How Writers Ruin Their Endings - Jill Chamberlain

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Jill Chamberlain is the founder of a screenwriting school, a script consultant, a screenwriter, and the author of The Nutshell Technique: Crack the Secret to Successful Screenwriting.
The Nutshell Technique is considered the go-to manual many professionals swear by. It's on the syllabus at film schools all over the world and has been published in Mandarin Chinese, Korean, and Italian, and in audiobook format.
As a script consultant, Jill has fixed and fine tuned scripts for Oscar-nominated screenwriters, top television showrunners, screenwriters whose movies have made over a billion dollars at the box office, award-winning independent filmmakers, and for many, many spec script writers.
In 2006, Jill founded The Screenplay Workshop with Jill Chamberlain (www.thescreenplayworkshop.org) where she has personally taught thousands of screenwriters feature film and episodic television writing. Complete beginners to Emmy-winning screenwriters and award-winning producers enroll in her classes.
Find out more about her and her script consultancy at jillchamberlain.com.
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21 апр 2024

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@filmcourage 23 дня назад

What does it take to write a great climax? Jill shares her thoughts in this video - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-SpBGiZnaf90.html

@pcdm43145 Месяц назад

With all due respect, I think Ms. Chamberlain missed the point of the ending to _Casablanca..._ Rick would probably never love another woman as much as Ilsa, but they both needed to go their separate ways, to do their part for the cause. Ilsa goes with Victor to spread the word about the Nazi atrocities, and Rick goes off with Louis to sabotage the German Wermacht. I mean, he lays it all out in the airfield speech: _"...The problems of three little people don't amount to a hill of beans in this crazy world..."_ Here's lookin' at you, kids.

@tam653m Месяц назад

I really appreciate insight like this, but as a working writer, it drives me CRAZY to hear people talk in absolutes like this. "This normally doesn't work," or "This usually causes a big issue..." are all good. But, "You cannot do this," and "This does not work," are total and complete BS notions. Immediately causes me to discount what the person is saying because any kind of absolute must-do-this approach is really the only absolute no-no in writing.

@ssssssstssssssss Месяц назад

Yeah. Ultimately what works depends on the questions you want to answer, but it is different if you want to write for a popular audience. Then you have to apply constraints of what your target viewer/reader will likely enjoy. These type of advice tidbits are just heuristics.

@puffy9257 Месяц назад

I felt the same way too. Maybe she just wants a formula but I can think of so many tragic stories where everything just goes wrong from start to end.

@tam653m Месяц назад

@@ssssssstssssssss I guess it applies if you are just starting out and your goal is to sell a script. But that should be stated. Maybe that's her mindset. Still drives me batty.

@tam653m Месяц назад

@@puffy9257 What she's saying certainly does have merit. Carlito's Way comes to Mind. Or Heat. But no educator should frame it as a MUST. I guess I would agree that a brand new writer should almost surely employ what she is suggesting if the goal is to sell a script. It just makes me insane that she is talking as if that's the only way to make a movie work. It most certainly is not.

@puffy9257 Месяц назад

@@tam653m yeah same here. I don’t know why she’s talking in such absolutes when anyone involved in creative work knows that there is no one way to create produce good work and that there are often successful exceptions. She seems to really believe what she’s saying though. Which is why I’m discounting her advice from now on.

@reallymakesyouthink Месяц назад

She is brilliant. It takes a while to understand her theories but they make a lot of sense.

@4inchesofpleasure Месяц назад

She is indeed brilliant! What is your favorite screenplay of hers?

@reallymakesyouthink Месяц назад

@@4inchesofpleasure I have no idea what films she has written herself. As far as I know she's more of a consultant than a writer.

@leebishop7591 Месяц назад

Would love to hear Jill dissect Rebel Moon 1 and 2. Those movies are....🤦🏾‍♂️🤦🏾‍♂️ I have so many questions for her.

@partridge9698 Месяц назад

To correct an error in the sub-titles: 'climactic' relates to the climax, 'climatic' relates to the climate.

@hussdiesel Месяц назад

to me she's saying "climatic" repeatedly, and it drove me to the comments to find this lol.

@borderlesscuriosities9476 Месяц назад

Love this!! All of this totally makes sense about every season of Supernatural 😆

@EnterTranscend Месяц назад

Her saying "no, you could have had it all" reminds me of the movie 'Heat' (1995).

@oliversmith797 Месяц назад

Jill is talking about the requirement of poetic justice to make tragedies satisfying, but it doesn't always have to be that way. In Moulin Rouge and Romeo and Juliet "Bad things happen" to the characters that are not inevitable or by design of their charcter flaws. But both stories do feature an "up, up, up", most notably in Moulin Rouge. Christian and Satine beat all the odds and achieve a euphoric happy ending immediately before tragedy strikes, so the audience still gets that cathartic emotional fulfillment. In Romeo and Juliet, the ending isn't entirely tragic, despite the lovers deaths, in so far as it brings peace to the warring families. So my advice for a tragic ending, is to *also* include a happy ending of some kind.

