Screenwriting : ARTICLE: "Focusing your Theme" by Maurice Vaughan

Same page, Maurice. Waldo Salt (Midnight Cowboy, Coming Home) said that in every screenplay that he wrote, the main character's mode (how they achieve their goals) is in contrast to the main character's need (what they learn through relationships). Joe Buck's (John Voight) mode is to be a cowboy gigolo in NYC; his need is to have an intimate friendship with Ratso Rizzo (Dustin Hoffman). When Joe Buck chooses friendship over outer success, he can take off his false cowboy persona and be himself. What Joe Buck learns is the theme: self-acceptance leads to deeper intimacy, or "to thine own self be true."

Thanks for the example, Thomas Schlesinger.

This is a technique I use sometimes when looking at character flaw and theme: The main character's main flaw is the direct opposite of the theme. Example: A character is selfish (their main flaw) and the theme is "Unselfishness." Throughout the story, the main character goes from being "selfish" to being "unselfish" (his or her character arc).

I like that a lot. I'm focused on the audience's experience while watching a story, especially in narrative documentaries. So in a sense, the theme is also what the audience learns while watching. John Truby talks about structure as the order in which the audience learns things, and I'd also suggest that it's the order in which the audience learns and feels things -- as so much of the theme is transported through the emotional journey of the audience while watching. Seems like we're doing many of the same things, Maurice. Would be nice to connect.

Great comment, Thomas Schlesinger. I don't think I've looked at theme like that before.

Yeah, it would be great to connect. You're welcome to message me anytime or email me (storytelling200@gmail.com). Whether it's to chat, talk about projects, trade advice, etc.

I am not an arc sort of writer. Things happen and often that will produce and arc. Sometimes people learn things and often they don’t. I am a fan of having someone stick to their belief and have it destroy them or punishing someone for changing their belief.

Theme comes to me as I am writing or outlining. Once I can see the idea. I then have a counterpoint story to work with.

So Craig is a criminal and decides to go straight. This causes issues. He has a friend who stay a criminal. Craig’s actions brings the gang to its knees. Craig realises that going straight has ruined everything and he should have stayed true to himself as a criminal. His friend ends up the boss of a new gang.

Thomas, I'm a bit like Craig, too...in that themes pop out at me when I'm outlining...and then again when I'm actually working on a script.

That works, Craig D Griffiths. Not all movies need positive arcs. Your last paragraph reminds me of the movie "The Town," but I think Ben Affleck had a positive arc.

Jim Boston, I like to have a theme upfront (at the start of outlining), but sometimes sub-themes pop up when I'm outlining and writing a script.

Every A-list writer I've talked to has said the same thing: "I have to let myself write a shitty first draft". I find it's during this process of "throwing paint on the canvas" that the characters start to come alive and the themes begin to emerge through the relationship arcs.

For my latest epic story, I have written/drawn a VERY simple character arc. For other screenplays I've written, I have a character and I think, 'Now, how can I buck expectations for them?' It tends to be the flow that drives me and not an additional overlaid arc. Does that make sense?

Maurice, I hear you! It's always better to establish a theme before cooking up an outline.

I read Ruth's article, and I'm generally turned off when people tell me something has to happen at a certain point in every screenplay. IHMO, this type of formulaic thinking inhibits creativity. I'm sure I'll take some heat for that, but I don't care. I'm aware that script consulting requires a process, and I believe that process differs from writing a screenplay. I've done consulting for several writers and producers, and I have a specific technique. That technique greatly differs from outlining and writing a script.

When I sit down to write, I don't think about the theme. Instead, I focus on telling a compelling story. And during that process, themes reveal themselves. For example, when I wrote the horror comedy Hell's Half Acre, the emerging theme was a group of people from diverse backgrounds and beliefs coming together to rid an old Texas mansion of the inhabiting demons. At the end of the second act, the protagonists learned their property is resting on a gateway to hell. However, after an "all is lost moment," the heroes prevailed. The resolution to their challenge came during the organic writing process. My original goal was to write a haunted house story similar to Poltergeist and The Conjuring. However, when I wrote the outline, I had no fixed idea about the theme.

For my latest screenplay, I decided I wanted to craft a story similar to Fatal Attraction and Play Misty for Me. In both of these successful films, the main characters have an affair with a woman they know nothing about, which wreaks havoc in their lives. In addition, the lead character's poor choices affect the lives of others. Therefore, the theme of these films is that actions have consequences and are both cautionary tales about the price of disloyalty and infidelity. I think this will work well for the novel adaptation I began this week. Beyond that, I see what happens during the creative process.

Phillip E. Hardy, "The Real Deal" I so agree with you Phil. Each screenplay is different, has a different pace and emotional needs. Why tell people that every screenplay must follow the same pattern? It seems the antithesis of storytelling, in that it seeks to apply external patterns to the internal ones that the story is calling for. In my mind it would cause all sorts of problems for the writer.

