You are on page 1of 81


How to Write a Blockbuster
Screenplay in Just 10 Days
- EXPANDED EDITION by Jonathan A. Browne

Copyright © 2008 by Shamrock New Media, Inc.
You may not copy, redistribute, publish, retransmit, transfer, share, modify or
create derivative works, or in any way commercially exploit, any content
contained in the publication, in whole or in part, without the prior written
consent of Shamrock New Media, Inc.

This publication contains the opinions and ideas of the author and should be
used for general information purposes only. Neither the author nor the
publisher is engaged in rendering legal, tax, investment, insurance, financial,
accounting, or other professional advice or services. If the reader requires
such advice or services, a competent professional should be consulted.
Relevant laws vary from state to state. The strategies outlined in this
publication may not be suitable for every individual, and are not guaranteed or
warranted to produce any particular results.
This publication contains statements and statistics believed to be reliable, but
neither the author nor the publisher can guarantee the accuracy or
completeness of any of the information contained in this publication.
No warranty is made with respect to the accuracy or completeness of the
information contained herein. The author and publisher specifically disclaim
any responsibility for any liability, loss, or risk, personal or otherwise, which
is incurred as a consequence, directly or indirectly, of the use and application
of any of the contents of this publication.
Each individual’s success depends on his or her background, experience,
dedication, desire and motivation. As with any business endeavor or financial
transaction, there is an inherent risk of loss of capital and there is no guarantee
that you will earn any money.
This publication is not officially associated with, endorsed by, affiliated with,
or sponsored by any of the individuals or organizations written about in this
The names and identifying characteristics of certain individuals referenced in
this publication may have been changed.

The 10-Day Screenplay by Jonathan A. Browne
Copyright © 2008 Shamrock New Media, Inc.



PART ONE: Full-Speed Screenwriting …………….…..……................. 5
Can You Really Write a Screenplay in 10 Days? …..……………... 6
The Benefits of Fast Screenwriting ………………………………...9
It’s Time to Stop Dreaming and Start Writing! ……….…………... 10
Seeing is Believing ………………………………………………... 12
You Have More than One Shot …..………………………………... 14
To Outline or Not to Outline ……….…………………….………... 15
How to Use This Book ………………...…………………………... 17

PART TWO: Before We Start the 10-Day Course ………….................. 18
The Five Requirements ………...………………...………………... 19
The Five Movies …………………………………………………... 20
The Idea ………………………………….………………………... 22
Internal Conflict ………………….………………………………... 26
The Two Key Questions ……….....……………...………………... 30
Subplots …………………….……………………………………... 31
The “Tentative” Ending ………………….………………………... 33
The Characters …………..……….………………………………... 34

PART THREE: The 10-Day Course …………………...…….................. 35
Our Plan of Attack ……………………………….………………... 36
Introducing the Nine Essential Chapters of Drama ……...………... 37
Just Do It! ………..…………….…………………………………...39
Day 1: Character Development …………………..………………... 40
Day 2: Writing Chapter One ……….……………………….……... 47
Day 3: Writing Chapter Two ……………………….……………... 50
Day 4: Writing Chapter Three …………………………...………... 54
Day 5: Writing Chapter Four ………..…………….…………..…... 56

The 10-Day Screenplay by Jonathan A. Browne
Copyright © 2008 Shamrock New Media, Inc.


Day 6: Writing Chapter Five ……………………..………………...58
Day 7: Writing Chapter Six ………..……………………….……... 61
Day 8: Writing Chapter Seven ………..……..…….…………..…... 63
Day 9: Writing Chapter Eight ………………..…..………………... 65
Day 10: Writing Chapter Nine ………..…………………….……... 68

Your Script Is Done, Now What? ……………………...……....….…….. 72
Appendix 1: If You Absolutely MUST Outline ………………….…….. 75
Appendix 2: Writer’s Resources ………………….…………………….. 79

The 10-Day Screenplay by Jonathan A. Browne
Copyright © 2008 Shamrock New Media, Inc.


PART ONE: Full-Speed Screenwriting The 10-Day Screenplay by Jonathan A. 5 . Inc. Browne Copyright © 2008 Shamrock New Media.

But. Stallone wrote the script in just three days and the rest. I’m going to show you exactly how to do it. is The 10-Day Screenplay by Jonathan A. Period. Browne Copyright © 2008 Shamrock New Media. Inc. as they say.” Allow me to first offer a short and sweet answer to your question: Yes. Now that we’re all on the same page. 6 . some of the most successful screenplays ever written were completed in just a few days. You can write a great screenplay in 10 days and in the pages that follow. you will have written a blockbuster screenplay. The idea for Rocky was born. In fact. Sylvester Stallone was living in utter poverty when he saw an unknown boxer last nearly 15 rounds with Muhammad Ali.Can You Really Write a Screenplay in 10 Days? The goal of this system is simply this: 10 days from now. most writers I know would never even entertain the idea of taking so long to complete a script. Now. you’ll have a finished script capable of blowing your readers away and launching your screenwriting career! The idea that writing a screenplay takes six months to a year is just preposterous. do some writers take 12 months or longer to complete their scripts? Of course. most instructors I know say it takes months or even years to write a great movie. Simply follow this program and in 10 days. I’d like to address the question I hear most often: “Can I really write a blockbuster screenplay in just 10 days? After all. you can.

Eszterhas sat down. It became one of the most successful plays of all time and won the Pulitzer Prize for Drama. In other words. Kevin Williamson was house-sitting one night when he and a friend started reminiscing on the phone about old slasher movies. Browne Copyright © 2008 Shamrock New Media. The 10-Day Screenplay by Jonathan A. and wrote Basic Instinct in just 10 days. And then there’s Joe Eszterhas. those first drafts written were nearly exactly what ended up on the big screen. it rejuvenated the teen horror genre and became one of the surprise hits of the 1990s. with no clue how the story would end. 7 . he shipped the script to his agent and in just three days. he had sold it for $3 million. When the movie was made. Williamson wrote Scream in just four days. That means Eszterhas went from having a simple idea to having $3 million in the bank in just 13 days! Arthur Miller wrote the play Death of a Salesman in just a day and a half. all alone in this big house. It spawned the idea for what would become the opening scene in Scream with a stalker quizzing his victims on horror movies of the past.Hollywood history as the movie became one of the most successful of all time and made Stallone an international superstar. It’s worth noting that in the case of both Scream and Basic Instinct. the first draft ended up being the final draft. The conversation led to Williamson getting himself spooked. The script created a hot bidding war and made Williamson one of the highest-paid screenwriters in Hollywood. When he was finished. Inc. He came up with the idea of a beautiful crime novelist becoming the suspect in the case of her boyfriend’s murder.

if writing a great screenplay doesn’t have to take six months. Browne Copyright © 2008 Shamrock New Media.So let me ask you. I think I know your preference. wouldn’t you prefer to finish your script in just days instead of months? Because you’re reading this guide. The 10-Day Screenplay by Jonathan A. Inc. 8 .

dull. Browne Copyright © 2008 Shamrock New Media. The result is that these screenplays read like 99% of all the other screenplays out there . and unoriginal scripts. Beautiful Girls. but allowing yourself to spend too much time on a script actually makes your script worse. The truth is that spending TOO MUCH time on a script is actually one of the worst mistakes a screenwriter can make! It leads to boring. The 10-Day Screenplay by Jonathan A. the hugely successful writer of Con Air. Scott Rosenberg.The Benefits of Fast Screenwriting The next question I so often hear is. “You're talking about 120 pages with a lot of white in them. character. Inc. How can it take you six months to write that? It should be vomited out as fast as you can manage to get it out. High Fidelity.” The danger with taking too long to write a script is that writers often secondguess and tweak every little scene. 9 . and I think it’s stupid. After all. just because something can be done faster doesn’t always mean it should be done faster. “Why should I write a movie in just 10 days?” This is a logical query. has often pointed out the necessity of being able to write quickly. idea.which certainly won’t get your script noticed or sold! The bottom line is this: not only can it be annoying and demoralizing to hit a dead end after working on a script for months on end. Things to Do in Denver When You're Dead. “I have friends who take six to eight months to write a script. not better.” Rosenberg said. and many other top-selling screenplays. and line until the screenplay loses all spontaneity and heart.

it’s nothing more than excessive procrastination and it dooms 99. it’s time to sit down and start writing! Another bad excuse I often hear for procrastinating is when a writer says he or she is waiting to get “in the zone” before they start writing. When you’ve got an idea for a movie and some great characters. you’re essentially quitting before you ever give yourself the chance to succeed. in this business. The 10-Day Screenplay by Jonathan A. As they say. doing this.” which is code for. “I just don’t feel like writing. all you have to do is follow the step-by-step process laid out in this guide. When you’ve got the dream. only quitters. deep down I know that I’m just too lazy to do it!” This may sound harsh. Ultimately. “Although I may tell people I want to be a screenwriter. And when you procrastinate endlessly with either the “planning” excuse or the “in the zone” excuse.99% of all screenwriters before they ever get started. Inc.” which is code for. There’s a clear difference between dreaming and writing. This is actually code for. it’s time to sit yourself down and WRITE THE MOVIE! The 10-Day Screenplay system will force you to get your movie down on the page. They waste months. “I’m too lazy to write. if not years. but it’s the truth. 10 .It’s Time to Stop Dreaming and Start Writing! The single biggest problem most screenwriters have is that they spend way too much time “planning” the perfect script. Browne Copyright © 2008 Shamrock New Media. there are no failures.

you’ll be finished with your script! The 10-Day Screenplay by Jonathan A. the screenwriter of mega-hits like Die Hard and 48 Hours. In 10 days. “Deadlines are the greatest motivator I know. how could they not be?” Tom Schulman (What About Bob) agrees: “I can always think of a million good reasons why I shouldn’t start a project on a given day. deadlines are the ultimate procrastination slayer and by following this program. procrastination is the writer’s ultimate enemy. Inc. you’ll be given a new deadline each day. It’s the only thing that really pushes me over. offers this advice. Browne Copyright © 2008 Shamrock New Media. The 10-Day Screenplay system utilizes one of the most powerful tools a writer has: the deadline.” No matter how successful and accomplished a writer may be.You see. However. Steven DeSouza. 11 . so I’ll give myself a deadline.

