If You Can't Answer This Question Stop Writing The Story - Andy Guerdat
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- čas přidán 15. 05. 2024
- Andy Guerdat has been a working writer/producer in film and television for the past 45 years, with hundreds of credits in movies, half-hour comedies, hour-long dramas, theater, and animation. He is currently a consultant at Disney TV Animation.
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Do you always identify the central conflict in your story before you write the full screenplay?
I definitely believe I do but sometimes I start thinking it’s one of thing but then the story reveals itself to be something else. And I say “YES!!! That’s what this is about.” 😂😂 I know I’m in the minority with that but I have to be honest! 😂
Hope this helps give you some perspective to help you.
More often than not, I know what external challenges the characters would face, but it's not until I get to know them better by allowing them to exist that I eventually learn what their inner conflicts are
Yes, but I might try wondering into wilderness to see what happens.
Yes. Conflict and resolution. Lock and Key.
Good notes: plot and spine are not the same thing. Excellent
This is a good one. Thanks for watching Daniel!
Whenever I am working on a story at the opening stages -- not even writing it at this point -- I always begin with an avatar and feel: "what do I want this story to feel like?" which ultimately gives way to underlying theme or philosophy. If I have those first two steps worked out I can begin working out the actual plot and structure and I will actually find the plot and structure through maintaining consistency with the philosophy and theme.
Never ever shoehorn your idea into a pre-existing mold.
Learned this advice the painful way over years and years of suffering
This was a big one to hear because so often people only speak about Academy type film or heart-wrenching soul testing journeys but to hear Andy acknowledge the importance of silly, goofy, weird and funny writing is huge. As someone who is devoting their passion and time to that exact genre with very little in the way of advice of support, it's great to hear this. It feels too much like being forced into putting subtext and dramatics into something that is intended to be a min-bending over the top take on reality with imaginative situations.
William Goldman's idea of a story's spine was the organizing principle or theme.
I think this was in his book Adventures in the Screen Trade. He gave the example of adapting the Cornelius Ryan oral history A Bridge Too Far into a screenplay. Operation Market Garden in 1944. Allied airborne invasion of Holland. There was too much material. Many fights over a large battlefield. The UK award multiple Victoria Crosses (their highest military medal). He couldn't decide what to cut.
Then he realized that he would make it about the armored drive to relieve the airborne troops. They had been dropped to capture 5 bridges, the last one being the Arnhem bridge. One British general on being briefed on the plan, said they could seize the first 4 bridges but the last bridge was a bridge too far.
After the paratroopers seized the bridges, tanks would drive up and rescue the surrounded airborne troops. William Goldman saw this cavalry charge as the spine of the story. Everything not connected to it was thrown out. This included all the Victoria Cross stories.
He said that once you find the spine of your story, you should guard it with your life.
Related to this is Brandon Sanderson's theory of Promises, Progress, and Payoff. The Promise is a bit like the spine.
This is excellent, and very well described.
Love this!!
This is great! Thanks Caleeb!
Not to disagree, because I do agree that the "Central Conflict" is the Spine of the story, however, it feels like a distinction isn't being drawn here: "Is the spine of the story the External Conflict or the Internal conflict?"
I could say that the Central Conflict of James Cameron's "Aliens" is: "Will Ripley survive her encounter with the Xenomorphs," and I would not be wrong. That is the Plot of the film, the conflict or "Problem" that has to be resolved in order for the story to be over.
However, it could easily be placed as the Central Conflict of Ridley Scott's "Alien," they both have essentially the same plot (which is a feature of sequels not a defect), but what "Alien" does not have is a protagonist overcoming their internal problem or "Conflict," because "Alien" is a Plot Driven story, "Aliens" is a Character Driven story.
The "Central Conflict" of "Aliens" might better be described as, "Can Ripley overcome her trauma to regain the life the xenomorphs took from her," that is the problem Ripley (The Protagonist) has to resolve in order for the story to be over.
"Alien" is over as soon as the xenomorph is shot out of the airlock.
