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You are the Box Office Smash: The Personal Screenplay
by Gordy Hoffman
Right this very second, in the heart of every struggling,
undiscovered screenwriter, in the dark, hidden corner deep within,
there is a voice, a clear whisper, saying one thing:
You're never gonna figure this out.
And this is not referring to the story with its gaping hole,
the finale missing a payoff, the hit and miss humor, the flat
title.
I'm talking about freedom. The freedom to work as a screenwriter.
Compensation for a home for family and a life. The resources to
wake up and ply your craft and pay the freight, without obstacle.
The chance to see your writing made into pictures, to work with
the industry's best, to fulfill this goal of professional
screenwriter. Hollywood success.
Behind this voice is the idea that somehow, some way, you'll
find the hero, or the hook, logline or pitch that will punch
your golden ticket. If you could only figure out what the
studio wants, if you can only get a solid bead on this game,
you know you can write and execute. What is the script I
should write to get an agent? What is the one that will sell?
It's not that I don't know how to write, I know how to write
screenplays, I just need to know what they want, even though
I think I know what they want, but I don't think I have the
idea that they want. Yeah.
I'm not gonna figure this out, whispers the voice.
Why this uneasiness? Does it originate within ourselves? I
don't think so. But where does it come from? The daily
obsession with box office grosses? The news of the seven
figure deals to newbies? The endless procession of boneheadedly
conceived franchises-in-waiting arriving in the theatres every
Friday? People winning Academy Awards for movies you would
not be caught dead writing? Recognizing an idea you came up
with years ago on your couch, produced with a $130 million
budget drowning in CGI?
All these things are but a few of the possible reasons why
this seeds unhealthy doubt and confusion in the modern
screenwriter. Tracking these forces outside us and beyond
our control in an effort to trudge the path to a successful
screenwriting career will prove to most to be unproductive
and corrosive. Basically, trying to figure out what Hollywood
wants will land us in a resentment that makes "giving up" a
sane response to the very challenge which used to inspire us.
In short, we cannot chase a perceived trend and remember our
dreams.
You cannot look at the marketplace and find your voice. You
can find ideas, trends, and inspiration there, perhaps, but
you can find these things driving in traffic as well. But
listening to your voice is the key to creating original,
compelling stories.
Your life is your own story. You have a completely unique
thread of experience. By allowing yourself to express these
emotional experiences, your screenplay, your story, will be
different from any other and powerful, as original as your
fingerprint.
Why is it powerful? When we have the courage to be specific
about what we know about living, we create an authentic world
an audience recognizes as the life they are living on planet
Earth. This connects your audience to your story. This
connection is the foundation of the phenomena of story.
Why does story mean so much to us? We recognize the triumphs
and tragedies of our lives, with all the hilarity and tears.
By seeing it, we are validated and it underscores meaning and
purpose to living.
If we don't use what we've collected in life in our hearts
and spirits, then our story loses its authenticity and the
connection the audience should make fails. They do not see
themselves, and when they leave the theater, they do not call
their friends. When people do not call their friends after
seeing a movie, the movie bombs.
When a writer opens their person to their work, when they
allow themselves to be vulnerable, to risk exposure of the
secrets of their life story, they take a huge step towards
creating a screenplay of substantial value, a screenplay with
a greater potential of a large number of tickets sold.
This is precisely why art and commerce have remained bedfellows
for thousands of years. To look at the relationship between art
and commerce as adversarial or incompatible is just plain
foolish. Art happens when people invest their spirits in their
work without fear, and story is artful when the writing is
truthful and the writer is authentic.
And what do we have to be honest about? We can only lie about
what we know, and we can only tell the truth about what we know.
And that is what has happened to us, our life story. This is
what we share.
This is not a pitch to write "what you know." This is not
about writing stories about where you work or where you live.
This is about writing about what you felt. You can imagine
characters and worlds and actions and speech you've never
personally experienced, but if you remember to infuse your
choices with your emotional and spiritual struggles and victories
as a human being, your screenplay will be different in the very
best sense of the word.
The question you have to answer is not what does Hollywood want
today. The question is how honest of a writer do you want to be.
I guarantee you can write a blockbuster, you can write a box
office hit. This will happen when you find an audience. And
the correct path to this crowd of people is listening to
yourself. If you practice, you will develop an inner ear for
who you are and what you know and you will become masterful in
loading your work with your fingerprints. Writing is personal
work. You are the guitar. You are the box of paint. Give of
that and your audience will remember why life is good and they
will talk of you.
About the Author
Winner of the Waldo Salt Screenwriting Award at the Sundance
Film Festival for LOVE LIZA, Gordy Hoffman has written and
directed three digital shorts for Fox Searchlight. He made his
feature directorial debut with his script, A COAT OF SNOW, which
world premiered at the 2005 Locarno Intl Film Festival. A COAT
OF SNOW made its North American Premiere at the Arclight in
Hollywood, going on to screen at the Milan Film Festival and
the historic George Eastman House. Recently, the movie won the
2006 Domani Vision Award at VisionFest, held at the Tribeca
Cinemas in NY. A professor at the USC School of Cinematic Arts,
Gordy is the founder and judge of BlueCat Screenplay Competition.
Dedicated to develop and celebrate the undiscovered screenwriter,
BlueCat provides written script analysis on every script entered.
In addition, Gordy acts as a script consultant for screenwriters,
offering personalized feedback on their scripts through his
consultation service, www.screenplaynotes.com. For more articles
by Gordy on screenwriting, visit
http://www.bluecatscreenplay.com.
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