“I picked up the Syd Field book and looked through it. Lethal Weapon 2) says.Seeing is Believing The fast-paced writing method we’ll be using will also keep your script exciting. You know what makes a good story.” This advice seems to fly in the face of that offered by those famous “structure gurus” who teach screenwriters to spend countless hours conforming their moves to rigid rules. most wannabe screenwriters are clueless as to how dull and unoriginal their scripts really are. Inc. and I thought. 12 . Browne Copyright © 2008 Shamrock New Media. “The biggest and most helpful rule I have is. Something to Talk About. And it’s going to be boring for an audience. As mentioned earlier. this is just way too structured. I know what makes a good movie. when I’m bored. Indiana Jones and the Last Crusade. Callie Khouri (Thelma & Louise. I could never write like that.” Amateur writers have a tendency to get obsessed about detailed outlines and the structure rules espoused by today’s latest screenwriting guru. Jeffrey Boam (The Lost Boys. This is because they tinker with them until they end up reading like every other boring script out there. I know what I want to see. It’s time to break through the rigid chains that may be bottling up your creativity and just start writing the script! The 10-Day Screenplay by Jonathan A. I’m just going to tell this story. Avoid this temptation. By following this rapid-fire system. the screenplay is boring. Divine Secrets of the Ya-Ya Sisterhood) goes a step further saying. You know what kind of movies you like. you’ll notice that your creative energy will stay in overdrive and your movie will be spontaneous and “real” throughout.

Many successful screenwriters have discovered that the key to having a script read fast is making sure that you write it fast. 13 . “Most studio executives I’ve met think that if it takes them longer than 45 minutes to read a script. Browne Copyright © 2008 Shamrock New Media. like a great novel. reads quickly. Inc. then the script isn’t very good. The 10-Day Screenplay by Jonathan A.This means seeing your script unfold just as your audience will see the movie play out.” This is an important point to keep in mind. He says. Joe Eszterhas has pointed out that a great screenplay.

But you don’t show that to anybody. “I try to write my first draft really quickly. “When I start to watch the movie in my head like a giddy fan. then I know I have something. But first. That’s the slab of marble you’re going to chisel. You can always go back in and change something later if you don’t like it.You Have More than One Shot Another important tool for freeing up your creativity is remembering that you have more than one shot at writing your script. Browne Copyright © 2008 Shamrock New Media. don’t sweat the small details when you’re writing the first draft. but if you start writing with the expectation that this initial draft has to be perfect. That’s just the document for you to edit. Nobody says that your first draft has to be your final draft. you’ll rarely get past page one. 14 . you have to GET IT DOWN ON PAPER! Often times. Andrew Marlowe (Air Force One) says. Inc.” But he also adds. I write the first draft with flaws and warts and zits. The 10-Day Screenplay by Jonathan A. you may find that your first draft really does end up being your final draft.” The point is. You can always come back and add new twists later. There is no reason to feel the pressure of writing a perfect script the first time through.

” Their focus is on evaluating stories after they are created and they normally lack the perspective of going through the actual creative process.” The 10-Day Screenplay by Jonathan A. In fact. to take a close look at the people who have encouraged you to outline in the past. This constricts the characters’ voices and their actions and results in a lifeless script. He states bluntly. But I urge you. they were either writing professors or seminar “gurus. “Does The 10-Day Screenplay system require outlining?” The answer is no. I’ve found that outlining usually stifles creativity. It will lock the character in step too much and not give them enough room to plot the course of their own actions in the script. Most likely. Browne Copyright © 2008 Shamrock New Media. for a moment. they want students to do outlines so that they can decide whether they are “right” or “wrong” before the script is actually started. It causes the writer to try and plug in stale characters into their plots instead of allowing their characters to come first and dictate the story as it happens. This is not the way creative people actually work.To Outline or Not to Outline All this leads us into the next logical question. Therefore.” I believe that most of these individuals encourage you to outline because they’re expertise (if you want to call it that) is in analyzing scripts “after the fact. “Don’t do an outline for yourself. Inc. I understand that this stance doesn’t sound like the conventional wisdom you’re used to hearing. I go out of my way to discourage writers from outlining. 15 . Joe Eszterhas agrees. Give them the freedom to tell you what it is they want to do or say.

[…Having said all that. which will ensure your conflict continuously rises throughout your script. But these nine chapters shouldn’t be seen as a detailed turn-by-turn road map for your script. Quentin Tarantino. Browne Copyright © 2008 Shamrock New Media. I encourage you to keep the outline as brief as possible and I’ve included an outlining method in the appendix of this guide. it’s often a very bad idea to outline your story before you dive in. see them as more of a compass that will simply make sure you’re headed in the right direction.] The 10-Day Screenplay by Jonathan A. David Benioff. In fact. Some of these writers swear that outlining is essential. To be fair. I’m not going to argue with their results and try to tell them that their writing process is all wrong. The point is. This doesn’t mean that you should have no idea at all where your script is heading when you start. if you’re one of those writers who absolutely positively can NOT start writing without an outline. Instead. contrary to what instructors with no experience actually writing may have told you. Inc. please try to follow The 10-Day Screenplay system without an outline first. later in this guide you’ll be introduced to the Nine Essential Chapters of Drama. Shane Black…the list could go on and on. Donald Westlake. There’s no one right way to write and if a person absolutely must have an outline to write a good story. 16 . Elmore Leonard. Stephen King.Perhaps this is why some of the most successful writers of our time choose not to outline. I will admit that some truly outstanding writers DO outline. I have good reason to believe that you will find it a much more enjoyable experience and it will result in a much better finished product. who am I to argue with them? All I ask is that before you’re convinced that you have to have an outline to write your screenplay.

And remember: there are no failures in this business. Browne Copyright © 2008 Shamrock New Media. Inc. But before we move on. but as a home-study course that must be completed on time. See it not as another screenwriting book. only quitters. This is meant to be an action guide. which means you need to take ACTION as you’re reading it.How to Use This Book It is almost time to begin your journey. The 10-Day Screenplay by Jonathan A. 17 . I’d like to offer one more suggestion for getting the most out of this guide: Don’t view this as your typical book to curl up with at the end of a long day and read while you fall asleep.

Browne Copyright © 2008 Shamrock New Media. 18 . Inc.PART TWO: Before We Start the 10-Day Course The 10-Day Screenplay by Jonathan A.

This will be the movie’s External Conflict. which we’ll be explaining shortly. 5) You need to make sure you have compelling and original characters for your movie. 4) You need to have a “tentative” ending in mind. you need to have five things in mind: 1) You need to have a great idea for your screenplay. Browne Copyright © 2008 Shamrock New Media. 19 . The 10-Day Screenplay by Jonathan A. 3) You need to be thinking of any subplots that might enhance your movie’s External and/or Internal conflicts. which also will be explained shortly. We’ll go through a simply process to ensure we have all five of these requirements in this section of The 10-Day Screenplay. 2) You need to define your hero’s Internal Conflict.The Five Requirements Before we get started with The 10-Day Screenplay course. Inc.

It made Sylvester Stallone an international superstar and spawned a franchise of six movies that grossed more than $1. they didn’t rely on huge budgets to attract attention). they each were made relatively cheaply (that is. it will be extremely helpful if you go back and watch these movies before moving forward with this course. 20 . These five movies were chosen because they were all incredibly successful. If you haven’t seen or don’t remember these five movies. the stars in these movies were not big stars before these movies were made. • Home Alone – Family Comedy A “fish out of water” family comedy that was made for $18 million and grossed $478 million. The movie won the 1976 Academy Award for Best Picture and is typically viewed as the greatest “sports” drama of all time. I think it’s much more appropriate to use a few movies for ALL of our examples. To this day. and they didn’t rely on “star power” to be successful (for the most part. Browne Copyright © 2008 Shamrock New Media. they span five different genres and several decades. Inc.The Five Movies Now is a good time to address the five movies we’ll be using for examples throughout this course. it is the most successful “Christmas movie” The 10-Day Screenplay by Jonathan A.). Instead of citing dozens of different movies for unique scenes and concepts. It began a franchise of three movies. which grossed nearly $1 billion.1 billion. The movies are: • Rocky – Drama A drama that was made for $1 million and grossed $225 million.

