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Writing Wednesdays

Writing Wednesdays

Blake Snyder’s Fun and Games

By Steven Pressfield
Published: July 29, 2015

Have you heard of Blake Snyder? He was a screenwriter and writer of several terrific books about screenwriting (tragically he died in 2009 at fifty-one) including Save The Cat! (23 printings so far) and Save the Cat Goes To The Movies. Highly recommended.

Blake Snyder

Blake Snyder was famous for his “beat sheet.” This was his original, funny, idiosyncratic (and very insightful) way of breaking down a story into its constituent elements. There are fifteen beats in the Blake Snyder beat sheet, starting with “Opening Image” and continuing through “Set-up,” “Catalyst,” “B Story,” “Bad Guys Close In,” “Dark Night of the Soul,” etc.

Number Eight is “Fun and Games.”

Here [writes Blake] we forget plot and enjoy “set pieces” and “trailer moments” and revel in the “promise of the premise.”

The Fun and Games part of the story, according to Blake Snyder, begins around the start of Act Two in a movie (for books, say simply “the middle”) and can continue most of the way to Act Three.

What exactly are Fun and Games?

They’re what we go to a specific movie (or read a specific book) for.

We go to a Terminator movie to see Arnold Schwarzenegger destroy things. We go to a Hitchcock flick for the scares and the Icy Blonde in Jeopardy scenes. We read Philip Roth for upscale Jewish angst (and sex) and we pick up Malcolm Gladwell for quirky but profound insights into common but often-overlooked phenomena.

The Fun and Games of a historical romance are the bodice-ripping love scenes. The Fun and Games of a musical are the songs. The Fun and Games of a French restaurant are the gorgeous veggies, the meats and fish roasted with pounds of butter, and the impeccable complementary wines.

A case could be made that the plot of any novel or drama or epic saga, back as far as Beowulf and the Iliad, is nothing grander than a vehicle to deliver the Fun and Games.

And that the writer’s first job, before the application of any and all literary pretensions, is simply to make the Fun and Games work.

Consider Begin Again, the Keira Knightley-Mark Ruffalo-Adam Levine movie I was talking about in a post a couple of weeks ago. Begin Again is (more or less) a musical. The Fun and Games are the songs. Writer-director John Carney had, I don’t know, eight or ten tunes that he had to weave into the story. I’d be very surprised if he didn’t sit down with a notebook and ask himself:

1. How am I going to work each of these songs into the film?

2. Which characters sing them? And why?

3. How can I make each song serve and advance the story?

4. How can I make each song serve the story differently from every other?

5. In what order do I put the songs?

In other words, John Carney began with the Fun and Games. His task was to make them work in the story.

I gotta say, he did a tremendous job. For one song he had Keira Knightley, sitting alone at night in a New York apartment, open her laptop and watch a private video of herself singing for Adam Levine (her boyfriend in the movie) a song she had just written, asking him if he liked it, if he thought it was a good song. Tone of scene: wistful, romantic. Message: she loves him.

In another scene, Carney had Adam Levine play back a song for Keira on his iPhone (a song he had just written during a week out of town.) Twist: Keira realizes as she’s listening to the song that Adam wrote it for another girl. Upshot: she slaps his face and bolts.


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Turning Pro

The follow-up to the bestseller The War of Art, Turning Pro navigates the passage from the amateur life to a professional practice.

You don’t need to take a course or buy a product. All you have to do is change your mind.
—Steven Pressfield

Turning Pro is the first official book released by Mr. Pressfield on his own publishing company, together with Shawn Coyne, Black Irish Books.

TURNING PRO IS FREE, BUT IT’S NOT EASY.

When we turn pro, we give up a life that we may have become extremely comfortable with. We give up a self that we have come to identify with and to call our own.

TURNING PRO IS FREE, BUT IT DEMANDS SACRIFICE.

The passage from amateur to professional is often achieved via an interior odyssey whose trials are survived only at great cost, emotionally, psychologically and spiritually. We pass through a membrane when we turn pro. It’s messy and it’s scary. We tread in blood when we turn pro.

WHAT WE GET WHEN WE TURN PRO.

What we get when we turn pro is we find our power. We find our will and our voice and we find our self-respect. We become who we always were but had, until then, been afraid to embrace and live out.

[The following are the first two chapters of Turning Pro:]

TURNING PRO

BOOK ONE THE AMATEUR LIFE

1. THE HUMAN CONDITION

The Daily Show reported recently that scientists in Japan had invented a robot that is capable of recognizing its own reflection in a mirror.

“When the robot learns to hate what it sees,” said Jon Stewart, “it will have achieved full humanity.”

2. THREE MODELS OF SELF-TRANSFORMATION

When we hate our lives and ourselves, two models present themselves as modes of salvation.

The first is the therapeutic model. In the therapeutic model, we are told (or we tell ourselves) that we are “sick.” What ails us is a “condition” or a “disease.”

A condition or a disease may be remedied by “treatment.”

Right now we are “ill.” After treatment, we will be “well.” Then we will be happy and will be able to function productively in society and in the world.

That’s one way of looking at our troubles.

The second way is the moralistic model. The moralistic model is about good and evil. The reason we are unhappy, we are told (or tell ourselves) is that we have done something “wrong.” We have committed a “crime” or a “sin.”

In some versions of the moralistic model, we don’t even have to have done anything wrong. The human being, we are told, was born wrong.

The answer to the condition of wrongness is punishment and penance. When we have “served our sentence” and “atoned for our sins,” we will be “pardoned” and “released.” Then we will be happy and will be able to function productively in society and in the world.

This book proposes a third model.

The model this book proposes is the model of the amateur and the professional.

The thesis of this book is that what ails you and me has nothing to do with being sick or being wrong. What ails us is that we are living our lives as amateurs.

The solution, this book suggests, is that we turn pro.

Turning pro is free, but it’s not easy. You don’t need to take a course or buy a product. All you have to do is change your mind.

Turning pro is free, but it’s not without cost. When we turn pro, we give up a life with which we may have become extremely comfortable. We give up a self that we have come to identify with and to call our own. We may have to give up friends, lovers, even spouses.

Turning pro is free, but it demands sacrifice. The passage is often accompanied by an interior odyssey whose trials are survived only at great cost, emotionally, psychologically, and spiritually. We pass through a membrane when we turn pro. It hurts. It’s messy and it’s scary. We tread in blood when we turn pro.

Turning pro is not for everyone. We have to be a little crazy to do it, or even to want to. In many ways the passage chooses us; we don’t choose it. We simply have no alternative.

What we get when we turn pro is, we find our power. We find our will and our voice and we find our self-respect. We become who we always were but had, until then, been afraid to embrace and to live out.

Do you remember where you were on 9/11? You’ll remember where you were when you turn pro.

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