Regret is something everyone experiences at one point or another. It would be impossible to go through life without experiencing any regret at all.
But sometimes, we put ourselves in positions where regret is almost guaranteed. Where we could have avoided the regret, but for whatever reason, we chose not to.
But the good news is that you don’t have to live that way. You can actively work towards removing regret from your life.
The following are a few signs, and accompanying fixes, that you may be setting yourself up for a regretful life.
HOW TO REMOVE REGRET FROM YOUR LIFE
Fix #1 - Stop Making Yourself a Victim
The Problem: You think that you’re at the mercy of the world, that you have no power over the outcome of your life. Any success you find is simply a coincidence and any failure you meet is beyond your control.
But if you’re not in control, who is?
The Fix: Realize you’re not a victim in life. You’re in the driver’s seat. You’re in control. No one has command over your life more than you do. Use that power you have, to create a life that you’re excited about. A life that you love.
You have the ability to make things happen in your life. Once you make this mindset shift, everything else becomes easier.
Fix #2 - Stop Holding Back Your Best Effort
The Problem: Your hesitant, you’re fearful, and you’re not giving 100% of your effort. Maybe you’re afraid of failing. Or maybe you’re afraid of success.
Whatever the reason, you’re just not giving it all you’ve got. And that’s a problem because giving a lackluster effort could be the difference between you living the life you dream of, and living a nightmare.
The Fix: Don’t be afraid to go all in. You have to believe that your effort won’t go unnoticed and that success and happiness are direct byproducts of you giving it all you’ve got.
You’ll never regret giving something the maximum amount of effort.
Fix #3 - Start Making Decisions for Yourself, Not for Others
The Problem: Your Father picked your career, your mother picked your spouse, and now your spouse is deciding everything else.
You’re absolutely setting yourself up for a regretful life if you let everyone around you make decisions for you. They can’t get inside your head, so they don’t know what you really want.
And even if they do know, their judgment is so clouded by their own wants and desires that your needs end up taking a back seat.
The Fix: Start making your own decisions. Make the decisions that are right for you, not the decisions that other people think are right for you. No one knows you better than you.
You may hurt some feelings, you may even lose some relationships, but neither of those are as important as you living the life you really want to live.
Fix #4 - Stop Being Full of Excuses
The Problem: You always have a reason why you couldn’t do something, either because the time wasn’t right, or you had something else to do. But here’s the problem, excuses are probably the number one reason people live with regret.
Excuses suck because they stop you doing what you want to, achieving your goals, and creating a life worth living, even though you’re fully capable.
The Fix: Stop with the excuses. Get really clear about what you want and why you want it. Then the next time an excuse tries to creep it’s way in, ask yourself, “If this excuse more important than my goals in life?” Chances are, it’s not.
Fix #5 - Start Listening to Your Heart
The Problem: You know exactly what your heart is guiding you towards, but you’re afraid to follow it. You’re afraid that people may criticize you. You’re afraid that you may fail. You’re afraid that you may be judged.
But looking at the bigger picture, what’s more important? Are you willing to ignore your heart, your passions, and your biggest dreams because of what other people might say?
The Fix: Realize that everyone is going to judge you, so you might as well let them judge while you do something you love. Listen to your heart, follow your passions, and let the naysayers talk all they want.
Sunday, 27 July 2014
Friday, 25 July 2014
How to Write a CV (Curriculum Vitae)
A company you want to apply to has asked you to send in a CV and you're thinking, "wait..what?" Don't worry! Curriculum Vitae (CV) means "courses of life" in Latin, and that is just what it is. A CV is a concise document which summarizes your past, existing professional skills, proficiency and experiences. The purpose of this document is to demonstrate that you have the necessary skills (and some complementary ones) to do the job for which you are applying. Literally you are selling your talents, skills, proficiencies etc., Follow these steps to create a great CV.
1
Know what information a CV generally contains. Most CVs include your personal information, your education and qualifications, your work experience, your interests and achievements, your skills, and references. Also experienced people tailor your resume to the job you are applying for. Use a modern but professional format. However, there is no set format for a CV, what you include is up to you.[1]
2
Consider the job you are applying for. Research the company. A good CV is tailored to the specific job and company you are applying for. What does the company do? What is their mission statement? What do you think they are looking for in an employee? What skills does the specific job you are applying for require? These are all things to keep in mind when writing your CV.
3
Check the company’s website for extra information about the CV. See if there is any specific information they want you to list in your CV. There might be specific directions listed on the application page. Always double check this.
4
Make a list of jobs you have held. These can be both jobs you hold currently and jobs you have held in the past. Include the dates that you began and ended your term at each particular job.
5
Brainstorm your hobbies and interests. Unique interests or hobbies will make you stand out. Be aware of the conclusions that might be drawn from your hobbies. Try to list hobbies that portray you as a team-oriented individual rather than as a solitary, passive person. Companies want someone who works well with others and can take charge if need be.
