Lecture 12:
Writing Strategies /
More on Exposition
The Invisible Man (1933)
Screenplay by R. C. Sherriff, based on the novel by H.G. Wells
Professor Christopher Bradley
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Previous Lesson
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Dramatic Irony
•
Scene Analysis
–
Define the Conflict
–
Note Opening Value
–
Break into Beats
–
–
Compare Closing &
Opening Values
Tootsie (1982)
Screenplay by Murray Schisgal and Larry Gelbart
Based on a story by Don McGuire and Larry Gelbart
Locate the Turning
Point
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This Lesson
•
Exposition
–
The Facts
–
Furthering the
Conflict
–
Action and
Revelation
–
Flashbacks and
Dreams
–
Montages
–
Voiceover Narration
Ordinary People (1982)
Screenplay by Alvin Sargent
based on the novel by Judith Guest
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This Lesson (Continued)
•
A Writer’s Method
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PLAN!
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Write From the
Inside Out
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Story to Step Outline
to Treatment
Casablanca (1942)
Screenplay by
•
Assignments
Julius J. Epstein and Phillip G. Epstein and Howard Koch
Based on the play Everyone Comes to Rick’s
by Murray Bennett and Joan Alison
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Exposition
Ordinary People (1982)
Screenplay by Alvin Sargent
Based on the novel by Judith Guest
Lesson 12: Part I
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Exposition (2)
•
The Facts
•
Furthering the
Conflict
•
Action and
Revelation
Ordinary People (1982)
Screenplay by Alvin Sargent
Based on the novel by Judith Guest
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Exposition (3)
•
Flashbacks and
Dreams
•
Montages
•
Voiceover Narration
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Casablanca Clip
• Pause the
lecture and
watch the clip
from
Casablanca.
Casablanca (1942)
Screenplay by
Julius J. Epstein and Phillip G. Epstein and Howard Koch
Based on the play Everyone Comes to Rick’s
by Murray Bennett and Joan Alison
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Casablanca Clip (2)
•
This scene turns on Action
–
Conflict:
•
“I want to explain myself.”
•
“I want to punish you.”
–
We learn:
•
That Rick was left at the train station
•
That Ilsa had an important relationship before
even knowing Rick
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Ordinary People Clip
• Pause the lecture and watch the clip
from Ordinary People.
Ordinary People (1982)
Screenplay by Alvin Sargent
based on the novel by Judith Guest
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Ordinary People Clip (2)
•
There are three scenes. Notice:
–
How the conflict is furthered
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How, through the conflict what facts we
learn in each scene
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Whether the scenes turn on Action or
Revelation
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Ordinary People Clip (3)
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The first scene turns on Action.
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Flashback: Calvin loses his footing
because of the jumble of conflicting
thoughts assaulting him.
–
Furthering the Conflict: It’s clear he won’t
be able to continue this way. The conflict
is damaging him, his marriage and his
son.
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Ordinary People Clip (4)
•
The second scene turns on Revelation:
“I’m here to talk about myself.”
–
Conflict:
•
“I don’t believe in psychiatry.”
•
“I refuse to look at this problem honestly.”
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We learn:
•
That Beth always favored Buck
•
That she won’t forgive Conrad
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That Beth is not affectionate to Calvin
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Ordinary People Clip (5)
•
The third scene turns on both Action and
Revelation
–
Conflict:
•
“I want you to look at what your behavior means.”
•
“I don’t want to look at what my behavior means.”
–
We learn:
•
That Calvin’s doubts are not new
•
How Beth deals with conflict
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A Writer’s Method
Diabolique (1955)
Screenplay by Jerome Geronimi and
H.G. Clouzot and Frederic Grendel and Rene Masson
Based on the novel Celle Qui N'était Plus by Boileau and Narcejac
Lesson 12: Part II
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Writing from Inside Out
•
As opposed to writing from the outside in:
In short, don’t do it!
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Research, journaling in character,
clarifying your story, being clear about
goals, themes and subplots, all of these
will make your writing faster and a more
joyous experience.
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Story  Step Outline 
Treatment
•
First, know your story!
–
Logline: Be able to tell it in three or four
sentences
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What are the goals of your main characters?
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What are the stakes if these goals aren’t
reached?
–
What is the climax of each act? Of the entire
story?
–
Work backward from your climax to discover
your theme
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Assignments
Diabolique (1955)
Screenplay by Jerome Geronimi and
H.G. Clouzot and Frederic Grendel and Rene Masson
Based on the novel Celle Qui N'était Plus by Boileau and Narcejac
Lesson 12: Part III
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Reading
• Review Chapter 15 in Story, “Exposition”
• Read Chapter 19 in Story, “A Writer’s
Method”
• Read pages 84-86 in The Screenwriter’s
Bible, “Summoning Your Muse”
• Do the Reading Review to be sure you’re
clear on what you’ve read!
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E-Board Post
• Post at least one example of exposition in
a film. Say whether you think the
exposition was well-done or poorly-done.
• Remember, well-done exposition
forwards the conflict first, and gives new
information second.
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End of Lecture 12
Boys Don’t Cry (1999)
Screenplay by Kimberly Peirce & Andy Bienen
Next Lecture: Transitions
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