Key Takeaways
1. Screenwriting is a visual medium: Show, don't tell
A screenplay is a story told with pictures, in dialogue and description, and placed within the context of dramatic structure.
Visual storytelling is key. In screenwriting, the goal is to create a vivid, visual experience for the audience. Instead of relying on lengthy explanations or internal monologues, screenwriters must find ways to convey information, emotions, and character development through actions, expressions, and visual cues. This approach engages the audience more effectively and takes full advantage of the cinematic medium.
Examples of visual storytelling:
- Using a character's body language to reveal their emotional state
- Employing symbolic imagery to represent themes or character arcs
- Crafting scenes that show relationships and conflicts without explicit dialogue
- Utilizing visual transitions to connect scenes and convey the passage of time
2. Structure is the foundation of screenwriting
Structure is the foundation of screenwriting. The word itself means "to build, or put together," so when you start structuring your script, you're building and putting scenes, sequences, and acts together into a unified whole with a definite beginning, middle, and end, though not necessarily in that order.
The three-act structure provides a solid framework for most screenplays. Act I sets up the story, characters, and conflict. Act II develops the conflict and raises the stakes. Act III resolves the conflict and brings the story to a satisfying conclusion. Within this structure, screenwriters can incorporate plot points, pinches, and a midpoint to keep the story moving forward and maintain audience engagement.
Key structural elements:
- Inciting incident: The event that sets the story in motion
- Plot points: Major turning points that drive the story in new directions
- Midpoint: A significant event or revelation at the center of the story
- Climax: The highest point of tension and conflict resolution
- Resolution: The aftermath and conclusion of the story
3. Character development is crucial for engaging scripts
What is character but the determination of incident? And what is incident but the illumination of character?
Characters drive the story. Well-developed characters are essential for creating engaging screenplays. They should have clear goals, motivations, and conflicts that propel the narrative forward. Character arcs – the transformation or growth of characters throughout the story – provide depth and emotional resonance for the audience.
Elements of strong character development:
- Dramatic need: What the character wants to achieve or overcome
- Point of view: The character's unique perspective on the world
- Attitude: The character's typical behavior and reactions
- Change: How the character grows or transforms throughout the story
- Backstory: Relevant past experiences that shape the character's present actions
4. Dialogue should serve a purpose and reveal character
The function of dialogue, remember, is simple; dialogue either moves the story forward or reveals information about the character.
Purposeful dialogue enhances the script. Every line of dialogue should contribute to the story or character development. Avoid expository dialogue that merely explains plot points or character backgrounds. Instead, use dialogue to reveal character traits, advance the plot, create conflict, or provide subtext.
Techniques for effective dialogue:
- Use distinct voices for each character
- Incorporate subtext to add depth to conversations
- Show character relationships through their interactions
- Use dialect or speech patterns to reveal background or personality
- Employ silence or pauses for dramatic effect
5. Enter scenes late and exit early for maximum impact
Enter late and get out early. It makes for a good reading experience, as well as moving the story forward.
Efficiency in scene construction keeps the story moving and maintains audience engagement. By entering scenes at the last possible moment and leaving as soon as the scene's purpose is fulfilled, screenwriters can create a sense of momentum and avoid unnecessary exposition or filler content.
Benefits of entering late and exiting early:
- Increases pacing and maintains tension
- Focuses on the most dramatic or important moments
- Reduces the risk of redundant information
- Encourages the audience to make connections and inferences
- Creates a more dynamic and engaging reading experience
6. Set up and pay off story elements effectively
Setting up and paying off story points is integral to the art and craft of screenwriting. Every scene, every sequence, every Plot Point and story point, must be set up, established, and then, at the right moment, paid off.
Plant and payoff is a crucial technique in screenwriting. By introducing elements early in the story and paying them off later, screenwriters can create a sense of cohesion and satisfaction for the audience. This technique can apply to plot points, character traits, or even small details that become significant later in the story.
Examples of effective set-ups and pay-offs:
- Introducing a character's skill that becomes crucial in the climax
- Planting a seemingly insignificant object that later plays a pivotal role
- Foreshadowing future events through dialogue or visual cues
- Establishing a character flaw that must be overcome for success
7. Action sequences require balance and character integration
Action is defined in the dictionary as "a movement or a series of movements," or "the state of being in motion," so film, a medium that moves at twenty-four frames per second, is a natural medium for "showing" action.