I'm starting a new story right now (I've nothing getter to do). First a basic story idea floats down out of the either. I mull it around for awhile - if I generally like it, I begin delving into the theme. I write multiple brief sentences around the basic theme (I have nine so far for this story idea). I select one - 'As adults realize they were protected by parental lies' - then I refine it over & over. Pretty soon characters start showing up and I begin to develop the basic storyline. This is usually about the time that character arcs start showing up. Both the Protagonist and the Antagonist arcs develop and generally merge to a compromise in the final climax. Sub character arcs are recognized and often dealt with quickly. This all takes place in a less than a 20 page script - I only work on shorts.

I know writers who write like that, Thomas Schlesinger. I like to have a logline and theme upfront to help guide the script, but sometimes the story and the characters take different routes.

Phillip E. Hardy, "The Real Deal", things don't HAVE TO happen at certain points in a script, but plot points help keep a script focused. I see plot points as helping tools rather than hindrances to creativity. Although I have most of everything laid out before I write a script, I'm also like you ("I see what happens during the creative process"). As I mentioned in my comment to Jim, "I like to have a logline and theme upfront to help guide the script, but sometimes the story and the characters take different routes." If that happens, I embrace it.

"For my latest epic story, I have written/drawn a VERY simple character arc. For other screenplays I've written, I have a character and I think, 'Now, how can I buck expectations for them?' It tends to be the flow that drives me and not an additional overlaid arc." Can you explain more, Geoff Hall?

That's a great method, Doug. I haven't seen that theme before ("As adults realize they were protected by parental lies").

Maurice: I don't see plot points as hindrances. As I stated in my post, I don't focus on a theme when I outline a story. I also don't apply formulas to my writing. I think the best way to keep the reader interested is by offering a story where things happen. Beyond that, I let my creative instincts guide me. Thanks for sharing your process.

Ok, Phillip E. Hardy, "The Real Deal". I saw "IHMO, this type of formulaic thinking inhibits creativity" in your comment and misunderstood. I apologize. I think it's great that writers have different writing methods. There's no "one way is right" in screenwriting. And I don't think there are any screenwriting rules except be entertaining and be clear.

Maurice: No worries, my friend. I never write a script without a central idea and often begin that process with a logline. For my last project, I sent the producer seven logline variations and then settled on a better one I wrote a few days later that summarized what I wanted to write.

"For my last project, I sent the producer seven logline variations." That reminds me something I do sometimes when outlining a script, Phillip E. Hardy, "The Real Deal". I'll take the same logline and replace the main character with a different character (to make sure the main character is the right character for the story). I'll write 2+ loglines like that. I do the same thing for villains.

Maurice:

Thanks, Phillip E. Hardy, "The Real Deal". Sometimes I'll save the extra loglines and rework them for other scripts.

I agree with Thomas. When I work with writers on their scripts, I always ask, what is it you want the audience to walk away with; what is the conversation at the water cooler. The answer is ultimately why the writer is telling this story, and that in turn is their point of view on a particular thematic premise. In other words, theme isn't just a catch-all like "speak truth to power" it's the story's deeper philosophical perspective, such as, why those in power become blind to truth. A lot of writers shun the idea of theme, particularly with genre's like comedy or horror, but the truth is the ones that stick with us are the ones that have a clear thematic philosophy. And as mentioned, it does indeed tie to the protagonist's arc -- but it also touches all of the characters in the story world in some way.

I love that, Laurie. Sorry I don’t seem to be able to tag you! Thanks for sharing.

Maurice Vaughan “Can you explain more, Geoff Hall?” Okay, let’s start with my simplified character arcs for the two main characters in my mythological epic. This image is for the main character. It’s a simple arc that shows his progression/regression and is there as an aide memoire so that I retain focus.

Maurice Vaughan next is the character arc for the other main character, who is an acolyte, an apprentice scribe.

Maurice Vaughan Yes, they are simple, but the simpler the better in my mind. An arc is an arc, after all. Soon this world of ‘Anastasios’ how do I thwart his desire, his expectations? Early on I added a B Plot, which will move him from hero to heretic, an alien element that will disturb the rejoicing over his victory (which I can’t say too much about here).

Anyway, my next move was to write down the scenes that I ‘could see in my mind’. All of this is with a small amount of research, about Greek and Mediterranean mythology and spiritual cosmology. The further I go with that, yes, it may change some of these elements, but as I plan to write three screenplays with different (main) antagonists I’m sure things will both change and go deeper. The story by the way, is set in 4th Century CE. Here’s a photo with those ideas on, and listed under ‘Beginnings, Middle and Endings’.

Thanks for the detailed comment, Laurie! You said, "...but it also touches all of the characters in the story world in some way." You're right. I try to make sure each character represents the theme, goes against the theme, or is affected by the theme.

Ok, I understand, Geoff Hall. I agree. The simpler the better. A simple character arc (or journey or anything in a script) makes it easier for a reader and the audience to follow a character's change throughout a script/movie.

