Steven Pressfield Blog
Keep the Heavies in Motion
This is the second of Stephen Cannell’s axioms (see last week’s post for #1) that Randy Wallace taught me. What Steve meant was not just “Keep the villain active during Act Two,” but “Keep him coming at the hero from as many directions as possible.” This works even for interior villains, for antagonists that reside only inside our characters’ heads. Consider one of my all-time faves, David O. Russell’s Silver Linings Playbook. The villain exists only inside Pat Solitano’s (Bradley Cooper) head. It’s his obsession with getting back together with his estranged wife Nikki. The inciting incident of the movie…
The Second Act Belongs to the Villain, #2
I learned this from my friend Randall Wallace (“Braveheart”), who learned it from Stephen Cannell, the maestro of a thousand plotlines from The Rockford Files to Baretta to 21 Jump Street. What Steve Cannell meant was not that the second act should be packed with scenes of the villain twirling his mustache or plotting in his lair. He meant bring the villain’s effects on the heroes into the foreground and keep them there. Why? Because the havoc and jeopardy incited by the villain energizes the story and keeps it powering forward. The villain in The Godfather (at least the…
The Road Not Taken
Exit the main streets of Washington, D.C., and you’ll find yourself driving through narrow chutes lined with parked cars, wishing your ride was a Mini Cooper. The same situation plays out in cities around the world, where buildings were constructed, and inner-city neighborhoods established, long before the rise of the automobile. A few weeks back, my mother visited Washington, D.C. She found herself near Eastern Market, behind a delivery truck on one of those narrow, one-way roads. Just before the intersection, the truck pulled tight to the right and stopped for a delivery. This left Mom with three options: 1)…
The Villain Believes in "Reality"
It seems like a long time ago—pre-Trump, pre-Obama—but I remember vividly when Vice President Dick Cheney declared in the wake of 9/11 that to counter the threat of terrorism the U.S. was now going to have to start “working the dark side.” Cheney articulated this thought with barely-suppressed glee. I remember thinking at the time, “Wow, this guy is the ultimate movie villain,” not just because he was expressing a classic Dr. No/Dr. Evil/Dr. Strangelove sentiment but because his point of view contains more than a modicum of truth. I’ve always wished that Dick Cheney would write a book….
The Villain Embodies the Counter-theme
If our hero’s object is to save the world, our villain’s object is to destroy it. Whatever the protagonist wants, the antagonist wants the opposite. But it’s a little more complicated than that. Every story must have a theme. It must be about something. The theme, as Blake Snyder so helpfully declares in Save the Cat!, is the case that the story is making to the reader. Better to sacrifice oneself (or one’s personal happiness) for the greater good than to live a life of prosperous selfishness. Or We are defined by our past and cannot…
My Secret
(I read “this is stupid,” a post by Wil Wheaton, this week. I felt his pain. It reminded me of where I was last year when I wrote the article below. If you’re out there reading this, and think that the rest of us have “it” together, that we’re enjoying every bit of our work, that it all comes with ease, you’re wrong. It’s hard. It’s tiring. Often, all I want to do is head to the beach. But . . . Not even Kahuna stayed on the beach year round. He headed to work like the rest of us, and I’m pretty…
The Villain is Not Always a Person
Or even a creature. Sometimes the villain is entirely inside the characters’ (almost always the protagonist’s) head. The villain can be a fear, an obsession, a desire, a dream, a conception of reality, an idea of what “the truth” really is. The villain in Blade Runner 1978 would seem at first glance to be the replicants, Roy Batty (Rutger Hauer) and his team of Leon (Brion James) and Pris (Daryl Hannah), who have escaped off-world and come to Earth sowing destruction. But the real villain is an idea—the conception of creating faux-human slave labor. The replicants are actually the…
The Villain Drives the Story
I sometimes get asked, “Why does Resistance exist?” It’s a good question. Why did Creation include this monster? For what purpose? Just to screw us all up and make life difficult? (When I say “Resistance,” I mean in story terms “the Villain.”) Isn’t Resistance entirely negative? What possible evolutionary purpose could it serve? Here’s my answer. It might not be anybody else’s answer, but it’s mine. Resistance gives meaning to life. Or to put it in narrative terms: The villain gives meaning to the story. Think about it. If there were no villain, there’d be…
Spend Your Time
I. The patient took the pain medicine as prescribed and didn’t understand why the doctor was upset. Patient’s point of view: He was in pain and followed the instructions on the bottle. Doctor’s point of view: The pain medicine was prescribed by the patient’s veterinarian, for the patient’s dog. II. The drug rep walked into the doctor’s office dressed as the Grim Reaper and didn’t understand why the doctor asked him to leave. Drug rep’s point of view: It was Halloween, he was having fun. Doctor’s point of view: He had patients with life-threatening diseases/illnesses. The last thing they needed…
"Keep Working"
[I’m gonna interrupt this series on Villains for a quick “Bulletin from the Trenches.”] When I first came out to Hollywood from New York and I was scuffling around desperately for employment, I wound up doing a couple of small writing jobs for the director Ernie Pintoff. Ernie was a seasoned pro (he had actually won an Oscar for a short subject, titled The Critic). My frantic state was very clear to Ernie and, one day after we had finished work, he drew up and gave me a look that told me he was about to impart some serious…
DO THE WORK
Steve shows you the predictable Resistance points that every writer hits in a work-in-progress and then shows you how to deal with each one of these sticking points. This book shows you how to keep going with your work.
NOBODY WANTS TO READ YOUR SH*T
Steve shares his "lessons learned" from the trenches of the five different writing careers— advertising, screenwriting, fiction, nonfiction, and self-help. This is tradecraft. An MFA in Writing in 197 pages.
THE WAR OF ART
Read this one first.
It identifies the enemy—what I call Resistance with a capital “R,” i.e. fear, self-doubt, procrastination, perfectionism, all the forms of self-sabotage—that stop us from doing our work and realizing our dreams.
Start here.
Everything else proceeds from this.
TURNING PRO
Amateurs have amateur habits. Pros have pro habits. When we turn pro, we give up the comfortable life but we find our power. Steve answers the question, "How do we overcome Resistance?"
THE AUTHENTIC SWING
A short book about the writing of a first novel: for Steve, The Legend of Bagger Vance. Having failed with three earlier attempts at novels, here's how Steve finally succeeded.
DO THE WORK
Steve shows you the predictable Resistance points that every writer hits in a work-in-progress and then shows you how to deal with each one of these sticking points. This book shows you how to keep going with your work.