We will begin again with a movie in 10 Minutes 9 Minutes · !1 We will begin again with a movie in...! THE MORAL PREMISE Harnessing Virtue & Vice for Box Office Success Stanley D

!1

We will begin again with a movie in...

!THE MORAL PREMISE

Harnessing Virtue & Vice for Box Office Success

Stanley D. Williams, Ph.D. !

www.MoralPremise.com

10 MinutesStorytelling is a language with its own

syntax, grammar, and passion. Learning to tell stories is about understanding

humanity.

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!2


!THE MORAL PREMISE




9 MinutesThe visible story of a successful movie

may be fiction, but the inner story connects because it is infused with

visceral reality.

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!THE MORAL PREMISE




8 MinutesSuccessful stories while the product of a deliberate process and a natural-law

structure, they are truly the consequence of perseverance.

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!THE MORAL PREMISE




7 MinutesA movie poorly structured for the screen

becomes insignificant. A well-structured story of something

insignificant can be masterful.

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!THE MORAL PREMISE




6 MinutesA great story results when all of the

plots and subplots -- different in their own way -- form a single composition

around one true moral premise.

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!THE MORAL PREMISE




5 MinutesLike lines on an architectural sketch, a

story line must have a convincing beginning and end. Attach an anchor at

both ends. Make it strong.

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!THE MORAL PREMISE




4 MinutesA line is to dialogue is to action is to a

scene is to a sequence is to an act is to the story is to the setting is to the

human condition.

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!THE MORAL PREMISE




3 MinutesMoral decisions of characters result in physical consequences which, in turn, are metaphors for the moral mindset

that made the decision.

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!THE MORAL PREMISE




2 MinutesBelievable fictional characters are like real humans in that they can make any choice they want, but they can never

choose the consequence.

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!THE MORAL PREMISE




1 MinutesGreat stories are important b/c they

examine the natural consequences of human values and conflict and thus

inform us how better to live.

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!11

Office Linebacker

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9:00-10:30 Critical Story Elements10:30-10:45 Break10:45-12:15 Structural Elements12:15-1:00 Lunch & Awards1:00 - 2:30 Plots, Goals & Irony2:30 - 2:45 Break2:45 - 4:30 Analysis & Examples4:30 - 5:00 Q&A

!12

Secrets of Successful Story Writing for films and novels

18+

12

Act 1 Act 2 Act 3

Life Before

1 2 3 4 5 6 7 8 9 10 11 12 13

Three-Act Structural Parts and the 13-18 Turning Point Beats

* *P

Prol

ogue

Firs

t Im

age

Copyright 2013!Stanley D. Williams, All Rights Reserved.

B

RInciting Incident

25% 50%12.5% 75% 82.5

11

13

Inciting Incident Harry Pottery and the Sorcerer’s Stone

!1414

Act 1 Act 2 Act 3

A1 Climax Accepts

Opportunity

Life Before

Rejects Opportunity

1 2 3 4 5 6 7 8 9 10 11 12 13


* *P

Prol

ogue

Firs

t Im

age


B

RInciting Incident

25% 50%12.5% 75% 82.5

11

15

!16

Crossing Threshold to Act 2 Harry Pottery and the Sorcerer’s Stone

16

Act 1 Act 2 Act 3

A1 Climax Accepts

Opportunity

Life Before

Rejects Opportunity

1 2 3 4 5 6 7 8 9 10 11 12 13

* *P

Prol

ogue

Firs

t Im

age


B

RInciting Incident

25% 50%12.5% 75% 82.5

11 Act 1X + B-Story Begins

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!18

LOTR: Fellowship of the RingAct 1X + B-Story Begins

Avoiding the divine call leads to a disturbed and contentious life; but Embracing the divine call leads to a resolute and focused purpose.

18

Act 1 Act 2 Act 3

A1 Climax Accepts

Opportunity

Life Before

Tries NEG. side of MP Lack of Progress Approach to TruthRejects

Opportunity

Moment Of Grace

Accepts TMP Changes Method

1 2 3 4 5 6 7 8 9 10 11 12 13


* *P

Prol

ogue

Firs

t Im

age


B

RInciting Incident

25% 50%12.5% 75% 82.5

11

19

1. Imperfect Protagonist 2. Confronts Problem 3. Chooses a Solution 4. Succeeds or Fails

1 2 3

4

Act 1 Act 2 Act 3

Protagonist near 50% Accepts or Rejects The Moral Premise

4

12

MOMENT OF GRACE

!20

20

3Act 1 Act 2 Act 3

Other Characters Same Mid-Point Scene

or Earlier or Later

Introducing the MOMENT OF GRACE

!21

33

12

1. Imperfect Protagonist 2. Confronts Problem 3. Chooses a Solution 4. Succeeds or Fails

1 2

4

4

21

1 2 3

4

Act 1 Act 2Act 3

It’s built into our spiritual DNA - Natural Law. 1. We start imperfect 2. We are given trials and grace. 3. We choose. 4. We end up better or worse off.

