The following excerpts from a memoir by screenwriter David Mamet’s writing great writers are Emmy nominated series The Unit. It’s amazing how even professional writers are still remembered on the basic principles of writing. I particularly like the way Mamet distinction between producers (often wrong) desire to make things clear “information” and the need for the writer to create a drama.

As Mamet has said, (. Please excuse her capital letters is an excitable guy ‘) “Any idiot can be bluesuit with (and is) learned to say” make it clear, “and” I want to know more about him. “

If it so obvious that even this blue suited penguin is happy, you and he or she is unemployed. “

This is because, as Mamet so brilliantly pointed out, no one is a film for exhibition. You see a movie for an experiment. And the creation of this experience is about character.

Set dozed off all your concentration on care for your audience, and despite all efforts, they are in their seats.

Concentrate on your character and your audience will follow you wherever you go. This means creating a character who wants something desperately trying to keep it alive against all odds, and it experiences a journey that will forever change his life.

That’s what Mamet calls dramatic. In his words:

Question: What is the drama? Drama is, the heroes find the things that they prevent a certain goal and acute overcome.

So have we, as writers, we must ask ourselves these three questions every scene.

1) Who wants what?

2) WHAT IF HE Do not Get It?

3) Why now?

The answers to these questions are the litmus paper. Apply them, and their response will show whether the scene is dramatic or not.

Mamet follows with a “pile of shit” list of the most important rules for search and destroy non-dramatic scenes. As you all know, I’m careful all the rules when it comes to writing. But it’s definitely worth considering. Here are some highlights:

Any period of two characters speak third, the stage is a bunch of crap.

Each time a character say to another “you know” that another character that you, the writer, the public need to know is, says the scene is a bunch of crap.

If you do not speak and write characters to do a silent movie, write great drama.

If you miss the crutch of narration, exposition, in fact speech. They are being made to work in new media – the story told in pictures (also known as a writer)

Watch the scene and ask yourself: “Is it dramatic is it necessary As the plot forward answer truthfully the answer?.” No, “to write it again or throw them away.

Of course, like every rule, exceptions to this. Look at the opening of Inglourious Basterds, for example, and tell me if this scene would have been better if it was written as a silent film.

Or take a completely non-essential “McLovin and the cops’ Superbad sequences and see if you still want to see the movie.

I think what distinguishes these exceptions is that, although Mamet many rules of the note, they are true, violate the three principles that create theater-character says something, he or she insists on, despite the enormous difficulties, and in a change way of life will be forever.

And of course it is not hurt if you are funny.

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