The movie also made Bruce Willis one of the hottest stars of his day and created a new generation of “everyman” action stars (as opposed to the Sylvester Stallone/Arnold Schwarzenegger “surreal” action stars that were popular at the time Die Hard was made). the movie grossed $173 million and launched a three-movie franchise that made more than $500 million. Browne Copyright © 2008 Shamrock New Media. these are the only five movies we’ll be referring to from here on out.1 billion. • Scream – Horror This was the horror movie that came out of nowhere in 1996 and awoke the dead genre of teen thrillers. Inc.of all time (an important feat considering that there is always high demand for Holiday movies each year). Made for $23 million. the movie grossed $370 million and is the No. The four-film franchise grossed more than $1. it grossed $139 million and led to three sequels. The 10-Day Screenplay by Jonathan A. • There’s Something About Mary – Romantic Comedy This romantic comedy made both Cameron Diaz and Ben Stiller hugely famous superstars. 5 highest-grossing romantic comedy ever made. 21 . • Die Hard – Action This action movie created an entire subgenre known as “Die Hard in a…” Made for $28 million. For ease of understanding the concepts we’re about to present. Made for $14 million. You will find that hundreds of other movies could have been used in place of these five to serve as examples for what you are about to learn.

its External Conflict. The External Conflict immediately raises the movie’s main question that must be answered. That is the movie’s idea.” That is what Rocky is about. we’re actually referring to the External Conflict. The question that must be answered: Will Rocky Balboa find a way to beat the heavyweight champ? For Home Alone. Even though characters are what truly make a movie great. if the main idea for your movie isn’t compelling. the main idea is: An eight-year-old boy gets accidentally left home alone during Christmas while burglars attempt to break into his house. 22 . which serves as the main plot of the movie. Inc. The 10-Day Screenplay by Jonathan A. the External Conflict is the driving force behind your story. “It’s about a timid and insecure boxer/loan shark collector who falls in love with a shy girl and develops some much-needed self confidence and ultimately comes to believe in himself.The Idea Your movie begins and ends with its main idea. When people ask you what Rocky is about. the movie is about all those things (and those Internal issues are what makes most people actually identify with the film so much). you’d tell them. “It’s about a mediocre club boxer who gets a random shot at the heavyweight championship of the world.” Sure. When we refer to a movie’s main idea. will the hero achieve the goal set forth by the External Conflict? While there will also be an Internal Conflict and perhaps several subplots in every great movie. but if someone asked you what Rocky was about. Browne Copyright © 2008 Shamrock New Media. you don’t tell them. you’ll be grounded before you ever begin.

you can put it through the following fivequestion idea test. the main idea is: Ruthless thieves take a group of people hostage in a skyscraper and an off-duty cop must stop them. The movie takes place in a huge skyscraper and The 10-Day Screenplay by Jonathan A.The question that must be answered: Will Kevin survive being at home alone when the burglars try to break in? For There’s Something About Mary. to track her down? For Die Hard. Browne Copyright © 2008 Shamrock New Media. the main idea is: A guy wants to find his long-lost love. To make sure your idea is a winner. The question that must be answered: Will Sydney survive the killer’s attempts to murder her? Now it’s your turn. but it’s obviously easier said than done. With your idea in mind. there have been dozens of action movies revolving around a group of bad guys taking innocent people hostage. The question that must be answered: Will Ted be able to rekindle his old flame with Mary without her knowing he hired a creepy P. 23 . The question that must be answered: Will John be able to save the hostages? For Scream. Sounds simple enough. the main idea is: a killer is on the loose in a small town while he stalks a teenage girl with tactics made famous in past horror movies. find ways to make your idea unique.I. Inc. simply answer the following five yes-or-no questions: 1) Is your idea similar to anything you’ve ever seen before? If you answer yes. but must hire a shady private investigator to find her. What is the main idea for your movie? Your idea needs to be original and compelling. In the case of Die Hard. What made Die Hard so unique was the setting.

Inc. the Adrian love story is a big part of Rocky and certainly it is a subplot that made the movie much more than a typical sports drama. 2) Is your idea big enough for the big screen? When we’re talking about a “big” idea. Instead. leap off of roofs. For instance. Browne Copyright © 2008 Shamrock New Media. if Rocky had fought for the heavyweight championship halfway through the movie and then carried on with his courting of Adrian. but the movie’s compelling and original main idea is about the mediocre boxer getting a shot at the heavyweight championship.our hero must climb through vents. it’s more likely a 30-minute sit-com episode. and jump through elevator shafts to save the hostages. Suddenly. but it would get very old after any more than that half-hour. Certainly. Home Alone adds the element of burglars targeting the house where Kevin is home by himself. it would be about whether a club boxer was able to find love. be very clear about what the main plot of your movie is and what your subplots are. 3) Does your movie idea instantly present your main character with a recognizable goal? You don’t want to have your movie’s main idea end up being just a prelude to your central question or central goal. Make sure you don’t use the movie’s main idea to lead into a different central question or central goal. There may be a few funny things that happen to this child and to the family that left him. On the same note. then the main idea of the movie would no longer be about whether he could somehow beat the heavyweight champ. 24 . Kevin’s family is trying to get back to him after realizing he’s been left at home. we’re talking about something that will take some time – approximately two hours – to explore. we’ve got a real movie. All the while. If Home Alone was simply about a kid being left at home over Christmas. Instead. The 10-Day Screenplay by Jonathan A.

a conflict that is visual. Don’t think about anyone else first. come up with an idea that you would love to see played out on the big screen. Browne Copyright © 2008 Shamrock New Media. This means it needs to be something we can really see played out as someone watching from the outside. Make sure you’re creating the movie that you’ve always wanted to see. but you need to make sure the movie’s main idea is about an External Conflict. It’s often extremely difficult to make a great movie based on some of the great novels that have been written. 5) And finally. Trying to create a great movie based on what you think would be popular to others is not a smart starting point. if you heard about this movie. The 10-Day Screenplay by Jonathan A. the Internal Conflict is hugely important to the success of your movie. would you be jumping out of your chair in anxious anticipation to go see it? The point here is obvious: make sure you’re writing about something you would love to see. You need to make certain that your main idea revolves around an External Conflict. This is because many great novels take us deep within the character’s mind and we follow the character’s Internal Conflict in a way that is very hard to do in a two-hour movie. Instead. think about yourself and your own interests. Inc.4) Is your movie idea first and foremost about an External Conflict and NOT an Internal Conflict? As you will see shortly. 25 .

Let’s take a look at the Internal Conflict in our five movies: • Rocky – Rocky overcomes complacency (flaw) and takes a real shot at life. but it also must be overcome for the hero to achieve the goal necessitated by the External Conflict in the most rewarding way possible. it is sure to disappoint.Internal Conflict Now that we know our External Conflict (the movie’s main idea) and it passes our five-question idea test. our hero fails to overcome his flaw and ruins his life. but if your audience does not relate to an Internal Conflict in your movie. it’s time to start thinking about the Internal Conflict.) Not only does this internal flaw need to be overcome for the hero to become a better person. but it’s this Internal Conflict that is the difference between a decent idea for a movie and a hugely successful blockbuster. thus teaching the audience a lesson they can believe in. (Or. An Internal Conflict is all about an internal flaw that our character must overcome to become a better and more fulfilled person by the end of our story. in the case of tragedies. Inc. 26 . Browne Copyright © 2008 Shamrock New Media. You can have an outstanding idea and the greatest stunts and visual effects ever filmed. Many screenwriters make the mistake of disregarding a compelling Internal Conflict.” The 10-Day Screenplay by Jonathan A. ultimately proving that he is “somebody. The Internal Conflict is what really connects our audience with our characters and gives them a fulfilling experience when they leave the theater. The Internal Conflict is the “inside” change your character must go through during the course of the movie.

Browne Copyright © 2008 Shamrock New Media. The best movies are those in which every member of the audience can relate to the characters on a very personal level. The regret or guilt he feels is keeping him from reaching his full potential in life. In evaluating your Internal Conflict. The 10-Day Screenplay by Jonathan A. Defeating the three flaws showcased here will always have universal appeal. 1) Kissing Your Past Goodbye This is when your hero has made a major mistake in his past. • There’s Something About Mary – Ted overcomes his insecurity (flaw) and wins over his lost love when he’s finally confident enough to be completely honest with her. Using these three models guarantees an instant connection. they’re things everyone likes to see overcome. Inc. 27 . make sure it falls into at least one of or all of the three Internal Conflict models that make a great movie. • Die Hard – John overcomes his selfishness (flaw) and saves the hostages while also winning back his wife.• Home Alone – Kevin overcomes his immaturity (flaw) to defend his home and also learn the value of family. • Scream – Sydney overcomes her timidity (flaw) and realizes that what happened in the past to her mother won’t happen to her if she doesn’t let it (this gives her the confidence to be aggressive and fight off the killer who is after her). which is eating away at him and affecting his life in a major way.

Inc. This involves our lack of self-confidence. 2) Growing Up When we talk about “growing up” or “coming of age. but something embarrassing (There’s Something About Mary) or horrifying (Scream) that has happened to this person in the past. lack of integrity. Browne Copyright © 2008 Shamrock New Media. 28 . and fear of being truthful and open. Die Hard serves as an excellent example of self-sacrifice. we love to see our lone-wolf hero learn to work with and rely on others for help. 3) Sacrificing We love to see characters overcome selfishness and put others before them. Rocky is a classic “growing up” movie as Rocky must overcome his complacency in life – his fear of taking a real shot at life no matter what the risks are – before he’s able to prove himself in the ring against Apollo Creed and find true love outside the ring with Adrian. The 10-Day Screenplay by Jonathan A. Facing and overcoming these fears is ultimately about growing up. Fear of failure. What causes these dreadful lacks? Fear. Maybe it wasn’t his fault or something he did or didn’t do.It could also be something that happened to our hero in the past. Along these same lines.” what we’re really talking about is overcoming our biggest fears in life. Selfishness is a major flaw that audiences always love to see defeated. lack of ambition. lack of personal will-power. John finally realizes how selfish he has been and overcomes this flaw before heroically saving the hostages (including his wife) from the bad guys. fear of uncertainty.

It truly can take your script from mundane and ordinary to blockbuster success. Browne Copyright © 2008 Shamrock New Media.Note that each of these three Internal Conflict models can. Inc. But you must make certain your Internal Conflict covers at least one of these three models. 29 . and often do. overlap with one another. The 10-Day Screenplay by Jonathan A.

brainstorm your movie’s concept until you’re clearly raising these questions.The Two Key Questions By this point. 30 . Inc. you should have two key questions raised for your movie: 1) External Conflict: Will our hero achieve his goal? 2) Internal Conflict: Will our hero overcome his inner flaw? If you’re not asking yourself these two questions yet. The 10-Day Screenplay by Jonathan A. Browne Copyright © 2008 Shamrock New Media.