"Aliens" is over as soon as Newt calls Ripley, "Mommy."
One is an external conflict being resolved.
The other is an Internal conflict being resolved.
While they are both the Spine of their different kinds of story, it does seem important to specify that there are at least Two different kinds of "Central Conflict" that can be used to craft a story.
That is all I think the subject could use some clarification on.
great analysis. Thank you for the comment.
@@ethandowler4669 You're Very Welcome.
Agree completely.
But I have to add: The reason why Alien is a great movie is not because of the plot. The views, the effects, the designs are what makes Alien stand out. It is the same reason why Blade Runner and the first Star Wars are great movies. Sure, there is a plot. But the plot is NOT the reason why we all know these movies 40+ years later. It is the heart that went into the world building and designs that make the classics. And you cannot buy that or learn that. It is something that comes natural from a great artist, or a team of artists, once or twice per decade. Which explains why 90% of sequels suck.
I find your comment interesting. I’m learning about the craft of writing story and leaning more toward novels rather than screenwriting. I’d like to know if you would say the dramatic question is the same as the central conflict.
The reason I ask is because when I read about the concept of the dramatic question, it often seems to be phrased exactly the way you posed the question of whether Ripley would survive another run in with the Xenomorphs.
That’s an “either she will or she won’t” proposition which feels like a dramatic question; but not a central conflict as this interviewee seems to be presenting it - especially since Ripley surviving to the end of Aliens is directly tied to the plot and he said the central conflict is not really about the plot as a concept.
I don’t feel like the dramatic question equals the central conflict. I’m not suggesting that you do. I only bring it up because I’m finding it an issue when different sources are using various terms to mean the same thing. I just wonder what you would say.
To me, the best central conflicts are not questions that can be answered yes or no. For instance, the interviewee talks about how Hamlet boiled down to the concept of a man who couldn’t make up his mind. What goes unsaid after that and separate from stating the central conflict is how it could reasonably follow that indecision at a crucial time could bring about one’s ruin and the ruin of others - which to this guy’s point - is what manifests in and comprises the plot.
Even though Hamlet ends in tragedy, it could have been plotted differently and been a comedy - but still written around the same essential conflict. A lightbulb is flashing on for me that the plot is separate from the central conflict and because of that, I can see how it can be a crucial first step - before plot and even characters.
I feel like central conflict is a kind of conflict / problem that might even be exemplified, examined and addressed in various ways via multiple characters (subplots) - if constructed that way during outlining.
With the Hamlet example, indecision is an extremely relatable state of being and many will be able to see some instance of it at a key point in time during their own life story - perhaps even a costly instance.
Maybe indecision results in the one that got away, losing out on a dream job, or even detriment to one’s health for delay of medical interventions. Like I said. Relatable.
It seems to me that a good central conflict will embroil the characters BOTH internally and externally because once sufficiently conceptualized, it should be easily “baked into” both the plot and the internal conflict / characterization of the protagonist as well as even the other characters. In that way it truly would be the spine that supports the whole story.
I think this would be especially true if the nature of the conflict deals with an exploration of more universal concept that exists on a spectrum - such as truth, courage, morality, Justice etc.
I find craft infinitely interesting! Forgive the length of my comment - I just get so wrapped up!
Love Andy's style! Cheers Film Courage!!
Cheers!
Very good tutorial. Thank you.
Glad you enjoyed it!
What he calls the spine i heard described as the story's heartbeat
Thanks for this video. It was helpful. I'm excited to try using "so", and "but" to work out the spine of a story I have an idea for. BTW that story about Michael CLayton at the end was ridiculous. I guess I don't know the full context, but I'm curious why he didn't just refuse to help them get away with murder instead of snitching on them?
Not a central conflict. Central problem. Conflict happens between characters as a result of the problem.
Honestly for me, I have to have a first step where the theme/central conflict emerges organically... I'm an INFJ and it's important to me to write intuitively.
I have to find out what the story is about, letting it evolve naturally, and THEN when the story emerges I solidify structure.
