Stephen J.

Cannell
LECTURES ON SCREENWRITING

DISCIPLINE
Trust me, it's okay to write garbage. You can learn from bad writing. Don't
try to be brilliant; it's a standard that you most likely will never attain, and if
you're trying to be brilliant, the most common by-product isn't brilliance, it's
pretentiousness.

Writing is not that hard. Make up a good story, then let it flow. Leave the
brilliant work to the dead.

The only other thing I want to say about getting ready to write is that it is
very important to write at the same time every day. Two hours at the
minimum.

Writer friends of mine sometimes alibi, "I can't do that, I have a job driving
a truck. I gotta be at work at eight." Okay then, get up at four. Write from
five to seven, then go to work.

You have to make a place in your day for this activity or it will NEVER
happen. The one great thing about writing is that you will always improve!
With each script, short story or novel, you'll get slightly better. The ones you
write next year will be better than the ones you wrote this year. Keep going
and your talent will grow, but you have to be at the keyboard for that to
happen.

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Choosing Your Story

Choose a story you absolutely love. Don't write for money. Write because
you have to get this one down on paper. Don't settle for second best.

Make this one promise to yourself: Once I have worked out my story and
have started to write it, I will not stop until the project is finished. NO
QUITTING halfway through because "it's not working." This is my second
most important rule, which I call the MISSION IMPOSSIBLE RULE.

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DESIGNING THE CHARACTERS

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Who are the people in your story going to be? Why do I care about them?
Will anybody else? What is the journey my hero/heroine is on? What is his
or her major flaw? These are just a few questions to ask before laying out a
character arc. You want to have engaging characters that are not perfect.
Nobody likes a perfect person! All of my TV heroes have been flawed.

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WHO ARE THE VILLAINS?

Make sure they are fully rounded. A good antagonist will help to define the
protagonist. Heavies who twist their moustaches and know they are evil are
cliches, and belong in comic books.

Remember, Hitler thought he was performing a service to mankind when he

gassed six million Jews. In his mind, this was valuable social retribution, not
genocide. If you are going to write him as the complex monster that he was,
you must see inside that twisted logic. Show that he believed he was a hero,
despite the fact that he was one of the most infamous villains' mankind has
ever seen. Finding the motivation for the villain is extremely important.
Make him or her a believable character.

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OTHER THINGS TO THINK ABOUT...

Here are some additional tips that I believe can help you become a better
writer.

1. It is important to do thorough preparation and research. Be an "expert" in

your subject matter. This applies whether you are writing fiction or
nonfiction. For example, obviously you will have to do extensive research
on a particular time period if you are writing a historical romance. If you are
writing a current thriller from a female African-American's point of view
and you are a white male, you have to do a different kind of research in
order to get into the character's mindset and make her ring true. The point is
to really know your subject -- whatever it may be.

2. The challenge is not to write truth, but to write seductive

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BELIEVABILITY. (The art of verisimilitude.) One of the things I tried to
do in Riding The Snake was to weave the facts I found in my research about
Hong Kong Triads and illegal immigration in with my fictional tale so that
even a sophisticated reader cannot tell where research leaves off, and fiction
begins.

3. A screenwriter should look for places to integrate his/her screenplay with

toe-to-toe, eyeball-to-eyeball CONFLICT: social conflict, emotional
conflict, spiritual conflict, cultural conflict, internal conflict, relationship
conflict, psychological conflict, and/or, yes, physical conflict, too. Conflict
is crucial in maintaining the reader's interest in the story and in the
characters. You may write a story about a man in solitary confinement who
never has interaction with anyone except a prison guard and still have
conflict which could be interesting to read about. But some kind of conflict
is usually necessary.

4. Most writers don't spend nearly enough time on character, so the

characters lack depth. We don't bond with them; thus they are incapable of
taking us along on even the most exciting roller-coaster story ride. You can
have the most complex, brilliant "roller-coaster" in the world, but if the
reader/audience isn't "hooked" emotionally to your main characters, they
won't be "along for the ride."

5. In good stories, you start out with a likeable Hero(s) who have
psychological and moral flaws. He/she must be likeable enough to entertain
and intrigue us, but flawed enough to have the potential to learn and grow.
Remember, "perfect" people are not likeable!

6. Try to take us into a unique world - e.g., in my novels: a Presidential

campaign, con artists, computer hackers, Chinese Triads - we should learn
something new while we're being taken on a journey and entertained.

