I recently completed the Aaron Sorkin writing masterclass. I didn't necessarily agree with everything that he said in it, however here are my notes from the class. It was very interesting. Anyway, here we go:
- Drama needs strong, clear intentions and obstacles.
- Don't worry about writing character biographies; you will discover character through the decisions they make.
- You don't need to know what type of peanut butter your characters like; it most likely won't make it into the film.
- If it's not on screen, don't worry about it.
- RESEARCH YOUR SUBJECT MATTER!
- Your subject might be interesting, but unless it's got conflict then it's not a film.
- You can't use a gun in the third act unless you introduce it in the first act.
- Don't introduce a gun in the first act unless you plan on using it in the third act.
- You need to make sure the audience understands the stakes.
- For exposition, make sure there is a character who knows as little as the audience.
- The first 15 pages are the most important in getting your film made. Hook the reader.
- Write what you like, not what you think someone else likes.
- You need to be in a good mood in order to write. Stuff like crossing items off of a list will help because it will make you feel more like you're making progress.
- Your words on the page should convey the duration on the screen. If it had to take longer on the page, give it a headline. For example, "Crash!" and then explain exactly what happened.
- An impossible probability is preferable to a possible improbability. For example, an audience will swallow the idea of E.T. following sweets to Elliot's house, but not that someone turns the TV on just as the important thing is being said.
- Don't ignore technical procedures. Sometimes it can be interesting. If it isn't interesting, don't be afraid to change the details in order to improve it.
- When it comes to casting, give characters like 'Waiter 2' names for the sake of the actor's dignity.
- Don't stand still for too long. Your audience won't wait. At the end of a scene, you have to be one step further than before.
- To launch yourself from one scene to the next, you can answer the question you asked in the previous scene.
- Try to lay out your main theme in the opening scene. Try dropping them in the middle of a conversation. More traditionally, show a crime and by the end of the movie resolve it. In an action movie, drop the audience in a big action scene. It acts as an overture and doesn't need to be narratively connected.
- To introduce character, show the audience what the character wants, don't tell the audience who the character is.
- Write the minimum scene description as possible.
- How your dialogue sounds is as important as what it says.
- Don't worry about writing like real people speak. This comes from actors' improv, not writing,
- Perform your dialogue yourself out loud. Is it speakable?
- Never tell the audience something they already know.
- During your performance, add idiosyncrasies and hiccups.
- Get to the end of your first draft before you begin rewriting anything. When you get to the end, you'll know so much more about your film, making rewrites easier. You can simply cut what isn't really your film.
- If you can cut it, you should cut it.
- Once you get your script to a stage where you're happy with it, retype the whole thing. This will show you any issues that you were too lazy to fix before.
- Try typing up your favourite screenplay. It's an effective way to study.
- Don't write to please anyone else. They don't know your film like you do. Listen to the few voices you trust and then tune everyone else out.
- When getting feedback on a screenplay, ask questions like:-
- Did you understand what was going on?
- Did you feel anything when this happened?
- You'll probably have to write things you don't want to write for other people, just to get your foot in the door. But once your foot is in the door, don't forget why you wanted to write in the first place.
- Don't write to impress anyone. Write for yourself. Push yourself. Take risks. That's the only way you'll find out what you're good at.
- Write in your own voice. Don't worry that it isn't like anyone else's writing.
- You are never going to make everyone happy. Don't try. There are many different ways to prepare beef, like Wellington or steak. But if you prepare beef in the way that fewest people find objectionable, it would be a McDonald's cheeseburger.
- Watch a lot of movies. Read a lot of screenplays. Find people you trust. Shed those you don't. Power through depression and write, write, write.
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