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What ways can you take your idea from your head to the screen?

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What ways can you take your idea from your head to the screen?

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Mindmap
Spidergram
5W1H - Kipling Method
Word Play Games
Picture association

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#1 Idea, Concept

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12-Step Screenwriting: Week 1 - Idea, concept story

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Which one suits You?

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Ideas are things that come and go and fairly frequently too. However, the really great ideas usually spring unexpectedly in moments of inspiration. It becomes easier to come up with great ideas when we free ourselves from the mundane, everyday, conventional thoughts that take up the thought space in our brain.

This article gives you a 1) short note on the three stages of successful ideation and 2) 18 killer idea generation techniques.

SHORT NOTE ON THE THREE STAGES OF SUCCESSFUL IDEATION

An organization needs to follow three main stages namely generation, selection and implementation for successful ideation.

Stage #1: Generation

For a lot of companies, making use of ideation to address a specific problem or requirement is frequently a good starting point. The majority of companies can easily identify these kinds of needs - the main decision is whether they contribute to an ideation approach. After problem-solving, come two other key chances for utilizing ideation: core competencies and consumer insights.

Core competencies, in reference to ideation, have to do with leveraging ideation to develop upon a company's abilities. In this kind of ideation, the organization is looking for fresh applications or new markets for existing services/products.

Consumer insights, with reference to ideation, have to do with utilizing principles of conventional market research (for example: focus groups and surveys) and implementing them in the context of a joint idea-sharing milieu. Surveys are effective though there are a few drawbacks: respondents would not be able to view other replies (to vote up/down or comment) and the response rates are usually pretty low. Even focus groups are effective though they fail to reach the heights of online ideation owing to factors such as price constraints that hinder them from accessing a bigger participant pool.

Stage #2: Selection

Picking the best ideas starts much before the beginning of the ideation process. It is essential that you fix the criteria by which the ideas are to be assessed, who would be responsible for evaluating the ideas, and how the top ideas would be given to the concerned internal teams for further assessment or execution. A proper selection process begins with the use of tags or labels to arrange the ideas into meaningful clusters. An example would be labels being arranged along product lines (such as phone, laptop, tablet) and tags being a level lower, concentrating on attributes (easy navigation, portable, long battery life, lightweight) and/or on features (display, operating system, interface). Labeling and tagging should be followed by prioritization to be certain that the most essential ideas reach the stage of application/execution.

Stage #3: Implementation

The success of implementation is dependent on an organization's ability to choose the top ideas and take action based on them. It also depends on the organization having appropriate workflows in place so that the right groups take part at the appropriate time in the three steps of the ideation process. The makeup of these workflows (that call out particular roles and aspects of responsibility) is very essential for organizations if they are to start any ideation endeavor. The people in the roles called out should be ready to take in new ideas that don't come from within the company and possibly can be incentivized or otherwise acknowledged for their readiness to implement the new approach.

18 KILLER IDEA GENERATION TECHNIQUES

1. SCAMPER

SCAMPER is an idea generation technique that utilizes action verbs as stimuli. It is a well-known kind of checklist developed by Bob Eberie that assists the person in coming up with ideas either for modifications that can be made on an existing product or for making a new product. SCAMPER is an acronym with each letter standing for an action verb which in turn stands for a prompt for creative ideas.

2. Brainstorming

This process involves engendering a huge number of solutions for a specific problem (idea) with emphasis being on the number of ideas. In the course of brainstorming, there is no assessment of ideas. So, people can speak out their ideas freely without fear of criticism. Even bizarre/strange ideas are accepted with open hands. In fact, the crazier the idea, the better. Taming down is easier than thinking up.

Frequently, ideas are blended to create one good idea as indicated by the slogan "1+1=3." Brainstorming can be done both individually and in groups. The typical brainstorming group comprises six to ten people.

3. Mindmapping

Mindmapping is a graphical technique for imagining connections between various pieces of information or ideas. Each fact or idea is written down and then connected by curves or lines to its minor or major (previous or following) fact or idea, thus building a web of relationships. It was Tony Buzan, a UK researcher, who developed the technique "mind mapping" discussed in his book 'Use your Head' (1972). Mind mapping is utilized in brainstorming, project planning, problem solving and note taking. As is the case with other mapping methods, the intention behind brain mapping too is to capture attention and to gain and frame information to enable sharing of concepts and ideas.

To get started with mindmapping, the participant just has to write a key phrase or word in the middle of the page. Then, he must write anything else that comes to his mind on the very same page. After that, he must try to make connections as mentioned in the previous paragraph.

4. Synectics

Synectics is a creative idea generation and problem solving technique that arouses thought processes that the subject may not be aware of. It is a manner of approaching problem-solving and creativity in a rational manner. The credit for coming up with the technique which had its beginning in the Arthur D. Little Invention Design Unit, goes to William J.J. Gordon and George M. Prince.

The Synectics study endeavored to investigate the creative process while it is in progress. According to J.J Gordon, three key assumptions are associated with Synectics research.

It is possible to describe and teach the creative process

Invention processes in sciences and the arts are analogous and triggered by the very same "psychic" processes

Group and individual creativity are analogous

5. Storyboarding

Storyboarding has to do with developing a visual story to explain or explore. Storyboards can help creative people represent information they gained during research. Pictures, quotes from the user, and other pertinent information are fixed on cork board, or any comparable surface, to stand for a scenario and to assist with comprehending the relationships between various ideas.

6. Role playing

In the role playing technique, each participant can take on a personality or role different from his own. As the technique is fun, it can help people reduce their inhibitions and come out with unexpected ideas.

7. Attribute listing

Attribute listing is an analytical approach to recognize new forms of a system or product by identifying/recognizing areas of improvement. To figure out how to enhance a particular product, it is broken into parts, physical features of each component are noted, and all functions of each component are explained and studied to see whether any change or recombination would damage or improve the product.

8. Visualization and visual prompts

Visualization is about thinking of challenges visually so as to better comprehend the issue. It is a process of incubation and illumination where the participant takes a break from the problem at hand and concentrates on something wholly different while his mind subconsciously continues to work on the idea. This grows into a phase of illumination where the participant suddenly gets a diversity of solutions and he rapidly writes them down, thereby creating fresh parallel lines of thought.

Picture prompts help a lot when it comes to enabling one's brain to establish connections. These prompts can help to surface emotions, feelings and intuitions. This makes them particularly useful for brainstorming solutions to innovative challenges involving people, and issues with a deep psychological or emotional root cause.

To get started with using picture prompts, the facilitator distributes a set of pre-selected images - each participant gets one. He also asks the participants to write down whatever ideas come to their mind when they look at the image in their possession. According to Bryan Mattimore (presently co-founder of The Growth Engine Company), the images should be visually interesting, portraying a multiplicity of subject matter and must depict people in lots of varied kinds of relationships and interactions with other people.

After this, participants pair off and use additional time, sharing and talking about the ideas they have come up with and brainstorming more solutions to the existing problem/challenge. Lastly, the various pairs present their ideas to the rest of the group.

Mattimore suggests tailoring the visuals to the character of the challenge the participants have to solve. So, if the challenge pertains to the manufacturing industry, you could consider having images of an industrial nature. However, you should definitely include some irrelevant or random images as well because it may be these kinds of images that trigger the most innovative solutions.

9. Morphological analysis

Morphological analysis has to do with recognizing the structural aspects of a problem and studying the relationships among them. For example: Imagine the problem is transporting an object from one place to another by way of a powered vehicle. The significant dimensions are: the kind of vehicle (cart, sling, bed, chair); the power source (internal-combustion engine, pressed air, electric motor); and the medium (air, hard surface, rails, rollers, oil, water). Thus, a cart-kind of vehicle moving over rough services with an internal-combustion engine to power it is the automobile. The expectation is that it would be possible to determine some novel combinations.

10. Forced relationships

It is an easy technique involving the joining of totally different ideas to come up with a fresh idea. Though the solution may not be strictly unique, it frequently results in an assortment of combinations that are often useful. A lot of products we see today are the output of forced relationships (such as a digital watch that also has a calculator, musical birthday cards and Swiss army knife). Most of these ideas may not be revolutionary discoveries but they are still advantageous products and usually have a prospective market in society. Robert Olson provided an example for forced analogy in his book 'The Art of Creative Thinking.' He compares different aspects of a corporate organization structure to the structure of a matchbox.