7. STORY COMPRESSION: Particularly in a screenplay or teleplay, it is

important to write economically. A great scene often accomplishes several
things at once, skillfully weaving together elements of plot, character,
conflict and foreshadowing. Do it in one scene instead of four. Look for
opportunities of compression without overloading. After you write your
scene or chapter, go back and ask yourself: What can I cut to make it cleaner
and clearer? Am I showing off my research to the reader - do I really need
all this detail? Does it advance the story - or is it just plain boring? Look at

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your work with an Editor's eye, and cut accordingly.

8. TONE: Tone more commonly requires CONSISTENCY from start to

finish. If you change or mix tone mid-stream, you risk jolting the
audience/reader out of the experience. Although this is another of those rules
which can sometimes be broken by advanced writers in specific situations, it
is better when starting out not to break it. For example, if you are writing a
horror short story, don't switch to a comic tone halfway through. You can, of
course, build upon the tone in the story - Stephen King is a genius at this. In
several of his stories, the atmosphere starts out perfectly normal, and
becomes more and more creepy as the tale goes on. But he doesn't switch to
a romantic-suspense tone halfway through: he simply builds on the original
tone of the piece. Remember tone and atmosphere when you are writing,
whether it is a fresh-air, wholesome action adventure or a gothic, moody
ghost story.

9. COLLECTIVE PROTAGONISTS: Sometimes a story contains more

than one Hero; King Con and Riding The Snake are both examples of this.
Here I felt the risk of fractionalization was worth it because of the
relationship dynamic that exists between Beano and Victoria in King Con,
and between Wheeler and Tanisha in Riding the Snake. Furthermore, a love
story is being integrated, thus adding another level of emotion to the story.
BE CAREFUL! Collective protagonists or collective antagonists, who are
not potential lovers, are by nature a genuine hazard to solid story structure,
and incur the risk of FRACTIONALIZATION. It is hard for the audience to
get emotionally involved with too many characters. Realize that trying to
write movies like American Graffiti, The Big Chill or Pulp Fiction is an
extremely challenging undertaking, so just beware of the risks.

10. THE TICKING CLOCK: Often, usually early in the story, a clever
writer plants a time lock, a structural device requiring some specific event to
occur, or some particular problem to be resolved, within a certain period of
time. This serves to compress the story's tension. Of course, not all stories
lend themselves to a "ticking clock," but the resourceful writer digs deep to
locate a method and a place for integrating a meaningful one into the story.
An example of a ticking clock would be the movie Armageddon, where the
team had only a short time to blow up the asteroid, or all of mankind would
be destroyed when it hit Earth. This gives an underlying tension to the entire
movie.

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11. PREDICTABLE VS. TOO PREDICTABLE: Predictability can often
lead to great suspense. The challenge is to walk the line of predictability.
Which has more sustained tension? To walk down a corridor absolutely
unaware that someone is going to jump out from behind a door, or knowing
somebody is going to do just that? On the surface it might seem that the
former is more unsettling, because the victim has no time to prepare.
However, the latter causes the audience to tighten, to tense, to flex every
muscle in terrible anticipation of what is to come. And when it arrives, the
effect is all the more shattering for its predictability. When a script is
criticized as predictable, what the critic truly means is that it is TOO
predictable.

12. COINCIDENCE: Audiences and readers expect movies and novels to

be "special," with plots that are well-written and events that are skillfully
orchestrated. (This is especially important in mystery writing. Depending on
the subgenre, mystery fans often feel cheated when they plot or mystery is
too transparent) Even a good story may be launched or resolved by a
coincidence; however, in general the writer should strive to avoid relying on
coincidence to resolve a story or to provide a solution to a puzzle. (Unless,
of course, you are writing a farce where the entire story may be based upon
coincidence after ridiculous coincidence.) Most readers or viewers resent a
dependence upon coincidence because they understand it for what it is: a
writer's laziness. (If you must use a coincidence, audiences seem more
willing to accept coincidences in action, than in dialogue).

13. SUBPLOT: Creating good subplots is sometimes a difficult skill for a

novice writer to master. Remember: just as a main plot line has a three act
structure, so does a subplot line. A good subplot has turning points, a clear
set-up, developments, and a resolution at the end. Often the turning points of
a subplot reinforce the plot line by occurring right before or right after the
turning points of the main plot. Traditionally, subplots are used to compare
the Hero's approach to a problem to another character's approach to the same
problem. For example: Who is the subplot character in Hamlet? Laertes, Son
of Polonius. Laertes has to deal with the same problem as Hamlet: "In thy
visage do I see myself reflected." If you are going to use a subplot, one key
rule is that the subplot should in some way affect the Hero's story. Don't
throw a subplot in just because you feel you need one. A subplot must relate
to the main plot or to the main characters in a way that is interesting and
sheds a new light on the main story situation or it will merely be distracting.

