Donald L. Vasicek on Writing and Screenwriting

I hear “fuck” so much in movies that it’s become cliche to me, just like “holy shit!”. “Holy shit”, I swear is a term invented by Hollywood. Actually, the use of “fuck” and “holy shit” are becoming major turn offs for me when watching movies. Yes, I think there is an unnatural amount of cursing in movie dialogue. I believe it is a way of expression that writers/ directors/producers believe emphasize points in movies. In other words, cursing is common is real life, but in movies, cursing plays into the fantasy, the “un-reality” of how real life is.

The core audience Hollywood focuses on is 16-25 year old males. This age group, perhaps, more than any other group, are into cursing. In order to write, sell, and get their screenplays produced, many screenwriters incorporate cursing into their screenplays in order to attract producers, i. e. one approach to attract the core audience.

If a screenwriter desires to succeed in the film business, then, they must always keep an eye and ear open to what kinds of films make Hollywood money, and what the content is in those movies. Cursing is a standard by which producers utilize to attract audiences, increase box office receipts, and earn some money for making their next film.

So, you have to make the call. The first issue a screenwriter should confront is who is their audience going to be? What kind of audience do you want to attract, to come see your movie? Look at what caused you to come up with this idea. Think about what you were doing at that time in your life, where you were, when the idea come up, and who helped trigger the idea. Honestly answering these questions should give you an idea about your passion for your movie idea. This passion, correctly identified, will then, become the main theme for your screenplay/movie. These answers, then will help you determine your core audience, which, in turn, should help you make the decisions you need to make with respect to cursing in your movie.

Donald L. Vasicek
Writing and Screenwriting

http://www.donvasicek.com

dvasicek@earthlink.net

In Robert Kosberg’s “How to Sell Your Idea to Hollywood”,
he discusses some of Chris Volger’s ideas on Joseph
Campbell’s “The Hero With a Thousand Faces.”

Volger’s outline shows, and what many movie studios
urge their readers to understand, the steps of a
protagonist (the classic Hollywood-hero-type) should
take.

In Act 1:

Step 1, is the protagonist’s ordinary world which will
contrast sharply with the strange new world he/she will
be entering.

Step 2, is the call to adventure where the hero is
presented with a problem or challenge that will
change his/her destiny. This sets up and demands
that he attain a specific goal.

In Step 3, the “reluctant” hero experiences fear
of the unknown or fear of outside forces. The
hero hasn’t completely committed to the
mission. Whatever the fear is, this will land the
hero in a state of no return.

Step 4, is where a mentor gives guidance and
support to the hero. The purpose of the mentor
is to assist the hero in his/her transition to the
other world.

In Step 5, the adventure gets going; the first time
the hero has fully made the decision to accept
the challenge. It is usually the turning point into
Act II.

Step 6 is when new challenges arise as the hero
learns the rules of the other world. He/she
encounters both favorable and unfavorable
consequences of his decision to act.

In Step 7, the hero comes to a dangerous place;
the villain’s den or the arena where he/she will
find the object of his/her quest. This can also
be the hero’s moment of truth.

The Supreme Ordeal is Step 8 where the hero
hits rock bottom and all appears to be lost.
This often marks the second part of Act II and
can be the appearance of what the hero realizes
he/she fears most.

In Step 9, the hero having barely survived, takes
possession of the prize he/she has been seeking. Now,
he/she must apply his/her wisdom or power before he/she can
travel back to safety.

The hero deals with the consequences of having
seized the prize in Step 10. Hostile forces will be
confronted and it is at this stage that the hero
will proclaim his/her desire to bring the journey to an
end and return to the ordinary world.

The resurrection marks Step 11 and Act III where the
evil forces are given one last opportunity before
being defeated. Transformed, the hero will triumph
and return to his/her ordinary life changed by some new
insight.

In coming back, Step 12, he/she brings a token of his
journey, a prize or a lesson or he/she is doomed to repeat
his dangerous adventure. Because of this possession,
the hero’s ordinary world as he once knew it, is
changed by his/her new knowledge.

These steps can be seen in “The African Queen”,
“The Hurt Locker”, “Star Wars”, “Crazy Heart”,
“Raiders of the Lost Ark”, “Chinatown”, “E. T.”,
“Romancing the Stone”, “Witness”, “The Hunt for
Red October”, “Aladdin”, “High Noon”, and a host
other movies.

Writing a screenplay, book, article, tv commercial, blog, blah, blah, requires the writer to have the ability to tell a story. How does a writer tell a story? For openers, a beginning, a middle, an end, and a main theme that holds everything together like the roots of a tree, opens the door for writers.

What does the writer do next? Find their voice. I repeat, find their voice. Voice? Writing? How does that work?

Read Daniel Quinn’s “Ishmael”, Frank McCourt’s “Angela’s Ashes”, and anything Elmore Leonard has written. Then, listen and read Garrison Keillor. He is the master storyteller. And, you will make discoveries about your writing voice.

Donald L. Vasicek
Writing/Screenwriting Consultant

http://www.donvasicek.com

dvasicek@earthlink.net

Author in Chicago's Millenium Park on Michigan Avenue