Donald L. Vasicek

Tag: screenplay

  • “How to Establish the Dramatic Premise of Your Screenplay and Beyond”

    by
    Donald L. Vasicek

    “How To Establish the Dramatic Premise of your Screenplay and Beyond”
    by Donald L. Vasicek

    So, you began your screenplay with a visual metaphor. You’ve introduced your main character, the setting, the time, the theme, and you’re introducing other major and periphery characters. You’re getting to like your story pretty well, when all of sudden you hit a block. What is your story about? This question is asked many times over each day in the film business. So, you’d better be prepared for it.

    Your story is about a character who reacts to something that causes him (I’m using the male gender because I honestly haven’t had time to learn how to express both genders when writing articles) to begin acting instead of reacting to what is going on around him. The first step in your main character’s transformation (you’d better have one if you want to sell and get your screenplays produced)is when he reacts to the introduction of the dramatic premise. Until this time in your screenplay, you should have established your main character who should be in a setting and time interacting with other characters who should all be showing (I emphasize “showing” instead of “telling” since all great writing “shows” instead of “tells”) different aspects of your theme. You should have established all of these elements by about page 10 of your screenplay.

    On or about page 10 in your screenplay, you show something that occurs that is out of context of what you have set up so far. This turning point in your screenplay is when you have your main character react to something that establishes the dramatic premise of your screenplay. This dramatic premise will be the plot of your screenplay. Something happens to your main character that begins his transformation arc because he is forced to react to something he has been avoiding, but he must react to it until he overcomes it, or his life will never change for the better.

    In the $56 million MGM screenplay I was a writer/consultant for, “Warriors of Virtue”, Ryan, the main character is shown in school, with his friends, with his family and how he reacts to these people and this setting. Problem is, Ryan wears a leg brace, a defect in his leg he inherited with birth. Kids push him around. He can’t play on the football team. He argues with his parents. His dog barks at him.

    He has a lot of problems until he’s challenged to leap over this rushing water to show other kids that he’s not a wimp. Then, his real problems begin. He leaps and falls into the water. He is swept into an alternate universe where he has to change or he’ll never be able to return to his home. The evil Komodo and his army, a village of “people” and five Kung Fu Kangaroos who need his help stand in his way. This is where his transformation arc begins. This is where the dramatic premise for the movie is established. From this point on, Ryan begins to change, and to never be the same again.

    This alternate universe (no different than what your main character should be experiencing at this point in your screenplay)”attacks” Ryan. He survives the plunge, but now he’s being threatened by the evil Komodo’s soldiers in a forest. When some Kung Fu kangaroos rescue him, he begins to see that someone cares about him, and he doesn’t even know why. And miraculously, he discovers that his leg is healed.

    Fearful of the village, which is made up of a loving community of people, at about page 45, Ryan foreshadows he is going to be at the end of the movie. He meets a girl, Princess Anne and he isn’t afraid of her. At midpoint, the village is attacked by Komodo and his soldiers. Though fighting valiantly, the Kung Fu Kangaroos are outnumbered. They manage to drive the invaders away, but, they know, that unless they come up with some kind of miraculous idea, Komodo is going to take over the village and kill everyone. And now, Ryan has a stake in the outcome. Where before, he cared little about himself, now, he not only cares about himself, but he cares about Princess Anne as well. But, Komodo has kidnapped her to hold her for ransom in order to force the village leaders to give in to his demands and give up the village (Komodo desires the village because of its love and its peace because this kind of behavior terrorizes him).

    At about page 75, Ryan tells the village leaders and the Kangaroos that he believes he can talk Komodo in releasing Princess Anne. Interested, he tells them how.

    At about page 90, Ryan, under the protection of the hidden Kangaroos, Ryan confronts Komodo about releasing Princess Anne. Komodo, struck by Ryan’s audacity, challenges him to a duel with swords. Only Komodo knows his soldiers are near to back him up, but unaware of the hidden Kung Fu Kangaroos.