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14. MOMENTUM: There is nothing worse than a story that really drags,
and doesn't hold the reader's or the audience's interest. When each scene
propels you emotionally and logically to the next scene, you have story
momentum. Your scenes should be connected in a cause and effect
relationship, so that they flow logically (this also applies when you are doing
prologues and flashbacks, as well.) Make sure that each of your scenes has a
purpose and is necessary - it must either advance the action, create
anticipation or show an important event or highlight on one of the
characters, leading the audience both intellectually and emotionally to the
climax of the story. In an action thriller, for example, the crucible that the
Hero goes through becomes more and more intense, until finally there is no
avoiding the central confrontation between the Hero and Villain. By that
time the audience is eagerly anticipating the confrontation at the climax of
the story.

15. THEME: A good story can work on multiple levels; a deeper level is
theme. The theme is the central underlying idea/message/ morality/
philosophy/weighty issue, etc., that you believe in and are trying to express
and intelligently weave into the fabric of the story. Ideally, the theme should
expand as the Hero and Opponent come into conflict.

16. MOTIVE: You need an increasing motive for story and character to
expand. If you don't have an increasing motive, the main character is held
down by who he was in the beginning.

17. THE HERO'S CHARACTER DEVELOPMENT: Character profiles

can be very helpful for beginning writers. Get to know your main character
by asking some questions about him or her: A. Why do you like your main
character? B. What don't you like about your main character? C. What are
the moral flaws of your Hero? D. What does your Hero have to learn about
how he interacts with other people? E. How will your Hero be enlightened
and changed at the end of the story? F. What is your Hero wrong about in
the beginning concerning himself? G. What intermediate insights is your
Hero going to have along the way? Keeping a profile of your main
characters can help you flesh them out and make them seem real. You may
discover they have little traits and habits you weren't even aware of when
you started.

19. THE HERO'S "GHOST" OR BACKSTORY: The Hero's moral flaws

and weaknesses are usually dependent upon something haunting him/her

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from the past; often events and experiences that occurred before the actual
story begins. (In King Con, the ghost takes place in the prologue, but often
the audience won't see the actual events comprising the ghost, but may just
hear about important things in the Hero's past from other characters when
they talk about the Hero or from the internal dialogue going on in the Hero's
head). If the ghost is effective, it should reverberate throughout the story and
the Hero must struggle to overcome it.

20. THE PASSIVE PROTAGONIST: Be careful of creating a story and

Hero where too many important external events happen to the Hero and
He/She ends up merely REACTING as opposed to boldly acting. Thus, we
end up with a rather weak and passive Hero who has no plan of action.
(Hamlet is the exception that proves this rule, and it takes a writer of
William Shakespeare's stature to pull this off.)

21. In Act One, because you want your Hero(s) to have a dramatic range-of-
change, it is advantageous to have your protagonist(s) be in some kind of
trouble, whether it's psychological, moral and/or situational. Overcoming a
challenge or a problem is a classic way for a person to grow emotionally and
mentally.

22. Sometimes the world/environment which the Hero and Villain are
surrounded by when we meet them, are expressions of what they have
become. (In Riding the Snake, we meet WHEELER at the country club bar;
in Final Victim, we meet THE RAT in a dirty, dank garbage barge.) Be
aware of the surroundings of the main characters and let the surroundings
subtly tell the audience more about the character.

23. SIGNATURE LINE: A "signature" line of dialogue is one that is

repeated throughout the story and may take on greater significance as the
story/stakes expand. (e.g.: In the A-Team, Hannibal's often repeated line: "I
love it when a plan comes together." was his signature.) Signature lines are
most popular in television and movies, and if they are clever, can be a great
addition to a show. In hardboiled detective novels, we often see the
hardbitten hero wisecracking his way through a dangerous situation with a
favorite signature line. Don't overdo it, though.

24. INITIATING INCIDENT: If Act I. is DEFINING THE PROBLEM,

the incident(s) in Act I cause the Hero to form a goal and compel him to deal
with the problem. The incidents increase the Hero's DESIRE to obtain the

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goal and impel him forward. (In King Con, there are 3 incidents: Beano is
brutally beaten by Mob boss, Joe Rina; Carol Bates, Beano's cousin is killed;
and the criminal case against Joe Rina is dismissed. These are all very
powerful motivators for Beano and Victoria.)

25. THE GOAL: The goal is an essential part of drama. But not just any
goal will do. In order for a goal to function well, it should try to meet three
main requirements: First of all, something must be at stake in the story that
convinces the audience that a great deal will be lost if the main character
does not obtain the goal. Secondly, a workable goal brings the protagonist in
direct conflict with the goals of the antagonist. Thirdly, the goal should be
sufficiently difficult to achieve so that the character changes while moving
toward it.

