The Mini-Movie Method – Chris Soth
Chris Soth's method uses eight "mini-movies" (as compared to the twelve steps of Chris Vogler's "Hero's Journey"), but it would be a mistake to think they operate the same way. The mini-movie-method encourages the writer to compartmentalize the story - to break it down into manageable segments.
Chris stresses one specific central tenet: "Stories derive their power from the interplay of hope vs. fear." He begins by applying that "formula" to the work as a whole - "We hope that the Hero/lead/main character will achieve X. We fear that Y will happen instead."
That's all well and good, and it is distinct for its simplicity and clarity, but it's not unique in broader terms. Most writing gurus have some similar fundamental principle.
What I find most useful about Chris' approach is that he then applies that three-word mandate to each of the eight mini-movies. Each of your mini-movies should stand on its own artistic merit. To that end, each must demonstrate a succinct, clearly-defined hope (a hope which drives the Hero and also engages the reader) against which stands an equally specific fear (which threatens the Hero and thereby draws the reader in).
The mechanics of the eight-page treatment are probably best learned from the original teacher (click here to go to the "Million Dollar Screenwriting" page on Amazon). As I mentioned, Chris and I collaborated a few years ago on "The Batting Order." In the things I have written since, I continue to parse my stories into eight mini-movies as a means to investigate what's wrong on the pages where the power of the story falters.
Chris stresses one specific central tenet: "Stories derive their power from the interplay of hope vs. fear." He begins by applying that "formula" to the work as a whole - "We hope that the Hero/lead/main character will achieve X. We fear that Y will happen instead."
That's all well and good, and it is distinct for its simplicity and clarity, but it's not unique in broader terms. Most writing gurus have some similar fundamental principle.
What I find most useful about Chris' approach is that he then applies that three-word mandate to each of the eight mini-movies. Each of your mini-movies should stand on its own artistic merit. To that end, each must demonstrate a succinct, clearly-defined hope (a hope which drives the Hero and also engages the reader) against which stands an equally specific fear (which threatens the Hero and thereby draws the reader in).
The mechanics of the eight-page treatment are probably best learned from the original teacher (click here to go to the "Million Dollar Screenwriting" page on Amazon). As I mentioned, Chris and I collaborated a few years ago on "The Batting Order." In the things I have written since, I continue to parse my stories into eight mini-movies as a means to investigate what's wrong on the pages where the power of the story falters.