"Anyway, my next move was to write down the scenes that I ‘could see in my mind’." It helps me to visualize scenes before writing them also. I also visualize the trailer, which helps me think of scenes.

Maurice Vaughan I'm never at the point of seeing the trailer until much further along in the writing process. As the script develops I begin to see what would make great content for the trailer, but then unless I'm directing it, it probably won't be up to me. The aim though, is to write and direct films, but that may take a while to achieve. (Deep sigh)

Geoff Hall: Thanks for the kind words. All the best!

That's a cool method, Geoff Hall. Hey, you might be a writer/director sooner than you think.

Maurice Vaughan please god, make it so!

Actually, you're already a writer/director, Geoff Hall. "My Name is Sorrow" https://www.stage32.com/media/3082770377827430085 You just want to be a big writer/director, right?

Maurice Vaughan I was so close to being a feature writer/director, it still smarts. Unscrupulous money types wreck a whole bunch of things.

It's still possible, Geoff Hall. I know people who started with no-budget and micro-budget features, then worked their way up.

I used to follow a structure but I quit doing that a long time ago. Now I just let the story dictate what happens and when.

Realistically, if you or your reps query production companies with loglines, and if you’re lucky and good, you may enter a pitch pipeline with pretty standard steps that usually include some unpaid work - including things like a 1-sheet and a short treatment. But if you’re lucky and good the contract that you will be offered (whether WGA or non) usually has as its first step, the delivery of an outline. Around 7-8 pages. 35-45 beats. You get paid for this - buyers sometimes have formats they prefer, like they’ll ask for a numerated beat sheet, eg / you can request that your contract requires they provide an example of the kind of outlines they prefer. You usually get up to 2 weeks to write the outline. The buyer reviews it and gives notes and requests changes. The buyer decides if they’re going to keep going with you as the writer. If so, you enter the First Draft stage based on the approved outline...you have a certain number of weeks to deliver that. That is most careers in feature writing. Otoh, if you work in TV, many showrunners want to see your outline first to approve it before you script. Either way, getting good at delivering outlines quickly without overloading the reader or under-baking the doc is one of the keys to a career. What kind of career do you want? How seriously? Seriously enough to practice? It's worth practicing, I think.

Thanks for sharing that, Fred. It'll help writers know the process. I follow the same process when I get hired to write feature scripts.

That’s great Fred thanks for sharing that. I wonder if there’s a webinar on screenwriter’s contracts on Stage 32. I need to know more.

Same way as my drinking...if it's whiskey, it's whiskey all night...try mixing all around and see where u'll find ureself in the morning...

Once you have identified the theme of your work it can be used as a "guiding light" whenever you get stuck on almost anything. It can help with questions like "what would this character do now? Why are they doing this? Will they be able to make the right choice here and act on it?

How did you bold Fred's name, Geoff Hall?

That's really helpful, Ewan. Thanks!

A clever trick to keeping your theme front of mind while working is to put the logline (or some theme keywords) in the header and footer.

Insightful article. thank you

This is a podcast from Jacob Krueger that discusses theme.

https://soundcloud.com/jacob-krueger-studio/ozark-pt-1-theme-engine-and-...

Also, some writers don't start with theme, but are willing to "discover" theme as they write the story.

I tend to discover the theme as I write and it’s usually a light bulb moment, either one of my characters does or says something to the protagonist.

@!ThomasSchlesinger I love your mention of Midnight Cowboy (my favorite film). Yes, Joe Buck goes after something, and then life "teaches" him what he really needs; Friendship. John Truby, among others says keep throwing a plot at your character's deep wound so they have a chance to grow into something more.

Howard, I like that John Truby quote. Always easier to remember key aspects of screenwriting when they apply to everyday life!

That's a great trick, Fred.

You're welcome, Howard. "John Truby, among others says keep throwing a plot at your character's deep wound so they have a chance to grow into something more." That'll come in handy. Thanks. Thanks for the podcast.

Maurice Vaughan love that, Maurice.

Maurice Vaughan Most welcome. Yes, the podcast by Jacob Krueger is insightful. Jacob has an interesting take on Story. Thank you

Maurice Vaughan Hi Maurice, I decided to bold Fred’s name when I couldn’t tag him. I thought if it stood out then maybe Fred would see it. I did this by putting a double asterix before and after his name. Seems like a bit of a fix until they get the coding sorted out.

Thanks again for the podcast link, Howard. I got some great tips about theme and writing secrets from it.

Thanks, Geoff! That's a great idea.

Maurice Vaughan Glad you got something out of it. Jacob Krueger always has insightful ideas in his podcasts. Thank you

You're welcome, Howard. I've heard Jacob Krueger's name somewhere before, but I can't remember where.

Maurice Vaughan Love these types of posts! Educational and great advice!

Me too, Michael. How are you doing?

Just rereading this conversation. Wow, lots of great ideas shared. Thanks all.