Not only does Rocky learn to overcome complacency in his boxing career. These types of movies often become ensemble movies and while there are extremely rare exceptions of such movies being made and being successful. The 10-Day Screenplay by Jonathan A.Subplots Subplots are the minor storylines that intertwine with your movie’s major story line. subplots have the power to take your movie from good to great. but he also becomes more outgoing in his quest to find love with Adrian. they can drag down the entire script and bore the audience. John’s wife is one of the hostages. Inc. They are an excellent tool for enhancing your movie’s External and Internal Conflicts. Let me hammer this home: every single subplot you choose to include in your movie needs to – in some way – advance either the External Conflict or Internal Conflict of the story. making her a major component in the External Conflict as well as the Internal Conflict of the movie. In Die Hard. Browne Copyright © 2008 Shamrock New Media. When done correctly. 31 . However. The love story subplot in Rocky enhances the Internal Conflict of the movie. When done incorrectly. a big problem many writers have is letting several subplots take over their movie without really advancing either the External or Internal Conflict of the movie. the Internal Conflict is selfishness and John learns how selfish he has been in regards to his wife’s career. they should definitely be avoided by the screenwriter trying to launch his career. At the same time. The best subplots should actually advance both the External and Internal Conflict at the same time.

In There’s Something About Mary. the subplot of Kevin’s mother trying to get back home not only plays up the value of family (which Kevin must realize as he overcomes his immaturity). the subplot of Sydney and Billy’s relationship collides head-on with both the External and Internal Conflicts when Sydney is able to overcome her timidity and open up to Billy in a loving way. In Scream. The 10-Day Screenplay by Jonathan A. the subplot dealing with Healy and Tucker is key to the External Conflict as they too are trying to win over Mary. Inc. but it also enhances the External Conflict.In Home Alone. raising the question of whether Kevin’s family will make it home before the burglars break into Kevin’s home. just before finding out Billy is one of the killers and really overcoming her timidity by fighting back and killing Billy and Stu. 32 . Browne Copyright © 2008 Shamrock New Media.

Can you imagine what a different story Rocky would have been had Stallone stuck to his original plan for the ending? You want to have some idea of how your story will end up. 33 . But as Stallone spent time with the character of Rocky. But. while you should have a pretty good idea of how you think you’re movie will end. but don’t be afraid to change the course and let you characters dictate how it all ends up. he became a character that would never in a million years throw a fight.The “Tentative” Ending Before you start writing your movie. Browne Copyright © 2008 Shamrock New Media. As you’re writing. Inc. you may find that the ending that feels right for your characters is no longer what you had originally planned. DON’T BE AFRAID TO CHANGE YOUR MIND when you’re writing your script. In Stallone’s original plan for Rocky. Will Rocky beat Apollo Creed? Will Sydney survive the maniac killer? Will Ted win over Mary? The tentative ending is essentially an answer to your two key questions. you also need to have a general idea of how you think it will end. The 10-Day Screenplay by Jonathan A. it was a much darker movie and the ending was set to have Rocky throw the fight with Apollo Creed.

examining possibilities for the Internal Conflict of you movie has already helped you flesh out your main character. you need to have a pretty good idea of who your main characters are. But before we dive in. Browne Copyright © 2008 Shamrock New Media. Likewise. Obviously. it’s time to get started on the 10day course… The 10-Day Screenplay by Jonathan A. Inc. by now you should have a pretty good idea of the types of characters you will need for your movie. 34 . we’ll be doing some major character development to ensure that you have gripping characters in your movie. there is always someone who wants to see your hero fail and the antagonist needs to be that main someone). On Day 1 of the 10-day course. subplot ideas have probably caused you to give more thought to your minor characters as well.The Characters And speaking of characters. Once you have your main characters in mind. especially your protagonist (main character or hero) and antagonist (the bad guy – remember.

Inc. 35 . Browne Copyright © 2008 Shamrock New Media.PART THREE: The 10-Day Course The 10-Day Screenplay by Jonathan A.

Inc. we’ll be completing one of the Nine Essential Chapters of Drama each day. If you follow this program as it is presented here. to an explanation of what those nine chapters are… The 10-Day Screenplay by Jonathan A. After that. you will have a finished script just 10 days from now. Browne Copyright © 2008 Shamrock New Media. Which brings us. 36 . Our 10-day journey will begin with character development on Day 1. of course.Our Plan of Attack It is now time to start writing your screenplay.

Browne Copyright © 2008 Shamrock New Media. these chapters create a fulfilling dramatic experience. Inc. each of these chapters presents you with clear goals that need to be accomplished. I have found that 99% of all great movies include nine sequential chapters. Avoidance.). As stated earlier. Instead. From the audience’s perspective. etc. 37 . It’s here to make sure your movie is heading in the right direction. From the writer’s perspective. Catalyst II – pages 16-30 • Chapter 3: The Hero’s Journey Begins – page 31-40 • Chapter 4: The Hero Looking Good – pages 41-50 • Chapter 5: The Midpoint – pages 51-60 • Chapter 6: Things Get Tougher and Tougher – pages 61-80 • Chapter 7: Worst Case Scenario – pages 81-85 • Chapter 8: The Comeback – pages 86-95 • Chapter 9: The Finale – pages 96-110 The 10-Day Screenplay by Jonathan A. Internal Conflicts. this should be seen as a compass rather than turn-by-turn instructions for your journey. these chapters will become your tools for completing a fulfilling movie experience for the audience (just like the tools used for character development.Introducing the Nine Essential Chapters of Drama After years of extensive research into what makes a great movie great. On average. not to dictate exactly what must happen scene-by-scene. I want to reiterate that this is not a by-the-numbers kind of structural road map. the nine chapters break down like this: • Chapter 1: Introduction to the Hero’s World – pages 1-15 • Chapter 2: Catalyst I.

And these types of comparisons could go on and on. You will find that these page counts can and will vary a great deal from movie to movie. Inc. Browne Copyright © 2008 Shamrock New Media. however. not necessarily that each chapter must run the length described above.Please note that these page counts/minute counts are average estimates for the typical movie. Chapter 5 in Die Hard lasts 19 minutes while Chapter 5 in Rocky lasts just 5 minutes. do represent the averages for a successful movie. There will be differences between every movie in how long each chapter lasts. 38 . They should NOT be strictly adhered to. For instance. The page counts above. Chapter 8 in Rocky lasts 10 minutes while Chapter 8 in There’s Something About Mary lasts just 3 minutes. While the titles of each chapter are fairly explanatory. The point to realize is that each chapter MUST occur. The 10-Day Screenplay by Jonathan A. Chapter 9 in Home Alone lasts 24 minutes while Chapter 9 in Scream lasts just 5 minutes. we’ll be going through each chapter in more detail on the days that we write them.

don’t stop until you’re finished! The 10-Day Screenplay by Jonathan A. 39 . these are deadlines that you must meet. Browne Copyright © 2008 Shamrock New Media. I’ve seen it way too often. once you take one day off from working on your script. Think of it this way. life can throw things at us from time to time that knock us off course and I fully understand that. Even if it’s just 10 minutes of writing. even if you’re only able to complete one-third of each day’s task. What you absolutely must not do is take a day off at any time during the process. if you absolutely positively do not have enough time to finish the daily goals presented in this program. Therefore. make sure you sit down each and every day and follow the plan. Don’t let this happen to you! Once you start.Just Do It! One final message before we get started: JUST DO IT! Once you start this course. you’ll still have a finished screenplay in just one month. Inc. DO SOMETHING EVERY DAY once you get started. Obviously. you’re not afraid to take two days or three days or four days off and then you start thinking you need to come up with a new script idea entirely. I must insist that you at least do something each and every day until you have completed the entire program and your script. Remember.

Those are movies that get made based on ideas alone. Browne Copyright © 2008 Shamrock New Media. Inc. but even the best ideas will flop if the movie lacks great characters. So what makes a great character? More than anything else. First off. he’s a brutish boxer who fights at rowdy clubs by night and collects for the local loan shark gangster by day. Someone who contradicts themselves. lifeless characters to play out their story. we The 10-Day Screenplay by Jonathan A. like real people. like real people. we need to still be able to identify with why he or she may be doing what they are doing).Day 1: Character Development Class is now in session and our first day will focus on what I feel separates great scripts from the piles and piles of garbage written each year: characters! An original and compelling idea for your movie is essential. These are characters that we can understand. Dull characters are normally created by writers who get so caught up in their plots and their big ideas that they end up plugging in stale. like real people. On the surface. Someone who has flaws. it’s someone who seems real. he’s the ultimate contradiction. We can understand why they act the way they do based on their circumstances (and note here that even if we don’t approve of or enjoy what the person does. like real people. Someone who has a unique voice. but end up flopping because they don’t include characters that audiences connect with. Think of some of the worst movies you’ve ever seen and I can virtually guarantee that you failed to connect with the characters that were driving the story. Think about what makes Rocky Balboa one of the most enduring characters in motion picture history. But when we get to know him. Someone we can identify with. 40 .

understand that this must be true with our “bad guy” characters as well. He’s uneducated with poor grammar and a punchy delivery. but we need to also understand why our “bad guys” behave the way they do. Inc. We can all identify with Rocky’s complacency early in the movie and then wanting to prove that he really isn’t the bum people seem to think he is. but we see a lot of depth here. afraid to ruffle any feathers or take any real shots at a better life. Sylvester Stallone has said that he believes Rocky is such a beloved character because most people are afraid to take their best shot at life. But if we really listen to what Rocky has to say. we hear someone who speaks from the heart. 41 . And again. assuming that someone like this couldn’t possibly have anything of substance to say. This quick examination of Rocky Balboa barely scratches the surface. Browne Copyright © 2008 Shamrock New Media. Yes. Then.see that this is a guy who lives his life like a beat dog. his accent is now internationally known. We need to feel their evil and The 10-Day Screenplay by Jonathan A. and here’s a guy who did. there’s the identification factor. We obviously like and admire Rocky. but we’re talking about more than his accent. And finally. Rocky is someone most people could easily have passed on the streets and thought nothing of. People write him off as soon as they hear him speak. We see a complex character with a unique voice. We also see that he’s got a great heart: he won’t hurt the people he collects from even if he’s been told to. Rocky had a very unique voice. etc. We feel like we know him and we identify with him on many levels. this guy isn’t the brightest person. Let’s face it. He’s naïve to the harsh realities of the world and expects people to do what’s right even though he has plenty of first-hand experience to prove that that isn’t the case in life. he tries to give street kids helpful advice even if they have no respect for him.

