THE SPINE

THE SPINE


A SPINE REDUCES YOUR IDEA INTO ONE CONFLICT
1. CONFLICT IS THE ESSENCE OF DRAMATIC WRITING
2. ALL CONFLICT IS EXTERNAL
a. WE HAVE TO SEE IT

A SPINE GIVES YOUR IDEA SHAPE -- CREATES A MAP OUR A JOURNERY

HOOK

1. WHAT GETS THE AUDIENCE IN THE THEATRE
2. WHAT MAKES THE AGENT OR PRODUCER SAY YES?
3. YOU CAN’T USE A STAR OR DIRECTOR
4. WHAT’S NEW ABOUT YOUR FILM?
5. BLANK MEETS BLANK
6. THE BLANK OR A NEW GENERATION


HERO OR PROTAGONIST

1. ONE HERO FOR YOUR FIRST SCRIPT
a. CREATES UNITY AND ACCUMULATED INTEREST
2. THE DRAMATIC ENGINE THAT DRIVES THE STORY
3. THE HERO WANTS IT BADLY AND TAKES ACTION
4. SHOULD BE UNDERSTANDABLE
a. MONSTER
i. CHARLISE THERON’S CHARACTER
b. MONSTER’S BALL
i. BILLY BOB

GOAL

1. SOMETHING THE HERO WANTS
2. IMPLIES ACTION – DOING SOMETHING
3. SPECIFIC AND CONCRETE: (MAKES WRITING EASY)
a. GET BICYCLE
b. GET BOY/ GET GIRL
4. SOMETHING MUST BE AT STAKE
a. LIFE AND DEATH IS THE HIGHEST
b. HAPPINESS THE MINIMUM
i. IT MUST REALLY MATTER TO YOUR HERO
5. MUST BE TERMINAL
a. CREATE A BEGINNING, MIDDLE AND END
6. ESTABLISH EARLY – FIRST ACT
7. SECOND ACT ALL ABOUT PURSUING THE GOAL
8. THRID ACT
a. HERO GETS IT OR DOESN’T GET IT


CENTRAL QUESTION

1. NOT A REWORDING OF THE GOAL
2. WHAT THE AUDIENCE IS WAITING TO FIND OUT
3. WILL CREATE SUSPENSE
4. ANOTHER PART OF THE PLOT
a. OFTEN A LOVE STORY
5. NEED VERSES WANT
a. WHAT DOES YOUR CHARACTER NEED?
6. IS THERE JEAPORDY?
7. PURSUING THE WRONG GOAL


CENTRAL CONFLICT

1. NOT ALWAYS THE VILLIAN
2. THE ONE PERSON WHO OPPOSES YOUR HERO MOST FREQUENTLY AND IMPORTANTLY
3. WHO DOES YOUR HERO CONFRONT IN THE THRID ACT