Film & TV
Lesson time 15:17 min
How do you know if your idea is good enough to turn into a script? Aaron walks you through the steps every writer should take to test an idea—and decide whether it will work best in TV or film.
Topics include: Finding conflict • Feature vs. TV ideas
There are two parts to having an idea. You first have to know what an idea is, and then you have to have it. An idea isn't I want to write about surfing, OK? I'm surfing. I'm going to write a movie about surfing. You don't have an idea yet. You know where to park the trucks, by the beach. You can write "Exterior Beach." There's a lot of waves, but you don't have an idea. You don't have an idea until you can use the words but, except, and then, things like that. It was a normal day like any other day when all of a sudden I went to the beach to go surfing, and the surfing was great, "but then." You don't have the idea until that happens. [MUSIC PLAYING] I don't know if an idea is good enough to turn into a screenplay. For me, it's not a matter of good enough. It's sort of the same way a batter decides what pitch he's going to swing at, right? The batter's looking for his pitch. His pitch is low and outside, high and inside, it's a hanging curveball. He's looking for his pitch. Now, the batter has about like 8/10 of a second to decide if that's his pitch because the ball is coming at him pretty quickly. I have longer than that. So, what I want to know is, first of all, is there drama in there someplace? Is there conflict? Sometimes you'll see a shiny object, and you'll think this is, boy, I really want to write about this, and it will turn out that there's no conflict. For instance, Harry Houdini is a pretty interesting guy, right? And a lot of people have tried to write about him, but kind of unsuccessfully, because it turns out that this very interesting guy really didn't have much conflict in his life at all. You would think that somebody who locks himself in a box, and goes 200 feet under water, and that kind of thing would have conflict, but he didn't. Basically, he did a trick, and got out, and then he did the next trick, and he got out, and he was happily married. He died under strange circumstances when he was in his early 50s, I think, but that's not a great pitch to swing at. With The Social Network, I saw a 10-page book proposal, and buried in that book proposal were these two lawsuits that was going on. And when I saw that, it's not like I could picture the whole movie in front of me or anything, but I just knew that that was a pitch that I could swing at. I've never signed onto anything where I was able to see it, and it was just going to kind of come out in the typing. Everything has been a long climb. But what you're looking for is intention and obstacle. You're looking for conflict, and you're hoping that-- and generally, the conflicts that I write about are ideas. It's usually not robbing a casino that has the greatest security system in the world. It's usually a conflict of ideas, and what you want is for the competing ideas to be equally strong. By the way, going with the baseball batting metaphor...
Aaron Sorkin wrote his first movie on cocktail napkins. Those napkins turned into A Few Good Men, starring Jack Nicholson. Now, the Academy Award-winning writer of The West Wing and The Social Network is teaching screenwriting. In this class, you’ll learn his rules of storytelling, dialogue, character development, and what makes a script actually sell. By the end, you’ll write screenplays that capture your audience’s attention.
Writing aside listening to Mr. Sorkin speak was just good television.
Wonderful insights and advice. "Intention" and "obstacle" -- learn these words.
Amazing! I liked all the lessons. I would have liked to listen more about dialogs.
Gave me confidence in some of my assumptions (confirmed some). Learned where I have to put more focus to future development and learning.