Hobbies and interests that paint a positive image: Being the captain of your soccer (or football) team, organizing a charity event for an orphanage, secretary of your school’s student-run government.
Hobbies that imply a passive, solitary personality: watching TV, doing puzzles, reading. If you are going to put any of these things, give a reason why. For instance, if you are applying for a job at a publishing house, put something like: I enjoy reading the great American writers such as Twain and Hemingway because I think their writing gives a unique perspective into American culture at the time they were writing.
6
Make a list of your relevant skills. These skills often include computing skills (are you a wiz at Wordpress? Excel? inDesign? etc.), languages you speak, or specific things the company is looking for, such as targeted skills.
Example of targeted skills: If you are applying to be a writer for a newspaper, list that you are fluent in AP style. If you are applying for a coding job, mention that you have worked with Java script.
Writing Your CV
1
Create the format for your CV. Are you going to break each section up with a line? Are you going to put each section in its own box? Are you going to list all of your information? Play around with different formats to see which looks most professional. Aim for no more than the front and back of a standard sheet of paper.
2
List your name, address, telephone number, and email at the top of the page. It is important to make your name a size larger than the rest of the text as it is important for your reviewer to know who he or she is reading about. It is up to you as to how you format this information.[3]
Standard format would be to have your name in the center of the page. Your home address should be listed in a block format on the left side of the paper. Put your telephone number and email below your home address. If you have another address (such as your address while you are at school) list this address on the right hand side of the paper.
3
Write a personal profile. This is an optional part of the CV that is good for giving your reviewer a more in-depth look at you as a person. This is where you sell your skills, experiences, and personal qualities. It should be original and well-written. Use positive words such as “adaptable”, “confident”, and “determined”.
4
Create a section for your education and qualifications. This section can be at the beginning of your CV or you can choose to list it after other sections. The order of sections is up to you. List your education in reverse chronological order. Begin with university if you attended or are attending it and work your way backwards. List the name of your university, the dates you went there, your major and minor, and your grade point average or A levels)
5
Create a section for your work experience. This is the section in which you should list all of your relevant work experience. List the name of the company, the location of the company, the years you worked there, and what you did. Start with your most recent job and work backwards. If you have a long list of work experience, only put the experiences relevant to the job you are applying for.
6
Create a section for your skills and achievements. This section is where you list the things you accomplished at your previous jobs, and the skills you have developed through your experiences. This is also the section where you list any of your published work, lectures you've given, classes you've taught, etc.
Example achievements: Successfully took a national bestseller from manuscript to publication; Received certification in copy-editing from UC Berkeley
7
Create a section for your interests. You should list any relevant interests that paint you in the most positive light. Choose several interests from the list you created while brainstorming for your CV (in Part One).
8
Create a section for other information. If there is a noticeable gap in your CV or there is some other information you would like to share, put it in this section. This sort of information can include leaving work to take care of children, join the Peace Corps, ete.
9
Create a section for references. These are people you have worked with in the past such as professors, previous employers, etc. that have seen your work and can credibly support praises that they give you. The company you are applying to may contact these references to find out more about your previous work. You should talk with the person you would like to list a reference before actually listing them--it is best to double check that they still have the same number, are ok with giving you a reference, or that they remember who you are. Write down their full names and contact information (including their phone numbers and emails).
Finalizing Your CV
1
Check your spelling and grammar. Poor spelling is the quickest way to get rejected. If your CV is sloppy or riddled with errors, potential employers will be unimpressed. Double (and triple) check that you have spelled the name of the company correctly, as well as any companies you have worked for in the past.[8]
2
Proofread for any sentences that could be written more concisely. CVs that are concise and well-written tend to do better than long-winded CVs that have repetitive information. Make sure you don’t repeat yourself--it’s better to list many of your traits than the same few traits over and over again.
3
Read your CV as if you were the company you are applying to. What do you think about the layout and the information written there? Do you come across as a professional?
4
Get someone else to read your CV. What do they think could be added or taken out? Would they hire you if they were a company?
5
Check the company’s application page. Look to see if there are any other materials they would like you to send in along with your CV. Companies may ask for a cover letter or samples of your work (such as articles you may have written).
1
Know what information a CV generally contains. Most CVs include your personal information, your education and qualifications, your work experience, your interests and achievements, your skills, and references. Also experienced people tailor your resume to the job you are applying for. Use a modern but professional format. However, there is no set format for a CV, what you include is up to you.[1]
2
Consider the job you are applying for. Research the company. A good CV is tailored to the specific job and company you are applying for. What does the company do? What is their mission statement? What do you think they are looking for in an employee? What skills does the specific job you are applying for require? These are all things to keep in mind when writing your CV.
3
Check the company’s website for extra information about the CV. See if there is any specific information they want you to list in your CV. There might be specific directions listed on the application page. Always double check this.
4
Make a list of jobs you have held. These can be both jobs you hold currently and jobs you have held in the past. Include the dates that you began and ended your term at each particular job.
