“Storytelling for

Motion Picture”

by Femi Odugbemi

Why motion pictures are magic

It is the only art form that combines ALL of humanity’s greatest expressions into one pure art:   Art / Painting / Photography   Music / Song / Dance   Literature   Theater

“The ancient CRAFT of Storytelling…”

From biblical times to the digital age STORYTELLING is how communities  Educate,  Entertain and  Emotionalize human connections.

Inspiration vs Application Writing is one of the arts, but Storytelling is a craft   Inspiration is good, but not always reliable.

  Application is a more reliable tool because it

can lead to habit, and habit is what keeps you writing… Application carries you through the hard work of

planning. It is what will persuade you to get it right, do it properly, and lay a strong foundation for your work.

The DNA of Writing for Motion Picture

IMAGES DRIVE EMOTION

Be VISUAL…

You can communicate mood and texture best with pictures rather than words. It is true what they say – “a picture is worth a thousand words.”

Storytelling is Drama…

Drama is conflict You need to have strong opposing forces to maximize dramatic

tension.

Formula for Conflict

CHARACTER + OCCUPATION +WHAT

THEY WANT MOST + WHAT OR WHO WANTS STOP THEM.

Formula for Conflict 1.EVERY SUCCESSFUL STORY HAS A CHARACTER WHO WANTS

SOMETHING BUT FACES RESISTANCE.

  2.THE ANTAGONIST MUST BE AS STRONG AND AS MOTIVATED AS THE PROTAGONIST. THE MORE EQUAL THE SIDES, THE GREATER THE SUSPENSE.

  3.ALWAYS VIEW THE WORLD FROM THE ANTAGONISTS’ POINTOF VIEW AS WELL.

  4. ALL THE TURNING POINT/CRISIS WHERE THE CHARACTER MUST MAKE A CHOICE, ESTABLISH A MORAL EQUATOR.

  5. REACTIONS ARE AS IMPORTANT AS ACTIONS.

Motivation

  With the exception of the criminally insane, most people have a ‘reason’ for their opinions, beliefs and behaviours.

  Perhaps their opinions are based on experience, feelings, prejudice or cultural tradition, or childhood associations.

 Motivation is the “Why” for whatever is happening in the plot or in the behaviour or speech of a character.

…Universal Value Aspirations

QUALITY RELATIONSHIPS

` PROFESSIONAL ACHIEVEMENT SECURITY

WEALTH FAMILY INTEGRITY

LOYALTY FREEDOM

SELF-RESPECT CREATIVITY WISDOM

RESONANCE…

EVERY COMMUNITY HAS A VALUE SYSTEM. IT DRIVES “RESONANCE” WITH THE AUDIENCE ….

Genres   Action Adventure   Mystery   Tragedy   Romance   Detective   Historical Non-fiction   Fantasy and Science fiction

Structure…

Use the 3-Act structure. Most successful plots can be summarized:

 Act 1 – Establishment  Act 2 – Conflict  Act 3 – Resolution

The 3 Act Structure 1. Act 1: The set up (location, style, characters,

catalyst, central “main” question, main action beats). 2. First Turning Point: Development (unexpected

twist, new details, propels into Act 2). 3. Act 2: Main Storyline, The journey, The quest, the

focus of the story. Midpoint – the story flips on its head.

4. Second Turning Point: raises the stakes, propels

viewer into a dramatic climax, speeds the pace. 5. Act 3: Climax, Resolution, ties loose threads.

The 3 Act Structure The Classic Plot Graph:

  CHARACTER-DRIVEN PLOTS These plots are completely character driven. This means that character dynamics rather than incidents drive the plot. Put two opposing characters in place then stand back. What you get is fireworks, and a character driven plot.

  SITUATION- DRIVEN PLOTS These are plots when a combination of scenarios and situation drive the plot of the story. Here the characters react to the unfolding drama of their evolving context and either fight it or change with it.

Types of Plot

Adds dimension and depth to your story. Subplots usually give the emotional, social, or relationship context.

SUB-PLOTS

Reading the CHARACTERS

  The characters of a story are just as important as theme

and plot. The audience need to understand what's going on, and what might happen later. They achieve this, in part, by "reading" the characters.

  Just as in real life, we can tell a lot by "reading"

atmosphere and body language.

SUSPENSE is EVERYTHING…

the plot should unfold with a certain Mystery as the viewer is drawn deeper into the story, eagerly awaiting the outcome.

Log Lines…in 25 words or less   When a gigantic great white shark

begins to menace the small island community, a police chief, a marine

scientist and fisherman try to stop it.

  Two imprisoned men bond over a number of years, finding solace and eventual redemption through acts of common decency.

Log Line – 25 Words or Less   A New York City cop is stuck in

an LA skyscraper as terrorists take the building over, armed

only with his wit and bravery.

  Tale of three brothers and their father living in the remote wilderness of and how their lives are affected by nature, history, war, and love.

Character Bible/Back Story…

  …one major flashpoint of winning scripts are

3-dimensional or rounded characters.

  A 3-dimensional character has a back-story or a past. He or she is the product of family and life experiences and choices.

  Which is why a character bible is always important

Point of View (POV)

The PROTAGONIST   Every storyteller must steer the experience of the story

from a “point-of-view.”

  Your protagonist is the main, viewpoint character of your story. Protagonists vary, but genre specifics make some more likely than others.

Protagonist vs. Antagonist

Good Guy!? Hero!? Bad Guy!? Villain!?

  HEROIC PROTAGONIST The Protagonist is a larger than life character who rises above great challenges, internally or externally to triumph. Usually it’s a good against evil conflict and our hero lives by a moral code common to the story’s audience.

  NON-HEROIC PROTAGONIST The non-heroic protagonist can be anything from an ordinary Joe to a victim or a very flawed personality or an anti- hero. These warts-and-all characters are fascinating to create, and they can seem very real. A non-Heroic protagonist will be a character who makes wickedness seem charming or appealing, or at least excusable.

 Types of Protagonists

Who’s Point of View (POV) is it?? The ANTAGONIST   The way you depict a villain depends on the genre and the villain's

part in the story. Some villains, usually known as "Antagonists", simply have goals that don't match the protagonist's.

  It is almost always better to try to show a villain or antagonist in

context. For example, a harsh parent might be motivated by the desire to keep his child out of danger or trouble, while a harsh teacher may fear for her job. Political antagonists obviously mean well from their own perspective. And what about the "other woman" in a romance? She wants the hero just as the heroine does. How does her desire differ from the heroine's?

Resolution

  Audiences long for an ending that makes them squeal, “Wow, I would have never guessed!” But with 20/20 hindsight, the audience can clearly see the clues and the outcome makes sense. In choosing an ending, you will again think about the mood and genre of the plot.

  You might also consider your theme.   A triumphant ending?   A futile ending?   An ironic ending?   A peaceful ending?

6 Questions to ask… 1.  What is the underlying desire of your protagonist, and can all of your

scenes be connected with that desire?

2.  Can you identify the choices your characters make in each scene and the consequences of their actions?

3.  Do you accomplish your exposition by employing one or more of these tactics: distraction, entertainment, or immersion in conflict?

4.  Do the images in your description relate to the journey of your protagonist?

5.  Can you identify functions, in terms of your protagonist, for every character in your story?

6.  Do you reveal the rich detail of your story through the interactions of characters with their environment?

Resolution

 …always end it with a Twist!!!

Thank you