The Nine Story Types generate the emotional clarity and consistency
that creates audience satisfaction.
Use this set of tools to
drive your characters forward through your story with power and
conviction.
Each of the story types asks a particular set of
questions that focuses the story’s structure, rhythm, emotional pattern
and outcome.
The Nine Story Types will help you "Get to the Heart
of the Story."
The Nine Story Types are:
The Power of Conscience
The Power of Truth
The Power of Idealism
The Power of Imagination
The Power of Reason
The Power of Love
The Power of Will
The Power of Ambition
The Power of Excitement
See the menu on the left side of the screen
Click on the appropriate item for more information
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What Makes a Compelling Scene? |
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Notes from the Writers Room
By Laurie H. Hutzler
A Quick Exercise to Inspire A Compelling Scene
A
scene is the fundamental building block of a screenplay, teleplay or
webisode. It is a series of actions in one setting, taking place over
the course of a continuous period of time. Each scene should put your
character’s values at risk or in conflict.
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Compelling Interrogation Scenes |
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Notes From The Writers Room
Writing Police Interrogations
This month, Notes from the Writers Room was inspired by my travels. We talked a good deal about police interrogations at The Bill in London and about the dramatization of deception and confession at the other shows.
This
issue looks at how deception, interrogation and confession works in
police stories and in other dramatic situations where the character is
lying to hide a guilty secret and/or avoid the consequences for his or
her actions. How can storytellers increase the tension and drama in
this sort of confrontation?
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Television Subplots & Guest Stories |
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Notes from the Writers Room
Grey's Anatomy - The Television Show
This issue of Notes from the Writers Room looks at guest stories in television shows. I’ll also do an analysis of the third season of Grey’s Anatomy and Lost.
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Great Antagonists |
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Lessons From Paris
I attended The 24th session of eQuinoxeTBC, an international script develoment program, in Paris last week. This was my second session as a script advisor for this wonderful program.
Paul Haggis, writer of Million Dollar Baby and co-writer and directorCrash, was selected the President of the Advisors. He observed that the lesson to be learned from the scripts in development at this session is: Make your antagonist a real three-dimensional person. I couldn't agree more. Here's how to do it.
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When the Star is not the Protagonist |
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Why The Terminal Didn’t Satisfy Audiences?
 The Terminal, the latest film from Steven Spielberg, starring Tom Hank and Catherine Zeta-Jones opened to middling audiences and mixed reviews. Although critics lauded Hanks’ performance, the film was not a runaway hit at the box office. There was much to like about this film but one creative mistake drastically undercut its emotional power and box office impact.
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Story Types 