5
Brainstorm your hobbies and interests. Unique interests or hobbies will make you stand out. Be aware of the conclusions that might be drawn from your hobbies. Try to list hobbies that portray you as a team-oriented individual rather than as a solitary, passive person. Companies want someone who works well with others and can take charge if need be.
Hobbies and interests that paint a positive image: Being the captain of your soccer (or football) team, organizing a charity event for an orphanage, secretary of your school’s student-run government.
Hobbies that imply a passive, solitary personality: watching TV, doing puzzles, reading. If you are going to put any of these things, give a reason why. For instance, if you are applying for a job at a publishing house, put something like: I enjoy reading the great American writers such as Twain and Hemingway because I think their writing gives a unique perspective into American culture at the time they were writing.
6
Make a list of your relevant skills. These skills often include computing skills (are you a wiz at Wordpress? Excel? inDesign? etc.), languages you speak, or specific things the company is looking for, such as targeted skills.
Example of targeted skills: If you are applying to be a writer for a newspaper, list that you are fluent in AP style. If you are applying for a coding job, mention that you have worked with Java script.
Writing Your CV
1
Create the format for your CV. Are you going to break each section up with a line? Are you going to put each section in its own box? Are you going to list all of your information? Play around with different formats to see which looks most professional. Aim for no more than the front and back of a standard sheet of paper.
2
List your name, address, telephone number, and email at the top of the page. It is important to make your name a size larger than the rest of the text as it is important for your reviewer to know who he or she is reading about. It is up to you as to how you format this information.[3]
Standard format would be to have your name in the center of the page. Your home address should be listed in a block format on the left side of the paper. Put your telephone number and email below your home address. If you have another address (such as your address while you are at school) list this address on the right hand side of the paper.
3
Write a personal profile. This is an optional part of the CV that is good for giving your reviewer a more in-depth look at you as a person. This is where you sell your skills, experiences, and personal qualities. It should be original and well-written. Use positive words such as “adaptable”, “confident”, and “determined”.
4
Create a section for your education and qualifications. This section can be at the beginning of your CV or you can choose to list it after other sections. The order of sections is up to you. List your education in reverse chronological order. Begin with university if you attended or are attending it and work your way backwards. List the name of your university, the dates you went there, your major and minor, and your grade point average or A levels)
5
Create a section for your work experience. This is the section in which you should list all of your relevant work experience. List the name of the company, the location of the company, the years you worked there, and what you did. Start with your most recent job and work backwards. If you have a long list of work experience, only put the experiences relevant to the job you are applying for.
6
Create a section for your skills and achievements. This section is where you list the things you accomplished at your previous jobs, and the skills you have developed through your experiences. This is also the section where you list any of your published work, lectures you've given, classes you've taught, etc.
Example achievements: Successfully took a national bestseller from manuscript to publication; Received certification in copy-editing from UC Berkeley
7
Create a section for your interests. You should list any relevant interests that paint you in the most positive light. Choose several interests from the list you created while brainstorming for your CV (in Part One).
8
Create a section for other information. If there is a noticeable gap in your CV or there is some other information you would like to share, put it in this section. This sort of information can include leaving work to take care of children, join the Peace Corps, ete.
9
Create a section for references. These are people you have worked with in the past such as professors, previous employers, etc. that have seen your work and can credibly support praises that they give you. The company you are applying to may contact these references to find out more about your previous work. You should talk with the person you would like to list a reference before actually listing them--it is best to double check that they still have the same number, are ok with giving you a reference, or that they remember who you are. Write down their full names and contact information (including their phone numbers and emails).
Finalizing Your CV
1
Check your spelling and grammar. Poor spelling is the quickest way to get rejected. If your CV is sloppy or riddled with errors, potential employers will be unimpressed. Double (and triple) check that you have spelled the name of the company correctly, as well as any companies you have worked for in the past.[8]
2
Proofread for any sentences that could be written more concisely. CVs that are concise and well-written tend to do better than long-winded CVs that have repetitive information. Make sure you don’t repeat yourself--it’s better to list many of your traits than the same few traits over and over again.
3
Read your CV as if you were the company you are applying to. What do you think about the layout and the information written there? Do you come across as a professional?
4
Get someone else to read your CV. What do they think could be added or taken out? Would they hire you if they were a company?
5
Check the company’s application page. Look to see if there are any other materials they would like you to send in along with your CV. Companies may ask for a cover letter or samples of your work (such as articles you may have written).
How To Write A Great Script
Everybody always says it. The one surefire way to
break into the industry is to write a great script. “All
you have to do is write a great script,” they say.
“Ohhhh,” you reply, “That’s it? “That’s all I had to do
all this time?? Was write a great script? Well why
didn’t you say so? And here I was working on my 20th
really bad script!” Bitter reactions aside, it’s true.
Write a great script and you’re in.
What hasn’t been clarified is what “great” means.
