Great video, I remember asking a writer: What is the most important thing in a story? The plot? The characters? He answer, the conflict. Greatings from Bolivia.
I'm not writing a screenplay, I'm writing a manuscript. Your videos have helped me essentially troubleshoot my problems with it. I now know how to end my story because I'm a pantser by nature and had no clue where I was going and now I realise I had a direction & basic foundational idea all along I just hadn't consciously identified it. Now I know what they are I can build to its end and it's now ridiculously easy to figure out because of you. Thank you.
You could also try "film courage" if you don't know that channel already. Some useful interviews about the writing process. And KM Weiland, Filmento, LFTS....
I love how you are not rushing through the points you are making. When you describe things they stick with me... other channels are so focused on not "boring the viewer" that they are all about fast pase, clips and action in the presentation....... even if they try to deliver "knowledge". They do not succeed. You rock - keep on taking your time and taking my time.... because it is both entertaining, more valuable and timesaving in the long run. Thank you, Tyler.
Summary : Start with characters and their deeply held beliefs. Challenge those deeply held beliefs with other characters who believe differently. Start small and grow larger. Let the conflict rise and force your characters to change. Understand the Purpose of the Scene. Bring the scene to a specific point. How does it drive the story forward? Drive the story forward start with philosophical struggle and characters that is the absolute backbone of your story. Plot concept, fun dialogue and crazy action scenes all come second to those two elements. Don't try to inject a scene with conflict and then place your characters in it. Know who your characters are, know how they will change, know what pressures are on them and know how those pressures will affect them.
This is what I've just did on my latest project. Introduce each character with their own conflict and beliefs. The video makes me understand what I've been doing much better, thanks for it.
Tyler you’ve talked plenty about Inception, which is probably my favorite movie of all time. Was watching it again today and couldn’t help but feel some of the important characters had no internal want. Especially Arthur. Who was with Cobb throughout the movie.
Then you need to ask what he wants. Then as he heads towards what he wants, he holds himself back. Example: he can’t get himself to talk to the girl. He can’t get himself to jump out of the plane. He can’t get himself to kill someone else. You understand how he limits himself by watching him pursue what he wants.
It'sdifficult..if he is his own antagonist because what he believes and assume then it creates necessarily a schizo type of character ..don't you mean his weakness are his beliefs and mindset ?
Hey Tyler!! You are doing a great job.I have watched several channels on screenwriting but your content is the best.Keep it up.Hope you reach 1 million subscribers soon. Pls don't lose the quality of your content ...Thank You
Your videos and presentation of these concepts is phenomenal. Astounding analysis, editing, and effort, I really appreciate how you break down these literary devices, patterns, or tactics, it's so helpful, adds clarity, and is inspiring. Thank you!
This is misleading. This isn’t only for screenplay but for storytelling in general. I save these videos and screenshot important points and it all seems to connect to novels, not just screenplay. Well done, sir.
these are great, would love to see more comedy examples to see if they follow the same line of thinking. Writing advice always seems so deep and serious!
Tyler Mowery | political correctness has tightened a noose around the neck of comedy • you won’t find much of market for comedy these days unless it’s the rubbish shown on Netflix
I am sooo glad I subscribed to this channel, absolutely brilliant video, 1 week away from starting my script, yes watched other good videos, but this is priceless!
I think parrels across different art forms are always interesting. Take song writing. Take a typical 8 bars. Usually but not always, the first line ends on say a quarter note, the next on a half, the next on say a whole note. The last on a whole note plus. Each note longer than the other building to the final cadence end note.
Idk if you watch Naruto but I feel like there has to be a video on Pain. (Hence the pfp) he has to be one of the most interesting and entertaining villains I’ve ever seen with a crazy philosophical view
Great suggestions. So glad I found this channel. As a writer struggling with short stories, this is really helpful. I've posted a request to join your Facebook group. I hope to see you there soon.
Great video as usual! I've been thinking about what the ultimate philosophical question is and honestly it means I have to learn more about philosophy, (politics, economy, and theology at least) before I actually have the proper backbone of moral argument. I just wonder whether it is possible to do that since life keeps going and even our own beliefs are constantly changing or being tested.
Some people just can't help it that's why I read my Bible and pray because it's a spiritual warfare some people look for drama look for conflict it's like the air you breathe that's they medicine conflict and drama that's the life they live for they love it mess trouble violence they life 🙌
a.one character me, their belief and values, what is gonna be challenged ,"external conflict": like challenges like free will, simulation, matters note: I might have to go with team a litllle bit earlier to create these kinda stuff and to be more intresting the story "internal conflict": and build some of your characters in the the story with their litlle beliefs to interact with main character not all characters b.throught the story 1. create greater and greater conflict as the character morphs and changes to rise to the challenges of the antagonistic forses the antagonistic forses must grow stronger and more intence to continually push the main character 2.passing points of no return not being able to turn back because the philosophical and external concequences ex. can the people turn around and go home? no because they would admit defeat what the character beliefs to get them headed towards their goal c.scene conflict how to say what you want in story once you know your characters and know how the chene might move the story forwards we can see example: the scene objective: to find the location of harvey dent the super objective: is to bring gotham of order and justice but it goes deeper: they say what they believe my example scene objective: to find where the tech is super objective: to save our conceissness better life but it goes deeper: to say what you believe note: episode2 and I have to choose while speaking with thier leader to save ted or get the tech I will choose ted but there are more ways that I can go were I want to go ok now how am I gonna start it first get the teck to go back home or put a beam for your team some of your friends to find you "josh schlut" and gather people build their beileifs from the team get back together "I think it's time to get the team back together" son of a bitch I am in, I am gonna play with the characters in the story from smplive phase one: going home and getting back together the team and grow and play with it phase2: again all of this what we have to challeng to save ted and grow the characters and play phase3: super objective and stuff that I have to choose and say what I believe and to put it together with tension and pacing
You can't even express your feelings in a comment without people going back and report what you said to other people and you're not even talking about them but because they like the attention they get from the other person that's why they do it
Using only two movie examples for these videos (usually The Dark Knight, Shawshank) kind of gives a limited content to those hoping to learn something.
