How To Write A Story That Works

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Comedy, how to write, novel writing, romantic comedy, screenwriting, storytelling, TV writing, Writing, writing comedy, writing community, writing tips

Hello Writers, today I’m talking about writing a story that keeps the reader or audience invested, and evokes something to talk about after.

This is important. Many stories are just “meh” and they should have worked but didn’t.
I never want to cut any writers, cast, crew, directors, authors, publishers, or anyone who is working in a creative field down so please know that everything I write about I am only doing so to give you examples of things that didn’t work–and let’s be honest, everyone who worked on these projects knows that they didn’t go the way it was planned–box office & sales is usually a big indicator-not always because some great stories are never huge successes but you know what I mean. Stories that should have worked but didn’t.
ALEX & EMMA – rom-com film from 2003. About a writer who needs to finish a novel in 30 days or he’ll be murdered by loan sharks. The reason it didn’t work was both in the plot and the characters.
THE LOVE PUNCH – rom-com film from 2013. A divorced couple schemes to get back money that was stolen from them. The reason it didn’t work was really in the plotting and how everything just worked out for them, as well as many unbelievable things that happened.
JOEY – comedy television show spin-off of FRIENDS. Joey Tribbiani moves to Los Angeles from New York to pursue his acting career. Why it didn’t work? So many reasons, but the big one is that there was too much of the “wouldn’t it be funny if” and not enough character development and or reasons for anything.
PAN AM – drama television show. This show relied too heavily on nostalgia and not enough on character & plot. It could have been great but fell super flat.

Stories that WORKED and why

WHEN HARRY MET SALLY – rom-com film 1998. Two friends who are complete opposites can’t see what is right in front of them and continue to make mistakes with romantic relationships. Complete opposites who don’t even like each other at the beginning-but every single thing they say is there for a reason. The plot and story arcs progress in a natural manner and everything that happens moves the story forward. Everything, even the famous scene where she pretends to have an orgasm in the diner, that shows who she is, and also that Harry is often wrong about his assumptions about women. When they get together it messes up their friendship which shows us that they really love each other even if they won’t admit it. It’s real and nothing that happens is based on “wouldn’t it be funny if”.
IT’S COMPLICATED – rom-com film 2009 by Nancy Meyers. A divorced couple launch into an affair after their son’s graduation. I don’t know why this doesn’t have a higher score on IMDB because it’s completely brilliant. Here is a story about a couple who already know each other and have been divorced for some time, he is remarried to a younger woman and yet they have an affair. Why it works is because of character. Everything that is done is true to who they are as people. She wants her life back, or so she thinks, and he is having a later than a mid-life crisis with his new young wife wanting to have a baby. He wants to feel normal and she wants to feel desired so they fall back into bed, and comedy happens naturally. The plot also unfolds in a natural progression and there are some very funny scenes that move the story forward.
FRASIER – comedy television show-spin-off of CHEERS. 1993 Frasier moves back to Seattle to start his life over and ends up living with his father. This show works on every level and for a spin-off, it’s quite brilliant. We already knew Frasier but we didn’t know Marty (his father) or Niles (his brother). They could have failed so hard with this one by just having the same Frasier we met at the bar in Boston. High & mighty snob commenting on how everyone is below him, but that would have been boring so the writers introduced us into Frasier’s world with a father who is everything that Frasier thinks he is above. Marty is uncouth, blue-collar, beer drinking, rather watch a game at McGinty’s Pub & eat burgers that cost under $10 whereas Frasier & Niles wouldn’t be caught dead doing anything blue-collar or setting foot in a pub. The comedy writes itself. Every episode is riddled with juxtaposition in the characters. They never do anything just to be funny. Everything they do in every scene is to reach their own goals but their character is what makes it so funny. The show is also rounded out with Frasier’s job as a radio psychologist where Niles has his own practice. The secondary characters of Roz and Daphne bring even more layers into Frasier’s world. We also never meet Nile’s wife but his actions and dialogue make it clear who she is and it’s naturally funny.
DOWNTON ABBEY – drama television series 2010. A chronicle of the lives of the British aristocratic Crawley family and their servants in the early twentieth century.Oh Downton why are you so perfect? Character and plot/story arcs that work. From the very first scenes where you have the father of this rich family reading a paper and talking about people they knew on the Titanic and how this would affect their family in a way that would change everything to seeing the servants actions and reactions to the news and getting the day going, we are enticed to watch more. The first thing they got right was opening with a historical event that has a worldwide fascination, even now, 109 years after the sinking. Then they showed us who the characters were through dialogue and actions. There was never anything that told us who they were, they showed us. Through the years things that happened in real life like WW1 showed up and played a huge role on the show and that also came with the unexpected loss of favorite characters and like all great series ended every episode making us crave the next one. What will happen next?? I need to know. They rounded the show with characters who we loved to hate but also cared about like Thomas the footman turned valet turned second Butler turned Butler. The showed us human kindness and how we are all alike even when separated by class.