Well I got to thinking (yes, it does happen). Why don’t
I post exactly what a “great script" is so there’s no
more confusion? Now when we say, “Just write a
great script,” people will actually have something to
reference. This idea sounded brilliant when I first
came up with it, but the more it marinated, the
more I realized that if writing a great script could be
explained in a 2500 word blog post, we'd probably all
be millionaires.
However, that doesn’t mean I can’t offer a list of 13
things I consistently see in great scripts. It may not
be a step by step guide but at least it’s something.
Yeah, I thought. That might work.
Now while I was hoping to provide an all-inclusive list
of tips to best help you write a great script, the
reality is I’ve probably forgotten a couple of things.
So this is what I’m going to do. In the comments
section, I want you to include what YOU think makes
a great script. Over the course of today and
tomorrow, I’ll update this post to include the best
suggestions from you guys. Together, we’ll create
*the* perfect go-to list when it comes to writing a
great script. Isn’t this wonderful? Team Scriptshadow!
So here they are, in no particular order…
1) AN ORIGINAL AND EXCITING CONCEPT
This is the single most important choice you will
make in writing your script because it will determine
whether people actually read it or not. I used to hear
agents say, “90% of the scripts out there fail before
I’ve even opened them.” And it’s true. If you don’t
have a compelling concept, nothing else matters.
This slightly circumvents the “great” argument
because nobody’s saying you can’t write a “great”
script about a boy who goes home to take care of his
ailing mother. But the reality is, nobody’s going to
get excited about reading that script. Even the kind
of people who WOULD want to read that script
probably won’t because they know it’s a financial
pitfall. It’ll take 5 years off their life and, in the end,
play in 10 theaters and make 14,286 dollars. Now
obviously an “exciting” idea is objective. But it’s fairly
easy to figure out if you have something special.
Pitch your idea to your 10 best friends. Regardless of
what they *tell* you, read their reactions. Do their
eyes and voices tell you they’re into it? If you get 10
polite smiles accompanied with a “Yeah, I like it,” it’s
time to move on to the next idea. So give me your
Hangovers. Give me your Sixth Senses. Shit, give me
your Beavers. But don’t give me three people in a
room discussing how their lives suck for 2 hours. And
if you do, make it French. –
2) A MAIN CHARACTER WHO WANTS SOMETHING
(AKA A “GOAL”)
Some people call it an “active protagonist.” I just call
it a character who wants something. Ripley and the
marines want to go in and wipe out the aliens in
“Aliens.” Liam Neeson wants to find his daughter in
“Taken.” The girl in “Paranormal Activity” wants to
find out what’s haunting her house. The stronger
your character wants to achieve his/her goal, the
more compelling they’re going to be. Now I’ll be the
first to admit that passive characters sometimes
work. Neo is somewhat passive in The Matrix until
the end. And, of course, Dustin Hoffman is the most
famous passive character of all time in The Graduate.
But these characters are tricky to write and require a
skill set that takes years to master. In the end,
they're too dangerous to mess around with. Stick
with a character who wants something.
3) A MAIN CHARACTER WE WANT TO ROOT FOR
This is one of the more hotly debated topics in
screenwriting because a character we “root for” is
usually defined as being “likable,” and there are a
whole lot of screenwriters out there who would
rather bake their craniums in a pizza oven than, gasp,
make their protagonist “likable.” I got good news.
Your hero doesn’t have to be “likeable” for your
script to work. But you DO have to give us a
character we want to root for, someone we’re eager
to see succeed. He *can* be likable, such as Steve
Carrel’s character in “40 Year Old Virgin.” He can be
defiant, like Paul Newman in “Cool Hand Luke.” But
he has to have some quality in him that makes us
want to root for him. If your character is mopey,
whiney, and an asshole, chances are we’re not going
to want to root for that guy.
4) GET TO YOUR STORY QUICKLY!
Oh man. Oh man oh man oh man. As far as amateur
screenplay mistakes go, this is easily one of the Top
3. Even after I explain, in detail, what the mistake is,
writers continue to do it. So I’m going to try and
make this clear. Are you ready? “Your story is moving
a lot slower than you, the writer, believe it is.” For
that reason, speed it the fuck up! In other words,
that ten page sequence which contains 3 separate
scenes, each pointing out in its own unique way that
your hero is irresponsible? Well we figured it out
after the first scene. You don’t need to waste 7 more
pages telling us again…and again. Remember,
readers use the first 30 pages to gauge how capable
a writer is. And the main thing they’re judging is how
quickly and efficiently you set up your story. In The
Hangover, I think they wake up from their crazy
night somewhere around page 20. You don’t want it
to be any later than page 25 before we know what it
is your character is after (see #2).
5) STAY UNDER 110 PAGES
This is a close cousin to number 2 and a huge point
of contention between writers as well. But let’s move
beyond my usual argument, which is that a 120 page
script is going to inspire rage from a tired reader,
and discuss the actual effects of a 110 page
screenplay on your story. Keeping your script under
110 pages FORCES YOU TO CUT OUT ALL THE SHIT.