    Komodo, by far the superior warrior to Ryan, is about to take off Ryan’s head with his sword, when some of the soldiers show their faces. At that point, the Kangaroos show themselves. An all out battle ensues.

    Ryan races to rescue Princess Anne. The battle is so fierce, the out-numbered Kangaroos, are exhausted and about ready to admit defeat, when Ryan, grabs a sword and disarms Komodo. The Kangaroos take over and defeat Komodo’s soldiers. Ryan rescues Princess Anne and saves the village.

    In the closing scene, the village priest creates a mystical and spiritual avenue for Ryan to travel so that he can return to his parents and other life. After a tearful goodbye to everyone, Ryan leaves.

    Upon his return to the town where he lives, his parents, friends, and the kids in school, see that his leg is healed, and so is Ryan. Even his dog accepts him.

    So, you need to take your character on a journey, by establishing the dramatic premise, then roughly timing turning points in the story and in your main character. Page 1, a visual metaphor that defines the theme of the story. Page 3, a line of dialogue, or an action that directly pinpoints the theme of your story. About Page 10, establish the dramatic premise. At about Page 30, something extraordinary should happen that spins your character and story around 360 degrees and sends it off in another direction. At about page 45, foreshadow how your main character is going to be at the end of your story. Just a small action, something your character does to reveal this, like when Ryan meets Princess Anne and he is unafraid of her.

    From this point forward, you must have your main character creating all of the action. In other words, he/she must be pro-active in all events. At about Page 60, midpoint, you must show that about all is lost for your main character regardless of the new strength he/she is showing. By about Page 75, have your main character change the way he/she is trying to accomplish his/her goal. At about Page 90 of your screenplay, your main character should have a direct confrontation with the villain (villain represents evil in fiction) or antagonist (doesn’t necessarily represent evil so much as representing the opposing force to your main character’s goal).

    This confrontation results in your main character winning and sets up how the story is going to end. For the next several pages, your story should build to a climax where your main character goes nose-to-nose with the villain or antagonist. Here, your main character should have an epiphany. For Ryan, it was his discovery that he must overcome Komodo in order return home to his family and friends. It is here where your main character’s fatal flaw (the flaw that has caused your main character to pursue a solution to it because it is more overpowering than any other flaw)comes to the surface and must be overcome by your main character. With Ryan, it was his fear, and he overcomes it.

    After the climax, wrap up all loose ends and end the screenplay as soon as possible.

    And there you have it. Nine easy steps to establish your dramatic premise and beyond.

    Donald L. Vasicek
    Olympus Films+, LLC
    “Commitment to Professionalism”
    http://michaelc.nextmp.net/wordpress
    dvasicek@earthlink.net

    .

  • “How To Establish the Dramatic Premise of your Screenplay and Beyond”

    by Donald L. Vasicek

    So, you began your screenplay with a visual metaphor. You’ve
    introduced your main character, the setting, the time, the theme, and
    you’re introducing other major and periphery characters. You’re
    getting to like your story pretty well, when all of sudden you hit a
    block. What is your story about?

    This question is asked many times over each day in the film business.
    So, you’d better be prepared for it. Your story is about a character
    who reacts to something that causes him (I’m using the male gender
    because I honestly don’t know what is correct when writing articles.
    Someone please tell me how to deal with this so I can be
    grammatically and politically correct.) to begin acting instead of
    reacting to what is going on around him. The first step in your main
    character’s transformation (you’d better have one if you want to sell
    and get your screenplays produced)is when he reacts to the
    introduction of the dramatic premise. Until this time in your
    screenplay, you should have established your main character who
    should be in a setting and time interacting with other characters who
    should all be showing (I emphasize “showing” instead of “telling”
    since all great writing “shows” instead of “tells”) different aspects
    of your theme. You should have established all of these elements by
    about page 10 of your screenplay.

