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James Kennedy. This is the third step in the “How To Make A 9. Second Newbery” series. Watch American Flyer Online Hoyts. If you haven’t already, check out Step 1: Watch Great Previous 9. Second Newberys and Step 2: Read The Book And Start Planning.

You’re ready to start the process of making your 9. Second Newbery video. You’ve watched previous successful 9.

Second Newberys (Step 1). You’ve read the book, figured out a good “twist,” and pulled together some resources to make the movie happen (Step 2).

What next? You’ve got to write that script! With a solid script in hand, you have a much better chance of making a great movie. In this post, I’ll start with some particular nuts- and- bolts advice on how to write a 9. Second Newbery script. Then I’ll expand the focus to give general advice on story structure that might prove useful. So, let’s dive into advice on writing that script!

Wait, what’s a script? Maybe you’ve never written a script before. What does a script even look like? The good news is that it doesn’t matter if you do it “right” or “wrong.” This script is just for you and your group. The movie is the final product.

That’s the only thing that really matters. A script is just a shared document that everyone can use to plan the movie.

Here is the shooting script that was used for the Wrinkle in Time 9. Second Newbery. Read it. It should be self- explanatory. The only thing that might be mysterious are those scene headings. For those, INT means that the scene is shot indoors, and EXT means the scene is shot outdoors.)Notice that the script is only 2 pages long. If your script is longer than 2 pages, your movie will probably be over 9. To be honest, that’s okay.

We have some great “9. Second” Newberys that are actually 3 or 4 minutes long. But as a goal, you should at least try for 9.

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The movie will always end up running longer than you think it will. Write a terrible first draft.

I advise you jump right in. Take your first whack at writing the script, with the format of that Wrinkle in Time script as your guide. Don’t worry if your first draft is terrible or too long or unfunny or unoriginal. JUST GET A FIRST DRAFT DONE.

You can worry about making it good later. You might even end up throwing away that first draft and starting over. That’s fine! Every time you write, you’re learning. The “twist” you decided on in Step 2 will be crucial. It will give you the inspiration and direction to write this script.

Maybe you will find, in writing the script, that the original “twist” you came up with doesn’t work. That’s fine! Throw out that twist and think up another! We’re early in the process, nothing is set in stone yet. Make sure your script has a strong start.

Kick off your movie with a visual situation that is fun or compelling or scary or weird! You’ve only got a few seconds to grab the viewer, so make those first few seconds count!

If writing a script beginning- to- end intimidates you, give yourself permission to write fragments out of order. Think of some “holy cow!” moments, some jokes, some scene ideas based on your twist. Once you have a lot of them, THEN think of ways to string them together. Remember that movies are a visual medium. They’re about images, not words. Your script shouldn’t be of a bunch of people standing around talking, explaining the plot.

As much as your story allows, your script should be chock- full of physical action, high- drama moments with lots of emotion, lots of scene changes to different interesting locations and costumes. You may be helped by what we learned from the movies we watched in Step 1—cinematic techniques like voiceover, green screen, special effects, shot composition, camera movement, etc. Don’t be afraid to change the original story from the book.

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You only have 9. 0 seconds to work with, so it’s unavoidable you’ll have to cut out a lot. It’s OK to merge two characters into one, drop subplots, change the order of events, etc.

And if your changes are in service of the genre twist (think of the James Bond version of Ramona and Her Father, or the zombie version of Mr. Popper’s Penguins), then all the better!

Once you’ve knocked together a terrible first draft, have everyone in your group look at it and offer suggestions on how to make it less terrible. After you’ve taken those suggestions, give your edited- but- still- terrible first draft to someone who isn’t even in the group, someone who hasn’t even read the book.

What do they think? Does the script make sense to them? Or is it truly terrible? Watch Big Trouble Online Mic here.

Oh no! My terrible first draft really is terrible! That’s okay, it’s supposed to be terrible. What, did you think you’d write something perfect off the top of your head?

That’s not how creativity works. You must embrace the possibility of writing garbage in order to free yourself to find the good stuff. A bad first draft is better than no draft at all. Let’s put that terrible first draft aside for a moment. Forget about it for now.

Let’s look at the original story again. The number one problem I see in bad 9. Second Newbery movies is that the movies make no sense. I mean literally no sense, like it’s impossible to tell what’s going on. This happens because the filmmakers try to cram too much plot into a short movie. They don’t know which scenes to keep and which to discard. And the scenes aren’t linked to each other in a storylike way.

They just all feel like disconnected bits that have nothing to do with each other. How do you avoid that fate? After all, it’s easy for these movies to get confusing and incoherent, because so much story info is being smooshed into such a short timeframe. Luckily, there’s a great method. Discover the “beats” of the story, and determine how each is linked with the magic words therefore or but. I didn’t invent this next piece of advice.

I learned it from the creators of South Park, Trey Parker and Matt Stone. They explain it better than I can in this video. In case you can’t watch that video, I’ll explain it here and point out how it relates to the 9. Second Newbery. In order to keep our story feeling like a story, we must always make sure our audience understands what is happening in the story, and why it is happening. Otherwise, the audience will be bored or confused. The good news is that you already have a good story. After all, the book you’re adapting won a Newbery Medal or Honor.

So the fundamentals of its structure are probably sound. Your story has good “bones.” So let’s take a closer look at that story. To get a grip on what you need to write, try writing out the “beats” of the original story—the important actions that cause big changes. For instance, in A Wrinkle in Time .

Teenager Meg is dissatisfied with her life, especially that her Dad is missing. Meg hangs out with her little brother Charles Wallace and they meet friendly witches. Meg and Charles Wallace discover their Dad is being held on another planet. The friendly witches take them to the other planet. Once you’ve written out the “beats” of the story, try to find a way in your script to link each beat to the next beat by cause- and- effect. That means, many of the beats of the story should somehow cause the next beat to happen. Beat 1 happens, therefore Beat 2 happens.

Bob heard a noise outside, therefore he went to investigate.” “Susan saw the monster coming, therefore she hid behind the tree.”You won’t be able to do it in every beat. That’s because sometimes the beats aren’t linked by cause- and- effect, but rather an unexpected resistance or complication. That is: Beat 1 happens, but Beat 2 happens. Caroline wanted to buy an apple, but the grocery store was closed.” “Sam wanted to ask Lisa to the dance, but Lisa told Sam she was already going with Zack.”Alert! Here’s what doesn’t work in a story: Beat 1 happens, and then Beat 2 happens. A story fails when too many beats lack a “therefore” or “but” connection, but are simply one thing after another.