That funny scene you like that has nothing to do with
the story? You don’t need it. The fifth chase scene at
the end of the second act? You don’t need it. Those 2
extra scenes I just mentioned above that tell us the
exact same information we already know about your
main character? You don’t need them. I know this
may be hard to believe. But not everything you write
is brilliant, or even necessary for that matter. Cutting
your script down to 110 pages forces you to make
tough decisions about what really matters. By making
those cuts, you eliminate all the fat, and your script
reads more like a “best of” than an “all of.” As for
some of those famous names who like to pack on the
extra pages, I’ll tell you what. For every script you
sell or movie you make, you’re allowed 5 extra pages
to play with, as your success indicates you now know
what to do with those pages. Until then, keep it
under 110. And bonus points if you keep it under
100.
6) CONFLICT
Does everyone in your script get along? Is the
outside world kind to your characters? Do your
characters skip through your story with nary a worry?
Yeah, then your script has no conflict. I could write a
whole book on conflict but here’s one of the easiest
ways to create it. Have one character want something
and another character want something else. Put
them in a room together and, voila, you have
conflict. If your characters DO happen to be good
friends, or lovers, or married, or infatuated with
each other, that’s fine, but then there better be
some outside conflict weighing on them (Romeo and
Juliet anyone?). Let me give you the best example of
the difference between how conflict and no conflict
affect a movie. Remember The Matrix? How Trinity
wanted Neo but she couldn’t have him yet?
Remember the tension between the two? How we
wanted them to be together? How we could actually
feel their desire behind every conversation? The
conflict there was that the two couldn’t be together.
Now look at The Matrix Reloaded and The Matrix
Revolutions. Trinity and Neo are together. They’re
always happy. And they’re always F’ING BORING AS
HELL! The conflict is gone and therefore so is our
interest. If your story isn’t packed with conflict, you
don’t have a story.
7) OBSTACLES
Your script should have plenty of obstacles your main
character encounters in pursuit of his goal. A big
issue I see in a lot of bad scripts is that the main
character’s road is too easy. The more obstacles you
throw at your hero, the more interesting a script
tends to be, because that’s why we come to the
movies in the first place, to see how our hero
heroically overcomes the problems he’s presented.
He can’t be heroic if he doesn’t run into anything that
tests his heroism. Go watch any of the Bourne
movies to see how obstacles are consistently thrown
at a character. And a nice side effect? Each obstacle
creates conflict!
8) SURPRISE
A great script continually surprises you. Even if the
story seems familiar, the characters’ actions and the
twists and turns are consistently different from what
we expected. The most boring scripts I read are ones
where I have a good sense of what’s going to happen
for the next 5 or 6 scenes. Remember, readers have
read everrryyyyyything. So you really have to be
proactive and outthink them to keep them on their
toes. The Matrix is a great example of a script that
continually surprises you. The first time you watched
that movie (or read that script) you rarely had any
idea where the story was going.
9) A TICKING TIME BOMB
Ticking time bombs can get a bad rap because they
have such an artificial quality to them, but oh how
important they are. What’s so great about them?
They add * immediacy* to your story. If a character
doesn’t have to achieve his goals right now, if he can
achieve them next week or next year, then the goal
really isn’t that important, is it? We want to watch a
character that has to achieve his goal RIGHT NOW or
else he loses everything. Sometimes ticking time
bombs are clear as day (Hangover: They need to find
Doug by noon on Saturday to get him back in time
for his wedding), sometimes they’re more nuanced
(Star Wars Luke needs to get the details of that battle
station to the Rebel Alliance before they find and
destroy the planet), but they’re there. If you don’t
have a ticking time bomb in your script, you better
have a damn good reason why.
10) STAKES
If your character achieves his ultimate goal, there
needs to be a great reward. If your character fails to
achieve his ultimate goal, there needs to be huge
consequences. The best use of stakes is usually when
a character’s situation is all or nothing. Rocky’s never
going to get another shot at fighting the heavyweight
champion of the world. This is it. Those stakes are
damn high. If Wikus doesn’t get Christopher up to the
mothership in District 9, he’s going to turn into a
fucking alien. Those stakes are damn high. If all a
character loses by not achieving his goal is a couple
of days out of his life, that’s not very exciting, is it?
And that’s because the stakes are too low.
11) HEART
We need to emotionally connect with your characters
on some level for us to want to follow them for 110
minutes (NOT 120!). The best way to do this is to give
your character a flaw, introduce a journey that tests
that flaw, and then have him transform into a better
person over the course of that journey. This is also
known as having your character “arc.” When
characters learn to become better people, it
connects with an audience because it makes them
believe that they can also change their flaws and
become better people. In Knocked Up, Seth Rogan is
a grade-A fuck-up, the most irresponsible person on
the planet. So the journey forces him to face that
head on, and learn to become responsible (so he can
be a parent). You always want a little bit of heart in
your script, whether it’s a drama, a comedy, or even
horror.
