Donald L. Vasicek

Author: Donald L. Vasicek

  • “The Protagonist’s Journey”

    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.

  • “Confessions of a Naked Writer”

    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://michaelc.nextmp.net/wordpress
    dvasicek@earthlink.net

    Brrr!!!
    Author in Chicago’s Millenium Park on Michigan Avenue

  • “How to Get Script Readers to Like Your Screenplay”

    First, be very careful “directing” when you write. Any direction you do write, should move the story forward, otherwise, don’t use it. The “directions” you write are going to be rewritten any way, by you, or by another writer once your screenplay is optioned/purchased. They will be rewritten because the director will collaborate with the writer on writing the shooting script, which is considerably different than the spec script. Although it’s acceptable, do not break dialogue from one page to the next, for any reason. The reason for this is that those who read your screenplay usually have several screenplays setting on their desk and/or nightstand, in line to be read. Readers must move fast. Many readers skim and don’t read every word. Many readers also look for certain elements in the screenplay without reading the entire script. To have a break in dialogue from one page to the next causes the reader to slow down. It is like hitting a bump in the road with your bicycle. It can jar you and throw off your focus. Always strive to make your screenplays reader friendly. Strive to leave more white on each page than black. If you do this, you enhance your chances of pleasing a reader, and getting your script sent to the next level.

    Donald L. Vasicek Olympus Films+, LLC
    The Zen of Writing and Filmmaking
    http://www.donvasicek
    dvasicek@earthlink.net