11. Daydreaming

Though mostly not met with approval, daydreaming is truly one of the most fundamental ways to trigger great ideas. The word "daydream" itself involuntarily triggers an uninhibited and playful thought process, incorporating the participant's creativity and resourcefulness to play around with the present problem. It enables a person to establish an emotional connection with the problem, which is beneficial in terms of coming up with a wonderful idea. The focus of productive daydreaming is a particular goal irrespective of whether it seems to be an impractical task. Plenty of famous inventors have engaged in daydreaming in the past, thereby setting off ideas that contributed to life altering inventions. The airplane is the most notable example for this. If the Wright brothers had not let their imagination run wild thinking about flight, we would probably still be traveling by ferry.

12. Reverse thinking

As the term 'reverse thinking' itself suggests, instead of adopting the logical, normal manner of looking at a challenge, you reverse it and think about opposite ideas. For example: 'how can I double my fan base?' can change into 'how do I make sure I have no fans at all?' You may notice that the majority of participants would find it easier to produce ideas for the 'negative challenge' simply because it is much more fun. However, don't spend too much time on the reverse idea-generation - about 10 to 15 wrong ideas is fine. After one session is over, you can either continue in the reverse idea atmosphere with a new challenge or else do the reversal once more to make it stronger. An example for the latter is "I am never going to update any of my social networks" changing into "I am going to always update all of my social networks."

13. Questioning assumptions

The majority of industries have an orthodoxy - unspoken but deeply-held beliefs that everyone stands by for getting things done. Sadly, they fail to realize that by questioning assumptions at every step of service or product development, they can actually enable the birth of fresh possibilities and ideas.

Here's how Mattimore suggests one go about questioning assumptions: The participants should start by settling on the framework for the creative challenge. After this, they should produce 20 to 30 assumptions (irrespective of whether they are true or false). The next step is to select several assumptions from the many generated, and utilize them as idea triggers and thought starters to engender fresh ideas.

14. Accidental genius

Accidental genius is a relatively new technique that utilizes writing to trigger the best ideas, content and insight.

15. Brainwriting

Brainwriting is easy. Instead of asking the participants to shout out ideas, they are told to pen down their ideas pertaining to a specific problem or question on sheets of paper, for a small number of minutes. After that, each participant can pass their ideas over to someone else. This someone else reads the ideas on the paper and adds some new ones. Following another few minutes, the individual participants are again made to pass their papers to someone else and so the process continues. After about 15 minutes, you or someone else can collect the sheets from them and post them for instant discussion.

16. Wishing

This technique can be begun by asking for the unattainable and then brainstorming ideas to make it or at least an approximation of it, a reality. Start by making the wishes tangible. There should be collaboration among the members of the team to produce 20 to 30 wishes pertaining to your business. Everyone's imagination should be encouraged to run wild - the more bizarre the idea, the better. There should be no restrictions on thinking.

The next step is concentrating on a number of these unattainable wishes and utilizing them as creative stimuli to trigger ideas that are new but more practical. Mattimore suggests getting the team to challenge the problem from diverse perspectives (imagine how a person from another planet or from another industry or profession would view it) or reflect on it. This type of role playing assists with moving away from conventional thinking patterns to see fresh possibilities.

17. Socializing

If employees only hang around with colleagues and friends, they could find themselves in a thinking rut. Let them utilize all those LinkedIn connections to begin some fantastic conversations. Refreshing perspectives will assist with bringing out new thinking and probably, one or two lightning bolts. Socializing in the context of ideation can also be about talking to others on topics that have nothing whatsoever to do with the present problem.

18. Collaboration

As the term indicates, collaboration is about two or more people joining hands in working for a common goal. Designers frequently work in groups and engage in collaborative creation in the course of the whole creative process.

As is quite clear from this blog, the era of boring, conventional idea generation is long gone and it is time to embrace fun and innovative ideation techniques. As mentioned earlier, the more creative the thinking process, the wackier and probably, better the ideas and solutions we can expect.

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Ideas are things that come and go and fairly frequently too. However, the really great ideas usually spring unexpectedly in moments of inspiration. It becomes easier to come up with great ideas when we free ourselves from the mundane, everyday, conventional thoughts that take up the thought space in our brain.

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8 techniques for creative thinking and idea generation

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8 techniques for creative thinking and idea generation

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GIVE IT A GO

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Beginning your creative content writing work with full gusto only to find yourself stuck after the first sentence is infuriating, but what's worse is staring at a blank page for what seems like an eternity, willing good content ideas to appear from somewhere.

Even if you have a designated topic, it can often be seemingly impossible to think of anything worthwhile to say about it.

Sadly, much to everyone's disappointment, your work isn't going to write itself. Creating successful creative content is hard work

For people who create content every day, it can be difficult to constantly come up with new ideas. As an SEO, digital PR and content marketing agency, we at Koozai understand this too. Luckily, if you've hit that creative wall, there are several techniques you can execute to get those creative juices flowing again.

Below are eight of the Koozai team's favourite creative problem solving techniques. These don't just apply to content creation either, they can be used in all aspects of life.

1. Mind Mapping/Brainstorming

One of the timeless classics is mind mapping or brainstorming, which is the little black dress of idea generation; it never goes out of fashion. It almost feels wrong to walk into an agency and not see some form of mind map on a whiteboard somewhere.

The key to mind mapping is to take note of every idea that comes up. Don't neglect anything, no matter how far-fetched it may seem. Save the critical selection process for later. Generate as many ideas as possible; the more you jot down, the bigger chance of finding that golden ticket idea.

The end result will be much easier to visualise, compared to a static list.

When it comes to a brainstorm - the more brains, the more ideas! But it can be hard to manage larger groups of people without going off-piste and wasting time. This is where the Charette Procedure comes into play as a super-useful way to manage more brains. This approach works by organising your attendees into smaller groups, and then assigning a topic to each of those groups. You can then switch the topics and collate all the ideas at the end. This approach can also help shy members of the group pitch in, as they're not in a room with 20 (or more) other people.

2. The Checklist

Young children are amazingly creative. Their curiosity, imagination and thirst for knowledge seem boundless. They ask questions about everything because practically everything is new to them. If you've ever played the 'Why?' game with a kid, you'll know exactly what I'm talking about*. It's infuriating, yet surprisingly enlightening.

As we get older, we tend to stop asking so many questions. We accept a lot more, because it's all been explained to us before. Perhaps it's because of this, that adults are stereotypically perceived as having very little imagination.

Maybe if we asked more questions, our content might be a little bit more imaginative. This is where the checklist technique can help. This is essentially a list of questions that you should ask yourself before beginning your work.

Alex Osborn, who is often coined as the father of brainstorming, established around 75 creative questions to help encourage ideas in his fantastic book, Applied Imagination. It's well worth a read if you can get hold of it, but to give you a head start, there are six universal questions that can be asked:

Ask yourself these questions (in some form) every time you create content, and chances are you'll come up with some pretty interesting answers. At the very least it will give you more in-depth information about your initial idea, before establishing if it's worth using in your content strategy.

This is a simple but effective method to use if you get stuck for ideas and if you are struggling to remember the questions, just repeat the original concept from Rudyard Kipling's - The Elephant Child:

"I Keep six honest serving-men:

(They taught me all I knew)

Their names are What and Where and When

And How and Why and Who".

3. Six Thinking Hats

(Disclaimer: This is a technique that could prove potentially confusing to all the SEOs out there, as a few may be a bit weary at the prospect of wearing a black hat)

Developed by Edward de Bono in the early 80s, this popular technique is now used by businesses all over the world. They involve putting on a selection of metaphorical hats when it comes to making a decision. Each hat represents a different direction of thinking.

White Hat - Facts - data and information already known or needed relating to the theme

Red Hat - Emotions - looks at feelings, initial instinct and intuition

Black Hat - Judgement, Caution - looks at potential problems and difficulties

Yellow Hat - Logic - looks at benefits and values

Green Hat - Creativity - possibilities, new ideas and alternatives

Blue Hat - Control - looks at managing the process - start with a focus, then detail the next steps, actions and plans

This method can be used in a group or on your own, and you may find yourself 'wearing' more than one hat at once (Of course if you're really bored you could always physically make the hats for instant entertainment!). You can use the hats to take the ego out of the equation. They let you think and decide on topics in a rational yet creative style.

4. Lateral Thinking

Another term coined by Dr. de Bono, involves looking at your situation in a different way. The simplest answer is not always right. We solve most problems in a linear fashion, i.e. if something happens it must have been... because of....

We take a step-by-step approach to finding our answers. De Bono encouraged others to look at their situation differently, to step sideways for a second if you will. This allows people to re-examine their predicament from a much more creative point of view.

