I start this post with an apology. In it I’m gonna cite something from my own work. I hate it when writers do that. “Use Tolstoy, man, or Shakespeare! We want something good.” But I gotta do it because in this instance I don’t have to speculate as to what the writer was thinking: I actually know. The theme of today’s post is a continuation of the previous two: Killer Scenes and how to build them out into the global narrative that they imply. In this case, I’m going to address not a scene, but just two sentences. The question…

Have you ever come up with a killer scene—and nothing else? You find yourself with two or three minutes of incredible action, conflict, dialogue, but you have no idea where it goes or what the rest of book or movie might be. Arrrrgggh. Whaddaya do in a case like that? I’m a believer that scenes are like holograms. Every one, no matter how brief or modest, contains the molecular blueprint of the wider project. It’s like a single cell, from which we can clone the entire Tyrannosaurus Rex. Let’s examine one. I’m thinking of the Mad Dog scene from To…

There’s a terrific book that I often recommend to young writers—The First Five Pages by Noah Lukeman. Mr. Lukeman is a long-time agent, editor, and publisher. The thrust of his counsel is this: Most agents and editors make up their minds about submissions within the first five pages. If they spot a single amateur mistake (excess adjectives, “your” instead of “you’re,” “it’s” instead of “its”), your manuscript goes straight into the trash. Grind on those first five pages, says Mr. Lukeman. Make certain they are flawless. I agree completely of course. But I would go further. The make-or-break page, to…

Paul Schrader is the much-honored director and screenwriter (Taxi Driver, Raging Bull, many others) and, for me, a major role model for many years. Here’s what he said in an interview once on the subject of pitching a film idea: Have a strong early scene, preferably the opening, a clear but simple spine to the story, one or two killer scenes, and a clear sense of the evolution of the main character or central relationship. And an ending. Any more gets in the way. I’ve stolen this system lock, stock, and barrel. It’s exactly how I pitch. One of the…

My first exposure to contemporary writing and art came in eighth and ninth grade. I can’t remember what books we were assigned in English class (I don’t think we read Catcher in the Rye till tenth grade) but whatever they were, they were dark. The point of view was bleak and despairing. That’s what I and my classmates came to think of as “literary.” Movies were grim too. Dance was weird. Sculpture was industrial and monolithic. Fine art’s job, it seemed, was to mock fine art, to declare that the creation of art was impossible in an era of nuclear…

Today’s post is a follow-up (and closely related) to last week’s “The Clothesline Method.” David Lean was the two-time Oscar-winning director of Lawrence of Arabia, The Bridge on the River Kwai, and Doctor Zhivago, among many others. He was a Brit. He died in 1991. I don’t know about you, but if David Lean has something to say on the subject of story or narrative, I will travel many miles to listen. What follows comes from my own yellowing newspaper files. I have no idea when or from where I clipped this. It’s part of a longer article, an interview with…

I’m just starting a new novel, trying to figure out the shape of the damn thing. Here’s a trick I use that might help you too. I call it the Clothesline Method. I think of the story as an old-fashioned clothesline, like people used to string up in their back yards to hang the laundry on. The left-hand end is the beginning of the story. The right-hand terminus is the end. The line starts out empty. Then you hang the shirts and towels and underwear (the scenes and sequences) on it. I aim for between eight and twelve. Sometimes I’ll…

Today’s post will be the last in our series featuring lessons learned from a 20-year look-back at The Legend of Bagger Vance. Today is also the final day of our Black Irish Christmas Special. I will stop blabbing about it forever! Write for a star. That had been a mantra of mine for at least ten years before Bagger. It’s a screenwriter’s axiom. But I never realized how true it was till my agent took the manuscript of Bagger “out to the town.” The rights were snatched up within days. Almost immediately Robert Redford came aboard. He wanted to direct…

There’s a story about the Oscar-winning actor Walter Matthau. A younger thespian is bemoaning his own struggle in show biz. “Mr. Matthau, I’m just looking for that one big break!” In the story Matthau laughs. “Kid,” he says. “It’s not the one big break. It’s the fifty big breaks.” Here’s what I wrote a few weeks ago, in the first post in this series about the writing of The Legend of Bagger Vance. I attempted to write my first novel when I was twenty-four. Bagger Vance [my first published book] came out when I was fifty-one. Twenty-seven years is a…

Continuing our examination of the idea that certain stories have conceptual premises. What is a conceptual premise? And how does it work in a dramatic narrative? [P.S. Don’t forget this year’s Black Irish Christmas Special, featuring the brand-new, leather-bound, signed and numbered (only 2500 available) 20th Anniversary edition of The Legend of Bagger Vance.] One fascinating aspect of premises is that they imply order. Start with any premise (say, in The Lord of the Rings, the idea that a certain ring commands the power of the universe) and when you dig to the next level, you get this: The universe…