Have you dreamt of writing a film/movie? Then this is the document to read that will help you write the best story.

2. Why motion pictures are magic
It is the only art form that combines
ALL of humanity’s greatest expressions
into one pure art:
 Art / Painting / Photography
 Music / Song / Dance
 Literature
 Theater

3. “The ancient CRAFT of Storytelling…”
From biblical times to the digital
age STORYTELLING is how
communities
 Educate,
 Entertain and
 Emotionalize
human connections.

4. Inspiration vs Application
Writing is one of the arts, but Storytelling is a craft
 Inspiration is good, but not always reliable.

Application is a more reliable toolbecause it
can lead to habit,and habit is what keeps you
writing… Application carries you through the hard work of
planning. It is what will persuade you to get it right, do it
properly, and lay a strong foundation for your work.

5. The DNA of
Writing for Motion Picture

6. IMAGES DRIVE EMOTION
Be VISUAL…
You can communicate mood and
texture best with pictures rather
than words. It is true what they say – “a
picture is worth a thousand words.”

7. Storytelling is Drama…
Drama is conflict
You need to have strong opposing
forces to maximize dramatic
tension.

8. Formula for Conflict
CHARACTER + OCCUPATION +WHAT
THEY WANT MOST + WHAT OR WHO
WANTS STOP THEM.

9. Formula for Conflict
1.EVERY SUCCESSFUL STORY HAS A CHARACTER WHO WANTS
SOMETHING BUT FACES RESISTANCE.
 2.THE ANTAGONIST MUST BE AS STRONG AND AS MOTIVATED
AS THE PROTAGONIST. THE MORE EQUAL THE SIDES, THE
GREATER THE SUSPENSE.
 3.ALWAYS VIEW THE WORLD FROM THE ANTAGONISTS’
POINTOF VIEW AS WELL.
 4. ALL THE TURNING POINT/CRISIS WHERE THE CHARACTER
MUST MAKE A CHOICE, ESTABLISH A MORAL EQUATOR.
 5. REACTIONS ARE AS IMPORTANT AS ACTIONS.

10. Motivation
 With the exception of the criminally insane, most people have a
‘reason’ for their opinions, beliefs and behaviours.

Perhaps their opinions are based on experience, feelings,
prejudice or cultural tradition, or childhood associations.
 Motivation is the “Why” for whatever is
happening in the plot or in the behaviour or speech of a character.

11. …Universal Value Aspirations
QUALITY RELATIONSHIPSQUALITY RELATIONSHIPS
`` PROFESSIONAL ACHIEVEMENTPROFESSIONAL ACHIEVEMENT
SECURITYSECURITY
WEALTHWEALTH FAMILYFAMILY
INTEGRITYINTEGRITY
LOYALTYLOYALTY FREEDOMFREEDOM
SELF-RESPECTSELF-RESPECT
CREATIVITYCREATIVITY WISDOMWISDOM

12. RESONANCE…
EVERY COMMUNITY HAS A
VALUE SYSTEM. IT DRIVES
“RESONANCE” WITH
THE AUDIENCE ….

13. Genres
 Action Adventure
 Mystery
 Tragedy
 Romance
 Detective
 Historical Non-fiction
 Fantasy and Science fiction

14. Structure…
Use the 3-Act structure.
Most successful plots can be summarized:

Act 1 – Establishment

Act 2 – Conflict

Act 3 – Resolution

15. The 3 Act Structure
1. Act 1: The set up (location, style, characters,
catalyst, central “main” question, main action beats).
2. First Turning Point: Development (unexpected
twist, new details, propels into Act 2).
3. Act 2: Main Storyline, The journey, The quest, the
focus of the story. Midpoint – the story flips on its
head.
4. Second Turning Point: raises the stakes, propels
viewer into a dramatic climax, speeds the pace.
5. Act 3: Climax, Resolution, ties loose threads.