Say for example you have a client who sells tractors. If you were thinking in a linear fashion, you may feel the need to create content about how great tractors are because you need to sell tractors. Thinking about things laterally though opens up a world of possibilities. Try looking at the bigger picture.

Tractors are a key component of farming, farming produces food and resources. Farms also house animals. A popular children's rhyme about farm animals is Old McDonald, you may wonder how that rhyme came to be. Why not create creative content around the origin of that rhyme?

That's just a (very) basic example, but you can clearly see how lateral thinking can be used to help inspire you.

5. Random Word Generation

I love this technique. Simply pick two random words and try and tie your content to it in the most imaginative way possible. Simple as that.

The real fun part is how you choose to come up with the words. You could use an online generator; you could flick through a dictionary; or you could write words on a bunch of plastic balls, throw them into the air, and then choose the words on the first two balls you catch. Have fun.

6. Word Association

Similar to random word association, this method is a little more on the creative side of the spectrum. However, it does allow you to uncover new connections and insights that you wouldn't normally think of.

Get started by choosing a word that's associated with your business. Next, think of as many words associated with the initial word and see if you can make a connection between them that fits in with what your business offers.

It can sometimes be a little tricky to make the connection between the words you've selected, but after a few attempts, the ideas should start to flow.

So for example you might have made the connection between technology, to hardware, to Apple (brand), to fruit. These associated words can be the inspiration for potential ideas, so take the time to mind map ideas based on such associated words.

You may reject a high number of ideas with this method, although allowing the brain to think less logically can in contrast produce great results.

7. Picture Association

If you're truly stuck for ideas, perform an image search on your topic of choice, pick a random photo. Work backwards from the picture, developing a story around how the photo was taken.

As the old adage states: "A picture is worth a thousand words", so why not use images to your advantage in order to come up with your content ideas?

This is another simple yet effective method that allows you to think more visually and creatively, compared to writing lists. Think about what the images convey and see if you can work these ideas into your content.

For example, if you see a picture of a dog looking up at the night sky, ask yourself what it could be thinking. Is it a stargazing dog? Does that dog secretly long to be an astronaut? Perhaps a story about a space dog would be awesome! In fact, a space dog would make a great mascot for any business so we could look at the best business mascots. So on and so forth.

It might sound different from what you've tried before, but it could be the winning ticket to finding that killer content idea.

8. Change Perspective

This can often be hard to do but try putting yourself in other people's shoes. Sometimes you can get too attached to your own work, I know I always do it. You may be too close to notice that there are faults visible from afar.

Share your ideas with others and get a fresh pair of eyes to look at your work. Encourage constructive criticism, you don't have to take it all on board, but it may offer up some seriously beneficial observations.

As the world of work changed considerably when Covid19 hit we all had to find additional ways of coming up with creative content ideas and so we've popped in a few bonus extras from the team

Get Up and Go Out

People underestimate the value of being bored. If you work around screens all day it can often prove both relaxing and rewarding to just get up and walk about for a bit. Let your mind wander instead of focussing on a task so hard it hurts.

Take a walk around your local green space, indulge yourself in your own personal contemplation montage as you skim rocks across a pond. Let the miracle of nature, and that brief moment of what is hopefully peace and quiet, inspire and energise you.

Similarly, many believe that the practice of meditation, clearing their mind of all thoughts and allowing themselves to be at peace, is a fantastic method to help spur creativity. Although I've never personally tried it, I can see how people might find it rewarding.

Reframing

Reframing works by changing an interpretation in order to see something in a different way or 'frame'. Whether it's a behaviour, object, situation, event or anything else you want to focus on, use the below questions to determine new interpretations:

Meaning: could it mean something entirely different?

Context: could it be useful somewhere else?

Humour: is there a funny side?

Silver lining: are there any opportunities that arise from this problem?

Different points of view: what does it mean to other people?

Key Dates, Events and Seasonality

List all of the key dates and events throughout the year specific to your industry that are worth creating content around. You may want to start adding these to a calendar, so you can see them at a glance.

Come up with a second list of brainstorming ideas around any products or services that you could push at different times of the year to reflect trends in seasonality.

Once you're done, it's worth seeing if you can combine any of the key dates and events with seasonality trends to form the basis of your content ideas.

Creative Content Problems and Solutions

Instead of thinking of new ideas from scratch, use your most valuable business asset to your advantage - your customers.

How do you achieve creative content ideas with the help of your customers? Simple - all you need to do is ask or keep a record of all the problems/questions they've had previously regarding your products and services. You can even brainstorm some of these from past experiences or by putting yourself in the customers' shoes and looking at the potential issues from their perspective.

Once you're done, aim to offer solutions to each individual problem within the content that you create. One example of this method for a technology company could be as follows:

Problem: Customers don't know if the company's software works on their device

Solution: Create an Infographic or blog post that details which software is compatible with which device

Idee Konzept7. The 6-5-3 Method

This concept is built around having six people in a group spending five minutes to come up with three ideas on a piece of paper. However, this can be altered, depending on the number of people in your team and the time you wish to dedicate to your idea creation.

After the time is up, the paper is passed to the person on your right and the process is repeated again in the designated time until the first piece of paper you wrote on comes back to you.

Having to think creatively under pressure is an excellent way to detail all of the initial ideas that come to you, no matter how far-fetched and imaginative they seem. It's also a great one to do if your team are remote workers - you don't all need to be in the same room, you can use virtual post-it notes or Slack to 'pass' the piece of paper to one another.

When you end up with the same piece of paper, take a look at everyone's ideas collectively and select the best ones to run with.

Let's Get Tooled Up

Remember that when it comes to conjuring ideas, you're limited only by your imagination. Don't hold back either, even the worst of ideas may have some use. The more ideas you generate, the bigger your chances of finding the right solution.

If your idea pool is somehow still running dry after trying all of these techniques, then there are also plenty of online tools to help inspire you.

Übersuggest shows you the most popular keywords related to your search query, providing fantastic inspiration for topics to cover.

Google Trends will show you up-to-date information on what people are searching for, and for an awesome visualisation of what the world is searching for, check this out.

Portent's Content Idea Generator will generate random titles around your content in order to inspire you. It can generate some pretty out-there ideas as well:

Content Strategy Generator from SEO Gadget is a really invaluable tool to have in your arsenal, as it gives you tons of information related to your relevant keywords.

With these tools, and the above techniques, you should be unstoppable when it comes to coming up with ideas.

If you're on the opposite side of the spectrum, and you're struggling to end your article, you could always bow out Sopranos style and just finish the content mid...

...only kidding.
Do you use a particular technique to generate content ideas? Are there any of the ideas above that you particularly favour, or any that you hadn't heard of before? Let me know your thoughts in comments below.
*The Why Game: Begin by asking why something is the way it is, then proceeding to further ask "Why?" after every answer your colleague gives. "Because it is!" is not an acceptable answer, no matter how loud it is screamed at you.

If you need help with your own content ideation, speak to Koozai today to see how we can help, and make sure to check out our free whitepaper or our Content Marketing Training Course

Thinking Women from Bigstock
Portent Content Idea Generator from Portent
Six Hats by Koozai
Space Dog by Koozai

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The following is a guest blog post by Fred Perry. Fred won first place in the screenplay category in the 82nd Annual Writer's Digest Writing Competition. He has also received script requests, optioned three features, and won eight screenplay competitions. Today, he'll tell you how to start a screenplay and share his story of struggling to break into screenwriting.

* * * * *

I don't think I could ever write a novel-a skill requiring patience far beyond my desire or comprehension. I am into the immediacy of present tense, truncated descriptions, and externalized visuals. I am a screenwriter.

A while back, a literary manager in L.A. asked me how I would know when I had succeeded as a screenwriter. My answer was simple, and it's the one thing all novice screenwriters want to hear, "Who's your agent?" And if a screenwriter is fortunate enough to get paid for even one spec script, see his or her writing credits on screen, or win a screenwriting competition or two, the odds are that writer has talent.

While successful screenwriters approach their craft in a multitude of different ways, there is one element that must be established before FADE IN ever appears on the page: Solid story structure.

Whether you're writing a romantic comedy, science fiction, horror, action adventure, fantasy, or a family film, if the structure of the script is not firmly locked in, nothing good will come of it-generally speaking, that is. There are those few fortunate writers who just jump in, start writing, and get lucky. I used to be one of them.

While parking cars at Universal Studios in Hollywood a few years ago, I would regularly sneak onto the lot and scrounge through the dumpsters behind the producers' offices for discarded television scripts. This was how I learned to write the basic screenplay format.

