Here is an article on screenwriting...Enjoy :)


How to Start a Screenplay: Treatment or Free Fall?

Starting a screenplay can sometimes be as hard as finishing one.
Impatient to pull up to the front door of a classic motion picture, I
want to get everything right so quickly. This impatience challenges my trust
in the work, the creative process of screenwriting. What exactly does trust
mean? If I don’t trust my writing, then what am I? Frightened. This is the
battle. If I’m scared that everything I’m typing is worthless, then what? My
hands find something else to do. So trust is good and important and essential to
beginning this journey, alone, a trip that will eventually take what comes out
of you into millions of people. But it’s just you now. And your trust.
 
Now, does trusting your writing mean sitting down with no ideas, opening a
new document, and starting to type?  Of course.  And no. What I need to do is
make a decision and execute. And this decision often comes back to whether I
should write an outline or treatment before I start writing my screenplay, or,
with a rough idea, a shadowy shadow of something calling from my brain, start
writing?
 
I have done both in the past. When I wrote the first draft of LOVE LIZA, I
really had very little idea of where the story was going. I had a few things to
start off with, and somewhere I wanted to end up down the road, but that was
it. It was terrifying and difficult to remain seated. But the most original
characteristics of the screenplay came out of the immediacy of trying to come up
with what’s next, with my fingers resting on the keyboard. I became sold on
this process.  Outlines killed creativity, because writing an outline is not
actual screenwriting. It’s outlining.
 
But then I came to Hollywood and tried to tell executives the little ideas I
had. I would very proudly announce an image, a picture in my head, that I knew
contained the fire of an entire epic. I was shocked when they asked, “Then
what happens?” I didn’t have an answer.  Why?  Well.  BECAUSE I HADN’T
WRITTEN
IT YET. It seemed like a completely stupid question. What happens? What
happens?? Did I say I had a complete screenplay to show you?!
 
You know the rest. No phone calls and bewilderment and then I found myself in
the city of pitches, and starting to flesh out things into 14 page screenplay
treatments. I did so, convinced that it could never be that good, that it was
forced, and staged, and predictable. I was shocked to find out that it did
not destroy my creativity. I was still able to come up with interesting,
original things. But deep down I knew. This was still not screenwriting. This
was not
the art of screenwriting. And I’m right.
 
So now what was I going to do? What was better? If I was to sit down and spec
something out, how was I supposed to go about it? First off, I’m lazy, so
having a treatment or an outline sitting next to my laptop to walk me through
the
first draft is very appealing, despite knowing that the inspiration driving a
treatment is different than the juice that comes when writing the screenplay
blindly. And I have sat down and written 90 pages, trying to find the story,
only to simply start over.  This is a lot of work, but I’ve come to recognize
that this work is not lost. This is the path. It hurts, it kills, it bludgeons,
it fatigues, it flattens, but it’s the road. Believe me.
 
But what about a heist movie, or a mystery? A thriller with twists? Aren’t
movies sometimes puzzles? Can we find this stuff without a plan?  Don’t you
have to figure this stuff out? Yes and no. Flying by the seat of your pants
often
produces jaw-dropping turns the audience will never see coming. Why? The
writer didn’t. This is the largest reason why studio movies are
predictable----the
fabric of the script is shot through with the knowledge of the ending of the
story.
 
If we are to plot out the map of our movie with a treatment, beat sheet or
outline, we better be damn sure it’s the real thing. Putting our best foot
forward with a very strong outline is only the start of what will end up as a
screenplay. Despite putting that golden outline next to our keyboard, we will
find
that turning it into a screenplay is still, I’m awfully sorry, a lot of work.
Scenes that we imagined to be amazing will suddenly be impossible to write.
And why does that upset us? Why does that frustrate the writer?
 
Well, we thought we had a short cut. We thought we were going to sneak into
the back of a classic movie. My journey as a writer has been marked by the
learning and relearning that all that wood has to be cut out there in the back
yard, whether I like it or not. If I wanna do this, I have to swing the axe.
 
But we know, if we trust our gift, that something beautiful is coming,
regardless if we have an outline or not. Perhaps the writers who work from
outlines
should throw them out. Perhaps the writers who write like the house is on
fire, with nary a note within miles, should sit down and write a treatment.
Treatments are fun, too.
 
I do both, switching back and forth when I need to. When I’m writing and I
start to feel blindfolded, I turn to jot down a few notes, sketch a few ideas,
track a character arc, reorder an act. But when I think I’m caught up in
pitches and notes and beat sheets and the safety of plans, I chuck it all and
write
like I did when I was a kid.
 
Did we use notes when we were kids?
 
 
Gordy Hoffman
www.bluecatscreenplay.com

 
About the Author
Winner of the Waldo Salt Screenwriting Award at the Sundance Film Festival
for LOVE LIZA, Gordy Hoffman has written and directed three digital shorts for
Fox Searchlight. He made his feature directorial debut with his script, A COAT
OF SNOW, which world premiered at the 2005 Locarno International Film
Festival. He is also the founder of the BlueCat Screenplay Competition.
Dedicated to
develop and celebrate the undiscovered screenwriter, BlueCat provides written
screenplay analysis on every script entered. In addition, Gordy offers
screenwriters personalized feedback on their scripts through his consultation
service,
www.screenplaynotes.com.

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