Set your sights on a screenwriting career—and you know you're not in Kansas anymore. With some 100,000 original screenplays vying to be among the 7,000 few made into movies every year, craft is key and competition is fierce. Enter the Wizard: Award-winning screenwriter and playwright and acclaimed writing instructor Richard Krevolin, who shows you the way to turn your good ideas into great stories, and your great stories into compelling scripts.
With the writer's gift for storytelling and the professor's gift for teaching, Krevolin gives you the brains, heart, and courage you need to make it in the Emerald City of Hollywood—one yellow brick at a time.
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Nobody is allowed to see the Wizard. NOBODY. EVER!
“Where are you all going?”
“To the Emerald City,” said Dorothy, “to see the Great Oz.”
“Oh, indeed!” exclaimed the man. “Are you sure that Oz will see you?”
“Why not?” she replied.
“Why, it is said that he never lets anyone come into his presence. I have been to the Emerald City many times, and it is a beautiful and wonderful place; but I have never been permitted to see the Great Oz, nor do I know of any living person who has seen him.” …
“That is very strange,” said Dorothy; “but we must try, in some way, to see him, or we shall have made our journey for nothing.”
I am an aspiring writer in need of help, a sort of Dorothy, if you will, stuck in a Kansas-like state of mind. A Dorothy who is yearning for a twister to take her away, and in doing so help her find her Wizard of Oz and a happily-ever-after life in the Emerald City …
Okay, let me explain. I have always loved films (especially a few of the old ones that you wrote), and I know I can write movies that are better than the crap that Hollywood seems to be producing these days. I would love to go to film school, but I am really in no position to just get up, move, and go to school full-time right now. Especially with all the family and job-related stuff I'm dealing with right now. I'm sure you can appreciate my situation.
So here's the thing — I heard that sometimes screenwriting professors consult and I was wondering what your fees are like? I don't have a lot of money, but what little money I do have, I'd be happy to give to you if you could help make me into a real screenwriter.
Please say yes.
Sincerely Yours, A Modern-Day Dorothy
P.S. I have included a copy of my most recent screenplay, which I was hoping you might be able to peruse at your earliest convenience.
2. Stop labeling yourself as someone who is an aspiring screenwriter. If you are already writing scripts, then you are no longer aspiring, you are a screenwriter — maybe an unproduced screenwriter, but still, a real screenwriter. So please, stop aspiring, and keep writing.
3. I have downloaded the screenplay you attached and then I quickly and quietly tossed it into the recycle bin (trash) on my desktop. And rest assured, if you send me a hard copy, I will toss it into the cobalt blue Pacific Ocean where it belongs. RIP.
Best, Oz
P.S. No one can make someone into a “real writer.” You are either born with the curse or not. The reasons God chooses to whisper into the ear of one person and not another are known only to him.
P.P.S. I must admit, as a huge fan of The Wonderful Wizard of Oz, it was good to see that there are younger people out there today who are still fans of that wonderful, mythic story, which contains within its pages so many of the secrets of life.
What Is Your Motivation?
The first and single most important question that any writer must ask herself is this: Why write?
Why do you write? Why should anyone write? Why do some insist upon writing even though they know it will lead them to drink, divorce, or even insanity? Why try to become a screenwriter when it's so hard to ever get a movie made? Why bother when it's so much easier to watch TV or go to the movies? Why write?
One might as well ask, why breathe? Writers write because we can't help ourselves; writing keeps us from killing ourselves or others. And deep down in our souls, we write because we yearn to etch one tiny, seemingly insignificant scratch into the stainless-steel bones of culture; we fight, we persist, we persevere, we write; we are drawn to language like Romeo to Juliet. Throughout history, we find examples of this deeply human need to write, to record, to spin yarns, to create stories; and what better way to have your story told than in magnificent 3-D on a huge IMAX silver screen with booming Dolby THX surround sound!
For example, let's look at the life of one of the truly great and original voices of the past few hundred years — a pale, lonely Czech bureaucrat by the name of Franz Kafka. Kafka spent his life writing, yet in his last will and testament begged the executor of his estate to burn all of his work. Now, here's the rub: why didn't Kafka ensure that his work would never be seen by burning it himself?
The answer is simply this: As much as Kafka believed his writing to be worthless, there was something deep inside his soul that kept him from lighting the match. There was a part of him that desperately wanted to believe that maybe, just maybe, what he said might resonate with one person out there who was feeling the same pangs of terror and alienation that Kafka experienced on a daily basis. But mostly, Kafka couldn't help himself. He was a writer. No matter how inferior he believed his work to be, he kept on writing. He wrote for himself; the tragic irony of his life is that he found his terrified and alienated audience only after his death.
Maybe you, like Kafka, are plagued with self-doubt. So, how do you go about discovering if what you write is any good, especially if you don't already have an established agent or producer who will read it? How can you find out if your words speak to others, if your work is not just the self-indulgent spouting of an ego yearning to be recognized, coddled, and loved?
In the end, there is no quick answer or final word. Writers prove themselves by doing one thing: they keep on writing. Professional writers spend a great deal of time trying to please others, but when you are starting out, write what you need and want to say. And if you have the bug, then my mentor's advice will, like the Muse, whisper in your ear, guide your fingers along the keyboard, and fill your mind with fresh characters and ideas.
One Upon a Time in Kansas
Everyone has a story to tell.
But being able to tell it well — to write it down in such a way that others want to pay you for the privilege of reading it or seeing it on the big screen — is indeed a rare occurrence. Writing well and structuring your story into an appealing and captivating narrative is a craft, one that can and should be honed over a period of years.
In fact, I would be lying if I told you that after reading this chapter, you would be able to write a perfectly executed, commercially viable Hollywood script. Even for most Hollywood insiders, screenwriting is a long, drawn-out process.
The development of your own particular voice is really what takes such a long time. Yet, rest assured, the years of work need not be a hardship; they can be tremendously rewarding. But if you're entering the writing game for fame and fortune, take my advice right now and get out quick. Begone! Shoo! Take your stable income, your mortgage, your medical/dental plan, and scamper off to law school where you belong. Because there are positions all over the globe for well-trained lawyers and other service professionals, but there are only approximately seventeen people in the entire world who support themselves as full-time screenwriters. Okay, maybe 700 people, but still …
A CAUTIONARY TALE FOR SCREENWRITERS
There once was a woman who wanted to be a dancer more than anything else in the world. From the time she could first walk, s...
Table of contents
Cover Page
Title Page
Copyright
Contents
Foreword
Introduction
Prologue
CHAPTER 1: Why Be a Screenwriter, Anyway?
CHAPTER 2: Enter the Writing Cyclone
CHAPTER 3: If You Only Had a Writer's Brain
CHAPTER 4: Dorothy Does Screenwriting
CHAPTER 5: Structure, Theme, and the Broomstick Engine
CHAPTER 6: Signposts Along Your Yellow Brick Road
CHAPTER 7: Myth and the Mythology of Character
CHAPTER 8: Dialogue, in Which Dorothy Speaks/Sings/Delivers a Revelatory Monologue
CHAPTER 9: Genres, as in Family Musical Fantasy Adventure
CHAPTER 10: Writing Is Rewriting
CHAPTER 11: The Business of Show
CHAPTER 12: The Writing Life in Oz
CHAPTER 13: Creating Your Own Career, the Indie Way
CHAPTER 14: Sixteen Parting Gifts for the Screenwriter
