http://www.storylogue.com/ 1.0 http://www.storylogue.com/docs/lessons.html 1.0 http://www.storylogue.com/docs/interviews.html 1.0 http://www.storylogue.com/docs/question-answer.html 0.5 http://www.storylogue.com/page/2/calendar.html 0.1 http://www.storylogue.com/page/7/faq.html 0.1 http://www.storylogue.com/page/1/about-robert-mckee.html 0.1 http://www.storylogue.com/docs/question-answer.html?documentId=1 http://files.storylogue.com/videos/attachment/640x360/sl1.flv http://files.storylogue.com/videos/attachment/640x360/sl1.jpg Working with Multiple Protagonists. 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=2 http://files.storylogue.com/videos/attachment/640x360/sl2.flv http://files.storylogue.com/videos/attachment/640x360/sl2.jpg Story Structure in Animation 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=3 http://files.storylogue.com/videos/attachment/640x360/sl3.flv http://files.storylogue.com/videos/attachment/640x360/sl3.jpg Theme vs. Genre 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=4 http://files.storylogue.com/videos/attachment/640x360/sl4.flv http://files.storylogue.com/videos/attachment/640x360/sl4.jpg Using Story in Business Presentations 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=5 http://files.storylogue.com/videos/attachment/640x360/sl5.flv http://files.storylogue.com/videos/attachment/640x360/sl5.jpg Adapting a Biographic Novel 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=6 http://files.storylogue.com/videos/attachment/640x360/sl_qna_06_question_title.flv http://files.storylogue.com/videos/attachment/640x360/sl_qna_06_question_title.jpg Adaptation vs. "Movie Based On" 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=7 http://files.storylogue.com/videos/attachment/640x360/sl_qna_05_question_title.flv http://files.storylogue.com/videos/attachment/640x360/sl_qna_05_question_title.jpg Choosing Your Form of Story 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=8 http://files.storylogue.com/videos/attachment/640x360/sl_qna_04_question_title.flv http://files.storylogue.com/videos/attachment/640x360/sl_qna_04_question_title.jpg Understanding Your Genre 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=9 http://files.storylogue.com/videos/attachment/640x360/sl_qna_03_question_title.flv http://files.storylogue.com/videos/attachment/640x360/sl_qna_03_question_title.jpg The Positive and Negative Values in Scenes 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=10 http://files.storylogue.com/videos/attachment/640x360/sl_qna_02_question_title.flv http://files.storylogue.com/videos/attachment/640x360/sl_qna_02_question_title.jpg Adapting a Novel Into A Screenplay 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=11 http://files.storylogue.com/videos/attachment/640x360/sl_qna_01_question_title.flv http://files.storylogue.com/videos/attachment/640x360/sl_qna_01_question_title.jpg Creating the Gap Between Expectation and Result 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=12 http://files.storylogue.com/videos/attachment/640x360/sl_qna_07_question_title.flv http://files.storylogue.com/videos/attachment/640x360/sl_qna_07_question_title.jpg Conservation of Energy/Pointless Acts of Beauty 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=13 http://files.storylogue.com/videos/attachment/640x360/sl_qna_08_question_title.flv http://files.storylogue.com/videos/attachment/640x360/sl_qna_08_question_title.jpg Does Being a Good Leader Make You A Good Storyteller? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=14 http://files.storylogue.com/videos/attachment/640x360/sl_qna_09_question_title.flv http://files.storylogue.com/videos/attachment/640x360/sl_qna_09_question_title.jpg What if your character is unclear about her object of desire until later in the story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=15 http://files.storylogue.com/videos/attachment/640x360/sl_qna_11_question_title.flv http://files.storylogue.com/videos/attachment/640x360/sl_qna_11_question_title.jpg The Difference Between Writing Novels, Screenplays & Stage Plays 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=16 http://files.storylogue.com/videos/attachment/640x360/sl_qna_12_question_title.flv http://files.storylogue.com/videos/attachment/640x360/sl_qna_12_question_title.jpg Screenplay Treatments 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=17 http://files.storylogue.com/videos/attachment/640x360/sl_qna_12_Feb_15_2010_Transitions In and Out Of Flashbacks.flv http://files.storylogue.com/videos/attachment/640x360/sl_qna_12_Feb_15_2010_Transitions In and Out Of Flashbacks.jpg Transitions In and Out of Flashbacks Question 12 - 2/15/2010 Transitions In and Out of Flashbacks 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=18 http://files.storylogue.com/videos/attachment/640x360/sl_qna_13_Feb_16_2010_Bad Action Film Examples.flv http://files.storylogue.com/videos/attachment/640x360/sl_qna_13_Feb_16_2010_Bad Action Film Examples.jpg Bad Action Film Examples Question 13 - 2/16/2010 Bad Action Film Examples 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=19 http://files.storylogue.com/videos/attachment/640x360/sl_qna_14_Feb_17_2010_Placement Of The Inciting Incident.flv http://files.storylogue.com/videos/attachment/640x360/sl_qna_14_Feb_17_2010_Placement Of The Inciting Incident.jpg Placement Of The Inciting Incident Question 14 - 2/17/2010 Placement of the Inciting Incident 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=20 http://files.storylogue.com/videos/attachment/640x360/sl_qna_15_Feb_18_2010_The Set-Up In Comedy.flv http://files.storylogue.com/videos/attachment/640x360/sl_qna_15_Feb_18_2010_The Set-Up In Comedy.jpg The Set-Up In Comedy Question 15 - 2/18/2010 The Set-Up in Comedy 0.5 http://www.storylogue.com/docs/interviews.html?documentId=21 http://files.storylogue.com/videos/attachment/640x360/21_sl_int_hotplate_sample.flv http://files.storylogue.com/videos/attachment/640x360/21_sl_int_hotplate_sample.jpg Interview with Hotplate Productions Josh Gold & Lowell Cauffiel <h2>Lowell Cauffiel - Novelist, TV Writer </h2> Lowell Cauffiel, born in Michigan, is an American writer and TV producer. An award-winning reporter with the Detroit News and Detroit Monthly Magazine in the 1970s and 1980s, Cauffiel began his bookwriting career in 1988 with Masquerade: A True Story of Seduction, Compulsion and Murder. That title, and his 1997 New York Times bestseller House of Secrets, have appeared on many critics' lists of the best works in American true crime. As a nonfiction author, he's known for his meticulous research and accuracy, delivered in novel-like, page-turner style. Thematically, Cauffiel's books often explore how people embrace popular trends and exalt American values to hide their dark intentions and destructive acts. In the mid 1990s, Cauffiel also turned his attention to crime novels, publishing three fiction titles. He credits the off-beat humor and high-contrast scenes found in his fiction to his years spent as a reporter in the volatile streets of Detroit and the many years he worked as a blues guitarist in smoky Motor City nightclubs. Lowell's most recently sold a TV pilot to NBC called "Detroit 310." <h2>Josh Gold - Television Executive</h2> Josh Gold is Vice President of Hotplate Productions, based on the back lot at Warner Bros. in Burbank, CA. Josh is a graduate of the University of Texas at Austin, and recently worked with Lowell Cauffiel in selling his television pilot "Detroit 310" to NBC. 0.9 http://www.storylogue.com/docs/interviews.html?documentId=22 http://files.storylogue.com/videos/attachment/640x360/sl_int_shawn_coyne_sample.flv http://files.storylogue.com/videos/attachment/640x360/sl_int_shawn_coyne_sample.jpg Shawn Coyne Interview Sample <h2><img src="../../../static/upload/images/shawn-coyne-headshot.jpg" alt="" width="115" height="100" />  Shawn Coyne - Literary Agent</h2> Shawn Coyne is the founder of Genre Management Inc., a boutique literary management company based in New York. Coyne began his publishing career as an assistant to the editorial director at Delacorte Press in 1990. He was promoted to editor of Dell publishing's paperback crime imprint in 1992 and ran Dell's nonfiction Expedition line devoted to first person nonfiction accounts of man in and against nature. Coyne left Dell publishing to become Senior Editor at St. Martin's Press. He founded St. Martin's paperback mystery line and published works across many genres. In 1996, Coyne was hired by Doubleday as Senior Editor, responsible for all major acquisitions for thriller fiction and sports nonfiction. He spent four years at Doubleday and acquired a wide range of bestselling fiction and nonfiction including Steven Pressfield's GATES OF FIRE and Bill Murray's CINDERELLA STORY. In 2001, Coyne left Doubleday to form his own publishing company, Rugged Land Books. In Rugged Land's six years, seven of the 40 books published were New York Times Bestsellers, a remarkable run for an independent publishing company in an era of conglomerate publishing. In 2007, Coyne shuttered Rugged Land to become an agent at the Endeavor Agency in New York. When Endeavor merged with William Morris Agency in 2009, Coyne went back to his entrepreneurial roots and founded Genre Management. Coyne's twenty years of experience as an editor, publisher, and literary agent gives him a unique command of every aspect of the business. 0.9 http://www.storylogue.com/docs/interviews.html?documentId=23 http://files.storylogue.com/videos/attachment/640x360/pressfield_interview_sample_640x360.flv http://files.storylogue.com/videos/attachment/640x360/pressfield_interview_sample_640x360.jpg Steven Pressfield Interview Sample <h2><img src="../../../static/upload/images/StevePressfieldPhoto.jpg" alt="" width="136" height="86" />  Steven Pressfield - Novelist</h2> Steven Pressfield is the author of Gates of Fire and four other historical novels set in the ancient world, including The Afghan Campaign. His most recent book is Killing Rommel, a WWII story. He is also the author of The Legend of Bagger Vance and The War of Art, which Robert McKee wrote the forward to.   Mr. Pressfield is a graduate of Duke University and a former Marine. His books are in the curriculum at West Point, Annapolis and the Naval War College, as well as being on the Commandant's Reading List for the Marine Corps. Steven Pressfield's Official Website: <a href="http://www.StevenPressfield.com">www.StevenPressfield.com</a> Steven Pressfield on Amazon.com: <a href="http://www.amazon.com/Steven-Pressfield/e/B000AQ8R8Q/ref=sr_tc_2_0?qid=1266712204&sr=8-2-ent">Click Here</a> 0.9 http://www.storylogue.com/docs/interviews.html?documentId=24 http://files.storylogue.com/videos/attachment/640x360/sl_int_coyne_01_introduction.flv http://files.storylogue.com/videos/attachment/640x360/sl_int_coyne_01_introduction.jpg Shawn Coyne, Literary Agent, Interview (Pt. 1) <h2><img src="../../../static/upload/images/shawn-coyne-headshot.jpg" alt="" width="108" height="81" />   Shawn Coyne, Literary Agent</h2> Shawn Coyne is the founder of Genre Management Inc., a boutique literary management company based in New York. Coyne began his publishing career as an assistant to the editorial director at Delacorte Press in 1990. He was promoted to editor of Dell publishing's paperback crime imprint in 1992 and ran Dell's nonfiction Expedition line devoted to first person nonfiction accounts of man in and against nature. Coyne left Dell publishing to become Senior Editor at St. Martin's Press. He founded St. Martin's paperback mystery line and published works across many genres. In 1996, Coyne was hired by Doubleday as Senior Editor, responsible for all major acquisitions for thriller fiction and sports nonfiction. He spent four years at Doubleday and acquired a wide range of bestselling fiction and nonfiction including Steven Pressfield's GATES OF FIRE and Bill Murray's CINDERELLA STORY.   In 2001, Coyne left Doubleday to form his own publishing company, Rugged Land Books. In Rugged Land's six years, seven of the 40 books published were New York Times Bestsellers, a remarkable run for an independent publishing company in an era of conglomerate publishing. In 2007, Coyne shuttered Rugged Land to become an agent at the Endeavor Agency in New York. When Endeavor merged with William Morris Agency in 2009, Coyne went back to his entrepreneurial roots and founded Genre Management. Coyne's twenty years of experience as an editor, publisher, and literary agent gives him a unique command of every aspect of the business. 0.9 http://www.storylogue.com/docs/interviews.html?documentId=25 http://files.storylogue.com/videos/attachment/640x360/sl_int_pressfield_01_introduction.flv http://files.storylogue.com/videos/attachment/640x360/sl_int_pressfield_01_introduction.jpg Steven Pressfield Interview (Pt. 1) <h2><img src="../../../static/upload/images/StevePressfieldPhoto.jpg" alt="" width="119" height="75" />  Steven Pressfield - Novelist    </h2> Steven Pressfield is the author of Gates of Fire and four other historical novels set in the ancient world, including The Afghan Campaign. His most recent book is Killing Rommel, a WWII story. He is also the author of The Legend of Bagger Vance and The War of Art, which Robert McKee wrote the forward to.   Mr. Pressfield is a graduate of Duke University and a former Marine. His books are in the curriculum at West Point, Annapolis and the Naval War College, as well as being on the Commandant's Reading List for the Marine Corps.   Steven Pressfield's Official Website: <a href="http://www.StevenPressfield.com">www.StevenPressfield.com</a>   Steven Pressfield on Amazon.com: <a href="http://www.amazon.com/Steven-Pressfield/e/B000AQ8R8Q/ref=sr_tc_2_0?qid=1266695899&sr=8-2-ent">Click Here</a> 0.9 http://www.storylogue.com/docs/interviews.html?documentId=26 http://files.storylogue.com/videos/attachment/640x360/sl_int_mcgrath_01_introduction.flv http://files.storylogue.com/videos/attachment/640x360/sl_int_mcgrath_01_introduction.jpg Patrick McGrath Interview (Pt. 1) <h2><img src="../../../static/upload/images/PatrickMcGrath.jpg" alt="" width="135" height="90" /> Patrick McGrath - Novelist</h2> Patrick McGrath was born on February 7th, 1950 in London, and grew up near Broadmoor Hospital where his father was Medical Superintendent. He was educated at Stonyhurst College, and is the authorof numerous novels including Spider, Trauma, Asylum,Martha Peake, Ghost Town andPort Mungo. He is also the author of the short story collection Blood and Water and Other Tales.   Patrick's novel Martha Peake won the Premio Flaiano Prize in Italy, and Spiderwas made into a film in 2002 by acclaimed director David Cronenberg. Spiderwas nominated for the Golden Palm Award at the Cannes Film Festival that same year.   Patrick currently lives in New York with his wife, actress Maria Aitken.   Patrick McGrath on Amazon: <a href="http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=patrick+mcgrath">Click Here.</a> 0.9 http://www.storylogue.com/docs/lessons.html?documentId=27 http://files.storylogue.com/videos/attachment/640x360/prologue_lesson_sample_640x360.flv http://files.storylogue.com/videos/attachment/640x360/prologue_lesson_sample_640x360.jpg Prologue Lesson Sample Prologue Lesson Sample 0.9 http://www.storylogue.com/docs/lessons.html?documentId=28 http://files.storylogue.com/videos/attachment/640x360/dialog_lesson_sample_640x360.flv http://files.storylogue.com/videos/attachment/640x360/dialog_lesson_sample_640x360.jpg Dialogue Lesson Sample Dialogue Lesson Sample 0.9 http://www.storylogue.com/docs/lessons.html?documentId=29 http://files.storylogue.com/videos/attachment/640x360/sl_lsn_enter-exit_01_intro_prologue.flv http://files.storylogue.com/videos/attachment/640x360/sl_lsn_enter-exit_01_intro_prologue.jpg Entering & Exiting the Story 1: Introduction & Techniques <h2>Prologue - Lesson 1</h2> <ul> <li>Introduction</li> <li>Entering and Exiting Your Stories</li> <li>Opening and Closing Techniques</li> </ul> 0.9 http://www.storylogue.com/docs/lessons.html?documentId=30 http://files.storylogue.com/videos/attachment/640x360/sl_lsn_dialogue_01_intro-4.flv http://files.storylogue.com/videos/attachment/640x360/sl_lsn_dialogue_01_intro-4.jpg 10 Traits of Faulty Dialogue 1: Introduction thru Trait 4 <h2>Dialogue: Intro thru Part Four</h2> <ul> <li>The Importance of Dialogue</li> <li>Story Talent vs. Literary Talent</li> <li>Faults Found in Dialogue: Parts 1-4 <ol> <li>Repetitiousness </li> <li>Triteness</li> <li>Character-Neutral Language</li> <li>Ostentation</li> </ol></li> </ul> 0.9 http://www.storylogue.com/docs/lessons.html?documentId=31 http://files.storylogue.com/videos/attachment/640x360/sl_lsn_enter-exit_02_placing_prologue.flv http://files.storylogue.com/videos/attachment/640x360/sl_lsn_enter-exit_02_placing_prologue.jpg Entering & Exiting the Story 2: Placement of Prologues <h2>Prologue - Lesson 2</h2> <h4>Where to place the Prologue in your story:</h4> <ol> <li>Prior to the inciting incident.</li> <li>Immediately after the inciting incident, but prior to the story's progressive complications. </li> <li>After the story's crisis and climax.</li> <li>The placement in time is outside, or irrelevant, to the story told.</li> </ol> <h5>Examples Used:</h5> <ul> <li>Ingmar Bergman's film WILD STRAWBERRIES</li> <li>George Lucas and Steven Spielberg's film RAIDERS OF THE LOST ARK</li> <li>Tennessee William's play THE GLASS MENAGERIE</li> <li>Joseph Conrad's novella THE HEART OF DARKNESS</li> <li>Max Frisch's play THE FIREBUGS</li> </ul> 0.9 http://www.storylogue.com/docs/lessons.html?documentId=32 http://files.storylogue.com/videos/attachment/640x360/32_sl_lsn_dialogue_02_5-6.flv http://files.storylogue.com/videos/attachment/640x360/32_sl_lsn_dialogue_02_5-6.jpg 10 Traits of Faulty Dialogue 2: Traits 5 & 6 Traits of Faulty Dialogue (Continued) - Traits #5 and #6   Trait #5: THE USE OF DRY, ARID LANGUAGE In Writing Dialogue: * Always prefer the familiar to the exotic. * Prefer the concrete to the abstract. * Always prefer direct phrases to circumlocutions. * Prefer shorts words to long. * Prefer Saxon words to Latinate words   Trait #6: OVERSTATEMENT * Brawny Words, Puny Motivations, Puny Conflicts. Examples Mentioned: <a href="http://www.amazon.com/Deadwood-Complete-Ian-McShane/dp/B001FA1OTU/ref=sr_1_1?ie=UTF8&s=dvd&qid=1266698740&sr=1-1">Deadwood</a>, <a href="http://www.amazon.com/Sopranos-Complete-James-Gandolfini/dp/B002OID4VS/ref=sr_1_1?ie=UTF8&s=dvd&qid=1266698676&sr=8-1">The Sopranos</a>, <a href="http://www.amazon.com/Wire-Complete-Dominic-West/dp/B001FA1P1W/ref=sr_1_1?ie=UTF8&s=dvd&qid=1266698710&sr=1-1">The Wire</a> 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=33 http://files.storylogue.com/videos/attachment/640x360/34_sl_qna_16_Feb_19_2010_UnderstandingYourStoryForm.flv http://files.storylogue.com/videos/attachment/640x360/33_LA_Q_24.mov.jpg Finding Meaning In Life (And Your Stories) Question 16 - 2/19/2010 Finding Meaning In Life (And Your Stories) 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=34 http://files.storylogue.com/videos/attachment/640x360/35_LA_Q_53-MCKEE 2-22-10 - How Do I Sell My Script.flv http://files.storylogue.com/videos/attachment/640x360/35_LA_Q_53-MCKEE 2-22-10 - How Do I Sell My Script.jpg How do I sell my script? Question 17 - 2/22/2010 How do I sell my script? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=35 http://files.storylogue.com/videos/attachment/640x360/36_LA_Q_1-MCKEE 2-23-10 - Writing A Story Based on Real Life Situtation.flv http://files.storylogue.com/videos/attachment/640x360/36_LA_Q_1-MCKEE 2-23-10 - Writing A Story Based on Real Life Situtation.jpg Writing A Story Based on a Real-Life Situation Question 18 - 2/23/2010 Writing A Story Based on a Real-Life Situation 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=36 http://files.storylogue.com/videos/attachment/640x360/37_LA_Q_11-MCKEE 2-24-10 - Intellectual Impulses in Character Choices.flv http://files.storylogue.com/videos/attachment/640x360/37_LA_Q_11-MCKEE 2-24-10 - Intellectual Impulses in Character Choices.jpg Intellectual Impulses in Character Choices Question 19 - 2/24/2010 Intellectual Impulses in Character Choices 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=37 http://files.storylogue.com/videos/attachment/640x360/37_LA_Q_16-MCKEE 2-25-10 - Finding Stories That Want to be Told.flv http://files.storylogue.com/videos/attachment/640x360/37_LA_Q_16-MCKEE 2-25-10 - Finding Stories That Want to be Told.jpg Finding Stories "That Want To Be Told" Question 20 - 2/25/2010 Finding Stories "That Want To Be Told" 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=38 http://files.storylogue.com/videos/attachment/640x360/39_LA_Q_26-MCKEE 2-26-10 - Does Reality TV Change an Audiences Behavior.flv http://files.storylogue.com/videos/attachment/640x360/39_LA_Q_26-MCKEE 2-26-10 - Does Reality TV Change an Audiences Behavior.jpg Does Reality TV Change the Audience's Behavior? Question 21 - 2/26/2010   Does Reality TV Change the Audience's Behavior? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=39 http://files.storylogue.com/videos/attachment/640x360/39_sl_int_hotplate_intro.flv http://files.storylogue.com/videos/attachment/640x360/39_sl_int_hotplate_intro.jpg Interview with Hotplate Productions Josh Gold & Lowell Cauffiel (Pt. 1) <h2><img src="../../../static/upload/images/lowell_cauffiel.jpg" alt="" width="109" height="81" />  Lowell Cauffiel - Novelist, TV Writer </h2> Lowell Cauffiel, born in Michigan, is an American writer and TV producer. An award-winning reporter with the Detroit News and Detroit Monthly Magazine in the 1970s and 1980s, Cauffiel began his bookwriting career in 1988 with Masquerade: A True Story of Seduction, Compulsion and Murder. That title, and his 1997 New York Times bestseller House of Secrets, have appeared on many critics' lists of the best works in American true crime. As a nonfiction author, he's known for his meticulous research and accuracy, delivered in novel-like, page-turner style. Thematically, Cauffiel's books often explore how people embrace popular trends and exalt American values to hide their dark intentions and destructive acts.   In the mid 1990s, Cauffiel also turned his attention to crime novels, publishing three fiction titles. He credits the off-beat humor and high-contrast scenes found in his fiction to his years spent as a reporter in the volatile streets of Detroit and the many years he worked as a blues guitarist in smoky Motor City nightclubs.   Lowell's most recently sold a TV pilot to Warner Bros. called "Detroit 310."   <h2><img src="../../../static/upload/images/Josh_Gold.jpg" alt="" width="109" height="75" />  Josh Gold - Television Executive</h2> After finishing at the University of Texas, Josh Gold worked in production in Austin, TX on such films as THE ROOKIE, THE LIFE OF DAVID GALE, and THE TEXAS CHAINSAW MASSACRE before moving to Los Angeles. He started his development career with producer Gavin Polone ("Curb Your Enthusiasm," "Panic Room") before working as an executive for director Todd Phillips (OLD SCHOOL, THE HANGOVER), where he developed comedies at his Warner Bros.-based production company. Currently, Josh is President of WB-based Hotplate Productions. He has set up television shows at CBS, Fox Studios and NBC, and is currently casting the company's first feature film, JACK KNIFE, after securing independent financing for the film. 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=40 http://files.storylogue.com/videos/attachment/640x360/43_LA_Q_05 Establishing the Language in a Period Piece - 03 01 2010.mov.flv http://files.storylogue.com/videos/attachment/640x360/43_LA_Q_05 Establishing the Language in a Period Piece - 03 01 2010.mov.jpg Establishing The Language in a Period Piece Question 22 - 03/01/2010 - Establishing The Language in a Period Piece 0.5 http://www.storylogue.com/docs/lessons.html?documentId=41 http://files.storylogue.com/videos/attachment/640x360/44_sl_lsn_enter-exit_03_11ways_to_use_prologue.flv http://files.storylogue.com/videos/attachment/640x360/44_sl_lsn_enter-exit_03_11ways_to_use_prologue.jpg Entering & Exiting the Story 3: Eleven Ways To Use Prologues 11 Ways To Use Prologues: 1. Give Exposition 2. Set A Mood 3. Establish a Unique Setting 4. Introduce Variety 5. Hook Interest 6. Recap 7. Set Up Future Payoffs 8. Frame the Story 9. Create Dramatic Irony 10. Develop a Setup Sub-Plot 11. Just for the Laughs    Examples Referred To (in order mentioned): <a href="http://www.amazon.com/Star-Wars-Trilogy-Harrison-Ford/dp/B001EN71DG/ref=sr_1_1?ie=UTF8&s=dvd&qid=1267302089&sr=1-1">Star Wars</a>, <a href="http://www.amazon.com/Coco-Before-Chanel-Audrey-Tautou/dp/B002LE8MGW/ref=sr_1_1?ie=UTF8&s=dvd&qid=1267302186&sr=1-1">CoCo Before Chanel</a>, <a href="http://www.amazon.com/Taming-Shrew-Broadway-Theatre-Archive/dp/B00006G8HO/ref=sr_1_2?ie=UTF8&s=dvd&qid=1267302232&sr=1-2">Taming of the Shrew</a>, <a href="http://www.amazon.com/Sexy-Beast-Ray-Winstone/dp/B00005UV33/ref=sr_1_1?ie=UTF8&s=dvd&qid=1267302278&sr=1-1">Sexy Beast</a>, <a href="http://www.amazon.com/Casablanca-Two-Disc-Special-Humphrey-Bogart/dp/B00009W0WM/ref=sr_1_2?ie=UTF8&s=dvd&qid=1267302349&sr=1-2">Casablanca</a>, <a href="http://www.nbc.com/Law_and_Order/">Law & Order</a> (NBC), <a href="http://www.fxnetworks.com/shows/originals/damages/">Damages </a>(FX), <a href="http://www.hbo.com/in-treatment/index.html">In Treatment </a>(HBO) , <a href="http://www.fox.com/24/">24 </a>(Fox), Joyce Carol Oates' novel <a href="http://www.amazon.com/What-Lived-Joyce-Carol-Oates/dp/0452272696/ref=sr_1_1?ie=UTF8&s=books&qid=1267302545&sr=8-1">What I Lived For</a>, <a href="http://www.amazon.com/Gandhi-Widescreen-Two-Disc-Collectors-Kingsley/dp/B000KX0IOA/ref=sr_1_1?ie=UTF8&s=dvd&qid=1267302726&sr=1-1">Gandhi</a>, <a href="http://www.amazon.com/Last-Emperor-John-Lone/dp/B001EOQCMG/ref=sr_1_2?ie=UTF8&s=dvd&qid=1267302749&sr=1-2-spell">The Last Emporer</a>, <a href="http://www.amazon.com/Sunset-Boulevard-Centennial-William-Holden/dp/B001EXE2ZG/ref=sr_1_1?ie=UTF8&s=dvd&qid=1267302805&sr=1-1">Sunset Blvd</a>., <a href="http://www.amazon.com/Double-Indemnity-Universal-Legacy-MacMurray/dp/B00005JNG5/ref=sr_1_1?ie=UTF8&s=dvd&qid=1267302867&sr=1-1">Double Indemnity</a>, <a href="http://www.amazon.com/Predator-Widescreen-Collectors-Arnold-Schwarzenegger/dp/B000244EMO/ref=sr_1_2?ie=UTF8&s=dvd&qid=1267302909&sr=1-2">Predator</a>, <a href="http://www.amazon.com/Life-Beautiful-Claudio-Alfonsi/dp/B00001U0DP/ref=sr_1_1?ie=UTF8&s=dvd&qid=1267302963&sr=1-1">Life is Beautiful</a>, Robert McKee's mini-series <a href="http://www.amazon.com/Abraham-Bible-Collection-Richard-Harris/dp/B0006J28K0/ref=sr_1_1?ie=UTF8&s=dvd&qid=1267303000&sr=1-1">Abraham</a>, <a href="http://www.amazon.com/Scrooged-Bill-Murray/dp/6305609764/ref=sr_1_1?ie=UTF8&s=dvd&qid=1267303025&sr=1-1">Scrooged</a> 0.9 http://www.storylogue.com/docs/interviews.html?documentId=42 http://files.storylogue.com/videos/attachment/640x360/45_sl_int_bernstein_01_introduction.flv http://files.storylogue.com/videos/attachment/640x360/45_sl_int_bernstein_01_introduction.jpg CBS News Producer Joel Bernstein (Pt. 1) <img src="../../../static/upload/images/JoelBernsteinPhoto.jpg" alt="" width="113" height="69" /> Joel Bernstein - CBS News Producer Joel Bernstein is an Emmy Award-winning veteran producer at CBS News. He began his career as a writer and producer for Walter Cronkite, served as a producer for Dan Rather at "60 Minutes," was Bureau Chief for CBS in Tel Aviv and Paris, and produced several hour-long documentaries including "Schwartzkopf: Return to Vietnam" with Dan Rather, and "Heroes of the Century" with Ed Bradley. Mr. Bernstein is a resident of New York City. 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=43 http://files.storylogue.com/videos/attachment/640x360/46_LA_Q_09 Clarifying The Object of Desire 03 02 2010.mov.flv http://files.storylogue.com/videos/attachment/640x360/46_LA_Q_09 Clarifying The Object of Desire 03 02 2010.mov.jpg Clarifying The Object of Desire Question 23 - 03/02/2010 - Clarifying The Object of Desire 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=44 http://files.storylogue.com/videos/attachment/640x360/48_LA_Q_12 The Subtext Of Developing Art 03 03 2010.mov.flv http://files.storylogue.com/videos/attachment/640x360/48_LA_Q_12 The Subtext Of Developing Art 03 03 2010.mov.jpg The Subtext Of Developing Art Question 24 - 03/03/2010 - The Subtext of Developing Art 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=45 http://files.storylogue.com/videos/attachment/640x360/49_LA_Q_52 Fiction Versus Too Far Fetched Fiction 03 05 2010.mov.flv http://files.storylogue.com/videos/attachment/640x360/49_LA_Q_52 Fiction Versus Too Far Fetched Fiction 03 05 2010.mov.jpg Fiction Versus Too Far Fetched Fiction Question 25 - 03/04/2010 - Fiction vs. Too Far-Fetched Fiction 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=46 http://files.storylogue.com/videos/attachment/640x360/50_LA_Q_57 Stories Told In The Social Networking Age 03 04 2010.mov.flv http://files.storylogue.com/videos/attachment/640x360/50_LA_Q_57 Stories Told In The Social Networking Age 03 04 2010.mov.jpg Stories Told In The Social Networking Age Question 26 - 03/05/2010 - Stories Told in the Social Networking Age (i.e. Less than 140 characters) 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=47 http://files.storylogue.com/videos/attachment/640x360/47_LA_Q_20.mov.flv http://files.storylogue.com/videos/attachment/640x360/47_LA_Q_20.mov.jpg A Character's Turning Point & Minimal Conservative Action Question 27 - 3/08/2010 - A Character's Turning Point & Minimal Conservative Action 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=48 http://files.storylogue.com/videos/attachment/640x360/52_LA_Q_21.mov.flv http://files.storylogue.com/videos/attachment/640x360/52_LA_Q_21.mov.jpg The Use of Story in Short Works Question 27 - 3/08/2010 - The Use of Story in Short Works 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=49 http://files.storylogue.com/videos/attachment/640x360/53_LA_Q_25.mov.flv http://files.storylogue.com/videos/attachment/640x360/53_LA_Q_25.mov.jpg Story Principles in the Craft of Reality TV Question 28 - 03/09/2010 - Story Principles in the Craft of Reality TV 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=50 http://files.storylogue.com/videos/attachment/640x360/54_LA_Q_15.mov.flv http://files.storylogue.com/videos/attachment/640x360/54_LA_Q_15.mov.jpg Writing Historical Screenplays 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=51 http://files.storylogue.com/videos/attachment/640x360/55_LA_Q_58.mov.flv http://files.storylogue.com/videos/attachment/640x360/55_LA_Q_58.mov.jpg Does Advertising Always Have to Tell a Story? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=52 http://files.storylogue.com/videos/attachment/640x360/56_sl_lsn_enter-exit_04_9uses_of_epilogues.flv http://files.storylogue.com/videos/attachment/640x360/56_sl_lsn_enter-exit_04_9uses_of_epilogues.jpg Entering & Exiting the Story 4: 9 Uses of Epilogues Nine possible uses of Epilogues:   1. A Last Laugh 2. A Plea for Applause 3. Restatement of the Story's Moral 4. Add Irony 5. Answer Last Questions 6. Give Slow Curtain 7. Punctuation Mark 8. Future Fates 9. Show Climax's Spread of Effects 0.9 http://www.storylogue.com/docs/interviews.html?documentId=53 http://files.storylogue.com/videos/attachment/640x360/57_sl_int_kotcheff_01_introduction.flv http://files.storylogue.com/videos/attachment/640x360/57_sl_int_kotcheff_01_introduction.jpg Ted Kotcheff, Executive Producer of LAW & ORDER: SVU <img src="../../../static/upload/images/TedKotcheffPhoto.jpg" alt="" width="120" height="108" /> TED KOTCHEFF, EXECUTIVE PRODUCER, LAW & ORDER: SVU Ted Kotcheff was born William Theodore Kotcheff in Toronto, Canada in 1931. After graduating with a degree in English Literature, Kotcheff began his television career at the age of twenty-four when he joined the staff of the Canadian Broadcasting Corporation (CBC), with television still very much in its infancy in the country. Kotcheff was the youngest director on the staff of the CBC, where he worked for two years on shows such as General Motors Theatre, before leaving Canada in 1958 to live and work in the United Kingdom.   Kotcheff was inspired by his compatriot <a href="http://en.wikipedia.org/wiki/Sydney_Newman">Sydney Newman</a>, who had been the Director of Drama at the CBC and had moved across to the UK to take up a similar position at ABC Television. At ABC, Newman produced the popular Armchair Theatre anthology drama program, where he employed Kotcheff as a director of the series. Kotcheff was responsible for helming some of the best-remembered installments of Armchair Theatre strand, and in 1962 made his first feature film, TIARA TAHITI (<a href="http://movies.nytimes.com/movie/49896/Tiara-Tahiti/overview">New York Times Review</a>). He went on to direct other features during the decade, including LIFE AT THE TOP (1965) and TWO GENTLEMEN SHARING (1969).   In 1971, he directed the classic Australian film WAKE IN FRIGHT, which won much critical acclaim in Europe, and was Australia's entry at the Cannes Film Festival where it was nominated for the Golden Palm Award. (In 2009, <a href="http://www.amazon.com/Fright-Outback-NON-USA-FORMAT-Reg-4/dp/B0032OE6PQ/ref=sr_1_1?ie=UTF8&s=dvd&qid=1267901953&sr=8-1">WAKE IN FRIGHT </a>was re-released on DVD and Blu-ray disc in a fully-restored version.)   Later in 1971, Kotcheff returned to television, directing Play For Today: Edna, the Inebriate Woman for the BBC, which won him the BAFTA Award for Best Drama Program. In 2000, the program was voted one of the 100 Greatest British Television Programmes of the 20th century in a poll of industry professionals conducted by the British Film Institute (BFI).   In the 1970s and 1980s, Kotcheff directed various iconic films including FIRST BLOOD with Sylvester Stallone, WEEKEND AT BERNIES and UNCOMMON VALOR with Gene Hackman. In the 1990s he returned to television and has served as the Executive Producer of NBC’s wildly successful series Law & Order: Special Victims Unit (<a href="http://www.nbc.com/Law_and_Order_Special_Victims_Unit/">Official Site</a>) since 1999. 0.9 http://www.storylogue.com/docs/lessons.html?documentId=63 http://files.storylogue.com/videos/attachment/640x360/67_sl_lsn_dialogue_03_7-9.flv http://files.storylogue.com/videos/attachment/640x360/67_sl_lsn_dialogue_03_7-9.jpg 10 Traits of Faulty Dialogue 3: Traits 7 thru 9 Traits 7 through 9: #7: Talking Wallpaper #8: Forced Exposition #9: Malformation   0.9 http://www.storylogue.com/docs/lessons.html?documentId=54 http://files.storylogue.com/videos/attachment/640x360/59_sl_lsn_character_01_introduction.flv http://files.storylogue.com/videos/attachment/640x360/59_sl_lsn_character_01_introduction.jpg The Creation of Characters 1: Introduction 0.9 http://www.storylogue.com/docs/interviews.html?documentId=55 http://files.storylogue.com/videos/attachment/640x360/60_sl_int_pressfield_02_on_becoming_a_novelist.flv http://files.storylogue.com/videos/attachment/640x360/60_sl_int_pressfield_02_on_becoming_a_novelist.jpg Author Steven Pressfield - Pt. II 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=56 http://files.storylogue.com/videos/attachment/640x360/61_LA_Q_22.mov GOOD 03 15 10.flv http://files.storylogue.com/videos/attachment/640x360/61_LA_Q_22.mov GOOD 03 15 10.jpg Writing Dialogue Before You Have A Story 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=57 http://files.storylogue.com/videos/attachment/640x360/62_LA_Q_31.mov 03 16 10.flv http://files.storylogue.com/videos/attachment/640x360/62_LA_Q_31.mov 03 16 10.jpg Positioning A Story In A Keynote Address 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=58 http://files.storylogue.com/videos/attachment/640x360/63_LA_Q_38.mov 03 17 10.flv http://files.storylogue.com/videos/attachment/640x360/63_LA_Q_38.mov 03 17 10.jpg Do I Need Technical Filmmaking Knowledge To Be A Screenwriter? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=59 http://files.storylogue.com/videos/attachment/640x360/64_LA_Q_55.mov 03 18 10.flv http://files.storylogue.com/videos/attachment/640x360/64_LA_Q_55.mov 03 18 10.jpg How Do You Get Over Writer's Block? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=60 http://files.storylogue.com/videos/attachment/640x360/65_LA_Q_46.mov 03 19 10.flv http://files.storylogue.com/videos/attachment/640x360/65_LA_Q_46.mov 03 19 10.jpg What Makes A Thriller A Thriller? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=66 http://files.storylogue.com/videos/attachment/640x360/69_sl_int_drew_carey_01_Introduction.flv http://files.storylogue.com/videos/attachment/640x360/69_sl_int_drew_carey_01_Introduction.jpg Comedian, TV Host and Actor Drew Carey, Part 1 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=68 http://files.storylogue.com/videos/attachment/640x360/70_LA_Q_51.mov.flv http://files.storylogue.com/videos/attachment/640x360/70_LA_Q_51.mov.jpg Sequels and Prequels 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=69 http://files.storylogue.com/videos/attachment/640x360/71_LA_Q_47.mov.flv http://files.storylogue.com/videos/attachment/640x360/71_LA_Q_47.mov.jpg Starting with a specific inspiration or theme, and then changing course. 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=70 http://files.storylogue.com/videos/attachment/640x360/72_LA_Q_34.mov.flv http://files.storylogue.com/videos/attachment/640x360/72_LA_Q_34.mov.jpg "COULD I do this?" versus "WHY am I doing this?" 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=73 http://files.storylogue.com/videos/attachment/640x360/73_LA_Q_33.mov.flv http://files.storylogue.com/videos/attachment/640x360/73_LA_Q_33.mov.jpg Using Story To Raise Money For A New Venture 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=74 http://files.storylogue.com/videos/attachment/640x360/74_LA_Q_49.mov.flv http://files.storylogue.com/videos/attachment/640x360/74_LA_Q_49.mov.jpg Is It Fatal To Incapacitate Your Main Character In The Story? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=75 http://files.storylogue.com/videos/attachment/640x360/75_SL_int_bill_block_01_introduction.flv http://files.storylogue.com/videos/attachment/640x360/75_SL_int_bill_block_01_introduction.jpg QED President Bill Block <img src="../../../static/upload/images/bill_block.jpg" alt="" width="73" height="98" /> BILL BLOCK, President, QED Bill Block founded QED INTERNATIONAL in December 2005 where he leads day-to-day operations and strategy for the company. Previously, Block was President of Artisan Entertainment where he supervised all divisions – film production and acquisitions, international distribution, home entertainment, and television. Block managed Artisan’s senior lending as well as international distribution relationships. While at Artisan, Block acquired The Blair Witch Project which realized one of the most profitable returns on investment in film history. Artisan was successfully sold to Lionsgate in December 2003. Before Artisan, Block was one of the industry’s leading talent agents as Head of West Coast Operations for International Creative Management from 1992 to 1997 and founder of the Intertalent Agency. QED Online: <a href="http://www.qedintl.com">www.qedintl.com</a> 0.9 http://www.storylogue.com/docs/lessons.html?documentId=76 http://files.storylogue.com/videos/attachment/640x360/76_sl_lsn_character_02.flv http://files.storylogue.com/videos/attachment/640x360/76_sl_lsn_character_02.jpg The Creation of Characters 2: Writing in Character 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=77 http://files.storylogue.com/videos/attachment/640x360/77_LA_Q_43.mov.flv http://files.storylogue.com/videos/attachment/640x360/77_LA_Q_43.mov.jpg Writing A BioPic 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=80 http://files.storylogue.com/videos/attachment/640x360/78_QA23 azzie from sydney.flv http://files.storylogue.com/videos/attachment/640x360/78_QA23 azzie from sydney.jpg Getting Into The Minds Of Characters of the Opposite Sex 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=81 http://files.storylogue.com/videos/attachment/640x360/79_QA02 robert from amsterdam writing for children versus adults.flv http://files.storylogue.com/videos/attachment/640x360/79_QA02 robert from amsterdam writing for children versus adults.jpg Writing For Children vs. Writing For Adults 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=82 http://files.storylogue.com/videos/attachment/640x360/80_LA_Q_35.mov.flv http://files.storylogue.com/videos/attachment/640x360/80_LA_Q_35.mov.jpg Applying The Principles of Story in Television 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=83 http://files.storylogue.com/videos/attachment/640x360/81_QA17 dani brook Will Reading Other Peoples Working Influence Your Writing.flv http://files.storylogue.com/videos/attachment/640x360/81_QA17 dani brook Will Reading Other Peoples Working Influence Your Writing.jpg Does Reading Other People's Writing Influence Your Writing? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=715 http://files.storylogue.com/videos/attachment/640x360/634_QA530.flv http://files.storylogue.com/videos/attachment/640x360/634_QA530.jpg Are interviews a form of art? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=716 http://files.storylogue.com/videos/attachment/640x360/635_QA531.flv http://files.storylogue.com/videos/attachment/640x360/635_QA531.jpg Can you apply your principles to television writing? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=717 http://files.storylogue.com/videos/attachment/640x360/636_QA532.flv http://files.storylogue.com/videos/attachment/640x360/636_QA532.jpg How would you apply something like the education plot to television without losing your audience? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=92 http://files.storylogue.com/videos/attachment/640x360/84_SL_lsn_enter-exit_05_case_study-og.flv http://files.storylogue.com/videos/attachment/640x360/84_SL_lsn_enter-exit_05_case_study.jpg Entering & Exiting the Story 5: Case Study - SEXY BEAST 0.9 http://www.storylogue.com/docs/interviews.html?documentId=93 http://files.storylogue.com/videos/attachment/640x360/85_sl_int_coyne_02.flv http://files.storylogue.com/videos/attachment/640x360/85_sl_int_coyne_02.jpg Literary Agent SHAWN COYNE - Pt. 2 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=97 http://files.storylogue.com/videos/attachment/640x360/87_QA01 leaving las vegas dramati2.flv http://files.storylogue.com/videos/attachment/640x360/87_QA01 leaving las vegas dramati2.jpg If The Audience Knows What Will Happen, Does It Kill The Suspense? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=98 http://files.storylogue.com/videos/attachment/640x360/88_60 melke from belgium - truth 2.flv http://files.storylogue.com/videos/attachment/640x360/88_60 melke from belgium - truth 2.jpg Myth and Truth in Story 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=99 http://files.storylogue.com/videos/attachment/640x360/89_QA10 clementine from norway.flv http://files.storylogue.com/videos/attachment/640x360/89_QA10 clementine from norway.jpg Act Climaxes on Stage and on Screen 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=100 http://files.storylogue.com/videos/attachment/640x360/90_QA21 exposition and setups.flv http://files.storylogue.com/videos/attachment/640x360/90_QA21 exposition and setups.jpg The Difference Between Exposition and Set-Ups 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=101 http://files.storylogue.com/videos/attachment/640x360/91_77 peter from toronto.flv http://files.storylogue.com/videos/attachment/640x360/91_77 peter from toronto.jpg Using Story in the Context of a Non-Fiction Work 0.5 http://www.storylogue.com/docs/lessons.html?documentId=103 http://files.storylogue.com/videos/attachment/640x360/92_sl_lsn_dialogue_04_10wSideways.flv http://files.storylogue.com/videos/attachment/640x360/92_sl_lsn_dialogue_04_10wSideways.jpg 10 Traits of Faulty Dialogue 4: Trait 10 Pt 1 - Example "SIDEWAYS" #10 - "On The Nose" Dialogue   0.9 http://www.storylogue.com/docs/interviews.html?documentId=104 http://files.storylogue.com/videos/attachment/640x360/93_sl_int_mcgrath_02.flv http://files.storylogue.com/videos/attachment/640x360/93_sl_int_mcgrath_02.jpg Author Patrick McGrath - Pt. II 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=106 http://files.storylogue.com/videos/attachment/640x360/95_QA04 richard from australia 04 12 2010 Should My Comedy Characters Be Shallow and Soulless.flv http://files.storylogue.com/videos/attachment/640x360/95_QA04 richard from australia 04 12 2010 Should My Comedy Characters Be Shallow and Soulless_3.jpg Should Comedy Characters Be Shallow and Soulless? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=107 http://files.storylogue.com/videos/attachment/640x360/96_62 maria from greece 04 13 2010 The Structure of Acts in Story.flv http://files.storylogue.com/videos/attachment/640x360/96_62 maria from greece 04 13 2010 The Structure of Acts in Story.jpg Act Structure in Story 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=108 http://files.storylogue.com/videos/attachment/640x360/97_QA22 matt williams 04 14 2010 Balancing A Characters Negative and Positive Dimensions.flv http://files.storylogue.com/videos/attachment/640x360/97_QA22 matt williams 04 14 2010 Balancing A Characters Negative and Positive Dimensions.jpg Balancing A Character's Negative and Positive Dimensions 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=109 http://files.storylogue.com/videos/attachment/640x360/98_QA11 paul oneill 04 15 2010 Applying Story to Still Photography.flv http://files.storylogue.com/videos/attachment/640x360/98_QA11 paul oneill 04 15 2010 Applying Story to Still Photography.jpg Telling A Story With Still Photography 0.5 http://www.storylogue.com/docs/lessons.html?documentId=110 http://files.storylogue.com/videos/attachment/640x360/99_sl_lsn_character_03.flv http://files.storylogue.com/videos/attachment/640x360/99_sl_lsn_character_03.jpg The Creation of Characters 3: Build a Character Around His Core of Desire 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=113 http://files.storylogue.com/videos/attachment/640x360/100_QA12 helen seymour from dublin 04 16 10 - Writers Block.flv http://files.storylogue.com/videos/attachment/640x360/100_QA12 helen seymour from dublin 04 16 10 - Writers Block.jpg Writer's Block 0.5 http://www.storylogue.com/docs/interviews.html?documentId=114 http://files.storylogue.com/videos/attachment/640x360/101_sl_int_kotcheff_02.flv http://files.storylogue.com/videos/attachment/640x360/101_sl_int_kotcheff_02.jpg Law & Order: SVU Executive Producer Ted Kotcheff - Pt. II 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=115 http://files.storylogue.com/videos/attachment/640x360/102_LA_Q_41.mov.flv http://files.storylogue.com/videos/attachment/640x360/102_LA_Q_41.mov.jpg Applying the Principles of Story to Short Stories 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=120 http://files.storylogue.com/videos/attachment/640x360/103_LA_Q_30.mov.flv http://files.storylogue.com/videos/attachment/640x360/103_LA_Q_30.mov.jpg How Do You Learn To Tell Stories? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=121 http://files.storylogue.com/videos/attachment/640x360/104_LA_Q_36.mov - Minimal Conservative Action.flv http://files.storylogue.com/videos/attachment/640x360/104_LA_Q_36.mov - Minimal Conservative Action.jpg Characters Making Conservative, But Sufficient, Actions 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=122 http://files.storylogue.com/videos/attachment/640x360/105_LA_Q_44 - Character Development.mov.flv http://files.storylogue.com/videos/attachment/640x360/105_LA_Q_44 - Character Development.mov.jpg Accelerating The Development Of Your Character Question: CAN YOU ACCELERATE THE DEVELOPMENT OF YOUR CHARACTER IN A STORY? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=124 http://files.storylogue.com/videos/attachment/640x360/106_58 designing the perfect crime 2 04 23 10.flv http://files.storylogue.com/videos/attachment/640x360/106_58 designing the perfect crime 2 04 23 10_3.jpg Designing The Perfect Crime 0.5 http://www.storylogue.com/docs/lessons.html?documentId=125 http://files.storylogue.com/videos/attachment/640x360/107_SL_lsn_enter-exit_06_story_framing_1 04 24 10.flv http://files.storylogue.com/videos/attachment/640x360/107_SL_lsn_enter-exit_06_story_framing_1 04 24 10.jpg Entering & Exiting the Story 6: Framing Techniques Part 1 0.9 http://www.storylogue.com/docs/interviews.html?documentId=127 http://files.storylogue.com/videos/attachment/640x360/108_04 25 2010 sl_int_drew_carey_02.flv http://files.storylogue.com/videos/attachment/640x360/108_04 25 2010 sl_int_drew_carey_02.jpg Comedian, Host and Producer DREW CAREY - Pt. II 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=128 http://files.storylogue.com/videos/attachment/640x360/109_40 adam - testing plot 2 04 26 10.flv http://files.storylogue.com/videos/attachment/640x360/109_40 adam - testing plot 2 04 26 10.jpg The Testing Plot 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=129 http://files.storylogue.com/videos/attachment/640x360/110_79 more testing plot stories 2 04 27 10.flv http://files.storylogue.com/videos/attachment/640x360/110_79 more testing plot stories 2 04 27 10.jpg Testing Plot - Pt. II This is a follow-up to Adam's question from yesterday (4/26/10). 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=130 http://files.storylogue.com/videos/attachment/640x360/111_LA_Q_07.mov.flv http://files.storylogue.com/videos/attachment/640x360/111_LA_Q_07.mov.jpg Are Flashbacks Useful and How Long Should They Be? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=132 http://files.storylogue.com/videos/attachment/640x360/112_32 adam - ironic ending.flv http://files.storylogue.com/videos/attachment/640x360/112_32 adam - ironic ending_2.jpg How Do You Create An Ironic Ending In A Thriller? An essential question for those writing thrillers. 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=133 http://files.storylogue.com/videos/attachment/640x360/113_QA30 writing timeless stories_02.flv http://files.storylogue.com/videos/attachment/640x360/113_QA30 writing timeless stories_02.jpg How Do You Write Stories That Are Timeless? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=134 http://files.storylogue.com/videos/attachment/640x360/114_SL_lsn_enter-exit_07_story_framing_2.flv http://files.storylogue.com/videos/attachment/640x360/114_SL_lsn_enter-exit_07_story_framing_2.jpg Entering & Exiting the Story 7: Framing Techniques Part 2 0.9 http://www.storylogue.com/docs/interviews.html?documentId=135 http://files.storylogue.com/videos/attachment/640x360/115_SL_int_bill_block_02.flv http://files.storylogue.com/videos/attachment/640x360/115_SL_int_bill_block_02.jpg QED President BILL BLOCK - Pt. II 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=136 http://files.storylogue.com/videos/attachment/640x360/116_59 arousing concern for the protagonaist 2.flv http://files.storylogue.com/videos/attachment/640x360/116_59 arousing concern for the protagonaist 2.jpg How Do You Arouse Concern for the Protagonist? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=137 http://files.storylogue.com/videos/attachment/640x360/117_QA27 lisa from new jersey 2.flv http://files.storylogue.com/videos/attachment/640x360/117_QA27 lisa from new jersey 2.jpg How Important Are The First 5 Pages of the Screenplay? How important are the first 5-10 pages of your screenplay to grab the reader's attention? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=138 http://files.storylogue.com/videos/attachment/640x360/118_05 06 10 QA29 thriller roles reversed 2.flv http://files.storylogue.com/videos/attachment/640x360/118_05 06 10 QA29 thriller roles reversed 2_1.jpg Will The Story Work If You Reverse the Roles of the Antagonist and Protagonist? Another great question from one of our seminar attendees. 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=139 http://files.storylogue.com/videos/attachment/640x360/119_05 05 2010 QA28 wonderful life story 2.flv http://files.storylogue.com/videos/attachment/640x360/119_05 05 2010 QA28 wonderful life story 2.jpg Is My Life Story Interesting Enough To Be A Screenplay? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=140 http://files.storylogue.com/videos/attachment/640x360/120_05 07 2010 34 sam from australia 2.flv http://files.storylogue.com/videos/attachment/640x360/120_05 07 2010 34 sam from australia 2.jpg At What Stage In Your Writing Do You Show It To Someone? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=142 http://files.storylogue.com/videos/attachment/640x360/121_SL_lsn_enter-exit_08 05 08 10.flv http://files.storylogue.com/videos/attachment/640x360/121_SL_lsn_enter-exit_08 05 08 10.jpg Entering & Exiting the Story 8: Cheap Tricks - False Openings 0.9 http://www.storylogue.com/docs/interviews.html?documentId=143 http://files.storylogue.com/videos/attachment/640x360/122_sl_int_bernstein_02.flv http://files.storylogue.com/videos/attachment/640x360/122_sl_int_bernstein_02.jpg Interview with Joel Bernstein Pt. 2 <img src="../../../static/upload/images/JoelBernsteinPhoto.jpg" alt="" width="113" height="69" /> Joel Bernstein - CBS News Producer Joel Bernstein is an Emmy Award-winning veteran producer at CBS News. He began his career as a writer and producer for Walter Cronkite, served as a producer for Dan Rather at "60 Minutes," was Bureau Chief for CBS in Tel Aviv and Paris, and produced several hour-long documentaries including "Schwartzkopf: Return to Vietnam" with Dan Rather, and "Heroes of the Century" with Ed Bradley. Mr. Bernstein is a resident of New York City. 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=144 http://files.storylogue.com/videos/attachment/640x360/123_05 10 2010 65 inciting incident within a character 2.flv http://files.storylogue.com/videos/attachment/640x360/123_05 10 2010 65 inciting incident within a character 2.jpg Where Does The Inciting Incident Come From - Within or Outside of the Character? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=145 http://files.storylogue.com/videos/attachment/640x360/124_05 11 2010 66 plot and subplot end the same way 2.flv http://files.storylogue.com/videos/attachment/640x360/124_05 11 2010 66 plot and subplot end the same way 2.jpg Do Plot and Sub-Plot Have To End The Same Way? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=146 http://files.storylogue.com/videos/attachment/640x360/125_05 12 2010 67 level of conflict in plot and subplot 2.flv http://files.storylogue.com/videos/attachment/640x360/125_05 12 2010 67 level of conflict in plot and subplot 2.jpg The Level of Conflict in the Plot and Sub-Plot Part 2 of the question from 05/11/2010. 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=147 http://files.storylogue.com/videos/attachment/640x360/126_05 13 2010 63 establish characters expectation 2 - When To Establish A Characters Expectation.flv http://files.storylogue.com/videos/attachment/640x360/126_05 13 2010 63 establish characters expectation 2 - When To Establish A Characters Expectation.jpg When Do You Establish A Character's Expectation? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=149 http://files.storylogue.com/videos/attachment/640x360/128_05 15 10 sl_lsn_character_04.flv http://files.storylogue.com/videos/attachment/640x360/128_05 15 10 sl_lsn_character_04.jpg The Creation of Characters 4: Build a Complex Character Around a Need With a brief review from the previous Character Study. 0.9 http://www.storylogue.com/docs/interviews.html?documentId=150 http://files.storylogue.com/videos/attachment/640x360/129_05 16 10 sl_int_hotplate_02.flv http://files.storylogue.com/videos/attachment/640x360/129_05 16 10 sl_int_hotplate_02.jpg TV Executive Josh Gold and TV Writer Lowell Cauffiel, Pt. 2 Josh and Lowell discuss how Lowell's TV show "Detroit 310" goes from pitch to sale. 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=151 http://files.storylogue.com/videos/attachment/640x360/130_QA26 bitten by a zombie 2.flv http://files.storylogue.com/videos/attachment/640x360/130_QA26 bitten by a zombie 2_3.jpg What Happens In A Horror Film When A Character Is Bitten By A Zombie? What happens in a horror film if a character is bitten by a zombie, and knows he'll turn into a zombie himself? What choices does he make? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=152 http://files.storylogue.com/videos/attachment/640x360/131_05 19 2010 39 michelle in indianapolis 2.flv http://files.storylogue.com/videos/attachment/640x360/131_05 19 2010 39 michelle in indianapolis 2.jpg Should You Think Of A Certain Actor or Actress To Play A Part When Writing A Screenplay? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=153 http://files.storylogue.com/videos/attachment/640x360/132_05 18 2010 61 the hero with 1000 faces monomyth 2.flv http://files.storylogue.com/videos/attachment/640x360/132_05 18 2010 61 the hero with 1000 faces monomyth 2.jpg The Myth and Story 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=154 http://files.storylogue.com/videos/attachment/640x360/133_05 19 2010 38 flashback POV throughout 2.flv http://files.storylogue.com/videos/attachment/640x360/133_05 19 2010 38 flashback POV throughout 2.jpg Can A Novel Begin With a Flashback? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=155 http://files.storylogue.com/videos/attachment/640x360/134_05 20 2010 QA07 relative proximity to anger 2.flv http://files.storylogue.com/videos/attachment/640x360/134_05 20 2010 QA07 relative proximity to anger 2.jpg Degrees of Anger in Comedy 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=156 http://files.storylogue.com/videos/attachment/640x360/135_05 21 2010 41 the structure of juno 2.flv http://files.storylogue.com/videos/attachment/640x360/135_05 21 2010 41 the structure of juno 2.jpg What Did You Think About The Structure of JUNO? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=158 http://files.storylogue.com/videos/attachment/640x360/136_05 22 2010 SL_lsn_enter-exit_09_trick_endings_1.flv http://files.storylogue.com/videos/attachment/640x360/136_05 22 2010 SL_lsn_enter-exit_09_trick_endings_1.jpg Entering & Exiting the Story Pt. 9: Cheap Trick Endings - Part 1 0.9 http://www.storylogue.com/docs/interviews.html?documentId=159 http://files.storylogue.com/videos/attachment/640x360/137_05 23 2010 sl_int_drew_carey_03.flv http://files.storylogue.com/videos/attachment/640x360/137_05 23 2010 sl_int_drew_carey_03.jpg Comedian, TV Host and Producer DREW CAREY - Pt. 3 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=160 http://files.storylogue.com/videos/attachment/640x360/138_05 24 2010 71 jim fox - changing object of desire 2_1.flv http://files.storylogue.com/videos/attachment/640x360/138_05 24 2010 71 jim fox - changing object of desire 2_1.jpg Could You Change Your Character's Object of Desire And, if you change your character's object of desire, do you risk confusing the audience? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=161 http://files.storylogue.com/videos/attachment/640x360/139_52 which self changes 2_1.flv http://files.storylogue.com/videos/attachment/640x360/139_52 which self changes 2_1.jpg Which "Self" Changes - The Secret Self or the Subconsciou/Invisible Self? This is a question from Mr. McKee's "Love Story Day" where he discusses how human beings live four lives: 1. The Public Life, 2. The Private Life, 3. The Secret Life and 4. The Subconscious/Invisible Life. As Mr. McKee talks about in class: "The hidden conscious and the invisible unconscious faces we call True Character.  The hidden self of the Secret Life wears the face we only show ourselves (if that, self-deception being so engrained in human nature).  But the passion of love and the choices it demands strips the Social and Personal masks away to expose the Secret Self to both the Beloved and the self.   Beneath this Secret Self lies the deepest self of all: our Subconscious Self, the True Self, our absolute true character that we recognize only in rare moments of self-discovery during critical life choices and actions, a discovery that (if it’s actually going to change us) must be followed by ruthless self-inspection and contemplation, or the discovered truth of who we are will be buried under the rubble of rationalizations."   0.5 http://www.storylogue.com/docs/lessons.html?documentId=163 http://files.storylogue.com/videos/attachment/640x360/141_sl_lsn_character_01_introduction.flv http://files.storylogue.com/videos/attachment/640x360/141_sl_lsn_character_01_introduction.jpg The Creation of Characters 1: Introduction/Preview 0.9 http://www.storylogue.com/docs/interviews.html?documentId=164 http://files.storylogue.com/videos/attachment/640x360/142_SL_int_bill_block_01_introduction.flv http://files.storylogue.com/videos/attachment/640x360/142_SL_int_bill_block_01_introduction.jpg QED President Bill Block <img src="../../../static/upload/images/bill_block.jpg" alt="" width="73" height="98" /> BILL BLOCK, President, QED Bill Block founded QED INTERNATIONAL in December 2005 where he leads day-to-day operations and strategy for the company. Previously, Block was President of Artisan Entertainment where he supervised all divisions – film production and acquisitions, international distribution, home entertainment, and television. Block managed Artisan’s senior lending as well as international distribution relationships. While at Artisan, Block acquired The Blair Witch Project which realized one of the most profitable returns on investment in film history. Artisan was successfully sold to Lionsgate in December 2003. Before Artisan, Block was one of the industry’s leading talent agents as Head of West Coast Operations for International Creative Management from 1992 to 1997 and founder of the Intertalent Agency. QED Online: <a href="http://www.qedintl.com">www.qedintl.com</a> 0.9 http://www.storylogue.com/docs/interviews.html?documentId=165 http://files.storylogue.com/videos/attachment/640x360/143_sl_int_drew_carey_01_Introduction.flv http://files.storylogue.com/videos/attachment/640x360/143_sl_int_drew_carey_01_Introduction.jpg Comedian, TV Host and Writer/Producer DREW CAREY 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=166 http://files.storylogue.com/videos/attachment/640x360/144_70 catherine from new york 2_1.flv http://files.storylogue.com/videos/attachment/640x360/144_70 catherine from new york 2_1.jpg The Negation of the Negation / Reaching The End of the Line 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=167 http://files.storylogue.com/videos/attachment/640x360/145_QA13 alec p from new york 2_1.flv http://files.storylogue.com/videos/attachment/640x360/145_QA13 alec p from new york 2_1.jpg At What Stage Do You Re-Write? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=168 http://files.storylogue.com/videos/attachment/640x360/146_05 28 2010 QA08 scott winters 2_1.flv http://files.storylogue.com/videos/attachment/640x360/146_05 28 2010 QA08 scott winters 2_1.jpg What Are The Limits of Influence and Persuasion in Screenwriting? Thanks to Scott for the great question. You've probably seen Scott in many films and TV shows - GOOD WILL HUNTING, OZ, LAW & ORDER, CSI, etc. 0.5 http://www.storylogue.com/docs/lessons.html?documentId=169 http://files.storylogue.com/videos/attachment/640x360/147_05 29 2010 sl_lsn_dialogue_05_trialogues_gatsby.flv http://files.storylogue.com/videos/attachment/640x360/147_05 29 2010 sl_lsn_dialogue_05_trialogues_gatsby.jpg 10 Traits of Faulty Dialogue 5: Trialogue Example: THE GREAT GATSBY <img src="http://bioinfo.mbb.yale.edu/~mbg/dom/fun3/great-gatsby/im.jpg" alt="" width="125" height="177" /> THE GREAT GATSBY. Available at Amazon.com. <a href="http://www.amazon.com/Great-Gatsby-F-Scott-Fitzgerald/dp/0743273567/ref=sr_1_1?ie=UTF8&s=books&qid=1275148330&sr=8-1">CLICK HERE</a> 0.9 http://www.storylogue.com/docs/interviews.html?documentId=170 http://files.storylogue.com/videos/attachment/640x360/148_05 30 2010 sl_int_pressfield_03_preparation.flv http://files.storylogue.com/videos/attachment/640x360/148_05 30 2010 sl_int_pressfield_03_preparation.jpg Steven Pressfield - Pt. III <h2><img src="../../../static/upload/images/StevePressfieldPhoto.jpg" alt="" width="119" height="75" />  Steven Pressfield - Novelist    </h2> Steven Pressfield is the author of Gates of Fire and four other historical novels set in the ancient world, including The Afghan Campaign. His most recent book is Killing Rommel, a WWII story. He is also the author of The Legend of Bagger Vance and The War of Art, which Robert McKee wrote the forward to.   Mr. Pressfield is a graduate of Duke University and a former Marine. His books are in the curriculum at West Point, Annapolis and the Naval War College, as well as being on the Commandant's Reading List for the Marine Corps.   Steven Pressfield's Official Website: <a href="http://www.StevenPressfield.com">www.StevenPressfield.com</a>   Steven Pressfield on Amazon.com: <a href="http://www.amazon.com/Steven-Pressfield/e/B000AQ8R8Q/ref=sr_tc_2_0?qid=1266695899&sr=8-2-ent">Click Here</a> 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=171 http://files.storylogue.com/videos/attachment/640x360/149_05 31 2010 QA05 ratatoullie.flv http://files.storylogue.com/videos/attachment/640x360/149_05 31 2010 QA05 ratatoullie.jpg How Do You Measure Risk In A Screenplay or Film. Example: Disney's RATATOUILLE <img src="http://www.atmos.washington.edu/2008Q2/545/images/memorial_day.jpg" alt="" width="130" height="85" /> Happy Memorial Day! 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=172 http://files.storylogue.com/videos/attachment/640x360/150_06 01 2010 QA03 female protaganist unsuccessful.flv http://files.storylogue.com/videos/attachment/640x360/150_06 01 2010 QA03 female protaganist unsuccessful.jpg Why Is The Female Protagonist Considered Commercially Unsuccessful? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=173 http://files.storylogue.com/videos/attachment/640x360/151_06 02 2010 QA24 james from london.flv http://files.storylogue.com/videos/attachment/640x360/151_06 02 2010 QA24 james from london.jpg When You Revise Your Story, To What Extent Can You Revise Your Character? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=174 http://files.storylogue.com/videos/attachment/640x360/152_06 03 2010 QA06 body language.flv http://files.storylogue.com/videos/attachment/640x360/152_06 03 2010 QA06 body language.jpg Is Body Language an Actor's Choice or Writer's Directive? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=175 http://files.storylogue.com/videos/attachment/640x360/153_06 04 2010 37 karen from australia.flv http://files.storylogue.com/videos/attachment/640x360/153_06 04 2010 37 karen from australia.jpg How Would I Start A Career In Rewriting Screenplays? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=176 http://files.storylogue.com/videos/attachment/640x360/154_06 05 2010 SL_lsn_enter-exit_10_trick_endings_2.flv http://files.storylogue.com/videos/attachment/640x360/154_06 05 2010 SL_lsn_enter-exit_10_trick_endings_2.jpg Entering & Exiting the Story Pt. 10: Cheap Trick Endings - Part 2 0.9 http://www.storylogue.com/docs/interviews.html?documentId=177 http://files.storylogue.com/videos/attachment/640x360/155_06 06 2010 SL_int_bill_block_03.flv http://files.storylogue.com/videos/attachment/640x360/155_06 06 2010 SL_int_bill_block_03.jpg QED President Bill Block - Pt. III 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=178 http://files.storylogue.com/videos/attachment/640x360/156_06 07 2010 46 what to do when you finish your screenplay.flv http://files.storylogue.com/videos/attachment/640x360/156_06 07 2010 46 what to do when you finish your screenplay.jpg What Do You Do After You Finish Your Screenplay? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=179 http://files.storylogue.com/videos/attachment/640x360/157_06 08 2010 69 wright from amsterdam 2_1.flv http://files.storylogue.com/videos/attachment/640x360/157_06 08 2010 69 wright from amsterdam 2_1.jpg How Do You Know The Value of Your Second Act Climax If The Ending Can Go Two Different Ways? Examples: American Beauty on <a href="http://www.imdb.com/title/tt0169547/">IMDb</a> Adaptation on <a href="http://www.imdb.com/title/tt0268126/">IMDb</a> 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=180 http://files.storylogue.com/videos/attachment/640x360/158_06 09 2010 lisa from new jersey.flv http://files.storylogue.com/videos/attachment/640x360/158_06 09 2010 lisa from new jersey.jpg "What Are The Benefits and Drawbacks Of Doing A Two-Person Protagonist?" 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=183 http://files.storylogue.com/videos/attachment/640x360/159_06 10 2010 44 luke harris.flv http://files.storylogue.com/videos/attachment/640x360/159_06 10 2010 44 luke harris.jpg How Do We Live A Better Story Within Our Own Lives? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=184 http://files.storylogue.com/videos/attachment/640x360/160_06 11 2010 57 how do you define truth.flv http://files.storylogue.com/videos/attachment/640x360/160_06 11 2010 57 how do you define truth.jpg What Is The Truth Of Your Story? How Do You Define Truth? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=185 http://files.storylogue.com/videos/attachment/640x360/161_06 12 2010 sl_lsn_character_05.flv http://files.storylogue.com/videos/attachment/640x360/161_06 12 2010 sl_lsn_character_05.jpg The Creation of Characters 5: The Irony of Tragedy 0.9 http://www.storylogue.com/docs/interviews.html?documentId=186 http://files.storylogue.com/videos/attachment/640x360/162_06 13 2010 sl_int_mcgrath_03.flv http://files.storylogue.com/videos/attachment/640x360/162_06 13 2010 sl_int_mcgrath_03.jpg Patrick McGrath - Pt. III. Topic: Point of View <h2><img src="../../../static/upload/images/PatrickMcGrath.jpg" alt="" width="135" height="90" /> Patrick McGrath - Novelist</h2> Patrick McGrath was born on February 7th, 1950 in London, and grew up near Broadmoor Hospital where his father was Medical Superintendent. He was educated at Stonyhurst College, and is the authorof numerous novels including Spider, Trauma, Asylum,Martha Peake, Ghost Town andPort Mungo. He is also the author of the short story collection Blood and Water and Other Tales.   Patrick's novel Martha Peake won the Premio Flaiano Prize in Italy, and Spiderwas made into a film in 2002 by acclaimed director David Cronenberg. Spiderwas nominated for the Golden Palm Award at the Cannes Film Festival that same year.   Patrick currently lives in New York with his wife, actress Maria Aitken.   Patrick McGrath on Amazon: <a href="http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=patrick+mcgrath">Click Here.</a> 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=189 http://files.storylogue.com/videos/attachment/640x360/163_06 14 2010 QA16 dan wilson.flv http://files.storylogue.com/videos/attachment/640x360/163_06 14 2010 QA16 dan wilson.jpg What's The Best Way To Tackle A Montage? On a comical note, here's how Trey Parker and Matt Stone of "South Park" fame handled a montage in their puppet-astic film "Team America" - <a href="http://www.youtube.com/watch?v=yLuOl36vamI">Click Here</a>     0.5 http://www.storylogue.com/docs/question-answer.html?documentId=192 http://files.storylogue.com/videos/attachment/640x360/164_QA09 scott winters 2 propoganda 2.flv http://files.storylogue.com/videos/attachment/640x360/164_QA09 scott winters 2 propoganda 2.jpg The Influence of Propaganda in Films on Society A very quiet Scott Winters (Oz, Good Will Hunting, etc.) asks if propaganda films can influence people and society for the positive. 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=193 http://files.storylogue.com/videos/attachment/640x360/165_06 16 2010 QA25 start with inciting incident.flv http://files.storylogue.com/videos/attachment/640x360/165_06 16 2010 QA25 start with inciting incident.jpg Do You Recommend That Novels Start with the Inciting Incident or Set-Up? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=196 http://files.storylogue.com/videos/attachment/640x360/167_42 stating in one sentence.flv http://files.storylogue.com/videos/attachment/640x360/167_42 stating in one sentence.jpg How Do I Define My Work In One Sentence? Programming Note: The June 17th question about character motive will run June 25th, and the June 25th question about defining work in one sentence appears today. 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=197 http://files.storylogue.com/videos/attachment/640x360/168_QA14 younger writers in tv.flv http://files.storylogue.com/videos/attachment/640x360/168_QA14 younger writers in tv.jpg The Difference Between Writing for Film Versus TV 0.5 http://www.storylogue.com/docs/lessons.html?documentId=198 http://files.storylogue.com/videos/attachment/640x360/169_SL_lsn_enter-exit_11_open_endings.flv http://files.storylogue.com/videos/attachment/640x360/169_SL_lsn_enter-exit_11_open_endings.jpg Entering & Exiting The Story Pt. 11: Open Endings 0.9 http://www.storylogue.com/docs/interviews.html?documentId=199 http://files.storylogue.com/videos/attachment/640x360/170_sl_int_franklin_martin_01_introduction.flv http://files.storylogue.com/videos/attachment/640x360/170_sl_int_franklin_martin_01_introduction.jpg Filmmaker Franklin Martin <img src="../../../static/upload/images/franklin_149.jpg" alt="" width="121" height="181" />  Franklin Martin Director Franklin Martin is a graduate of Hofstra University where he was four year letterman on the Division I basketball team.  Upon graduation, he went on to coach at Tennessee State University where he also earned his Masters' Degree. Martin began pursuing writing and acting full-time in 2001.  As an actor he has appeared on-stage throughout New York City.  He has several film and television credits, including multiple episodes on the Law & Order series. Martin lived in New Orleans as a child and was displaced by Hurricane Betsy before moving to Tennessee.  This lifelong connection with New Orleans led Martin to make his first documentary, Hurricane Season: Walking on Dead Fish (<a href="http://www.walkingondeadfish.com/">click here</a> for official website), narrated and executive-produced by Terry Bradshaw. The success of Hurricane Season: Walking on Dead Fish inspired a feature film entitled, Hurricane Season in association with Universal Pictures.  The film, produced by Franklin Martin, will be written and directed by Billy Ray of 24 and State of Play. Twenty percent of the profits from both the documentary and feature film go to the Katrina Wildcat Scholarship Fund to afford displaced players an opportunity to attend college. 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=200 http://files.storylogue.com/videos/attachment/640x360/171_06 21 2010 45 cliche or style.flv http://files.storylogue.com/videos/attachment/640x360/171_06 21 2010 45 cliche or style.jpg How Do You Differentiate Between A Style and A Cliche? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=201 http://files.storylogue.com/videos/attachment/640x360/172_06 22 2010 55 positive and negative charges.flv http://files.storylogue.com/videos/attachment/640x360/172_06 22 2010 55 positive and negative charges.jpg Do Movies Mirror Real-Life Experiences In Their Positive and Negative Charges? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=202 http://files.storylogue.com/videos/attachment/640x360/173_06 23 2010 54 flashbacks and their length.flv http://files.storylogue.com/videos/attachment/640x360/173_06 23 2010 54 flashbacks and their length.jpg How Long Should Flashbacks Be, And Where Should They Be Placed? For added insight into Flashbacks, please review similar and related questions from the Q&As on May 19, 2010 (Flashbacks in Novels), April 28, 2010 (Placement and Use of Flashbacks), and February 15, 2010 (Transitions In And Out of Flashbacks). 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=203 http://files.storylogue.com/videos/attachment/640x360/174_06 24 2010 53 what is bobs motivation in seminars.flv http://files.storylogue.com/videos/attachment/640x360/174_06 24 2010 53 what is bobs motivation in seminars.jpg What Is Your Motivation For Conducting The Story Seminar? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=204 http://files.storylogue.com/videos/attachment/640x360/175_06 26 2010 sl_lsn_character_06.flv http://files.storylogue.com/videos/attachment/640x360/175_06 26 2010 sl_lsn_character_06.jpg The Creation Of Characters 6: The Irony in Life 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=205 http://files.storylogue.com/videos/attachment/640x360/176_06 25 2010 77 sophonia - characterization.flv http://files.storylogue.com/videos/attachment/640x360/176_06 25 2010 77 sophonia - characterization.jpg Is It Ok To Do True Characterization For All Of Your Characters, Primary And Supporting? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=206 http://files.storylogue.com/videos/attachment/640x360/177_06 28 2010 - 64 ed roman 2.flv http://files.storylogue.com/videos/attachment/640x360/177_06 28 2010 - 64 ed roman 2.jpg Is There A Principle To Follow When Determining How Dramatic To Make Your Inciting Incident? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=207 http://files.storylogue.com/videos/attachment/640x360/178_06 29 2010 - 73 positive value and contrary value.flv http://files.storylogue.com/videos/attachment/640x360/178_06 29 2010 - 73 positive value and contrary value.jpg How Do We Find The Contrary Value of a Positive Value? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=208 http://files.storylogue.com/videos/attachment/640x360/179_06 30 2010 - 78 five part design in C35.flv http://files.storylogue.com/videos/attachment/640x360/179_06 30 2010 - 78 five part design in C35.jpg Is The Five-Part Design Found In One Act Stories? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=209 http://files.storylogue.com/videos/attachment/640x360/180_07 01 2010 - 75 can inciting incident be sequence of events.flv http://files.storylogue.com/videos/attachment/640x360/180_07 01 2010 - 75 can inciting incident be sequence of events.jpg Can The Inciting Incident Be More Than One Event? Can It Be A Sequence Of Events? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=210 http://files.storylogue.com/videos/attachment/640x360/181_07 02 2010 - 68 rick hill - audience turn.flv http://files.storylogue.com/videos/attachment/640x360/181_07 02 2010 - 68 rick hill - audience turn.jpg Why Can't I, Instead Of Having The Protagonist Turn, Have the Audience Turn? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=211 http://files.storylogue.com/videos/attachment/640x360/182_07 05 2010 - 74 bonnie - after selling screenplay.flv http://files.storylogue.com/videos/attachment/640x360/182_07 05 2010 - 74 bonnie - after selling screenplay.jpg What Happens After You've Sold Your Screenplay? Do You Have Any Control Over It? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=212 http://files.storylogue.com/videos/attachment/640x360/183_07 06 2010 - 76 where to begin mastering craft.flv http://files.storylogue.com/videos/attachment/640x360/183_07 06 2010 - 76 where to begin mastering craft.jpg How Does A Writer Who Is Just A Beginner Learn How To Master The Craft? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=213 http://files.storylogue.com/videos/attachment/640x360/184_07 03 2010 sl_lsn_dialogue_06_trialogue_film_examples.flv http://files.storylogue.com/videos/attachment/640x360/184_07 03 2010 sl_lsn_dialogue_06_trialogue_film_examples.jpg 10 Traits of Faulty Dialogue 6: Trialogue Examples from Film & Stage 0.9 http://www.storylogue.com/docs/interviews.html?documentId=215 http://files.storylogue.com/videos/attachment/640x360/185_06 27 2010 SARAH_01.flv http://files.storylogue.com/videos/attachment/640x360/185_06 27 2010 SARAH_01.jpg Writer/Producer SARAH TREEM <img src="../../../static/upload/images/Sarah_Treem_3.jpg" alt="" width="116" height="160" />  SARAH TREEM <div> Sarah is a writer/producer on the HBO drama <a href="http://www.imdb.com/title/tt0835434/">IN TREATMENT</a>. She was nominated for a Humanitas award and won a WGA award for her work on the show. She is currently working on the HBO show <a href="http://www.imdb.com/title/tt1299365/">HOW TO MAKE IT IN AMERICA</a>, as well as two pilots for the network and a romantic-comedy screenplay for Miramax. Sarah’s latest plays include VIENNA’S AMAZING (Ojai Playwriting Conference) and ORPHAN ISLAND (Sundance Theater Lab). She has taught playwriting at Yale University, where she earned her B.A. and M.F.A. <div>Sarah Treem’s play A FEMININE ENDING premiered at Playwrights Horizons in the fall of 2007, went on to productions at SouthCoast Repertory and Portland Center Stage, and was published by Samuel French. Her other plays include: HUMAN VOICES (Manhattan Theater Club’s Springboard New Play series, New York Stage and Film), EMPTY SKY (SouthCoast’s Pacific Playwrights Festival, winner of the Reva Shiner Playwriting award), MIRROR MIRROR (developed at Playwrights Horizons, Ars Nova), and AGAINST THE WALL (Source Theatre, DC; Friends of the Italian Opera, Berlin).</div> </div> 0.9 http://www.storylogue.com/docs/interviews.html?documentId=220 http://files.storylogue.com/videos/attachment/640x360/186_07 04 2010 sl_int_bernstein_03.flv http://files.storylogue.com/videos/attachment/640x360/186_07 04 2010 sl_int_bernstein_03.jpg CBS News Producer JOEL BERNSTEIN - Storylogue 4th of July Bonus Interview Segment! <img src="../../../static/upload/images/4th_of_July_Graphic.jpg" alt="" width="222" height="198" />Bonus Interview Segment ____________________________________________________________________________________________________ <img src="../../../static/upload/images/JoelBernsteinPhoto.jpg" alt="" width="113" height="69" /> Joel Bernstein - CBS News Producer Joel Bernstein is an Emmy Award-winning veteran producer at CBS News. He began his career as a writer and producer for Walter Cronkite, served as a producer for Dan Rather at "60 Minutes," was Bureau Chief for CBS in Tel Aviv and Paris, and produced several hour-long documentaries including "Schwartzkopf: Return to Vietnam" with Dan Rather, and "Heroes of the Century" with Ed Bradley. Mr. Bernstein is a resident of New York City. 0.9 http://www.storylogue.com/docs/interviews.html?documentId=221 http://files.storylogue.com/videos/attachment/640x360/187_JF_01 - Revised 07 20 2010.flv http://files.storylogue.com/videos/attachment/640x360/187_JF_01 - Revised 07 20 2010.jpg Entrepreneur, Marketing Expert and Social Media Blogger JONATHAN FIELDS In a bit of a twist from our normal interview format, this is combination series of Jonathan Fields interviewing Robert McKee, and Robert McKee interviewing Jonathan Fields. Enjoy! <img src="../../../static/upload/images/jonathanfields.jpg" alt="" width="228" height="90" />  JONATHAN FIELDS, Entrepreneur, Marketing Expert and Social Media Blogger Jonathan Fields is…a giddy dad, husband, New Yorker, multi-time health & fitness industry entrepreneur, recovering S.E.C./mega-firm hedge-fund lawyer, slightly-warped, unusually-stretchy, spiritually-inclined, obsessed with creation, small-biz and online marketing-catalyst, speaker, direct-response copywriter, entrepreneur-coach, yoga-teacher, columnist, author, once-a-decade hook-rug savant, pro-blogger and career renegade™…gone wild. Check out Jonathan's website at: <a href="http://www.JonathanFields.com">www.JonathanFields.com</a> 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=224 http://files.storylogue.com/videos/attachment/640x360/188_07 07 2010 Non Linear Story.flv http://files.storylogue.com/videos/attachment/640x360/188_07 07 2010 Non Linear Story.jpg How Do You Construct and Tell A Non-Linear Story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=225 http://files.storylogue.com/videos/attachment/640x360/189_07 08 2010 QA_59 Is All Subtext Manipulative.flv http://files.storylogue.com/videos/attachment/640x360/189_07 08 2010 QA_59 Is All Subtext Manipulative.jpg Is All Subtext, By Nature, Manipulative In Its Intent? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=226 http://files.storylogue.com/videos/attachment/640x360/190_07 09 2010 QA_48 Irreversible Changes in TV.flv http://files.storylogue.com/videos/attachment/640x360/190_07 09 2010 QA_48 Irreversible Changes in TV.jpg How Do You Deal With Irreversible Changes in TV? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=227 http://files.storylogue.com/videos/attachment/640x360/191_07 12 2010 QA_Bass_01.flv http://files.storylogue.com/videos/attachment/640x360/191_07 12 2010 QA_Bass_01.jpg Does The Knowledge and Hype That Precedes A Movie's Release Ruin Its Storytelling Power? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=228 http://files.storylogue.com/videos/attachment/640x360/192_07 10 2010 SL_lsn_enter-exit_12_fade_away_and_multiple_endings.flv http://files.storylogue.com/videos/attachment/640x360/192_07 10 2010 SL_lsn_enter-exit_12_fade_away_and_multiple_endings.jpg Entering and Exiting the Story Pt. 12: Fade Away Endings and Multiple Endings 0.9 http://www.storylogue.com/docs/interviews.html?documentId=230 http://files.storylogue.com/videos/attachment/640x360/194_07 11 2010 BRUNONIA_01.flv http://files.storylogue.com/videos/attachment/640x360/194_07 11 2010 BRUNONIA_01.jpg Bestselling Author of "The Lace Reader," BRUNONIA BARRY <img src="../../../static/upload/images/Brunonia_Barry.jpg" alt="" width="118" height="144" /> Brunonia Barry, Bestselling Author of The Lace Reader Born and raised in Massachusetts, Brunonia Barry studied literature and creative writing at Green Mountain college in Vermont and at the University of New Hampshire and was one of the founding members of the Portland Stage Company. While still an undergraduate at UNH, Barry spent a year living in Dublin and auditing Trinity College classes on James Joyce’s Ulysses. <div class="entry"> Barry’s love of theater led to a first job in Chicago where she ran promotional campaigns for Second City, Ivanhoe, and Studebaker theaters. After a brief stint in Manhattan, where she studied screenwriting at NYU, Barry relocated to California because she had landed an agent and had an original script optioned. Working on a variety of projects for several studios, she continued to study screenwriting and story structure with Hollywood icon Robert McKee, becoming one of the nine writers in his Development Group. Brunonia’s love for writing and storytelling has taken her all across the country but after nearly a decade in Hollywood, Barry returned to Massachusetts where, along with her husband, she co-founded an innovative company that creates award-winning word, visual and logic puzzles. In recent years, she has written books for the Beacon Street Girls, a fictional series for ‘tweens. Happily married, Barry lives with her husband and her only child that just happens to be a 12-year-old Golden Retriever named Byzantium. The Lace Reader was her first original novel. Barry is the first American Writer to win the Woman’s International Fiction Festival’s 2009 Baccante Award (for The Lace Reader.) Her second novel, The Map of True Places was published on May 4, 2010. Purchase The Lace Reader at McKeeStore.com: <a href="http://www.mckeestore.com/Brunonia-Barrys-THE-LACE-READER_p_47.html">Click Here</a> <a href="http://www.mckeestore.com/Brunonia-Barrys-THE-LACE-READER_p_47.html"><img src="../../../static/upload/images/The_Lace_Reader.jpg" alt="" width="88" height="133" /></a> </div> 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=231 http://files.storylogue.com/videos/attachment/640x360/195_07 13 2010 LA_QA_09.flv http://files.storylogue.com/videos/attachment/640x360/195_07 13 2010 LA_QA_09.jpg Would Changing My Story's Setting (i.e. its City) Make It More Saleable to Hollywood? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=232 http://files.storylogue.com/videos/attachment/640x360/196_07 14 2010 LA_QA_17.flv http://files.storylogue.com/videos/attachment/640x360/196_07 14 2010 LA_QA_17.jpg How Do You Feel About Using Dreams As Alternate Settings? References: <a href="http://inceptionmovie.warnerbros.com/">Inception </a>- Official Movie Site (Opens Friday!) <a href="http://www.imdb.com/title/tt0099871/">Jacob's Ladder</a> on IMDb <a href="http://en.wikipedia.org/wiki/The_Sopranos">The Sopranos </a>on Wikipedia   0.5 http://www.storylogue.com/docs/question-answer.html?documentId=233 http://files.storylogue.com/videos/attachment/640x360/197_07 15 2010 LA_QA_27.flv http://files.storylogue.com/videos/attachment/640x360/197_07 15 2010 LA_QA_27.jpg Is There A Certain Place To Position Songs in Movies? In Musicals? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=234 http://files.storylogue.com/videos/attachment/640x360/198_07 16 2010 LA_QA_02.flv http://files.storylogue.com/videos/attachment/640x360/198_07 16 2010 LA_QA_02.jpg What Are The Pros and Cons Of Working On More Than One Story At A Time? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=236 http://files.storylogue.com/videos/attachment/640x360/199_07 17 2010 sl_lsn_character_07_center_of_good.flv http://files.storylogue.com/videos/attachment/640x360/199_07 17 2010 sl_lsn_character_07_center_of_good.jpg The Creation Of Characters 7: Building Your Protagonist Around A Center of Good 0.9 http://www.storylogue.com/docs/interviews.html?documentId=237 http://files.storylogue.com/videos/attachment/640x360/200_07 18 2010 JEANNIE_01.flv http://files.storylogue.com/videos/attachment/640x360/200_07 18 2010 JEANNIE_01.jpg Jeanine Tesori (Broadway Composer) and Jonathan Bernstein (Playwright & Director) <img src="../../../static/upload/images/Jeanine-Jonathan.jpg" alt="" width="201" height="118" /> JEANINE TESORI & JONATHAN BERNSTEIN   JEANINE TESORI is an American musical arranger and composer who won the 1999 Drama Desk Award for Outstanding Music in a Play for Nicholas Hytner's production of “Twelfth Night” at Lincoln Center and the 2004 Drama Desk Award for Outstanding Music for “Caroline, or Change.”   Tesori made her Broadway debut when she arranged the dance music for the 1995 revival of “How to Succeed in Business Without Really Trying.” In 1997 she composed the score for the off-Broadway musical “Violet,” which won her an Obie Award, the New York Drama Critics Circle Award for Best Musical, and the Lucille Lortel Award for Outstanding Musical, and arranged the music for the Johnny Mercer revue “Dream,” a task she repeated with the 1998 revival of “The Sound of Music” and the 1999 revue “Swing!” She also served as associate conductor for the Broadway productions of “The Secret Garden” and The Who's “Tommy.”   