but there is always some character who wants to keep our protagonist from getting what he wants. As writers. we must get to know them on a deep and intimate level. the person our story is about first and foremost. 3) The Love Interest/Buddy. This doesn’t have to be the typical “bad guy” we see in action and thriller movies. Someone needs to be doing everything they can to stop our protagonist from achieving his goals. Once we get to know our characters on a very deep level. This “buddy” may be 42 . we have to put ourselves in their shoes and see the world the way they see it. we must be able to answer the 20 Essential Character Questions about our characters. This is our main character or hero. Every great movie has one main character. We need to hear their voices and know why they say the things they do. We must understand the motive for their actions. To get to know our characters on a deep level. Browne Copyright © 2008 Shamrock New Media. this needs to be done for your three most important characters: 1) The Protagonist. You don’t necessarily have to do this for every single character in your movie (although I highly recommend that you do). 2) The Antagonist. This is the only way to write from the heart. you’ll find that they begin to dictate your story. Every protagonist needs either a love interest he is pursuing or a best friend or family member who plays an essential role in the protagonist’s journey. The 10-Day Screenplay by Jonathan A. Inc.assume they must have had lots of evil done to them throughout life (even if we don’t necessarily learn this for a fact in our movie). even buddy movies and ensembles. This is when real magic happens for a writer. To create great characters. but at a bare minimum.

the love interest in the movie may also be the protagonist’s mentor or partner. 43 . This “buddy” role can be.] The 20 Essential Character Questions 1. and a Mentor. [Please note: Throughout this guide. Most movies will have many more than just these three important characters. It is very smart to write down your answers to these questions for each of your characters so that you can refer back to them throughout the writing process.someone the protagonist wants to save or it may be someone the protagonist needs to learn to work with. a Buddy. my intention is to point out that you must have at least these three roles included in your movie. He may have a Love Interest. Your Antagonist may have a Love Interest and a Buddy. Was he well-liked at school? The 10-Day Screenplay by Jonathan A. Browne Copyright © 2008 Shamrock New Media. You will often want to add an Antagonist’s Buddy and a Love Interest’s Buddy. Instead. we’ll refer simply to “he” instead of “he or she” for ease of readability. Inc. These are the three most important characters of any great movie. Obviously. listen to. and respect (such as a Mentor or partner). What was his family life like growing up? 2. the intention is not that your characters be limited to males. both. It’s now time to address the 20 Essential Character Questions. That is. etc. You must answer all of the following 20 questions for at least the three main characters in your movie. don’t think for a second that I’m recommending you focus your movie on just three important characters. In other words. and often is.

3. What kind of grades did he get? 5. Browne Copyright © 2008 Shamrock New Media. Does he like his career? What parts does he like and what parts does he dislike? 12. 44 . Who was his first love and how did that relationship turn out? 9. What did he want to be when he was growing up and does he still want to be those things? 8. What does he think of the concept of “true” love? 10. How does he view the world around him? (Most people aren’t 100% pessimistic or 100% optimistic. Inc. What past events – good and bad – happened directly to him and affected his life in a major way? 14.) 11. What were his spiritual beliefs growing up and what are they now? 7. What past world events – good and bad – did he observe that had a major impact on his life and how did they affect his outlook on the world? 13. try to identify the areas where he’s a cynic and the areas where he’s an optimist. What are his viewpoints on money and what kind of financial history does he have? The 10-Day Screenplay by Jonathan A. What kind of activities was he involved in growing up? 6. What was high school and college like for him? 4.

put Day 1 in the books! The 10-Day Screenplay by Jonathan A.15. is he a person of integrity. Browne Copyright © 2008 Shamrock New Media. these answers should bring you to the biggest and most important question of all: What is this character’s biggest flaw that he must overcome? That is. it’s time to call it a day – congratulations. does he treat people fairly. And finally. what is his Internal Conflict? Now that we know our characters. you will clearly be answering those logical questions that define him as a person. 45 . The reason for this is that by answering the above 20 questions. who are the people he admires most in the world. What are his closest friends like? 17. etc. What kinds of entertainment does he enjoy? What kinds of movies and shows does he watch? What kind of music does he listen to? What kinds of books does he read? What kinds of sports does he watch or play? What kind of physical activity is he regularly involved with? What are his favorites in each of these categories? 20. What is his idea of “heaven on earth”? 19. both current and throughout history? Notice that you didn’t have to answer questions like: is he trustworthy. Ultimately. Where has he lived in the past and where does he live now? Where did he love living and where does he want to live? 16. Inc. What character traits does he value most in people? 18. is he good-natured or evil.

46 . before we move on. The 10-Day Screenplay by Jonathan A. Inc. With each character you do this with.However. new layers of depth are added and what you may have envisioned as a very minor role could turn out to be one of the most important characters in the movie. I want to reiterate that I strongly encourage you to answer these 20 questions for every single character in your movie. Browne Copyright © 2008 Shamrock New Media.

It needs to pull the reader The 10-Day Screenplay by Jonathan A. those first few paragraphs and you’ll be onto Page 2 in just a few minutes. the rest is all downhill. Now you know you can do it. the exciting super-slide of screenwriting has begun and all you need to do is enjoy the ride. William Froug. 47 . Browne Copyright © 2008 Shamrock New Media. It needs to be interesting and unique. said. Understand going into Day 2 that this is THE toughest day in the process. Inc. * * * Today we’ll be writing Chapter 1: The Introduction to the Hero’s World. The good news is that once you get through this first day of writing. But you’ve done it. the Emmy-award winning writer-producer and founder of the UCLA Film School’s Writing Department. because you’ve already done it once.” He’s absolutely correct. Don’t forget this crucial piece of advice from Joe Eszterhas: “If you’ve written the first page. The main objective of this first chapter is to introduce the audience to the hero’s world.Day 2: Writing Chapter One It’s now time to start writing your screenplay. This normally runs from Page 1 to Page 15. Once you hit Page 2. the rest is easy. So what’s the big deal?” Just get through those first few sentences. All you have to do is do it about 110 more times. That blank screen staring back at you has a way of freezing up even the most creative minds. “Writing the first sentence is the toughest part of writing a script.

2) Make our character’s world a world we’d love to be in right now. The opening sequence in Scream lets us know we’re in for a wild and suspenseful ride. This is because you’ve got a limited amount of time to grab a reader’s attention. if not all What makes this world different from anything else we’ve ever seen before? What makes this world something more interesting than our own? It’s often said that the first 10 pages of your script are the most important. 1) Make the world our character operates in completely unique. Inc. 48 . Browne Copyright © 2008 Shamrock New Media. There aren’t too many people who can imagine such an embarrassing prom experience as what happened to Ted in the beginning of There’s Something About Mary. Sympathy is a surefire way to get readers asking. There are five bulletproof ways to grab a reader’s attention right from the start. 3) Create instant sympathy for the protagonist. “What happens next?” How can we watch the first chapter of Rocky and not feel bad for this guy who gets no respect from anybody and lives in dire conditions on the South side of Philadelphia? 4) Set the stage for this movie in a big and creative way. in the first 10 pages. In Home Alone. You need to use most of these techniques. something we haven’t seen before. seeing Kevin’s big family in a big snow-covered house at Christmastime instantly gives us a warm feeling and takes us away from our current environment. chances are high that they won’t turn to Page 11. The movie opens with the most creative (the quizzing about horror The 10-Day Screenplay by Jonathan A. If they’re not interested in what happens next by Page 10.

In Die Hard. Inc. 49 . The 10-Day Screenplay by Jonathan A. you probably need to do some cutting and get strait to the objectives of the chapter. Our hero will be either content with living with his flaw (Rocky Balboa in Rocky) or they will be presumably unaware of how fatal the flaw is (Sydney in Scream). etc. It’s now time to dive in. Chapter 1 of Die Hard ends with John getting into an argument with his wife almost as soon as they see each other. We also want to make sure we clearly establish the genre of our movie in Chapter 1. We can’t help but ask. If it’s a little closer to 10 pages. You should shoot for completing roughly 15 pages today. this is the most important technique that absolutely must be included in the first chapter of every movie. that’s acceptable. Browne Copyright © 2008 Shamrock New Media. we learn all about John’s selfish and stubborn behavior regarding his wife’s career move to Los Angeles.movies) and thrilling (the stalking of the teenager who is all alone) sequence of the movie. Those are our key objectives for Chapter 1. We must introduce the Internal Conflict and force the reader to ask if the hero will be able to overcome his fatal flaw. “Can this guy get over his selfishness and just show her some affection and support?” Our main objective for Chapter 1 is making sure that we see our hero’s biggest underlying flaw. We’ve got a lot to get to and if your first chapter starts to inch near 20 pages long. but be careful about letting Chapter 1 go on too long. The audience needs to know if they’re watching a comedy or a drama or a thriller or a spoof. 5) And finally.