4

Why This Story Structure Always Works

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12

22

Vice Virtue

Moment of Grace

!23

Vice Virtue

Tr a g i c E n d i n g

Redemptive Ending

12

23

A Beautiful Mind John Nash accepts personal

responsibility and the Grace that the Moral Premise offers.

88 min./132 min.

Depending only on others for our well-being leads to impotency; but Taking responsibility for our well-being leads to productivity.

Ron Howard’s

A Beautiful Mind

Moment of Grace

!24

12

24

A Beautiful Mind MOG

Depending only on others for our well-being leads to impotency; but Taking responsibility four our well-being leads to productivity.

Play Clip Beautiful Mind MOG

!2525

Telling lies leads to rejection; but Telling the truth leads to acceptance.

Liar! Liar! MOG

Play Clip LIAR! LIAR! MOG

!2626

What Women Want MOG

!

Arrogantly Listening to self leads to superficial relationships (disrespect); but Humbly listening to others leads to super "real" relationships (respect).

Play Clip WWWant MOG1

!2727

LOTR: Fellowship of the Ring MOG

!28


28

Act 1 Act 2 Act 3

A1 Climax Accepts

Opportunity

Life Before

Tries NEG. side of MP Lack of Progress Approach to Truth

Tries POS. side of MP Makes Progress but Bad Guys Close InRejects

Opportunity

Moment Of Grace


1 2 3 4 5 6 7 8 9 10 11 12 13


A2 ClimaxBurns BridgeNear Death Faux End

Dark Night of the Soul...

All or Nothing Remove Mask

* *P

Prol

ogue

Firs

t Im

age


Inciting Incident

25% 50%12.5% 75% 82.5

11

B

R

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LOTR: Fellowship of the Ring Act 2X (Near Death) + Dark Night of the Soul

!30


30

Act 1 Act 2 Act 3

A1 Climax Accepts

Opportunity

Life Before



Opportunity

Moment Of Grace


1 2 3 4 5 6 7 8 9 10 11 12 13




* *P

Prol

ogue

Firs

t Im

age


B

RInciting Incident

Pinch Point A

Pinch Point B

25% 50%12.5% 75% 82.5

11 Resurrection Beat

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DIE HARD: Resurrection Beat follows Dark Night of the Soul & Near Death

!32

Arrogance & Self-preservation lead to Separation and Defeat; but Humility & Sacrifice lead to Victory and Marriage.

32

Fight-To-Death Hand-to-Hand

Act 1 Act 2 Act 3

A1 Climax Accepts

Opportunity

Life Before



Opportunity Denouement

Moment Of Grace


A3 ClimaxVictory

or Defeat

Final Incident

1 2 3 4 5 6 7 8 9 10 11 12 13





* *P

Prol

ogue

Firs

t Im

age

Last

Imag

e


B

RInciting Incident

Pinch Point A

Pinch Point B

25% 50%12.5% 75% 82.5

11

33

Act 1 Act 2 Act 3

Final Incident

1 2 3 4 5 6 7 8 9 10 11 12 13

Inciting Incident

Pinch Point A

Pinch Point B

Turning Point Instigation13

Moment Of Grace



A3 ClimaxVictory

or Defeat

A1 Climax Accepts

Opportunity

Antagonist Action

Protagonist Action

B

R

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RATATOUILLE

Remy

Colette - Linguini - Skinner

Anton Ego

Living as if only the elite can “cook” leads to despair; but Living as if anyone can “cook;” lead to hope.

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RATATOUILLE Antagonist Action at I.I.

!36

13


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!37

Co-Protagonists don’t need a B-Story friend. They are each other’s B-Story.

37

Both make moral decisions to embrace the conflict & test the MP promised in Act 2

!38

Act 1 Climax 13


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RATATOUILLE Moments of Grace13

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13

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Will PROTAGONISTS accept or reject the moral premise and is it CLEAR to the audience? Heart of the drama.

!41

Make Clear That It’s the Protagonist That Chooses Visually (and if necessary use words –– SPEECHES!)