With a fierce desire to write my way out of that parking lot, but knowing absolutely nothing about story, structure, or genre, I wrote my first spec feature. One of the studio executives in the MCA Tower had seen me over the past few weeks, sitting on the low parking lot wall, working on the script with my portable typewriter. On the day I completed the script, he asked to see it. Incredibly, the next morning he offered me an option-right there in the parking lot. I quit parking cars the next day. I thought I was on my way; I had it made.

That illusion was quickly shattered. While the option did lead to a few writing gigs and film credits on some minor exploitation films in Europe, India, and Latin America, my own script was never produced. Neither were my next four. Something was obviously wrong. As I learned from a no-holds-barred reader at Paramount, my scripts were sprawling, amorphous medocrities, with no structure, focus, or character development.

Ouch.

I eventually managed to put my ego aside and started reading every book I could find on screenwriting, from Syd Field and William Goldman, to Aristotle and his three-act paradigm. I studied hard and kept writing.

Unlike completed novels, screenplays are not the end of the creative process, but the beginning. They are not designed for reading; they are designed as narrative blueprints for films. And with most feature films rarely running over two-and-a-half hours in length, screenplays must adhere to strict structural rules if they are to be considered viable as films.

The genesis of my scripts are always the same. A story idea will pop into my mind. It could be a line from some long-forgotten conversation, an event I witnessed that made a lasting impression, or a flash of a scene in my mind's eye. While most of these ideas are ephemeral, there are others that stubbornly occupy my thoughts, like squatters refusing to vacate. When this happens, I know the time has come to begin the writing process.

But before writing the first word, I will spend days, sometimes weeks, just thinking, visualizing the primary characters, their appearances, determining their goals, and how they will advance the story or create conflict. I envision their interactions with each other, hearing how they speak. I repeat this process, mentally editing and re-thinking until I am certain the story has a solid framework. Then I establish and lock in the ends of the first two acts of the script. Why? Without getting bogged down in screenplay jargon, the ends of acts one and two are the most important turning points in any feature script.

Watch just about any movie and you will notice, at some point between 20 and 30 minutes into the film, after the environment and atmosphere have been established, main characters introduced, and potential conflicts and sub-plots foreshadowed, some event or action occurs that spins the story into a new direction. This is where act one ends and act two, the main body of the story, begins.

Similarly, towards the end of the second act, normally between pages 80 and 90, something I call "the page 80 crash" happens. In a romantic comedy, for example, this is where the boy, who has just won the girl's heart, inevitably loses her before winning her back by the end of act three. In a horror film, it's when the last evil entity has seemingly been exorcised for good, until the true horror appears, commencing a final battle between good and evil.

Regardless of the specific genre of a script, these beats, or similar variations, are almost universally inherent in the structure of good screenplays. At least as far as American scripts are concerned-but that's another story.

I normally have one more task to complete before I start writing the actual script. I reduce the story to its essence, a short log covering the first two acts. For example, "Tortured by night terrors, a war vet undergoes radical, top secret PTSD experiments that go horribly wrong." A simple sentence, yet it identifies the main character, his problem, how he intends to resolve it, and the unexpected obstacle that will confront him near the end of act two. Act three is where he will surmount this obstacle or fail.

This is a map, a way to stay on track and focused as the story unfolds. From now until the first draft is finished, I write a minimum of five pages each day, regardless of how many hours it takes me to meet that goal. Only with this map am I ready to write.

* * * * *

This kind of advice doesn't have to be solely applied to screenwriting. Envisioning characters and their traits, conflicts, and world are the kind of things that make up a good outline for any novelist or writer, too. And our best stories can spawn from the seemingly simple things, as Fred suggested. Sticking to those ideas and visions as the beginnings of an outline are the key to writing-no matter what the genre.

You might also like:

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How to Write a Screenplay: Developing Your Screenplay Ideas

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The following is a guest blog post by Fred Perry. Fred won first place in the screenplay category in the 82nd Annual Writer's Digest Writing Competition. He has also received script requests, optioned three features, and won eight screenplay competitions. Today, he'll tell you how to start a screenplay and share his story of struggling to break into screenwriting.

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How many times have you heard someone say, "I have a great idea for a movie," and then never do anything with it? They don't remember it later or they never actually put words on paper. On top of that, there are many people who think they have a good idea for a movie - and it's really not. It all starts with the idea but there's much more to it. It's not as easy as people think. Most people do not realize the time and effort it takes to flesh out an idea, from the inception of an idea to the visualization of a full-blown motion picture.

For writers, working with source material is one way of finding new ideas. For others, their imagination is enough. But what do you do with those ideas, those inklings, and those notions that are just the tip of the iceberg? How do you start to dig deeper in order to create characters an audience can identify with and a story they can lose themselves in? Learning how to spot potential stories, knowing how to use those stories as a springboard for a bigger, more dramatic story, and then learning how to take dramatic license to develop those ideas into cohesive films for television and motion pictures is a practice.

The good news is there's always a story in everyday life. You can find ideas almost anywhere you look. You just need to know where to look for them and how to create a blueprint for yourself in order to get them on paper, which will lead you to developing a richer, more complex story later on, filled with interesting characters who try to achieve something. Characters that are accessible to the audience, characters they can root for who are placed in situations they might possibly imagine themselves in.

Obviously, a great place to look for stories is in newspapers and magazines. If it's a true-life story, you may need to get the rights but if the article serves only as the basis for a tale you create, then the sky's the limit. Decide what genre it is. Sometimes, the same idea can work in different genres. A good exercise is to take an article and make two different stories from it, changing the genres. For example, one "take" on the story could be as a drama while another could be a comedy or a thriller. Taking the total opposite stance is a good exercise in getting the writer to view ideas at different angles. Some ideas will be more successful at transforming themselves from one genre to another but it's a good way for all of us to flex our story sense a little further than we thought we could go.

However, you will still need the basic blueprint upon which to turn your ideas into full-fledged stories, and that always begins with understanding the 3-Act Structure. Dating back to Aristotle, the 3-Act Structure is the basis of all storytelling. There is a beginning, middle and end. There is an inciting incident, which kicks the story into gear and there are two main turning points at the end of Act One and Act Two, which propel the story either in a slightly surprising direction or towards the climax in Act Three. We have created a simple form as a basis to start your "Idea file." We call it the Idea Form. This form helps you take a germ of an idea and begin organizing it in a concise yet structured story. This format is helpful to see if the story has legs, meaning does it fill up the three acts or is it merely a sketch? Some stories are better left as novels or plays. It's important to know the differences between the three mediums to know if, indeed, they will translate to the screen.

Good stories are usually about someone trying to overcome something. For film, they need to be cinematic. With film, you have the luxury of setting it anywhere (unlike a play which is limited with locations). Filmmakers also have the power to only allow an audience to see what they want them to see - albeit a close up of a face, a reaction, or a city landscape. So in thinking about what translates to the screen, it is important for the creator to have a visual eye.

Once you decide that your idea will make a good movie, you need to ask some questions as you fill out your Idea Form. Questions will always begat more questions as you fill in the blanks of your story as well as create memorable characters. Some of these questions are:

What is the story about?

What genre or type of story is it?

Why would audiences want to see the story?

What is it about the story that will attract an audience?

Who are the characters?

What does the main character want to achieve?

What does the main character do to achieve his goal? (the choices they make)

What are their obstacles?

What or who is standing in their way and why?

Will they achieve what they want? Will the ending be triumphant or not?

What do the characters learn by the end of the story?

One of the first things we ask students to do is to come up with a logline for their idea - one or two sentences that describe the story. For example, "A middle-aged former super-hero turned insurance adjuster yearns to get back into action." Do you know which movie that is? If you said The Incredibles you are correct. We have a lot of fun in our courses with what we call our loglines quiz. It's always different and it's interesting to see how many students can guess the loglines of older as well as more recent films. It's a practice to write loglines, and there is no wrong or right way to do it with the exception that it should be short, concise and still give a sense of the story.
Coming up with a logline for your idea is only the beginning, however. Your idea may require research and, by writing out what you already know in addition to adding your own creative and imaginative "take" on the project, will kick start the process of creating your script.

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Finding and Developing Ideas For Your Screenplay

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How many times have you heard someone say, "I have a great idea for a movie," and then never do anything with it? They don't remember it later or they never actually put words on paper. On top of that, there are many people who think they have a good idea for a movie - and it's really not.

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Here are seven ways to get the most from your collaborative brainstorming sessions.

Creative brainstorming, mind mapping, ideation-whatever you want to call the process of generating creative ideas to serve the larger purpose of a project or goal-is a critical part of any good process. At Mightybytes, we are always refining our approach and trying new things when we create new web applications and sites for our clients. Here are some ideas that came from planning a recent session for a client using this technique.