Balanced action keeps audiences engaged. While action sequences are exciting and visually appealing, they must be balanced with character development and plot progression to maintain audience interest. Action should reveal character traits, advance the story, or raise the stakes of the conflict.
Tips for writing effective action sequences:
- Integrate character moments within the action
- Use action to reveal character traits or relationships
- Vary the pacing and intensity of action scenes
- Ensure that action sequences have clear stakes and consequences
- Use descriptive, concise language to convey the energy of the scene
8. Conflict drives the story forward
All drama is conflict; without conflict you have no action; without action you have no character; without character you have no story. And without story, you have no screenplay.
Conflict is the engine of storytelling. Without conflict, there is no drama, and the story becomes stagnant. Conflict can be external (between characters or against external forces) or internal (within the character's own mind or emotions). By creating and escalating conflicts throughout the screenplay, writers keep the audience engaged and invested in the outcome.
Types of conflict to incorporate:
- Character vs. character
- Character vs. society
- Character vs. nature
- Character vs. technology
- Character vs. self (internal conflict)
9. Subtext adds depth and dimension to scenes
Subtext should, if possible, become a major part of each scene.
Subtext enriches the viewing experience. By incorporating subtext – the underlying meanings or emotions that are not explicitly stated – screenwriters can add depth to their scenes and characters. Subtext allows for more nuanced performances and engages the audience on a deeper level by encouraging them to read between the lines.
Ways to incorporate subtext:
- Create contrast between what characters say and what they do
- Use symbolic actions or objects to represent deeper meanings
- Employ silence or body language to convey unspoken thoughts
- Develop layered dialogue with multiple interpretations
- Create situations where characters have hidden agendas or motivations
10. Rewriting is an essential part of the screenwriting process
Writing is rewriting is the old adage, and it's true. You may not like the rewriting process, but it is a process, and that means it continually changes from day to day.
Embrace the rewriting process. First drafts are rarely perfect, and the art of screenwriting lies in the ability to revise and refine the script. Rewriting allows writers to strengthen character arcs, tighten plot structures, improve dialogue, and enhance the overall quality of the screenplay.
Approaches to effective rewriting:
- Take breaks between drafts to gain fresh perspective
- Focus on specific aspects (e.g., dialogue, structure, character) in each pass
- Seek feedback from trusted readers or writing groups
- Be willing to cut or change elements that don't serve the story
- Continuously ask if each scene moves the story forward or reveals character
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FAQ
What is Screenwriter’s Problem Solver: How to Recognize, Define, and Solve Screenwriting Problems by Syd Field about?
- Comprehensive screenwriting manual: The book is a practical guide for screenwriters to identify, define, and solve common screenplay problems.
- Focus on core elements: Syd Field centers his approach on three main categories—Plot, Character, and Structure—arguing that all screenplay issues stem from these areas.
- Problem-solving framework: The book provides tools, exercises, and real film examples to help writers diagnose and fix issues in their scripts.
- For all experience levels: It serves as a resource for both beginners and experienced writers seeking to improve their craft.
Why should I read Screenwriter’s Problem Solver by Syd Field?
- Expert guidance: Syd Field is a renowned screenwriting teacher whose methods have influenced many successful screenwriters.
- Practical solutions: The book offers actionable advice and step-by-step methods for recognizing and addressing screenplay problems.
- Industry relevance: Endorsements from Hollywood professionals and use of well-known film examples add credibility and real-world application.
- Creative mindset: Field encourages writers to see problems as creative opportunities, fostering a positive and productive writing process.
What are the key takeaways from Screenwriter’s Problem Solver by Syd Field?
- All problems are fixable: Every screenplay issue can be traced to plot, character, or structure, and addressed with the right approach.
- Recognition is crucial: Identifying and clearly defining the problem is the first step toward solving it.
- Embrace rewriting: The book emphasizes the importance of rewriting and viewing problems as opportunities for growth.
- Use of exercises: Field provides practical exercises, such as free-association essays and character biographies, to deepen understanding and improve scripts.
What are the three main categories of screenplay problems according to Syd Field in Screenwriter’s Problem Solver?
- Plot problems: Issues with the story’s dramatic thrust, pacing, or logical progression of events.
- Character problems: Challenges related to character development, motivation, and how characters drive or react to the story.
- Structure problems: Concerns about the screenplay’s overall framework, including acts, plot points, transitions, and pacing.
How does Syd Field’s problem-solving method work in Screenwriter’s Problem Solver?
- Recognition and definition: The process starts with recognizing and clearly defining the problem, much like diagnosing symptoms before treatment.
