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0:00
Kevin Powers asks, "Anybody have good recommendations for a story planning app, not scripting, but a good tool to put story pieces together?"
0:09
First of all, when they said screenwriter support, I thought you were going to be giving me the support.
0:13
I didn't know it was the other way around.
0:16
I've actually never heard of a story planning app.
0:18
That might be showing my age.
0:19
Hi, this is Aaron Sorkin, and this is screenwriter support.
0:29
Alright, Holly Jack, people who write stuff, how do you approach second drafts?
0:33
Blank page and start again, amendments to what you've already got?
0:38
Any thoughts, tips would be appreciated.
0:41
Yeah, great.
0:41
Second drafts are really important.
0:47
A friend of mine once said about me that I don't write scripts, I rewrite scripts.
0:49
And here's what he meant.
0:51
In the process of writing the first draft, by the time you get to the end, you've sort of discovered what the movie is about, because it may not end up that first draft being about what you thought it was going to be about when you started writing it.
1:08
You plotted a course to go due north, but as you were going, you started going a little bit east and then a little bit more east and when you end up, you're going northeast.
1:17
So you've figured out what the script is about.
1:19
It's probably fat, it's probably long.
1:22
Go back to the beginning of the script, start writing it over again.
1:27
Peel away the things that don't have anything to do with your story.
1:32
Hang a lantern on the things that you need to bring into relief in the story.
1:41
You're going to discover that a problem that you have in the third act isn't really in the third act, it's because you didn't set it up properly in the first.
1:47
So, second drafts, I say re-type the whole thing.
1:50
Sharpen up that joke that's kind of clunky.
1:54
Sharpen up that dialogue that's kind of clunky.
1:57
Get it down to its fighting weight.
2:01
That's what I do anyway.
2:01
Thanks a lot for the question.
2:03
Quentin says, "What's key?"
2:05
"Focusing on creating the plot, story, world, character, or et cetera when writing a script?"
2:14
Here's what's key in creating drama: intention and obstacle.
2:14
That's what you've got to cling to.
2:14
Somebody wants something.
2:14
Something's standing in their way of getting it.
2:14
They want the money, they want the girl, they want to get to Philadelphia, they want to win the big game, they want to save someone's life.
2:14
If somebody wants something, something formidable is standing in the way of getting it.
2:14
The tactics that your protagonist uses to try to overcome that obstacle or those series of obstacles, that is what's going to create your character because you're not going to tell us who this character is, you're going to show us what this character wants.
2:54
It doesn't matter if they succeed or fail in their quest.
3:02
It matters to you, it doesn't matter to storytelling.
3:06
It's just as good a story if they fail as if they succeed.
3:06
What matters is that the intention be important to them and that we understand why it's important to them, and the obstacles have to be real.
3:06
Intention and obstacle.
3:06
Thanks a lot, Quinn.
3:20
Caitlin Greenridge says, "If you are writing a marginalized character whose identity you do not share, can you imagine your way into that character through their joy and not their imagined trauma?"
3:33
Yes, you can.
3:37
Empathy, right?
3:40
The same blood that goes through your body goes through that person.
3:40
We all have, as humans, the power to empathize with each other, to understand each other's lives and to put any character we want into a dramatic situation because the most important thing in your story is it going to be someone's sexual orientation, their skin color, their religion, whether they are able-bodied or disabled?
4:04
The most important thing in your story is going to be intention and obstacle.
4:10
What does this character want and what's standing in their way of getting it?
4:14
And I assume that because you're interested in telling this story, you are interested in what the character wants and what's standing in their way of getting it, or you think it's a great comic premise with which you can use your sense of humor, or you think it's a great premise with which to tell a murder mystery or a romantic comedy or anything like that.
6:22
But I really think it's important that writers not start to get cautious because they're scared of being offensive.
6:22
Stereotypes should be avoided, whether it's, as you say, someone from a diverse population or someone who looks exactly like you.
6:22
You want to avoid all kinds of stereotypes not just because of racial or ethnic sensitivity.
6:22
Stereotypes are just bad in writing.
6:22
I can be different in every possible way, but if that person is a father, I'm a father.
6:22
If that person is also a father, I feel like I know everything about them that's important to know that you can know as a stranger.
6:22
I can empathize with that person.
6:22
You don't want to judge that person, you want to defend that person.
6:22
You want to be able to make that person's case to God why they should be allowed into heaven.
6:22
Do not, do not, do not feel that you are required to write about yourself and your world.
6:22
Write about any world you want.
6:22
You're making the world... sorry, I don't mean to be yelling, I'm just passionate about this.
6:22
Okay, you, ma'am, are not confined by any guard rails.
6:22
Thank you for your question, Caitlyn.
6:22
Okay, so Matthew Ward says, "If you could write an episode for one TV show, which one would you choose?"
6:22
"I'm very curious."
6:22
I'm glad you asked, Matthew, because it's a more complicated question than you might think.
6:22
One of my all-time favorite TV shows, The Office.
6:22
I like the BBC Office too, but I am a super fan of the American Office, the NBC Office.
6:22
So you would think I would want to write an episode of that, right?
6:22
Except I think I'd do badly.
6:22
I think I'd make The Office less good, so it would be self-defeating.
6:22
If I could go back in time, I think I'd like to write an episode of Mash.
6:33
I was late to catch up to Schitt's Creek and just started watching it.
6:37
I totally get all the hype, it's fantastic.
6:37
That's another show I would love to write for those actors, but would not do the actors or the show any favors by doing so.
