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Writing Wednesdays

Writing Wednesdays

The Second Act Belongs to the Villain

By Steven Pressfield
Published: October 22, 2014

I learned this from Randall Wallace (Braveheart), who learned it from Steve Cannell, the maestro of a million plotlines from The Rockford Files to Baretta to 21 Jump Street:

Keep this dude up front.

Keep the antagonist front-and-center in the middle of your story.

Why does this work? Because it energizes the narrative. Think about these all-time mega-hits—Jaws, Alien, the first Terminator. The villains were everywhere in those movies and, more importantly, the protagonists were aware of and terrified of them at every moment. Still don’t believe me? Four words: Star Wars, Darth Vader.

I was watching a movie called A Single Shot on TV the other night. Sam Rockwell was the star. I’m a huge Sam Rockwell fan so I vowed to stick with it all the way.

It wasn’t easy.

Why? Because the villains disappeared in Act Two.

A Single Shot is about a hunter (Sam R.) who discovers a stash of money in the woods. The Bad Guys are the dudes who lost the cash and now want it back. They should be coming after Sam big-time. But they don’t. Or they don’t come scarily enough or often enough. The result is the air goes out of the movie.

Compare this to No Country For Old Men, a book and film with a very similar premise. But in No Country, the villain Anton Chigurh (Javier Bardem) turns up everywhere, making corpses out of half the population of Texas as he pursues the hunter Llewellyn Moss (Josh Brolin) who has his money. The result: the movie (at least the middle part) nails you to your seat.

This principle—The Second Act Belongs to the Villain—works for abstract villains as well, like the looming market crash in Margin Call. The filmmakers go back to this monster again and again and every time the story gets tauter and the audience gets sucked in deeper.

Or if you believe that the real villain of Margin Call is the impending moral catastrophe embodied in the decision by the company executives to blow up the world economy in order to save themselves and their company (yes, I believe that too), then the filmmakers have answered that as well. Every scene in the second act vibrates with this looming decision and the moral calamity it implies.

The villain in Silver Linings Playbook is not a person or an abstraction. It’s Bradley Cooper’s obsession with getting back together with his wife Nikki.

In other words, it’s an interior antagonist.

David O. Russell, the film’s writer and director, keeps this villain up front throughout Act Two, and it works like gangbusters.

Let’s take a minute and examine how he does it.
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Posted in Writing Wednesdays
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Do The Work

Steven Pressfield is the author of the most important book you've never read: The War of Art. It will help you understand why you're stuck, it will kick you in the pants, and it will get you moving. You should, no, you must buy a copy as soon as you finish reading this.

In this manifesto, Steve gets practical, direct, and personal. Read it fast; then read it again and take notes. Then buy a copy for everyone else who's stuck and push them to get to work as well.

—From the Foreword to Do The Work by Seth Godin

Do The Work isn't so much a follow-up to The War of Art as it is an action guide that gets down and dirty in the trenches. Say you've got a book, a screenplay or a startup in your head but you're stuck or scared or just don't know how to begin, how to break through or how to finish. Do The Work takes you step-by-step from the project's inception to its ship date, hitting each predictable 'Resistance point' along the way and giving techniques and drills for overcoming each obstacle. There's even a section called 'Belly of the Beast' that goes into detail about dealing with the inevitable moment in any artistic or entrepreneurial venture when you hit the wall and just want to cry 'HELP!'

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