Visit my website: www.practicalscreenwriting.com Join the Discord: / discord This is a clip from a recent livestream. I'm live M-F 11am EST. #screenwriting #storytelling
Tyler, just wanna honor you for your selflessness and determination/desire to help so many tell effective stories, as it is so intrinsic within us. I hope you realize that you are part of preparing a generation to tell stories that will shape hearts and minds and ultimately lead people in a better direction. I thank God for you bro! Thanks for making storytelling just that much more attainable. You break it down well and encourage us to keep going. Its tough to feel like we're being kept out of this knowledge and that it's out of reach, yet you present it in a way that accessible, and simple to grasp and that deserves to be acknowledged. Thank you bro, keep it up! Any lies that try to discourage you with what you are doing, you can shut them out knowing that you are right there in your lane, helping so many! God bless you, remain humble and thank you again lol! 🎉🎉🎉
Thank you for the kind words! They mean a lot. I am very happy to see writers evolve in their thought processes and in what they put onto the page. I will keep doing what I'm doing! And you do the same! Keep writing and keep creating! 🔥🔥🔥
To be good storytellers we need to guide and direct the audience’s thinking process as well as their emotions when engaging with the story. We do this by answering 4 key questions our audience ask when engaging with a story. 1. Whose story is this? 2. What’s happening? 3. How does what’s happening point forward or backward to something. 4. Where in the story do I need to look for emphasis to follow the story and arrive at the story’s resolution and takeaway. The story circle is a great tool to use to accomplish this.
Tyler Mowery, I remember when you saved me and my parents lives, we were walking in a dark alley then suddenly, three people were pointing their guns at us, they were about to pull the trigger, but then you explained what philosophical conflict is to them and they were in so disbelief and distracted that they fell unconscious into a coma for 100 years.
You have helped me begin to write my series that I will be uploading the first episode some time in June and you have helped me think of ways it should end so again thank you for helping me make a series that me and my friends will make this summer
22:26 lmao ah yes, what cinema was made for It's a lot more emotional also because the non-verbal implication just clicks. YOU get it, no one is explaining it TO YOU. It's a lot more powerful.
While I do think all this is a bit too character-centric and neglects the plot and setting side of things a little, I have to admit that you've made a good breakdown of the fundamentals of character arcs. Especially that story circle, I've seen it analysed many times but never has it felt so clear and easy to understand as "character, situation, problem, choice, consequence, problem, choice, consequence". My issue with the story circle (and hero's journey) has always been how it kind of glances over the middle part of a story, but framing it as "the consequences of the first choice" does help give some direction to it.
Tyler why don’t you write a model script of your own and show us? It is hard to follow you as you give a lot of different advice in each of your videos. So please make a model script following your advice so that we can learn
Alter, Lovebuster, MCofficial... They don't follow the story circle rules, but their content are amazing. It's waste of time to use the story circle when it comes to writing a short film. Rick and Morty isn't even a short film (the story circle works because we're familiar with them. That's why the story circle can work in short time). You can't get the full time to complete the story circle when writing a short film. Damn... I wasted a year trying to apply this shit.
I'm sorry. No one, not even you, creates his own soul. Our soul is given to us, and is separate from our character, separate from our beliefs. Our soul is our very existence, the core of our being, the equivalent to some extent, of our body, but far surpassing our body in importance and essence.
The Indiana Jones example is very much cherry picking to fit the story circle, those films, while great, do have a formula, much like the James Bond films. The story circle seems to satisfy a handful of cheery picked films, and that's the luxury of formulas...where you comb through 1000s of films and you find that a few line up with the formula you're selling...what about the 1000's of films you didn't mention that absolutely do not meet that formula? ...it's such a cliched thing with gurus and formulas, here's my 10 examples i found, therefore this is how you should write your screenplay. Not every great film has the character get what they want at the midpoint, Why, @ the midpoint of every story, does the character have to think they achieved their goal? That is so inorganic, think about it..what about Seven, Alien, Memento, Shawshank Redemption, Terminator, The exorcist, Misery, Apocalypse Now, No Country for old men, Oldboy, Prisoners, The Silence of the lambs...on and on and on and on. Each great story is unique, and the writer of a great film kept the story structured and engaging because they knew how to deliver context in an organic and engaging way, not to satisfy a formula, but to satisfy the unique experience they were going for by delivering essential context in a way that felt motivated using a tool like compelling conflict, something that i know for a fact, based on watching him, Tyler does not know anything about. Tyler is so inaccurate about unique storytelling, criticising it as being unable "to clarify your mind". That is so naive and condescending, story beats exist and happen in a story to satisfy the storytellers unique experience to deliver the story they need to tell. Just imagine, for a second, every story on Earth, satisfying the story circle, where at the midpoint, they get what they want, and then there's a surprise problem, just imagine forcing every film you love into that formula, how painful. Who cares about a formula, haven't we seen 1000's of those, there's a counter argument, and Tyler, you can style it up all you want with "philosophical conflict" and all that, but all that does to the greater story is, it tells you how the character wants to be seen, and how the character sees themselves...we don't know anything about the character, it gives us ZERO essential context about the character and the story they are in. Compelling conflict does that, and Tyler, time and time again never is able to articulate the building blocks of. I do and I can prove it. If you don't write in compelling conflict, no one will see the film that is playing in your head, because alll they'll see is a formula and people spout how they see themselves as people and their opinions about them and the world, true conflict organically delivers essential context, and all the fractal story circles in the world might do one or two but not all that's needed to write a script that can launch a career. Are there formulaic films being produced? yes, but not all films, not great films, tent pole films mainly, not by writers trying to break into the industry, those scripts wont get any traction today. There are no rules, there are tools, formula's died long ago and no studio, agent, manager, producer wants to touch a script that has one from an unknown writer. Tyler, this is not aimed at you, because I know you live in your story circle formula world and nothing else, ignoring modern day, professional storytelling and actual compelling conflict, question driven stories and how to set those up, some of the many….many tools needed to launch a career. This comment is here for any viewer who is unfortunately taken in by your outdated, naive way of teaching how to write screenplays. Just so you know, this guy does not have the necessary tools to teach writing that can launch your best possible career. I know, I've been mentored by actual professionals who have written screenplays (Tyler hasn’t), screenplays that have sold to major studios and are repped in major agencies and I’ve seen enough of this guy’s videos to see he has zero ability to differentiate between the tools needed to write, nor does he have the understanding to be able to articulate how those tools are constructed in any shape or form, just the same formula over and over. If you are reading this and you are a writer looking to improve, if you are given a formula by someone as the key to make your screenplay better…walk away, this might of worked 20 years ago, but not today. The industry has changed. No one cares about a formula. I'm just the messenger on this, it's all over the industry nowadays. I've heard it.