    On or about page 10 in your screenplay, you show something that
    occurs that is out of context of what you have set up so far. This
    turning point in your screenplay is when you have your main character
    react to something that establishes the dramatic premise of your
    screenplay. This dramatic premise will be the plot of your
    screenplay. Something happens to your main character that begins his
    transformation arc because he is forced to react to something he has
    been avoiding, but he must react to it until he overcomes it, or it
    his life will never change for the better.

    In the $56 million MGM screenplay I was a writer/consultant for,
    “Warriors of Virtue”, Ryan, the main character is shown in school,
    with his friends, with his family and how he reacts to these people
    and this setting. Problem is, Ryan wears a leg brace, a defect in his
    leg he inherited with birth. Kids push him around. He can’t play on
    the football team. He argues with his parents. His dog barks at him.

    He has a lot of problems until he’s challenged to leap over this

    rushing water to show other kids that he’s not a wimp. Then,
    his real problems begin.He leaps and falls into the water. He is
    swept into an alternate universe where he has to change or he’ll
    never be able to return to his home. The evil Komodo and his army,
    a village of “people” and five Kung Fu Kangaroos who need his
    help stand in his way. This is where his transformation arc begins.
    This is where the dramatic premise for the movie is established. From
    From this point on, Ryan begins to change, and to never be the same again.

    This alternate universe (no different than what your main character
    should be experiencing at this point in your screenplay)”attacks” Ryan.
    He survives the plunge, but now he’s being threatened by the evil
    Komodo’s soldiers in a forest. When some Kung Fu kangaroos rescue him, he
    begins to see that someone cares about him, and he doesn’t even know
    why. And miraculously, he discovers that his leg is healed.

    Fearful of the village, which is made up of a loving community of people,
    at about page 45, Ryan foreshadows he is going to be at the end of the
    movie. He meets a girl, Princess Anne and he isn’t afraid of her. At midpoint, the village
    is attacked by Komodo and his soldiers. Though fighting valiantly, the Kung
    Fu Kangaroos are outnumbered. They manage to drive the invaders
    away, but, they know, that unless they come up with some kind of
    miraculous idea, Komodo is going to take over the village and kill
    everyone. And now, Ryan has a stake in the outcome. Where before, he
    cared little about himself, now, he not only cares about himself, but he
    cares about Princess Anne as well. But, Komodo has kidnapped her to hold her for ransom
    in order to force the village leaders to give in to his demands and give up
    the village (Komodo desires the village because of its love and its peace
    because this kind of behavior terrorizes him).

    At about page 75, Ryan tells the village leaders and the Kangaroos that
    he believes he can talk Komodo in releasing Princess Anne. Interested,
    he tells them how.

    At about page 90, Ryan, under the protection of the hidden Kangaroos,
    Ryan confronts Komodo about releasing Princess Anne. Komodo, struck by Ryan’s
    audacity, challenges him to a duel with swords. Only Komodo knows his soldiers
    are near to back him up, but unaware of the hidden Kung Fu Kangaroos.

    Komodo, by far the superior warrior to Ryan, is about to take Ryan’s head with
    his sword, when some of the soldiers show their faces. At that point, the Kangaroos
    show themselves. An all out battle ensues.

    Ryan races to rescue Princess Anne. The battle is so fierce, the out-numbered Kangaroos,
    are exhausted and about ready to admit defeat, when Ryan, grabs a sword and disarms
    Komodo. The Kangaroos take over and defeat Komodo’s soldiers. Ryan rescues Princess
    Anne and saves the village.

    In the closing scene, the village priest creates a mystical and spiritual avenue for Ryan
    to travel so that he can return to his parents and other life. After a tearful goodbye to
    everyone, Ryan leaves.

    Upon his return to the town where he lives, his parents, friends, and the kids in school,
    see that his leg is healed, and so is Ryan. Even his dog accepts him.