- Categorization: Determine whether the issue is related to plot, character, or structure, and locate where it occurs in the screenplay.
- Contextual analysis: Analyze the context of the problem within the script to understand what leads to it and what follows.
- Targeted solutions: Apply specific exercises and rewriting strategies to address the identified problem.
What are the four essential elements of good character in Screenwriter’s Problem Solver by Syd Field?
- Dramatic need: The character’s driving motivation or goal that propels the story forward, which may evolve during the script.
- Point of view: The character’s belief system or worldview, shaping their actions and creating conflict.
- Attitude: The character’s manner or opinion, adding texture and influencing behavior and relationships.
- Change: The emotional or psychological transformation the character undergoes, providing depth and an arc to the story.
How does Syd Field use the "Circle of Being" exercise for character development in Screenwriter’s Problem Solver?
- Formative incident: The Circle of Being uncovers a key event in a character’s youth (ages 10–16) that shapes their behavior and motivations.
- Adds depth: This incident explains underlying motivations and conflicts, enriching the character beyond surface traits.
- Real film examples: Field illustrates this with characters like Louise in Thelma & Louise and Clarice in The Silence of the Lambs.
- Guides character actions: The exercise helps writers understand how past trauma or experiences drive present actions.
What is Syd Field’s advice on writing effective dialogue in Screenwriter’s Problem Solver?
- Dialogue reveals character: Dialogue should move the story forward or reveal character information, expressing point of view and attitude.
- Avoid clichés: If dialogue sounds generic or all characters sound alike, it signals weak characterization; deepen character understanding instead of just rewriting lines.
- Action with dialogue: Characters should be engaged in activities during dialogue scenes to add texture and keep scenes dynamic.
- Subtext and conflict: Use subtext and conflict to avoid flat, expository conversations and maintain audience interest.
What is the "Passive Active" problem in screenwriting, and how does Syd Field suggest fixing it in Screenwriter’s Problem Solver?
- Definition: The main character is too passive, reacting to events rather than initiating action, making them less engaging.
- Visual medium: Film relies on action to define character; passive characters fail to drive the story or hold audience interest.
- Strengthen motivation: Enhance the character’s dramatic need, point of view, and conflict to make them more active.
- Use Circle of Being: Add emotional depth and motivation by exploring formative incidents in the character’s past.
How does Syd Field recommend structuring scenes, including "Enter Late and Get Out Early," in Screenwriter’s Problem Solver?
- Enter late: Start scenes as close as possible to the dramatic moment, avoiding unnecessary setup.
- Get out early: End scenes once the dramatic purpose is achieved, maintaining momentum and tension.
- Scene structure: Break scenes into beginning, middle, and end to ensure they fulfill their dramatic purpose.
- Prevents dullness: This approach keeps the screenplay lean, focused, and engaging.
What are common screenplay problems like "Talking Heads," "Sceneus Interruptus," and "Dullness," and how does Syd Field address them in Screenwriter’s Problem Solver?
- Talking Heads: Overly dialogue-driven scenes without visual action; fix by emphasizing visual storytelling and character behavior.
- Sceneus Interruptus: Scenes that end too early, leaving the story incomplete; solve by ensuring scenes have a clear beginning, middle, and end.
- Dullness: Caused by lack of conflict, weak characters, or predictable events; address by sharpening dramatic focus and ensuring each scene advances plot or reveals character.
- Use of exercises: Field recommends rewriting scenes from different points of view and deepening character work to resolve these issues.
How does Syd Field advise writing action sequences and using flashbacks in Screenwriter’s Problem Solver?
- Action supports character: Action sequences should develop character as well as advance the plot, avoiding flat or overwhelming scenes.
- Visual and concise: Write action with short, vivid sentences and plenty of white space for readability and pace.
- Flashbacks as "flash-presents": Use flashbacks to reveal what the character is thinking or feeling in the present, not just for exposition.
- Seamless integration: Ensure flashbacks are smoothly integrated and do not disrupt the emotional flow of the narrative.
Review Summary
The Screenwriter's Problem Solver receives mixed reviews, with an average rating of 3.81/5. Readers appreciate its valuable advice on script structure and problem-solving techniques, finding it helpful for both screenwriters and novelists. The book's motivating tone and step-by-step instructions are praised. However, some criticize its repetitiveness and vague content. Many readers find it useful for rewrites and as a reference guide, though some struggle with terminology. Overall, it's considered a valuable resource for both novice and experienced writers, despite its flaws.
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