THE STORY SPOT

We’ve all heard some variation of the trope, “Start at the end and work your way to the beginning” right? Well guess what? That works in writing and editing too.

Photo Credit: noraxx on Flickr

Say you’re staring at a blank page; you’re starting a new story but have no idea where it will head. Sometimes that’s exactly what you want but other times — like when you’re working to deadline or to directives from on high — you need to bolt it all down pronto. That’s when you move straight to the climatic scene of the film, novel, or memoir. How will this thing end? How is the story’s main problem resolved? What’s that final hurdle to be overcome and perhaps even who’s duking it out for the prize?

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A good question worth sharing was posted by writer/member Louise F. over at SheWrites: Screenwriters & Story Editors. Louise asks:

Since I caught the screenwriting bug about a year ago, I have been more sensitive to structure and tropes. Is the three-act frame out of date or overdone? I read in a screenwriting web site (from a supposed pro) that plenty of successful films buck the trend and are better for doing so. I read earlier that a 90-min. script should have this and that by this or that page – like 3 acts. My own script tries to get the rising action underway by page 80, but in the first 2 drafts, anyway, it didn’t quite work out that way. Comments?
– Louise F.

This is a multi-pronged topic that pops up regularly enough that we’re going to address it here in hopes of encouraging some well-thought-out rule-breaking.

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So you wanna write movies. I hear you. You’re new to the game; you’ve seen every film there ever was, including this one; and you’ve vowed not to rest until your better mousetrap is up on the silver screen. Fantastic and congratulations — you’ve just pledged yourself to some good, long hours spent with pad and paper, breaking down your favorite films.

What’s this, you ask? You can recite dialogue from His Girl Friday, Airplane, AND Solaris and still that’s not enough? Don’t try to weasel out of this. As your momma always said (or the momma in one of those dripping Southern dramas always says), “you gotta finish what you started, honey.” You want to write movies, watching and reading isn’t enough. You have to break them down.

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One of our most beloved Story Spot readers sent in a question about query letters that many of you–whatever form your work takes–may find helpful (let us know if you do!) Mote writes:

A friend of mine is thinking about approaching some specialty production companies with a script he’s working on — when it’s finished. I told him, if it were me, I’d include a logline and tell them a little bit about myself, my background, and my writing experience — as well as talk about the script itself. He’s doing some research on production companies, but it would basically be a “cold call” situation. He wants to send query letters to these companies to see if they have any interest in reading his script before sending them an actual copy of it. Do you have any examples of a query letter or do you know of any on the web?

Ah, the query. Ken’s advice to his friend is sound*. For those of you new to the query letter, here’s the deal. A query letter is one standard, industry-accepted method to introduce yourself and your project to a potential development or production partner. Queries are one part of your overall pitch package for your project.

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What is it about scary stories? We, collectively, just can’t get enough. Whether creepy wet girl-child, voraciously sexy vampire, gangrenous undead, or senselessly psychotic scythe-wielder waiting to kill, we keep coming back for more. Horror consistently tops the bestselling and box office lists, whether presented as out-and-out gore or more seductively as true crime or psychological thrillers. Just what is the secret to keeping an audience on the edge of their seats when they know the bloodbath is coming?

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