A Story is a Promise


Book cover of Bill Johnson's A Story 
is a Promise

A fifth edition of my writing workbook, A Story is a Promise & The Spirit of Storytelling, is now available on Kindle for $2.99, and from Barnes and Noble for their Nook reader.
This new edition explores what happens when story characters are an extension of authors and suggests techniques for authors to create characters with fully realized inner lives. The book includes a section titled Deep Characterization, and a revision of A Story is a Promise, with an outline of The Lovely Bones and updated reviews of films like Inception.



Essays on the Craft of Writing
About the Author

Introduction to How to Write a Movie Script

I'm teaching an introduction to screenwriting through Portland Community College. The course will cover how to format and structure a screenplay, marketing, contests and outlets of the finished script, including writing a query to an agent, manager, or producer. Students will work on the opening scenes of a screenplay and learn how to write a movie script.

CRN: 14533

SW Port / WILSON / 116 07:00 PM-08:50 PM, Mondays, October 6th-2014 thru 3-November-2014

Tuition: $69.00 Fees: $12.00

Registration

One of the most common problems for someone writing a first script is what I call 'watch the movie, write down the details.' By this I mean watching the scenes of a film script and writing down the details of what you see. This leads to a first script that is a collection of details, what characters are doing. 'Mary, blonde and athletic, walked across the room. John, stocky, male, 45, picked up the book.' These kind of flat, descriptive details are tedious to read and fail to convey the dramatic purpose of a scene.

Students will be helped in this class to replace that kind of language with a visual language appropriate for a movie script.

Another place that students become blocked is coming up with a sequence of scenes. In this class, I teach a 3/5 card system for organizing ideas. Each student is asked to carry some 3/5 cards around, and each time they have an idea for a scene, or dialogue, or some understanding of a character, they write it on a card, one idea to a card. This frees student from needing to understand what comes next, with just a focus on coming up with ideas. It can be very liberating. I suggest students do this until they have 40-50 cards, then start looking at how those cards can be put into some kind of order as scenes.

One of the five sessions of the class will be spent breaking down a movie like Sleepless in Seattle, which has a very transparent story structure. Many new writers to screenwriting are what I call blind imitators. They think they are doing what successful screenwriters are doing, but in reality they aren't. Conveying that Tom Hanks character in Seattle is overwhelmed by grief is different than writing that his character has brown hair and an average build.

A goal of the class is that students be able to leave the class with an ability to break down and understand the movies they are watching outside of class, as a technique to teach themselves screenwriting.

Final Draft is a program I recommend to students. It's a full-featured program used by production companies and producers in Hollywood.



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