In Managing Interactive Media Projects I wrote about mind mapping as a project kickoff technique, but focused more on creative process as an internal dialogue when one is brainstorming ideas for an interactive project. Here I open the topic up to discuss mind mapping as a group collaboration effort.

A good brainstorming session is a great way to kick off any project. It gives both client and your team the chance to get comfortable with one another and share ideas. In this scenario, our goal was to use the ideas generated in the mind-mapping brainstorm to devise a brand positioning statement for a client who wants help building their business.

Using a white board and markers, we spent several hours brainstorming with our client during the course of several mind-mapping exercises. Here are some pointers to consider, based on our experience:

Do Your Homework

Come prepared to your first creative session. Arm yourself and your team with the data necessary to speak with authority on the project at hand: its strengths, its weaknesses, and where it potentially falls into the competitive landscape.

While you don't have to go all out at this point, doing a bit of competitive research is critical in properly preparing yourself and your team for defining a client's unique value proposition or selling point, which is the ultimate goal of this exercise. Find several competitors online through a few targeted Google searches, figure out what they do well, and take notes on obvious (or not so obvious) gaps in their offerings which might drive discussions around your project or client's product/service.

Then be prepared to shelve it all. Come to the table only with your newfound competitive landscape knowledge and little else. It will provide you with the context you need to run a successful meeting. The purpose of a mind mapping session is not to dwell on what others are doing but rather what your product needs to do, so focus only on ideas for improving what's already out there or creating what's not. A little background information will help you nudge the activity in the right direction. It's all about context.

Free the Wild Mind

In her excellent books Writing Down the Bones and , author and writing instructor Nathalie Goldberg cautions us to not let our 'internal editor'-that part of your mind that wants to harness an idea before it has even reached its full potential-take over the writing process. While harnessing creative ideas is a critical part of executing them, it is important to allow creative teams the leeway they need to generate ideas freely.

Make sure you check your analytical thinking at the door. Now is not the time for bulleted lists and detailed outlines nor is it the time for questioning priorities. It is the time for fostering open dialogues and the free exchange of ideas. Be sure to create a meeting culture that supports this so everyone feels comfortable sharing any ideas, no matter how ambitious or off-the-wall.

Three Rooms of Creativity

Scott Belsky talks about the idea of using three distinct rooms for the creative process in his book Making Ideas Happen:

The first room (which we are discussing here) is where unrestrained sky is the limit brainstorming occurs.

The second room supports the organized chronology of some ideas from room one.

The third room is a place where critical reviews of the remaining ideas take place.

You may not have three extra rooms in your office that can be used exclusively for these purposes (we certainly don't), but the idea is that each space exists separately from the others. Goals are clearly defined for each and this helps drive the execution of creative ideas. If you can't spare the space, consider finding three different environments in which to explore these three creative goals. Coffee shops, co-working spaces, or your dining room table can all serve suitable purposes here.

Hold the Specs and Jargon, Please

Given that we are talking about a creative session here, it stands to reason the one wouldn't dwell on technical terminology or jargon of any kind. If you are prone to corpuspeak, check terms like perception mapping, heuristics, decision framework, value matrix, and other similar phrases at the door. While you may be implementing some (or all) of these down the line, your initial session should be focused on adding value through personal interaction.

Don't let industry verbiage gum up the works, as it may serve to intimidate clients or other team members and make them less apt to share ideas. This applies equally for server specifications, hosting platforms, or any other technical terminology that, while important later on, will only cloud the generation of good ideas at this early stage.

Start with Questions

Good strategic sessions always start with good questions. At Mightybytes we have a creative questionnaire that, while perhaps not appropriate for every project or client need, drives many of our initial project kickoff meetings. It consists of just under twenty questions that relate to the creative communication aspects of a new project. They cover everything from target audience and key product benefits to aesthetic virtues, emotional motivators, and company culture. Answers to each of these questions often generate insights that can help you reach discoveries that matter when creating a positioning statement.

Some sample questions include:

Who, specifically, is your target audience and what are their key pain points?

What are your product's key features or benefits?

What emotional motivators drive your audience toward a purchase decision?

What emotional response would you like to be generated from your company or a customer's use of your product?

What colors (if any) do you associate with this emotional response?

What words do you associate with this emotional response? (more on this in a bit)

How would you describe the culture and personality of your organization?

Yes, and...

There is an improv technique called 'Yes, and' that is meant to push actors further into an idea or topic during a performance. Basically, one person throws out an idea or topic, giving the other performer an opportunity to accept it and take the idea in a new direction.

Performer one: "We should go see a movie tonight."
Performer two: "Yes, and that will give me an opportunity to wear my big new hat."

When applied to a business setting the same 'Yes, and' technique allows diverse groups to build on each other's ideas rather than tear them down. Try using it during your brainstorming sessions to make connections between two seemingly disparate ideas and to foster a supportive environment for your creative team.

Continue with Keywords

Keywords play such a critical role in so many marketing efforts these days that they should be a significant part of any project kickoff. They are used on websites to drive search engine traffic. They are used in ad campaigns. They are used in mobile apps and on social networks. In some cases, they even dictate the directories of collaborative software environments and help guide an organization's structure and business processes. For our purposes here, they serve perhaps one of their most important roles: guiding the creation of your brand positioning or value statement.

Google AdWords' Keyword Tool offers great suggestions that can get you started, but use it only if necessary. Instead focus on generating lists of keywords based on the ideas that come from the questions listed above. This is free-flowing idea generation at its best. Think of it like charades, or better yet a business-driven version of the Hasbro Milton Bradley game Scattergories. They key is to have fun with it and encourage everyone in the meeting to participate.

In a good mind mapping session you'll be able to draw lines from keyword to keyword, making connections between ideas that wouldn't necessarily be apparent were you using a spreadsheet, document, or software tool.

After your initial session (once you move into room two of your creative process), you will eventually categorize these terms and cull the best from your large list. If you are targeting search terms you will break them into 'long tail' and 'broad head' keyword groups, but for now the simple act of generating this list is all you need.

Next Steps: Generating the Brand Positioning Statement

If you have implemented even some the techniques mentioned above you should have whiteboards and notepads chock full of good ideas, great content, ample keyword lists, and lots of squiggly arrows and lines connecting your ideas. Now the hard part begins. It's time to move on to room two in your creative process and distill all these ideas into those that really matter and are worth developing.

Brand strategy, like the creative process in general, is a highly subjective discipline and what works for me or for Mightybytes may not necessarily work for other firms or strategists. If you have any improvements or suggestions on the above tips I would really love to hear them.

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Seven Tips for Better Mind Mapping Sessions - Mightybytes

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Here are seven ways to get the most from your collaborative brainstorming sessions. Creative brainstorming, mind mapping, ideation-whatever you want to call the process of generating creative ideas to serve the larger purpose of a project or goal-is a critical part of any good process.

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Do you want to become a better writer? A better organizer? A better collaborator? In that case, try using mind maps. Creator Tony Buzan called mind maps a 'genius tool'. Why? Because mind mapping can fire up your brain and boost creativity.

Why mind maps work

A mind map is a thinking tool that reflects what goes on in the brain. When two bits of information intersect, an idea is formed. Then the idea triggers radiant thinking. This means that the brain makes countless associations, radiating in all directions.

Hand-drawn maps

Here is a run-down of how to create a free-hand mind map:

Create a central image with the main idea

Connect branches to central image

Add second- and third-level branches

Make branches organic and free-flowing

Write words along each line

There is a trick to kick-starting your creativity by mind-mapping. Take time to doodle! Decorating your map allows your brain to go into free-flow mode. Then it can come up with unexpected connections.

Mind mapping software

The first mind mapping software to be developed tried to imitate hand-drawn maps. At the time, boosting creativity was seen as the main focus of mind maps. However, desktop programs offer more than boosting creativity. You can use desktop programs in the following way:

Capturing expertise and special Interests

Brainstorming and mind mapping

Innovation and strategic planning

Capturing and presenting your vision

Recording people networks

Web site planning and site navigation

Main desktop applications

There are five main mind mapping desktop applications:

Buzan iMindmap3 is still largely focused on imitating hand-drawn maps and on boosting creativity. You can download a free trial version here http://www.imindmap.com/. Price: iMindMap Elements $99, iMIndMap Pro $199. Check out the interesting articles on the iMindmap site.

Freemind was one of the first mind map software programs. It's free but not user-friendly and lacks good tutorials.