In 2000, Tesori joined forces with lyricist Dick Scanlan to write eleven new songs for a stage adaptation of “Thoroughly Modern Millie.” A successful run at the La Jolla Playhouse in San Diego prompted a transfer to Broadway in 2002, and Tesori was nominated for the Tony Award for Best Original Score and the Drama Desk Award for Outstanding Music.   Tesori has collaborated with Tony Kushner twice, supplying music for “Caroline, or Change” in 2004 and a new translation of Bertolt Brecht's “Mother Courage and Her Children,” which was produced as part of the 2006 Shakespeare in the Park season staged at the Delacorte Theater by The Public Theater. “Caroline” garnered her a second Tony nomination for Best Original Score.   Tesori has composed music for the films “Nights in Rodanthe,” “The Loss of a Teardrop Diamond,” “The Little Mermaid: Ariel's Beginning,” “Shrek the Third,” “Mulan II,” and “The Emperor's New Groove 2: Kronk's New Groove.”   Tesori's most recent stage project is “Shrek the Musical,” which earned her both Tony and Drama Desk Award nominations for her music.   Tesori is a graduate of Barnard College and a member of the Dramatists Guild of America. She lives with her husband, conductor and musical director Michael Rafter, and their daughter Siena in Manhattan     JONATHAN BERNSTEIN Directing credits include work at Naked Angels, Williamstown Theater Festival, Barrington Stage Company, New York Stage & Film, Signature Theater, Ensemble Studio Theater, Juilliard Drama Division, Symphony Space, The Actor's Company Theater, One Dream Theater, Joe's Pub and many others. Mr. Bernstein has worked in various capacities at New York's City Center, Manhattan Theatre Club, Second Stage Theatre, Roundabout Theatre, Irish Repertory Theatre, Public Theater and 52nd St. Project, where he writes, directs and teaches. Additionally, Broadway/London supervising director credits include “Private Lives” with Alan Rickman and Lindsay Duncan, “The Iceman Cometh” starring Kevin Spacey and Paul Giamatti, “Who's Afraid Of Virginia Woolf?” starring Dame Diana Rigg and David Suchet, “The King And I,” and the musical “Chicago.”   He has recently received an artistic residency at the Public Theater to develop a new musical entitled “To The Sweet Step” in collaboration with Susan Misner & Mike Errico. His plays have been produced all over the country and his musical entitled “In This House” (written with Sarah Schlesinger and Mike Reid, licensed by TRW Theatrical Rights Worldwide) is currently playing in California. He recently participated in the inaugural 24 Hour Musicals at Joe's Pub, writing an original musical with David Yazbek between the hours of 10pm and 5:30am.   In all, he has been the supervising director of fourteen New York productions, eight of which have been on Broadway. He teaches in the MFA Musical Theater Writing Program at NYU. He is a New York Mets fan, which is sometimes very difficult. 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=239 http://files.storylogue.com/videos/attachment/640x360/201_07 19 2010 LA_QA_01.flv http://files.storylogue.com/videos/attachment/640x360/201_07 19 2010 LA_QA_01.jpg What Happens If You're Writing A Script In A Certain Genre, And Then Discover Halfway Through That There's Another Underlying Genre? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=240 http://files.storylogue.com/videos/attachment/640x360/202_07 21 2010 LA_QA_07.flv http://files.storylogue.com/videos/attachment/640x360/202_07 21 2010 LA_QA_07.jpg Should Writers Write With The Intent That The Audience Has Some Information About The Story In Advance? For Part One of this question, please refer to the Q&A from July 12th. Programming Note: Please note the Q&A originally schedule for July 20th ("Is the quest for an artistic work always diminished by the commercial requirements of distribution?") will run tomorrow (July 21st). 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=241 http://files.storylogue.com/videos/attachment/640x360/203_07 21 2010 LA_QA_03.flv http://files.storylogue.com/videos/attachment/640x360/203_07 21 2010 LA_QA_03.jpg Is The Quest For An Artistic Work Always Diminished By The Commercial Requirements Of Distribution? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=244 http://files.storylogue.com/videos/attachment/640x360/204_07 22 2010 LA_QA_10.flv http://files.storylogue.com/videos/attachment/640x360/204_07 22 2010 LA_QA_10.jpg When Multiple Characters Are Involved, Can The Same Scene Be Used To Further More Than One Plot or Subplot At A Time? Movies Referenced in this Q&A: KNIGHT & DAY starring Tom Cruise and Cameron Diaz: <a href="http://www.knightanddaymovie.com/#/home">OFFICIAL SITE</a> TOY STORY 3 with Tom Hanks, Tim Allen and Don Rickles: <a href="http://disney.go.com/toystory/">OFFICIAL SITE</a> AVATAR by James Cameron.   0.5 http://www.storylogue.com/docs/question-answer.html?documentId=246 http://files.storylogue.com/videos/attachment/640x360/205_07 23 2010 LA_QA_04.flv http://files.storylogue.com/videos/attachment/640x360/205_07 23 2010 LA_QA_04.jpg Why Don't You Discuss More French Films During The Story Seminar? We end this week with a nice, offbeat question submitted to us at the London Story Seminar. 0.5 http://www.storylogue.com/docs/lessons.html?documentId=247 http://files.storylogue.com/videos/attachment/640x360/206_07 24 2010 SL_lsn_enter-exit_13_choose_own_and_forced_symmetry.flv http://files.storylogue.com/videos/attachment/640x360/206_07 24 2010 SL_lsn_enter-exit_13_choose_own_and_forced_symmetry.jpg Entering & Exiting Your Stories Pt. 13: Choose Your Own Endings and Forced Symmetry 0.9 http://www.storylogue.com/docs/interviews.html?documentId=248 http://files.storylogue.com/videos/attachment/640x360/207_07 25 2010 sl_int_hotplate_03.flv http://files.storylogue.com/videos/attachment/640x360/207_07 25 2010 sl_int_hotplate_03.jpg Lowell Cauffiel (TV Writer) and Josh Gold (TV Exec), Part 3 <h2><img src="../../../static/upload/images/lowell_cauffiel.jpg" alt="" width="109" height="81" />  Lowell Cauffiel - Novelist, TV Writer</h2> Lowell Cauffiel, born in Michigan, is an American writer and TV producer. An award-winning reporter with the Detroit News and Detroit Monthly Magazine in the 1970s and 1980s, Cauffiel began his bookwriting career in 1988 with Masquerade: A True Story of Seduction, Compulsion and Murder. That title, and his 1997 New York Times bestseller House of Secrets, have appeared on many critics' lists of the best works in American true crime. As a nonfiction author, he's known for his meticulous research and accuracy, delivered in novel-like, page-turner style. Thematically, Cauffiel's books often explore how people embrace popular trends and exalt American values to hide their dark intentions and destructive acts.   In the mid 1990s, Cauffiel also turned his attention to crime novels, publishing three fiction titles. He credits the off-beat humor and high-contrast scenes found in his fiction to his years spent as a reporter in the volatile streets of Detroit and the many years he worked as a blues guitarist in smoky Motor City nightclubs.   Lowell's most recently sold a TV pilot to Warner Bros. called "Detroit 310."   <h2><img src="../../../static/upload/images/Josh_Gold.jpg" alt="" width="109" height="75" />  Josh Gold - Television Executive</h2> After finishing at the University of Texas, Josh Gold worked in production in Austin, TX on such films as THE ROOKIE, THE LIFE OF DAVID GALE, and THE TEXAS CHAINSAW MASSACRE before moving to Los Angeles. He started his development career with producer Gavin Polone ("Curb Your Enthusiasm," "Panic Room") before working as an executive for director Todd Phillips (OLD SCHOOL, THE HANGOVER), where he developed comedies at his Warner Bros.-based production company. Currently, Josh is President of WB-based Hotplate Productions. He has set up television shows at CBS, Fox Studios and NBC, and is currently casting the company's first feature film, JACK KNIFE, after securing independent financing for the film.   PART 1 of this Interview: February 21, 2010 PART 2 of this Interview: May 16, 2010 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=249 http://files.storylogue.com/videos/attachment/640x360/208_07 26 2010 LA_QA_05.flv http://files.storylogue.com/videos/attachment/640x360/208_07 26 2010 LA_QA_05.jpg How Does New Media and the Internet Impact Classic Story Structure? Where Do We Go When People Can Choose Their Own Endings? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=250 http://files.storylogue.com/videos/attachment/640x360/209_07 27 2010 LA_QA_08.flv http://files.storylogue.com/videos/attachment/640x360/209_07 27 2010 LA_QA_08.jpg How Come There Isn't An "Immaturation Plot" To Mirror The Maturation Plot? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=251 http://files.storylogue.com/videos/attachment/640x360/210_07 28 2010 LA_QA_25.flv http://files.storylogue.com/videos/attachment/640x360/210_07 28 2010 LA_QA_25.jpg Should I Be Concerned About Plagiarism? <img src="../../../static/upload/images/WGA_Register.gif" alt="" width="174" height="86" /> For More Information and To Register Your Scripts with the Writers Guild of America, please <a href="http://www.wgawregistry.org/webrss/">CLICK HERE</a>   0.5 http://www.storylogue.com/docs/question-answer.html?documentId=252 http://files.storylogue.com/videos/attachment/640x360/211_07 29 2010 LA_QA_42.flv http://files.storylogue.com/videos/attachment/640x360/211_07 29 2010 LA_QA_42.jpg What Are The Basic Elements Or Questions That Need To Be Dealt With When Defining The Parameters of SciFi/Fantasy Stories? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=253 http://files.storylogue.com/videos/attachment/640x360/212_07 30 2010 LA_QA_56.flv http://files.storylogue.com/videos/attachment/640x360/212_07 30 2010 LA_QA_56.jpg Can A Story Work If The Conscious Object Of Desire Of The Protagonist Is Something Abstract, Like A State Of Mind? Q&A Trivia Question: Many people ask, "How do you get the questions for the Q&As?" At most of Mr. McKee's seminars, we have a camera set-up either in the theatre or in the lobby where people can ask questions throughout the weekend. We have no restrictions on the content or the number of questions someone may ask, and it's rare that there's ever a second take (most people nail it on the first take). The only times we haven't used a "question" or two is when, for example, someone in LA went on camera and said, "You're really cool, Mr. McKee. How can I send you a thank you note?" We also take written questions by e-mail (<a href="mailto:storylogue@storylogue.com">storylogue@storylogue.com</a>), on Facebook, etc. Overall, the questions have been GREAT, and we'd like to thank everyone who has participated thus far.   If you'd like to submit your own question on video or in writing, please e-mail us at <a href="mailto:storylogue@storylogue.com">storylogue@storylogue.com</a>. We'd love to get your home-shot video questions! You can either send us the file (in any format), or send us a link to your video and we can capture it. Thank you!    (If you'd like more behind-the-scenes info on Storylogue to go along with the videos, please post a comment and let us know!)     Please Note: This question replaces the originally scheduled question for 7/30/10 regarding rewriting for novelists, which will appear shortly. 0.5 http://www.storylogue.com/docs/lessons.html?documentId=254 http://files.storylogue.com/videos/attachment/640x360/213_07 31 2010 sl_lsn_character_08_multiply_capacities.flv http://files.storylogue.com/videos/attachment/640x360/213_07 31 2010 sl_lsn_character_08_multiply_capacities.jpg The Creation of Characters Pt. 8: Multiply Capacities to Enhance Reactions 0.9 http://www.storylogue.com/docs/interviews.html?documentId=255 http://files.storylogue.com/videos/attachment/640x360/214_08 01 2010 SARAH_02.flv http://files.storylogue.com/videos/attachment/640x360/214_08 01 2010 SARAH_02.jpg Writer/Producer SARAH TREEM, Part 2 <img src="../../../static/upload/images/Sarah-MirrorMirror.jpg" alt="" width="75" height="114" />  If you'd like to read Sarah's play MIRROR, MIRROR, it is available exclusively through Samuel French Books. Please <a href="http://www.samuelfrench.com/store/product_info.php/products_id/8892">CLICK HERE</a> for information and to order.   For Part 1 of the Sarah Treem interview, please refer to June 27, 2010. 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=256 http://files.storylogue.com/videos/attachment/640x360/215_08 02 2010 LA_QA_40.flv http://files.storylogue.com/videos/attachment/640x360/215_08 02 2010 LA_QA_40.jpg Is The 'McGuffin' A Necessary Part Of A Story Or Plot? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=257 http://files.storylogue.com/videos/attachment/640x360/216_08 03 2010 LA_QA_36_1.flv http://files.storylogue.com/videos/attachment/640x360/216_08 03 2010 LA_QA_36_1.jpg When You Say Start With A Step Outline, How Do You Add The Text To The Subtext? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=258 http://files.storylogue.com/videos/attachment/640x360/217_08 04 2010 LA_QA_46_1.flv http://files.storylogue.com/videos/attachment/640x360/217_08 04 2010 LA_QA_46_1.jpg Is It Possible For Your Protagonist To Get What He Wants At The Beginning Of The Story Without Him Being Obligated To Make That Thing Be A Bad Thing At The End Of The Story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=259 http://files.storylogue.com/videos/attachment/640x360/218_08 05 2010 LA_QA_51.flv http://files.storylogue.com/videos/attachment/640x360/218_08 05 2010 LA_QA_51.jpg How Can Character-As-Destiny Be The Same Thing As Free Will? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=260 http://files.storylogue.com/videos/attachment/640x360/219_08 06 2010 LA_QA_58.flv http://files.storylogue.com/videos/attachment/640x360/219_08 06 2010 LA_QA_58.jpg Is There A Maximum Number Of Characters That The Audience Can Retain In A Movie? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=261 http://files.storylogue.com/videos/attachment/640x360/220_08 07 2010 SL_lsn_enter-exit_14_finding_your_ending.flv http://files.storylogue.com/videos/attachment/640x360/220_08 07 2010 SL_lsn_enter-exit_14_finding_your_ending.jpg Entering & Exiting Your Story: Finding Your Ending 0.9 http://www.storylogue.com/docs/interviews.html?documentId=262 http://files.storylogue.com/videos/attachment/640x360/221_08 08 2010 sl_int_pressfield_04_research.flv http://files.storylogue.com/videos/attachment/640x360/221_08 08 2010 sl_int_pressfield_04_research.jpg Steven Pressfield Pt. 4 - Research 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=263 http://files.storylogue.com/videos/attachment/640x360/222_08 09 2010 LA_QA_47.flv http://files.storylogue.com/videos/attachment/640x360/222_08 09 2010 LA_QA_47.jpg Can Something Good A Character Receives At The Beginning Of The Story Still Be Good At The End Of The Story? For Part 1 of Andrew's Question, please refer to his Q&A from August 4, 2010. 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=264 http://files.storylogue.com/videos/attachment/640x360/223_08 10 2010 LA_QA_43.flv http://files.storylogue.com/videos/attachment/640x360/223_08 10 2010 LA_QA_43.jpg Could You Please Explain What You Mean By Emotional Aesthetic? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=265 http://files.storylogue.com/videos/attachment/640x360/224_08 11 2010 LA_QA_29.flv http://files.storylogue.com/videos/attachment/640x360/224_08 11 2010 LA_QA_29.jpg How Do I Map Out My Original Idea For A Series of Books, Much Like The TWILIGHT Series of Books? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=267 http://files.storylogue.com/videos/attachment/640x360/226_08 12 2010 LA_QA_26.flv http://files.storylogue.com/videos/attachment/640x360/226_08 12 2010 LA_QA_26.jpg Why Isn't The Crisis Moment In THE READER When She Decides To Hang Herself? <a href="http://www.mckeestore.com/THE-READER-Screenplay_p_39.html" target="_blank"><img src="../../../static/upload/images/the_reader.jpg" alt="" width="108" height="150" /></a> If you'd like to get a copy of THE READER screenplay, please <a href="http://www.mckeestore.com/THE-READER-Screenplay_p_39.html">click here </a>to visit the McKee Store. 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=268 http://files.storylogue.com/videos/attachment/640x360/227_08 13 2010 LA_QA_50.flv http://files.storylogue.com/videos/attachment/640x360/227_08 13 2010 LA_QA_50.jpg What Has Caused The Crisis In Storytelling Today? Happy Friday the 13th! 0.5 http://www.storylogue.com/docs/lessons.html?documentId=269 http://files.storylogue.com/videos/attachment/640x360/228_08 14 2010 sl_lsn_character_09_supporting_role_dimensions1.flv http://files.storylogue.com/videos/attachment/640x360/228_08 14 2010 sl_lsn_character_09_supporting_role_dimensions1.jpg The Creation of Characters: Part 9 - Give Supporting Roles Just 1 or 2 Dimensions 0.9 http://www.storylogue.com/docs/interviews.html?documentId=270 http://files.storylogue.com/videos/attachment/640x360/229_08 15 2010 sl_int_franklin_martin_02.flv http://files.storylogue.com/videos/attachment/640x360/229_08 15 2010 sl_int_franklin_martin_02.jpg Filmmaker Franklin Martin - Pt. II <img src="../../../static/upload/images/franklin_149.jpg" alt="" width="121" height="181" />  Franklin Martin Director Franklin Martin is a graduate of Hofstra University where he was four year letterman on the Division I basketball team.  Upon graduation, he went on to coach at Tennessee State University where he also earned his Masters' Degree. Martin began pursuing writing and acting full-time in 2001.  As an actor he has appeared on-stage throughout New York City.  He has several film and television credits, including multiple episodes on the Law & Order series. Martin lived in New Orleans as a child and was displaced by Hurricane Betsy before moving to Tennessee.  This lifelong connection with New Orleans led Martin to make his first documentary, Hurricane Season: Walking on Dead Fish (<a href="http://www.walkingondeadfish.com/">click here</a> for official website), narrated and executive-produced by Terry Bradshaw. The success of Hurricane Season: Walking on Dead Fish inspired a feature film entitled, Hurricane Season in association with Universal Pictures.  The film, produced by Franklin Martin, will be written and directed by Billy Ray of 24 and State of Play. Twenty percent of the profits from both the documentary and feature film go to the Katrina Wildcat Scholarship Fund to afford displaced players an opportunity to attend college. Part I of Franklin's interview aired June 20, 2010. 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=271 http://files.storylogue.com/videos/attachment/640x360/230_08 16 2010 LA_QA_78.flv http://files.storylogue.com/videos/attachment/640x360/230_08 16 2010 LA_QA_78.jpg What Are The Conventions of the Education Plot? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=272 http://files.storylogue.com/videos/attachment/640x360/231_08 17 2010 LA_QA_76.flv http://files.storylogue.com/videos/attachment/640x360/231_08 17 2010 LA_QA_76.jpg How Would The "Writer's Method" From Your Book STORY Adapt To Novel Writing? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=273 http://files.storylogue.com/videos/attachment/640x360/232_08 18 2010 LA_QA_55.flv http://files.storylogue.com/videos/attachment/640x360/232_08 18 2010 LA_QA_55.jpg How Can You Set Up A Story With Classical Design In A Way That Can Have A Sequel Or Multiple Sequels? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=274 http://files.storylogue.com/videos/attachment/640x360/233_08 19 2010 LA_QA_12.flv http://files.storylogue.com/videos/attachment/640x360/233_08 19 2010 LA_QA_12.jpg Could You Please Talk About The Myth of Myths? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=275 http://files.storylogue.com/videos/attachment/640x360/234_08 20 2010 LA_QA_20.flv http://files.storylogue.com/videos/attachment/640x360/234_08 20 2010 LA_QA_20.jpg Do You Think Tragedy As A Genre Is Completely Dead In The Modern World? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=276 http://files.storylogue.com/videos/attachment/640x360/235_sl_lsn_character_10_supporting_role_dimensions2.flv http://files.storylogue.com/videos/attachment/640x360/235_sl_lsn_character_10_supporting_role_dimensions2.jpg The Creation of Characters Pt. 10: Give Supporting Roles Just One or Two Dimensions - Pt. II (Conclusion) 0.9 http://www.storylogue.com/docs/interviews.html?documentId=277 http://files.storylogue.com/videos/attachment/640x360/236_SL_int_bill_block_04.flv http://files.storylogue.com/videos/attachment/640x360/236_SL_int_bill_block_04.jpg QED President Bill Block - Part IV 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=278 http://files.storylogue.com/videos/attachment/640x360/237_08 23 2010 LA_QA_11.flv http://files.storylogue.com/videos/attachment/640x360/237_08 23 2010 LA_QA_11.jpg In Converting My Screenplay To A Book, Each Chapter Is Written From The Perspective Of A Different Character. Will This Style Be As Effective In The Screenplay As In My Book? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=279 http://files.storylogue.com/videos/attachment/640x360/238_08 24 2010 LA_QA_22.flv http://files.storylogue.com/videos/attachment/640x360/238_08 24 2010 LA_QA_22.jpg Could You Please Give Some Examples Of Movies Where You Think The Idea Is Expressed So Well That We Can See Those Movies Through That Lens When Vewing Them? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=280 http://files.storylogue.com/videos/attachment/640x360/239_08 25 2010 LA_QA_23_1.flv http://files.storylogue.com/videos/attachment/640x360/239_08 25 2010 LA_QA_23_1.jpg Is Networking Really That Important? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=281 http://files.storylogue.com/videos/attachment/640x360/240_08 26 2010 LA_QA_64.flv http://files.storylogue.com/videos/attachment/640x360/240_08 26 2010 LA_QA_64.jpg What Are The Key Essentials In Defining The Plot Of The Story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=282 http://files.storylogue.com/videos/attachment/640x360/241_08 27 2010 LA_QA_70.flv http://files.storylogue.com/videos/attachment/640x360/241_08 27 2010 LA_QA_70.jpg Does A Story Always Need To Be Believable? What Makes It Believable? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=283 http://files.storylogue.com/videos/attachment/640x360/242_sl_lsn_character_11_complex_protaganists.flv http://files.storylogue.com/videos/attachment/640x360/242_sl_lsn_character_11_complex_protaganists.jpg The Creation of Characters Pt. 11: Complex Protagonists Need Three or More Dimensions 0.9 http://www.storylogue.com/docs/interviews.html?documentId=284 http://files.storylogue.com/videos/attachment/640x360/243_sl_int_bernstein_04.flv http://files.storylogue.com/videos/attachment/640x360/243_sl_int_bernstein_04.jpg Joel Bernstein, Part 4 (Conclusion) 0.9 http://www.storylogue.com/docs/lessons.html?documentId=285 http://files.storylogue.com/videos/attachment/640x360/244_sl_lsn_character_12_4_levels_of_self_pt1.flv http://files.storylogue.com/videos/attachment/640x360/244_sl_lsn_character_12_4_levels_of_self_pt1.jpg The Creation of Characters PT. 12 - Span Dimensions Across All 4 Levels of the Self 0.9 http://www.storylogue.com/docs/interviews.html?documentId=286 http://files.storylogue.com/videos/attachment/640x360/245_sl_int_hotplate_04.flv http://files.storylogue.com/videos/attachment/640x360/245_sl_int_hotplate_04.jpg Lowell Cauffiel (TV Writer) and Josh Gold (TV Exec), Part 4 (Conclusion) 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=287 http://files.storylogue.com/videos/attachment/640x360/246_08 30 2010 LA_QA_69.flv http://files.storylogue.com/videos/attachment/640x360/246_08 30 2010 LA_QA_69.jpg Hollywood is pointing to a larger convergence of video games and movies. While what results may not appear as story to you, what does that means to consumers who may think otherwise? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=288 http://files.storylogue.com/videos/attachment/640x360/247_08 31 2010 LA_QA_57.flv http://files.storylogue.com/videos/attachment/640x360/247_08 31 2010 LA_QA_57.jpg Could you please explain the gap between expectation and result? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=289 http://files.storylogue.com/videos/attachment/640x360/248_09 01 2010 LA_QA_74.flv http://files.storylogue.com/videos/attachment/640x360/248_09 01 2010 LA_QA_74.jpg What questions should a writer ask before crafting a story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=290 http://files.storylogue.com/videos/attachment/640x360/249_09 06 2010 LA_QA_19.flv http://files.storylogue.com/videos/attachment/640x360/249_09 06 2010 LA_QA_19.jpg When you talk about rewriting movies as an exercise, do you mean rewriting the movies completely from story all the way through the final draft, or just to re-beat and reform the story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=291 http://files.storylogue.com/videos/attachment/640x360/250_09 02 2010 LA_QA_54_1.flv http://files.storylogue.com/videos/attachment/640x360/250_09 02 2010 LA_QA_54_1.jpg Could you please discuss what you meant when you said "nothing moves forward except through conflict?" 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=292 http://files.storylogue.com/videos/attachment/640x360/251_09 03 2010 LA_QA_44_1.flv http://files.storylogue.com/videos/attachment/640x360/251_09 03 2010 LA_QA_44_1.jpg I'd like to know your opinion on Bollywood films, and what are some of your favorites? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=293 http://files.storylogue.com/videos/attachment/640x360/252_09 07 2010 LA_QA_71.flv http://files.storylogue.com/videos/attachment/640x360/252_09 07 2010 LA_QA_71.jpg What makes for a good villain? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=294 http://files.storylogue.com/videos/attachment/640x360/253_09 08 2010 LA_QA_31.flv http://files.storylogue.com/videos/attachment/640x360/253_09 08 2010 LA_QA_31.jpg Is there anything you can do to overcome the high, and often unreasonable, expectations people have when writing a sequel or prequel to a film or TV series? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=295 http://files.storylogue.com/videos/attachment/640x360/254_09 09 2010 LA_QA_32.flv http://files.storylogue.com/videos/attachment/640x360/254_09 09 2010 LA_QA_32.jpg How important is it to write a treatment first for a film today? Or does everyone expect you to have the complete script? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=296 http://files.storylogue.com/videos/attachment/640x360/255_09 10 2010 LA_QA_63.flv http://files.storylogue.com/videos/attachment/640x360/255_09 10 2010 LA_QA_63.jpg How much does the environment your story is told in affect the world of story in a stage play? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=297 http://files.storylogue.com/videos/attachment/640x360/256_09 13 2010 LA_QA_41.flv http://files.storylogue.com/videos/attachment/640x360/256_09 13 2010 LA_QA_41.jpg How does one go about getting their story to the right people (i.e. agents, managers, etc.)? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=298 http://files.storylogue.com/videos/attachment/640x360/257_09 14 2010 LA_QA_79.flv http://files.storylogue.com/videos/attachment/640x360/257_09 14 2010 LA_QA_79.jpg Is there a genre you recommend a new writer begins with to learn the principles of story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=299 http://files.storylogue.com/videos/attachment/640x360/258_09 15 2010 LA_QA_52.flv http://files.storylogue.com/videos/attachment/640x360/258_09 15 2010 LA_QA_52.jpg How are multiple-story films different from other stories? And what is the limit to the number of stories a writer can write? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=300 http://files.storylogue.com/videos/attachment/640x360/259_09 16 2010 LA_QA_72.flv http://files.storylogue.com/videos/attachment/640x360/259_09 16 2010 LA_QA_72.jpg I am unclear about the "negation of the negation." Could you please discuss this principle? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=301 http://files.storylogue.com/videos/attachment/640x360/260_09 17 2010 LA_QA_15.flv http://files.storylogue.com/videos/attachment/640x360/260_09 17 2010 LA_QA_15.jpg Is it better to write what you know, or what you love? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=302 http://files.storylogue.com/videos/attachment/640x360/261_09 20 2010 LA_QA_45.flv http://files.storylogue.com/videos/attachment/640x360/261_09 20 2010 LA_QA_45.jpg How do you handle a character with so many complexities that you don't end up drowning out, or losing, your audience? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=303 http://files.storylogue.com/videos/attachment/640x360/262_09 21 2010 LA_QA_77.flv http://files.storylogue.com/videos/attachment/640x360/262_09 21 2010 LA_QA_77.jpg What is important to keep in mind when writing an Education Plot? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=304 http://files.storylogue.com/videos/attachment/640x360/263_09 22 2010 LA_QA_73.flv http://files.storylogue.com/videos/attachment/640x360/263_09 22 2010 LA_QA_73.jpg What are the ground rules for the inciting incident? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=306 http://files.storylogue.com/videos/attachment/640x360/265_09 24 2010 LA_QA_13.flv http://files.storylogue.com/videos/attachment/640x360/265_09 24 2010 LA_QA_13.jpg As MacBeth did with internal monologues and soliloquies, how do you convey guilt, or guilty feelings, in modern cinema? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=305 http://files.storylogue.com/videos/attachment/640x360/264_09 23 2010 LA_QA_75.flv http://files.storylogue.com/videos/attachment/640x360/264_09 23 2010 LA_QA_75.jpg Is there a competitive advantage to being a filmmaker in addition to being a screenwriter? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=307 http://files.storylogue.com/videos/attachment/640x360/266_09 27 2010 LA_QA_62.flv http://files.storylogue.com/videos/attachment/640x360/266_09 27 2010 LA_QA_62.jpg What's happened to film endings? Several notable films like UP IN THE AIR and NO COUNTRY FOR OLD MEN have "just ended." 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=308 http://files.storylogue.com/videos/attachment/640x360/267_09 28 2010 LA_QA_14.flv http://files.storylogue.com/videos/attachment/640x360/267_09 28 2010 LA_QA_14.jpg Can you treat a series of stories as a micro-genre? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=309 http://files.storylogue.com/videos/attachment/640x360/268_09 29 2010 LA_QA_37.flv http://files.storylogue.com/videos/attachment/640x360/268_09 29 2010 LA_QA_37.jpg Should we embrace new media and new methods of distribution such as YouTube, Internet TV, Webisodes, etc.? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=310 http://files.storylogue.com/videos/attachment/640x360/269_09 30 2010 LA_QA_53.flv http://files.storylogue.com/videos/attachment/640x360/269_09 30 2010 LA_QA_53.jpg When you start writing a story about a certain subject, do you decide from the beginning where you're going to take it? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=311 http://files.storylogue.com/videos/attachment/640x360/270_10 01 2010 LA_QA_56.flv http://files.storylogue.com/videos/attachment/640x360/270_10 01 2010 LA_QA_56.jpg Can a story work if the conscious object of desire of the protagonist is something abstract like a state of mind? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=312 http://files.storylogue.com/videos/attachment/640x360/271_10 04 2010 LA_QA_60.flv http://files.storylogue.com/videos/attachment/640x360/271_10 04 2010 LA_QA_60.jpg How do I apply the principles of STORY when writing a press release? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=313 http://files.storylogue.com/videos/attachment/640x360/272_10 05 2010 LA_QA_68.flv http://files.storylogue.com/videos/attachment/640x360/272_10 05 2010 LA_QA_68.jpg Can I use story to influence my employees, to make them better and more loyal workers? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=314 http://files.storylogue.com/videos/attachment/640x360/273_10 06 2010 LA_QA_61.flv http://files.storylogue.com/videos/attachment/640x360/273_10 06 2010 LA_QA_61.jpg Is Deus Ex Machina really a random moment? A coincidence? Could you please explain this concept? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=315 http://files.storylogue.com/videos/attachment/640x360/274_10 07 2010 LA_QA_39.flv http://files.storylogue.com/videos/attachment/640x360/274_10 07 2010 LA_QA_39.jpg Is there a danger of a new, shallow commercialist boom in low-grade storytelling from writers who try to distill 'idiot guide' formulae from well known screenwriting rules and principles? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=316 http://files.storylogue.com/videos/attachment/640x360/275_10 08 2010 LA_QA_33.flv http://files.storylogue.com/videos/attachment/640x360/275_10 08 2010 LA_QA_33.jpg What makes an actor good, and how can I maximize the actor's talents to draw them to the work? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=317 http://files.storylogue.com/videos/attachment/640x360/276_10 11 2010 LA_QA_21.flv http://files.storylogue.com/videos/attachment/640x360/276_10 11 2010 LA_QA_21.jpg How does the need in story to create absolute, irreversible change in the protagonist's life work for series and serial characters? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=318 http://files.storylogue.com/videos/attachment/640x360/277_10 12 2010 LA_QA_49.flv http://files.storylogue.com/videos/attachment/640x360/277_10 12 2010 LA_QA_49.jpg What's the "trigger" than turns an extra-personal conflict into a personal conflict? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=319 http://files.storylogue.com/videos/attachment/640x360/278_10 13 2010 LA_QA_38.flv http://files.storylogue.com/videos/attachment/640x360/278_10 13 2010 LA_QA_38.jpg Can you give us an example of a story in which the character gets their conscious desire, but doesn't get their unconscious desire? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=320 http://files.storylogue.com/videos/attachment/640x360/279_10 14 2010 36 scott - subconcious subplots 2.flv http://files.storylogue.com/videos/attachment/640x360/279_10 14 2010 36 scott - subconcious subplots 2.jpg Can there be more than one subconscious subplot? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=321 http://files.storylogue.com/videos/attachment/640x360/280_10 15 2010 LA_QA_24.flv http://files.storylogue.com/videos/attachment/640x360/280_10 15 2010 LA_QA_24.jpg What's the difference between a mind fuck and a twist? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=322 http://files.storylogue.com/videos/attachment/640x360/281_10 18 2010 LA_QA_30.flv http://files.storylogue.com/videos/attachment/640x360/281_10 18 2010 LA_QA_30.jpg You said art should be shocking. But how can you tell the difference between art and something that is simple repulsive or pornographic or tasteless? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=323 http://files.storylogue.com/videos/attachment/640x360/282_10 19 2010 LA_QA_34.flv http://files.storylogue.com/videos/attachment/640x360/282_10 19 2010 LA_QA_34.jpg You say spectacle isn't meaning, but in an action movie isn't spectacle the meaning? The whole point of an action movie is the spectacle. 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=324 http://files.storylogue.com/videos/attachment/640x360/283_10 20 2010 LA_QA_35.flv http://files.storylogue.com/videos/attachment/640x360/283_10 20 2010 LA_QA_35.jpg In CARNAL KNOWLEDGE, the main character wants to destroy women and continues doing it. Even though he gets his object of desire, which should make him stop, he doesn't. Why? Is it because it's unconscious? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=325 http://files.storylogue.com/videos/attachment/640x360/284_10 21 2010 LA_QA_67.flv http://files.storylogue.com/videos/attachment/640x360/284_10 21 2010 LA_QA_67.jpg Do you have to be angry to write comedy? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=326 http://files.storylogue.com/videos/attachment/640x360/285_10 22 2010 LA_QA_65.flv http://files.storylogue.com/videos/attachment/640x360/285_10 22 2010 LA_QA_65.jpg In a documentary, how do you outline a story when you're not sure where the story will go? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=328 http://files.storylogue.com/videos/attachment/640x360/286_sl_lsn_character_13_4_levels_of_self_pt2.flv http://files.storylogue.com/videos/attachment/640x360/286_sl_lsn_character_13_4_levels_of_self_pt2.jpg The Creation of Characters Part 13 - Span Dimensions Across All 4 Levels of the Self, pt. 2 0.9 http://www.storylogue.com/docs/interviews.html?documentId=332 http://files.storylogue.com/videos/attachment/640x360/288_sl_int_pressfield_05_creating_beats.flv http://files.storylogue.com/videos/attachment/640x360/288_sl_int_pressfield_05_creating_beats.jpg Steven Pressfield, Part 5 - Creating Beats 0.9 http://www.storylogue.com/docs/interviews.html?documentId=333 http://files.storylogue.com/videos/attachment/640x360/289_sl_int_drew_carey_04.flv http://files.storylogue.com/videos/attachment/640x360/289_sl_int_drew_carey_04.jpg Drew Carey, Part 4 (Conclusion) 0.9 http://www.storylogue.com/docs/lessons.html?documentId=334 http://files.storylogue.com/videos/attachment/640x360/290_sl_lsn_character_14_4_levels_pt3.flv http://files.storylogue.com/videos/attachment/640x360/290_sl_lsn_character_14_4_levels_pt3.jpg The Creation of Characters Part 14 - Span Dimensions Across All 4 Levels of the Self, pt. 3 0.9 http://www.storylogue.com/docs/interviews.html?documentId=337 http://files.storylogue.com/videos/attachment/640x360/291_sl_int_mcgrath_04.flv http://files.storylogue.com/videos/attachment/640x360/291_sl_int_mcgrath_04.jpg Patrick McGrath, Part 4 0.9 http://www.storylogue.com/docs/lessons.html?documentId=338 http://files.storylogue.com/videos/attachment/640x360/292_sl_lsn_character_15_character_through_choice.flv http://files.storylogue.com/videos/attachment/640x360/292_sl_lsn_character_15_character_through_choice.jpg The Creation of Characters Part 15 - Expressing Character Through Choice Under Pressure & Build a Complex Character... 0.9 http://www.storylogue.com/docs/interviews.html?documentId=340 http://files.storylogue.com/videos/attachment/640x360/293_SL_int_bill_block_05_conclusion.flv http://files.storylogue.com/videos/attachment/640x360/293_SL_int_bill_block_05_conclusion.jpg QED President Bill Block - Part V (Conclusion) 0.9 http://www.storylogue.com/docs/lessons.html?documentId=341 0.9 http://www.storylogue.com/docs/lessons.html?documentId=343 http://files.storylogue.com/videos/attachment/640x360/296_sl_lsn_character_16_limit_of_human_experience.flv http://files.storylogue.com/videos/attachment/640x360/296_sl_lsn_character_16_limit_of_human_experience.jpg The Creation of Characters, Part 16 - Take the Character to the Limit of Human Experience 0.9 http://www.storylogue.com/docs/interviews.html?documentId=344 http://files.storylogue.com/videos/attachment/640x360/297_sl_int_coyne_03.flv http://files.storylogue.com/videos/attachment/640x360/297_sl_int_coyne_03.jpg Shawn Coyne, Literary Agent - Part 3 0.9 http://www.storylogue.com/docs/interviews.html?documentId=345 http://files.storylogue.com/videos/attachment/640x360/298_sl_int_pressfield_06_bagger_vance.flv http://files.storylogue.com/videos/attachment/640x360/298_sl_int_pressfield_06_bagger_vance.jpg Steven Pressfield, Part 6 - Point of View & Bagger Vance 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=346 http://files.storylogue.com/videos/attachment/640x360/299_QA288_sed_10_10_QA01.flv http://files.storylogue.com/videos/attachment/640x360/299_QA288_sed_10_10_QA01.jpg Why do women and children and people of other races and alien tree-dwellers seem to have all the answers? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=347 http://files.storylogue.com/videos/attachment/640x360/300_QA289_sed_10_10_QA02.flv http://files.storylogue.com/videos/attachment/640x360/300_QA289_sed_10_10_QA02.jpg Is the film “Spring, Summer, Winter, Fall…and Spring Again” anti-structure or minimalist? Can you talk about why you like it so much? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=348 http://files.storylogue.com/videos/attachment/640x360/301_QA290_sed_10_10_QA03.flv http://files.storylogue.com/videos/attachment/640x360/301_QA290_sed_10_10_QA03.jpg What genre is it when a victimized woman overcomes her victimization? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=349 http://files.storylogue.com/videos/attachment/640x360/302_QA291_sed_10_10_QA04.flv http://files.storylogue.com/videos/attachment/640x360/302_QA291_sed_10_10_QA04.jpg When writing an hour drama pilot, what do you think are the most important elements of the pilot besides the complex character? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=350 http://files.storylogue.com/videos/attachment/640x360/303_QA292_sed_10_10_QA05.flv http://files.storylogue.com/videos/attachment/640x360/303_QA292_sed_10_10_QA05.jpg Is all subtext, by nature, manipulative in its intent? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=351 http://files.storylogue.com/videos/attachment/640x360/304_QA295_sed_10_10_QA06.flv http://files.storylogue.com/videos/attachment/640x360/304_QA295_sed_10_10_QA06.jpg In a story with a prologue, does the timing for the inciting incident of the main story generally get pushed back to a later-than-usual place so that the main story can develop in a normal way? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=352 http://files.storylogue.com/videos/attachment/640x360/305_QA296_sed_10_10_QA07.flv http://files.storylogue.com/videos/attachment/640x360/305_QA296_sed_10_10_QA07.jpg Other than spending weeks roaming through store shelves and internet sites, do you have a method for finding works in the character-driven genres? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=353 http://files.storylogue.com/videos/attachment/640x360/306_QA297_sed_10_10_QA08.flv http://files.storylogue.com/videos/attachment/640x360/306_QA297_sed_10_10_QA08.jpg Could you talk more in detail how to do a step outline? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=354 http://files.storylogue.com/videos/attachment/640x360/307_QA298_sed_10_10_QA09.flv http://files.storylogue.com/videos/attachment/640x360/307_QA298_sed_10_10_QA09.jpg Could you please explain what you meant in “Story” about writing on a deck of cards? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=355 http://files.storylogue.com/videos/attachment/640x360/308_QA299_sed_10_10_QA10.flv http://files.storylogue.com/videos/attachment/640x360/308_QA299_sed_10_10_QA10.jpg What makes the car crash in “No Country For Old Men” a “satisfying” climax? Isn’t it as bad as the t-rex in Jurassic Park? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=356 http://files.storylogue.com/videos/attachment/640x360/309_QA302_sed_10_10_QA11.flv http://files.storylogue.com/videos/attachment/640x360/309_QA302_sed_10_10_QA11.jpg The opportunity has arisen to write a screenplay based on a book. The authors have given permission for me to do it. What kind of written agreement should I make with them? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=357 http://files.storylogue.com/videos/attachment/640x360/310_QA303_sed_10_10_QA12.flv http://files.storylogue.com/videos/attachment/640x360/310_QA303_sed_10_10_QA12.jpg Could the inciting incident be in a flashback, in the middle of my story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=358 http://files.storylogue.com/videos/attachment/640x360/311_QA304_sed_10_10_QA13.flv http://files.storylogue.com/videos/attachment/640x360/311_QA304_sed_10_10_QA13.jpg Would you discuss the relationship between empathy and sympathy? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=359 http://files.storylogue.com/videos/attachment/640x360/312_sl_lsn_character_17_limit_of_human_experience_2.flv http://files.storylogue.com/videos/attachment/640x360/312_sl_lsn_character_17_limit_of_human_experience_2.jpg The Creation of Characters, Part 17 - Take the Character to the Limit of Human Experience, Pt. 2 0.9 http://www.storylogue.com/docs/interviews.html?documentId=360 http://files.storylogue.com/videos/attachment/640x360/313_sl_int_franklin_martin_03.flv http://files.storylogue.com/videos/attachment/640x360/313_sl_int_franklin_martin_03.jpg Franklin Martin, Part 3 0.9 http://www.storylogue.com/docs/interviews.html?documentId=361 http://files.storylogue.com/videos/attachment/640x360/314_sl_int_kotcheff_03.flv http://files.storylogue.com/videos/attachment/640x360/314_sl_int_kotcheff_03.jpg Ted Kotcheff, Part 3 0.9 http://www.storylogue.com/docs/lessons.html?documentId=362 http://files.storylogue.com/videos/attachment/640x360/315_sl_lsn_shaping_characters_into_a_cast_1.flv http://files.storylogue.com/videos/attachment/640x360/315_sl_lsn_shaping_characters_into_a_cast_1.jpg Shaping Characters Into a Cast, Part 1: Tenets 1 & 2 of Cast Design 0.9 http://www.storylogue.com/docs/lessons.html?documentId=363 http://files.storylogue.com/videos/attachment/640x360/316_sl_lsn_shaping_characters_into_a_cast_2.flv http://files.storylogue.com/videos/attachment/640x360/316_sl_lsn_shaping_characters_into_a_cast_2.jpg Shaping Characters Into a Cast, Part 2: Tenets 3 & 4 of Cast Design 0.9 http://www.storylogue.com/docs/lessons.html?documentId=365 http://files.storylogue.com/videos/attachment/640x360/317_sl_lsn_shaping_Characters_into_a_cast_3.flv http://files.storylogue.com/videos/attachment/640x360/317_sl_lsn_shaping_Characters_into_a_cast_3.jpg Shaping Characters Into a Cast, Part 3: Tenet 5 of Cast Design 0.9 http://www.storylogue.com/docs/interviews.html?documentId=367 http://files.storylogue.com/videos/attachment/640x360/318_sl_int_pressfield_07_conclusion.flv http://files.storylogue.com/videos/attachment/640x360/318_sl_int_pressfield_07_conclusion.jpg Steven Pressfield, Part 7 - Conclusion 0.9 http://www.storylogue.com/docs/interviews.html?documentId=370 http://files.storylogue.com/videos/attachment/640x360/319_sl_int_coyne_04.flv http://files.storylogue.com/videos/attachment/640x360/319_sl_int_coyne_04.jpg Shawn Coyne, Literary Agent - Part 4 0.9 http://www.storylogue.com/docs/lessons.html?documentId=371 http://files.storylogue.com/videos/attachment/640x360/320_sl_lsn_shaping_characters_into_a_cast_4.flv http://files.storylogue.com/videos/attachment/640x360/320_sl_lsn_shaping_characters_into_a_cast_4.jpg Shaping Characters Into a Cast, Part 4: Tenet 6 of Cast Design 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=372 http://files.storylogue.com/videos/attachment/640x360/321_QA305.flv http://files.storylogue.com/videos/attachment/640x360/321_QA305.jpg When and how should you direct from the script? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=373 http://files.storylogue.com/videos/attachment/640x360/322_QA306.flv http://files.storylogue.com/videos/attachment/640x360/322_QA306.jpg Is there a proper use of voiceovers in movies? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=375 http://files.storylogue.com/videos/attachment/640x360/323_QA307.flv http://files.storylogue.com/videos/attachment/640x360/323_QA307.jpg What is the best way to translate a memoir book into a screenplay? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=376 http://files.storylogue.com/videos/attachment/640x360/324_QA308.flv http://files.storylogue.com/videos/attachment/640x360/324_QA308.jpg Can you create an original story by combining two genres? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=377 http://files.storylogue.com/videos/attachment/640x360/325_QA309.flv http://files.storylogue.com/videos/attachment/640x360/325_QA309.jpg How do you write about things that you haven't experienced? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=378 http://files.storylogue.com/videos/attachment/640x360/326_QA310.flv http://files.storylogue.com/videos/attachment/640x360/326_QA310.jpg Is "I've been acting like a coward, but I want to be brave" too generic an object of desire? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=379 http://files.storylogue.com/videos/attachment/640x360/327_QA311.flv http://files.storylogue.com/videos/attachment/640x360/327_QA311.jpg What happens when the original object of desire changes through the film? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=380 http://files.storylogue.com/videos/attachment/640x360/328_QA312.flv http://files.storylogue.com/videos/attachment/640x360/328_QA312.jpg What are the differences in how we experience tragedy in our lives vs. how we experience it when we watch it in a movie or read it in a novel? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=381 http://files.storylogue.com/videos/attachment/640x360/329_QA313.flv http://files.storylogue.com/videos/attachment/640x360/329_QA313.jpg What is the difference between want and need and how does that relate to what you talk about in the book "Story"? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=382 http://files.storylogue.com/videos/attachment/640x360/330_QA314.flv http://files.storylogue.com/videos/attachment/640x360/330_QA314.jpg Should you know your protagonist's object of desire offhand, or discover it when creating the inciting incident? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=383 http://files.storylogue.com/videos/attachment/640x360/331_QA315.flv http://files.storylogue.com/videos/attachment/640x360/331_QA315.jpg How could one elevate story to be as important as spectacle in video games? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=384 http://files.storylogue.com/videos/attachment/640x360/332_QA316.flv http://files.storylogue.com/videos/attachment/640x360/332_QA316.jpg Since action/adventure is only on one level, does that mean that there is not much of a character arc? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=385 http://files.storylogue.com/videos/attachment/640x360/333_QA317.flv http://files.storylogue.com/videos/attachment/640x360/333_QA317.jpg Can you explain the difference between a story that’s complex and a story that’s complicated? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=386 http://files.storylogue.com/videos/attachment/640x360/334_QA318.flv http://files.storylogue.com/videos/attachment/640x360/334_QA318.jpg In a four-act structure, should there be a change in value between each act? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=387 http://files.storylogue.com/videos/attachment/640x360/335_sl_lsn_shaping_characters_into_a_cast_5.flv http://files.storylogue.com/videos/attachment/640x360/335_sl_lsn_shaping_characters_into_a_cast_5.jpg Shaping Characters Into a Cast, Part 5: Tenet 7 of Cast Design 0.9 http://www.storylogue.com/docs/interviews.html?documentId=389 http://files.storylogue.com/videos/attachment/640x360/336_sl_int_mcgrath_05.flv http://files.storylogue.com/videos/attachment/640x360/336_sl_int_mcgrath_05.jpg Patrick McGrath, Part 5 0.9 http://www.storylogue.com/docs/lessons.html?documentId=390 http://files.storylogue.com/videos/attachment/640x360/337_sl_lsn_shaping_characters_into_a_cast_6.flv http://files.storylogue.com/videos/attachment/640x360/337_sl_lsn_shaping_characters_into_a_cast_6.jpg Shaping Characters Into a Cast, Part 6: Tenet 8 of Cast Design, Pt. 1 0.9 http://www.storylogue.com/docs/interviews.html?documentId=391 http://files.storylogue.com/videos/attachment/640x360/338_sl_int_franklin_martin_04.flv http://files.storylogue.com/videos/attachment/640x360/338_sl_int_franklin_martin_04.jpg Franklin Martin, Part 4 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=394 http://files.storylogue.com/videos/attachment/640x360/339_QA319.flv http://files.storylogue.com/videos/attachment/640x360/339_QA319.jpg Is the climax of Act One always the inciting incident? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=395 http://files.storylogue.com/videos/attachment/640x360/340_QA320.flv http://files.storylogue.com/videos/attachment/640x360/340_QA320.jpg In comedy, does having too much character arc take away from the comedic beats in the movie? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=396 http://files.storylogue.com/videos/attachment/640x360/341_QA321.flv http://files.storylogue.com/videos/attachment/640x360/341_QA321.jpg Does the last scene in an act share its climax with the act? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=397 http://files.storylogue.com/videos/attachment/640x360/342_QA323.flv http://files.storylogue.com/videos/attachment/640x360/342_QA323.jpg What do you mean by taste, and if someone doesn’t have taste, how can they acquire it? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=398 http://files.storylogue.com/videos/attachment/640x360/343_QA324.flv http://files.storylogue.com/videos/attachment/640x360/343_QA324.jpg Is it okay to have the value change be the same at the beginning and the end of a scene? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=399 http://files.storylogue.com/videos/attachment/640x360/344_QA325.flv http://files.storylogue.com/videos/attachment/640x360/344_QA325.jpg Does the positive or negative charge always need to change from scene to scene? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=400 http://files.storylogue.com/videos/attachment/640x360/345_sl_int_kotcheff_04.flv http://files.storylogue.com/videos/attachment/640x360/345_sl_int_kotcheff_04.jpg Ted Kotcheff, Part 4 0.9 http://www.storylogue.com/docs/lessons.html?documentId=401 http://files.storylogue.com/videos/attachment/640x360/346_sl_lsn_shaping_characters_into_a_cast_7.flv http://files.storylogue.com/videos/attachment/640x360/346_sl_lsn_shaping_characters_into_a_cast_7.jpg Shaping Characters Into a Cast, Part 7: Tenet 8 of Cast Design, Pt. 2 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=402 http://files.storylogue.com/videos/attachment/640x360/347_QA326.flv http://files.storylogue.com/videos/attachment/640x360/347_QA326.jpg Can you carry a coincidence throughout a short film? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=403 http://files.storylogue.com/videos/attachment/640x360/348_QA327.flv http://files.storylogue.com/videos/attachment/640x360/348_QA327.jpg What are the keys to collaboration? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=404 http://files.storylogue.com/videos/attachment/640x360/349_sl_int_coyne_05_conclusion.flv http://files.storylogue.com/videos/attachment/640x360/349_sl_int_coyne_05_conclusion.jpg Shawn Coyne, Literary Agent - Part 5 (conclusion) 0.9 http://www.storylogue.com/docs/lessons.html?documentId=405 http://files.storylogue.com/videos/attachment/640x360/350_sl_lsn_cauffiel_pitching_01.flv http://files.storylogue.com/videos/attachment/640x360/350_sl_lsn_cauffiel_pitching_01.jpg Writer Lowell Cauffiel Presents: Pitching, Part 1 In the first of our new series of Guest Lessons, writer Lowell Cauffiel shares his knowledge in successfully pitching shows to major networks.   Lowell Cauffiel, born in Michigan, is an American writer and TV producer. An award-winning reporter with the Detroit News and Detroit Monthly Magazine in the 1970s and 1980s, Cauffiel began his bookwriting career in 1988 with Masquerade: A True Story of Seduction, Compulsion and Murder. That title, and his 1997 New York Times bestseller House of Secrets, have appeared on many critics' lists of the best works in American true crime. As a nonfiction author, he's known for his meticulous research and accuracy, delivered in novel-like, page-turner style. Thematically, Cauffiel's books often explore how people embrace popular trends and exalt American values to hide their dark intentions and destructive acts.   In the mid 1990s, Cauffiel also turned his attention to crime novels, publishing three fiction titles. He credits the off-beat humor and high-contrast scenes found in his fiction to his years spent as a reporter in the volatile streets of Detroit and the many years he worked as a blues guitarist in smoky Motor City nightclubs.   Lowell's most recently sold a TV pilot to Warner Bros. called "Detroit 310."   <a title="Drama Pitch Outline" href="http://mckeestory.com/wp-content/uploads/drama_pitch_outline1.pdf" target="_blank">Find and download a sample pitch outline for a drama here</a>. 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=406 http://files.storylogue.com/videos/attachment/640x360/351_QA328.flv http://files.storylogue.com/videos/attachment/640x360/351_QA328.jpg Can you go through an example of the forces and cycles of antagonism with an example from an education plot? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=407 http://files.storylogue.com/videos/attachment/640x360/352_QA329.flv http://files.storylogue.com/videos/attachment/640x360/352_QA329.jpg How do you get a TV treatment done and how do you pitch it? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=408 http://files.storylogue.com/videos/attachment/640x360/353_QA330.flv http://files.storylogue.com/videos/attachment/640x360/353_QA330.jpg Does the main plot value have to contrast the value of the subplot? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=409 http://files.storylogue.com/videos/attachment/640x360/354_QA331.flv http://files.storylogue.com/videos/attachment/640x360/354_QA331.jpg What is the core value of Chinatown? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=410 http://files.storylogue.com/videos/attachment/640x360/355_QA332.flv http://files.storylogue.com/videos/attachment/640x360/355_QA332.jpg Does the meaning of the story emerge out of discovering what the negation of the negation is of the core value? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=411 http://files.storylogue.com/videos/attachment/640x360/356_QA333.flv http://files.storylogue.com/videos/attachment/640x360/356_QA333.jpg In plays, is the image system the domain of the director or the writer? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=412 http://files.storylogue.com/videos/attachment/640x360/357_sl_lsn_cauffiel_pitching_02.flv http://files.storylogue.com/videos/attachment/640x360/357_sl_lsn_cauffiel_pitching_02.jpg Writer Lowell Cauffiel Presents: Pitching, Part 2 Find and download the sample pitch outline for a drama that Mr. Cauffiel refers to in these lessons <a title="Sample drama pitch outline" href="http://mckeestory.com/wp-content/uploads/drama_pitch_outline1.pdf" target="_blank">here</a>. 0.9 http://www.storylogue.com/docs/interviews.html?documentId=413 http://files.storylogue.com/videos/attachment/640x360/358_sl_int_mcgrath_06.flv http://files.storylogue.com/videos/attachment/640x360/358_sl_int_mcgrath_06.jpg Patrick McGrath, Part 6 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=414 http://files.storylogue.com/videos/attachment/640x360/359_QA334.flv http://files.storylogue.com/videos/attachment/640x360/359_QA334.jpg In subliminal systems, what is the difference between decorative and expressive? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=415 http://files.storylogue.com/videos/attachment/640x360/360_QA335.flv http://files.storylogue.com/videos/attachment/640x360/360_QA335.jpg How do you know if an idea is worth writing? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=416 http://files.storylogue.com/videos/attachment/640x360/361_QA336.flv http://files.storylogue.com/videos/attachment/640x360/361_QA336.jpg How do you lower the emotional stakes for kids to avoid losing their interest? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=417 http://files.storylogue.com/videos/attachment/640x360/362_QA337.flv http://files.storylogue.com/videos/attachment/640x360/362_QA337.jpg What are the four image systems in “Chinatown”? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=418 http://files.storylogue.com/videos/attachment/640x360/363_QA338.flv http://files.storylogue.com/videos/attachment/640x360/363_QA338.jpg In “The Reader”, does the fact that her young lover did not save the female protagonist in the courtroom when he realized she was illiterate imply forgiveness? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=419 http://files.storylogue.com/videos/attachment/640x360/364_QA339.flv http://files.storylogue.com/videos/attachment/640x360/364_QA339.jpg Do writer/directors write their screenplays differently knowing that they will be directing the film? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=420 http://files.storylogue.com/videos/attachment/640x360/365_QA340.flv http://files.storylogue.com/videos/attachment/640x360/365_QA340.jpg How clearly do you write subtext to be sure that the director understands your story enough to understand that subtext? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=421 http://files.storylogue.com/videos/attachment/640x360/366_QA341.flv http://files.storylogue.com/videos/attachment/640x360/366_QA341.jpg When is it okay to have long speeches? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=422 http://files.storylogue.com/videos/attachment/640x360/367_QA342.flv http://files.storylogue.com/videos/attachment/640x360/367_QA342.jpg How does inner conflict relate to the forces of antagonism? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=424 http://files.storylogue.com/videos/attachment/640x360/368_sl_lsn_cauffiel_pitching_03.flv http://files.storylogue.com/videos/attachment/640x360/368_sl_lsn_cauffiel_pitching_03.jpg Writer Lowell Cauffiel Presents: Pitching, Part 3 <div> Find and download the sample pitch outline for a drama that Mr. Cauffiel refers to in these lessons <a title="Sample drama pitch outline" href="http://mckeestory.com/wp-content/uploads/drama_pitch_outline1.pdf" target="_blank">here</a>. </div> 0.9 http://www.storylogue.com/docs/interviews.html?documentId=426 http://files.storylogue.com/videos/attachment/640x360/370_sl_int_franklin_martin_05.flv http://files.storylogue.com/videos/attachment/640x360/370_sl_int_franklin_martin_05.jpg Franklin Martin, Part 5 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=427 http://files.storylogue.com/videos/attachment/640x360/371_QA343.flv http://files.storylogue.com/videos/attachment/640x360/371_QA343.jpg How do I remove myself from my work? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=428 http://files.storylogue.com/videos/attachment/640x360/372_QA344.flv http://files.storylogue.com/videos/attachment/640x360/372_QA344.jpg Are there any principles in constructing an unconscious objective? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=429 http://files.storylogue.com/videos/attachment/640x360/373_QA345.flv http://files.storylogue.com/videos/attachment/640x360/373_QA345.jpg What should the average length of a play scene be? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=430 http://files.storylogue.com/videos/attachment/640x360/374_QA346.flv http://files.storylogue.com/videos/attachment/640x360/374_QA346.jpg What effect did “Casablanca” have on American sympathies and American involvement in World War II? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=431 http://files.storylogue.com/videos/attachment/640x360/375_QA347.flv http://files.storylogue.com/videos/attachment/640x360/375_QA347.jpg What is the obligatory scene in “No Country For Old Men?” 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=432 http://files.storylogue.com/videos/attachment/640x360/376_QA348.flv http://files.storylogue.com/videos/attachment/640x360/376_QA348.jpg Do you put all of your back story that you dream up into the big treatment that you don’t share with anyone? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=433 http://files.storylogue.com/videos/attachment/640x360/377_QA322.flv http://files.storylogue.com/videos/attachment/640x360/377_QA322.jpg Can you reveal that an action that a character is making is the result of a choice that he has made that is a dilemma, after the fact? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=434 http://files.storylogue.com/videos/attachment/640x360/378_sl_lsn_cauffiel_pitching_04.flv http://files.storylogue.com/videos/attachment/640x360/378_sl_lsn_cauffiel_pitching_04.jpg Writer Lowell Cauffiel Presents: Pitching, Part 4 <div> Find and download the sample pitch outline for a drama that Mr. Cauffiel refers to in these lessons <a title="Sample drama pitch outline" href="http://mckeestory.com/wp-content/uploads/drama_pitch_outline1.pdf" target="_blank">here</a>. </div> 0.9 http://www.storylogue.com/docs/interviews.html?documentId=435 http://files.storylogue.com/videos/attachment/640x360/379_sl_int_sarah_treem_3.flv http://files.storylogue.com/videos/attachment/640x360/379_sl_int_sarah_treem_3.jpg Writer/Producer Sarah Treem, Part 3 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=437 http://files.storylogue.com/videos/attachment/640x360/380_QA349.flv http://files.storylogue.com/videos/attachment/640x360/380_QA349.jpg The Mafia is a popular story subject. Can mob drama be considered a specific genre, and, if so, what would the conventions be? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=440 http://files.storylogue.com/videos/attachment/640x360/383_QA350.flv http://files.storylogue.com/videos/attachment/640x360/383_QA350.jpg How do you write a character with subconscious desire so that the reader/audience "gets it"? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=441 http://files.storylogue.com/videos/attachment/640x360/384_QA351.flv http://files.storylogue.com/videos/attachment/640x360/384_QA351.jpg Could the object of desire for the protagonist be to reunite with a love who has been killed? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=442 http://files.storylogue.com/videos/attachment/640x360/385_QA352.flv http://files.storylogue.com/videos/attachment/640x360/385_QA352.jpg How do you write multiple characters and stories like mini short films that lead in to one another? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=443 http://files.storylogue.com/videos/attachment/640x360/386_QA353.flv http://files.storylogue.com/videos/attachment/640x360/386_QA353.jpg Must the protagonist appear in the first scene of a story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=444 http://files.storylogue.com/videos/attachment/640x360/387_QA354.flv http://files.storylogue.com/videos/attachment/640x360/387_QA354.jpg Is narrative authenticity in jeopardy if the characters speak a language not native to the setting of the story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=445 http://files.storylogue.com/videos/attachment/640x360/388_QA355.flv http://files.storylogue.com/videos/attachment/640x360/388_QA355.jpg What is the difference between black comedy and other forms of comedy? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=446 http://files.storylogue.com/videos/attachment/640x360/389_QA356.flv http://files.storylogue.com/videos/attachment/640x360/389_QA356.jpg Does starting a novel in the present time and then going back to an earlier period add more complication than necessary? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=447 http://files.storylogue.com/videos/attachment/640x360/390_QA357.flv http://files.storylogue.com/videos/attachment/640x360/390_QA357.jpg Is it homage or thievery to “quote” from other stories? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=448 http://files.storylogue.com/videos/attachment/640x360/391_sl_lsn_cauffiel_pitching_05.flv http://files.storylogue.com/videos/attachment/640x360/391_sl_lsn_cauffiel_pitching_05.jpg Writer Lowell Cauffiel Presents: Pitching, Part 5 <div> Find and download the sample pitch outline for a drama that Mr. Cauffiel refers to in these lessons <a title="Sample drama pitch outline" href="http://mckeestory.com/wp-content/uploads/drama_pitch_outline1.pdf" target="_blank">here</a>. </div> 0.9 http://www.storylogue.com/docs/interviews.html?documentId=449 http://files.storylogue.com/videos/attachment/640x360/392_sl_int_tesori_bernstein_02.flv http://files.storylogue.com/videos/attachment/640x360/392_sl_int_tesori_bernstein_02.jpg Jeanine Tesori (Broadway Composer) and Jonathan Bernstein (Playwright & Director), Part 2 0.9 http://www.storylogue.com/docs/interviews.html?documentId=450 http://files.storylogue.com/videos/attachment/640x360/393_sl_int_kotcheff_05.flv http://files.storylogue.com/videos/attachment/640x360/393_sl_int_kotcheff_05.jpg Ted Kotcheff (Director/Producer), Part 5 0.9 http://www.storylogue.com/docs/lessons.html?documentId=451 http://files.storylogue.com/videos/attachment/640x360/394_sl_lsn_cauffiel_pitching_06_the_pitch.flv http://files.storylogue.com/videos/attachment/640x360/394_sl_lsn_cauffiel_pitching_06_the_pitch.jpg Writer Lowell Cauffiel Presents: Pitching, Part 6: The Sample Pitch <div> Find and download the sample pitch outline for a drama that Mr. Cauffiel refers to in these lessons <a title="Sample drama pitch outline" href="http://mckeestory.com/wp-content/uploads/drama_pitch_outline1.pdf" target="_blank">here</a>. </div> 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=452 http://files.storylogue.com/videos/attachment/640x360/395_QA358.flv http://files.storylogue.com/videos/attachment/640x360/395_QA358.jpg If one’s script lacks drama, how might a writer work to correct this problem? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=453 http://files.storylogue.com/videos/attachment/640x360/396_QA359.flv http://files.storylogue.com/videos/attachment/640x360/396_QA359.jpg We all have to deal with the negative side of our profession. How can we re-inspire ourselves and persevere with our craft? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=454 http://files.storylogue.com/videos/attachment/640x360/397_QA360.flv http://files.storylogue.com/videos/attachment/640x360/397_QA360.jpg Can you explain again how to get the negation of the negation? I’ve gotten confused using “caring”... “cruel”... 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=455 http://files.storylogue.com/videos/attachment/640x360/398_QA361.flv http://files.storylogue.com/videos/attachment/640x360/398_QA361.jpg My male protagonist caused the death of his best friend accidentally, and now is in a relationship with his widow. How can I be sure the audience will not disapprove? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=457 http://files.storylogue.com/videos/attachment/640x360/399_QA362.flv http://files.storylogue.com/videos/attachment/640x360/399_QA362.jpg When should you talk about your story idea and is there a risk that the reactions of others might have too much influence? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=458 http://files.storylogue.com/videos/attachment/640x360/400_QA363.flv http://files.storylogue.com/videos/attachment/640x360/400_QA363.jpg Besides life and death, what other values would work for a pure horror story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=459 http://files.storylogue.com/videos/attachment/640x360/401_QA364.flv http://files.storylogue.com/videos/attachment/640x360/401_QA364.jpg How can you identify the essence of a story in a screenplay? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=460 http://files.storylogue.com/videos/attachment/640x360/402_sl_lsn_life_plots_1.flv http://files.storylogue.com/videos/attachment/640x360/402_sl_lsn_life_plots_1.jpg Life Plots, Part 1: Introduction and Definition 0.9 http://www.storylogue.com/docs/interviews.html?documentId=462 http://files.storylogue.com/videos/attachment/640x360/404_sl_int_mcgrath_07.flv http://files.storylogue.com/videos/attachment/640x360/404_sl_int_mcgrath_07.jpg Patrick McGrath, Part 7 0.9 http://www.storylogue.com/docs/interviews.html?documentId=463 http://files.storylogue.com/videos/attachment/640x360/405_sl_int_franklin_martin_06.flv http://files.storylogue.com/videos/attachment/640x360/405_sl_int_franklin_martin_06.jpg Franklin Martin, Part 6 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=465 http://files.storylogue.com/videos/attachment/640x360/406_QA365.flv http://files.storylogue.com/videos/attachment/640x360/406_QA365.jpg Do Hollywood producers favor big bucks movies over more emotional, intellectual, thought-provoking works? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=466 http://files.storylogue.com/videos/attachment/640x360/407_QA366.flv http://files.storylogue.com/videos/attachment/640x360/407_QA366.jpg What are your thoughts on grad school for a screenwriter? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=467 http://files.storylogue.com/videos/attachment/640x360/408_sl_lsn_life_plots_2.flv http://files.storylogue.com/videos/attachment/640x360/408_sl_lsn_life_plots_2.jpg Life Plots, Part 2 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=468 http://files.storylogue.com/videos/attachment/640x360/409_QA367.flv http://files.storylogue.com/videos/attachment/640x360/409_QA367.jpg Once I start writing, I keep getting ideas. How do you stop writing a story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=469 http://files.storylogue.com/videos/attachment/640x360/410_QA368.flv http://files.storylogue.com/videos/attachment/640x360/410_QA368.jpg How would one go about writing a movie like “American Graffiti”? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=470 http://files.storylogue.com/videos/attachment/640x360/411_QA369.flv http://files.storylogue.com/videos/attachment/640x360/411_QA369.jpg When writing a story with protagonists evolving in different directions, one positive and one negative, do both structures need to say the same thing? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=471 http://files.storylogue.com/videos/attachment/640x360/412_QA370.flv http://files.storylogue.com/videos/attachment/640x360/412_QA370.jpg How do you write a story about a person with a terminal illness or a curse that can’t be lifted? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=472 http://files.storylogue.com/videos/attachment/640x360/413_QA371.flv http://files.storylogue.com/videos/attachment/640x360/413_QA371.jpg I’d like to see actresses in stories that inspire girls and educate boys about what women can achieve. How would you approach this goal? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=473 http://files.storylogue.com/videos/attachment/640x360/414_QA372.flv http://files.storylogue.com/videos/attachment/640x360/414_QA372_3.jpg I am trying to write a TV series based on the life of Napoleon Bonaparte. Do you have any advice? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=474 http://files.storylogue.com/videos/attachment/640x360/415_QA373.flv http://files.storylogue.com/videos/attachment/640x360/415_QA373.jpg How would a treatment look for a scene with mostly dialogue? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=475 http://files.storylogue.com/videos/attachment/640x360/416_QA374.flv http://files.storylogue.com/videos/attachment/640x360/416_QA374.jpg When writing a treatment, when do you write the subtext? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=476 http://files.storylogue.com/videos/attachment/640x360/417_sl_lsn_life_plots_3.flv http://files.storylogue.com/videos/attachment/640x360/417_sl_lsn_life_plots_3.jpg Life Plots, Part 3 0.9 http://www.storylogue.com/docs/interviews.html?documentId=477 http://files.storylogue.com/videos/attachment/640x360/418_sl_int_sarah_treem_4.flv http://files.storylogue.com/videos/attachment/640x360/418_sl_int_sarah_treem_4.jpg Writer/Producer Sarah Treem, Part 4 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=478 http://files.storylogue.com/videos/attachment/640x360/419_QA375.flv http://files.storylogue.com/videos/attachment/640x360/419_QA375.jpg What is the essence of talent? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=479 http://files.storylogue.com/videos/attachment/640x360/420_QA378.flv http://files.storylogue.com/videos/attachment/640x360/420_QA378.jpg Could you apply an education plot to one episode of a series? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=480 http://files.storylogue.com/videos/attachment/640x360/421_QA379.flv http://files.storylogue.com/videos/attachment/640x360/421_QA379.jpg If your controlling idea is that a ruthless pursuit of money or fame could destroy you in time, how does that relate to a positive change in the nature of the character? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=481 http://files.storylogue.com/videos/attachment/640x360/422_QA380.flv http://files.storylogue.com/videos/attachment/640x360/422_QA380.jpg Does acting help your writing? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=482 http://files.storylogue.com/videos/attachment/640x360/423_QA381.flv http://files.storylogue.com/videos/attachment/640x360/423_QA381.jpg Can an inanimate object be your protagonist? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=483 http://files.storylogue.com/videos/attachment/640x360/424_QA382.flv http://files.storylogue.com/videos/attachment/640x360/424_QA382.jpg Can banality be used to postpone the inciting incident? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=484 http://files.storylogue.com/videos/attachment/640x360/425_QA383.flv http://files.storylogue.com/videos/attachment/640x360/425_QA383.jpg How do you work with an object of desire through a TV series? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=485 http://files.storylogue.com/videos/attachment/640x360/426_sl_int_kotcheff_06.flv http://files.storylogue.com/videos/attachment/640x360/426_sl_int_kotcheff_06.jpg Ted Kotcheff (Director/Producer), Part 6 0.9 http://www.storylogue.com/docs/lessons.html?documentId=488 http://files.storylogue.com/videos/attachment/640x360/428_sl_lsn_life_plots_4.flv http://files.storylogue.com/videos/attachment/640x360/428_sl_lsn_life_plots_4.jpg Life Plots, Part 4 0.9 http://www.storylogue.com/docs/interviews.html?documentId=490 http://files.storylogue.com/videos/attachment/640x360/429_sl_int_tessori_bernstein_03.flv http://files.storylogue.com/videos/attachment/640x360/429_sl_int_tessori_bernstein_03.jpg Jeanine Tesori (Broadway Composer) and Jonathan Bernstein (Playwright & Director), Part 3 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=493 http://files.storylogue.com/videos/attachment/640x360/430_QA384.flv http://files.storylogue.com/videos/attachment/640x360/430_QA384.jpg Where is the line between plural and single protagonists, especially when one becomes a betrayer of the fellowship? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=494 http://files.storylogue.com/videos/attachment/640x360/431_QA385.flv http://files.storylogue.com/videos/attachment/640x360/431_QA385.jpg When writing longer stories for the page, must you change the value in every scene or can you write scenes where the value doesn’t change to “pay it off” later on? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=495 http://files.storylogue.com/videos/attachment/640x360/432_QA386.flv http://files.storylogue.com/videos/attachment/640x360/432_QA386.jpg How does Story fit in to writing a biography? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=496 http://files.storylogue.com/videos/attachment/640x360/433_QA387.flv http://files.storylogue.com/videos/attachment/640x360/433_QA387.jpg If an inciting incident is comprised of two events, should they both be shown on screen? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=497 http://files.storylogue.com/videos/attachment/640x360/434_QA388.flv http://files.storylogue.com/videos/attachment/640x360/434_QA388.jpg What are the differences between a redemption plot and an education plot, and a disillusionment plot and a degeneration plot? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=498 http://files.storylogue.com/videos/attachment/640x360/435_sl_lsn_life_plots_5.flv http://files.storylogue.com/videos/attachment/640x360/435_sl_lsn_life_plots_5.jpg Life Plots, Part 5: Object Premises 0.9 http://www.storylogue.com/docs/interviews.html?documentId=499 http://files.storylogue.com/videos/attachment/640x360/436_sl_int_mcgrath_08.flv http://files.storylogue.com/videos/attachment/640x360/436_sl_int_mcgrath_08.jpg Patrick McGrath, Part 8 (Conclusion) 0.9 http://www.storylogue.com/docs/lessons.html?documentId=500 http://files.storylogue.com/videos/attachment/640x360/437_sl_lsn_life_plots_6.flv http://files.storylogue.com/videos/attachment/640x360/437_sl_lsn_life_plots_6.jpg Life Plots, Part 6: Duet Premises & Genre Premises 1 - 4 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=501 http://files.storylogue.com/videos/attachment/640x360/438_QA389.flv http://files.storylogue.com/videos/attachment/640x360/438_QA389.jpg What are the Object of Desire and the Inciting Incident in “A Beautiful Mind”? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=502 http://files.storylogue.com/videos/attachment/640x360/439_QA390.flv http://files.storylogue.com/videos/attachment/640x360/439_QA390.jpg In “Witness”, does the 3 villains entering the town mark the end of the second act or the beginning of the third act? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=503 http://files.storylogue.com/videos/attachment/640x360/440_QA391.flv http://files.storylogue.com/videos/attachment/640x360/440_QA391.jpg If the positive is forgiveness and the contradiction is blame, would the negation of the negation be not being able to forgive yourself? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=504 http://files.storylogue.com/videos/attachment/640x360/441_QA392.flv http://files.storylogue.com/videos/attachment/640x360/441_QA392.jpg What makes a work a classic? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=505 http://files.storylogue.com/videos/attachment/640x360/442_QA393.flv http://files.storylogue.com/videos/attachment/640x360/442_QA393.jpg How can one apply Story to a weekly half-hour television magazine on health and lifestyle? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=506 http://files.storylogue.com/videos/attachment/640x360/443_sl_int_brunonia_barry_2.flv http://files.storylogue.com/videos/attachment/640x360/443_sl_int_brunonia_barry_2.jpg Brunonia Barry, Part 2 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=508 http://files.storylogue.com/videos/attachment/640x360/444_QA394.flv http://files.storylogue.com/videos/attachment/640x360/444_QA394.jpg What is the Inciting Incident and the Protagonist in a psycho-drama? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=509 http://files.storylogue.com/videos/attachment/640x360/445_QA395.flv http://files.storylogue.com/videos/attachment/640x360/445_QA395.jpg Why are Woody Allen’s “dramadies” often included in lists of best comedies? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=510 http://files.storylogue.com/videos/attachment/640x360/446_QA396.flv http://files.storylogue.com/videos/attachment/640x360/446_QA396.jpg Can you explain the role of the Dual Protagonist? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=511 http://files.storylogue.com/videos/attachment/640x360/447_QA397.flv http://files.storylogue.com/videos/attachment/640x360/447_QA397.jpg How is a love story subplot used in a thriller or crime genre story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=512 http://files.storylogue.com/videos/attachment/640x360/448_QA398.flv http://files.storylogue.com/videos/attachment/640x360/448_QA398.jpg How would you twist the Collector, Business, and Anarchy Love Styles? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=513 http://files.storylogue.com/videos/attachment/640x360/449_QA399.flv http://files.storylogue.com/videos/attachment/640x360/449_QA399.jpg Could you have dual protagonists in a love story? If so, from whose point of view can the story be told? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=514 http://files.storylogue.com/videos/attachment/640x360/450_QA400.flv http://files.storylogue.com/videos/attachment/640x360/450_QA400.jpg Could you have the same protagonist in your subplot as in your main story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=515 http://files.storylogue.com/videos/attachment/640x360/451_QA401.flv http://files.storylogue.com/videos/attachment/640x360/451_QA401.jpg What is a film example of a sex farce? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=516 http://files.storylogue.com/videos/attachment/640x360/452_QA402.flv http://files.storylogue.com/videos/attachment/640x360/452_QA402.jpg When rewriting a screenplay, how do you deal with directors who want to keep their favorite parts of the old outline? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=517 http://files.storylogue.com/videos/attachment/640x360/453_QA403.flv http://files.storylogue.com/videos/attachment/640x360/453_QA403.jpg Does the proof of love in a love story have to be an act witnessed by the lover, or just by the audience? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=518 http://files.storylogue.com/videos/attachment/640x360/454_QA404.flv http://files.storylogue.com/videos/attachment/640x360/454_QA404_1.jpg How does one dramatize an unconscious desire to make the audience aware of it? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=519 http://files.storylogue.com/videos/attachment/640x360/455_sl_lsn_life_plots_7.flv http://files.storylogue.com/videos/attachment/640x360/455_sl_lsn_life_plots_7.jpg Life Plots, Part 7: Genre Premises 5 - 10 0.9 http://www.storylogue.com/docs/lessons.html?documentId=520 http://files.storylogue.com/videos/attachment/640x360/456_sl_lsn_life_plots_8.flv http://files.storylogue.com/videos/attachment/640x360/456_sl_lsn_life_plots_8.jpg Life Plots, Part 8: Conclusion 0.9 http://www.storylogue.com/docs/lessons.html?documentId=521 http://files.storylogue.com/videos/attachment/640x360/457_sl_lsn_history_of_mystery_1.flv http://files.storylogue.com/videos/attachment/640x360/457_sl_lsn_history_of_mystery_1.jpg The History of Mystery with Leslie S. Klinger, Part 1 Leslie S. Klinger is considered to be one of the world's foremost authorities on the twin icons of the Victorian Era, Sherlock Holmes and Dracula. He is the editor of the three-volume collection of the short stories and novels, The New Annotated Sherlock Homes, published by W. W. Norton in 2004 and 2005, winner of the Edgar Award for Best Critical/Biographical Work and nominated for every other major award in the mystery genre. Since the 1960's, the study of the rich fantastic literature of the Victorian writers has been Klinger's consuming passion. He has written dozens of articles on Sherlockiana, published 12 books on Sherlock Holmes in addition to the Norton work, and regularly teaches a UCLA Extension course on Sherlock Holmes and His World. Klinger's Sherlock Holmes Reference Library has been called by the Baker Street Journal the standard text of reference for all serious Sherlockians. Born in Chicago, Illinois, Klinger received an A.B. in English from the University of California, Berkeley, followed by a J.D. from Boalt Hall (School of Law, U.C. Berkeley). Since then, he has lived in Los Angeles, pursuing a legal career in tax, estate, and business planning. Klinger is a member of the Baker Street Irregulars, the Horror Writers Association, and the Mystery Writers of America and has served three terms as the Chapter President of the SoCal Chapter of MWA and is now on its Board of Directors. 0.9 http://www.storylogue.com/docs/interviews.html?documentId=524 http://files.storylogue.com/videos/attachment/640x360/458_sl_int_rob_hanning_1.flv http://files.storylogue.com/videos/attachment/640x360/458_sl_int_rob_hanning_1_3.jpg Rob Hanning, TV Writer/Producer, Part 1 0.9 http://www.storylogue.com/docs/interviews.html?documentId=525 http://files.storylogue.com/videos/attachment/640x360/459_sl_int_franklin_martin_07_conclusion.flv http://files.storylogue.com/videos/attachment/640x360/459_sl_int_franklin_martin_07_conclusion.jpg Franklin Martin, Part 7 (Conclusion) 0.9 http://www.storylogue.com/docs/interviews.html?documentId=527 http://files.storylogue.com/videos/attachment/640x360/460_sl_int_sarah_treem_5.flv http://files.storylogue.com/videos/attachment/640x360/460_sl_int_sarah_treem_5.jpg Writer/Producer Sarah Treem, Part 5 0.9 http://www.storylogue.com/docs/lessons.html?documentId=528 http://files.storylogue.com/videos/attachment/640x360/461_mini_lesson_001-biography_vs_documentary.flv http://files.storylogue.com/videos/attachment/640x360/461_mini_lesson_001-biography_vs_documentary.jpg Mini-Lesson #1: Truth vs. Fact - Biography vs. Documentary The first in a series of our newest offerings: One-episode lessons on topics of interest to all writers, presented by Mr. McKee. 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=530 http://files.storylogue.com/videos/attachment/640x360/462_QA405.flv http://files.storylogue.com/videos/attachment/640x360/462_QA405.jpg Are musicals always written in collaboration with a lyricist and a composer? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=531 http://files.storylogue.com/videos/attachment/640x360/463_QA406.flv http://files.storylogue.com/videos/attachment/640x360/463_QA406.jpg How do musicals differ in regard to the writing process from more conventionally-told stories? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=532 http://files.storylogue.com/videos/attachment/640x360/464_QA407.flv http://files.storylogue.com/videos/attachment/640x360/464_QA407.jpg I have written a script (based on another's work) as a college student for a feature thesis. How should I go about getting the original writer to let me make it? Could he sue me for writing it? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=533 http://files.storylogue.com/videos/attachment/640x360/465_QA408.flv http://files.storylogue.com/videos/attachment/640x360/465_QA408.jpg When writing about someone's life, without knowing all the facts about their life, should you make up details for the sake of the script? Also, should you get their permission before writing the script? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=535 http://files.storylogue.com/videos/attachment/640x360/466_QA409.flv http://files.storylogue.com/videos/attachment/640x360/466_QA409.jpg Which nationality do you think makes the best storytellers? Does it help to be a "loser nation"? Does the presence of melancholy help? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=536 http://files.storylogue.com/videos/attachment/640x360/467_QA410.flv http://files.storylogue.com/videos/attachment/640x360/467_QA410.jpg How would you go about introducing several important characters during the first act/first half of the story in an effective and compelling way? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=537 http://files.storylogue.com/videos/attachment/640x360/468_QA411.flv http://files.storylogue.com/videos/attachment/640x360/468_QA411.jpg When you have more than one climax, where you cannot resolve the main plot and the subplots all at the same time, how would you suggest treating them if they do seem to suggest slightly different controlling ideas? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=538 http://files.storylogue.com/videos/attachment/640x360/469_QA412.flv http://files.storylogue.com/videos/attachment/640x360/469_QA412.jpg In a horror screenplay combined with an education plot, how would you suggest arcing the protagonist to a positive attitude toward life when the story is about violence, evil and death? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=539 http://files.storylogue.com/videos/attachment/640x360/470_QA413.flv http://files.storylogue.com/videos/attachment/640x360/470_QA413.jpg How do you write a story in which one inciting incident sets off the main plot and several subplots for the protagonist that may be divergent? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=540 http://files.storylogue.com/videos/attachment/640x360/471_QA414.flv http://files.storylogue.com/videos/attachment/640x360/471_QA414.jpg How much research does one have to do in order to write a historical piece? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=541 http://files.storylogue.com/videos/attachment/640x360/472_QA415.flv http://files.storylogue.com/videos/attachment/640x360/472_QA415.jpg Do you know any useful exercises for screenwriters, other than writing a screenplay? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=542 http://files.storylogue.com/videos/attachment/640x360/473_sl_lsn_history_of_mystery_2.flv http://files.storylogue.com/videos/attachment/640x360/473_sl_lsn_history_of_mystery_2.jpg The History of Mystery with Leslie S. Klinger, Part 2 0.9 http://www.storylogue.com/docs/interviews.html?documentId=543 http://files.storylogue.com/videos/attachment/640x360/474_sl_int_tessori_bernstein_04.flv http://files.storylogue.com/videos/attachment/640x360/474_sl_int_tessori_bernstein_04.jpg Jeanine Tesori (Broadway Composer) and Jonathan Bernstein (Playwright & Director), Part 4 0.9 http://www.storylogue.com/docs/lessons.html?documentId=545 http://files.storylogue.com/videos/attachment/640x360/475_mini_lesson_002-act_structure.flv http://files.storylogue.com/videos/attachment/640x360/475_mini_lesson_002-act_structure.jpg Mini-Lesson #2: Act Structure - Am I Losing Interest? 0.9 http://www.storylogue.com/docs/interviews.html?documentId=546 http://files.storylogue.com/videos/attachment/640x360/476_sl_int_kotcheff_07.flv http://files.storylogue.com/videos/attachment/640x360/476_sl_int_kotcheff_07.jpg Ted Kotcheff (Director/Producer), Part 7 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=547 http://files.storylogue.com/videos/attachment/640x360/477_QA416.flv http://files.storylogue.com/videos/attachment/640x360/477_QA416.jpg Is subconscious desire really limited to just nine categories? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=548 http://files.storylogue.com/videos/attachment/640x360/478_QA417.flv http://files.storylogue.com/videos/attachment/640x360/478_QA417.jpg Is it possible for the inciting incident to happen after the first turning point? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=549 http://files.storylogue.com/videos/attachment/640x360/479_QA418.flv http://files.storylogue.com/videos/attachment/640x360/479_QA418.jpg How do I get to the heart of my story when writing a treatment? What kind of background, character arcs, or other ingredients should be included? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=550 http://files.storylogue.com/videos/attachment/640x360/480_QA419.flv http://files.storylogue.com/videos/attachment/640x360/480_QA419.jpg As a screenwriter should I keep in mind how much money the producer will have to spend for the movie? Is it a good idea to write "helicopter crashes into bus" without hesitation? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=551 http://files.storylogue.com/videos/attachment/640x360/481_QA420.flv http://files.storylogue.com/videos/attachment/640x360/481_QA420.jpg Can you recommend some recent films with an education plot? Are they rare because of the level of skill they require? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=552 http://files.storylogue.com/videos/attachment/640x360/482_QA421.flv http://files.storylogue.com/videos/attachment/640x360/482_QA421.jpg You have said that for excellent screenwriters, it is a seller’s market. Is this true for an unknown screenwriter with no powerful insider contacts and no track record? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=553 http://files.storylogue.com/videos/attachment/640x360/483_QA422.flv http://files.storylogue.com/videos/attachment/640x360/483_QA422.jpg Is a fiction based on historical events better served using the real-life names from the event, or using fictitious names? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=554 http://files.storylogue.com/videos/attachment/640x360/484_QA423.flv http://files.storylogue.com/videos/attachment/640x360/484_QA423.jpg If the negation of the negation occurs in the last act, does the event often lead directly to the protagonist’s crisis decision? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=555 http://files.storylogue.com/videos/attachment/640x360/485_QA424.flv http://files.storylogue.com/videos/attachment/640x360/485_QA424.jpg I have the beginning and end of my story, and have worked out breakdowns up to the midpoint. But, I’m still not getting a rising climax. Any tips? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=556 http://files.storylogue.com/videos/attachment/640x360/486_QA425.flv http://files.storylogue.com/videos/attachment/640x360/486_QA425.jpg Should a writer go the independent route on financing and accept the idea of lower budgets, or take a “long shot” and submit the script to an agent? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=557 http://files.storylogue.com/videos/attachment/640x360/487_QA426.flv http://files.storylogue.com/videos/attachment/640x360/487_QA426.jpg How many dimensions do the protagonist and love interest in a love story generally have? What is the minimum number of dimensions for a lead role in this genre? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=558 http://files.storylogue.com/videos/attachment/640x360/488_QA427.flv http://files.storylogue.com/videos/attachment/640x360/488_QA427.jpg How complex (in terms of dimensions) should the lead character be in a crime story to make the story interesting and compelling? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=559 http://files.storylogue.com/videos/attachment/640x360/489_QA428.flv http://files.storylogue.com/videos/attachment/640x360/489_QA428.jpg I had qualms with the ending to Toy Story 3. Doesn’t the ending fall into the infamous “deus ex machina” category? Pixar claims to keep your book, “Story,” at their side at all times. I’m curious why they went with that ending. 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=560 http://files.storylogue.com/videos/attachment/640x360/490_QA429.flv http://files.storylogue.com/videos/attachment/640x360/490_QA429.jpg In the art of filmmaking, a writer writes a great script and a director puts it on the screen. How many movies fail because the director does not tell the story as well as the writer wrote it? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=561 http://files.storylogue.com/videos/attachment/640x360/491_sl_lsn_history_of_mystery_3.flv http://files.storylogue.com/videos/attachment/640x360/491_sl_lsn_history_of_mystery_3.jpg The History of Mystery with Leslie S. Klinger, Part 3 0.9 http://www.storylogue.com/docs/lessons.html?documentId=562 http://files.storylogue.com/videos/attachment/640x360/492_sl_lsn_history_of_mystery_4.flv http://files.storylogue.com/videos/attachment/640x360/492_sl_lsn_history_of_mystery_4.jpg The History of Mystery with Leslie S. Klinger, Part 4 0.9 http://www.storylogue.com/docs/interviews.html?documentId=563 http://files.storylogue.com/videos/attachment/640x360/493_sl_int_brunonia_barry_3.flv http://files.storylogue.com/videos/attachment/640x360/493_sl_int_brunonia_barry_3.jpg Brunonia Barry, Part 3 0.9 http://www.storylogue.com/docs/lessons.html?documentId=564 http://files.storylogue.com/videos/attachment/640x360/494_mini_lesson_003-reversed_expectations_and_cliches.flv http://files.storylogue.com/videos/attachment/640x360/494_mini_lesson_003-reversed_expectations_and_cliches.jpg Mini-Lesson #3: Reversed Expectations and Cliches 0.9 http://www.storylogue.com/docs/interviews.html?documentId=565 http://files.storylogue.com/videos/attachment/640x360/495_sl_int_rob_hanning_2.flv http://files.storylogue.com/videos/attachment/640x360/495_sl_int_rob_hanning_2.jpg Rob Hanning, TV Writer/Producer, Part 2 0.9 http://www.storylogue.com/docs/interviews.html?documentId=568 http://files.storylogue.com/videos/attachment/640x360/496_sl_int_sarah_treem_6.flv http://files.storylogue.com/videos/attachment/640x360/496_sl_int_sarah_treem_6.jpg Writer/Producer Sarah Treem, Part 6 0.9 http://www.storylogue.com/docs/lessons.html?documentId=569 http://files.storylogue.com/videos/attachment/640x360/497_mini_lesson004-Crossing_the_Line_to_Pornography.flv http://files.storylogue.com/videos/attachment/640x360/497_mini_lesson004-Crossing_the_Line_to_Pornography.jpg Mini-Lesson #4: Crossing the Line to Pornography 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=570 http://files.storylogue.com/videos/attachment/640x360/498_QA430.flv http://files.storylogue.com/videos/attachment/640x360/498_QA430.jpg I thought I was writing psychodrama, but given the protagonist is both the victim and the psychiatrist, is it really a psychodrama? Could it be more an education plot? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=571 http://files.storylogue.com/videos/attachment/640x360/499_QA431.flv http://files.storylogue.com/videos/attachment/640x360/499_QA431.jpg How can equal, irregular, or progressively shortening act lengths help the story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=572 http://files.storylogue.com/videos/attachment/640x360/500_QA432.flv http://files.storylogue.com/videos/attachment/640x360/500_QA432.jpg Wouldn’t it be impossible to write about the crisis/turning point, when the unknown self is revealed, if the writer had never experienced such a moment? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=573 http://files.storylogue.com/videos/attachment/640x360/501_QA433.flv http://files.storylogue.com/videos/attachment/640x360/501_QA433.jpg Is it possible for a film with forces of antagonism to be as compelling as a film with a singular antagonist? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=574 http://files.storylogue.com/videos/attachment/640x360/502_sl_int_ros-meijer_1_intro.flv http://files.storylogue.com/videos/attachment/640x360/502_sl_int_ros-meijer_1_intro.jpg Writer/Actors Margot Ros & Maike Meijer, Part 1 Award-winnning Dutch writers/authors Margot Ros & Maike Meijer. Both have garnered numerous acting credits, writing credits, and awards. Their dual-role perspective as actors and writers makes this interview series particular valuable. 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=577 http://files.storylogue.com/videos/attachment/640x360/503_QA434.flv http://files.storylogue.com/videos/attachment/640x360/503_QA434.jpg In MACBETH, what is the sub-text of the famous “Tomorrow and tomorrow and tomorrow” speech? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=578 http://files.storylogue.com/videos/attachment/640x360/504_QA435.flv http://files.storylogue.com/videos/attachment/640x360/504_QA435.jpg What are the pitfalls of writing scripts based on actual, recent events as opposed to historical events? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=579 http://files.storylogue.com/videos/attachment/640x360/505_QA436.flv http://files.storylogue.com/videos/attachment/640x360/505_QA436.jpg Interpretations of movie characters seem very subjective. How do I know if my interpretation is correct? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=580 http://files.storylogue.com/videos/attachment/640x360/506_QA437.flv http://files.storylogue.com/videos/attachment/640x360/506_QA437.jpg What is “comedy of manners?” Which films, plays, and novels do you consider to be representative of this style? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=581 http://files.storylogue.com/videos/attachment/640x360/507_QA438.flv http://files.storylogue.com/videos/attachment/640x360/507_QA438.jpg Butch Cassidy and the Sundance Kid seem to have a number of conscious desires, but what is their unconscious desire? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=582 http://files.storylogue.com/videos/attachment/640x360/508_QA439.flv http://files.storylogue.com/videos/attachment/640x360/508_QA439.jpg You’ve mentioned that fantasy adventure stories do not have sub-text. Why is that? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=583 http://files.storylogue.com/videos/attachment/640x360/509_QA440.flv http://files.storylogue.com/videos/attachment/640x360/509_QA440.jpg What is the difference between vacillation between two points and true choice under pressure? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=584 http://files.storylogue.com/videos/attachment/640x360/510_QA441.flv http://files.storylogue.com/videos/attachment/640x360/510_QA441.jpg I’m writing action adventure, but sometimes feel my work is childish. How can I tell if I am lying to myself, whether good or bad? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=585 http://files.storylogue.com/videos/attachment/640x360/511_QA442.flv http://files.storylogue.com/videos/attachment/640x360/511_QA442.jpg What are the elements of an ebook that are not as good as a real book made of paper? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=586 http://files.storylogue.com/videos/attachment/640x360/512_QA443.flv http://files.storylogue.com/videos/attachment/640x360/512_QA443.jpg How can the principles you teach be applied to non-plot novels and films? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=588 http://files.storylogue.com/videos/attachment/640x360/513_sl_lsn_history_of_mystery_5.flv http://files.storylogue.com/videos/attachment/640x360/513_sl_lsn_history_of_mystery_5.jpg The History of Mystery with Leslie S. Klinger, Part 5 0.9 http://www.storylogue.com/docs/interviews.html?documentId=589 http://files.storylogue.com/videos/attachment/640x360/514_sl_int_tessori_bernstein_05.flv http://files.storylogue.com/videos/attachment/640x360/514_sl_int_tessori_bernstein_05.jpg jeanine Tesori (Broadway Composer) and Jonathan Bernstein (Playwright & Director), Part 5 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=590 http://files.storylogue.com/videos/attachment/640x360/515_QA444.flv http://files.storylogue.com/videos/attachment/640x360/515_QA444.jpg If you blend comedy with action adventure or drama or horror, should the protagonist have a blind obsession? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=591 http://files.storylogue.com/videos/attachment/640x360/516_QA445.flv http://files.storylogue.com/videos/attachment/640x360/516_QA445.jpg In writing a TV pilot, what do you think are the most fundamental aspects needed in the pilot? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=592 http://files.storylogue.com/videos/attachment/640x360/517_QA446.flv http://files.storylogue.com/videos/attachment/640x360/517_QA446.jpg Can you make an image system too subtle or too esoteric? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=593 http://files.storylogue.com/videos/attachment/640x360/518_QA447.flv http://files.storylogue.com/videos/attachment/640x360/518_QA447.jpg Would having a gay main character negatively impact the sale potential of a screenplay and/or limit the potential of a movie being financed? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=594 http://files.storylogue.com/videos/attachment/640x360/519_QA448.flv http://files.storylogue.com/videos/attachment/640x360/519_QA448_2.jpg When opening gaps between reality and expectation in creating beats, does the risk escalate each time? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=595 http://files.storylogue.com/videos/attachment/640x360/520_mini_lesson_005-elevating_adventure_to_high_adventure.flv http://files.storylogue.com/videos/attachment/640x360/520_mini_lesson_005-elevating_adventure_to_high_adventure.jpg Mini-Lesson #5: Elevating Action Adventure to High Adventure 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=596 http://files.storylogue.com/videos/attachment/640x360/521_QA449.flv http://files.storylogue.com/videos/attachment/640x360/521_QA449_3.jpg What is the Greek reference that character is your fate? Are today’s audiences interested in hearing themes like that? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=598 http://files.storylogue.com/videos/attachment/640x360/523_sl_int_brunonia_barry_4.flv http://files.storylogue.com/videos/attachment/640x360/523_sl_int_brunonia_barry_4.jpg Brunonia Barry, Part 4 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=599 http://files.storylogue.com/videos/attachment/640x360/524_QA450.flv http://files.storylogue.com/videos/attachment/640x360/524_QA450.jpg Why does a story need a controlling idea? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=600 http://files.storylogue.com/videos/attachment/640x360/525_QA451.flv http://files.storylogue.com/videos/attachment/640x360/525_QA451.jpg Could an audience know that a character will fail, but watch because the character thinks he is capable of succeeding? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=601 http://files.storylogue.com/videos/attachment/640x360/526_QA452.flv http://files.storylogue.com/videos/attachment/640x360/526_QA452.jpg Is “the cut” like a blink, and do you think we have a psychological or biological need for story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=602 http://files.storylogue.com/videos/attachment/640x360/527_QA453.flv http://files.storylogue.com/videos/attachment/640x360/527_QA453.jpg What is the difference between a degeneration plot and a disillusionment plot? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=603 http://files.storylogue.com/videos/attachment/640x360/528_mini_lesson06-plastic_and_temporal_art.flv http://files.storylogue.com/videos/attachment/640x360/528_mini_lesson06-plastic_and_temporal_art.jpg Mini-Lesson #6: Differing & Shared Principles in Plastic & Temporal Art 0.9 http://www.storylogue.com/docs/interviews.html?documentId=604 http://files.storylogue.com/videos/attachment/640x360/529_sl_int_rob_hanning_3.flv http://files.storylogue.com/videos/attachment/640x360/529_sl_int_rob_hanning_3.jpg Rob Hanning, TV Writer/Producer, Part 3 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=605 http://files.storylogue.com/videos/attachment/640x360/530_QA454.flv http://files.storylogue.com/videos/attachment/640x360/530_QA454.jpg How do you form a visual metaphor, how many can a story have, and how do you know when it is effective? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=606 http://files.storylogue.com/videos/attachment/640x360/531_QA455.flv http://files.storylogue.com/videos/attachment/640x360/531_QA455.jpg How can you conclude the climax of a TV pilot when the story arc needs to continue throughout the series? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=607 http://files.storylogue.com/videos/attachment/640x360/532_QA456.flv http://files.storylogue.com/videos/attachment/640x360/532_QA456.jpg Can a character be aware of his subconscious desire early in a story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=608 http://files.storylogue.com/videos/attachment/640x360/533_QA457.flv http://files.storylogue.com/videos/attachment/640x360/533_QA457.jpg Must the turning points of a story revolve around a conscious desire or can they be regarding some other value? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=609 http://files.storylogue.com/videos/attachment/640x360/534_QA458.flv http://files.storylogue.com/videos/attachment/640x360/534_QA458.jpg Do subplots have to relate to the protagonist, and must they all be on the spine of the story? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=610 http://files.storylogue.com/videos/attachment/640x360/535_sl_int_sarah_treem_7.flv http://files.storylogue.com/videos/attachment/640x360/535_sl_int_sarah_treem_7.jpg Writer/Producer Sarah Treem, Part 7 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=611 http://files.storylogue.com/videos/attachment/640x360/536_QA459.flv http://files.storylogue.com/videos/attachment/640x360/536_QA459.jpg Would you ever have more than one inciting incident? If so, why? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=612 http://files.storylogue.com/videos/attachment/640x360/537_QA460.flv http://files.storylogue.com/videos/attachment/640x360/537_QA460.jpg What is the difference between being didactic and having meaning in a story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=613 http://files.storylogue.com/videos/attachment/640x360/538_QA461.flv http://files.storylogue.com/videos/attachment/640x360/538_QA461_2.jpg After your book and DVDs, what other books should I read? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=614 http://files.storylogue.com/videos/attachment/640x360/539_QA462.flv http://files.storylogue.com/videos/attachment/640x360/539_QA462.jpg In your lecture example about Central Park, how did the value changes work? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=615 http://files.storylogue.com/videos/attachment/640x360/540_QA463.flv http://files.storylogue.com/videos/attachment/640x360/540_QA463.jpg Does the inciting incident have to be consistent with the controlling idea? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=616 http://files.storylogue.com/videos/attachment/640x360/541_ML007-negation_of_the_negation.flv http://files.storylogue.com/videos/attachment/640x360/541_ML007-negation_of_the_negation.jpg Negation of the Negation: Another Look 0.9 http://www.storylogue.com/docs/lessons.html?documentId=617 http://files.storylogue.com/videos/attachment/640x360/542_sl_lsn_history_of_mystery_6.flv http://files.storylogue.com/videos/attachment/640x360/542_sl_lsn_history_of_mystery_6.jpg The History of Mystery with Leslie S. Klinger, Part 6 0.9 http://www.storylogue.com/docs/interviews.html?documentId=618 http://files.storylogue.com/videos/attachment/640x360/543_sl_int_ros-meijer_2.flv http://files.storylogue.com/videos/attachment/640x360/543_sl_int_ros-meijer_2.jpg Writer/Actors Margot Ros & Maike Meijer, Part 2 0.9 http://www.storylogue.com/docs/interviews.html?documentId=619 http://files.storylogue.com/videos/attachment/640x360/544_sl_int_tessori_bernstein_06.flv http://files.storylogue.com/videos/attachment/640x360/544_sl_int_tessori_bernstein_06.jpg Jeanine Tesori (Broadway Composer) and Jonathan Bernstein (Playwright & Director), Part 6 (Conclusion) 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=622 http://files.storylogue.com/videos/attachment/640x360/545_QA464.flv http://files.storylogue.com/videos/attachment/640x360/545_QA464.jpg In core values, if there is a negation of the negation, then is there a positive of the positive? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=623 http://files.storylogue.com/videos/attachment/640x360/546_QA465.flv http://files.storylogue.com/videos/attachment/640x360/546_QA465.jpg If being didactic means having an agenda and being heavy-handed, then how is a movie like “Crash” not incredibly didactic? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=624 http://files.storylogue.com/videos/attachment/640x360/547_QA466.flv http://files.storylogue.com/videos/attachment/640x360/547_QA466.jpg In a whodunit, how much is the actual whodunit question driving the story, and how much are other topics like personal issues at the core of the story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=625 http://files.storylogue.com/videos/attachment/640x360/548_QA467.flv http://files.storylogue.com/videos/attachment/640x360/548_QA467.jpg With respect to the life and death value, what’s the negation of the negation? The meaningless death or the life that’s not worth living? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=626 http://files.storylogue.com/videos/attachment/640x360/549_QA468.flv http://files.storylogue.com/videos/attachment/640x360/549_QA468.jpg Do you believe violence is over-used in Hollywood? If so, why? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=627 http://files.storylogue.com/videos/attachment/640x360/550_QA469.flv http://files.storylogue.com/videos/attachment/640x360/550_QA469.jpg If in fantasy one tends to write more “on the nose”, then is the same true for science fiction? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=628 http://files.storylogue.com/videos/attachment/640x360/551_QA470.flv http://files.storylogue.com/videos/attachment/640x360/551_QA470.jpg Is there an inconsistency between your statement that there is no inherent meaning in life and the writer’s task of communicating an archetypal meaning through the climax? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=629 http://files.storylogue.com/videos/attachment/640x360/552_QA471.flv http://files.storylogue.com/videos/attachment/640x360/552_QA471.jpg What needs to be considered in writing for hour-long dramas with and without commercial breaks? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=630 http://files.storylogue.com/videos/attachment/640x360/553_QA472.flv http://files.storylogue.com/videos/attachment/640x360/553_QA472.jpg If a character’s desire is created by the inciting incident throwing his life out of balance, how can you define a character’s desire before the inciting incident? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=631 http://files.storylogue.com/videos/attachment/640x360/554_QA473.flv http://files.storylogue.com/videos/attachment/640x360/554_QA473.jpg How does the rule of thirds and diminishing returns apply to comedy? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=632 http://files.storylogue.com/videos/attachment/640x360/555_QA474.flv http://files.storylogue.com/videos/attachment/640x360/555_QA474.jpg Other than attending your seminar, what should I do to help me appreciate the work of a writer that I have engaged? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=633 http://files.storylogue.com/videos/attachment/640x360/556_QA475.flv http://files.storylogue.com/videos/attachment/640x360/556_QA475.jpg In a culture where reality shows and Comedy Central news are viewed as the truth, where documentaries have blurred into fiction, what is the meaning of “Write the Truth.” 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=634 http://files.storylogue.com/videos/attachment/640x360/557_QA476.flv http://files.storylogue.com/videos/attachment/640x360/557_QA476.jpg How does a writer go about creating a character? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=635 http://files.storylogue.com/videos/attachment/640x360/558_QA477.flv http://files.storylogue.com/videos/attachment/640x360/558_QA477.jpg When your story has a tragic ending, how do you keep the audience from leaving the theatre devastated? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=636 http://files.storylogue.com/videos/attachment/640x360/559_QA478.flv http://files.storylogue.com/videos/attachment/640x360/559_QA478.jpg When you can’t pitch your story, does it mean that the story is bad or that perhaps you don’t understand it fully yourself? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=637 http://files.storylogue.com/videos/attachment/640x360/560_QA479.flv http://files.storylogue.com/videos/attachment/640x360/560_QA479.jpg I am French, English is my second language, how can I compensate and write effective dialogue? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=638 http://files.storylogue.com/videos/attachment/640x360/561_QA480.flv http://files.storylogue.com/videos/attachment/640x360/561_QA480.jpg What is Mr. McKee’s perspective on European filmmaking and why the American audience is not as receptive to European films? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=639 http://files.storylogue.com/videos/attachment/640x360/562_sl_int_brunonia_barry_5.flv http://files.storylogue.com/videos/attachment/640x360/562_sl_int_brunonia_barry_5.jpg Brunonia Barry, Part 5 0.9 http://www.storylogue.com/docs/lessons.html?documentId=640 http://files.storylogue.com/videos/attachment/640x360/563_sl_lsn_history_of_mystery_7.flv http://files.storylogue.com/videos/attachment/640x360/563_sl_lsn_history_of_mystery_7.jpg The History of Mystery with Leslie S. Klinger, Part 7 0.9 http://www.storylogue.com/docs/lessons.html?documentId=641 http://files.storylogue.com/videos/attachment/640x360/564_sl_lsn_history_of_mystery_8.flv http://files.storylogue.com/videos/attachment/640x360/564_sl_lsn_history_of_mystery_8.jpg The History of Mystery with Leslie S. Klinger, Part 8 (Conclusion) 0.9 http://www.storylogue.com/docs/lessons.html?documentId=643 http://files.storylogue.com/videos/attachment/640x360/565_genre_lovestory01.flv http://files.storylogue.com/videos/attachment/640x360/565_genre_lovestory01.jpg Genre Seminar: Love Story, Intro & History of Love, Part 1   <div>Because of so many Storylogue members requests, Robert agreed to putting some excerpts from his Genre Lectures here in Storylogue. </div> <div>McKee Genre Seminars are sought after, but because of lack of time, they are presented infrequently to only a few select cities around the world. </div> <div>So, In response to your requests, we will include some sections in our Storylogue programming over the coming year. These excerpts will be interspersed between lessons by Robert and other esteemed guest lessons that have helped us expand your exposure to industry professionals of many different talents.</div>   0.9 http://www.storylogue.com/docs/interviews.html?documentId=644 http://files.storylogue.com/videos/attachment/640x360/566_sl_int_rob_hanning_4.flv http://files.storylogue.com/videos/attachment/640x360/566_sl_int_rob_hanning_4.jpg Rob Hanning, TV Writer/Producer, Part 4 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=645 http://files.storylogue.com/videos/attachment/640x360/567_QA481.flv http://files.storylogue.com/videos/attachment/640x360/567_QA481.jpg How can a "small world" work in an epic scale movie, and how might that conflict when expanding the conflict and the story in sequels? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=646 http://files.storylogue.com/videos/attachment/640x360/568_QA482.flv http://files.storylogue.com/videos/attachment/640x360/568_QA482.jpg Why do you have to decide your genre before you start writing your story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=647 http://files.storylogue.com/videos/attachment/640x360/569_QA483.flv http://files.storylogue.com/videos/attachment/640x360/569_QA483.jpg Is the problem-solving recipe of "if at first you don't succeed, try, try again" a conspicuous feature of the action genre? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=648 http://files.storylogue.com/videos/attachment/640x360/570_sl_int_sarah_treem_8.flv http://files.storylogue.com/videos/attachment/640x360/570_sl_int_sarah_treem_8.jpg Writer/Producer Sarah Treem, Part 8 0.9 http://www.storylogue.com/docs/lessons.html?documentId=649 http://files.storylogue.com/videos/attachment/640x360/571_genre_lovestory02.flv http://files.storylogue.com/videos/attachment/640x360/571_genre_lovestory02.jpg Genre Seminar: Love Story, History of Love, Part 2, Subgenres, & The Nature of Love, Pt. 1 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=650 http://files.storylogue.com/videos/attachment/640x360/572_QA484.flv http://files.storylogue.com/videos/attachment/640x360/572_QA484.jpg Can you give a definition of immaturity vs. maturity in contrast with meaningfulness vs. meaninglessness? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=651 http://files.storylogue.com/videos/attachment/640x360/573_QA485.flv http://files.storylogue.com/videos/attachment/640x360/573_QA485.jpg Are Americans holding themselves back due to fear of language? Can we as writers change this by not being so terse in dialogue? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=652 http://files.storylogue.com/videos/attachment/640x360/574_QA486.flv http://files.storylogue.com/videos/attachment/640x360/574_QA486.jpg I am currently writing a black comedy. Can you suggest some books that might help? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=653 http://files.storylogue.com/videos/attachment/640x360/575_QA487.flv http://files.storylogue.com/videos/attachment/640x360/575_QA487.jpg A number of stories begin with a family moving into a new home, then tragedy ensues. What is the origin of this motif? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=654 http://files.storylogue.com/videos/attachment/640x360/576_QA488.flv http://files.storylogue.com/videos/attachment/640x360/576_QA488.jpg What are some techniques to quickly inspire empathy for characters? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=655 http://files.storylogue.com/videos/attachment/640x360/577_QA489.flv http://files.storylogue.com/videos/attachment/640x360/577_QA489.jpg What were your favorite screenplays of the past year? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=656 http://files.storylogue.com/videos/attachment/640x360/578_QA490.flv http://files.storylogue.com/videos/attachment/640x360/578_QA490.jpg What is the best way to end a horror film? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=657 http://files.storylogue.com/videos/attachment/640x360/579_QA491.flv http://files.storylogue.com/videos/attachment/640x360/579_QA491.jpg What is the best way to get my two sitcom spec scripts read by executives, especially since I don’t have an agent? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=658 http://files.storylogue.com/videos/attachment/640x360/580_QA492.flv http://files.storylogue.com/videos/attachment/640x360/580_QA492.jpg I still get lost when I start writing my stories. Do I begin with research or finding my protagonist, and how do I find the genre I love to write? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=659 http://files.storylogue.com/videos/attachment/640x360/581_QA493.flv http://files.storylogue.com/videos/attachment/640x360/581_QA493.jpg I noticed a DVD on MckeeStore.com called “Comedy. The Angry Art.” I thought comedy was supposed to be funny, not angry. What does that mean? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=660 http://files.storylogue.com/videos/attachment/640x360/582_sl_int_ros-meijer_3.flv http://files.storylogue.com/videos/attachment/640x360/582_sl_int_ros-meijer_3.jpg Writer/Actors Margot Ros & Maike Meijer, Part 3 0.9 http://www.storylogue.com/docs/lessons.html?documentId=661 http://files.storylogue.com/videos/attachment/640x360/583_genre_lovestory03.flv http://files.storylogue.com/videos/attachment/640x360/583_genre_lovestory03.jpg Genre Seminar: Love Story. The Physiology, Chemistry & Psychology of Love 0.9 http://www.storylogue.com/docs/interviews.html?documentId=662 http://files.storylogue.com/videos/attachment/640x360/584_sl_int_brunonia_barry_6.flv http://files.storylogue.com/videos/attachment/640x360/584_sl_int_brunonia_barry_6.jpg Brunonia Barry, Part 6 0.9 http://www.storylogue.com/docs/lessons.html?documentId=663 http://files.storylogue.com/videos/attachment/640x360/585_genre_lovestory04.flv http://files.storylogue.com/videos/attachment/640x360/585_genre_lovestory04.jpg Genre Seminar: Love Story. The Nature of Love: Unconditional Love & More 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=664 http://files.storylogue.com/videos/attachment/640x360/586_QA494.flv http://files.storylogue.com/videos/attachment/640x360/586_QA494.jpg As an American, I hear that we are responsible for all the violence in the world because of our love for guns, our violent films, and so on. Do you think that art creates culture, or that culture creates art? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=665 http://files.storylogue.com/videos/attachment/640x360/587_QA495.flv http://files.storylogue.com/videos/attachment/640x360/587_QA495.jpg It seems we used to have many great filmmakers like Ingmar Bergman who delved into philosophy human psychology. Today, the famous directors are Spielberg, Cameron, etc. Do you feel that film as an art form will ever return and contribute to our society on 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=666 http://files.storylogue.com/videos/attachment/640x360/588_QA496.flv http://files.storylogue.com/videos/attachment/640x360/588_QA496.jpg Your DVD ‘The Beauty of Horror” raises a question for me. Why do we love horror stories so much? Isn’t the world awful enough? Why do we feel compelled to create on-screen atrocities, or even feel compelled to watch them? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=667 http://files.storylogue.com/videos/attachment/640x360/589_QA497.flv http://files.storylogue.com/videos/attachment/640x360/589_QA497.jpg With the Internet and current trends in highly sophisticated gaming, with so many levels of difficulty and storytelling, aren’t games becoming a true form of entertainment/art? Does this change the definition of what art is? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=668 http://files.storylogue.com/videos/attachment/640x360/590_QA498.flv http://files.storylogue.com/videos/attachment/640x360/590_QA498.jpg I would like to become a standup comic. Is there a subject that I should not touch out of reverence or respect? Are any subjects taboo for comedians to address? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=669 http://files.storylogue.com/videos/attachment/640x360/591_genre_lovestory05.flv http://files.storylogue.com/videos/attachment/640x360/591_genre_lovestory05.jpg Genre Seminar: Love Story, Romantic Love Part 1 0.9 http://www.storylogue.com/docs/interviews.html?documentId=670 http://files.storylogue.com/videos/attachment/640x360/592_sl_int_rob_hanning_5.flv http://files.storylogue.com/videos/attachment/640x360/592_sl_int_rob_hanning_5.jpg Rob Hanning, TV Writer/Producer, Part 5 0.9 http://www.storylogue.com/docs/interviews.html?documentId=671 http://files.storylogue.com/videos/attachment/640x360/593_sl_int_sarah_treem_9.flv http://files.storylogue.com/videos/attachment/640x360/593_sl_int_sarah_treem_9.jpg Writer/Producer SARAH TREEM, Part 9 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=672 http://files.storylogue.com/videos/attachment/640x360/594_QA499.flv http://files.storylogue.com/videos/attachment/640x360/594_QA499.jpg I love “Citizen Kane” but I see that you’ve won a BAFTA for trashing it. I think it is a great film. Could you explain to me why you think that it is not? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=673 http://files.storylogue.com/videos/attachment/640x360/595_QA500.flv http://files.storylogue.com/videos/attachment/640x360/595_QA500.jpg Animated films are becoming more and more popular. I’m afraid that they are taking over the entire film industry. What do you think of this? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=674 http://files.storylogue.com/videos/attachment/640x360/596_QA501.flv http://files.storylogue.com/videos/attachment/640x360/596_QA501.jpg There seem to be two schools of thought when it comes to writing. One is the approach of education and research, as you prefer, and another says that instinct and talent are what is important. Could you elaborate? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=675 http://files.storylogue.com/videos/attachment/640x360/597_QA502.flv http://files.storylogue.com/videos/attachment/640x360/597_QA502.jpg I am a journalist and want to make a documentary. Could you spend more time in your lectures on journalism and documentary-making? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=676 http://files.storylogue.com/videos/attachment/640x360/598_genre_lovestory06.flv http://files.storylogue.com/videos/attachment/640x360/598_genre_lovestory06.jpg Genre Seminar: Love Story, Romantic Love Part 2 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=679 http://files.storylogue.com/videos/attachment/640x360/599_QA503.flv http://files.storylogue.com/videos/attachment/640x360/599_QA503.jpg How would a controlling idea work for a TV series? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=680 http://files.storylogue.com/videos/attachment/640x360/600_QA504.flv http://files.storylogue.com/videos/attachment/640x360/600_QA504.jpg In a long-running TV series, the audience "grows up' with the characters and has an ever- increasing maturity level and knowledge of each character's traits. Is this something the writer needs to keep in mind? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=681 http://files.storylogue.com/videos/attachment/640x360/601_QA505.flv http://files.storylogue.com/videos/attachment/640x360/601_QA505.jpg What would be the negation of the negation for helping people? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=682 http://files.storylogue.com/videos/attachment/640x360/602_QA506.flv http://files.storylogue.com/videos/attachment/640x360/602_QA506.jpg What is the difference between mood and emotion in a film or in a TV series, and which is more important? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=683 http://files.storylogue.com/videos/attachment/640x360/603_QA507.flv http://files.storylogue.com/videos/attachment/640x360/603_QA507.jpg If a protagonist knocking on a door for help previously in a story yields no result, is it deus ex machina if at the end he knocks on the same door and suddenly gets the help he needs? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=684 http://files.storylogue.com/videos/attachment/640x360/604_QA508.flv http://files.storylogue.com/videos/attachment/640x360/604_QA508.jpg Does a protagonist always need a contradictory unconscious desire? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=686 http://files.storylogue.com/videos/attachment/640x360/605_genre_lovestory07.flv http://files.storylogue.com/videos/attachment/640x360/605_genre_lovestory07.jpg Genre Seminar: Love Story, the 6 Basic Subgenres, Part 1 0.9 http://www.storylogue.com/docs/interviews.html?documentId=687 http://files.storylogue.com/videos/attachment/640x360/606_sl_int_ed_saxon_01.flv http://files.storylogue.com/videos/attachment/640x360/606_sl_int_ed_saxon_01.jpg Ed Saxon, Oscar Award-Winning Producer, Part 1 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=688 http://files.storylogue.com/videos/attachment/640x360/607_QA509.flv http://files.storylogue.com/videos/attachment/640x360/607_QA509.jpg When a character’s actions lead to an unexpected reaction, a gap opens that the audience can understand with the help of information they have already received. Can it be interesting to create the gap, but not reveal the setup until afterward? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=689 http://files.storylogue.com/videos/attachment/640x360/608_QA510.flv http://files.storylogue.com/videos/attachment/640x360/608_QA510.jpg Is it necessary for the audience to have empathy with the antagonist? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=690 http://files.storylogue.com/videos/attachment/640x360/609_QA511.flv http://files.storylogue.com/videos/attachment/640x360/609_QA511.jpg I am astonished that you do not talk about Iranian movies in your lectures. Why don’t you? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=691 http://files.storylogue.com/videos/attachment/640x360/610_QA512.flv http://files.storylogue.com/videos/attachment/640x360/610_QA512.jpg Does the value in a story depend on the genre? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=692 http://files.storylogue.com/videos/attachment/640x360/611_QA513.flv http://files.storylogue.com/videos/attachment/640x360/611_QA513.jpg I am French, how can I write a comedy that will appeal to Hollywood? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=693 http://files.storylogue.com/videos/attachment/640x360/612_genre_lovestory08.flv http://files.storylogue.com/videos/attachment/640x360/612_genre_lovestory08.jpg Genre Seminar: Love Story, the 6 Basic Subgenres, Part 2 0.9 http://www.storylogue.com/docs/interviews.html?documentId=694 http://files.storylogue.com/videos/attachment/640x360/613_sl_int_ros-meijer_4.flv http://files.storylogue.com/videos/attachment/640x360/613_sl_int_ros-meijer_4.jpg Writer/Actors Margot Ros & Maike Meijer, Part 4 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=695 http://files.storylogue.com/videos/attachment/640x360/614_QA514.flv http://files.storylogue.com/videos/attachment/640x360/614_QA514.jpg What are your thoughts on casual actions in a movie such as smoking a cigarette or drinking a cup of coffee? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=696 http://files.storylogue.com/videos/attachment/640x360/615_QA515.flv http://files.storylogue.com/videos/attachment/640x360/615_QA515.jpg How do you write a monologue that runs through a one hour stage play? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=697 http://files.storylogue.com/videos/attachment/640x360/616_QA516.flv http://files.storylogue.com/videos/attachment/640x360/616_QA516.jpg Are there any specific things to consider when writing for comic books? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=698 http://files.storylogue.com/videos/attachment/640x360/617_QA517.flv http://files.storylogue.com/videos/attachment/640x360/617_QA517.jpg Is it possible for a secondary character to touch the audience more than the protagonist does? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=699 http://files.storylogue.com/videos/attachment/640x360/618_QA518.flv http://files.storylogue.com/videos/attachment/640x360/618_QA518.jpg Why is it that Macbeth does not need motivation? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=700 http://files.storylogue.com/videos/attachment/640x360/619_QA519.flv http://files.storylogue.com/videos/attachment/640x360/619_QA519.jpg What is the best way for a new writer to get started writing? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=701 http://files.storylogue.com/videos/attachment/640x360/620_QA520.flv http://files.storylogue.com/videos/attachment/640x360/620_QA520.jpg What did Robert mean when he said that some of the best moments in film are silent? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=702 http://files.storylogue.com/videos/attachment/640x360/621_QA521.flv http://files.storylogue.com/videos/attachment/640x360/621_QA521.jpg Is building a “story life” for a character intrinsic to writing a good story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=703 http://files.storylogue.com/videos/attachment/640x360/622_QA522.flv http://files.storylogue.com/videos/attachment/640x360/622_QA522.jpg Why are some anti-structure and minimalist films like “Lost In Translation” strike such a popular chord with audiences? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=704 http://files.storylogue.com/videos/attachment/640x360/623_QA523.flv http://files.storylogue.com/videos/attachment/640x360/623_QA523.jpg In terms of beats, sequences, scenes and acts, should sequels provide more of the same or take characters to new depths of their own personalities? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=705 http://files.storylogue.com/videos/attachment/640x360/624_QA524.flv http://files.storylogue.com/videos/attachment/640x360/624_QA524.jpg What is the difference between ironic endings and ambiguous endings? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=706 http://files.storylogue.com/videos/attachment/640x360/625_QA525.flv http://files.storylogue.com/videos/attachment/640x360/625_QA525.jpg In terms of story structure, etc., what things need to be done differently for short films? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=707 http://files.storylogue.com/videos/attachment/640x360/626_QA526.flv http://files.storylogue.com/videos/attachment/640x360/626_QA526.jpg How do you avoid deus ex machina while allowing the story to magically turn out right? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=708 http://files.storylogue.com/videos/attachment/640x360/627_QA527.flv http://files.storylogue.com/videos/attachment/640x360/627_QA527.jpg When you mentioned “There Will Be Blood” and “Citizen Kane” were a “blur”, wasn’t there an aspect that the characters are very passionate, but don’t know what they want? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=709 http://files.storylogue.com/videos/attachment/640x360/628_QA528.flv http://files.storylogue.com/videos/attachment/640x360/628_QA528.jpg You mentioned that dialogue is action, and that every beat of dialogue progresses the story. Is this different when writing a novel? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=710 http://files.storylogue.com/videos/attachment/640x360/629_QA529.flv http://files.storylogue.com/videos/attachment/640x360/629_QA529.jpg As you talk about reversal of expectations, can that go as far as genre reversals within the same movie? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=711 http://files.storylogue.com/videos/attachment/640x360/630_genre_comedy01.flv http://files.storylogue.com/videos/attachment/640x360/630_genre_comedy01.jpg Genre Seminar: Comedy, The Love of Comedy 0.9 http://www.storylogue.com/docs/lessons.html?documentId=712 http://files.storylogue.com/videos/attachment/640x360/631_genre_comedy02.flv http://files.storylogue.com/videos/attachment/640x360/631_genre_comedy02.jpg Genre Seminar: Comedy, Comedy vs. Drama 0.9 http://www.storylogue.com/docs/interviews.html?documentId=713 http://files.storylogue.com/videos/attachment/640x360/632_sl_int_brunonia_barry_7.flv http://files.storylogue.com/videos/attachment/640x360/632_sl_int_brunonia_barry_7.jpg Brunonia Barry, Part 7 0.9 http://www.storylogue.com/docs/interviews.html?documentId=714 http://files.storylogue.com/videos/attachment/640x360/633_sl_int_rob_hanning_6.flv http://files.storylogue.com/videos/attachment/640x360/633_sl_int_rob_hanning_6.jpg Rob Hanning, TV Writer/Producer, Part 6 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=718 http://files.storylogue.com/videos/attachment/640x360/637_QA533.flv http://files.storylogue.com/videos/attachment/640x360/637_QA533.jpg I am a character in a play I am writing. Do you have any metaphors or comparisons that might help me? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=719 http://files.storylogue.com/videos/attachment/640x360/638_QA534.flv http://files.storylogue.com/videos/attachment/640x360/638_QA534.jpg I am writing an autobiographical piece about events that happened 35 years ago, using actual people who were in my life at that time. Is there a danger if they recognize themselves? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=720 http://files.storylogue.com/videos/attachment/640x360/639_QA535.flv http://files.storylogue.com/videos/attachment/640x360/639_QA535.jpg With very limited time to present, what are some of the principles of storytelling in the workplace? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=721 http://files.storylogue.com/videos/attachment/640x360/640_QA536.flv http://files.storylogue.com/videos/attachment/640x360/640_QA536.jpg When I read fiction, I tend to take on the voices that I am reading and start to imitate that author’s style of writing. Is this a problem? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=722 http://files.storylogue.com/videos/attachment/640x360/641_QA537.flv http://files.storylogue.com/videos/attachment/640x360/641_QA537_3.jpg Do the principles of Story work differently in a mockumentary? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=723 http://files.storylogue.com/videos/attachment/640x360/642_QA538.flv http://files.storylogue.com/videos/attachment/640x360/642_QA538.jpg Is there a positive equivalent to the negation of the negation? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=724 http://files.storylogue.com/videos/attachment/640x360/643_QA539.flv http://files.storylogue.com/videos/attachment/640x360/643_QA539.jpg What are the key differences between the turning point, the inciting incident, and the setup event? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=725 http://files.storylogue.com/videos/attachment/640x360/644_QA540.flv http://files.storylogue.com/videos/attachment/640x360/644_QA540.jpg If you are asked to move your setup event from page 23 to page 15, how could you make that work? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=726 http://files.storylogue.com/videos/attachment/640x360/645_genre_comedy03.flv http://files.storylogue.com/videos/attachment/640x360/645_genre_comedy03.jpg Genre Seminar: Comedy, Institutions & Social Mores 0.9 http://www.storylogue.com/docs/interviews.html?documentId=728 http://files.storylogue.com/videos/attachment/640x360/646_sl_int_sarah_treem_10.flv http://files.storylogue.com/videos/attachment/640x360/646_sl_int_sarah_treem_10.jpg Writer/Producer SARAH TREEM, Part 10 SARAH TREEM   <div> Sarah is a writer/producer on the HBO drama <a href="http://www.imdb.com/title/tt0835434/">IN TREATMENT</a>. She was nominated for a Humanitas award and won a WGA award for her work on the show. She is currently working on the HBO show<a href="http://www.imdb.com/title/tt1299365/">HOW TO MAKE IT IN AMERICA</a>, as well as two pilots for the network and a romantic-comedy screenplay for Miramax. Sarah’s latest plays include VIENNA’S AMAZING (Ojai Playwriting Conference) and ORPHAN ISLAND (Sundance Theater Lab). She has taught playwriting at Yale University, where she earned her B.A. and M.F.A. <div>Sarah Treem’s play A FEMININE ENDING premiered at Playwrights Horizons in the fall of 2007, went on to productions at SouthCoast Repertory and Portland Center Stage, and was published by Samuel French. Her other plays include: HUMAN VOICES (Manhattan Theater Club’s Springboard New Play series, New York Stage and Film), EMPTY SKY (SouthCoast’s Pacific Playwrights Festival, winner of the Reva Shiner Playwriting award), MIRROR MIRROR (developed at Playwrights Horizons, Ars Nova), and AGAINST THE WALL (Source Theatre, DC; Friends of the Italian Opera, Berlin).</div> </div> 0.9 http://www.storylogue.com/docs/interviews.html?documentId=729 http://files.storylogue.com/videos/attachment/640x360/647_sl_int_sarah_treem_11.flv http://files.storylogue.com/videos/attachment/640x360/647_sl_int_sarah_treem_11.jpg Writer/Producer SARAH TREEM, Conclusion SARAH TREEM   <div> Sarah is a writer/producer on the HBO drama <a href="http://www.imdb.com/title/tt0835434/">IN TREATMENT</a>. She was nominated for a Humanitas award and won a WGA award for her work on the show. She is currently working on the HBO show <a href="http://www.imdb.com/title/tt1299365/">HOW TO MAKE IT IN AMERICA</a>, as well as two pilots for the network and a romantic-comedy screenplay for Miramax. Sarah’s latest plays include VIENNA’S AMAZING (Ojai Playwriting Conference) and ORPHAN ISLAND (Sundance Theater Lab). She has taught playwriting at Yale University, where she earned her B.A. and M.F.A. <div>Sarah Treem’s play A FEMININE ENDING premiered at Playwrights Horizons in the fall of 2007, went on to productions at SouthCoast Repertory and Portland Center Stage, and was published by Samuel French. Her other plays include: HUMAN VOICES (Manhattan Theater Club’s Springboard New Play series, New York Stage and Film), EMPTY SKY (SouthCoast’s Pacific Playwrights Festival, winner of the Reva Shiner Playwriting award), MIRROR MIRROR (developed at Playwrights Horizons, Ars Nova), and AGAINST THE WALL (Source Theatre, DC; Friends of the Italian Opera, Berlin).</div> </div> 0.9 http://www.storylogue.com/docs/interviews.html?documentId=730 http://files.storylogue.com/videos/attachment/640x360/648_sl_int_brunonia_barry_8.flv http://files.storylogue.com/videos/attachment/640x360/648_sl_int_brunonia_barry_8.jpg Best-Selling Author of "The Lace Reader", Brunonia Barry, Part 8 Brunonia Barry, Bestselling Author of The Lace Reader Born and raised in Massachusetts, Brunonia Barry studied literature and creative writing at Green Mountain college in Vermont and at the University of New Hampshire and was one of the founding members of the Portland Stage Company. While still an undergraduate at UNH, Barry spent a year living in Dublin and auditing Trinity College classes on James Joyce’s Ulysses. <div class="entry"> Barry’s love of theater led to a first job in Chicago where she ran promotional campaigns for Second City, Ivanhoe, and Studebaker theaters. After a brief stint in Manhattan, where she studied screenwriting at NYU, Barry relocated to California because she had landed an agent and had an original script optioned. Working on a variety of projects for several studios, she continued to study screenwriting and story structure with Hollywood icon Robert McKee, becoming one of the nine writers in his Development Group. Brunonia’s love for writing and storytelling has taken her all across the country but after nearly a decade in Hollywood, Barry returned to Massachusetts where, along with her husband, she co-founded an innovative company that creates award-winning word, visual and logic puzzles. In recent years, she has written books for the Beacon Street Girls, a fictional series for ‘tweens. Happily married, Barry lives with her husband and her only child that just happens to be a 12-year-old Golden Retriever named Byzantium.The Lace Reader was her first original novel. Barry is the first American Writer to win the Woman’s International Fiction Festival’s 2009 Baccante Award (for The Lace Reader.) Her second novel, The Map of True Places was published on May 4, 2010. Purchase The Lace Reader at McKeeStore.com: <a href="http://www.mckeestore.com/Brunonia-Barrys-THE-LACE-READER_p_47.html">Click Here</a> <a href="http://www.mckeestore.com/Brunonia-Barrys-THE-LACE-READER_p_47.html"><img src="http://www.storylogue.com/static/upload/images/The_Lace_Reader.jpg" alt="" width="88" height="133" /></a> </div> 0.9 http://www.storylogue.com/docs/interviews.html?documentId=731 http://files.storylogue.com/videos/attachment/640x360/649_sl_int_brunonia_barry_9.flv http://files.storylogue.com/videos/attachment/640x360/649_sl_int_brunonia_barry_9.jpg Best-Selling Author of "The Lace Reader", Brunonia Barry, Part 9 Brunonia Barry, Bestselling Author of The Lace Reader Born and raised in Massachusetts, Brunonia Barry studied literature and creative writing at Green Mountain college in Vermont and at the University of New Hampshire and was one of the founding members of the Portland Stage Company. While still an undergraduate at UNH, Barry spent a year living in Dublin and auditing Trinity College classes on James Joyce’s Ulysses. <div class="entry"> Barry’s love of theater led to a first job in Chicago where she ran promotional campaigns for Second City, Ivanhoe, and Studebaker theaters. After a brief stint in Manhattan, where she studied screenwriting at NYU, Barry relocated to California because she had landed an agent and had an original script optioned. Working on a variety of projects for several studios, she continued to study screenwriting and story structure with Hollywood icon Robert McKee, becoming one of the nine writers in his Development Group. Brunonia’s love for writing and storytelling has taken her all across the country but after nearly a decade in Hollywood, Barry returned to Massachusetts where, along with her husband, she co-founded an innovative company that creates award-winning word, visual and logic puzzles. In recent years, she has written books for the Beacon Street Girls, a fictional series for ‘tweens. Happily married, Barry lives with her husband and her only child that just happens to be a 12-year-old Golden Retriever named Byzantium.The Lace Reader was her first original novel. Barry is the first American Writer to win the Woman’s International Fiction Festival’s 2009 Baccante Award (for The Lace Reader.) Her second novel, The Map of True Places was published on May 4, 2010. Purchase The Lace Reader at McKeeStore.com: <a href="http://www.mckeestore.com/Brunonia-Barrys-THE-LACE-READER_p_47.html">Click Here</a> <a href="http://www.mckeestore.com/Brunonia-Barrys-THE-LACE-READER_p_47.html"><img src="http://www.storylogue.com/static/upload/images/The_Lace_Reader.jpg" alt="" width="88" height="133" /></a> </div> 0.9 http://www.storylogue.com/docs/lessons.html?documentId=732 http://files.storylogue.com/videos/attachment/640x360/650_genre_comedy04.flv http://files.storylogue.com/videos/attachment/640x360/650_genre_comedy04.jpg Genre Seminar: Comedy, Comedy vs. Drama 2 Another installment in the series taken from Robert McKee's Comedy Genre Seminar, filmed live in Los Angeles. Enjoy the content of essential information about writing comedy, along with Robert's wonderful comedic style and timing in the delivery itself. It's no wonder the Genre Days lectures are in such high demand all around the world. 0.9 http://www.storylogue.com/docs/interviews.html?documentId=733 http://files.storylogue.com/videos/attachment/640x360/651_sl_int_ed_saxon_02.flv http://files.storylogue.com/videos/attachment/640x360/651_sl_int_ed_saxon_02.jpg Ed Saxon, Oscar Award-Winning Producer, Part 2 0.9 http://www.storylogue.com/docs/lessons.html?documentId=734 http://files.storylogue.com/videos/attachment/640x360/652_sl_lsn_ed_saxon_hollywood_01.flv http://files.storylogue.com/videos/attachment/640x360/652_sl_lsn_ed_saxon_hollywood_01_1.jpg Celebrity Series Lesson: Academy Award Winning Producer Ed Saxon, How Hollywood Works, Part 1   Edward Saxon, an Oscar winner, is a graduate of the USC Peter Stark Producing Program.  He received his undergraduate degree at McGill University.  He produced the film THE SILENCE OF THE LAMBS, which swept Best Actor, Best Actress, Best Adapted Screenplay, Best Director, and Best Picture at the Academy Awards. Mr. Saxon also produced PHILADELPHIA (which won two Academy Awards, including Best Actor (Tom Hanks).  He produced ADAPTATION, nominated for 4 Academy Awards including Best Supporting Actor winner Chris Cooper, and the Academy Award nominated documentary MANDELA: SON OF AFRICA, FATHER OF A NATION. Most recently, Mr. Saxon has been a producer on Enlightened, an upcoming HBO comedy series. He produced Sam Mendes' Away We Go at Focus Features in 2009, and Our Family Wedding at Fox Searchlight in 2010, which stars Forest Whitaker and America Ferrera. Past credits also include:  Tom Hanks’ directorial debut, THAT THING YOU DO,  ULEE'S GOLD,  DEVIL IN A BLUE DRESS, BELOVED, FAST FOOD NATION, SOMETHING WILD, AND MIAMI BLUES. Saxon was a founding Advisory Board member of the Independent Film Channel, and is a mentor for the Sundance Institute, Producer's Guild, and Peter Stark Motion Picture Producing Program at USC. Mr. Saxon has extensive experience working in Haiti both as a documentary filmmaker and as an activist.  Saxon is married to the artist, Kirsten Coyne. They have two young daughters and live in Los Angeles.   0.9 http://www.storylogue.com/docs/interviews.html?documentId=735 http://files.storylogue.com/videos/attachment/640x360/653_sl_int_mark_whitney_01.flv http://files.storylogue.com/videos/attachment/640x360/653_sl_int_mark_whitney_01_3.jpg Award-Winning Writer/Producer Mark Whitney 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=736 http://files.storylogue.com/videos/attachment/640x360/654_QA541.flv http://files.storylogue.com/videos/attachment/640x360/654_QA541.jpg It is a good idea to study films in the genres you love to apply their techniques in your own writing? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=737 http://files.storylogue.com/videos/attachment/640x360/655_QA542.flv http://files.storylogue.com/videos/attachment/640x360/655_QA542.jpg Why do you feel that there would not have been a market for STORY Seminar in the 20‘s, 30’s and 40’s? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=738 http://files.storylogue.com/videos/attachment/640x360/656_QA543.flv http://files.storylogue.com/videos/attachment/640x360/656_QA543.jpg How does Horror fit in to the thriller or crime genre? Does the antagonist always need to be evil? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=742 http://files.storylogue.com/videos/attachment/640x360/659_sl_lsn_ed_saxon_hollywood_02b.flv http://files.storylogue.com/videos/attachment/640x360/659_sl_lsn_ed_saxon_hollywood_02b_2.jpg Celebrity Series Lesson: Academy Award Winning Producer Ed Saxon, How Hollywood Works, Part 2 0.9 http://www.storylogue.com/docs/interviews.html?documentId=743 http://files.storylogue.com/videos/attachment/640x360/660_sl_int_falk_and_stern_01.flv http://files.storylogue.com/videos/attachment/640x360/660_sl_int_falk_and_stern_01.jpg Makers of the Documentary: "Joan Rivers, A Piece of Work" - Editor Penelope Falk and Director Ricki Stern, Part 1 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=744 http://files.storylogue.com/videos/attachment/640x360/661_QA544.flv http://files.storylogue.com/videos/attachment/640x360/661_QA544.jpg Do you risk anti-climaxes if you have both a good guy masquerading as a bad guy and a bad guy masquerading as a good guy? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=745 http://files.storylogue.com/videos/attachment/640x360/662_QA545.flv http://files.storylogue.com/videos/attachment/640x360/662_QA545.jpg Do you think that all great films give us a sense that humans can be immortal? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=746 http://files.storylogue.com/videos/attachment/640x360/663_QA546.flv http://files.storylogue.com/videos/attachment/640x360/663_QA546.jpg What genre is the film “The Game”? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=747 http://files.storylogue.com/videos/attachment/640x360/664_QA547.flv http://files.storylogue.com/videos/attachment/640x360/664_QA547.jpg Actors, Directors, and others have more flexibility in interpreting a screenplay than a stageplay. Does this annoy screenwriters? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=748 http://files.storylogue.com/videos/attachment/640x360/665_QA548.flv http://files.storylogue.com/videos/attachment/640x360/665_QA548_3.jpg What is the difference between defining the antagonist and protagonist and the polarization of the characters? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=749 http://files.storylogue.com/videos/attachment/640x360/666_sl_lsn_ed_saxon_hollywood_03.flv http://files.storylogue.com/videos/attachment/640x360/666_sl_lsn_ed_saxon_hollywood_03.jpg Celebrity Series Lesson: Academy Award Winning Producer Ed Saxon, How Hollywood Works, Part 3 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=750 http://files.storylogue.com/videos/attachment/640x360/667_QA549.flv http://files.storylogue.com/videos/attachment/640x360/667_QA549.jpg Must you limit sketch comedy to just one act with one turning point? Must you also limit the dimensions of the characters? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=751 http://files.storylogue.com/videos/attachment/640x360/668_QA550.flv http://files.storylogue.com/videos/attachment/640x360/668_QA550.jpg I found it interesting that they used pathos in “Bridesmaids”. Do you think that can add more dimension to a comedy and make it “warmer”? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=752 http://files.storylogue.com/videos/attachment/640x360/669_QA551.flv http://files.storylogue.com/videos/attachment/640x360/669_QA551.jpg In Seinfeld, they often would often impose one sort of relationship over another. Is this an effective comic device? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=753 http://files.storylogue.com/videos/attachment/640x360/670_QA552.flv http://files.storylogue.com/videos/attachment/640x360/670_QA552.jpg What effect do you think transmedia will have on narrative and storytelling? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=754 http://files.storylogue.com/videos/attachment/640x360/671_QA553.flv http://files.storylogue.com/videos/attachment/640x360/671_QA553.jpg How customized to the protagonist should an antagonist be? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=756 http://files.storylogue.com/videos/attachment/640x360/672_sl_lsn_cast_maps_01.flv http://files.storylogue.com/videos/attachment/640x360/672_sl_lsn_cast_maps_01.jpg "Cast Maps" With Robert McKee, Part 1 0.9 http://www.storylogue.com/docs/interviews.html?documentId=757 http://files.storylogue.com/videos/attachment/640x360/673_sl_int_rob_hanning_7.flv http://files.storylogue.com/videos/attachment/640x360/673_sl_int_rob_hanning_7.jpg Rob Hanning, TV Writer/Producer, Part 7 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=758 http://files.storylogue.com/videos/attachment/640x360/674_QA554.flv http://files.storylogue.com/videos/attachment/640x360/674_QA554.jpg It strikes me that a neutral character would be very hard to write, and there would be no reason to do so. However, is anyone truly neutral in their private and unknown self? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=759 http://files.storylogue.com/videos/attachment/640x360/675_QA555.flv http://files.storylogue.com/videos/attachment/640x360/675_QA555.jpg Mr. McKee mentions that he is not a fan of video games as storytelling vehicles. I would love to hear how he thinks storytelling will change if most of the reading will be done on iPads and smart phones in the future. 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=760 http://files.storylogue.com/videos/attachment/640x360/676_QA556.flv http://files.storylogue.com/videos/attachment/640x360/676_QA556.jpg Do you have the reference for your quote on page 377 of “STORY” from Aristotle, “why a man does a thing is of little interest once we see the thing he does?” 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=761 http://files.storylogue.com/videos/attachment/640x360/677_QA557.flv http://files.storylogue.com/videos/attachment/640x360/677_QA557.jpg Mr. McKee, what inspires you to write? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=762 http://files.storylogue.com/videos/attachment/640x360/678_QA558.flv http://files.storylogue.com/videos/attachment/640x360/678_QA558.jpg Do you think that dreams have an influence on the creative ideas that many people have for writing stories? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=763 http://files.storylogue.com/videos/attachment/640x360/679_sl_lsn_ed_saxon_hollywood_04.flv http://files.storylogue.com/videos/attachment/640x360/679_sl_lsn_ed_saxon_hollywood_04_2.jpg Celebrity Series Lesson: Academy Award-Winning Producer Ed Saxon, "How Hollywood Works", Part 4 0.9 http://www.storylogue.com/docs/lessons.html?documentId=764 http://files.storylogue.com/videos/attachment/640x360/680_sl_lsn_ed_saxon_hollywood_05.flv http://files.storylogue.com/videos/attachment/640x360/680_sl_lsn_ed_saxon_hollywood_05_1.jpg Celebrity Series Lesson: Academy Award-Winning Producer Ed Saxon, “How Hollywood Works”, Part 5 0.9 http://www.storylogue.com/docs/lessons.html?documentId=765 http://files.storylogue.com/videos/attachment/640x360/681_sl_lsn_ed_saxon_hollywood_06.flv http://files.storylogue.com/videos/attachment/640x360/681_sl_lsn_ed_saxon_hollywood_06_2.jpg Celebrity Series Lesson: Academy Award-Winning Producer Ed Saxon, “How Hollywood Works”, Part 6 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=766 http://files.storylogue.com/videos/attachment/640x360/682_QA559.flv http://files.storylogue.com/videos/attachment/640x360/682_QA559.jpg What did you mean when you said that some films seem to want to “harm the audience?” 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=767 http://files.storylogue.com/videos/attachment/640x360/683_QA560.flv http://files.storylogue.com/videos/attachment/640x360/683_QA560.jpg You have told us about applying the principles of Story to video games and business presentations. How could those principles be applied to poetry or a song? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=768 http://files.storylogue.com/videos/attachment/640x360/684_QA561.flv http://files.storylogue.com/videos/attachment/640x360/684_QA561.jpg Does it hurt a story’s marketability if a character has strong values in the grand scheme of the story but is not passionate? Is this genre-specific? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=769 http://files.storylogue.com/videos/attachment/640x360/685_QA562.flv http://files.storylogue.com/videos/attachment/640x360/685_QA562.jpg I’ve created and written what I thought was a new sitcom, but I now think it is more a comedic slice of life drama. I want it to be completely different than anything else on TV. How should I test for its genre -- and is that important? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=770 http://files.storylogue.com/videos/attachment/640x360/686_QA563.flv http://files.storylogue.com/videos/attachment/640x360/686_QA563.jpg In my story, I feel I may be confusing unconscious desire, conscious desire, and need. How can I untangle them? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=771 http://files.storylogue.com/videos/attachment/640x360/687_QA564.flv http://files.storylogue.com/videos/attachment/640x360/687_QA564.jpg Could you please elaborate on the second half of your advice to writers when you said “contradiction between narrative drive and story suspense builds tension and explodes emotion”? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=772 http://files.storylogue.com/videos/attachment/640x360/688_QA565.flv http://files.storylogue.com/videos/attachment/640x360/688_QA565.jpg In his first lesson, Lowell Cauffiel suggests that a writer not submit a finished TV script because the executives want to be involved in the writing process. Don’t you want to present the best script possible? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=773 http://files.storylogue.com/videos/attachment/640x360/689_QA566.flv http://files.storylogue.com/videos/attachment/640x360/689_QA566.jpg When I watch movie credits, I notice that screenplays are often written by two people. Is there something about screenwriting that lends itself to collaboration? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=774 http://files.storylogue.com/videos/attachment/640x360/690_QA567.flv http://files.storylogue.com/videos/attachment/640x360/690_QA567.jpg How do you know when your screenplay is ready to go out into the marketplace? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=775 http://files.storylogue.com/videos/attachment/640x360/691_QA568.flv http://files.storylogue.com/videos/attachment/640x360/691_QA568.jpg What advice do you have on rewrites? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=776 http://files.storylogue.com/videos/attachment/640x360/692_QA569.flv http://files.storylogue.com/videos/attachment/640x360/692_QA569.jpg What advice would you give on breaking into Hollywood? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=777 http://files.storylogue.com/videos/attachment/640x360/693_sl_lsn_cast_maps_02.flv http://files.storylogue.com/videos/attachment/640x360/693_sl_lsn_cast_maps_02.jpg “Cast Maps” with Robert McKee, Part 2 0.9 http://www.storylogue.com/docs/interviews.html?documentId=778 http://files.storylogue.com/videos/attachment/640x360/694_sl_int_ed_saxon_03.flv http://files.storylogue.com/videos/attachment/640x360/694_sl_int_ed_saxon_03.jpg Ed Saxon, Oscar Award-Winning Producer, Part 3 0.9 http://www.storylogue.com/docs/interviews.html?documentId=779 http://files.storylogue.com/videos/attachment/640x360/695_sl_int_ros-meijer_5.flv http://files.storylogue.com/videos/attachment/640x360/695_sl_int_ros-meijer_5.jpg Writer/Actors Margot Ros & Maike Meijer, Part 5 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=781 http://files.storylogue.com/videos/attachment/640x360/696_QA570.flv http://files.storylogue.com/videos/attachment/640x360/696_QA570.jpg What makes a script “jump off the page”? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=782 http://files.storylogue.com/videos/attachment/640x360/697_QA571.flv http://files.storylogue.com/videos/attachment/640x360/697_QA571.jpg Can you give me some advice on developing my characters? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=783 http://files.storylogue.com/videos/attachment/640x360/698_QA572.flv http://files.storylogue.com/videos/attachment/640x360/698_QA572.jpg Do you think that Hollywood will ever get out of its prequel / sequel rut? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=784 http://files.storylogue.com/videos/attachment/640x360/699_QA573.flv http://files.storylogue.com/videos/attachment/640x360/699_QA573.jpg Is a writer’s work better received if those it is submitted to don’t know the writer is female? Is it advantageous to write under initials or an innocuous name that does not betray your gender? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=785 http://files.storylogue.com/videos/attachment/640x360/700_QA574.flv http://files.storylogue.com/videos/attachment/640x360/700_QA574_3.jpg If you could give one piece of advice to a screenwriter, what would it be? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=786 http://files.storylogue.com/videos/attachment/640x360/701_sl_int_mark_whitney_02.flv http://files.storylogue.com/videos/attachment/640x360/701_sl_int_mark_whitney_02.jpg Award-Winning Writer/Producer Mark Whitney, Part 2 0.9 http://www.storylogue.com/docs/lessons.html?documentId=788 http://files.storylogue.com/videos/attachment/640x360/702_sl_lsn_cast_maps_03.flv http://files.storylogue.com/videos/attachment/640x360/702_sl_lsn_cast_maps_03.jpg "Cast Maps" with Robert McKee, Part 3 0.9 http://www.storylogue.com/docs/interviews.html?documentId=789 http://files.storylogue.com/videos/attachment/640x360/703_sl_int_rob_hanning_8.flv http://files.storylogue.com/videos/attachment/640x360/703_sl_int_rob_hanning_8.jpg Rob Hanning, TV Writer/Producer, Part 8 (Conclusion) 0.9 http://www.storylogue.com/docs/interviews.html?documentId=790 http://files.storylogue.com/videos/attachment/640x360/704_sl_int_falk_and_stern_02.flv http://files.storylogue.com/videos/attachment/640x360/704_sl_int_falk_and_stern_02.jpg Documentary Editor Penelope Falk and Director Ricki Stern, Part 2 0.9 http://www.storylogue.com/docs/lessons.html?documentId=791 http://files.storylogue.com/videos/attachment/640x360/705_sl_lsn_ed_saxon_hollywood_07.flv http://files.storylogue.com/videos/attachment/640x360/705_sl_lsn_ed_saxon_hollywood_07_2.jpg Celebrity Series Lesson: Academy Award-Winning Producer Ed Saxon, “How Hollywood Works”, Part 7 0.9 http://www.storylogue.com/docs/lessons.html?documentId=792 http://files.storylogue.com/videos/attachment/640x360/706_sl_lsn_ed_saxon_hollywood_08.flv http://files.storylogue.com/videos/attachment/640x360/706_sl_lsn_ed_saxon_hollywood_08_3.jpg Celebrity Series Lesson: Academy Award-Winning Producer Ed Saxon, “How Hollywood Works”, Part 8 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=793 http://files.storylogue.com/videos/attachment/640x360/707_QA575.flv http://files.storylogue.com/videos/attachment/640x360/707_QA575.jpg What is Mr. McKee’s take on the RR Martin phenomenon? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=795 http://files.storylogue.com/videos/attachment/640x360/709_QA576.flv http://files.storylogue.com/videos/attachment/640x360/709_QA576.jpg Drama originated as an adversary to philosophy's pursuit of the true and real. Aren’t ambivalence and ambiguity the architects of story? Where do reason and the order of things lose their power? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=796 http://files.storylogue.com/videos/attachment/640x360/710_QA577.flv http://files.storylogue.com/videos/attachment/640x360/710_QA577.jpg Can you talk about people who fall in love with their kidnappers, jailers, etc? Is that really love? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=797 http://files.storylogue.com/videos/attachment/640x360/711_QA578.flv http://files.storylogue.com/videos/attachment/640x360/711_QA578.jpg How many beats in a sequence and sequences in a scene - approximately? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=798 http://files.storylogue.com/videos/attachment/640x360/712_QA579.flv http://files.storylogue.com/videos/attachment/640x360/712_QA579.jpg How do you translate the characters from modern genesis, then transport them into the past? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=799 http://files.storylogue.com/videos/attachment/640x360/713_QA580.flv http://files.storylogue.com/videos/attachment/640x360/713_QA580.jpg What factors do you feel have contributed to the decline of story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=800 http://files.storylogue.com/videos/attachment/640x360/714_QA581.flv http://files.storylogue.com/videos/attachment/640x360/714_QA581.jpg How do I organize my research to create a world of story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=801 http://files.storylogue.com/videos/attachment/640x360/715_QA582.flv http://files.storylogue.com/videos/attachment/640x360/715_QA582.jpg How do I create flaws in my main and supporting characters? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=802 http://files.storylogue.com/videos/attachment/640x360/716_QA583.flv http://files.storylogue.com/videos/attachment/640x360/716_QA583.jpg Does a protagonist have to have conflicts with all the supporting characters? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=803 http://files.storylogue.com/videos/attachment/640x360/717_QA584.flv http://files.storylogue.com/videos/attachment/640x360/717_QA584.jpg I am a trial and jury psychologist. Are there any specific things I should consider in trying to extract the story from the facts that already exist? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=804 http://files.storylogue.com/videos/attachment/640x360/718_QA585.flv http://files.storylogue.com/videos/attachment/640x360/718_QA585.jpg Would you advise a writer to write in his or her first language? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=805 http://files.storylogue.com/videos/attachment/640x360/719_QA586.flv http://files.storylogue.com/videos/attachment/640x360/719_QA586.jpg What was the genre of “Rainmaker”? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=806 http://files.storylogue.com/videos/attachment/640x360/720_QA587.flv http://files.storylogue.com/videos/attachment/640x360/720_QA587.jpg I spent 20 years as a journalist. How does one become a screenwriter? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=807 http://files.storylogue.com/videos/attachment/640x360/721_QA588.flv http://files.storylogue.com/videos/attachment/640x360/721_QA588.jpg What would you say is the convention behind social drama? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=810 http://files.storylogue.com/videos/attachment/640x360/722_sl_lsn_ed_saxon_hollywood_09.flv http://files.storylogue.com/videos/attachment/640x360/722_sl_lsn_ed_saxon_hollywood_09_3.jpg Celebrity Series Lesson: Academy Award-Winning Producer Ed Saxon, “How Hollywood Works”, Part 9 0.9 http://www.storylogue.com/docs/interviews.html?documentId=811 http://files.storylogue.com/videos/attachment/640x360/723_sl_int_ros-meijer_6.flv http://files.storylogue.com/videos/attachment/640x360/723_sl_int_ros-meijer_6.jpg Writer/Actors Margot Ros & Maike Meijer, Part 6 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=812 http://files.storylogue.com/videos/attachment/640x360/724_QA589.flv http://files.storylogue.com/videos/attachment/640x360/724_QA589.jpg When wanting to keep the world really small, do you find it best to limit yourself in terms of time to keep it as tight as possible? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=813 http://files.storylogue.com/videos/attachment/640x360/725_QA590.flv http://files.storylogue.com/videos/attachment/640x360/725_QA590.jpg How do you choose between making a multi-plot story and a story with a central spine but lots of subplots? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=814 http://files.storylogue.com/videos/attachment/640x360/726_QA591.flv http://files.storylogue.com/videos/attachment/640x360/726_QA591.jpg If stories are metaphors for life, and it keeps getting harder to make sense of the world which keeps getting faster and crazier, how does a writer make sense out of even a story that he creates? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=815 http://files.storylogue.com/videos/attachment/640x360/727_QA592.flv http://files.storylogue.com/videos/attachment/640x360/727_QA592.jpg You have said that the controlling idea must be something that you believe to be true. Could it ever be something more aspirational in nature? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=816 http://files.storylogue.com/videos/attachment/640x360/728_QA593.flv http://files.storylogue.com/videos/attachment/640x360/728_QA593.jpg You have said that it is important for the ending to surprise you. Once you discover your ending, should you go back and make sure you have written the correct value changes throughout the story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=817 http://files.storylogue.com/videos/attachment/640x360/729_QA594.flv http://files.storylogue.com/videos/attachment/640x360/729_QA594.jpg How do you think that Story is being effectively represented or not effectively represented in key art (artwork for posters, DVD covers, etc.)? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=818 http://files.storylogue.com/videos/attachment/640x360/730_QA595.flv http://files.storylogue.com/videos/attachment/640x360/730_QA595.jpg How come in so many romance stories the writer chooses people having an affair as romantic? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=819 http://files.storylogue.com/videos/attachment/640x360/731_QA596.flv http://files.storylogue.com/videos/attachment/640x360/731_QA596.jpg As a casting director I wonder, how can a film turn out so different from the script or shooting draft? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=820 http://files.storylogue.com/videos/attachment/640x360/732_QA597.flv http://files.storylogue.com/videos/attachment/640x360/732_QA597.jpg If the inciting incident is the death of a loved one, can the protagonist’s object of desire be to get that person back? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=821 http://files.storylogue.com/videos/attachment/640x360/733_QA598.flv http://files.storylogue.com/videos/attachment/640x360/733_QA598.jpg I felt that the voiceover in “A River Runs Through It” did not work very well, but I thought I heard you say that it did work well. How do you feel about it? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=822 http://files.storylogue.com/videos/attachment/640x360/734_sl_lsn_cast_maps_04_wanda1.flv http://files.storylogue.com/videos/attachment/640x360/734_sl_lsn_cast_maps_04_wanda1.jpg “Cast Maps” with Robert McKee, Part 4 0.9 http://www.storylogue.com/docs/lessons.html?documentId=823 http://files.storylogue.com/videos/attachment/640x360/735_sl_lsn_ed_saxon_hollywood_10.flv http://files.storylogue.com/videos/attachment/640x360/735_sl_lsn_ed_saxon_hollywood_10_1.jpg Celebrity Series Lesson: Academy Award-Winning Producer Ed Saxon, “How Hollywood Works”, Part 10 0.9 http://www.storylogue.com/docs/interviews.html?documentId=824 http://files.storylogue.com/videos/attachment/640x360/736_sl_int_brunonia_barry_10.flv http://files.storylogue.com/videos/attachment/640x360/736_sl_int_brunonia_barry_10.jpg Bestselling Author of "The Lace Reader," Brunonia Barry, Part 10 0.9 http://www.storylogue.com/docs/interviews.html?documentId=825 http://files.storylogue.com/videos/attachment/640x360/737_sl_int_mark_whitney_03.flv http://files.storylogue.com/videos/attachment/640x360/737_sl_int_mark_whitney_03.jpg Award-Winning Writer/Producer Mark Whitney, Part 3 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=826 http://files.storylogue.com/videos/attachment/640x360/738_QA599.flv http://files.storylogue.com/videos/attachment/640x360/738_QA599.jpg I have multiple protagonists trying to help my main protagonist get what she says she wants, but that is not really what she wants at all. Do you know of an example of another story with this kind of storyline? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=827 http://files.storylogue.com/videos/attachment/640x360/739_QA600.flv http://files.storylogue.com/videos/attachment/640x360/739_QA600.jpg At what level are complex concepts and themes such as unconscious desires applicable to stories for kids? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=828 http://files.storylogue.com/videos/attachment/640x360/740_QA601.flv http://files.storylogue.com/videos/attachment/640x360/740_QA601.jpg Is tying empathy to an animated character such as a dinosaur the same as tying empathy to a human character? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=829 http://files.storylogue.com/videos/attachment/640x360/741_QA602.flv http://files.storylogue.com/videos/attachment/640x360/741_QA602.jpg I like to read the screenplay before I see a film. What is a good source of screenplays and teleplays? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=830 http://files.storylogue.com/videos/attachment/640x360/742_QA603.flv http://files.storylogue.com/videos/attachment/640x360/742_QA603.jpg How can I best apply what I have learned at Story Seminar to my acting? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=834 http://files.storylogue.com/videos/attachment/640x360/743_QA604.flv http://files.storylogue.com/videos/attachment/640x360/743_QA604.jpg I’ve never been homeless. If I want to write about homelessness, how would I go about it? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=835 http://files.storylogue.com/videos/attachment/640x360/744_QA605.flv http://files.storylogue.com/videos/attachment/640x360/744_QA605.jpg If some people are gifted storytellers, what makes them that way? Is it a psychological thing? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=837 http://files.storylogue.com/videos/attachment/640x360/746_QA607.flv http://files.storylogue.com/videos/attachment/640x360/746_QA607.jpg One reader told me the characters in my first book were too shallow. Now, two of the ten who I have allowed to read my newest manuscript say the characters are too complicated. How can I write to please everyone who will read my books? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=838 http://files.storylogue.com/videos/attachment/640x360/747_QA608.flv http://files.storylogue.com/videos/attachment/640x360/747_QA608.jpg One of my favorite endings was “Braveheart” where Mel Gibson’s character effectively kills the king just by shouting out “Freedom” before he died. Am I just being naive in thinking that was a brilliant way to handle the mano a mano faceoff? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=839 http://files.storylogue.com/videos/attachment/640x360/748_QA609.flv http://files.storylogue.com/videos/attachment/640x360/748_QA609.jpg How can I combine storytelling skills and literary skills writing in English when it is not my primary language? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=840 http://files.storylogue.com/videos/attachment/640x360/749_QA610.flv http://files.storylogue.com/videos/attachment/640x360/749_QA610.jpg Do you think Hitchcock movies can be used as a reference for good suspense writing? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=841 http://files.storylogue.com/videos/attachment/640x360/750_QA611.flv http://files.storylogue.com/videos/attachment/640x360/750_QA611.jpg When you don’t have subplots, don’t you need a lot of turning points to push the story forward? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=842 http://files.storylogue.com/videos/attachment/640x360/751_QA612.flv http://files.storylogue.com/videos/attachment/640x360/751_QA612.jpg In the movie “Tightrope”, the cop becomes sexually perverse in the film. Does he become both the protagonist and antagonist? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=843 http://files.storylogue.com/videos/attachment/640x360/752_QA613.flv http://files.storylogue.com/videos/attachment/640x360/752_QA613.jpg Can something other than a person serve as an antagonist in a story, such as the American recession? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=844 http://files.storylogue.com/videos/attachment/640x360/753_QA614.flv http://files.storylogue.com/videos/attachment/640x360/753_QA614.jpg Could a story ever have two equal protagonists? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=845 http://files.storylogue.com/videos/attachment/640x360/754_QA615.flv http://files.storylogue.com/videos/attachment/640x360/754_QA615.jpg I am currently poring through a mountain of raw material for my story, is there a way to begin to pare the material down? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=846 http://files.storylogue.com/videos/attachment/640x360/755_QA616.flv http://files.storylogue.com/videos/attachment/640x360/755_QA616.jpg Say a story has a long lead-in. Then it is followed by the heart of the story and finally an act 3 climax. When do you start trimming the lead-in down, or is it just a constant re-working process? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=847 http://files.storylogue.com/videos/attachment/640x360/756_QA617.flv http://files.storylogue.com/videos/attachment/640x360/756_QA617.jpg You’ve said that the conscious and subconscious desire should be in contradiction to one another, so when the protagonist gets or doesn’t get his object of desire, is that in opposition to whatever their subconscious desire is? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=848 http://files.storylogue.com/videos/attachment/640x360/757_QA618.flv http://files.storylogue.com/videos/attachment/640x360/757_QA618.jpg What is the difference between the life story and the actual story told? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=849 http://files.storylogue.com/videos/attachment/640x360/758_QA619.flv http://files.storylogue.com/videos/attachment/640x360/758_QA619.jpg Could you have a protagonist who has to act and rejoin life, but they think their object of desire is their own self-protection so they do nothing. Is that too static a story line? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=850 http://files.storylogue.com/videos/attachment/640x360/759_QA620.flv http://files.storylogue.com/videos/attachment/640x360/759_QA620.jpg What is the difference between “spine of action” and “theme”? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=851 http://files.storylogue.com/videos/attachment/640x360/760_QA621.flv http://files.storylogue.com/videos/attachment/640x360/760_QA621.jpg I’m writing a series of bio-pics about poets. How can I bring in the actual poetry without it being corny? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=852 http://files.storylogue.com/videos/attachment/640x360/761_QA622.flv http://files.storylogue.com/videos/attachment/640x360/761_QA622.jpg When considering complication vs. complexity in the long form, why is something like “Nurse Jackie” not considered complex? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=853 http://files.storylogue.com/videos/attachment/640x360/762_QA623.flv http://files.storylogue.com/videos/attachment/640x360/762_QA623.jpg When writing long form stories, such as a TV series, how far in advance do you plan your story arc? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=854 http://files.storylogue.com/videos/attachment/640x360/763_QA624.flv http://files.storylogue.com/videos/attachment/640x360/763_QA624.jpg I know how to create sympathy, but how do I get the audience to empathize with my main character? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=855 http://files.storylogue.com/videos/attachment/640x360/764_QA625.flv http://files.storylogue.com/videos/attachment/640x360/764_QA625.jpg Do you feel that it is important to build an audience’s empathy with a character early in a screenplay? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=856 http://files.storylogue.com/videos/attachment/640x360/765_QA626.flv http://files.storylogue.com/videos/attachment/640x360/765_QA626.jpg You’ve talked about the importance of reserving judgement on the controlling idea of a story. Why is this a good idea? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=857 http://files.storylogue.com/videos/attachment/640x360/766_sl_lsn_ed_saxon_hollywood_11.flv http://files.storylogue.com/videos/attachment/640x360/766_sl_lsn_ed_saxon_hollywood_11_3.jpg Celebrity Series Lesson: Academy Award-Winning Producer Ed Saxon, “How Hollywood Works”, Part 11 0.9 http://www.storylogue.com/docs/lessons.html?documentId=858 http://files.storylogue.com/videos/attachment/640x360/767_sl_lsn_cast_maps_05_wanda2.flv http://files.storylogue.com/videos/attachment/640x360/767_sl_lsn_cast_maps_05_wanda2.jpg “Cast Maps” with Robert McKee, Part 5, "A Fish Called Wanda" Analysis of Acts & Major Characters 0.9 http://www.storylogue.com/docs/interviews.html?documentId=859 http://files.storylogue.com/videos/attachment/640x360/768_sl_int_ed_saxon_04.flv http://files.storylogue.com/videos/attachment/640x360/768_sl_int_ed_saxon_04.jpg Ed Saxon, Oscar Award-Winning Producer, Part 4 0.9 http://www.storylogue.com/docs/interviews.html?documentId=860 http://files.storylogue.com/videos/attachment/640x360/769_sl_int_falk_and_stern_03.flv http://files.storylogue.com/videos/attachment/640x360/769_sl_int_falk_and_stern_03.jpg Documentary Editor Penelope Falk and Director Ricki Stern, Part 3 0.9 http://www.storylogue.com/docs/lessons.html?documentId=861 http://files.storylogue.com/videos/attachment/640x360/770_sl_lsn_mcgrath_the_gothic_01.flv http://files.storylogue.com/videos/attachment/640x360/770_sl_lsn_mcgrath_the_gothic_01.jpg Celebrity Series Lesson: Award-Winning Author Patrick McGrath, “The Gothic”, Part 1 0.9 http://www.storylogue.com/docs/interviews.html?documentId=862 http://files.storylogue.com/videos/attachment/640x360/771_sl_int_mark_whitney_04.flv http://files.storylogue.com/videos/attachment/640x360/771_sl_int_mark_whitney_04.jpg Award-Winning Writer/Producer Mark Whitney, Part 4 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=865 http://files.storylogue.com/videos/attachment/640x360/774_QA606.flv http://files.storylogue.com/videos/attachment/640x360/774_QA606.jpg What makes the Harry Potter and Narnia franchises so successful when so many other similar stories are not? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=867 http://files.storylogue.com/videos/attachment/640x360/775_sl_int_brunonia_barry_11.flv http://files.storylogue.com/videos/attachment/640x360/775_sl_int_brunonia_barry_11.jpg Bestselling Author of "The Lace Reader," Brunonia Barry, Part 11, Conclusion 0.9 http://www.storylogue.com/docs/interviews.html?documentId=868 http://files.storylogue.com/videos/attachment/640x360/776_sl_int_ros-meijer_7.flv http://files.storylogue.com/videos/attachment/640x360/776_sl_int_ros-meijer_7.jpg Writer/Actors Margot Ros & Maike Meijer, Part 7 0.9 http://www.storylogue.com/docs/lessons.html?documentId=869 http://files.storylogue.com/videos/attachment/640x360/777_sl_lsn_cast_maps_06_wanda3.flv http://files.storylogue.com/videos/attachment/640x360/777_sl_lsn_cast_maps_06_wanda3.jpg “Cast Maps” with Robert McKee, Part 6 0.9 http://www.storylogue.com/docs/lessons.html?documentId=870 http://files.storylogue.com/videos/attachment/640x360/778_sl_lsn_ed_saxon_hollywood_12.flv http://files.storylogue.com/videos/attachment/640x360/778_sl_lsn_ed_saxon_hollywood_12_3.jpg Celebrity Series Lesson: Academy Award-Winning Producer Ed Saxon, “How Hollywood Works”, Part 12 0.9 http://www.storylogue.com/docs/lessons.html?documentId=871 http://files.storylogue.com/videos/attachment/640x360/779_sl_lsn_ed_saxon_hollywood_13b.flv http://files.storylogue.com/videos/attachment/640x360/779_sl_lsn_ed_saxon_hollywood_13b.jpg Celebrity Series Lesson: Academy Award-Winning Producer Ed Saxon, “How Hollywood Works”, Part 13, Conclusion 0.9 http://www.storylogue.com/docs/lessons.html?documentId=872 http://files.storylogue.com/videos/attachment/640x360/780_sl_lsn_mcgrath_the_gothic_02.flv http://files.storylogue.com/videos/attachment/640x360/780_sl_lsn_mcgrath_the_gothic_02.jpg Celebrity Series Lesson: Award-Winning Author Patrick McGrath, “The Gothic”, Part 2 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=873 http://files.storylogue.com/videos/attachment/640x360/781_QA627.flv http://files.storylogue.com/videos/attachment/640x360/781_QA627.jpg I notice that a lot of the screenplays used in the Story class have very artistic and detailed exposition to set up each beat, such as the description of the office in Chinatown. I don't do this when writing novels. Is this common in screenplays? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=874 http://files.storylogue.com/videos/attachment/640x360/782_QA628.flv http://files.storylogue.com/videos/attachment/640x360/782_QA628.jpg Do you feel that other schools of thought are threatened by “new criticism”? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=875 http://files.storylogue.com/videos/attachment/640x360/783_QA629.flv http://files.storylogue.com/videos/attachment/640x360/783_QA629.jpg When you are writing from the protagonist’s point of view and you also have to get into the other characters’ heads, do you bounce back and forth as you go or concentrate first on one, then go back and fill in the others? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=876 http://files.storylogue.com/videos/attachment/640x360/784_QA630.flv http://files.storylogue.com/videos/attachment/640x360/784_QA630.jpg How do you avoid being schizophrenic when you have two important characters in the same scene and you have to go back and forth between the two? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=878 http://files.storylogue.com/videos/attachment/640x360/785_QA631.flv http://files.storylogue.com/videos/attachment/640x360/785_QA631.jpg How can an audience be moved by minimalism as they are by classical design? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=879 http://files.storylogue.com/videos/attachment/640x360/786_QA632.flv http://files.storylogue.com/videos/attachment/640x360/786_QA632.jpg What is the difference between a redemption plot and an education plot? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=880 http://files.storylogue.com/videos/attachment/640x360/787_QA633.flv http://files.storylogue.com/videos/attachment/640x360/787_QA633.jpg What are the main features of an education plot? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=881 http://files.storylogue.com/videos/attachment/640x360/788_QA634.flv http://files.storylogue.com/videos/attachment/640x360/788_QA634.jpg You say that conflict is what drives a story. Does this apply in journalism to news stories as well? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=882 http://files.storylogue.com/videos/attachment/640x360/789_QA635.flv http://files.storylogue.com/videos/attachment/640x360/789_QA635.jpg I notice in many movies, there are multiple screenwriters. Do they usually work together or more in layers? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=883 http://files.storylogue.com/videos/attachment/640x360/790_QA636.flv http://files.storylogue.com/videos/attachment/640x360/790_QA636.jpg Other than bringing positive qualities to a character that is not a nice person, how can you build the audience’s empathy with that character? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=884 http://files.storylogue.com/videos/attachment/640x360/791_QA637.flv http://files.storylogue.com/videos/attachment/640x360/791_QA637.jpg When looking at characters in your work from the inside out, do you do that for all the roles or just the protagonist? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=885 http://files.storylogue.com/videos/attachment/640x360/792_QA638.flv http://files.storylogue.com/videos/attachment/640x360/792_QA638.jpg In the pivotal breakfast scene in Kramer vs. Kramer, what is the negative/positive charge in that scene? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=886 http://files.storylogue.com/videos/attachment/640x360/793_sl_int_ed_saxon_05.flv http://files.storylogue.com/videos/attachment/640x360/793_sl_int_ed_saxon_05.jpg Ed Saxon, Oscar Award-Winning Producer, Part 5 0.9 http://www.storylogue.com/docs/interviews.html?documentId=887 http://files.storylogue.com/videos/attachment/640x360/794_sl_int_ed_saxon_06.flv http://files.storylogue.com/videos/attachment/640x360/794_sl_int_ed_saxon_06.jpg Ed Saxon, Oscar Award-Winning Producer, Part 6 0.9 http://www.storylogue.com/docs/interviews.html?documentId=888 http://files.storylogue.com/videos/attachment/640x360/795_sl_int_mark_whitney_05.flv http://files.storylogue.com/videos/attachment/640x360/795_sl_int_mark_whitney_05.jpg Award-Winning Writer/Producer Mark Whitney, Part 5 0.9 http://www.storylogue.com/docs/interviews.html?documentId=889 http://files.storylogue.com/videos/attachment/640x360/796_sl_int_mark_whitney_06.flv http://files.storylogue.com/videos/attachment/640x360/796_sl_int_mark_whitney_06.jpg Award-Winning Writer/Producer Mark Whitney, Part 6 0.9 http://www.storylogue.com/docs/lessons.html?documentId=890 http://files.storylogue.com/videos/attachment/640x360/797_sl_lsn_cast_maps_07_wanda4.flv http://files.storylogue.com/videos/attachment/640x360/797_sl_lsn_cast_maps_07_wanda4.jpg Cast Maps with Robert McKee, Part 7 (with download) In this installment of "Cast Maps", we are providing an Adobe Acrobat PDF file of the actual cast map that Mr. McKee designed for "A Fish Called Wanda" that he discusses in this lesson. To download the PDF file, click this link or copy and paste it into your browser: <a href="http://mckeestory.com/wp-content/uploads/2012/02/FishCalledWandaUniverse.pdf" target="_blank">http://mckeestory.com/wp-content/uploads/2012/02/FishCalledWandaUniverse.pdf</a>   0.9 http://www.storylogue.com/docs/question-answer.html?documentId=891 http://files.storylogue.com/videos/attachment/640x360/798_QA639.flv http://files.storylogue.com/videos/attachment/640x360/798_QA639.jpg Would you place ignorance as positive or negative? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=892 http://files.storylogue.com/videos/attachment/640x360/799_QA640.flv http://files.storylogue.com/videos/attachment/640x360/799_QA640.jpg What is the relationship between the step outline and writing a novel? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=893 http://files.storylogue.com/videos/attachment/640x360/800_QA641.flv http://files.storylogue.com/videos/attachment/640x360/800_QA641.jpg Are positive, contradictory, contrary, and the negation of the negation steps that a character must go through? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=894 http://files.storylogue.com/videos/attachment/640x360/801_QA642.flv http://files.storylogue.com/videos/attachment/640x360/801_QA642.jpg In order for a story to work, it must develop dynamically, interchanging positive with negative charges, so what happens when intensity creates double negatives, or triple negatives? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=895 http://files.storylogue.com/videos/attachment/640x360/802_QA643.flv http://files.storylogue.com/videos/attachment/640x360/802_QA643.jpg Do you think there is a correlation between our culture of victimhood and the way we write poorly and create limp protagonists? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=896 http://files.storylogue.com/videos/attachment/640x360/803_QA644.flv http://files.storylogue.com/videos/attachment/640x360/803_QA644.jpg You recommend whittling down a screenplay treatment to the bare minimum. Is a novel more expansive than the treatment or actually a reduction of it, and are novel treatments longer than screenplay treatments? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=897 http://files.storylogue.com/videos/attachment/640x360/804_QA645.flv http://files.storylogue.com/videos/attachment/640x360/804_QA645.jpg Do you know of any seminars or classes related exclusively to documentary writing? What other avenues are there to learn the craft of documentary writing? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=898 http://files.storylogue.com/videos/attachment/640x360/805_QA646.flv http://files.storylogue.com/videos/attachment/640x360/805_QA646.jpg Do you have any thoughts about the future of Chinese film? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=899 http://files.storylogue.com/videos/attachment/640x360/806_QA647.flv http://files.storylogue.com/videos/attachment/640x360/806_QA647.jpg Referring to product placement, why is an association with a particular film so valuable? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=900 http://files.storylogue.com/videos/attachment/640x360/807_QA648.flv http://files.storylogue.com/videos/attachment/640x360/807_QA648.jpg Why do you want to change the positive and negative charge within a story? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=901 http://files.storylogue.com/videos/attachment/640x360/808_sl_int_muriel_imelda_01.flv http://files.storylogue.com/videos/attachment/640x360/808_sl_int_muriel_imelda_01.jpg Playwright Imelda Murphy and Journalist/Writer Muriel Bolger, Part 1 0.9 http://www.storylogue.com/docs/lessons.html?documentId=902 http://files.storylogue.com/videos/attachment/640x360/809_sl_lsn_mcgrath_the_gothic_03.flv http://files.storylogue.com/videos/attachment/640x360/809_sl_lsn_mcgrath_the_gothic_03.jpg Celebrity Series Lesson: Award-Winning Author Patrick McGrath, “The Gothic”, Part 3 0.9 http://www.storylogue.com/docs/interviews.html?documentId=903 http://files.storylogue.com/videos/attachment/640x360/810_sl_int_falk_and_stern_04.flv http://files.storylogue.com/videos/attachment/640x360/810_sl_int_falk_and_stern_04.jpg Documentary Editor Penelope Falk and Director Ricki Stern, Part 4 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=904 http://files.storylogue.com/videos/attachment/640x360/811_QA649.flv http://files.storylogue.com/videos/attachment/640x360/811_QA649.jpg I have an idea for an adaptation of an autobiography, and would like to hire a professional writer to write it. Do you have any advice? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=905 http://files.storylogue.com/videos/attachment/640x360/812_QA650.flv http://files.storylogue.com/videos/attachment/640x360/812_QA650.jpg You have said that in story, language is superficial. What did you mean by that? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=906 http://files.storylogue.com/videos/attachment/640x360/813_QA651.flv http://files.storylogue.com/videos/attachment/640x360/813_QA651.jpg Can you talk about the concept of developing a “voice” for the writer, especially for a novelist? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=907 http://files.storylogue.com/videos/attachment/640x360/814_QA652.flv http://files.storylogue.com/videos/attachment/640x360/814_QA652.jpg I had a writing teacher who suggested that beginning writers copy the style of great writers as a way to develop their own writing? How do you feel about this? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=908 http://files.storylogue.com/videos/attachment/640x360/815_QA653.flv http://files.storylogue.com/videos/attachment/640x360/815_QA653.jpg What is the process of developing a controlling idea and its meaning? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=909 http://files.storylogue.com/videos/attachment/640x360/816_QA654.flv http://files.storylogue.com/videos/attachment/640x360/816_QA654.jpg Does the value change always happen on the last beat? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=910 http://files.storylogue.com/videos/attachment/640x360/817_QA655.flv http://files.storylogue.com/videos/attachment/640x360/817_QA655.jpg What type of documentary are films such as “Fahrenheit 9/11”? Is it a narrative documentary? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=911 http://files.storylogue.com/videos/attachment/640x360/818_sl_lsn_mcgrath_the_gothic_04.flv http://files.storylogue.com/videos/attachment/640x360/818_sl_lsn_mcgrath_the_gothic_04.jpg Celebrity Series Lesson: Award-Winning Author Patrick McGrath, “The Gothic”, Part 4 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=912 http://files.storylogue.com/videos/attachment/640x360/819_QA656.flv http://files.storylogue.com/videos/attachment/640x360/819_QA656.jpg I have heard the term “key incident”. How does that differ from the inciting incident? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=913 http://files.storylogue.com/videos/attachment/640x360/820_QA657.flv http://files.storylogue.com/videos/attachment/640x360/820_QA657.jpg In a novel, how do you determine how soon you should introduce the inciting incident? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=914 http://files.storylogue.com/videos/attachment/640x360/821_QA658.flv http://files.storylogue.com/videos/attachment/640x360/821_QA658.jpg Does the main character of a novel always think and talk in the first person? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=915 http://files.storylogue.com/videos/attachment/640x360/822_QA659.flv http://files.storylogue.com/videos/attachment/640x360/822_QA659.jpg Could I alternate the point of view character in my novel? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=916 http://files.storylogue.com/videos/attachment/640x360/823_QA660.flv http://files.storylogue.com/videos/attachment/640x360/823_QA660.jpg Is there any rule about the balance between dialogue and monologue in a novel? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=917 http://files.storylogue.com/videos/attachment/640x360/824_sl_lsn_cast_maps_08_corrections_01.flv http://files.storylogue.com/videos/attachment/640x360/824_sl_lsn_cast_maps_08_corrections_01.jpg Cast Maps with Robert McKee, Part 8, Introducing “The Corrections” 0.9 http://www.storylogue.com/docs/interviews.html?documentId=918 http://files.storylogue.com/videos/attachment/640x360/825_sl_int_zak_penn_01.flv http://files.storylogue.com/videos/attachment/640x360/825_sl_int_zak_penn_01.jpg Action Film Screenwriter/Producer/Director Zak Penn, Part 1 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=919 http://files.storylogue.com/videos/attachment/640x360/826_QA661.flv http://files.storylogue.com/videos/attachment/640x360/826_QA661.jpg Can you offer any advice on writing a short work? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=920 http://files.storylogue.com/videos/attachment/640x360/827_QA662.flv http://files.storylogue.com/videos/attachment/640x360/827_QA662.jpg Who is the “teacher” character in “Tender Mercies”? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=921 http://files.storylogue.com/videos/attachment/640x360/828_QA663.flv http://files.storylogue.com/videos/attachment/640x360/828_QA663.jpg What do you think are the qualities that make a remake successful and do you feel it is right to do a remake? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=922 http://files.storylogue.com/videos/attachment/640x360/829_QA664.flv http://files.storylogue.com/videos/attachment/640x360/829_QA664.jpg Where does desire come from? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=923 http://files.storylogue.com/videos/attachment/640x360/830_QA665.flv http://files.storylogue.com/videos/attachment/640x360/830_QA665.jpg How can I learn more about image systems? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=924 http://files.storylogue.com/videos/attachment/640x360/831_QA666.flv http://files.storylogue.com/videos/attachment/640x360/831_QA666.jpg Do you observe the same controlling ideas in TV dramas as in films? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=925 http://files.storylogue.com/videos/attachment/640x360/832_QA667.flv http://files.storylogue.com/videos/attachment/640x360/832_QA667.jpg In movies, why does it seem that the woman always chooses the expected man? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=926 http://files.storylogue.com/videos/attachment/640x360/833_QA668.flv http://files.storylogue.com/videos/attachment/640x360/833_QA668.jpg Would you say that language creates reality? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=927 http://files.storylogue.com/videos/attachment/640x360/834_sl_lsn_mcgrath_the_gothic_05.flv http://files.storylogue.com/videos/attachment/640x360/834_sl_lsn_mcgrath_the_gothic_05.jpg Celebrity Series Lesson: Award-Winning Author Patrick McGrath, “The Gothic”, Part 5 0.9 http://www.storylogue.com/docs/lessons.html?documentId=928 http://files.storylogue.com/videos/attachment/640x360/835_sl_lsn_mcgrath_the_gothic_06.flv http://files.storylogue.com/videos/attachment/640x360/835_sl_lsn_mcgrath_the_gothic_06.jpg Celebrity Series Lesson: Award-Winning Author Patrick McGrath, “The Gothic”, Part 6 0.9 http://www.storylogue.com/docs/lessons.html?documentId=929 http://files.storylogue.com/videos/attachment/640x360/836_sl_lsn_cast_maps_09_corrections_02.flv http://files.storylogue.com/videos/attachment/640x360/836_sl_lsn_cast_maps_09_corrections_02.jpg Cast Maps with Robert McKee, Part 9: The Corrections 2 0.9 http://www.storylogue.com/docs/lessons.html?documentId=930 http://files.storylogue.com/videos/attachment/640x360/837_sl_lsn_cast_maps_10_corrections_03.flv http://files.storylogue.com/videos/attachment/640x360/837_sl_lsn_cast_maps_10_corrections_03.jpg Cast Maps with Robert McKee, Part 10: The Corrections 3 0.9 http://www.storylogue.com/docs/interviews.html?documentId=932 http://files.storylogue.com/videos/attachment/640x360/838_sl_int_muriel_imelda_02.flv http://files.storylogue.com/videos/attachment/640x360/838_sl_int_muriel_imelda_02.jpg Playwright Imelda Murphy and Journalist/Writer Muriel Bolger, Part 2 0.9 http://www.storylogue.com/docs/interviews.html?documentId=933 http://files.storylogue.com/videos/attachment/640x360/839_sl_int_falk_and_stern_05.flv http://files.storylogue.com/videos/attachment/640x360/839_sl_int_falk_and_stern_05.jpg Documentary Editor Penelope Falk and Director Ricki Stern, Part 5 0.9 http://www.storylogue.com/docs/interviews.html?documentId=934 http://files.storylogue.com/videos/attachment/640x360/840_sl_int_falk_and_stern_06.flv http://files.storylogue.com/videos/attachment/640x360/840_sl_int_falk_and_stern_06.jpg Documentary Editor Penelope Falk and Director Ricki Stern, Part 6 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=936 http://files.storylogue.com/videos/attachment/640x360/841_QA669.flv http://files.storylogue.com/videos/attachment/640x360/841_QA669.jpg Wasn’t story largely to blame for what happened in Nazi Germany during World War 2? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=937 http://files.storylogue.com/videos/attachment/640x360/842_QA670.flv http://files.storylogue.com/videos/attachment/640x360/842_QA670.jpg When you have two different protagonists who want different things, how do you determine which one is within the central plot and which one is within a subplot? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=938 http://files.storylogue.com/videos/attachment/640x360/843_QA671.flv http://files.storylogue.com/videos/attachment/640x360/843_QA671.jpg At the end of “Sixth Sense”, I had to go back and rethink the whole movie. How does that differ from the ending of “The Usual Suspects”? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=939 http://files.storylogue.com/videos/attachment/640x360/844_QA672.flv http://files.storylogue.com/videos/attachment/640x360/844_QA672.jpg I am writing for hip-hop theater. Are there any particular considerations that I should keep in mind? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=940 http://files.storylogue.com/videos/attachment/640x360/845_QA673.flv http://files.storylogue.com/videos/attachment/640x360/845_QA673.jpg When writing a biography, isn’t it pretty much preset and episodic in its form? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=941 http://files.storylogue.com/videos/attachment/640x360/846_QA674.flv http://files.storylogue.com/videos/attachment/640x360/846_QA674.jpg I am working on a story where one protagonist opens and closes the story, but another covers the middle of the story. How can you go about switching protagonists during a story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=942 http://files.storylogue.com/videos/attachment/640x360/847_QA675.flv http://files.storylogue.com/videos/attachment/640x360/847_QA675.jpg In your steps to creating crime mysteries, I don’t understand the difference between step 5 and step 6. Could you explain? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=943 http://files.storylogue.com/videos/attachment/640x360/848_QA676.flv http://files.storylogue.com/videos/attachment/640x360/848_QA676.jpg Is the fifth step in creating a crime mystery simply the exposition of some evidence to mislead the audience? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=944 http://files.storylogue.com/videos/attachment/640x360/849_QA677.flv http://files.storylogue.com/videos/attachment/640x360/849_QA677.jpg Are there crime stories where the crime is ongoing throughout the story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=945 http://files.storylogue.com/videos/attachment/640x360/850_QA678.flv http://files.storylogue.com/videos/attachment/640x360/850_QA678.jpg In a crime story dealing with an ongoing crime, if the detective has thought that the antagonist is one person, then at some point finds out it is someone else, do you think the audience feels cheated? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=946 http://files.storylogue.com/videos/attachment/640x360/851_sl_int_ed_saxon_07.flv http://files.storylogue.com/videos/attachment/640x360/851_sl_int_ed_saxon_07.jpg Ed Saxon, Oscar Award-Winning Producer, Part 7 0.9 http://www.storylogue.com/docs/interviews.html?documentId=947 http://files.storylogue.com/videos/attachment/640x360/852_sl_int_ed_saxon_08.flv http://files.storylogue.com/videos/attachment/640x360/852_sl_int_ed_saxon_08.jpg Ed Saxon, Oscar Award-Winning Producer, Part 8 0.9 http://www.storylogue.com/docs/interviews.html?documentId=948 http://files.storylogue.com/videos/attachment/640x360/853_sl_int_zak_penn_02.flv http://files.storylogue.com/videos/attachment/640x360/853_sl_int_zak_penn_02.jpg Action Film Screenwriter/Producer/Director Zak Penn, Part 2 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=949 http://files.storylogue.com/videos/attachment/640x360/854_QA679.flv http://files.storylogue.com/videos/attachment/640x360/854_QA679.jpg In television, what is the relationship between each episode’s cliffhanger and the inevitable climax of the season? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=950 http://files.storylogue.com/videos/attachment/640x360/855_QA680.flv http://files.storylogue.com/videos/attachment/640x360/855_QA680.jpg “Slaughterhouse Five” is the most complicated movie I have ever seen. Could you tell me anything about it? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=951 http://files.storylogue.com/videos/attachment/640x360/856_QA681.flv http://files.storylogue.com/videos/attachment/640x360/856_QA681.jpg In writing a spec script, how do you approach story from the confines of a television series that you don’t create? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=952 http://files.storylogue.com/videos/attachment/640x360/857_QA682.flv http://files.storylogue.com/videos/attachment/640x360/857_QA682.jpg What are your thoughts on a novelist employing story structure and design vs. raw talent? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=953 http://files.storylogue.com/videos/attachment/640x360/858_QA683.flv http://files.storylogue.com/videos/attachment/640x360/858_QA683.jpg You have mentioned that Avatar is a good movie if you are into fascist mythology. What is the best way to create a story that illustrates the dangers of creating fascist-style fables? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=954 http://files.storylogue.com/videos/attachment/640x360/859_QA684.flv http://files.storylogue.com/videos/attachment/640x360/859_QA684.jpg We constantly have more and more access to technologies such as Facebook and Twitter. Do you think they enable us or disable us? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=955 http://files.storylogue.com/videos/attachment/640x360/860_QA685.flv http://files.storylogue.com/videos/attachment/640x360/860_QA685.jpg How do approach a news documentary that is historical where you are really not changing the characters and the pivots and that sort of thing? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=956 http://files.storylogue.com/videos/attachment/640x360/861_QA686.flv http://files.storylogue.com/videos/attachment/640x360/861_QA686.jpg Is the ending of “Toy Story 3” a deus ex machina? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=957 http://files.storylogue.com/videos/attachment/640x360/862_sl_int_zak_penn_03.flv http://files.storylogue.com/videos/attachment/640x360/862_sl_int_zak_penn_03.jpg Action Film Screenwriter/Producer/Director Zak Penn, Part 3 0.9 http://www.storylogue.com/docs/lessons.html?documentId=962 http://files.storylogue.com/videos/attachment/640x360/863_sl_lsn_cast_maps_11_corrections_04.flv http://files.storylogue.com/videos/attachment/640x360/863_sl_lsn_cast_maps_11_corrections_04.jpg Cast Maps with Robert McKee, Part 11: The Corrections 4: Enid’s Story 0.9 http://www.storylogue.com/docs/lessons.html?documentId=963 http://files.storylogue.com/videos/attachment/640x360/864_sl_lsn_mcgrath_the_gothic_07.flv http://files.storylogue.com/videos/attachment/640x360/864_sl_lsn_mcgrath_the_gothic_07.jpg Celebrity Series Lesson: Award-Winning Author Patrick McGrath, “The Gothic”, Part 7 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=964 http://files.storylogue.com/videos/attachment/640x360/865_QA687.flv http://files.storylogue.com/videos/attachment/640x360/865_QA687.jpg I’m having trouble with the rhythm of a multi-plot story. Will there be several inciting incidents, etc.? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=965 http://files.storylogue.com/videos/attachment/640x360/866_QA688.flv http://files.storylogue.com/videos/attachment/640x360/866_QA688.jpg When a character’s subconscious desire becomes conscious desire, does that always have to be a positive thing? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=966 http://files.storylogue.com/videos/attachment/640x360/867_QA689.flv http://files.storylogue.com/videos/attachment/640x360/867_QA689.jpg Is it possible to create gaps in a script to allow improvised dialogue as long as you know where it should lead and want you want to achieve? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=967 http://files.storylogue.com/videos/attachment/640x360/868_QA690.flv http://files.storylogue.com/videos/attachment/640x360/868_QA690.jpg Is it possible to not tell the actors what happens next in the script? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=968 http://files.storylogue.com/videos/attachment/640x360/869_QA691.flv http://files.storylogue.com/videos/attachment/640x360/869_QA691.jpg What is the relationship between the protagonist’s dilemma and his object of desire? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=969 http://files.storylogue.com/videos/attachment/640x360/870_QA692.flv http://files.storylogue.com/videos/attachment/640x360/870_QA692.jpg With multiple protagonists, do you need to favor one as the primary protagonist? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=970 http://files.storylogue.com/videos/attachment/640x360/871_QA693.flv http://files.storylogue.com/videos/attachment/640x360/871_QA693.jpg Many films like “Jurassic Park” have things wrong with them like employing deus ex machina, so what makes them so successful with audiences? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=971 http://files.storylogue.com/videos/attachment/640x360/872_sl_int_muriel_imelda_03.flv http://files.storylogue.com/videos/attachment/640x360/872_sl_int_muriel_imelda_03.jpg Playwright Imelda Murphy and Journalist/Writer Muriel Bolger, Part 3 0.9 http://www.storylogue.com/docs/interviews.html?documentId=972 http://files.storylogue.com/videos/attachment/640x360/873_sl_int_ros-meijer_8.flv http://files.storylogue.com/videos/attachment/640x360/873_sl_int_ros-meijer_8.jpg Writer/Actors Margot Ros & Maike Meijer, Part 8, Conclusion 0.9 http://www.storylogue.com/docs/lessons.html?documentId=973 http://files.storylogue.com/videos/attachment/640x360/874_sl_lsn_mcgrath_the_gothic_08.flv http://files.storylogue.com/videos/attachment/640x360/874_sl_lsn_mcgrath_the_gothic_08.jpg Celebrity Series Lesson: Award-Winning Author Patrick McGrath, “The Gothic”, Part 8 0.9 http://www.storylogue.com/docs/lessons.html?documentId=974 http://files.storylogue.com/videos/attachment/640x360/875_sl_lsn_mcgrath_the_gothic_09.flv http://files.storylogue.com/videos/attachment/640x360/875_sl_lsn_mcgrath_the_gothic_09.jpg Celebrity Series Lesson: Award-Winning Author Patrick McGrath, “The Gothic”, Part 9 0.9 http://www.storylogue.com/docs/lessons.html?documentId=975 http://files.storylogue.com/videos/attachment/640x360/876_sl_lsn_mcgrath_the_gothic_10.flv http://files.storylogue.com/videos/attachment/640x360/876_sl_lsn_mcgrath_the_gothic_10.jpg Celebrity Series Lesson: Award-Winning Author Patrick McGrath, “The Gothic”, Part 10 0.9 http://www.storylogue.com/docs/lessons.html?documentId=976 http://files.storylogue.com/videos/attachment/640x360/877_sl_lsn_mcgrath_the_gothic_11.flv http://files.storylogue.com/videos/attachment/640x360/877_sl_lsn_mcgrath_the_gothic_11.jpg Celebrity Series Lesson: Award-Winning Author Patrick McGrath, “The Gothic”, Part 11 0.9 http://www.storylogue.com/docs/lessons.html?documentId=977 http://files.storylogue.com/videos/attachment/640x360/878_sl_lsn_mcgrath_the_gothic_12.flv http://files.storylogue.com/videos/attachment/640x360/878_sl_lsn_mcgrath_the_gothic_12.jpg Celebrity Series Lesson: Award-Winning Author Patrick McGrath, “The Gothic”, Part 12 0.9 http://www.storylogue.com/docs/lessons.html?documentId=978 http://files.storylogue.com/videos/attachment/640x360/879_sl_lsn_mcgrath_the_gothic_13.flv http://files.storylogue.com/videos/attachment/640x360/879_sl_lsn_mcgrath_the_gothic_13.jpg Celebrity Series Lesson: Award-Winning Author Patrick McGrath, “The Gothic”, Part 13, Conclusion 0.9 http://www.storylogue.com/docs/interviews.html?documentId=979 http://files.storylogue.com/videos/attachment/640x360/880_sl_int_mark_whitney_07_conclusion.flv http://files.storylogue.com/videos/attachment/640x360/880_sl_int_mark_whitney_07_conclusion.jpg Award-Winning Writer/Producer Mark Whitney, Part 7, Conclusion 0.9 http://www.storylogue.com/docs/lessons.html?documentId=980 http://files.storylogue.com/videos/attachment/640x360/881_sl_lsn_cast_maps_12_corrections_05.flv http://files.storylogue.com/videos/attachment/640x360/881_sl_lsn_cast_maps_12_corrections_05.jpg Cast Maps with Robert McKee, Part 12: The Corrections 5: Alfred’s Story 0.9 http://www.storylogue.com/docs/lessons.html?documentId=981 http://files.storylogue.com/videos/attachment/640x360/882_sl_lsn_cast_maps_13_corrections_06.flv http://files.storylogue.com/videos/attachment/640x360/882_sl_lsn_cast_maps_13_corrections_06.jpg Cast Maps with Robert McKee, Part 13: The Corrections 6: Gary’s Story 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=982 http://files.storylogue.com/videos/attachment/640x360/883_QA694.flv http://files.storylogue.com/videos/attachment/640x360/883_QA694.jpg How can I learn more about writing domestic drama? What are the conventions for that genre? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=983 http://files.storylogue.com/videos/attachment/640x360/884_QA695.flv http://files.storylogue.com/videos/attachment/640x360/884_QA695.jpg In comedy, does taking the story to the limits of human experience and the negation of the negation run the risk of “turning off” the audience? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=984 http://files.storylogue.com/videos/attachment/640x360/885_QA696.flv http://files.storylogue.com/videos/attachment/640x360/885_QA696_1.jpg To be a good writer, do you have to know where things are going in the world -- in the future? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=985 http://files.storylogue.com/videos/attachment/640x360/886_QA697.flv http://files.storylogue.com/videos/attachment/640x360/886_QA697.jpg In comedy, we’ve been in the “bro-mance” period. Where do you think comedy is headed next? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=986 http://files.storylogue.com/videos/attachment/640x360/887_QA698.flv http://files.storylogue.com/videos/attachment/640x360/887_QA698.jpg In children’s film and television, do you have to make allowances for their age, and do you have to resort to cliches in children’s fiction? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=987 http://files.storylogue.com/videos/attachment/640x360/888_QA699.flv http://files.storylogue.com/videos/attachment/640x360/888_QA699.jpg If there are generally 40 to 60 events that occur in a story, does that change with a multi-protagonist 30-minute pilot? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=988 http://files.storylogue.com/videos/attachment/640x360/889_QA700.flv http://files.storylogue.com/videos/attachment/640x360/889_QA700.jpg How do you gauge the necessary limits of your story’s geography? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=989 http://files.storylogue.com/videos/attachment/640x360/890_QA701.flv http://files.storylogue.com/videos/attachment/640x360/890_QA701.jpg When you are trying to gauge if you need more sets in your story, what are some indicators that you are re-hashing the same location too often? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=990 http://files.storylogue.com/videos/attachment/640x360/891_QA702.flv http://files.storylogue.com/videos/attachment/640x360/891_QA702.jpg Do you feel there is an advantage to going to a script analyst when you become lost in where to take your story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=991 http://files.storylogue.com/videos/attachment/640x360/892_QA703.flv http://files.storylogue.com/videos/attachment/640x360/892_QA703.jpg What are your thoughts on conveying non-spoken, written communication to an audience, such as with email? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=992 http://files.storylogue.com/videos/attachment/640x360/893_QA704.flv http://files.storylogue.com/videos/attachment/640x360/893_QA704.jpg Do you have any insight on how to express the subconscious desire of a character in a screenplay? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=993 http://files.storylogue.com/videos/attachment/640x360/894_QA705.flv http://files.storylogue.com/videos/attachment/640x360/894_QA705.jpg When you talk about beats, scenes and acts, are you actually plotting those out on cards or a big white board on the wall? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=994 http://files.storylogue.com/videos/attachment/640x360/895_QA706.flv http://files.storylogue.com/videos/attachment/640x360/895_QA706.jpg When charting out your story, how do you build a sequence and connect the individual scenes so that you can see it? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=995 http://files.storylogue.com/videos/attachment/640x360/896_QA707.flv http://files.storylogue.com/videos/attachment/640x360/896_QA707.jpg What is the best way to keep an audience involved with the spine of action of a TV series? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=996 http://files.storylogue.com/videos/attachment/640x360/897_QA708.flv http://files.storylogue.com/videos/attachment/640x360/897_QA708.jpg When writing, a writer often must be isolated. How can a screenwriter get the support of his family? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=997 http://files.storylogue.com/videos/attachment/640x360/898_QA709.flv http://files.storylogue.com/videos/attachment/640x360/898_QA709.jpg When writing a subplot to lead to the inciting incident, how do you keep the audience from falling in love with that subplot and wanting it to be the main plot of the story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=998 http://files.storylogue.com/videos/attachment/640x360/899_QA710.flv http://files.storylogue.com/videos/attachment/640x360/899_QA710.jpg What are the differences in the scripts for a feature film and a short film? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=999 http://files.storylogue.com/videos/attachment/640x360/900_QA711.flv http://files.storylogue.com/videos/attachment/640x360/900_QA711.jpg When producing Shakespeare plays for today’s audiences, what can we ethically change? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1000 http://files.storylogue.com/videos/attachment/640x360/901_QA712.flv http://files.storylogue.com/videos/attachment/640x360/901_QA712.jpg Do you think it would be damaging to the rhythm of a Shakespeare play to combine poetic and prosaic translations? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1004 http://files.storylogue.com/videos/attachment/640x360/902_QA713.flv http://files.storylogue.com/videos/attachment/640x360/902_QA713.jpg When making films about small characters and people of lesser significance in history (but not documentaries), how can you make the story interesting? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1005 http://files.storylogue.com/videos/attachment/640x360/903_QA714.flv http://files.storylogue.com/videos/attachment/640x360/903_QA714.jpg A TV series can change settings slightly throughout the season. Can a TV series change genre from one episode to the next? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1006 http://files.storylogue.com/videos/attachment/640x360/904_QA715.flv http://files.storylogue.com/videos/attachment/640x360/904_QA715.jpg What do you work on first when writing a story or screenplay? Character? Ending? Structure? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1007 http://files.storylogue.com/videos/attachment/640x360/905_QA716.flv http://files.storylogue.com/videos/attachment/640x360/905_QA716.jpg These days, what excites you in a script? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1008 http://files.storylogue.com/videos/attachment/640x360/906_QA717.flv http://files.storylogue.com/videos/attachment/640x360/906_QA717.jpg What story and character tips can you impart to a comedy writer? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1009 http://files.storylogue.com/videos/attachment/640x360/907_QA718.flv http://files.storylogue.com/videos/attachment/640x360/907_QA718.jpg What conditions must be met to fully realize the main character? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1010 http://files.storylogue.com/videos/attachment/640x360/908_QA719.flv http://files.storylogue.com/videos/attachment/640x360/908_QA719.jpg Do you focus the script more on character than story? Should the script be more inclined to tailor the bizarre emotions and tantrums of characters, since the demographics that the industry targets find this more appealing than a beautiful story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1011 http://files.storylogue.com/videos/attachment/640x360/909_QA720.flv http://files.storylogue.com/videos/attachment/640x360/909_QA720.jpg How can I make a good screenplay about my own love story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1012 http://files.storylogue.com/videos/attachment/640x360/910_QA721.flv http://files.storylogue.com/videos/attachment/640x360/910_QA721.jpg How do you best construct subplots? Are there tips on how many subplots, how many scenes, how to weave them in? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1013 http://files.storylogue.com/videos/attachment/640x360/911_QA722.flv http://files.storylogue.com/videos/attachment/640x360/911_QA722.jpg What are some tips on writing layered, lovable characters? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1014 http://files.storylogue.com/videos/attachment/640x360/912_QA723.flv http://files.storylogue.com/videos/attachment/640x360/912_QA723.jpg How do you marry necessary story structure with organic-feeling character motivations? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1015 http://files.storylogue.com/videos/attachment/640x360/913_QA724.flv http://files.storylogue.com/videos/attachment/640x360/913_QA724.jpg How do you start a script? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1016 http://files.storylogue.com/videos/attachment/640x360/914_QA725.flv http://files.storylogue.com/videos/attachment/640x360/914_QA725.jpg How do you know if your plot is too clever or too dumb for your audience? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1017 http://files.storylogue.com/videos/attachment/640x360/915_QA726.flv http://files.storylogue.com/videos/attachment/640x360/915_QA726.jpg How do you make the transition from first to second act significant and compelling? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1018 http://files.storylogue.com/videos/attachment/640x360/916_QA727.flv http://files.storylogue.com/videos/attachment/640x360/916_QA727.jpg How do you find a character’s inner flaw? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1019 http://files.storylogue.com/videos/attachment/640x360/917_QA728.flv http://files.storylogue.com/videos/attachment/640x360/917_QA728.jpg How do you outline your stories? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1020 http://files.storylogue.com/videos/attachment/640x360/918_QA729.flv http://files.storylogue.com/videos/attachment/640x360/918_QA729.jpg How can you effectively deliver backstory through story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1021 http://files.storylogue.com/videos/attachment/640x360/919_QA730.flv http://files.storylogue.com/videos/attachment/640x360/919_QA730.jpg How can I make dialogue seem completely natural? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1022 http://files.storylogue.com/videos/attachment/640x360/920_QA731.flv http://files.storylogue.com/videos/attachment/640x360/920_QA731.jpg Do you think it is possible to write about something you are not passionate about and still give it 100%? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1023 http://files.storylogue.com/videos/attachment/640x360/921_QA732.flv http://files.storylogue.com/videos/attachment/640x360/921_QA732.jpg I believe I am a very great storyteller, but I have trouble converting my verbal art into written art. I lose the line of continuity all the time. 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1024 http://files.storylogue.com/videos/attachment/640x360/922_QA733.flv http://files.storylogue.com/videos/attachment/640x360/922_QA733.jpg As a writer and story editor, what is the most important piece of advice you would suggest to pass on to an emerging screenwriter? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=1025 http://files.storylogue.com/videos/attachment/640x360/923_sl_int_muriel_imelda_04.flv http://files.storylogue.com/videos/attachment/640x360/923_sl_int_muriel_imelda_04.jpg Playwright Imelda Murphy and Journalist/Writer Muriel Bolger, Part 4 0.9 http://www.storylogue.com/docs/lessons.html?documentId=1026 http://files.storylogue.com/videos/attachment/640x360/924_sl_lsn_cast_maps_14_corrections_07.flv http://files.storylogue.com/videos/attachment/640x360/924_sl_lsn_cast_maps_14_corrections_07.jpg Cast Maps with Robert McKee, Part 14: The Corrections 7: Denise’s Story 0.9 http://www.storylogue.com/docs/lessons.html?documentId=1027 http://files.storylogue.com/videos/attachment/640x360/925_sl_lsn_cast_maps_15_corrections_08.flv http://files.storylogue.com/videos/attachment/640x360/925_sl_lsn_cast_maps_15_corrections_08.jpg Cast Maps with Robert McKee, Part 15: The Corrections 8: Chip’s Story 0.9 http://www.storylogue.com/docs/interviews.html?documentId=1028 http://files.storylogue.com/videos/attachment/640x360/926_sl_int_ed_saxon_09.flv http://files.storylogue.com/videos/attachment/640x360/926_sl_int_ed_saxon_09.jpg Ed Saxon, Oscar Award-Winning Producer, Part 9 0.9 http://www.storylogue.com/docs/interviews.html?documentId=1030 http://files.storylogue.com/videos/attachment/640x360/927_sl_int_zak_penn_04.flv http://files.storylogue.com/videos/attachment/640x360/927_sl_int_zak_penn_04.jpg Action Film Screenwriter/Producer/Director Zak Penn, Part 4 0.9 http://www.storylogue.com/docs/interviews.html?documentId=1034 http://files.storylogue.com/videos/attachment/640x360/929_sl_int_falk_and_stern_07.flv http://files.storylogue.com/videos/attachment/640x360/929_sl_int_falk_and_stern_07.jpg Documentary Editor Penelope Falk and Director Ricki Stern, Part 7 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=1035 http://files.storylogue.com/videos/attachment/640x360/930_QA734.flv http://files.storylogue.com/videos/attachment/640x360/930_QA734.jpg What is the best way to write an image system into a screenplay so that it is likely to remain intact in the finished work? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1036 http://files.storylogue.com/videos/attachment/640x360/931_QA735.flv http://files.storylogue.com/videos/attachment/640x360/931_QA735.jpg If an ending could be either positive or negative, should a writer prioritize a positive ending to help assure commercial success? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1037 http://files.storylogue.com/videos/attachment/640x360/932_QA736.flv http://files.storylogue.com/videos/attachment/640x360/932_QA736.jpg Can you offer any advice on which value changes to combine in a sequence? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1038 http://files.storylogue.com/videos/attachment/640x360/933_QA737.flv http://files.storylogue.com/videos/attachment/640x360/933_QA737.jpg In a science fiction or fantasy setting, if there is a technology or magic that can do something that is impossible in the real world, how can you use that at a turning point without it appearing to be deus ex machina? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1039 http://files.storylogue.com/videos/attachment/640x360/934_QA738.flv http://files.storylogue.com/videos/attachment/640x360/934_QA738.jpg What is the primary conscious and unconscious desires in the Jake Gittes character in “Chinatown”? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=1040 http://files.storylogue.com/videos/attachment/640x360/935_sl_int_muriel_imelda_05.flv http://files.storylogue.com/videos/attachment/640x360/935_sl_int_muriel_imelda_05.jpg Playwright Imelda Murphy and Journalist/Writer Muriel Bolger, Part 5 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=1041 http://files.storylogue.com/videos/attachment/640x360/936_QA739.flv http://files.storylogue.com/videos/attachment/640x360/936_QA739.jpg What does Robert think about Blake Snyder’s list of genres as presented in his book “Save the Cat”? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1042 http://files.storylogue.com/videos/attachment/640x360/937_QA740.flv http://files.storylogue.com/videos/attachment/640x360/937_QA740.jpg I’m trying to figure out what genre my story is, which made me wonder what genre “American Beauty” is. What do you think it is? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1043 http://files.storylogue.com/videos/attachment/640x360/938_QA741.flv http://files.storylogue.com/videos/attachment/640x360/938_QA741.jpg What is the best way to learn pacing while writing a script? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1044 http://files.storylogue.com/videos/attachment/640x360/939_QA742.flv http://files.storylogue.com/videos/attachment/640x360/939_QA742.jpg You have stated that we must write our stories so that our protagonists can go to the limits of human experience from positive through contradictory, from contrary to the negation of the negation. Must they go through these stages in that order? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1045 http://files.storylogue.com/videos/attachment/640x360/940_QA743.flv http://files.storylogue.com/videos/attachment/640x360/940_QA743.jpg Would “Casablanca” have been made today? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1046 http://files.storylogue.com/videos/attachment/640x360/941_QA744.flv http://files.storylogue.com/videos/attachment/640x360/941_QA744.jpg I have listened to your CDs many times. When you narrate the scenes in Chinatown and you offer the characters’ thoughts, is that the way we should write a screenplay? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1047 http://files.storylogue.com/videos/attachment/640x360/942_QA745.flv http://files.storylogue.com/videos/attachment/640x360/942_QA745.jpg On page 56 of “STORY”, you say that when Laura Ephram and Rob Reiner inserted scenes of mockumentary into “When Harry Met Sally”, the film’s overall reality came into question. Could you explain what you meant? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1048 http://files.storylogue.com/videos/attachment/640x360/943_QA746.flv http://files.storylogue.com/videos/attachment/640x360/943_QA746.jpg What were your favorite films of 2011? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1049 http://files.storylogue.com/videos/attachment/640x360/944_QA747.flv http://files.storylogue.com/videos/attachment/640x360/944_QA747.jpg I am told that an antagonist character is always needed in a good story. Don’t you think it makes writing too mechanical to always have to include an antagonistic character rather than the antagonistic forces you refer to? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1050 http://files.storylogue.com/videos/attachment/640x360/945_QA748.flv http://files.storylogue.com/videos/attachment/640x360/945_QA748.jpg At the seminar, Mr. McKee went on a rant about Hollywood when I asked about the relative quality of films and TV being made these days. Does he feel that what we are seeing on screen are the best stories that producers can find? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=1051 http://files.storylogue.com/videos/attachment/640x360/946_sl_lsn_saxon_doubt.flv http://files.storylogue.com/videos/attachment/640x360/946_sl_lsn_saxon_doubt.jpg Celebrity Series Lesson: Oscar Award-Winning Producer Ed Saxon on Doubt 0.9 http://www.storylogue.com/docs/lessons.html?documentId=1052 http://files.storylogue.com/videos/attachment/640x360/947_sl_lsn_saxon_getting_read.flv http://files.storylogue.com/videos/attachment/640x360/947_sl_lsn_saxon_getting_read.jpg Celebrity Series Lesson: Oscar Award-Winning Producer Ed Saxon on How to Get Your Work Read 0.9 http://www.storylogue.com/docs/interviews.html?documentId=1053 http://files.storylogue.com/videos/attachment/640x360/948_sl_int_zak_penn_05.flv http://files.storylogue.com/videos/attachment/640x360/948_sl_int_zak_penn_05.jpg Action Film Screenwriter/Producer/Director Zak Penn, Part 5 0.9 http://www.storylogue.com/docs/interviews.html?documentId=1054 http://files.storylogue.com/videos/attachment/640x360/949_sl_int_jonathan_fields_02.flv http://files.storylogue.com/videos/attachment/640x360/949_sl_int_jonathan_fields_02.jpg Entrepreneur, Marketing Expert and Social Media Blogger Jonathan Fields, Part 2 0.9 http://www.storylogue.com/docs/lessons.html?documentId=1055 http://files.storylogue.com/videos/attachment/640x360/950_sl_lsn_saxon_sequences.flv http://files.storylogue.com/videos/attachment/640x360/950_sl_lsn_saxon_sequences.jpg Celebrity Series Lesson: Oscar Award-Winning Producer Ed Saxon on Sequences 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=1057 http://files.storylogue.com/videos/attachment/640x360/951_QA749.flv http://files.storylogue.com/videos/attachment/640x360/951_QA749.jpg I see story as plot, character and setting. There is a plot and character arc, but isn’t there also the possibility of an arc for setting or am I being too ethereal? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1058 http://files.storylogue.com/videos/attachment/640x360/952_QA750.flv http://files.storylogue.com/videos/attachment/640x360/952_QA750.jpg What is the essential difference between writing a screenplay for a made-for-TV movie as opposed to a cinema-released version? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1059 http://files.storylogue.com/videos/attachment/640x360/953_QA751.flv http://files.storylogue.com/videos/attachment/640x360/953_QA751.jpg Is it possible that a step outline sometimes forces the writer to make decisions for his characters rather than allowing the characters to make their own decisions? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1060 http://files.storylogue.com/videos/attachment/640x360/954_QA752.flv http://files.storylogue.com/videos/attachment/640x360/954_QA752.jpg before writing screenplays wouldn’t it be a good idea to write more verbose forms such as short stories or novels, then sculpt a screenplay out of one of those works? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1061 http://files.storylogue.com/videos/attachment/640x360/955_QA753.flv http://files.storylogue.com/videos/attachment/640x360/955_QA753.jpg If conflict differences are binary, then am I forced to say that something like unfairness is negatively charged? When discussing conflict where parts of a progression (such as positive, contrary, etc.) are treated differently than in scene annotation where they are binary (either positively or negatively charged), I run into difficulties semantically. If conflict differences are binary, then am I forced to say that something like unfairness is negatively charged? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1062 http://files.storylogue.com/videos/attachment/640x360/956_QA754.flv http://files.storylogue.com/videos/attachment/640x360/956_QA754.jpg What is the controlling idea in the film “Lust, Caution”? What is the controlling idea in the film “Lust, Caution”? At the climax, the heroine betrays her friends and tells her lover to run. This leads to her execution, costing all her friends lives, sentenced by her lover. This is an ironic ending because her lover must have been executed after the war for helping the Japanese. 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1063 http://files.storylogue.com/videos/attachment/640x360/957_QA755.flv http://files.storylogue.com/videos/attachment/640x360/957_QA755.jpg In “Othello”, is Othello the protagonist or is Iago the protagonist? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1064 http://files.storylogue.com/videos/attachment/640x360/958_QA756.flv http://files.storylogue.com/videos/attachment/640x360/958_QA756.jpg What is the difference between scene and sequence in the theatre and film? Are they different terms? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1065 http://files.storylogue.com/videos/attachment/640x360/959_QA757.flv http://files.storylogue.com/videos/attachment/640x360/959_QA757.jpg I am writing a series of bio-pics about poets. How can I bring in the actual poetry without it being corny? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1066 http://files.storylogue.com/videos/attachment/640x360/960_QA758.flv http://files.storylogue.com/videos/attachment/640x360/960_QA758.jpg If using more than one negation of the negation, how should they be linked? In considering the negation of the negation, you once mentioned that the value involved in “Chinatown” is justice. In your book, you also discuss natural sanctioned sex in a negation of the negation sequence in Chinatown. Is one more dominant? If using more than one negation of the negation, how should they be linked? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1067 http://files.storylogue.com/videos/attachment/640x360/961_QA759.flv http://files.storylogue.com/videos/attachment/640x360/961_QA759.jpg Wouldn’t giving comedy characters unconscious desires make them too complex and kill some of the funny dialogue that can come from such characters speaking their minds without searching their thoughts? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1068 http://files.storylogue.com/videos/attachment/640x360/962_QA760.flv http://files.storylogue.com/videos/attachment/640x360/962_QA760.jpg I am mainly concerned with the novel. On-the-nose dialog (or action) bores the audience. Subtext can lose them if too subtle. Do you have any guidance on the proper balance between them? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1069 http://files.storylogue.com/videos/attachment/640x360/963_QA761.flv http://files.storylogue.com/videos/attachment/640x360/963_QA761.jpg Can you name a film in which the author understands what the character wants but the character does not, and in which the author leads the audience through everything? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1070 http://files.storylogue.com/videos/attachment/640x360/964_QA762.flv http://files.storylogue.com/videos/attachment/640x360/964_QA762.jpg I am having trouble keeping the concepts of unconscious desire, conscious desire, and need separated. How can I do so? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1071 http://files.storylogue.com/videos/attachment/640x360/965_QA763.flv http://files.storylogue.com/videos/attachment/640x360/965_QA763.jpg When deciding on the value charge in a scene for a protagonist who changes sides in a war drama, whose point of view do you use? The protagonist? The audience? The writer? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=1074 http://files.storylogue.com/videos/attachment/640x360/966_sl_int_falk_and_stern_08.flv http://files.storylogue.com/videos/attachment/640x360/966_sl_int_falk_and_stern_08.jpg Documentary Editor Penelope Falk and Director Ricki Stern, Part 8, Conclusion In this last segment of this informative interview, the second camera (the one pointed at Mr. McKee) seems to have stopped recording. We felt the content was very important, however, so are airing this segment with only one camera and audio track. The videographers involved have been turned into newts. 0.9 http://www.storylogue.com/docs/lessons.html?documentId=1077 http://files.storylogue.com/videos/attachment/640x360/967_sl_lsn_saxon_budgets_01.flv http://files.storylogue.com/videos/attachment/640x360/967_sl_lsn_saxon_budgets_01.jpg Celebrity Series Lesson: Oscar Award-Winning Producer Ed Saxon on Budgets in Hollywood, Part 1 0.9 http://www.storylogue.com/docs/lessons.html?documentId=1078 http://files.storylogue.com/videos/attachment/640x360/968_sl_lsn_saxon_budgets_02.flv http://files.storylogue.com/videos/attachment/640x360/968_sl_lsn_saxon_budgets_02.jpg Celebrity Series Lesson: Oscar Award-Winning Producer Ed Saxon on Budgets in Hollywood, Part 2 0.9 http://www.storylogue.com/docs/lessons.html?documentId=1079 http://files.storylogue.com/videos/attachment/640x360/969_sl_lsn_saxon_budgets_03.flv http://files.storylogue.com/videos/attachment/640x360/969_sl_lsn_saxon_budgets_03.jpg Celebrity Series Lesson: Oscar Award-Winning Producer Ed Saxon on Budgets in Hollywood, Part 3 0.9 http://www.storylogue.com/docs/lessons.html?documentId=1080 http://files.storylogue.com/videos/attachment/640x360/970_sl_lsn_saxon_budgets_04.flv http://files.storylogue.com/videos/attachment/640x360/970_sl_lsn_saxon_budgets_04.jpg Celebrity Series Lesson: Oscar Award-Winning Producer Ed Saxon on Budgets in Hollywood, Part 4 0.9 http://www.storylogue.com/docs/lessons.html?documentId=1081 http://files.storylogue.com/videos/attachment/640x360/971_sl_lsn_saxon_05_reading-literacy.flv http://files.storylogue.com/videos/attachment/640x360/971_sl_lsn_saxon_05_reading-literacy.jpg Celebrity Series Lesson: Oscar Award-Winning Producer Ed Saxon on Reading & Literacy 0.9 http://www.storylogue.com/docs/lessons.html?documentId=1082 http://files.storylogue.com/videos/attachment/640x360/972_sl_lsn_saxon_06_global.flv http://files.storylogue.com/videos/attachment/640x360/972_sl_lsn_saxon_06_global.jpg Celebrity Series Lesson: Oscar Award-Winning Producer Ed Saxon on The Global Nature of Film 0.9 http://www.storylogue.com/docs/lessons.html?documentId=1083 http://files.storylogue.com/videos/attachment/640x360/973_sl_lsn_cast_maps_16_corrections_09.flv http://files.storylogue.com/videos/attachment/640x360/973_sl_lsn_cast_maps_16_corrections_09.jpg Cast Maps with Robert McKee, Part 16: The Corrections 9, Enid’s Traits & Characteristics 0.9 http://www.storylogue.com/docs/interviews.html?documentId=1084 http://files.storylogue.com/videos/attachment/640x360/974_sl_int_muriel_imelda_06.flv http://files.storylogue.com/videos/attachment/640x360/974_sl_int_muriel_imelda_06.jpg Playwright Imelda Murphy and Journalist/Writer Muriel Bolger, Part 6 0.9 http://www.storylogue.com/docs/interviews.html?documentId=1085 http://files.storylogue.com/videos/attachment/640x360/975_sl_int_zak_penn_06.flv http://files.storylogue.com/videos/attachment/640x360/975_sl_int_zak_penn_06.jpg Action Film Screenwriter/Producer/Director Zak Penn, Part 6 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=1086 http://files.storylogue.com/videos/attachment/640x360/976_sl_qa_764.flv http://files.storylogue.com/videos/attachment/640x360/976_sl_qa_764.jpg Since a pilot deals with an over-arcing controlling idea, what should you include in a 30-minute pilot that is not necessarily a traditional sitcom? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1087 http://files.storylogue.com/videos/attachment/640x360/977_sl_qa_765.flv http://files.storylogue.com/videos/attachment/640x360/977_sl_qa_765.jpg Using Chinatown as a model for act structure, the inciting incident could be when the fake Mrs. Mulwray comes, or when the real one comes? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1088 http://files.storylogue.com/videos/attachment/640x360/978_sl_qa_766.flv http://files.storylogue.com/videos/attachment/640x360/978_sl_qa_766.jpg I work in advertising, so I could write a character that works in an advertising agency well. However, if I needed to write about a neurosurgeon, I have no idea about that. How could I research that world to stay true to it? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1089 http://files.storylogue.com/videos/attachment/640x360/979_sl_qa_767.flv http://files.storylogue.com/videos/attachment/640x360/979_sl_qa_767.jpg How do the principles you teach apply to episode design vs. season design in a TV series? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1090 http://files.storylogue.com/videos/attachment/640x360/980_sl_qa_768.flv http://files.storylogue.com/videos/attachment/640x360/980_sl_qa_768.jpg What is the difference between a trick ending and holding the greatest secrets until the end of a story? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=1091 http://files.storylogue.com/videos/attachment/640x360/981_sl_lsn_cast_maps_17_corrections_10.flv http://files.storylogue.com/videos/attachment/640x360/981_sl_lsn_cast_maps_17_corrections_10.jpg Cast Maps with Robert McKee, Part 17: The Corrections 10, Enid’s Cast Map   In this installment of "Cast Maps", we are providing an Adobe Acrobat PDF file of the actual cast map that Mr. McKee designed for "Enid's Universe" from "The Corrections" that he discusses in this lesson. To download the PDF file, click this link or copy and paste it into your browser: <a href="http://mckeestory.com/wp-content/uploads/2012/08/the_corrections_enids_universe.pdf" target="_blank">http://mckeestory.com/wp-content/uploads/2012/08/the_corrections_enids_universe.pdf</a> 0.9 http://www.storylogue.com/docs/interviews.html?documentId=1092 http://files.storylogue.com/videos/attachment/640x360/982_sl_int_jonathan_fields_03.flv http://files.storylogue.com/videos/attachment/640x360/982_sl_int_jonathan_fields_03.jpg Entrepreneur, Marketing Expert and Social Media Blogger Jonathan Fields, Part 3 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=1093 http://files.storylogue.com/videos/attachment/640x360/983_sl_qa_769.flv http://files.storylogue.com/videos/attachment/640x360/983_sl_qa_769.jpg What changes do you think are on the horizon for changing what the “glue” is that holds a cast and a show together for television? 0.5 http://www.storylogue.com/docs/lessons.html?documentId=1526 http://files.storylogue.com/videos/attachment/640x360/1406_sl_lsn_thriller_day06.flv http://files.storylogue.com/videos/attachment/640x360/1406_sl_lsn_thriller_day06.jpg Robert McKee's Genre Seminars: Thriller Day, Part 6 This is the sixth in a series of segments from Mr. McKee's popular Genre Seminar Thriller Day. The Genre Seminars devote one day each to three specific genres: Comedy, Love Story, and Thriller, and are only offered occasionally in select cities. 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=1094 http://files.storylogue.com/videos/attachment/640x360/984_sl_qa_770.flv http://files.storylogue.com/videos/attachment/640x360/984_sl_qa_770.jpg What is the difference between an inciting incident and a first act climax, if any? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1095 http://files.storylogue.com/videos/attachment/640x360/985_sl_qa_771.flv http://files.storylogue.com/videos/attachment/640x360/985_sl_qa_771.jpg What would be the controlling idea in a TV series such as “The Sopranos” or “Dexter”? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1096 http://files.storylogue.com/videos/attachment/640x360/986_sl_qa_772.flv http://files.storylogue.com/videos/attachment/640x360/986_sl_qa_772.jpg Would you recommend studying some psychology to help develop well-rounded characters? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1097 http://files.storylogue.com/videos/attachment/640x360/987_sl_qa_773.flv http://files.storylogue.com/videos/attachment/640x360/987_sl_qa_773.jpg Is there a relationship between the law of diminishing returns and progressive complications? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1098 http://files.storylogue.com/videos/attachment/640x360/988_sl_qa_774.flv http://files.storylogue.com/videos/attachment/640x360/988_sl_qa_774.jpg Was Tony talking to the psychiatrist in the first episode of “The Sopranos” head-on exposition and not a very good example of writing subtle exposition? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1100 http://files.storylogue.com/videos/attachment/640x360/989_sl_qa_775.flv http://files.storylogue.com/videos/attachment/640x360/989_sl_qa_775.jpg You mentioned on the first day of your seminar that you must believe in the characters you are writing about, then I heard that you had written a pilot for a bible story. Later, you mentioned that you are an atheist. Don’t these three things conflict? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1101 http://files.storylogue.com/videos/attachment/640x360/990_sl_qa_776.flv http://files.storylogue.com/videos/attachment/640x360/990_sl_qa_776.jpg How much should a writer know their ending while they are writing? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1102 http://files.storylogue.com/videos/attachment/640x360/991_sl_qa_777.flv http://files.storylogue.com/videos/attachment/640x360/991_sl_qa_777.jpg You also said that a career as a professional writer and maintaining a relationship is challenging. Can you give me some techniques to help balance that? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1103 http://files.storylogue.com/videos/attachment/640x360/992_sl_qa_778.flv http://files.storylogue.com/videos/attachment/640x360/992_sl_qa_778.jpg Can all the principles discussed in your Story Seminar be applied to documentaries? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=1104 http://files.storylogue.com/videos/attachment/640x360/993_sl_int_muriel_imelda_07.flv http://files.storylogue.com/videos/attachment/640x360/993_sl_int_muriel_imelda_07.jpg Playwright Imelda Murphy and Journalist/Writer Muriel Bolger, Part 7 0.9 http://www.storylogue.com/docs/interviews.html?documentId=1105 http://files.storylogue.com/videos/attachment/640x360/994_sl_int_ed_saxon_10.flv http://files.storylogue.com/videos/attachment/640x360/994_sl_int_ed_saxon_10.jpg Ed Saxon, Oscar Award-Winning Producer, Part 10 0.9 http://www.storylogue.com/docs/lessons.html?documentId=1106 http://files.storylogue.com/videos/attachment/640x360/995_sl_lsn_cast_maps_18_corrections_11.flv http://files.storylogue.com/videos/attachment/640x360/995_sl_lsn_cast_maps_18_corrections_11.jpg Cast Maps with Robert McKee, Part 18: The Corrections 11, Alfred’s Traits, Dimensions & Cast Map   In this installment of "Cast Maps", we are providing an Adobe Acrobat PDF file of the actual cast map that Mr. McKee designed for "Alfred's Universe" from "The Corrections" that he discusses in this lesson. To download the PDF file, click this link or copy and paste it into your browser: <a href="http://mckeestory.com/wp-content/uploads/2012/08/alfreds_cast_map.pdf" target="_blank">http://mckeestory.com/wp-content/uploads/2012/08/alfreds_cast_map.pdf</a>   0.9 http://www.storylogue.com/docs/question-answer.html?documentId=1107 http://files.storylogue.com/videos/attachment/640x360/996_sl_qa_779.flv http://files.storylogue.com/videos/attachment/640x360/996_sl_qa_779.jpg “Live” From Russia: I write and draw for comic books, and want to write scripts for animation. What kind of professional would I need to represent me and to help sell these scripts to big studios in the US? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1108 http://files.storylogue.com/videos/attachment/640x360/997_sl_qa_780.flv http://files.storylogue.com/videos/attachment/640x360/997_sl_qa_780.jpg “Live” From Russia: Can the structure and principles discussed in your lectures be applied to musicals? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1109 http://files.storylogue.com/videos/attachment/640x360/998_sl_qa_781.flv http://files.storylogue.com/videos/attachment/640x360/998_sl_qa_781.jpg “Live” From Russia: I know you have said that writing autobiographical stories can be dangerous. To clarify, what if the person’s life is really unusual? Does that make it better? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1110 http://files.storylogue.com/videos/attachment/640x360/999_sl_qa_782.flv http://files.storylogue.com/videos/attachment/640x360/999_sl_qa_782.jpg “Live” From Russia: You have said that for the big screen it is better to show something than to say it. What about in a detective story when you have to explain something that happened in the beginning? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1111 http://files.storylogue.com/videos/attachment/640x360/1000_sl_qa_783.flv http://files.storylogue.com/videos/attachment/640x360/1000_sl_qa_783.jpg “Live” from Russia: When I write an inciting incident for a love story, it always seems a little arbitrary and a little dull. It’s just two people meeting. How can I improve on this? 0.5 http://www.storylogue.com/docs/interviews.html?documentId=1112 http://files.storylogue.com/videos/attachment/640x360/1001_sl_int_zak_penn_07.flv http://files.storylogue.com/videos/attachment/640x360/1001_sl_int_zak_penn_07.jpg Action Film Screenwriter/Producer/Director Zak Penn, Part 7 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=1113 http://files.storylogue.com/videos/attachment/640x360/1002_sl_qa_784.flv http://files.storylogue.com/videos/attachment/640x360/1002_sl_qa_784.jpg Wouldn't you say that "Brokeback Mountain" was the best love story of the past 10 years? Why don't you use it as your example of a great love story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1114 http://files.storylogue.com/videos/attachment/640x360/1003_sl_qa_785.flv http://files.storylogue.com/videos/attachment/640x360/1003_sl_qa_785.jpg There is tons of subtext in “In Treatment”. At the end of each character’s arc, the doctor explains each character’s subtext. So what is the subtext in those scenes where the doctor reveals the prior subtext? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1115 http://files.storylogue.com/videos/attachment/640x360/1004_sl_qa_786.flv http://files.storylogue.com/videos/attachment/640x360/1004_sl_qa_786.jpg It is much harder to be a screenwriter today because so many stories have been written over the years. How do you keep from writing things that have already been written? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1116 http://files.storylogue.com/videos/attachment/640x360/1005_sl_qa_787.flv http://files.storylogue.com/videos/attachment/640x360/1005_sl_qa_787.jpg Screenwriting is a craft that must be studied hard for a long time, yet there have been many examples of writers with no formal education being very successful, like Dennis Hopper or Quentin Tarantino. How do you explain this? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1117 http://files.storylogue.com/videos/attachment/640x360/1006_sl_qa_788.flv http://files.storylogue.com/videos/attachment/640x360/1006_sl_qa_788.jpg How do I determine the controlling idea in a complex story that crosses over many different genres? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1118 http://files.storylogue.com/videos/attachment/640x360/1007_sl_qa_789.flv http://files.storylogue.com/videos/attachment/640x360/1007_sl_qa_789.jpg Many Russian writers want to make a movie that would be interesting not only for Russians but internationally, but there are significant differences in the mentality of Russians and Americans, for example, making it hard for them to understand our movies. 0.5 http://www.storylogue.com/docs/interviews.html?documentId=1119 http://files.storylogue.com/videos/attachment/640x360/1008_sl_int_jonathan_fields_04.flv http://files.storylogue.com/videos/attachment/640x360/1008_sl_int_jonathan_fields_04.jpg Entrepreneur, Marketing Expert and Social Media Blogger Jonathan Fields, Part 4 0.9 http://www.storylogue.com/docs/lessons.html?documentId=1120 http://files.storylogue.com/videos/attachment/640x360/1009_sl_lsn_cast_maps_19_corrections_12.flv http://files.storylogue.com/videos/attachment/640x360/1009_sl_lsn_cast_maps_19_corrections_12.jpg Cast Maps with Robert McKee, Part 19: The Corrections 12, Gary’s Traits, Dimensions & Cast Map In this installment of "Cast Maps", we are providing an Adobe Acrobat PDF file of the actual cast map that Mr. McKee designed for "Gary's Universe" from "The Corrections" that he discusses in this lesson. To download the PDF file, click this link or copy and paste it into your browser: <a href="http://mckeestory.com/wp-content/uploads/2012/09/Garys_cast_map.pdf" target="_blank">http://mckeestory.com/wp-content/uploads/2012/09/Garys_cast_map.pdf</a> 0.9 http://www.storylogue.com/docs/question-answer.html?documentId=1121 http://files.storylogue.com/videos/attachment/640x360/1010_QA790.flv http://files.storylogue.com/videos/attachment/640x360/1010_QA790.jpg Your book “STORY” is an analysis of how to write a classical screenplay. Have you considered writing an analysis of alternative ways of storytelling? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1122 http://files.storylogue.com/videos/attachment/640x360/1011_QA791.flv http://files.storylogue.com/videos/attachment/640x360/1011_QA791.jpg How do I make myself more familiar with the principle of “the negation of the negation”? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1123 http://files.storylogue.com/videos/attachment/640x360/1012_QA792.flv http://files.storylogue.com/videos/attachment/640x360/1012_QA792.jpg How do you get out of a sense of inertia and find the right subject for your script, when you allocate time every day to write but feel scattered and unable to move forward with purpose on a chosen subject? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1124 http://files.storylogue.com/videos/attachment/640x360/1013_QA793.flv http://files.storylogue.com/videos/attachment/640x360/1013_QA793.jpg What is the more important part of story for a modern film consumer - an emotional or a narrative moment? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1125 http://files.storylogue.com/videos/attachment/640x360/1014_QA794.flv http://files.storylogue.com/videos/attachment/640x360/1014_QA794.jpg How can we get people to stop going to sequels and remakes? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1126 http://files.storylogue.com/videos/attachment/640x360/1015_QA795.flv http://files.storylogue.com/videos/attachment/640x360/1015_QA795.jpg How can we use character as the basis for structure? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1127 http://files.storylogue.com/videos/attachment/640x360/1016_QA796.flv http://files.storylogue.com/videos/attachment/640x360/1016_QA796.jpg Can you have more than one antagonist in your story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1128 http://files.storylogue.com/videos/attachment/640x360/1017_QA797.flv http://files.storylogue.com/videos/attachment/640x360/1017_QA797.jpg What suggestions do you have for creating great stories from my own real life while protecting my loved ones, and protecting the story from me identifying with it too much? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1129 http://files.storylogue.com/videos/attachment/640x360/1018_QA798.flv http://files.storylogue.com/videos/attachment/640x360/1018_QA798.jpg Is it dangerous to insert yourself into your own story? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1130 http://files.storylogue.com/videos/attachment/640x360/1019_QA799.flv http://files.storylogue.com/videos/attachment/640x360/1019_QA799.jpg How do you engage the emotions of an audience? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1131 http://files.storylogue.com/videos/attachment/640x360/1020_QA800.flv http://files.storylogue.com/videos/attachment/640x360/1020_QA800.jpg Besides structure, where are most screenwriters failing today? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1132 http://files.storylogue.com/videos/attachment/640x360/1021_QA801.flv http://files.storylogue.com/videos/attachment/640x360/1021_QA801.jpg Do you fully compose your story before typing? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1133 http://files.storylogue.com/videos/attachment/640x360/1022_QA802.flv http://files.storylogue.com/videos/attachment/640x360/1022_QA802.jpg Does a movie story have to be linear? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1134 http://files.storylogue.com/videos/attachment/640x360/1023_QA803.flv http://files.storylogue.com/videos/attachment/640x360/1023_QA803.jpg What are the biggest surprises for you? What areas of wonderment? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1135 http://files.storylogue.com/videos/attachment/640x360/1024_QA804.flv http://files.storylogue.com/videos/attachment/640x360/1024_QA804.jpg I want to write a script on the history of my family from 1920 to the present. How can I get all that information into a 100 page script? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1136 http://files.storylogue.com/videos/attachment/640x360/1025_QA805.flv http://files.storylogue.com/videos/attachment/640x360/1025_QA805.jpg How important do you believe empathy with the main character is, and what is the most crucial factor in creating that empathy? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1137 http://files.storylogue.com/videos/attachment/640x360/1026_QA806.flv http://files.storylogue.com/videos/attachment/640x360/1026_QA806.jpg I keep writing, but I don’t see my work making it to the screen. I am worried that I am getting older, and may never see it happen. Do you think I ever will? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1138 http://files.storylogue.com/videos/attachment/640x360/1027_QA807.flv http://files.storylogue.com/videos/attachment/640x360/1027_QA807.jpg What is your suggestion for a multi-plot script with five stories entangled? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1139 http://files.storylogue.com/videos/attachment/640x360/1028_QA808.flv http://files.storylogue.com/videos/attachment/640x360/1028_QA808.jpg How long and in how much detail should a synopsis be? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1140 http://files.storylogue.com/videos/attachment/640x360/1029_QA809.flv http://files.storylogue.com/videos/attachment/640x360/1029_QA809.jpg In writing an action adventure, is it better to start off with a bang, like “Raiders Of the Lost Ark”, or to build up to it with backstory, more like “Salt”? Which works better, and why? 0.5 http://www.storylogue.com/docs/question-answer.html?documentId=1141 http://files.storylogue.com/videos/attachment/640x360/1030_QA810.flv http://files.storylogue.com/videos/attachment/640x360/1030_QA810.jpg Is the three act structure really necessary? 0.5