RATATOUILLE Act 3 Climax - Near Death13

41

Inciting Incident

!42

Make Clear that It’s CHARACTERS that Choose

Moment Of Grace


RATATOUILLE Colette’s MOG in Act 3

All Main Characters have a Moment of Grace

13

42

RATATOUILLE Act 3 Colette’s MOG

Play Clip Rat-Colette’s MOG

!43

Make Clear that It’s CHARACTERS that Choose here VISUALLY

13

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14 All Major Characters Pursue Individual Goals

in Multiple Storylines (subplots)

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Protagonist Spine (plot) Minimum 13 beats. 15

Inciting Incident

Journey Begins

MOG

Near Death

Final Incident

Victory

12

3

45

67

89

1011

12

13

The Protagonist

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Protagonist Spine (plot) Minimum 13 beats.

All others use fewer. All have MOG.15

The Protagonist

Other Characters

1 23 4 5 6 7 8 9

1011 12 13

9

5

3

7

MORE LATER

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16Act 1 Act 2 Act 3

Final IncidentInciting

IncidentPinch

Point APinch

Point B

Moment Of Grace



A3 ClimaxVictory

or Defeat

A1 Climax Accepts

Opportunity

B

R

Main TPs Create Macro Roller Coaster… Goal / Expectation Reversals

1 2 3 4 5 6 7 8 9 10 11 12 13

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16Act 1 Act 2 Act 3

Final IncidentInciting

IncidentPinch

Point APinch

Point B

Moment Of Grace



A3 ClimaxVictory

or Defeat

A1 Climax Accepts

Opportunity

B

R

Main TPs Create Macro Roller Coaster… …upon which the Micro Roller Coaster is built.

+ - - - - - - - - - - - - - -+ + + + + + + + + + + + +-+ + -+1 2 3 4 5 6 7 8 9 10 11 12 13

48

16Act 1 Act 2 Act 3

+ - - - - - - - - - - - - - -+ + + + + + + + + + + + +-+ + -+1 2 3 4 5 6 7 8 9 10 11 12 13

It’s true... it’s not true... it’s true... it’s not true... Emotional UP.... Emotional DOWN... Emotional UP... Emotional DOWN.

Hero will... Hero will not... Yes he will... No he won't... Emotional UP.... Emotional DOWN... Emotional UP... Emotional DOWN.

The Moral Premise Test

The Physical Premise Test

Beat-by-Beat, Test the Truth of the Moral Premise and the Success of the Protagonist with an Emotional Roller Coaster

49

Emotional Plotting Testing the M&PPS at Every Turn

Will she or won't she return to Inida?

First 16 scenes of “Return to India”

!5050

Emotional Plotting Testing the M&PPS & Goal Achieval at Every Turn

“Return to India” (132 scenes)

!5151

IDENTIFICATION (Suturing = becoming one with characters)

17 The Filmmakers must create

PHYSICAL Suturing EMOTIONAL Suturing MORAL Suturing

!5252


The Filmmakers must create

PHYSICAL Suturing POV and NEAR POV shots Long Take / ECU Hearing Character’s thoughts Visual Gaps Narrative Gaps Dark and Silent Theater

EMOTIONAL Suturing MORAL Suturing

!53

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53



PHYSICAL Suturing EMOTIONAL Suturing

Keep Secrets Attractive Characters

MORAL Suturing

!54

17

54




Keep Secrets (Intrigue/Suspense) Antagonist and Audience KNOW, but not Protagonist Protagonist and Audience KNOW, but not Antagonist Audience KNOWS, but not Protagonist or Antagonist Protagonist KNOWS, but not Audience or Antagonist Antagonist KNOWS, but not Audience or Protagonist etc.

Attractive Characters MORAL Suturing

!55

17

55




Keep Secrets Create attractive characters that are:*

Sympathetic Exposed to jeopardy Relatable Funny Powerful Skilled

MORAL Suturing

* Michael Hauge’s & Chris Vogler’s, “The Hero’s Two Journeys.” !56

17

56


True Moral & Physical Premise Statement Consistently Applied M&PPS 3 Patterns of Moral Identification....



!57

17

57

1. Audiences recognize that natural law contains a system of moral absolutes that exist outside a government's laws.

James Bond

Jack Bauer

Ethan Hunt Axel Foley




!58

17

3 Patterns of Moral Identification....

58

2. Moral choices have consequences consistent with natural law.

Dumb & Dumber

In the Bedroom

Braveheart


Something About Mary



!59

17


59


3. Suffering, which is a consequence of natural law, can lead to purpose and hope.



!60

17


60

Narrative Didactic •Shows……….. Tells •Emotional........ Factual •Simulates........ Describes •Involving & ..... Passive & Personal Detached

•Identification... Opinion •Enters In......... Bounces Off •Trains.............. Informs

!61

18Two Communication Types

Do we TELL her or SHOW her?