PersonalBrain is an outstanding mind mapping program with excellent support and training. A drawback is that it's difficult to navigate. You can see a video on how PersonalBrain works, as well as the range of its applications. http://www.thebrain.com/#-56
PersonalBrain4 basic is free; PersonalBrain Core costs $149.95.

Mind Manager is one of the older programs. It's an expensive option at $349.00 and doesn't seem to offer as much information and training as PersonalBrain.

XMind is a open-source program. The basic version (which is elegant and easy to use) is free. XMInd PRO costs $49.00 per year. I use the basic version in order to import and save my online maps.

Web-based mind map applications

In the last few years, quite a few online mind mapping systems have sprung up. They can be used for storing and delivering information, as well as for collaborating on projects. Online maps look set to supersede desktop programs.

Collaborate with others

The great advantage of online maps over desktop applications is that some enable real-time collaboration. Personally, I use online maps for all my projects. Using MindMeister - an online application that allows real-time collaboration - together with Skype, I can meet up with partners on the other side of the world and work with them as if sitting side by side at a virtual desk. At meetings, each point of the discussion can be recorded directly on the map, and I can track changes to the map that associates make.

Keep track of a project

A mind map is a great way to keep track of a project. It allows you to get a mental screenshot of where the project is at. As a project slowly matures, all completed files can be attached to the map.

Complex projects always have many different lines of development to follow. A mind map can hold all of these different streams at one glance. For example, if you wanted to start a new blog, you would need to keep track of creating a brand, designing a logo, choosing a platform, creating content, designing a website, setting and launching the blog, and so on. A mind map can hold all these different planning streams.

Capture complex information

A mind map is a great tool for studying. I find that I retain information much better if I organize it in a mind map. For capturing complex information it's essential to have the option of attaching files to a mind map. I tend to attach notes, text -, audio -, and video files, as well as URLs to my mind maps, in order to keep all information in one place. I can then easily share the information with others.

Selecting a web-based mind map program

When selecting web-based applications, there are six important questions you should ask:

Can files be attached?

Is real-time collaboration possible?

Can a map be restructured?

Is the program user-friendly?

Can maps be exported?

The four best-known online applications are:

MindMeister is a user-friendly program developed by a German team that offers privacy, real-time collaboration and attachment of files. (User license costs $49 per year ).

Mindomo is a user-friendly program that has no real-time collaboration. In the free basic version maps are public and files cannot be attached. The Premium version costs $72 per year and offers privacy and attachment of files.

Mind42 is a free program. It's not as user-friendly as Mindomo or MindMeister. However, it offers real-time collaboration, but no privacy or attachment of files.

Comapping has a strange feature: it anchors the center of the mind map to the left of the page. It has no real-time collaboration and attachment of files. Cost: $25 per year.

Of these four programs, I think MindMeister is by far the best. They have an excellent development team and new features appear continually - including some nifty plugins. You can read a review of MindMeister3 here. A detailed comparison of online programs can be found at the Mind Mapping Software Blog. You can find an interesting article on mind mapping here
We are going to give a way a FREE 3-month subscription to MindMeister to the first 10 subscribers to our brand-new monthly newsletter! Sign up fast!
What's the newsletter going to be about? Well, the fantastic live Q&A session that Leo Babauta did on Write to Done recently got a huge thumbs-up by readers. In response we're going to start a monthly newsletter where Leo and the Write to Done team offer valuable tips for bloggers and writers. We'll also give you a sneak peak at our amazing plans for the future. Be the first to know! Subscribe here:

Mary Jaksch is Editor-in-Chief at Write to Done. Grab her FREE report How to Write Like an A-List Blogger. Mary has helped thousands of students successfully create outstanding and profitable blogs at A-List Blogging and is the blogger behind Goodlife ZEN.

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How to Become a Better Writer With This Genius Tool | WTD

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Do you want to become a better writer? A better organizer? A better collaborator? In that case, try using mind maps. Creator Tony Buzan called mind maps a 'genius tool'. Why? Because mind mapping can fire up your brain and boost creativity.

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VIDEO

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Learn how to create a Story Outline, 'old school' using just a whiteboard and a few pens. No need for expensive software. Using basic Act Structure and the Key Story Beats as a template, you can start to map out your story and plot scenes.

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Fade In. For screenwriters, those are two of the scariest words that they type on their computer screens. That's because everything that follows will come spewing out of their imagination and they better get it right. Too much pressure? Welcome to Hollywood. Just because you have a "what if" scenario which you think will make a mega-blockbuster doesn't mean you can fill in all the gaps between "Fade In" and "Fade Out." Here's how to cut to the chase: remove all your obstacles and watch how the screenplay flows forth. Consider these top ten tips on how to write a screenplay faster.

1. Outline, Outline, Outline

Often screenwriters get stuck with the dreaded writer's block. The truth is writer's block doesn't exist-it is an imaginary barrier created by a tired, disorganized thought-process. A writer who has not fully worked out his or her story usually encounters mental fatigue or stress. Plan out your story first, and you can then use an outline that guides you through the progression of your story.

Much like a roadmap, an outline will tell you where you are and where you are going. That doesn't mean you can't make a few side trips, but without that destination you'll be lost.

American screenwriter and filmmaker, Tony Gilroy Tony Gilroy, the screenwriter who penned the scripts for the Bourne Identity series, is a big fan of the outline. " I have to work from an outline. Every time I've not worked from an outline I've been completely burned " (Source: Tom McCurrie, hollywoodlitsales.com).

Your outline can lean towards the extremely detailed spectrum, from covering minute to detailed nuances of every scene and every exchange of dialogue. A detailed and organized outline will ease the writing process.

2. Know Your Hero's Journey

Who your hero is at the beginning of the movie should be different than at the end of the movie. That's because the journey you've taken them through has changed them in a profound way. Whether that means losing their virginity or destroying the Death Star, they will never be the same.

Billy Wilder had worked on more than 60 films in a career that spanned 60 years. He is one of five creative geniuses who has won Academy Awards as a producer, film director, and screenwriter for the same film (the 1960's classic comedy movie, The Apartment).

Oscar-winning director and writer Billy Wilder ( The Apartment, Some Like It Hot) said it best: "Develop a clean line of action for your leading character. Know where you're going. If you have a problem with your third act, the real problem is with your first act. "

3. Write for a Star

Hollywood is a business and that means making movie stars happy. A happy star is a happy movie. At least when it comes to selling that script. You should always have a star in mind when you write your script. That doesn't mean this will be the person who will end up being in your movie, but it will help you visualize the action and allow you to hear the voice of your character.

Thomas Lennon played Lieutenant Jim Dangle on the hit comedy series, Reno 911, which ran from 2003-2009 on Comedy Central (6 seasons and 88 episodes).

Thomas Lennon, actor of Reno 911 and collaborative screenwriter of the mega-hit Night at the Museum, suggested, " Always be writing for a very specific movie star. At any given time, there are only about 14 people that can get your big studio movie made. Make sure your screenplay is good for one of them " (Source: Joe Berkowitz, fastcocreate.com).

4. Keep the Action Moving Forward

Too often a writer will get bogged down in trying to tell back-story or having a "moment" with their hero. There are also diversions with secondary characters that create a drag on the script. Every scene needs to drive the action forward. If not, cut it out. Remember: a standard spec screenplay does not exceed 120 pages.

Brian Helgeland's recent success is his movie, 42 (Warner Bros. Pictures), a bio-pic of baseball legend Jackie Robinson.

A fantastic tip comes from Brian Helgeland, Academy-award winning screenwriter of LA Confidential: " If you write a scene that is lateral, cut it out or make it do something. Make it drive you to the next moment because there's no time to mess around " (Source: Guardian Careers, careers.guardian.co.uk).

5. Remember Your Audience

You can't write in a vacuum. Even the Unibomber wanted his manifesto published. A screenwriter is writing for his or her audience. Always. Who that audience is depends on the kind of movie you're writing-but serve them well. When in doubt put yourself in the chair. What would you want to see up on the screen? " Always mystify, torture, mislead, and surprise the audience as much as possible," suggested Don Roff, writer and filmmaker of The House of Malik.

6. ABC (Always Be Cutting)

Harsh reality: Not everything you write is gold. Some of it needs to be flushed away. The sooner you do that the sooner you get to the end of your screenplay. The ideal page count for a screenplay should be 105-110. If your first draft is clocking in at 130 then you've got some serious editing and formatting to do. ( Advice on formatting your screenplay)

Jonathan Ames has written numerous novels and humorous memoirs. His novels include I Pass Like Night (Washington Square Press, 1989), The Extra Man (Scribner, 1998), and Wake Up Sir! (Scribner, 2004).