26. If you want your Hero to increase his DESIRE, then increase the
MOTIVE. (In King Con, Beano's desire for revenge against the Rina
Brothers greatly increases after they murder Carol.)

27. INTRODUCING AN ALLY: Drama needs someone else for the Hero
to express how he feels. This character is often a "Truth-teller" who
understands the Hero's moral and psychological weaknesses and is not afraid
to point them out. This relationship can provide a very entertaining dynamic,
while also providing great insight into the primary Hero. Sidekicks fall into
this category. The sidekick has had a place in fiction since the form was
invented. Whether it is Captain Hastings to Hercule Poirot, Watson to
Sherlock Holmes, or Jim Rockford's dad to Rockford, the ally is allowed to
point out the lead character's foibles and follies, thus instigating change in
the Hero's attitude or actions. The ally can also be used to convey
information that you want the audience to know.

28. Particularly in a screenplay, it is important to put the preceding steps in

motion early because you need DENSITY OF STORYTELLING; you need
to accomplish a great deal of important FOUNDATIONAL story work in the
first 30-40 pages of your screenplay.

29. The Villain can help define the Hero. Ideally, the Hero expands in terms
of stature and quality as the Villain evolves from prospective opponent to
actual opponent.

30. THE VILLAIN'S ALLY: Although of course not present in every good

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story, the Villain's Ally is often a very interesting character. (example:
Johnny K. in Riding The Snake; the Vichy police captain in Casablanca) By
nature, the Villain's Ally is torn... He or she is secretly working for the
Villain, but comes to like and be influenced by the Hero.

31. FIRST EPIPHANY: The Hero's first major revelation usually occurs at,
or near the end of Act One. Each time the Hero learns something major (and
it must be MAJOR otherwise it's not going to be a powerful enough
revelation) it should kick your story up to a higher level of energy, desire
and motivation. In King Con, a perfect example of this is when Beano
discovers that Carol has been murdered. In Riding The Snake, the revelations
that propel Wheeler and Tanisha into Act Two occur at the Pacific Rim
Society, where they learn that the stakes of their investigation may be
international.

32. THE PLAN: The Hero needs an intelligent plan of how to beat the
opposition; then creative and resourceful improvisations to deal with the
various attacks and counter-attacks escalating toward the final climactic
confrontation. Even in a love story, someone is usually trying to win
someone else's love and a "villain" is usually standing in the way. The
concepts are the same regardless of the genre in which you write.

33. An "antagonist in motion" creates suspense and excitement. By opening

a window into the Villain's "world", we can learn about his power and vision
and moral arguments that help define his motivation. The Villain's power
and intelligence, in turn, compels the Hero to "enlarge", otherwise He will
be defeated. (Joe Rina and Willy Wo Lap are examples of powerful,
intelligent Villains. I think Willy is particularly strong because he has a
vision, came from poverty, and I tried to make him a very layered character.)

34. HERO'S FINAL EPIPHANY ABOUT VILLAIN: At this point the

Hero gets the final piece of information He needs to do battle with the
Antagonist. In a mystery, he may not even learn who his real enemy is until
the Final Revelation, and in other genres, this information may reveal the
true stature of his nemesis.

35. Hero encounters "Hell": When this occurs is flexible and can happen
more than once. It can come at the end of Act Two, and/or before, during
and/or after the final battle. (In Riding The Snake the dangerous journey into

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the Walled City, and the encounter in the drain under LAX; in King Con the
Heroes "visit to death" occurs up in the hills at The Presidio.) During this
dangerous encounter, the Hero is often moving through a constricting space,
an increasingly intense crucible. Perhaps has to navigate through a gauntlet,
a narrow gate, often with a visit to death.

36. HERO'S SELF-EPIPHANY: This should strip the Hero bare in some
emotionally powerful and revealing way... the shattering experience of
seeing himself as He really is. This self-revelation will either destroy our
Hero or make him stronger and give him new light. A radical self-revelation
may change the Hero's whole sense of who he is in one moment. A tragedy
if at the end the Hero is "destroyed" instead of made stronger by the
revelation.

Notice two common themes in good drama: The problem of personal

identity and discovery, and learning when to fight and when to be tolerant.
Apply these story suggestions while you are outlining, while you're writing
your story, and after you have completed a first draft and are trying to spot
the problems and areas of weakness.

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Don't let this excessive list of "Dos and Don'ts" make writing seem more
complicated than it is.

Remember: writing should be fun.

Trust your instincts and use this list to troubleshoot problems when they pop
up.
That's it for now.

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