ENTERTAINMENT PAROCHIAL

Do Entertain. Don’t be Parochial.

61

19

Successful Writers Plan Writing Tools

62

Critical Story Development Steps

!63

19 Successful Writers Plan

1.Hook (Physical Impossibility) 2.Log Line (Physical Plot) 3.Conflict of Values (Psychological Plot) 4.Character Arcs (Premise Statements) 5.Beat Sheets (Major Turning Points)

6.Synopsis (450 words) 7.Treatment / Scene Outline 8.Script / Manuscript

63

Critical Story Development Steps1.Hook (Physical Impossibility) 2.Log Line (Physical Plot) 3.Conflict of Values (Psychological Plot) 4.Character Arcs (Premise Statements) 5.Beat Sheets (Major Turning Points)

!64

6.Synopsis (450 words) 7.Treatment / Scene Outline 8.Script / Manuscript


64

Prologue (First Image)

Life BeforeInciting Incident

“The Call”

Card Plot ALL Main Characters

Rejection of the

Opportunity

Act 1 Clx Accept

Opportunity

Pursue Goal - Neg.

M&PPS

Moment of

Grace

Pursue Goal - Pos.

M&PPSAct 2 Clx All is Lost

Dark Night of the Soul Hand-2-Hand

Final Incident Life or Death

Act 3 Clx Victory or

DefeatLife After

Final Image

1

2

3

!65

19 Successful Writers PlanMORE LATER

65

Cards (83) for Major Scenes (plus transitions, montages, or series of shots denoted on cards)

Act 1Act 2

Act 3

Software: “Keynote” on a Mac

Result: A properly structured first draft

!66


66

Act 1 Climax Act 2 Climax

Moment of Grace

www.moralpremise.com/storyaids.php The Story Diamond Key

This is a graphic way to look at the traditional (major) structural beats of a story and ensure that they are all supportive of the true moral premise, and create an emotional roller coaster effect, (minor) beat-to-beat, as the truth of the moral premise is tested. (It’s true, no it’s not, it’s true, no it’s not, etc.) The diamond was conceived by Chris Vogler and Will Smith, and used by screenwriters Marianne & Cormac Wibberley. Added are Campbell/Vogler’s 12 Stages of the Hero’s Journey, Alison Fisher’s 5 Act Purchase Funnel for Romantic Comedy, Michael Hauge’s 13 Steps, and Blake Snyder’s 15 Beat Sheet, and Jeffrey Schechter’s four archetypes (via Carol Pearson), and the Kübler-Ross 5 Stages of Grief, and Larry Brook’s Pinch Points, all as interpreted by Stan Williams in regard to the unifying concept of the Moral Premise Statement and the Moment of Grace. For plotting your story, use a blank version of this diagram on a 4-ft x 8-ft sheet of masonite. More info at www.moralpremise.com/storyaids.php. Parts Copyright © 2014 Stanley D. Williams. All Rights Reserved.

ACT 1

A

MORAL&PREMISE&&STATEMENT&(MPS):&_________________"�

leads"to"__________________"

but…"__________________�

leads"to"__________________

Act 3 Climax

Inciting Incident

ACT 2A ACT 2

B

ACT 3A

1. Aw

arene

ss - n

eeds

defin

ition

3. Co

nside

ration

——

——

——

narro

w alt

ernati

ves

4. Trial - tries out

2. Familiarity ——

——

-— more additional info

1 Ordinary World (Vogler)

2 Call to Adventure

4 Meeting Mentor

5 Accepts Journey

6 Tests, Allies & Enemies

7 Approach to Inmost Cave

8 The Ordeal

9Reward/Seizing the Sword

Near Death - Faux Ending

12Return with the Elixir

3 Refusal of the Call

REJE

CTS O

PPOR

TUNI

TY

LIFE B

EFOR

E

TRIES NEGATIVE… …

SIDE OF MPS

TRIES

POSIT

IVE…

…SID

E OF M

PS

DARK NIGHT OF SOUL

BACK AGAINST WALL

HAND-TO-HAND

DEATH FIGHT

DENOUEMENT[PROLOGUE]

Final Incident

5. Purchase commitment

Act 1

: Orp

han

Act 2

B:

Warr

ior

Act 3: Martyr

Act 2A: Wanderer

Stag

e 1: D

enial

(Küb

ler-R

oss)

