Kelsey Mihachik’s Screenwriting Guide PIXAR STORYTELLING • Choosing the Idea o Upset the character by tapping into a weakness/fear o There must be a problem in protagonist’s life or world o Character’s existing flaw must be directly related to the plot • Creating Characters & Empathy o What is important to them? o We care deeply because they care deeply about something o Defeatism is NEVER the character’s flaw o There is no such thing as “small characters.” Make them interesting. • Drama & Conflict o Conflict = obstacles stand between your protagonist and their goal o Conflict exposes/changes something emotional in the character’s core o Conflict poses the question: “Which force will win?” • Structure o Inciting Incident = propels character to act o 1 st plot point = cements their commitment to quest o Midpoint o 2 nd plot point = strong blow to protagonist o 3 rd plot point = Climax. This answers the main dramatic question of story • Antagonists o Have their OWN story and a reason for their actions. o A value system that makes them believe their actions are right o One benevolent (bonding plot = this one becomes an ally), and one malicious. Ex. Buzz/Sid. o Friends, supporting characters, and even the environment can be antagonists • Developing Ideas o Avoid clichés. Push story/characters into more interesting and exciting places. o Subvert expectations. Add twists to characters/situations. These destroy familiarity and boredom o 2 ways to develop = Plotting and Exploring Universe o Impose creative limitations. Ex. Monsters Inc. was never going to be about destroying cities/eating children • Endings o Must make sense without being predictable. o Will the main character execute his plan, or will he fail? o Answer the question that the audience has already forgotten. Ending relates to a seed you subtly plant at the beginning of the film. o Resolution creates a ripple effect, leaving a better world behind. • Theme o “What is inherently human about it?” o It’s not a part of the plot. Rather, it’s what the plot expresses.
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o Avoidclichés.Pushstory/charactersintomoreinterestingandexcitingplaces.
o Subvertexpectations.Addtwiststocharacters/situations.Thesedestroyfamiliarityandboredom
o 2waystodevelop=PlottingandExploringUniverseo Imposecreativelimitations.Ex.MonstersInc.wasnevergoingtobeabout
destroyingcities/eatingchildren• Endings
o Mustmakesensewithoutbeingpredictable.o Willthemaincharacterexecutehisplan,orwillhefail?o Answerthequestionthattheaudiencehasalreadyforgotten.Endingrelates
o Trueoriginalitycan’tbeginuntilyouknowwhatyou’rebreakingawayfrom
• Astoryaboutaguy,WHO…
o Loglinemusthave:adjectiveforhero,adjectiveforbadguy,andacompellinggoalweidentifywith
o The“WHO”makesthe“Whatisit?”workbettero Thispersonneedstogoonthisspecificjourney,butdoesn’tknowityeto Wewantheroeswho1.Offerthemostconflict,2.Havealongwaytogo(or
o SavetheCat–Herodoessomethingtomakeuslikehim/wanthimtowin.Whenyouhaveananti-hero,maketheantagonistworse.
o PopeinthePool–buryingthebackstoryinasceneo DoubleMumboJumbo–onlyONEpieceofmagicinamoviewillbebelievedo LayingPipe–don’tputtoomanystorypointsbeforegettingtothereason