To craft a story that works you need two things.

Well, you need many but these are the two that you MUST have.

1) Great CHARACTERS-which means, your characters must have their own personality as well as wants and goals in every scene. Everything they do must happen for a reason. If you look at shows like FRIENDS or EVERYBODY LOVES RAYMOND you see that in every scene the characters’ intentions are for what they want the outcome to be. When you have a juxtaposition of characters’ wants and needs comedy happens. There is no reason to write a bunch of jokes for the purpose of being funny. For dramas, it’s basically the same principle. Take CHICAGO PD and GREY’S ANATOMY. Both are strong ensemble shows with characters who are very distinct and the way they act, speak, and do everything comes from WHO they are and nothing else. AND your character must be the author of their own destiny. Harry got help from his friends in all of the books/movies but it was because of what he did that it happened. (HAPPY POTTER) You can’t have things just work out or have someone else solve the problem or save your characters. In comedy as well, they are the master of their own disaster-always and then they realize some change they need to make, take responsibility and it works out. THE PROPOSAL Margaret realizes that she is doing the wrong thing so she takes action and leaves Andrew at the altar and faces the consequences.
2) Great PLOT/STORY ARCS-this means that your story must move along at a pace that keeps us interested and you must follow the format for what you are writing.Your story doesn’t have to be filled with action. Take DOWNTON ABBEY-it’s a bit slow sometimes but still we can’t look away. Look at SEINFELD or FRIENDS most of which takes place in apartments but we were excited every week to see what happened in their lives. The plotting worked always. When you are writing anything you have to think in terms of beginning, middle, and end. There has to be an end goal and then you must give the story ups and downs. Stories that work in a straight line or everything works out too conveniently fall flat and we stop reading or watching.
I know you can do it!

I recommend the following books to help you.

SAVE THE CAT THE HIDDEN TOOLS OF COMEDYTHE PLOT WHISPERER WRITE YOUR NOVEL FROM THE MIDDLE WIRED FOR STORY

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Breaking Down Legally Blonde~The Perfect Romantic Comedy

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Comedy, legally blonde, novel writing, romantic comedy, screenwriting, storytelling, TV writing, Writing, writing rom coms, writing tips

Hello Writers!

This week, I’m breaking down a popular romantic comedy from twenty years ago that nails it when it comes to story structure! LEGALLY BLONDE

How Legally Blonde Does it Perfectly!

When this film came out I lived with a roommate, whom I’m still friends with so I mean her no disrespect here but she was like, “ugh, so stupid, who would go see that?” and I replied, “I saw it and it’s really good” and then I explained why. She still wasn’t interested in it but that was part of her “I’m too cool to watch and like anything commercial” vibe but she did listen. 

It’s not just that I liked, well LOVED, Legally Blonde, it’s that they got it right from the opening act to the end, it’s spot on and why I am using it today to show you how to create the perfect story structure–if you are writing romantic comedies this is especially a great example but even if you aren’t, the principles work for you! 

In romantic comedies, there are traditionally 7 story beats or arcs. 

1. Setup / promise of the story
2. Inciting incident
3. Turning point
4. Midpoint / Raising the stakes
5. Swivel: second turning point
6. Dark moment / crisis
7. Joyful defeat / resolution

 Let’s go over Legally Blonde now.  

I also want to note that one of the main reasons that Legally Blonde works is that in the very beginning the writers show us that Elle is actually smart. There is a scene at a snooty store in Beverly Hills where two sales ladies decide that Elle is a ditz with a credit card but she puts them in their place with her knowledge of design, the designer, the fabric, the tailoring, and they shut up. 

That was brilliant and made the entire rest of the story believable. If they had kept her as some stupid blonde, her getting into Harvard never would have been believable. 

Here are the seven beats in traditional romantic comedies!

1. Setup/Promise of the story– We meet Elle and find out that she is graduating from undergrad and is expecting a proposal from her boyfriend, Warren. We learn that she wants to marry him. That is her goal. 