We want to start this chapter with Catalyst I. Inc. • Home Alone: A winter storm knocks off the McAllister family’s power and they sleep in. puts him in contact with a private investigator. • There’s Something About Mary: Ted’s friend. Dom. I’ve found that for most writers. Something happens that changes our hero’s world in a big way – whether he knows it or not. This is because A) the chapter is book-ended by two major events – what we’ll be calling Catalyst I and Catalyst II – and B) because this is the chapter in which we establish the main idea of the movie. Today we’ll be writing Chapter 2: Catalyst I. you’ve made it to Day 3 and now the real fun begins! Now that we’ve established our hero’s world in Chapter 1. who can track down Mary for him. This is when something big happens to move our story into motion. Chapter 2 is usually the easiest chapter to write. it’s time to get the main story moving. which you’ve already been giving a lot of thought to.Day 3: Writing Chapter Two Congratulations. • Rocky: Rocky goes to his gym and finds out he’s lost his locker and his trainer. The 10-Day Screenplay by Jonathan A. thinks he should retire from boxing. Healy. 50 . and Catalyst II. Browne Copyright © 2008 Shamrock New Media. which forces them to frantically rush to make their flight. This chapter typically runs 15 pages long and ends near page 30. Avoidance. the External Conflict. Mickey. complete with the Internal Conflict they will struggle with throughout the movie.

Inc. Browne Copyright © 2008 Shamrock New Media. This is also a great time to start doing a little foreshadowing of things to come. During this brief Avoidance period. Catalyst II presents the audience with the External Conflict of the movie. it’s a good idea to start showing more of the hero’s inner flaw and addressing the Internal Conflict of the movie. which usually means allowing the audience to learn more about the hero and his past. Catalyst II launches the hero into a journey that can no longer be avoided. But despite this initial Catalyst. our hero tries to avoid the problem presented by this event. It gives the hero his main goal for the movie and forces the audience to ask the question that will need to be answered by the end of the movie: Will the hero achieve his goal? The 10-Day Screenplay by Jonathan A. Catalyst II is an event bigger than Catalyst I that changes the hero’s world in a much more dramatic way. This brief Avoidance stage ends with a bang when Catalyst II comes along. • Scream: Sydney arrives at school to find the town in a media frenzy (once again) due to the murder of a fellow student and this brings back horrible memories for Sydney regarding her mother’s death one year ago.• Die Hard: The bad guys arrive at the Nakatomi Building and murder the security guards. 51 . While the hero could try and avoid the impact of Catalyst I.

• Rocky: Heavyweight Champion Apollo Creed picks Rocky Balboa’s name out of a book as the unknown fighter he will give a title shot to. 52 . Ted decides to go to Miami himself and find her. Browne Copyright © 2008 Shamrock New Media. have made Kevin’s house their number one break-in target. but as the audience. Here is another situation where Kevin is unaware of this event and how it will affect him. Inc. She’s now a target! The question: Will Sydney survive the killer’s attempts to murder her? The 10-Day Screenplay by Jonathan A. Even though Rocky himself doesn’t realize this event has occurred. He now knows just how dangerous these men are and on top of that. as the audience. Harry and Marv. the thieves hear John run away – they now know there’s someone on the loose in the building! The question that must now be answered: Will John be able to save the hostages? • Scream: The killer calls Sydney and tries to murder her. and that Mary is doing very well for herself. we now understand the External Conflict of the movie: Will Kevin survive being at home alone when the burglars try to break in? • There’s Something About Mary: Ted realizes he was lied to by the shady private investigator. Healy. we recognize the huge and unavoidable impact this event will have on Rocky’s life: Will Rocky somehow find a way to beat the heavyweight champ? • Home Alone: Kevin is home all by himself and we learn that two burglars. John watches the ruthless thieves murder the company’s CEO. The question is raised: Will Ted be able to rekindle his old flame with Mary without her knowing he hired a con-artist like Healy to track her down? • Die Hard: In hiding.

Browne Copyright © 2008 Shamrock New Media. 53 .By the time Chapter 2 ends. we must now have clearly raised the two key questions of the movie: - External Conflict: Will our hero achieve his goal? - Internal Conflict: Will our hero overcome his inner flaw? The 10-Day Screenplay by Jonathan A. Inc.

) This is when our hero’s journey – the main journey of the movie – officially begins. He’s slowly beginning to contemplate that there’s no way he can avoid this mess. Therefore. usually the middle two quarters of the movie. He also deals with the potential end of his boxing career (after his trainer told him to think about retiring in Chapter 2). The 10-Day Screenplay by Jonathan A. In this chapter.” • Rocky: Rocky goes on a date with Adrian. Inc. but gets scared back again when he runs into “Old Man Marley” outside. we call this Chapter 3: The Hero’s Journey Begins. but he’s also not aggressively attacking the situation. and Act Three refers to the end of the movie. telling Adrian that it’s now just a hobby for him. • There’s Something About Mary: Healy starts winning over Mary while Ted gets himself arrested after picking up a strange hitchhiker. It’s awkward and Rocky is certainly no pro at this game. This chapter usually runs about 10 pages long and ends near Page 40. He’s usually timid in this chapter and sometimes starts to make progress “learning on the job. (Act One refers to the beginning. our hero is typically in reaction mode. 54 . usually the first quarter of the movie. Act Two refers to the longer middle of the movie. • Home Alone: Kevin scares of the burglars on their first attempt to break into the house by simply turning on the back light and then hiding under the bed.Day 4: Writing Chapter Three We’re now officially into what is referred to as Act Two of our movie. Browne Copyright © 2008 Shamrock New Media. usually the final quarter of the movie. He tries to deal with his fear.

Inc. The chapter ends with Sydney finding out that Billy was released from jail after proof that he didn’t make the calls the killer made. The 10-Day Screenplay by Jonathan A. Sydney refuses to talk to Billy. unable to trust her longtime boyfriend. • Scream: The cops arrest Billy. 55 .• Die Hard: John is trying to think of ways to call the police. She goes to her friend’s house to spend the night in a safer environment. Browne Copyright © 2008 Shamrock New Media. He pulls the fire alarm and ends up having to fight the bad guy who finds him.

• Rocky: Rocky starts winning over Adrian and eventually kisses her for the first time.Day 5: Writing Chapter Four Now that our hero has entered a new world and begun his journey. Back at the gym. This chapter will often end with the hero accomplishing his initial goal (not to be confused the major goal of the movie established by the External Conflict). he’s told that Apollo Creed is looking for him as a sparring partner. Browne Copyright © 2008 Shamrock New Media. It reassures the audience and looks like he can handle this new environment after all. He starts to build his confidence up. 56 . our hero starts getting the hang of this new world he’s been thrown into. For Rocky. • Home Alone: Kevin recognizes Harry the burglar in his neighborhood and that night sets up an elaborate “fake party” to trick the Harry and The 10-Day Screenplay by Jonathan A. the victim looks to be outsmarting the madman. Your main objective in this chapter is simply to show that things might not be as bad as the hero originally thought they would be. In Chapter 4. This is typically when the guy starts winning over the girl. the action hero starts showing off his impressive skills at fighting the bad guys. Inc. We call this Chapter 4: The Hero Looking Good. it’s time for him to start doing less reacting and instead taking more action. This chapter runs roughly 10 pages and ends near Page 50. he’s on top of the world and things couldn’t be going much better.

• Die Hard: After killing his first bad guy. 57 . The 10-Day Screenplay by Jonathan A. Browne Copyright © 2008 Shamrock New Media. • There’s Something About Mary: Ted’s luck unknowingly turns for the better as Tucker tells Mary that Healy is a phony. Inc. John gets more aggressive and tries to find out more information about the bad guys. School is called off and a town curfew is enacted.Marv into thinking that Kevin’s house isn’t empty for the holidays after all. • Scream: Sydney escapes the killer in the school bathroom. which was his initial goal. The chapter ends with killing a couple more bad guys and finally getting the police to come to the building. virtually shutting the town down and allowing Sydney to feel a sense of safety. Ted also gets out of jail and his friend Dom joins him on the trip to find Mary.

This chapter. you are now more than halfway through this 10-day course! Just five days from now. Today we’ll be writing our middle chapter. It could be an out-of-the blue problem that raises the stakes of the journey for hero. In Chapter 5. It could be when he finds out the girl he thought he was winning over has a secret she hasn’t told him. After an initial goal is completed in Chapter 4. the hero comes up with a new goal and begins a new plan of attack. Perhaps this is the point where he realizes his initial goal or plan is nowhere near good enough to solve the problems he’s facing. things change in a drastic way. The stakes must be drastically raised in Chapter 5. Browne Copyright © 2008 Shamrock New Media. This is when a major twist or reversal occurs. you will have finished your screenplay. but it’s also not uncommon for this chapter to be a short.Day 6: Writing Chapter Five Congratulations. 58 . Another common occurrence in Chapter 5 is for the hero to be forced into developing a new goal or plan. The hero finds this new world he’s in is not what he thought it was and this journey is changing directions or becoming much more difficult than he felt it was. five-page scene or sequence. This could be when the hero finds out he’s in much more danger than he originally thought. something must happen that raises the stakes of the movie in a very big way. Whatever the event is. on average. appropriately titled: Chapter 5: The Midpoint. Inc. The 10-Day Screenplay by Jonathan A. runs from Page 51 to Page 60.

Nonetheless. he must now compete with Healy and deal with the fact that Healy being in Mary’s life is Ted’s fault). 59 . he recognizes that he has to take matters into his own hands to stop the bad guys. Ted asks Mary out and she agrees! • Die Hard: We learn that the bad guys expected the cops to show up all along and John sees that the cops appear to be outmatched in fighting the firepower the bad guys have.• Rocky: Rocky accepts a shot at the title. many scripts can start to lag a little in terms of excitement. Browne Copyright © 2008 Shamrock New Media. Inc. • Home Alone: While Kevin is growing up and managing the household chores on his own. raising the stakes of the situation a great deal (while Ted’s goal is still to win back Mary. The 10-Day Screenplay by Jonathan A. • Scream: Sydney realizes that the person who killed her mother may still be on the loose and could be the killer who is after her. There are three great ways to combat this all-too- common problem. He plays the part of the “just happy to be here” club fighter to the public. John’s initial goal of getting the cops to arrive wasn’t enough. but admits to Adrian that being made fun of by the media really does bother him. • There’s Something About Mary: Ted sees that Healy has conned Mary into a relationship with him. He’s no longer enjoying the fact that he’s on his own and his goal shifts to wanting his family to come back home. about halfway through. he begins to realize how much he misses his family. The audience learns that the killer’s calls were traced back Sydney’s father’s phone! TIP: Often.