12) A GREAT ENDING
Remember, your ending is what the reader leaves
with. It is the last image they remember when they
close your script. So it better leave a lasting
impression. This is why specs like The Sixth Sense
sell for 2 million bucks. If you go back into that
script, there are actually quite a few slow areas. But
you don’t remember them because the ending
rocked. And I’m not saying you have to add a twist to
every script you write. But make sure the ending
satisfies us in some way, because if you leave us with
a flat generic finale, we ain’t going to be texting our
buddies saying, “Holy shit! You have to read this
script right now!”
13) THE X-FACTOR
This last tip is the scariest of them all because it’s the
one you have the least control over. It’s called the X-
Factor. It is the unexplainable edge that great scripts
have. Maybe it’s talent. Maybe the variables of your
story came together in just the right way. Maybe you
tap into the collective unconscious. A great script
unfortunately has something unexplainable about it,
and unfortunately, some of that comes down to luck.
You could nail every single tip I’ve listed above and
still have a script that’s missing something. The only
advice I can give you to swing the dreaded X Factor in
your favor is to write something you’re passionate
about. Even if you’re writing Armageddon 2, create a
character who’s going through the same trials and
tribulations you are in life. You’ll then be able to
connect with the character and, in turn, infuse your
script with passion. Probably the best example of the
X-factor’s influence on a script is American Beauty. A
lot of people didn’t understand why they liked
American Beauty. They just did. The Brigands of
Rattleborge is another example. It just seeps into
you for reasons unknown. I sometimes spend hours
thinking about the X-Factor. How to quantify it. It’s
the Holy Grail of screenwriting. Figure it out and you
hold the key to writing great scripts for the rest of
your life.
So there you have it. I’ve just given you the 13 keys
to writing a great script. Now some of you have
probably already come up with examples of great
scripts that don’t contain these “rules.” And it’s true.
Different stories have different requirements. So
not every great script is going to contain all 13 of
these elements. But you’ll be hard pressed to find a
great script that doesn’t nail at least 10 of them. So
now I’ll leave it up to you. What attributes do you
consistently see in great scripts?
break into the industry is to write a great script. “All
you have to do is write a great script,” they say.
“Ohhhh,” you reply, “That’s it? “That’s all I had to do
all this time?? Was write a great script? Well why
didn’t you say so? And here I was working on my 20th
really bad script!” Bitter reactions aside, it’s true.
Write a great script and you’re in.
What hasn’t been clarified is what “great” means.
Well I got to thinking (yes, it does happen). Why don’t
I post exactly what a “great script" is so there’s no
more confusion? Now when we say, “Just write a
great script,” people will actually have something to
reference. This idea sounded brilliant when I first
came up with it, but the more it marinated, the
more I realized that if writing a great script could be
explained in a 2500 word blog post, we'd probably all
be millionaires.
However, that doesn’t mean I can’t offer a list of 13
things I consistently see in great scripts. It may not
be a step by step guide but at least it’s something.
Yeah, I thought. That might work.
Now while I was hoping to provide an all-inclusive list
of tips to best help you write a great script, the
reality is I’ve probably forgotten a couple of things.
So this is what I’m going to do. In the comments
section, I want you to include what YOU think makes
a great script. Over the course of today and
tomorrow, I’ll update this post to include the best
suggestions from you guys. Together, we’ll create
*the* perfect go-to list when it comes to writing a
great script. Isn’t this wonderful? Team Scriptshadow!
So here they are, in no particular order…
1) AN ORIGINAL AND EXCITING CONCEPT
This is the single most important choice you will
make in writing your script because it will determine
whether people actually read it or not. I used to hear
agents say, “90% of the scripts out there fail before
I’ve even opened them.” And it’s true. If you don’t
have a compelling concept, nothing else matters.
This slightly circumvents the “great” argument
because nobody’s saying you can’t write a “great”
script about a boy who goes home to take care of his
ailing mother. But the reality is, nobody’s going to
get excited about reading that script. Even the kind
of people who WOULD want to read that script
probably won’t because they know it’s a financial
pitfall. It’ll take 5 years off their life and, in the end,
play in 10 theaters and make 14,286 dollars. Now
obviously an “exciting” idea is objective. But it’s fairly
easy to figure out if you have something special.