2. Inciting incident-he breaks up with her so she decides to go to law school to get him back/get back together

3. New world-turning point-she attends Harvard 

4. Midpoint/mirror moment/recommitment-Warren tells her that she’s not smart enough, so she changes her focus realizing that she’ll never be good enough 

5. Swivel-next turning point-she is chosen to help with a real trial where she knows the defendant and holds her ground on the alibi

6. Dark Moment/Crisis-her professor hits on her and she gives up believing that no one will ever take her seriously because she is pretty and that’s all they see. 

7. Resolution-she goes back into court with the help of a guy she meets (this is the 2nd storyline BTW) and wins the case for her defendant 

In your writing, you want to make sure to have these plot arcs or beats. It’s important to use the story structure formats that we all know because they work. If you have been faced with rejection of any kind-even from critique partners, or are getting feedback that your story is flat, rewriting out the beats will help you get it into shape! I promise

Legally Blonde is on Netflix now, so your homework is to go watch it and look for these moments. 

Happy writing! 

XO Stephanie

Legally Blonde  written by Karen McCullah & Kirsten Smith (screenplay) and Amanda Brown (novel) 2001

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What About Bob?

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Bill Murray, Comedy, Film, Funny, Richard Dreyfuss, What About Bob?

What About Bob? is comedy which came out in 1991 directed by Frank Oz, and starring Bill Murray and Richard Dreyfuss. Murray plays Bob Wiley, a multiphobic psychiatric patient who follows his successful and (beyond) egotistical psychiatrist Dr. Leo Marvin (played by Dreyfuss) on vacation. When the unstable Bob befriends the other members of Marvin’s family, it pushes the doctor over the edge.

I loved this film when it came out and I still love it. I am not sure what comedy critics or people who know the ins and outs of comedy writing better than I do would/will say, but I think this film is just about perfect and here is why.

The situation is funny! Dr. Marvin wants nothing but a weekend alone with his family and a promo opp with Good Morning America to go well and Bob wants nothing but to be  with Dr. Marvin because he thinks he “needs” him. Both characters have very clear and conflicting wants in this film and the actors are so committed to the part that we believe it and it’s funny.

This film doesn’t rely on joke, joke, joke, but instead takes two people and shoves them together in a situation that is tragic and yet very funny. It’s funny that Dr. Marvin’s kids relate better to crazy Bob, it’s funny that Dr. Marvin’s wife likes him so much, it’s funny that everyone likes Bob and wants him around except Dr. Marvin who is completely put out by the situation at hand.

This is another example of a film that could have just as easily been a drama about a crazy patient who just won’t take no for an answer, but instead it’s funny. We, the audience love and cheer on Bob and we also cheer on Dr. Marvin. Two opposing sides and we like both of them.

It’s really a great film and if you haven’t seen it in a while, or never seen it, put it on your Netflix cue and watch it, you’ll like it.

Write What You Know and What You Are Good At

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Comedy, drama, Sitcoms, Spec scripts, TV writing, Writing

Fellowship season is upon us!

Having a spec and an original pilot are a must-

SPEC SCRIPTS FOR TV

This time of year when all the aspiring TV writers start on new spec scripts and or bring out last year’s-big mistake in my book-write a new one, you’re a writer, write a new one. And the added bonus of doing this-the more you write-the better you get.

The biggest mistakes that I see, and have done myself in the past are so simple and easy to fix. I don’t know why more people don’t see it.

You want to work in drama-what is your favorite drama? Write a spec of that one. Period. You love the show, you know the characters, that is what you should be writing. Don’t write what you think you should be writing, unless asked to as a possible job off.  Example, I was asked a couple years back to write an episode of 24. The studio/show I had submitted my Saving Grace and Grey’s Anatomy too liked me and my writing, but the job was for an event drama so they asked me to write a 24 to see if I could fit their style. I didn’t get the job. I love 24, but it just isn’t my style-so probably had I got that job it wouldn’t have been a good fit.

I have since switched back to my original love comedy. But this isn’t about me, it’s about you.

Write a show that YOU love.

COMEDY WRITERS-Why do you love that show? Is it all jokes like Chuck Lorre’s show? Or is it situational? Is it single cam? Is it multi-cam? Is it ironic like Californiacation-which is almost a drama, or is it slapstick and sketchy?

DRAMATIC WRITERS-Do you like Grey’s Anatomy, Private Practice and Brothers & Sisters type shows? Or are you a procedural type of person. What shows are you excited to watch every week?