" The best advice a writer can get is 'Cut, Cut, Cut,' so that you can get to the good stuff," said writer and novelist Jonathan Ames, who also created the HBO comedy series, Bored to Death.

7. Make Your Opening Count

Have you heard that the first ten pages of your script are the most important? What about the first five? What about the first? Openings matter because it's what pulls the reader in and gets them to stick around. Make sure your opening is a grabber. British playwright and screenwriter Abi Morgan, who penned the scripts for The Hour and The Iron Lady, revealed that openings are very important. Morgan spent two years writing her first play because she rewrote and revised it countless times until she was
satisfied.

8. Don't Write Your Oscar Speech Yet

You shouldn't be agonizing over self-doubt. Get on with the writing and make it as good as you think it is-not as good as you think someone will want. Writing your first spec script or a series of scripts may not ever sell or even get read by a producer or agent. But, instead of looking at your unsold scripts as failure, think of it as gaining experience that brings you closer to your goals.

9. Just Finish It

Finishing your screenplay is always trying and challenging because it may take you a very long time to complete it. In between the FADE IN and FADE OUT sluglines, you'll have other distractions and commitments demanding your attention and time, pulling you away from your writing.

Joss Whedon has had many successful projects, including creating the T.V. series, Angel (1999-2004), Firefly (2002-2003), Dollhouse (2009-2010), and Agents of S.H.I.E.L.D. (2013).

Joss Whedon, screenwriter of Buffy the Vampire Slayer, said: " I have so many friends who have written two-thirds of a screenplay, and then re-written it for about three years...Even if it's not perfect, even if you know you're gonna have to go back into it, type to the end. You have to have a little closure " (Source: Catherine Bray, aerogrammestudio.com).

10. Go to the Movies

Nothing can inspire you to write your screenplay faster than seeing a really good (or bad) movie. Take a break and go to the movies. Watch them in a big theatre with a crowd. Revel in the experience. That fun and engagement is what you want to bring to your screenplay.

By Gregg Hienz

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10 Techniques to Write Your Screenplay Faster | FreelanceWriting

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Fade In. For screenwriters, those are two of the scariest words that they type on their computer screens. That's because everything that follows will come spewing out of their imagination and they better get it right. Too much pressure? Welcome to Hollywood.

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10 simple, but wise, screenwriting tips from the great Billy Wilder.

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Screenwriter Dustin Lance Black shows you his creative process

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Screenwriter Dustin Lance Black shows you his creative process

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VIDEO

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How do I use index cards in screenwriting?

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How do I use index cards in screenwriting?

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How do I use the index cards system in screenwriting properly?

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Answer (1 of 6): Write a single plot point on each card "Bob sets off to work" "Nieghbour yells at bob for alleged evening lawn mowing" "Bob's car explodes" "CIA team discuss villain" "Bob has flashback of war" Put all the cards up on a wall so you can see the entire plot.

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Index Cards (and post-it notes) - how they are used in screenwriting

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Index Cards (and post-it notes) - how they are used in screenwriting

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See this?

This is an index card. In a digital world, it is a decidedly analog thing. But for most screenwriters and TV writers, it is one of the most indispensable tools of the trade.

See this?

This is what a wall in a TV writers room may look like at any given time, cluttered with index cards.

How can you use index cards?

* Brainstorm: Any time you have an idea for a scene, beat, character, line of dialogue, theme, whatever, you jot it down on an index card, and tack it up on your wall. That way you have it somewhere so you won't forget the idea.

* Connections: More important, seeing all that story 'stuff' laid out in front of you can lead to interesting creative associations, kinda like what Carrie did in the TV series "Homeland":

Saul looking at Carrie's wall going all WFT?!?!

* Plotting: This is where index cards can be really handy. Let's say you write down every beat and every scene you can think of, one for each index card. If you're writing a movie script, divide the cards into four piles: Act 1, Act 2A, Act 2B, Act 3. Sort the cards into what pile you feel like they might go in. Then work through each pile, scene by scene, trying to construct a linear flow. Some scenes will feel out of place, so you move them to another pile. Some scenes will feel useless, so you set them aside. There will be gaps from this scene to that, so you simply pick up an index card and write on it, "Need a bridge scene here," put it into its place, and move on, eventually brainstorming the requisite scene. Then you put all the four piles together into one stack. Now go through that stack over and over and over again, telling the story so it flows one scene to the next. Then tack your story up onto the wall like this:

Or on a table like this:

I interviewed Academy Award winning screenwriter Dustin Lance Black ( Milk) and he said this:

Then what I do is find the scenes that speak to that, and I put them on note cards. I have this table in my kitchen that's of a certain size that I think is about two hours. And I start laying out these note cards and if they start to spill over the table, I know I've got to cut stuff. I keep doing and doing and doing it, going through it and through it and through it, combining things, telescoping time, combining characters if I have to until these cards fit on this table, then I think, will this collection of cards communicate the reason for this film? And hopefully do so in a dramatic and entertaining way.

* Outline: Once you have your story sorted out, you can create an outline. Then you are ready to type FADE IN.

BTW you will notice many writers use different color cards. Typically that's about tracking various subplots: White for the Plotline, blue for this subplot, yellow for that subplot, and so on. This is helpful because you can visually tell how you are cross-cutting between storylines which can help in terms of pace, transitions, etc.

I know some of you will chime in and suggest a variety of software programs that replicate index cards. And if that works for you, fine. But at the risk of sounding like an old farting Luddite, allow me to praise the simple 3x5" index card.

It is tactile.

You can feel it in your hands.

You can cram tons of information on each card - dialogue, scene description, theme, questions, reminders, all in ink, your words, another tactile experience. You know, actual writing.

When you have your stack of cards, holding it in your lap, there's actual heft to it, substance.

This is your story... and these cards represent it actually having come into being.

Then when you lay it out on a table or tack it up on a wall, you can step back in actual physical space and stare at it, let your eyes roam back and forth.

It's not squished onto 14" computer monitor, little electronic bits of data.

Hell, no. It takes up a whole goddammed wall of paper, ink and tacks!

Again a tactile experience: It's a story and it's real!

So here's to the humble index card, pawns in our creative chess game. But if we keep working them and working them until the story emerges into life, we can crown those pawns and turn them into queens.

And our story will rise to glory.

[Cue heroic soundtrack, writer weeps, audience cheers... and black].

How about you? Do you use index cards? How do you use them? If not, why not?

Comment Archive

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Screenwriting Tip: Index Cards - Go Into The Story

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This is an index card. In a digital world, it is a decidedly analog thing. But for most screenwriters and TV writers, it is one of the most indispensable tools of the trade. This is what a wall in a...

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VIDEO

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The Film Lab: A Screenwriter's Card Trick

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10 questions to answer when developing your script idea

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10 questions to answer when developing your script idea

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BBC - John Yorke's 10 Questions - Writers Room

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John Yorke created the BBC Drama Academy in 2005, to nurture the next generation of TV writing talent. As well as his work as a teacher and story consultant, John is also a drama producer.

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8 essentials for writing a script outline

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8 essentials for writing a script outline

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Plot is THE driving force of your screenplay, so it's essential that you spend time on your plotting skills when you're writing a script outline.

You can create the most interesting character in the world, but without an equally interesting plot, the audience will not want to spend 90-120 minutes with that person.

For example, many people find Charlie Sheen's current 2011 self-destructive spiral interesting to read and gossip about. But would they want to spend an hour and a half of their lives watching him swill alcohol, do drugs, and oogle women?

I think not.

But give Charlie boy a goal-perhaps to rejoin TWO & A HALF MEN, the successful sitcom he was kicked off of-while he overcomes his addiction to alcohol, drugs, & women...

...and that, people might watch because they'll want to know if he can pull it off. Maybe not something they'll pay $10 to see, but as a movie-of-the-week on TV...why not? (Although I suspect there are some film executives who think CHARLIE: 3D would be quite the blockbuster...)

Since you want to know how to write a script outline, let me clue you into the dirty little secret about plot:

With rare exception, all movies have the SAME structure.

Yes, you heard me correctly. A thriller like THE BOURNE IDENTITY has the same structure as a family comedy like TOY STORY.

No matter the story or its genre, each one has 8 plot points that you have to hit. And once you know these 8 plot points, writing a script outline and a full screenplay becomes infinitely easier because it's no longer you vs 120 blank pages.

You're writing towards a goal instead of blindly.

I strongly recommend that before you write one word of your screenplay, you spend time reflecting on these 8 major plot points. They will form the backbone of your script outline. Plus, it'll save you time and heartache in the long run.

