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By Donald L. Vasicek

What is your definition of zen? Think it might differ a bit from your neighbor’s? Possibly. How do you define art? The same here? What about your definition of screenwriting? Do you feel any differently about defining this term than the other two?

The fine point of defining these words is the same as how each one of us interpret life. Because we are unique, each made up of contrasted bones, muscles, nerves, organs, background and etcetera, we can’t help but have distinct ideas about what these words mean.

“Zen & the Art of Screenwriting” is about how to write screenplays. The reason for this approach to screenwriting is because how to write screenplays is about as elusive as the leopard. If you can find the definition of screenwriting in a dictionary, please let me know what dictionary you found it in. I want to read the definition. I’ve checked seven uppermost dictionaries. There were no definitions available in any of those dictionaries. What does that tell you about screenwriting?

In order to understand screenwriting, the screenwriter needs to understand that each one of us is unique. Therefore, our interpretation of how to write screenplays is just as valid as the snippy producer in Hollywood who thinks he has a copyright on how to write screenplays.

There are certain industry rules to follow when writing a screenplay. Most of them are not inscribed in stone. They aren’t imprinted anywhere because no one knows for certain what works and what doesn’t work when writing screenplays. This is one reason why how to write screenplays has become a multi-million dollar business.

Books, seminars, classes, workshops, film festivals, lectures, audio tapes, video tapes, web sites and etcetera lobby that their approach is the unbending way to write screenplays. It works for some screenwriters. It does not work for others. Do you know why?

Zen and art. According to “Merriam-Webster”, zen, in part, “…emphasizes enlightenment by means of meditation and direct, intuitive insights…” Does this definition tell you anything about how designated you are compared to others? How many other people do you think have the direct, intuitive insights that you have? If I were asked that question about myself, I would say, no one.

And art, again thanks to “Merriam-Webster”, art, in part, is “…the quality, production, expression, or realm of what is beautiful or of more than ordinary significance…” Can you tell me what is beautiful? I think a hippopotamus is beautiful. Do you? What do you think is of more than ordinary significance? I believe Panther, our 17 year-old tomcat with shiny, black hair and moss green irises that change to an ellipitical form depending upon how the light strikes them, is of more than ordinary significance? Do you?

The fine point of zen, art and screenwriting is that the ambiguity of these words is deceptive because of their subjectivity. What you perceive zen, art and screenwriting to be might be totally opposite of what I interpret them to be. That does not mean you are right and I am wrong anymore than it means I am right and you are wrong. It is the same activity as watching a movie.

You walk out of the theater blown away by what you just saw. You tell others about it. Many of them, perhaps, some of them, or possibly, a few of them, disagree with you. They think the movie stunk. What it means is that writing screenplays requires the screenwriter to have supreme confidence when they are writing their screenplays.

It is important to keep your mind open, but what you are writing when you write a screenplay, is coming from inside of you. It belongs to you. You own it. You do not give any of it up to anyone else. Let others disagree. Listen to them. Hear what they are saying to you about your screenplays. Then, you decide what to incorporate into your screenplays based on what others have said, and what not to incorporate. You be the final judge. Never allow anyone else to be.

How do we write screenplays with this kind of conviction? The answer is to ask yourself, why do you write screenplays? For fame and fortune? For a deep inner experience? For amusement? For diversion? To see if you can? Because it’s a challenge? Do you know why you write screenplays?

If you have an idea, but are not sure; or if you’re confused; or if you have no idea, then take a moment to look inside of yourself. Those of you who know why you write screenplays might want to read on anyway. You might pick up something that you dropped or need to supplement what you do know. The approach to take to get a solid answer to this question is to understand that the human being is driven to execute because of passion(the emotions as distinguished from reason, thanks again, Merriam-Webster).

By understanding passion, you will be able to write screenplays that everyone will want to read, regardless of your reason for writing screenplays. There are a couple, or for that reason, other gadgets that you can attach to passion that you might want to learn about. “Zen & the Art of Screenwriting” will provide them for you. Check Moondance’s e-zine for my regular column. It’ll begin with passion and move you forward to other mouth-watering sweetmeats about how to write screenplays.

by Donald L. Vasicek

Do you make the same mistake so many other screenwriters make when writing screenplays? Do you overlook the fact that in order to get produced in Hollywood, you need to write screenplays that Hollywood produces?

I’m not sure where I read this, but I read where the best movie of 2001 was “Shrek.” The article went on to describe the reasons why. “Shrek” made more money at the box office and was the longest running movie of any movie released in 2001. Also, “Shrek” covers the largest demographic, as people of all ages go to it (kids, teens, adults and seniors). Perhaps the key thing that has made “Shrek” so popular is word-of-mouth.

“Shrek” and “The Prince of Egypt” are Hollywood-produced movies. What do they contain that your screenplays do not contain? Remember, I am writing about how to write screenplays that get produced; not how to write screenplays.

The first element “Shrek” and “The Prince of Egypt” have that your screenplays should also have is a story with a beginning, a middle and an end. “Shrek” and “The Prince of Egypt” take us from dire beginnings, to riveting middles, to powerful endings that touch our hearts. “Shrek” and “The Prince of Egypt” also track a main character.

“Shrek” and “The Prince of Egypt” introduce us to and immerse us in the main character’s world. They present a dramatic premise. They show us the main character’s fatal flaw which they must overcome if they are to win what they want to win. What they want to win is more dear to them than anything else in their lives at the time. It is a universal “dear”. And as well, what is dear to these main characters is also dear to us. This is one way we are hooked into each movie.

At the end of Act I, in “Shrek” and “The Prince of Egypt” situations occur that devastate the main characters and us. The situations spin the main characters and us around and shoot us and them off into Act II. In Act II, they take the main characters and us through a labyrinth of experiences that pull the main characters to the edge of breaking and us to the edge of our seats. And it is all because we have been transformed from viewers to main characters ourselves.

We think and feel as the main characters think and feel. We’re pulling for them regardless of how reckless they might be. Just about the time, we think all is lost, and we’re going to have to limp off home to mend our wounds, something occurs that brings the main characters new hope. With this new found hope, we sweat with the main characters as they overcome superhuman odds to win. In the end, we see the main characters transform, and somehow, inside of us, a transformation also takes place. And we go home with a happy heart and a good-feeling mind about ourselves and our lives.

There are a number of less-than-spectacular movies that are churned out of Hollywood each year. The fine point of writing screenplays is contained in the elements and structure that have been described previously. If you are skeptical of this, or if you still feel you write screenplays that Hollywood should produce, then you might want to take time out to study movies that Hollywood has produced. Be certain your screenplay writing contains aspects of the kinds of movies Hollywood produces to give you confidence in your convictions.

You should also read the screenplays of these movies. Once you have accomplished this, outline the movies/screenplays scene-by-scene. By doing this physical and mental activity, you will discover elements of these movies that you otherwise may overlook. In your findings, you will learn about critical turning points that are so crucial for good storytelling. You will also ascertain transformation arcs the main characters go through as they move forward to accomplishing the goals that are set up for them during the execution of the dramatic premises. You will clearly recognize those universal elements which hook.

Good writing to you!