Pitch your idea to your 10 best friends. Regardless of
what they *tell* you, read their reactions. Do their
eyes and voices tell you they’re into it? If you get 10
polite smiles accompanied with a “Yeah, I like it,” it’s
time to move on to the next idea. So give me your
Hangovers. Give me your Sixth Senses. Shit, give me
your Beavers. But don’t give me three people in a
room discussing how their lives suck for 2 hours. And
if you do, make it French. –
2) A MAIN CHARACTER WHO WANTS SOMETHING
(AKA A “GOAL”)
Some people call it an “active protagonist.” I just call
it a character who wants something. Ripley and the
marines want to go in and wipe out the aliens in
“Aliens.” Liam Neeson wants to find his daughter in
“Taken.” The girl in “Paranormal Activity” wants to
find out what’s haunting her house. The stronger
your character wants to achieve his/her goal, the
more compelling they’re going to be. Now I’ll be the
first to admit that passive characters sometimes
work. Neo is somewhat passive in The Matrix until
the end. And, of course, Dustin Hoffman is the most
famous passive character of all time in The Graduate.
But these characters are tricky to write and require a
skill set that takes years to master. In the end,
they're too dangerous to mess around with. Stick
with a character who wants something.
3) A MAIN CHARACTER WE WANT TO ROOT FOR
This is one of the more hotly debated topics in
screenwriting because a character we “root for” is
usually defined as being “likable,” and there are a
whole lot of screenwriters out there who would
rather bake their craniums in a pizza oven than, gasp,
make their protagonist “likable.” I got good news.
Your hero doesn’t have to be “likeable” for your
script to work. But you DO have to give us a
character we want to root for, someone we’re eager
to see succeed. He *can* be likable, such as Steve
Carrel’s character in “40 Year Old Virgin.” He can be
defiant, like Paul Newman in “Cool Hand Luke.” But
he has to have some quality in him that makes us
want to root for him. If your character is mopey,
whiney, and an asshole, chances are we’re not going
to want to root for that guy.
4) GET TO YOUR STORY QUICKLY!
Oh man. Oh man oh man oh man. As far as amateur
screenplay mistakes go, this is easily one of the Top
3. Even after I explain, in detail, what the mistake is,
writers continue to do it. So I’m going to try and
make this clear. Are you ready? “Your story is moving
a lot slower than you, the writer, believe it is.” For
that reason, speed it the fuck up! In other words,
that ten page sequence which contains 3 separate
scenes, each pointing out in its own unique way that
your hero is irresponsible? Well we figured it out
after the first scene. You don’t need to waste 7 more
pages telling us again…and again. Remember,
readers use the first 30 pages to gauge how capable
a writer is. And the main thing they’re judging is how
quickly and efficiently you set up your story. In The
Hangover, I think they wake up from their crazy
night somewhere around page 20. You don’t want it
to be any later than page 25 before we know what it
is your character is after (see #2).
5) STAY UNDER 110 PAGES
This is a close cousin to number 2 and a huge point
of contention between writers as well. But let’s move
beyond my usual argument, which is that a 120 page
script is going to inspire rage from a tired reader,
and discuss the actual effects of a 110 page
screenplay on your story. Keeping your script under
110 pages FORCES YOU TO CUT OUT ALL THE SHIT.
That funny scene you like that has nothing to do with
the story? You don’t need it. The fifth chase scene at
the end of the second act? You don’t need it. Those 2
extra scenes I just mentioned above that tell us the
exact same information we already know about your
main character? You don’t need them. I know this
may be hard to believe. But not everything you write
is brilliant, or even necessary for that matter. Cutting
your script down to 110 pages forces you to make
tough decisions about what really matters. By making
those cuts, you eliminate all the fat, and your script
reads more like a “best of” than an “all of.” As for
some of those famous names who like to pack on the
extra pages, I’ll tell you what. For every script you
sell or movie you make, you’re allowed 5 extra pages
to play with, as your success indicates you now know
what to do with those pages. Until then, keep it
under 110. And bonus points if you keep it under
100.
6) CONFLICT
Does everyone in your script get along? Is the
outside world kind to your characters? Do your
characters skip through your story with nary a worry?
Yeah, then your script has no conflict. I could write a
whole book on conflict but here’s one of the easiest
ways to create it. Have one character want something
and another character want something else. Put
them in a room together and, voila, you have
conflict. If your characters DO happen to be good
friends, or lovers, or married, or infatuated with
each other, that’s fine, but then there better be
some outside conflict weighing on them (Romeo and
Juliet anyone?). Let me give you the best example of
the difference between how conflict and no conflict
affect a movie. Remember The Matrix? How Trinity
wanted Neo but she couldn’t have him yet?
Remember the tension between the two? How we
wanted them to be together? How we could actually
feel their desire behind every conversation? The
conflict there was that the two couldn’t be together.
Now look at The Matrix Reloaded and The Matrix
Revolutions. Trinity and Neo are together. They’re
always happy. And they’re always F’ING BORING AS
HELL! The conflict is gone and therefore so is our
interest. If your story isn’t packed with conflict, you
don’t have a story.
7) OBSTACLES
Your script should have plenty of obstacles your main
character encounters in pursuit of his goal. A big
issue I see in a lot of bad scripts is that the main
character’s road is too easy. The more obstacles you
throw at your hero, the more interesting a script
tends to be, because that’s why we come to the
movies in the first place, to see how our hero
heroically overcomes the problems he’s presented.