@johnclay7644 Месяц назад

informative interview

@kdott9476 Месяц назад

“The character has to be written well.” “The story has to be written well.” “The climatic choice has to be earned.” Gee…thanks.

@ROTDTpodcast Месяц назад

I love this channel

@filmcourage Месяц назад

Cheers!

@cinematography212 Месяц назад

When writers, students, or teachers equate "happy ending" with "good ending", you know you're in trouble.

@Maerahn Месяц назад

I think tht's why 'Breaking Bad' worked so well; at first we got to see Walter White defeat all the odds and get one over on the haters, and we were all like "Yeah, you GO, dude! Stick it to the MAN!" Even when he started doing really morally questionable things, for a while we could still excuse it because he was only hurting people who were worse than him. But then it got to a point where we were going "Oh.... no dude, you're going too far now..." and when he finally met his demise, it felt inevitable; he flew too close to the sun, ignored all the warnings - and he got burned. Even if we're sad that it happened, and wish things could've turned out differently, we can still see why they didn't.

@catpocalypsenow8090 Месяц назад

Maybe this is what they tried to do in GOT.

@333joelelias Месяц назад

Curious how she views Hereditary... such a tragic ending for the family but no ups at all.

@matthewpaul6904 Месяц назад

Like how we are with "Sweeney Todd" in his desire for revenge. But through his blood lust, he lost more than he ever imagined.

@psyKater2000 Месяц назад

Rosemary's Baby is in my mind a tragedy, but I seem to fail to see what flaws she has or what kinds of mistakes she makes - is "being naive and disbelieving" enough of a flaw?

@devianskills1107 Месяц назад

This is why fiction is boring now. It's going around in circles, if not nowhere at all. It's all recipes and templates, gatekeepers and such. You can't do this, and you must do that. Yes, there are more efficient ways to do things, but in such a dynamic world, why limit storytelling in such a way? And people wonder why there is nothing new under the sun.

@micotellsart 16 дней назад

The death of new ideas in storytelling has nothing to do with the pressence of structures or patterns and teaching them. These structures are actually hepfull to take your ideas and organizing them. That's why many new ideas usually fail, specially with major audiences. They are purely focused on their "grandious original ideas" that they are too arrogant to care if their audience also care, so they forget of things like tensions, increasing action, clarity in objectives, etc. Narrative structure is not there to limit you, is to help you organize your ideas in compelling ways. After having the hummility to understand what others have discovered in this art, then you can fill it with your totally new awesome characters and messages and settings.

@bravelittleroomba Месяц назад

'Climatic'....I do not think that word means what you think it means.

@aztro187 Месяц назад

Those, this is it, the end!!! Movies suck!... If you know what i mean hehe

@BeckerFlag Месяц назад

Every young modern "writer" should be made to watch this channel cause none of them have a clue as to what they are doing.

@vincentstephen3716 Месяц назад

Film school ideas like this are exactly why Americans make the same movies over and over again

@ssssssstssssssss Месяц назад

Memento was a pretty satisfying tragedy and I don't think I ever felt it was going up, up, up as she puts it. But maybe I'm misinterpreting it or she's talking about what's satisfying to your average viewer. Nightmare Alley would be something more along the lines of what she's talking about.

@EnterTranscend Месяц назад

Also The Godfather and Heat

@Respect2theFallen Месяц назад

I think that if you were to relate it to what she's saying the ups in Memento could be it seems promising that you and him are simultaneously figuring out the truth only to find out it was never the truth because you can't count on him as a reliable narrator. I didn't really see the definition of tragedies the way she defines it either I never looked at it that way for example Hereditary but at the same time you could see some of it in there too however they might be very subtle ups and fewer than you would use in her examples. Idk I'm just blabbing at this point.

@reallymakesyouthink Месяц назад

@@EnterTranscendGodfather isn't a tragedy. Michael rises to Godfather, it's a Comedy not a tragedy. Bear in mind she's referring to the Aristotlian definition. As for Heat it depends who you call the protagonist. If it's Pacino character it's a Comedy, if De Niro it's Tragedy. Even then his character has success before the final job.

@sophiahoma4285 Месяц назад

I think memento, like a previous reply said, the hero does progress through the story. At least in the narrative we're given, he up up up succeeds in overcoming his memory difficulties and figuring out who killed his wife, finally gets revenge. Then the ending, he makes a choice where he throws that triumph away.

@ssssssstssssssss Месяц назад

@@Respect2theFallen Yeah. Perhaps the ups can be more subtle or at least there can be the promise of overcoming the flaw. I have seen tragic social problem films that somewhat violate other things she said like having the tragedy being primarily due to the environment/circumstance more so than a character flaw. I think it's best not to take what she says as gospel.

@sicco5 Месяц назад

Hollywood culture is unable to write a good ending. Thats not technique. Thats money. When a show ends the writer knows the gravy train is over. Usually the original producer or director is already gone. Major stars leave the sinking ship. So instead of writing for posterity they write a lazy garbage ending or it gets rewritten by a replacement. Thats how you get the soprano’s, Dexter, HIMYM etc. Hollywood has created a new way to turn a good ending bad: sequel trillogy. Read; more cash grabbing.