So without further ado, here they are:

Your Script Outline - Plot Point #1: Opening & Closing Images

The first image introduces your story to your audience, so make it a good one! Ideally, the first image is a visual representation of your entire story.

Your closing image is your last contact with your audience, so make it strong. A good closing image, like the spinning top in INCEPTION, can even change our interpretation of the entire ending.

It's probably best to decide what your opening and closing images are going to be after you've got a solid draft under your belt and have a clear understanding of the theme you're trying to convey.

I must give credit where credit is due: I didn't spend too much time thinking about opening and closing images until Blake Snyder mentioned them in his screenwriting book Save the Cat (which I highly recommend).

Your Script Outline - Plot Point #2: Inciting Incident

The inciting incident is the event that changes the course of your main character's life. If the inciting incident didn't occur, your main character would've taken another path...and you'd have an entirely different screenplay.

For an article on how to use the inciting incident to fix sluggish pacing, read this. If you'd like a thorough guide on how to craft a successful story beginning, click here.

Your Script Outline - Plot Point #3: First-Act Break

The first-act break marks the end of your setup (i.e. groundwork): you've introduced most, if not all, of your key characters.

Audiences know about your main character, his goal, and the obstacles he faces. He's done his prep work, and now he's ready to go.

In a lot of movie plots, the main character has to go on a journey in order to achieve his goal. Because of this, oftentimes, the first-act break involves a change in geographical location.

In the action comedy BEVERLY HILLS COP, Axel Foley journeys from Detroit to Beverly Hills at the first-act break. In the rom-com THE PROPOSAL, Margaret and Andrew journey to Sitka, Alaska from NYC.

Amateur screenplays are notorious for elaborate first acts that are simply too long. Although there are no hard-and-fast rules, this break usually occurs between pages 25-30 in your screenplay. Keep that in mind when you're fleshing out your script outline.

Your Script Outline - Plot Point #4: Midpoint

The midpoint, as its name implies, occurs (a) at the middle of your screenplay, as a whole and (b) at the middle of Act Two, in specific. It changes the entire direction of your story.

For example, in a "good vs. evil" type of story, the good forces have experienced setback after setback. But at the midpoint, something happens that changes their fortunes for the better. For the first time, success seems like a possibility.

In a romance, comedy, or drama where people of different personalities are thrown together, the midpoint marks the moment where they stop seeing each other as enemies, usually by accomplishing a minor, but important, goal together.

To learn about a special midpoint trick, read this. To really master the midpoint (and say good-bye to sagging middles) check this out.

Your Script Outline - Plot Point #5: Fork in the Road

The fork in the road is where your main character reaffirms or escalates commitment to his goal. It's another plot point that I didn't think much about until I read Viki King's screenwriting book, How to Write a Movie in 21 Days.

According to King, this point of commitment happens around page 60 of a screenplay. At first I was skeptical, but then I started looking for it-and lo and behold!-it was there, just as she said...usually clocking in 60 minutes into the movie.

I wouldn't spend too much time on this plot point when writing your script outline, but because I'm personally interested in psychology and human motivation, I think it's an interesting point to include (especially to reinforce theme).

You'll often discover you already wrote in a point of commitment in your screenplay, even if you didn't consciously intend to do so.

Your Script Outline - Plot Point #6: All Is Lost

At this moment, your main character has experienced an extreme setback. He's the furthest he can possibly be from his goal. It seems impossible for him to accomplish it. This moment usually marks the end of Act Two.

To learn about the three essentials to crafting the perfect "all is lost" moment, read this article.

Your Script Outline - Plot Point #7: Climax

In the climax, your main character has gathered his resources (both internal and external). In this final showdown, he will test his mettle against the antagonistic forces that have thwarted him from achieving his goal.

If he has a tragic flaw, in the climax, he demonstrates that he has overcome it. All the lessons he learned during the second act will pay off in the climax.

Your Script Outline - Plot Point #8: Resolution

Ah, we're almost done!

If your screenplay has a happy ending, the resolution is the best part for your main character. He gets to enjoy the fruits of his labor. His world is in balance again.

If your screenplay has, shall we say, a more European ending, the resolution will be either tragic or bittersweet for your main character.

If tragic, he might not accomplish his goal. If bittersweet, he might accomplish it-but at great cost.

Final thoughts on your script outline

If you need help to create a script outline of your own, follow one of the suggestions, below:

Download the Ultimate Story Structure Worksheet. It contains questions and checklists designed to help you easily construct a script outline of your own. (You can use it to outline a novel, too.)

Best of all, it's absolutely free! Click here to instantly access the story structure worksheet.

Read Sizzling Story Outlines. Learn a step-by-step, practical method to outline your entire screenplay or novel...and finish your rough draft without freaking out.

Includes a technique that Stanford researchers have concluded can make you 60% more creative (on average).

Download the ebook from:
Amazon (US) | Amazon (international)

Get on audiences' good side with my online course, Smarter Story Structure.

With this multimedia course, you'll learn practical tips for overcoming problems like these in your screenplay or novel:

the story starts too slowly (according to a Goodreads survey, 46.4% of readers abandon novels for this reason)

the story doesn't get going until halfway through (this happened in almost a quarter of scripts read by a studio reader in a year)

the middle "runs out of gas" (even John Grisham admits this is a tricky issue)

the climax doesn't deliver fireworks, merely sparklers

the story is the right length...but isn't a good read (uh-oh)

Enroll today and learn how to use the essential plot points to give audiences a roller-coaster ride. Click on this link to get the details.

* * *

What do you think? If you were writing a TV movie based on Charlie Sheen, what would your script outline look like?

Whiteboard Outline by Jo Guldi

Lush Island (of Sri Lanka) by Tallis Keeton

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How to Write a Script Outline | The 8 Essential Plot Points

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Plot is THE driving force of your screenplay, so it's essential that you spend time on your plotting skills when you're writing a script outline. You can create the most interesting character in the world, but without an equally interesting plot, the audience will not want to spend 90-120 minutes with that person.

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PDF Document

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3 approaches for developing your screenplay

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3 approaches for developing your screenplay

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Three Approaches to Developing Your Screenplay

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An article on how to develop your screenplay.

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There's a lot of video essays out there that give cinematography, storyboarding, special effects, and other visual aspects of filmmaking the concept to camera treatment, demonstrating how the intricate details and meticulous planning of pre-production and shooting materialize on the screen. In the first installment of Michael Tucker's Youtube series Lessons from the Screenplay, he takes a different approach.

"Many audiences never consider how important a great screenwriter is to a movie. They may not realize how much the director and actors take their cues from the script, or think about why some scenes are exciting and others are boring. Because the hardest part about screenwriting isn't having an idea for a story, its figuring out how to tell that story in a compelling way."

Tucker goes right to the heart of any film or video production, the script, and illustrates how the quality of writing and dramatic technique truly make a story come alive. His analysis of Gillian Flynn's self-adapted screenplay for 2012's offers three examples of expert screenwriting techniques in action:

Efficient Action Lines

No argument here. Brevity and precision in your action make the script move and help to create mood, tone, and atmosphere without resorting to exposition. We've covered the topic of writing action ourselves in a previous blog post - check it out for more tips.

The Last Line is the Point of the Scene

Structure doesn't just apply to your script as a whole, it also applies to your individual scenes. It goes without saying that every scene in your script should have a point; what makes the point more effective is having it be the conclusion of a miniature arc. If every scene in your script establishes a theme, features rising action, and has a climax which affects the direction of your story, the richer the experience will be for your audience.

Subplot Character

Tucker posits that subplot or 'B' characters are a frequently misunderstood element of screenwriting. They're not supposed to be "other protagonists of a separate storyline," but rather mirrors, foils, or portents of your protagonist and their current situation within the story. Essentially, subplot characters should be facing the same challenges as the protagonist in a different way, and provide the opportunity for the protagonist to be compared and contrasted to them. If your subplot characters are not advancing the plot, they probably shouldn't be there.

As the title of Tucker's essay says, don't underestimate the screenwriter. If his essay's got you thinking about how you can apply these principles to your current project, sign in and get cracking. Your Studio provides you with all the tools you need to write, workshop, revise, and analyze your script - we don't underestimate you either.

Source: Lessons from the Screenplay

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3 Expert Screenwriting Techniques in Action

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There's a lot of video essays out there that give cinematography, storyboarding, special effects, and other visual aspects of filmmaking the concept to camera treatment, demonstrating how the intricate details and meticulous planning of pre-production and shooting materialize on the screen.