“What real writers follow are their characters. And what great writers follow are their characters as they evolve around a central dramatic argument that is actually meaningful to other human beings.”
—Craig Mazin
This is the time of year when New Year’s resolutions are traditionally made. And if you need a little mojo before you write your first screenplay (or your next one), here’s a talk screenwriter Craig Mazin (Chernobyl) gave that may help. It was released on the Scriptnotes podcast in 2019, but just put on YouTube a few months ago. Super stuff and and another spin on screenwriting you can pour into your funnel.
Two things to pay particular attention to are his use of theme and a major dramatic argument. (Reviewing the movies Finding Nemo and Shrek will help you understand his illustrations.) Mazin also gets a little deep talking about the Hegelian dialectic but it’s an important concept to grasp.
Back 1998 screenwriter/playwright David Mamet touched on the dialectic when he wrote in his book Three Uses of the Knife that dramatic structure “is an exercise of a naturally occurring need or disposition to structure the world as thesis/antithesis/synthesis.” (So Mazin is in good company there.)
In my book, I point out what this looks like and add a helpful example:
A (thesis) + B (antithesis) = C (synthesis)
Mike Birbiglia says he used the thesis/antithesis/synthesis concept on his Netflix special The New One:
Act 1: “All of the reasons no one should ever want to have a child.”
Act 2: “How I had a child and how I was right.”
Act 3: “And then in the emotional twist how I was wrong.”
He started with a point of view (thesis), he tested the opposite view (antithesis), and came up with a third view (synthesis).
So don’t get scared away when Mazin dips into philosophy. And, lastly, there’s Mazin’s charge for you to “torture your heroes” in your screenplays.
You can download the entire transcript of Mazin’s talk at Scriptnotes.
P.S. My manic meme making continues today with Annie Wikes (Kathy Bates) from Misery (with a cameo featuring James Cann’s ankles) from the famous hobbling scene.
Related posts:
The Major or Central Dramatic Question
Screenwriter Craig Mazin on Thematic Structure—Plus 12 Conflicting Views on Theme
Oscar Winning Screenwriter Michael Arndt on ‘Beginnings: Setting a Story in Motion’ (click on view on Vimeo)
Oscar Winning Screenwriter Michael Arndt on ‘Endings: The Good, the Bad, and the Insanely Great’ (also click on view on Vimeo)
Scott W. Smith is the author of Screenwriting with Brass Knuckles