I agree that structure shouldn't be finalized until the central conflict is clear.
But this "spine" cannot be conjured or forced in a hurry. You have to start with characters and feelings, because that's what shapes the theme. The theme is what the spine originates from.
@4:37 is a clearer description than what he initially in this interview...
The part of one thing leading into another reminds me of the movie The Return of the Living Dead. I'm not sure what the spine of that movie can boil down too, but watching it one thing does lead into another starting with characters working in a medical supply warehouse. The movie itself on the surface is a b-movie but the writing is superb. One thing leads to another building up the tension and shock and even the humor. It resolves itself with a nuclear shell being fired on the characters.
ROTLD was written (and directed) by Dan O'Bannon, screenwriter for ALIEN and TOTAL RECALL
Another way to repackage this info is to consider "if this was a video game..."
In a game you have a solid and definitive protag and "final boss" which is ur antag. At what point does the video game version of your story end??
Now you can work that moment back and identify not only the central conflict overall but the point at which to end this part of the story.
Just re- imagine it back into your book, script, or whatever.
Also keep in mind he's talking about something very natural and instinctive that should develop when forming a solid script.
This advice isn't for the organic and completely free creative phase. So don't listen to the "stop writing" part. Lol. I think thats hyperbolic and shouldn't be taken out of context. But it's solid advice when writing for tv or film specifically. Because you need to organize everything into a structure and stay on track.
That isn't to say you shouldn't be world building for 3 years and writing little post it notes and index cards and on napkins in the middle of the night. Of course that's a valid creative process to just day dream and write into the void until something magical appears. That's fine for 1) non professionals using their creativity as a hobby 2) dreamers with no deadline and no one to report to 3) indie writers who are taking the long road and are not pressed with specific goals.
But his advice, as he clarified is especially relevant to working professionals that have deadlines and others waiting for them, paying them, and depending on them. And esp for a SCREEN PLAY.
So before you argue with his advice ask yourself if you are a working paid screenwriter writing screnplays on a deadline???
If you are not then you might not relate to his words about not having time to waste.
This is the difference between a hungry paid worker in the game hustling to churn out quality and not waste time, vs a hobbyist who is daydreaming and writing to feel good. Nothing wrong with either BUT you should be realistic about which one you are and what that means for your future as a paid author.
Play any way you want on the football field but when it's game day and you are on the team you have to play the game that already exists. And play the way the coach tells you .
I would look at it much more simply. The main character has an inner problem. In order to fix the problem he has to overcome an external problem. He may succeed or he may fail.
Try anything off the Young Americans album or the Let’s Dance album if you dig this kind of sound from Bowie.
Stealing from William Goldman? If you're going to steal, steal from the best.
Like everybody else?
@@RoyaltyEntertainment510you’re giving other screenwriters way too much credit lol.
Listen, I'm very familiar with the concept of "spine" and agree that your story needs one. However, I disagree that you need your spine before you start writing. You need the spine when you've FINISHED writing. Sometimes the act of writing - meandering, wandering, rudderless - helps you find your true story, your characters, your spine. You can lay the spine down in the second draft. Maybe HE needs to find his spine at the beginning, but not everyone does. "My way fits all" is a poor attitude to have, especially for a teacher.
This.
I agree. The most optimal thing is, of course, that you know the “spine” of the story at the very beginning of the writing process, but the reality - as you say - is often that it doesn’t emerge completely before you start writing. It’s very common, I believe, for writers to start with a specific premise/theme etc. and then after having written a large portion of the story, they figure out that the story is really about something else - and that’s perfectly fine and also an important element of creative writing.
I agree that the meandering, etc. fashion can result in a finished work. I think he said that as a working writer, he doesn't have time for that. He doesn't have time to write pages and pages that get thrown away. He might be teaching his students to be working writers.
Students can also disregard any advice that doesn't work for them. I'm sure there are some who write so quickly that they can afford to throw away a lot of the results from meandering and such.