6:37
So I would love to go back to an episode of television I've written and write it all over again.
6:37
Thanks a lot, I appreciate the question.
6:37
Lisa Du Bois, real question, "Are TV writing rooms just RP sessions?"
7:07
I'm not sure what RP, oh, role-playing sessions.
7:10
"Are different writers in charge of different characters on shows like some kind of Sex in the City D&D?"
7:10
Okay, that's a great question.
7:10
I don't think that happens on any show, but the reason I'm not sure what the answer is is because the way most other writers' rooms work is that at the beginning of the season, several months before production starts, the writers meet every day and they try to break a whole season arc, whether it's 22 on network TV or 13 on premium cable, that we want to start here and end here.
7:46
So if we're going to end here, that means by Christmas we need to be here, so by Thanksgiving we need to be here.
7:52
Then they get more granular.
7:52
Okay, so we need to do this by episode one, this by episode two, and they'll simply assign, "You take episode one, episode two, episode three, episode four."
8:01
"I want you to turn in story pitches in five days, and a week after that it's going to go to outline, and a week after that it's going to go to first draft."
8:08
And then the showrunner ultimately runs it through there.
8:08
The writers' rooms are the four shows that I've done, that's Sports Night, The West Wing, Studio 60, and The Newsroom work entirely differently than writers' rooms on other shows.
8:08
Because I'm writing different episodes, while I'm writing an episode, I have a leader in the room, the person running the room, I can come in and say, "What do you guys are thinking about?"
8:08
And they'll say, "What if Josh is subpoenaed to appear in front of a committee and this happens?"
8:08
That kind of thing, we'll start banging out that story.
8:08
So they're just trying to break stories.
8:08
It was an ordinary day when all of a sudden what makes this night different from all other nights, that's how stories and drama go.
8:08
That's how our writers' room works.
8:08
My shows were run like not a well-oiled machine.
8:08
Thanks a lot for your question, Riyadh.
8:08
"Have you been inspired or influenced by the quality of writing of particular TV shows and or movies?"
9:11
"For me, my writing was greatly influenced by Breaking Bad, you say, and Northern Exposure."
9:15
Two great shows to be influenced by, big fans of both.
9:19
And the answer is yes, I've been influenced by the writing of a lot of movies and TV shows.
9:24
I'm kind of an accidental screenwriter.
9:27
I'm a playwright who fakes his way through movies and television shows by adding sort of just enough visual stuff so that you don't realize what you're really watching as a play.
9:41
And so I've been influenced by all the great playwrights whose plays I've read or sometimes been lucky enough to see.
9:48
I've been influenced by a lot of TV shows.
9:48
Pretty much any good television show today, I think a show that you would consider good is following in the footprints that Larry Gelbart left when he created the TV series M*A*S*H.
9:48
He was the first one to say that sitcoms don't have to be sitcoms, you know, they don't have to be silly, you know, just because they're funny, they can tell real stories and moving stories.
9:48
So I would say that I was heavily influenced by Larry Gelbart, to be sure.
9:48
So thanks a lot for your question.
9:48
JD May asks, "What are your best tips for writing villain characters?"
10:28
Okay, that's a great question and my best tip is that you, JD, cannot think of them as a villain.
10:35
You can't judge the character, you the writer, you can't judge the character.
10:40
You have to be able to empathize with that character.
10:43
Find something about that character that is like you too.
10:47
And then you have to write that character like they're making their case to God why they should be allowed into heaven.
10:56
I don't know if you've ever seen the first movie I wrote was based on the first play that I wrote, A Few Good Men.
11:01
And you probably know, "You can't handle the truth."
11:04
That whole "You can't handle the truth" scene from Nicholson in the courtroom, that is Nicholson's character making his case to God, he should be allowed into heaven even though he has committed manslaughter, okay?
11:15
Even though he's responsible for the death of a marine private, he's defending it.
11:20
Why? It was actually a good thing to do so.
11:29
Whether it's Mark Zuckerberg, the founder of Facebook, or Nicholson in A Few Good Men, or anybody else, the audience could think of them as a villain, but not you, the writer.
11:34
Gavin JT asks, "What do you need to be successful?"
11:39
If there was a real answer to that, everyone would be successful, right?
11:42
Okay, so you need talent.
11:45
There are some things about writing that can be taught and learned, and there are some things about writing that can't be, and those things that can't be, that's usually what we mean when we talk about talent.
12:01
Whether it's writing or playing the violin, there's stuff that can be taught and there's stuff that can't be.
12:06
You need practice.
12:09
In that regard, it's also like playing the violin, you need to do it a lot and keep doing it.
12:12
Be a diagnostician.
12:17
When you see a movie you don't like or an episode of television you don't like, don't be like your friends who don't necessarily want to be writers who are just saying, "Oh god, that, that sucked, man," and they're just making jokes about everything.
12:32
Go ahead and make jokes and it's okay to say that sucked, but then when everyone leaves and you're going to sleep, try to think about what was wrong.
12:36
Same thing when you love something.
12:40
Okay, so when you're done with the experiential thing, think about what was so good about that scene, what was so good about that moment?
12:49
Was it a little pushing that the camera did?
12:49
Was it the way that the joke was set up?
12:47
Was it the fact that there, it wasn't scored at all, it was completely dry, or was the whole scene saved by score?
12:59
I know when I'm talking about score, it doesn't sound like writing things, but it is.
13:03
So that, a little bit of luck.
13:06
Thanks a lot for the question.
13:08
These were great questions.
13:10
Thanks a lot and let us know what you thought.