He can’t be heroic if he doesn’t run into anything that
tests his heroism. Go watch any of the Bourne
movies to see how obstacles are consistently thrown
at a character. And a nice side effect? Each obstacle
creates conflict!
8) SURPRISE
A great script continually surprises you. Even if the
story seems familiar, the characters’ actions and the
twists and turns are consistently different from what
we expected. The most boring scripts I read are ones
where I have a good sense of what’s going to happen
for the next 5 or 6 scenes. Remember, readers have
read everrryyyyyything. So you really have to be
proactive and outthink them to keep them on their
toes. The Matrix is a great example of a script that
continually surprises you. The first time you watched
that movie (or read that script) you rarely had any
idea where the story was going.
9) A TICKING TIME BOMB
Ticking time bombs can get a bad rap because they
have such an artificial quality to them, but oh how
important they are. What’s so great about them?
They add * immediacy* to your story. If a character
doesn’t have to achieve his goals right now, if he can
achieve them next week or next year, then the goal
really isn’t that important, is it? We want to watch a
character that has to achieve his goal RIGHT NOW or
else he loses everything. Sometimes ticking time
bombs are clear as day (Hangover: They need to find
Doug by noon on Saturday to get him back in time
for his wedding), sometimes they’re more nuanced
(Star Wars Luke needs to get the details of that battle
station to the Rebel Alliance before they find and
destroy the planet), but they’re there. If you don’t
have a ticking time bomb in your script, you better
have a damn good reason why.
10) STAKES
If your character achieves his ultimate goal, there
needs to be a great reward. If your character fails to
achieve his ultimate goal, there needs to be huge
consequences. The best use of stakes is usually when
a character’s situation is all or nothing. Rocky’s never
going to get another shot at fighting the heavyweight
champion of the world. This is it. Those stakes are
damn high. If Wikus doesn’t get Christopher up to the
mothership in District 9, he’s going to turn into a
fucking alien. Those stakes are damn high. If all a
character loses by not achieving his goal is a couple
of days out of his life, that’s not very exciting, is it?
And that’s because the stakes are too low.
11) HEART
We need to emotionally connect with your characters
on some level for us to want to follow them for 110
minutes (NOT 120!). The best way to do this is to give
your character a flaw, introduce a journey that tests
that flaw, and then have him transform into a better
person over the course of that journey. This is also
known as having your character “arc.” When
characters learn to become better people, it
connects with an audience because it makes them
believe that they can also change their flaws and
become better people. In Knocked Up, Seth Rogan is
a grade-A fuck-up, the most irresponsible person on
the planet. So the journey forces him to face that
head on, and learn to become responsible (so he can
be a parent). You always want a little bit of heart in
your script, whether it’s a drama, a comedy, or even
horror.
12) A GREAT ENDING
Remember, your ending is what the reader leaves
with. It is the last image they remember when they
close your script. So it better leave a lasting
impression. This is why specs like The Sixth Sense
sell for 2 million bucks. If you go back into that
script, there are actually quite a few slow areas. But
you don’t remember them because the ending
rocked. And I’m not saying you have to add a twist to
every script you write. But make sure the ending
satisfies us in some way, because if you leave us with
a flat generic finale, we ain’t going to be texting our
buddies saying, “Holy shit! You have to read this
script right now!”
13) THE X-FACTOR
This last tip is the scariest of them all because it’s the
one you have the least control over. It’s called the X-
Factor. It is the unexplainable edge that great scripts
have. Maybe it’s talent. Maybe the variables of your
story came together in just the right way. Maybe you
tap into the collective unconscious. A great script
unfortunately has something unexplainable about it,
and unfortunately, some of that comes down to luck.
You could nail every single tip I’ve listed above and
still have a script that’s missing something. The only
advice I can give you to swing the dreaded X Factor in
your favor is to write something you’re passionate
about. Even if you’re writing Armageddon 2, create a
character who’s going through the same trials and
tribulations you are in life. You’ll then be able to
connect with the character and, in turn, infuse your
script with passion. Probably the best example of the
X-factor’s influence on a script is American Beauty. A
lot of people didn’t understand why they liked
American Beauty. They just did. The Brigands of
Rattleborge is another example. It just seeps into
you for reasons unknown. I sometimes spend hours
thinking about the X-Factor. How to quantify it. It’s
the Holy Grail of screenwriting. Figure it out and you
hold the key to writing great scripts for the rest of
your life.
So there you have it. I’ve just given you the 13 keys
to writing a great script. Now some of you have
probably already come up with examples of great
scripts that don’t contain these “rules.” And it’s true.
Different stories have different requirements. So
not every great script is going to contain all 13 of
these elements. But you’ll be hard pressed to find a
great script that doesn’t nail at least 10 of them. So
now I’ll leave it up to you. What attributes do you
consistently see in great scripts?
Subscribe to:
Comments (Atom)