Stag

e 2: A

nger

Stage 3: Bargaining and Losing

Stage 5: Acceptance

Stage 4: Depression

Stag

e 3: B

argain

ing an

d Winn

ing

(Aliso

n Fish

er Pu

rchas

e Pyra

mid)

(Sch

echt

er’s

4 A

rche

type

s)

10Road BackDark Night of the Soul 12

All Is Lost 11

Break into 3 13

Bad Guys Close In 10

Midpoint9

Finale 14

Final Image 15

Victor or Defeat

Fun and Games8

B Story Begins7Break into 26

Debate5

Catalyst4

Set-Up3

Theme Stated2

First Image (Snyder)1

11Resurrection

11Resurrection

ACT 1

B

ACT 3B

Transform characters gradually not suddenly.

Bully

Tease

KillerNuisa

nce

OR

Protagonist Initiates Turning Point Antagonist Initiates Turning Point

CheckConfrontation

5 Crossing Threshold

19Successful Writers Plan

67

!68

19Successful Writers Plan

68

!69

19 SCRIVENER

69

Story Sequence: Lockstep Cause & Effect

!70

20

!Physical Realm !Psychological Realm

CAUSE and EFFECT relationship that never changes

Scene - Sequel - Scene - Sequel - Scene - Sequel

Value - Decision - Action - Consequence

Cause - Effect - Cause - Effect

70

Motivation External & Objective

Reaction Internal & Subjective

Universal POV What POV Character

ExperiencesPure

EmotionAutomatic Reflexive

ActionRational Action or Speech

Scene Sequel

Goal Conflict Disaster Decision & 1st Step

Reference: Dwight Swain, Randy Ingermason, Jack M. Bickham, WastedPoet.com

MRU

… …… …

Emotional Reaction

Motivation External & Objective

Reaction Internal & Subjective

Universal POV What POV Character

ExperiencesPure

EmotionAutomatic Reflexive

Action

Rational Action or Speech

Motivation Reaction Unit

……MRU

MRU

MRU

MRU

MRU

MRU

MRU

MRU

MRU

MRU

MRU

MRU

MRU

MRU

MRU

Novel Scene-Sequel Structure

Thought Dilemma

Screenplays? No. !!Movies? Yes

20

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Cause & Effect / Scene & Sequel!The Pillars of the Earth (Ken Follett) Scene-Sequel first 41 pages.

!Scene

GOAL/ACTION: Bob Builder will build Nobleman's house for son & financée. CONFLICT/OBSTACLE: Financée rejects the Nobleman’s son. Work stops. DISASTER: Bob Builder out of work with very little money. His family is in trouble.

Sequel EMOTIONAL REACTION: Distraught. DILEMMA: Doesn't know which way to turn. Must find work DECISION/FIRST STEPS: Goes on road (walking in winter) with family to find work

Scene GOAL/ACTION: While on road thief steals family’s pig. Catch thief CONFLICT/OBSTACLES: Chase and fight thieves and protect daughter DISASTER: Thief gets away. Family is now not only poor but very hungry.

Sequel EMOTIONAL REACTION: Depression. His family depends on him and he's let them down. DILEMMA: His daughter is hurt and his wife is pregnant. Where to go? DECISION.FIRST STEPS: He'll walk family to Salisbury.

Scene GOAL/ACTION: At Salisbury he'll get a job at the Cathedral they're remodeling. CONFLICT/OBSTACLE: Finding the Master Builder is not easy. DISASTER: Master to Bob Builder: “I have no work for you although you seem well-qualified.”

Sequel EMOTIONAL REACTION: Dread. Options running out. DILEMMA: Sees the pig that the thief has just sold to a butcher, but no one will believe him. DECISION. FIRST STEPS: Builder will catch the thief and take his money.

Scene GOAL/ACTION: Search for the thief. CONFLICT/OBSTACLE: Deploys family to find the thief. Lies in wait for him outside the city. DISASTER: Builder kills the thief, but he has no money; thief spent it on whores and food.

20

72

!73

Exercise (10 min)

Cause and Effect Chain !

For your Protagonist Complete this list: !

1. Effect/Action: __________ 2. Causes/Consequence: ___________ 3. Effect/Action: __________ 4. Causes/Consequence: ___________ 5. Effect/Action: __________ 6. Causes/Consequence: ___________

73

LUNCH & AWARDS - 45 MINUTES

!74

Next Up !

PLOTS GOALS

& IRONY

74

Documents

We will begin again with a movie in 10 Minutes 9 Minutes · !1 We will begin again with a movie in...! THE MORAL PREMISE Harnessing Virtue & Vice for Box Office Success Stanley D