16. The 3 Act Structure
The Classic Plot Graph:

17.  CHARACTER-DRIVEN PLOTS
These plots are completely character driven. This means that
character dynamics rather than incidents drive the plot. Put two
opposing characters in place then stand back. What you get is
fireworks, and a character driven plot.
 SITUATION- DRIVEN PLOTS
These are plots when a combination of scenarios and situation
drive the plot of the story. Here the characters react to the
unfolding drama of their evolving context and either fight it or
change with it.
Types of Plot

18. Adds dimension and depth to
your story.
Subplots usually give the
emotional, social, or relationship
context.
SUB-PLOTS

19. Reading the CHARACTERS
 The characters of a story are just as important as
theme and plot. The audience need to understand
what's going on, and what might
happen later. They achieve this, in part, by
"reading" the characters.
 Just as in real life, we can tell a lot by "reading"
atmosphere and body language.

20. SUSPENSE is EVERYTHING…
the plot should unfold with a
certain Mystery as the viewer
is
drawn deeper into the story,
eagerly awaiting the outcome.

21. Log Lines…in 25 words or less
 When a gigantic great white shark
begins to menace the small island
community, a police chief, a marine
scientist and fisherman try to stop it.
 Two imprisoned men bond over a
number of years, finding solace and
eventual redemption through acts of
common decency.

22. Log Line – 25 Words or Less
 A New York City cop is stuck in
an LA skyscraper as terrorists
take the building over, armed
only with his wit and bravery.
 Tale of three brothers and their
father living in the remote
wilderness of and how their lives
are affected by nature, history,
war, and love.

23. Character Bible/Back Story…
 …one major flashpoint of winning scripts are
3-dimensionalor rounded characters.

A 3-dimensional character has a back-story or a
past. He or she is the product of family and life experiences and
choices.

Which is why a character bible is always important

24. Point of View (POV)
The PROTAGONIST
 Every storyteller must steer the experience of the story
from a “point-of-view.”
 Your protagonist is the main, viewpoint character of
your story. Protagonists vary, but genre specifics make
some more likely than others.

25. Protagonist vs. Antagonist
Good Guy!? Hero!? Bad Guy!?
Villain!?

26.  HEROIC PROTAGONIST
The Protagonist is a larger than life character who rises above
great challenges, internally or externally to triumph. Usually it’s
a good against evil conflict and our hero lives by a moral code
common to the story’s audience.
 NON-HEROIC PROTAGONIST
The non-heroic protagonist can be anything from an
ordinary Joe to a victim or a very flawed personality or an anti-
hero. These warts-and-all characters are fascinating to create,
and they can seem very real. A non-Heroic protagonist will be a
character who makes wickedness seem charming or appealing,
or at least excusable.
Types of Protagonists

27. Who’s Point of View (POV) is it??
The ANTAGONIST
 The way you depict a villain depends on the genre and the villain's
part in the story. Some villains, usually known as "Antagonists",
simply have goals that don't match the protagonist's.
 It is almost always better to try to show a villain or antagonist in
context. For example, a harsh parent might be motivated by the
desire to keep his child out of danger or trouble, while a harsh
teacher may fear for her job. Political antagonists obviously mean
well from their own perspective. And what about the "other woman"
in a romance? She wants the hero just as the heroine does. How
does her desire differ from the heroine's?

28. Resolution

Audiences long for an ending that makes them squeal, “Wow, I
would have never guessed!” But with 20/20 hindsight, the
audience can clearly see the clues and the outcome makes sense. In
choosing an ending, you will again think about the mood and genre of
the plot.
You might also consider your theme.
 A triumphant ending?
 A futile ending?
 An ironic ending?
 A peaceful ending?

29. 6 Questions to ask…
1. What is the underlying desire of your protagonist, and can all of your
scenes be connected with that desire?
2. Can you identify the choices your characters make in each scene and the
consequences of their actions?
3. Do you accomplish your exposition by employing one or more of these
tactics: distraction, entertainment, or immersion in conflict?
4. Do the images in your description relate to the journey of your
protagonist?
5. Can you identify functions, in terms of your protagonist, for every
character in your story?
6. Do you reveal the rich detail of your story through the interactions of
characters with their environment?

30. Resolution
…always end it with
a Twist!!!

31. Thank you