• The innocent man’s execution has been moved up to just 12 hours from now. The third way is to create a “ticking clock” for the movie. Chapter 5 is often an ideal spot to start this “ticking clock. 60 . both of which we’ve discussed above. A few generic examples include: • The hero’s love interest plans to elope with her creep of a boyfriend the next day. Inc.The first is to raise the issues at stake in a dramatic way and the second is to force your hero to change goals.” A “ticking clock” is a perfect tool for establishing a sense of urgency in our movie and it can really accelerate the suspense level in a major way. Browne Copyright © 2008 Shamrock New Media. • The bomb in Los Angeles has been set to go off in ten minutes while the only person who can stop it is stuck in miles of traffic. The 10-Day Screenplay by Jonathan A. etc.

As the title of this chapter suggests. His morning run goes horribly as he barely makes it up the museum steps. Typically in Chapter 6.Day 7: Writing Chapter Six We now enter Day 7 and the writing of Chapter 6. this is when things start to look dire for our hero. This is usually when everything that can go wrong. reality starts to set in. the robbers get further away from the cops. 61 . The chapter ends on a good note. Inc. • Rocky: After the initial excitement of being offered the opportunity of a lifetime. Something happens to show us that the hero has a shot at prevailing after all. the girl starts having second thoughts about the guy. He really has no business in the new world and the chances of him succeeding are next to nil. Chapter 6 usually ends with a glimmer of hope. and friends often turn out to be foes. the bad guys start out-smarting and closing in on the hero. He tells Mickey that he knows he’s going to get his “face kicked in” by Apollo Creed. however. does go wrong. Browne Copyright © 2008 Shamrock New Media. as Rocky’s punching of the meat is shown on TV and Apollo Creed’s manager is nervous of the punching power he sees – maybe Rocky will have a shot after all… The 10-Day Screenplay by Jonathan A. Chapter 6: Things Get Tougher and Tougher is normally the longest chapter of the movie. It normally runs from around Page 60 to Page 80. However. We realize that the hero starting to get the hang of things in Chapter 4 had no idea what he was really getting into and is completely out of his league.

• Die Hard: The bad guys kill a member of the party group and they tell John that sooner or later they’ll get to someone he does care about (a good “ticking clock” example) if he doesn’t give them the detonators John took from one of the bad guys he killed. John does escape the gun battle still alive. • There’s Something About Mary: Healy and Tucker both try to sabotage Ted’s big date with Mary. and the killer goes on a killing spree at the party. where she believes she’ll be safer. In this quick chapter. Ted survives the event and he and Mary start happily dating. On a positive end to the chapter. Billy (who she made up with at the party). John is eventually found and loses the detonators as he is nearly killed by Hans and several other bad guys…but. Browne Copyright © 2008 Shamrock New Media. Kevin begins to accept the fact that his family may never be coming back. along with several other innocent bystanders.• Home Alone: Chapter 6 for Home Alone is actually just nine minutes long. The 10-Day Screenplay by Jonathan A. Kevin’s mother gets a ride with polka musician Gus Polinski and is now on her way across the country to try and make it home to Kevin. Sydney eventually escapes the killer after a wild chase and ends up back inside the house feeling safe because she now has a gun. as opposed to the typical length of closer to 20 minutes. Inc. 62 . killing her best friend and her boyfriend. on a positive note. • Scream: Sydney goes to a party with her friends.

The audience must fully believe at this point in the movie that there is NO WAY the hero can accomplish his goal and overcome the External Conflict. Often times. In this chapter. Chapter 7: The Worst Case Scenario usually runs just five pages long. The 10-Day Screenplay by Jonathan A. This chapter always ends with the worst case scenario situation. Inc. • Rocky: Rocky’s only friend at the start of the movie.Day 8: Writing Chapter Seven After writing what is typically the longest chapter of your movie yesterday. comes home and hears Rocky and Adrian talking about him. Paulie. of course. this chapter will consist of one single scene or sequence and that. the worst possible thing imaginable happens to our hero and all hope seems virtually lost. it’s now time to tackle the shortest chapter. Ted admits to Mary that he did hire Healy and they break up. from Page 81 to Page 85. is the worst case scenario being played out. Paulie explodes and tells Rocky they are no longer friends. • Home Alone: Harry and Marv learn that they’ve been tricked by Kevin and that he’s home all alone. It is at this point that the hero realizes his life is at its lowest point possible and things could not possibly get any worse. Kevin hears that they plan to break into the house at nine o’clock tonight even with Kevin inside! • There’s Something About Mary: Mary receives an anonymous letter explaining how Ted hired Healy to find her. 63 . Browne Copyright © 2008 Shamrock New Media.

• Die Hard: This chapter actually runs 12 minutes in Die Hard and includes John’s speech to a policeman about how selfish he’s been and to tell his wife he’s sorry. This is John finally recognizing his major flaw and overcoming his Internal Conflict. Inc. • Scream: Sydney finds out that Billy isn’t dead (he had faked it) and that Billy. Browne Copyright © 2008 Shamrock New Media. 64 . are actually the killers! On top of that. she finds out that their plan is to frame Sydney’s dad (who’s being held hostage) for all the murders! The 10-Day Screenplay by Jonathan A. along with Stu. The chapter ends with Hans realizing that John’s wife is one of the hostages – the worst possible thing that could happen for John.

In this chapter. It’s also essential that if it hasn’t happened yet in the movie. 65 . Now that the worst case scenario has occurred and all hope seems lost. the Internal Conflict must be resolved in this chapter. The 10-Day Screenplay by Jonathan A. ending around Page 95. In some cases. Inc. it’s time to start wrapping up the movie. Browne Copyright © 2008 Shamrock New Media. It usually runs 10 pages long. For instance. he can find away to save as many lives as possible while sacrificing his own life. but even if he can’t survive it. the hero may realize there’s no way he can survive the battle he’s in. we typically see our “rally the troops” and “we’re not gonna’ take it anymore” moments. this is when the hero sucks it up and decides he can’t quit. this could be where the original goal is actually altered once again (or fir the first time if it wasn’t changed earlier in the movie). Failure is not an option! This is often when the hero comes up with yet another new plan to achieve his goal. The hero needs to recognize his flaw and overcome it. Chapter 8: The Comeback is when Act Three officially begins.Day 9: Writing Chapter Eight Just two days to go. thus winning the Internal Conflict and paving the way for victory in the External Conflict.

if he can just last the full 15 rounds with Creed without being knocked out.” • Home Alone: Kevin realizes that his family isn’t coming home and that it’s up to him to defend his home and stop being afraid. Inc. Browne Copyright © 2008 Shamrock New Media. Ted says he’s sick at what he’s hearing and can’t believe he’s been part of all this. 66 . John needs to catch Hans before he gets away with his wife as his hostage. Rocky recognizes that there’s no way he can beat Apollo Creed. The chapter ends with a classic altered goal situation. The 10-Day Screenplay by Jonathan A. he tells Adrian that winning or losing doesn’t matter because if he can just go the distance. even punching Healy. • There’s Something About Mary: Ted is done being the insecure and timid nice guy. • Die Hard: John defeats the toughest bad guy in a brutal fight to make it to the roof just in time to get the hostages off of it before it blows up. he’s just not in his league. However. “I’m gonna’ know for the first time in my life that I wasn’t just another bum from the neighborhood. John’s wife isn’t with the hostages and John learns she’s been taken as Hans’ personal hostage. He confronts Healy and Tucker head on. Brett Favre.• Rocky: Chapter 8 of Rocky includes the famous training sequence that became such an important part of the Rocky franchise and pop culture. He also finds out that Tucker sabotaged Mary’s past relationship with the only guy she was ready to marry. He sets up booby traps to prepare for the evening’s break-in. But.

She calls them and antagonizes them just as they had done to their victims. The 10-Day Screenplay by Jonathan A. she decides to turn the tables on the killers and give them a dose of their own medicine.• Scream: When Billy and Stu start to argue with each other. Sydney sees her chance and escapes. But instead of running off. 67 . Inc. Browne Copyright © 2008 Shamrock New Media.