True but why do a whole lot of writing before knowing what the spine is. Better to figure it out, then write, especially if you want to be efficient as possible.
Dear Andy, I just went through the "Michael Clayton" script (I haven't seen the movie yet), and it's quite bulky for the first seven or so pages -- both the description and the narrator's lines.
I failed to notice whether you mentioned reading it before the movie was made or not, but since the movie was written and directed by the same person (the screenplay I'm looking at feels very confident shooting-wise), I'll assume you haven't.
So, here's my question: when you go through a screenplay like this, ALREADY knowing it was well executed, it's easier to cope with long paragraphs in a row, right?!? For instance, if you got the same script, but if it was anonymous and more spec-like, would you have gone through it the same way?
But again, every single line of description in the script is concise and effective, IMHO.
Cheers!
“Lawrence went to Arabia to become a god” ! ? Can’t agree - Seeking to prove himself & possibly to become a hero but never a ‘god’ - That smacks of hyperbole
Ego ergo.
Yeah I agree.
I rewatched it recently, he's very much about the whole "nothing is written" and encouraging free thinking. "Arabs fight for Arabs" not for Britain. His history given that he is a bastard and undervalued in his own land, I'd say he goes to Arabia not to become a god but to discover himself and gage his own value.
"A free-thinking English officer moves to Arabia and finds a new life for himself as a beloved figure among the Arabs" is far more accurate than "becomes a god." Although I think what is fundamentally flawed in this definition of a "spine" is that this is more of a plot synopsis than a central conflict. The internal conflict lies with Lawrence and his conflicting ties to England, different Tribes, and himself and how he attempts to make peace with all of them. The external conflict are the Wars he literally is waging against different groups or the elements or the superstitions and traditions of the tribes or the rules of the English army.
"Free-thinking English officer Lawrence comes to Arabia and unites different tribes with different traditions and backgrounds to rise up and fight not for England, but for their own interests."
I think his point is valid. The spine is the central conflict but I think his example for Lawrence of Arabia is a big L.
As soon as I looked up that movie I found that line misleading
@@tylerriggs95 👍
True. I thought it was wrong as soon as he said it. No idea what he was talking about. His approach runs the risk of a script being too on the nose because you're beating the "central spine" over the readers head. And "central" is redundant. A spine is always central.
So the spine is the hero's character arc.
Arc is about change in the character that makes it possible to succeed in their goal. He is talking about the inner problem the main character has, which he has to fix.
Second to say First! Thanks for sharing.
We'll take it!
So "spine" is his word for "logline" ... ok
For me the premise never was about plot, but about the theme.
So this is why books are better than most films?
U.S. and most of western writers need to stop this obsession about conflict on screenwriting! It is not needed!
first
Woo!
Yet you have nothing to say 😂
@@mariabenova2864 you too 🤣
Spine = Logline
I do not agree.
with this guy! Most of the great writers have their own personal style. What he is talking about is his own personal style.When I finally saw Lawrence of Arabia I felt it did not live up to its build up and could not hold a candle to The Ten Commandments by DeMille.SORRY PAL!!!
If you can simplify your story into one sentence, it’s not a story.
A sheriff must battle a shark so that his tourist town can survive.
A boy must help a marooned alien escape government forces.
A teacher must navigate small town politics while trying to do what's right for her students.
"When [inciting incident], [protagonist] must [protagonist's goal] or else [central conflict]." You are confused because they are referring to loglines, but if your logline is missing pieces, you should not write your story out into beats and script otherwise you waste everyone's time including your own.
The Godfather --The son of a mafia patriarch protects his family from their enemies.
Rosemary's Baby -- A pregnant mother fights to protect her unborn child from Satanists.
Alien - A group of space miners fight for survival when an alien infiltrates their ship.
The Haunting - A scientist attempts to prove the existence of the paranormal
Django - An ex slave has to break his wife out of a plantation
Rocky - A D list boxer trains to hold his own against the world champ
So what would you say is the spine of:
1. Star Wars:A New Hope
2. Jaws
3. Jurassic Park?