Assumption Document for the Pen It by Hunter Ridgway screenwriting class

(The class generally takes off into territory beyond these principles)

Stories that get to the heart of what makes us human are often good ones.
Writing deeply “about yourself” usually beats just writing something “about yourself.”
Timeless stories are good ones all the time. Stories about experiences most people can recall from their own lives have a built-in interest factor. Stories about things everyone is aware of but no movie has ever explored can captivate.
Non-obvious and non-derivative plot elements and characters comparatively rock. In story terms, new and accessible (at the same time) also rocks.
Creative story circumstances can be cool, but people struggling, failing, prevailing, and changing under inventive circumstances are often even cooler.
Modern movie audiences are wise, experienced, and sharp. But you still have to surprise them.
Vivid visuals come off well in a visual medium.
The most basic story elements of all are having a beginning, a middle, and an end.
Stories about high wants and long odds can reach great heights and go far.
Unique and challenging roles attract good actors.
An artful compilation of fascinating characters in a screenplay can attract a good director.
Audiences can be skeptics and critics of story tonal shifts.
In movies, dazzling the eyes with some kind of action is better than taxing the ears with speeches.
Jump-starting the imagination early on is key for screenplays.
Stories with a protagonist at the center of it all are usually easiest to follow and fully experience.
Interesting protagonists make interesting stories more interesting.
Huge adversity for a protagonist can pay huge story dividends.
If the audience cares for the protagonist, they will care for the movie.
Dynamic relationships in screenplays that stay (perhaps differently) dynamic are dynamite.
Stories that get somewhere fast can really go places.
A life-changing event that raises questions for a protagonist is a great way to kick off a story.
Having the end of a story answer those questions (see above point) is a great way to wrap it up.
Dramatic conflict in the middle of a story is more meaningful if it is set up near the beginning of it.
Characters thrown “out of place” can lead to good drama.
An immediate, pressing need to do something = a story.
The protagonist as problem-solver is a serviceable way to think of a story.
Conflict requires the interaction of at least two people.
A hero and an adversary both wanting something out of reach is also a good way to think of a story.
Important goals naturally create continuity and cohesiveness to a story.
Good story goals can be either tangible or intangible.
Activity is a fundamental component of a quest.
When passionate desires hit tough choices, stories get interesting.
Plot creates character, and vice versa. Personality creates conflict, and vice versa.
Visible antagonists usually menace more than hazy ones.
Villains who view themselves as heroes are often more interesting than ones who actually view themselves as villains.
Nothing proves one’s worth more than a great contest. An epic one is even better.
Tension makes the middle part of stories more interesting.
Pressure reveals true selves.
Deadlines increase urgency.
Blatant coincidences can trip up deep story enjoyment.
When things mess with characters’ heads or hearts before a story ever starts, it can make it better.
Emotions set movie audiences’ interest in motion.
Unpredictable actions are usually more interesting than predictable ones.
Sometimes the spice of a good story is variable tempo.
Layered, multitasking scenes in a screenplay can make it great.
Enhancing subplots in a screenplay can make it more memorable.
Supporting characters in a story are better if they are unique, interesting, and have an objective.
Orchestration of characters can produce higher story accolades than randomness with characters.
Good actors like short lines that sparkle with complexity.
Shifting motivation can a good story make.
An ending segment that’s perhaps the very best thing in a story can make the story.
An ending that’s unforeseeable and uncommon at some level can delight.
Movie characters whose struggle or journey continues “living” in the audience’s minds after the final credits roll are usually the best kind.