Day 10: Writing Chapter Nine Well here we are. Home Alone’s final chapter runs 24 minutes while Scream’s runs just five minutes. However. Chapter 9: The Finale runs about 15 pages. the action hero goes out in a blaze of glory and comes out on top. Day 10 of The 10-Day Screenplay course. not all movies have to have the proverbial happy ending where the hero’s dreams are achieved. A fulfilling finale could be the moment that our hero realizes that what he wanted all along was with him all along. It is essential that we now recognize a new and much-improved hero from the person we were introduced to in the beginning of our movie. Browne Copyright © 2008 Shamrock New Media. and the hero realizes dreams really can come true! Of course. when we see our hero rise to the ultimate challenge and achieve beyond his wildest dreams. It could be the moment he learns a valuable lesson such as crime never pays or cheaters never win. Inc. from Page 95 to Page 110. you can go longer or shorter as necessary. It could be the moment he realizes that the goal he has been chasing was an unworthy goal. you’ll have a finished script that achieved all the objectives of the Nine Essential Chapters of Drama and also brought the audience to a fulfilling ending with the hero winning both his External and Internal Conflicts. This is the grand finale. The 10-Day Screenplay by Jonathan A. By the end of this writing session. This is the point of tremendous satisfaction for our audience: the victim kills the madman. 68 . the boy somehow wins over the girl of his dreams.

don’t stifle his voice when it matters most. Your character really came alive during this process. Inc. your hero keeps finding a way to overcome the new problem (and remember that each “oh no” moment needs to look worse than the last). The ending that is meant to be may not be the ending you originally had in mind and that’s perfectly acceptable. Don’t be afraid to add several “oh no” moments throughout your finale. Let the audience really enjoy this moment. The 10-Day Screenplay by Jonathan A. My experience has shown me that writers sometimes have a tendency to rush through this final chapter. 69 . 2) Let your character dictate this ending from the heart: don’t force it! You’ve now spent 10 days with your character. These are moments when the hero is just about to grab the diamond he’s been after and it slips away. Listen to your character’s voice. Avoid this urge. it needs to be satisfying to the audience. you know what feels right. With each of these moments. You may also want to add another “ticking clock” that is even more dangerous and suspenseful than any “ticking clock” used earlier in the movie. And it will be if you do two things: 1) Make certain that the hero ends this journey a better person than he was when the journey began. They see the light at the end of the tunnel and they want to get there as quickly as possible.In either case. Don’t rush through a Chapter 9 that quickly wraps everything up nice and neat. Browne Copyright © 2008 Shamrock New Media.

Let it unfold in the most satisfying and heartfelt way possible. Browne Copyright © 2008 Shamrock New Media. We end on Christmas morning when Kevin’s family returns home. Harry and Marv eventually get arrested after Old Man Marley saves Kevin from them. he tricks Hans and saves his wife. • Die Hard: In John’s final confrontation with Hans. • There’s Something About Mary: Ted goes out of his way to track down Brett Favre and do “the right thing” by explaining to Mary how Tucker sabotaged their relationship. The 10-Day Screenplay by Jonathan A. The “oh no” comedy moments in this final sequence should be studied closely. It’s what we’ve waited two hours to see unfold. Hans dies by falling out a window 30 stories high and plunging to his death (another note: the more evil the bad guy in an action or horror movie. the more extreme his death usually needs to be). All he wanted was to go the distance and hold Adrian in his arms after the fight. The final showdown between John and Hans features several excellent “oh no” action moments that should also be studied.Ultimately. Rocky actually loses the fight. we want to satisfy the audience and let them really enjoy the finale. Ted is willing to give up his love for Mary to do what is right and honorable. Mary surprises Ted by telling him she wants to be with him. Inc. • Rocky: Rocky shocks the world and goes the distance with Apollo Creed. 70 . • Home Alone: A long finale of Kevin leading Harry and Marv through the obstacle course of booby traps he created to save his house. but he doesn’t care one bit.

reporter Gail Weathers. Inc. Sydney gets to deliver the final blow as Billy jumps at her one more time before Sydney shoots him dead. her enemy at the start of the movie.• Scream: Sydney kills Stu with a television set and then right before she is killed by Billy. The 10-Day Screenplay by Jonathan A. saves her by shooting Billy. 71 . Browne Copyright © 2008 Shamrock New Media.

Your Script is Done, Now What?
What do you do now that you’ve completed this course and finished your
screenplay? Celebrate of course!

I also think it’s essential at this time to take at least a few days off and let your
script sit without thinking about it for awhile.

Once you’ve had time to get the script out of your system and approach it with
a fresh perspective, you’ll want to go back and read it through.


probably catch typos and grammar errors that can easily be corrected.

You also may find certain areas that need to be tightened up and other areas
that should go on a little longer.

Now is also a great time to start thinking about changes that could enhance
your movie.

For instance, foreshadowing is something that is sometimes more difficult to
think about when you’re actually writing your script. But foreshadowing is an
excellent dramatic technique that enhances almost every movie. You may
find the need to go back and add some foreshadowing early in the movie that
could pay off for the audience later in the movie.

For instance, did a blunt object conveniently end up in your hero’s hand in
Chapter 9 when he was fighting off the bad guy? Why not instead add a
moment early in the script with your hero receiving some type of gift from a

The 10-Day Screenplay by Jonathan A. Browne
Copyright © 2008 Shamrock New Media, Inc.


loved one that could actually be used as this blunt object? This adds a
dramatic punch on so many new levels.

Just remember that while the draft you finished may very well end up being
your final draft, it doesn’t have to be. If you feel some key changes would
make it a better movie, then go right ahead and make all the changes you
want. There’s no failing grade for making changes to the initial draft. In fact,
changes are encouraged!

The bottom line is this: you have finished your feature-length screenplay!
And if you followed this guide closely, including the idea test questions, the
character development techniques, the chapter-by-chapter objectives, and all
the other little tips and tools I’ve included in this guide, odds are excellent that
you’ve written wrote the kind of screenplay that has the potential to blow
readers away and launch your career as a screenwriter.

You should be extremely proud of what you’ve accomplished! It’s time to do
some celebrating.

And when you’ve got another idea and you’re ready to start your next
blockbuster screenplay, open this guide right back up, follow the course, and
10 days later, you’ll have another script completed.

The 10-Day Screenplay by Jonathan A. Browne
Copyright © 2008 Shamrock New Media, Inc.


P.S. – I love to hear about success stories from my readers and I also love to
hear about any questions or recommendations you may have for future
updates to this guide. Please don’t hesitate to contact me by sending an email

My schedule doesn’t permit me to personally respond to each and every
message I receive, but I do read each of them and address them whenever

The 10-Day Screenplay by Jonathan A. Browne
Copyright © 2008 Shamrock New Media, Inc.


Appendix 1:
If You Absolutely MUST Outline
If you’re unequivocally convinced that you have to complete an outline before
you start writing your script, I recommend that you keep your outline as brief
as possible.

On the following page is a simple worksheet for your outline. Each blank line
in the chapter breakdowns should represent a sequence of important events,
such as: “The burglars realize Kevin is home alone and Kevin hears them say
that they’ll be back at nine o’clock tonight.” Each line represents roughly
three pages (or three minutes) of a script.

Before writing your outline, you should probably spend some time going over
the goals of each chapter presented in PART THREE of this guide.

The 10-Day Screenplay by Jonathan A. Browne
Copyright © 2008 Shamrock New Media, Inc.


Browne Copyright © 2008 Shamrock New Media.) Chapter 1: Introduction to the Hero’s World ___________________________________________________ ___________________________________________________ ___________________________________________________ ___________________________________________________ ___________________________________________________ The 10-Day Screenplay by Jonathan A. Inc.THE/10/DAY SCREENPLAY .Outline Worksheet - Movie Title: _____________________________________ External Conflict: ______________________________ _____________________________________________ _____________________________________________ Internal Conflict: ______________________________ _____________________________________________ _____________________________________________ Character Development: (Refer to Day 1 of The 10-Day Screenplay program on pages 40-46. 76 .

Inc. Catalyst II ___________________________________________________ ___________________________________________________ ___________________________________________________ ___________________________________________________ ___________________________________________________ Chapter 3: The Hero’s Journey Begins ___________________________________________________ ___________________________________________________ ___________________________________________________ Chapter 4: The Hero Looking Good ___________________________________________________ ___________________________________________________ ___________________________________________________ Chapter 5: The Midpoint ___________________________________________________ ___________________________________________________ ___________________________________________________ The 10-Day Screenplay by Jonathan A. 77 . Browne Copyright © 2008 Shamrock New Media.Chapter 2: Catalyst I. Avoidance.

78 .Chapter 6: Things Get Tougher and Tougher ___________________________________________________ ___________________________________________________ ___________________________________________________ ___________________________________________________ ___________________________________________________ ___________________________________________________ ___________________________________________________ Chapter 7: Worst Case Scenario ___________________________________________________ ___________________________________________________ Chapter 8: The Comeback ___________________________________________________ ___________________________________________________ ___________________________________________________ Chapter 9: The Finale – pages 96-110 ___________________________________________________ ___________________________________________________ ___________________________________________________ ___________________________________________________ ___________________________________________________ The 10-Day Screenplay by Jonathan A. Browne Copyright © 2008 Shamrock New Media. Inc.

79 . I’m limiting this list to what I view as the best of the best.Appendix 2: Writer’s Resources I’d like to close out this guide with a list of essential resources for the screenwriter. While there are literally hundreds of resources I’d recommend. the Craft. in the interest if time and practicality. Browne Copyright © 2008 Shamrock New Media. The Best Screenwriting Books: The Devil’s Guide to Hollywood: The Screenwriter as God by Joe Eszterhas American Screenwriters: The Insiders’ Look at the Art. Inc. and the Business of Screenwriting by Karl Schanzer & Thomas Lee Wright The 101 Habits of Highly Successful Screenwriters: Insider Secrets from Hollywood’s Top Writers by Karl Iglesias Cool Million: How to Become a Million-Dollar Screenwriter by Sheldon Woodbury Screenwriting Tricks of the Trade by William Froug The 10-Day Screenplay by Jonathan A.

80 .info/ http://www. and Selling Your Script by David Trottier The 10-Day Screenplay by Jonathan The Best Place for Movie News: Variety: The Best Way to Format Your Screenplay without Screenwriting Software: Screenwriting. Inc. refer to: The Screenwriter’s Bible: A Complete Guide to Writing. Browne Copyright © 2008 Shamrock New The Best Screenwriting Software: Final Draft: http://www. and Selling Your Script by David Trottier The Best Place to Find Screenplays Online: Drew’s Script-O-Rama: http://www.The Screenwriter’s Bible: A Complete Guide to Writing. Formatting. Formatting.script-o-rama.screenwriting.variety.finaldraft.

81 . Browne Copyright © 2008 Shamrock New Media.The 10-Day Screenplay by Jonathan A. Inc.