I read a lot of scripts, sometimes for friends and sometimes for money (see my website I have a consulting business) and the biggest number one thing I see people doing wrong-is NOT staying in character. If you have Monica from Friends being a free spirit and not caring about the table being messy-you do not know Monica and it tells the reader that you either don’t care or don’t know the show you are writing. Make sure you know those characters and how they will act. I recently read three comedy specs and they were all funny, and I could maybe see them on the air, but they would be the episodes that the audience wouldn’t love or just be confused at. The reason is the characters were all wrong. It’s the biggest mistake.

Sure I have made a lot of mistakes in my specs-as we all do. I wrote a Big Bang Theory and totally missed the mark because I wrote a situation comedy instead of a joke show and I placed it in a movie theater. Had I put it in the comic book store and told more jokes it would have worked. That was me not knowing the show, or not following it properly. I thought as long as I got the characters right and surrounded it about a comic book character-IRON MAN in this one-than it would work. I missed the mark.

I have learned the hard way about trying to write what you think people want to read and what I should have been writing.

So I offer this blog today before you start your spec for the fellowships-write what you love.

ORIGINAL PILOTS

Same thing, write the type of show you love. If you love cop shows, write a cop show. It’s pretty simple and want to tell that story and be excited about it. I see a lot of original scripts that are high concept and badly executed because the person has a great idea, but not the passion for that type of show and it stands out in the writing.

Draw from your own life. Draw from your friends. Draw from what makes you tick and don’t worry about what you think you will sell-because if you do that, you will fail.

Now get off the internet and start working on that script!

Modern Family Is Brilliant-Because It’s Real

Tags

Comedy, Modern Family, Sitcoms

HAHAHAHAHAHAHAHA! It’s so damn FUNNY!

When I first saw the pilot episode of Modern Family, created by Steven Levitan, Christopher Lloyd, last summer at ABC’s event at the Paley Center for Media in Beverly Hills. I laughed out loud. That doesn’t happen to me that often.

I am jaded. I have worked in the industry since I was small in one way or another. I studied acting for a million + years and so I always come from the angle of “character”. Even in animation and storyboards. I always think about the characters “intentions” (Intention is a huge word in the acting world-it means their why, their needs, their want).

It takes a lot to make me laugh, because I always see “it coming” and so I tend to watch from a different point of view than a lot of folks.

That said:

Modern Family relies on some very old, but true stereotypes and yet it is HILARIOUS!

From Jay the oldest and yet not so wise father of the group to his Gloria-the hot sexy younger woman, to the gay couple and the dorky husband and son in law. The show works.

If you live in Los Angels, you know all these people in real life. I was at a panel with Steve Levitan, creator, where he talked about Manny-the step son to Jay, son of Gloria and he made a comment about how Manny was so original, well I guess he hasn’t been to the valley much, because I am telling you, I know this kid-he is every where. That’s why it is funny.

Claire and Phil are so amazing. You know they love each other, but they are a real married couple. They don’t rely on joke joke joke to get laughs, they are just being true to themselves and it works. The situations they are in are hysterical.

For example: Did you see the Valentine’s Day episode? Phil and Claire did some role playing and she got her coat stuck in the escalator, and of course she was naked under that, and of course they ran into every person that they wouldn’t want to see, especially her father! It was predictable, and yet they crafted it so well that I was rolling on the floor with laughter!

Did you see the episode where Claire wanted the family pictures taken? The whole episode was laugh after laugh and no one was trying to be funny-it just was funny.

I miss real old school situation comedies. Yes they are all called “sitcoms” but I think people these days don’t know what that word means.

Modern Family has the perfect formula and the perfect cast. The writing is brilliant and I will tell you this, Steve Levitan has openly talked about how every character in that show is based on someone he knows and even some of the teenager’s behavior is his own kids. It isn’t trying to be funny, it is real so it is funny!

I would give my left nut-er well, I don’t have a nut to give-but you know the expression-to write on this show!

Watch it, you’ll love it!
(if you don’t, something is seriously wrong with you and I am not sure we can talk anymore-I am worried about you, seriously)

Modern Family ABC Television Wed night!
CAST

Ed O’Neill … Jay Pritchett

Sofía Vergara … Gloria Delgado-Pritchett

Julie Bowen … Claire Dunphy

Ty Burrell … Phil Dunphy

Jesse Tyler Ferguson … Mitchell Pritchett

Eric Stonestreet … Cameron Tucker

Rico Rodriguez … Manny Delgado

Nolan Gould … Luke Dunphy

Sarah Hyland … Haley Dunphy

Ariel Winter … Alex Dunphy