screen stories -- as the interplay of ideas and emotions, by means of character and events (and visuals, sound, and music). Theme without emotion is interesting but not compelling, and in drama, feels sterile. Emotion without theme(s) comes across as empty, insignificant, and often as melodramatic claptrap. The best writers use both. The intermingling and sometimes interaction of ideas and emotions are seen in nearly all the best and most popular films. Plots are developed with them in mind.

STRUCTURE

Chayefsky also had some thoughts on structure, and its importance in shaping the story and maximizing its effectiveness. He utilized a basic form of three-act structure, and he believed that it's important to make sure that overall, tensions and the intensity of emotions should escalate and peak late in Act 3. And most events should lead -- and build -- both to the end of the act that they are in, and to the overall outcome.

SUMMARY

In just four short statements, Chayefsky set forth the key elements of drama.

Concept. Character. Goal. Conflict. Structure. Theme. Emotion.

That's the art of screenwriting in a nutshell.

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(You might enjoy viewing -- or revisiting -- some of Paddy Chayefsky's movies. They include MARTY, THE AMERICANIZATION OF EMILY, THE HOSPITAL, and of course, NETWORK.)

Copyright 2006 by Jeff Newman

http://storynotes.net

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** SPECIAL OFFER **

ONE SLOT LEFT: One more person -- the first one to email me about it -- will receive 1/3 off my normal evaluation rates.

So if you have a screenplay that you think is marketable, and you want a professional evaluation to make sure that's it's as good as it could and should be prior to sending it out -- or if you are nearly completed, and want to pay in advance so as to be in first position (no waiting) once you finish and also in order to take advantage of the discount -- you may email me at storynotes@....

Check out my screenplay evaluation services at http://storynotes.net -- the $400 evaluation would be $266, the $800 evaluation would be $533, and the $2,000 evaluation would be $1,333. Payable by check or Paypal.

I was rated as one of the Top Two script consultants by Creative Screenwriting magazine in their March/April 1999 issue. This was out of 17 analysts that they reviewed and ranked.

SAMPLE TESTIMONIAL:

"As a graduate from USC Cinema and as a former four-year member of Columbia Pictures' story department, and as a former story analyst (more than 1,000 submissions synopsized and analyzed), I know brilliant story advice when I read it. Jeff Newman's articles on screenwriting have been absolutely outstanding. They are more valuable than any book on screenwriting I've read."

Julian Myers, c/o Julian Myers Public Relations

 

OTHER ONLINE ARTICLES

Check out my series on "Pre-Writing: Before You Write 'Fade In'" at:

http://www.hollywoodlitsales.com/cf/journal/index.cfm?intID=51

If the above link doesn't work, go to...

http://www.hollywoodlitsales.com/index.php

... and in the lefthand column, click on Hot Tips/Columns and then scroll down until my listing appears.

 

COMING UP

An interview with former NBC story executive Dona Cooper, and an interview with an unusual (unnamed) producer.

Best wishes,

Jeff Newman

http://storynotes.net

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