    So, you need to take your character on a journey, by establishing the dramatic premise,
    then roughly timing turning points in the story and in your main character. Page 1, a visual
    metaphor that defines the theme of the story. Page 3, a line of dialogue, or an action
    that directly pinpoints the theme of your story. About Page 10, establish the dramatic
    premise. At about Page 30, something extraordinary should happen that spins your
    character and story around 360 degrees and sends it off in another direction. At
    about page 45, foreshadow how your main character is going to be at the end of
    your story. Just a small action, something your character does to reveal this, like when
    Ryan meets Princess Anne and he is unfraid of her. From this point forward, you must
    have your main character creating all of the action. In other words, he/she must be
    pro-active in all events. At about Page 60, midpoint, you must show that about all is lost
    for your main character regardless of the new strength he/she is showing. By about Page 75,
    have your main character change the way he/she is trying to accomplish his/her goal. At
    about Page 90 of your screenplay, your main character should have a direct confrontation
    with the villain (villain represents evil in fiction) or antagonist (doesn’t necessarily
    represent evil so much as representing the opposing force to your main character’s goal).
    This confrontation results in your main character winning and sets up how the story
    is going to end. For the next several pages, your story should build to a climax where
    your main character goes nose-to-nose with the villain or antagonist. Here, your
    main character should have an epiphany. For Ryan, it was his discovery that he
    must overcome Komodo in order return home to his family and friends. It is here where
    your main character’s fatal flaw (the flaw that has caused your main character to
    pursue a solution to it because it is more overpowering than any other flaw)comes to
    the surface and must be overcome by your main character. With Ryan, it was his fear,
    and he overcomes it.

    After the climax, wrap up all loose ends and end the screenplay as soon as possible.

    And there you have it. Nine easy to steps to writing a screenplay.

  • “Hollywood Openings”

    by

    Donald L. Vasicek
    Olympus Films+, LLC
    Writing/Filmmaking/Consulting
    http://michaelc.nextmp.net/wordpress
    dvasicek@earthlink.net

    In order to write, sell, and get your screenplays produced
    in Hollywood, you need to write openings that Hollywood
    utilizes to attract audiences. When you watch movies
    produced by studios and mainstream production companies
    and producers, what do you usually see in the opening?
    If you’re stumped, the first thing you usually see is
    movement.

    This could be movement across a body of water with the
    POV of the camera aimed at a skyline of a city, or someone
    walking, someone running, a moving vehicle, etc. Images of
    movement help pull the audience into the movie in order to
    get them into the movie, like they’re really in the movie, to
    make them feel like they’re part of what is going on in the
    movie.

    Openings also include a metaphor that defines what
    the main theme of the movie is going to be, introduces the
    main character, defines the character’s main problem to solve
    in the movie, of his/her goal, and the setting. And this should
    all be accomplished on page one of the screenplay.

    In my produced screenplay, “Born to Win”, the opening shows
    a butterfly fluttering away from a headstone. A boy cleans
    the headstone. He weeps. He rubs the headstone with a cloth
    beyond that of cleaning it. The movement is the butterfly
    moving away. It shows the defining theme of the movie, which
    is “letting go.” The main character, the boy, is holding onto his
    dead mother. The setting of scene, a cemetery, exacerbates the
    theme of letting go. This movement also shows the metaphor
    for the movie of letting go.

    The boy must let go before he can move on with his life
    regarding his mother’s untimely death and he does
    it by driving his mother’s race car in a race to win $25,000 for
    an operation to save his Gramps’ life. In the end, it’s either
    let go of his Gramps, or continuing his fatal flaw of holding
    onto to something that he should no longer hold onto.

    When you write screenplays that you want to sell and get
    produced, study openings of movies that Hollywood produces.
    You will see that the most successful of these movies (box
    office, DVD and rental sales, Internet streaming, etc.) contain
    elements which include movement, metaphor, defining theme,
    main character, and setting. Craft these elements into your
    screenplays, and you’re off to a great start with writing
    screenplays that you sell and get produced.

    Donald L. Vasicek
    Olympus Films+, LLC
    Writing/Filmmaking/Consulting
    http://michaelc.nextmp.net/wordpress
    dvasicek@earthlink.net