20:22 really? Isn’t theme the core of the story? What the story is really about? Don’t the characters and the philosophical struggle build out from the theme?
@@adarateranroldan well, I have a character and I know what they want pretty well. I know the themes. And I do have a situation where conflict can arise but I am stuck on what to do after. I don’t really know what to do. Like, I don’t know how to keep my story going AFTER the inciting incident
Was flicking through, hoping to find some real content and luckily stumbled across your vid. As soon as I saw frames from Twelve Angry Men, I knew this would be good. Anyone with appreciation for Twelve Angry Men will always win my vote. It's a genius piece of work and an amazing study in human interaction - no car chases or flashbacks or love interest - just amazing writing delivered perfectly from a table full of talent.
Conflict is not primarily about one person's beliefs vs. another person's. All that tells you is how a person feels about themselves and how they want the world to feel about them, and it can just go back and forth between the characters. That, goes totally against the whole point of conflict in the first place. The point of conflict is to deliver essential context to the viewer in a compelling way. Tyler, you mentioned it when you referenced David Mamet, who wants what from who? (goal) why now? and what happens if they don't get it? (stakes). That is does not align with one person's beliefs and another's, differs? When will you understand the difference? Time and time again, you muddy your definitions and explanations about what means what. I'm not saying that people wont give out their beliefs during a conflict, it does add to it, it is important, but that is not the purpose of conflict. You are objectively contradicting yourself based on that reference and what you are saying in this video. Conflict occurs when a character, in pursuit of a goal to overcome stakes, requires another character to achieve it and that other person won't help them, this forces the main character to divulge more context (mentioned above) in order to convince the other character to help them, it also shows the viewer how relentless they are in their pursuit. When that happens that forces the other character to give out essential context about them, why they can't help, their stakes that will come to pass if they help them. The ice cream scene in Little Miss Sunshine is a choice scene. You say it multiple times, Tyler. Why is an example of a choice scene in a video about conflict. The father and grandfather's opinions doesn't change it into a conflict. The Dark Knight interrogation scene, is again, NOT a conflict scene. The joker even states what it is. He says he'll tell Batman where Dent and Rachel is, and that he'll have to CHOOSE who to save. My gosh, it's stated in plain English. What are you doing, Tyler? Stop! please. This isn't helping writers who want to do this for a living. People spouting their opinions wont organically divulge that essential context and thus your scene will feel inorganic and you will force your characters to say things they wouldn't. Also, the word "belief", it doesn't really conflict against someone else's, they just argue, conflict is when on force is opposed by another, this is just disagreements, not .....not conflict, and this isn't even getting at the main point, the main mistake. Now, at the end of the "create greater and greater conflict" section, you do hint at conflict somewhat, but it's not enough and it goes against everything you just said, it's beliefs, then it's goals, then it's back to beliefs...they serve different purposes. Your theory about conflict isn't even conflict. Tyler, I mean this nicely, get your definitions in order. Goals, beliefs, choice, opinions can't be all defined under the one roof of "conflict". You're teaching writers to write forced, messy scenes that will not drive their stories forward. Stop spreading lies, and please, stop charging ridiculous prices to help other writers. You don't seem to understand screenwriting fundamentals. You openly admit to being unable to write a good script, how on Earth would you know how to teach people to write one? Your own teachings, which you apply to your writing, isn't working when you write a script, yet you charge people to teach them those very same principles? Really? Would you take cooking lessons from a chef who's never could a high quality meal? I know all this because I was professionally taught how to write in conflict and many other screenwriting tools (not formulas). Let me be very clear. This is not at all to brag. It's to outline that I know what I'm talking about in regards to what I've said above. I was not discovered by someone. I paid a writer who left the industry, who teaches what they know. I did that for over 3 years with them. I know conflict when I see it. What you are saying is in no way, conflict. You are spreading misinformation. If you really, really care about teaching writing, and not about views and revenue, you will take this down...but I know you wont. All I hope is that aspiring writers will read this and move on to better sources of information.
This series is really awesome! I like how you organized everything. Found this after discovering the story circle. Community is just about my favorite show. I've decided to join your Facebook group. Signing up now. Name's John Smith on FB 😃👍
I wonder if you could slot an institution into Harmon’s story circle so it can be used for sociological storytelling in place of individual focused psychological stories
your videos are always really informative. i don't write as often as i used to, but i always keep them in mind whenever i start something. these videos have been very helpful.
