require careful research and meticulous rendering. Do not fall into the trap of thinking that you do not have to do this because you are merely providing the blueprint and the studio will have researchers, prop masters, costumers who must uncover authentic details. Of course, you will not be describing in as much detail as a novelist, but if you have to name something or use a prop, do so with researched authority.
In the beginning was the Word and the Word was . . . written by the screenwriter. All of the details inherent to Time-Place are your responsibilities. Do not be so arrogant to think you can get away with vague wording. The quality of your story will rest in the authenticity of your detail . . . as well as the depth of your characterizations.
The Literary Essence of Theme
On the Paradigm just below Story Line (Log Line) is Statement of Purpose. When writing it you will include the phrase “I want to prove . . . .” In any story, this point you are trying to prove through the experiences of your characters will provide your thematic spine. It will be the star that guides every scene, the inclusion and exclusion of cast members, the glimpses vs. depth of character, back story, subplot. It can be simple or complex, but it must be the one single concept your story impresses on your reader/audience.
The Difference of Romantic Theme
Harking back to predictability of the romance genre that you must grapple with and defy, here is one list of the kinds of romantic stories in our culture:
1. Innocent being initiated
2. Cynical, hardened becoming vulnerable
3. Marriage of convenience
4. Forced marriage
5. May-December Story
6. Social/Cultural/Professional barriers
7. Shared adventure
8. Rediscovery of an old love
9. Inspirational/Christian
Various movies had to have flashed through your mind as you read this list. And you should be asking, “How can it be that simplified?” Well, long before our time, an astute Frenchman named Polti analyzed Greek and Shakespearian stories and concluded that there are only 36 basic stories that can be told. Many have challenged his assertion but have not yet identified a short story, novel, stage play or film that could not be found on his list. In fact, many sophisticated stories even include more than one with a main plot and an influential subplot.
POLTI’S 36 DRAMATIC SITUATIONS
1. Supplication: Persecutor, Suppliant, Authority Figure
2. Deliverance: Unfortunate, Threatener, Rescuer
3. Crime Pursued by Vengeance: Criminal, Avenger
4. Vengeance taken for Kindred upon Kindred: Avenger, Guilty Remembrance, a
Relative of Both
5. Pursuit: Punishment and Fugitive
6. Disaster: Vanquished Power, Victorious Enemy, Messenger
7. Falling Prey to Cruelty or Misfortune: Unfortunate, Master
8. Revolt: Tyrant, Conspirator
9. Daring Enterprise: Bold Leader, Object, Adversary
10. Abduction: Abductor, the Abducted, Guardian
11. Enigma: Interrogator, Seeker, Problem
12. Obtaining: Solicitor, Adversary or Arbitrator & Opposing
13. Enmity of Kinsmen: Malevolent Kinsmen, Reciprocally Hated Kin
14. Rivalry of Kinsmen: Preferred Kinsman, Rejected Kin, Object
15. Murderous Adultery: Two Adulterers, Murdered Spouse
16. Madness: Madman, Victim
17. Fatal Imprudence: Imprudent, Victim, Object Lost
18. Involuntary Crimes of Love: Lover, Beloved, Revealer
19. Slaying of Kinsman Unrecognized: Slayer, Unrecognized Victim
20. Self-Sacrificing for an Ideal: Hero, Ideal, Creditor, Sacrifice
21. Self-Sacrificing for Kindred: Hero, Kinsman, Creditor, Sacrifice
22. All Sacrificed for Passion: Lover, Object of Passion, Sacrifice
23. Necessity of Sacrificing Loved Ones: Hero, Beloved, Necessity
24. Rivalry of Superior & Inferior: Superior, Inferior, Object
25. Adultery: Two Adulterers, Betrayed Spouse
26. Crimes of Love: Lover, Beloved, Social Norms
27. Discovery of Dishonor of Beloved: Discovered, Guilty
28. Obstacles to Love: Two Lovers, Obstacles
29. An
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