It does exactly what it says in the title, except for the blue cats part. There are none, unfortunately.
Really, Gordy’s writing class is actually a masterclass on working a room. He’s warm and funny, inclusive and encouraging. Some at the workshop had never written a script before but all left his weekend workshop raring to go, I’ve no doubt about that. He makes it an enjoyable experience, rather than an uncomfortable one, which can very easily be the case when you have writers discussing each other’s work. We all know writers tend to be a little cannabilistic, that way. But Gordy shelters any exposed writer from becoming crushed by negative feedback by tempering it with encouraging support and positivity. However, he also gives honest and sincere advice to those that need it. It’s very easy to come off as smug or condescending when giving advice, but it’s never the case in his class.
In terms of what Gordy Hoffman teaches, his one big difference from all the others out there is his lectures aren’t lectures; They’re active classes in which those attending are expected to participate and share their words with the group . . . and enjoy themselves. His big ethos with writing is you don’t need the paradigms and the Syd Fieldian nonsense, you just need to cut loose and write. Everyone else is working off the same model, and you don’t have to. You don’t need to know the ending before you write, or have every beat outlined. You don’t have to have anything other than the initial spark and then you just fan the flames and see what burns. It’s common sense, yet still refreshing to hear. His big tip is that in the time it takes you to outline, do flow charts and pie graphs and whatever else most other writers do to find their story you can write your first draft and be onto the more productive part of rewriting. But you should discover your story by writing, not outlining.
Writers are creative engineers not structural engineers and as long as your story is engaging and honest, it doesn’t matter if it fits anyone’s paradigm or not.
I really enjoyed Gordy’s workshop. It was great to have the chance to take part thanks to his competition run on Danny’s blog and I’d absolutely recommend his hands-on class to anyone looking to simply get inspired. A really cool dude, despite coming from Rochester.
Posted by christopher on August 18, 2008 at 1:51 am
interesting, because that’s the exact opposite view of many of the screenwriters interviewed in the ‘backstory’ books. and certainly doesn’t jive with goldman’s “screenplays are structure.”
Posted by Elizabeth Ditty on August 18, 2008 at 2:33 am
I think it’s common sense to say that different writers work in different ways. Even on an individual level, I work differently when I’m writing prose vs. screenwriting.
Personally, I find outlining very helpful, and I’m a big advocate of Blake Snyder’s Save the Cat method. But if you’re spending weeks and months and years polishing an outline instead of writing, then something’s wrong. Also, if you’re not willing to let a story grow organically if it means sacrificing a beat, then there’s a good chance you’re missing the point.
It’s all a learning process, and each writer’s going to have to find the method that works for him or her. It sounds like Mr. Hoffman’s point is to not confuse thinking about writing with actually writing.
Posted by Kevin on August 18, 2008 at 11:29 am
Yeah, I agree guys it is the opposite of what the rest teach. But if everyone is doing it the same way, all following the same recipe then aren’t we all just regurgitating the same ready meal?
I don’t think Quentin Tarantino or Paul Thomas Anderson work within paradigms or under the pretence of foreshadowing every beat. Gordy’s big thing was don’t write a movie, write real life into a movie. Don’t sit there thinking about how the trailer will look, or what the rating will be. Write honestly and write for an audience and the rest should figure itself out as you go.
Posted by Kevin on August 18, 2008 at 11:57 am
That is to say, he does believe in reshaping the story you have into what is most compelling and into a structure which tells it the best way. But setting out to write something within the confines of an outline will only limit what story you tell. If you explore with your first draft, then you have something far more potent at the end than if you just followed all the beats. Let your fingers do the talking.
Posted by Greg Ernstrom on August 18, 2008 at 8:17 pm
QT might not actively follow a paradigm — but that’s only because it comes naturally to him. If you look at Pulp Fiction (or any of his scripts), that does not break the structure paradigm at all. It is a slave to it — which is what makes it work so brilliantly.
Everyone works off the same model because it’s what works. It’s what is palatable to the audience based on the shorthand in storytelling they’ve developed through over a century of films.
You don’t need to outline or graph to write. But you do need to follow the rules of structure and storytelling — unless you’re doing some avante guard piece that no one will ever pay to see.
While I don’t like people who blindly follow the Fields’ models or look at the craft as some sort of mathematical formula, the reason why these books and classes exist is to teach the core foundations of cinematic storytelling to the people who aren’t naturally gifted with it.
While I doubt QT could eloquently explain to a class how structure works or the difference between a master scene and a scene of preparation or any of that “academic” nonsense, he damned well KNOWS how to use all those concepts and applies them in his work even if he’s not conscious of it.
Gordy’s class sounds great. I’m not knocking his method. It works for him. But even he has to follow the rules in the final product — so it’s really just a matter of how you get there. If you’re naturally gifted and can work it out in the rough draft and rewrites, cool. If you need to see where you’re going first to make sure you’re not wasting 3 months, cool.
Posted by Kevin on August 18, 2008 at 8:32 pm
You’re getting hung up on the wrong thing, Greg. He proposes that for your first draft you write and explore and then reshape it with your second draft.
Being a slave to paradigms breeds formulaic stories. None of Quentin Tarantino’s films follow the laws of Syd Field, no matter what way you slice it. They ramble and meander and are highly enjoyable nonetheless and are not in any way avant-garde.
Deciding about writing off an outline, or exploring by writing through a loose framework and rewriting is moot, as it’s a choice for each writer. As long as the story is not your usual bilge barfed out by the “structure is king” attitude that purveys in Hollywood, I don’t care if the screenplay is written using tarot cards and automatic writing.
If you are a writer, you should write. Nuff said.
Posted by bheeler on August 18, 2008 at 9:06 pm
The art of storytelling has never really changed. All the stuff Plato pontificated about way back when holds true now. Beginning – middle – end, 3 acts, acceptable, approachable structure. Does it matter if you write for page 17 or page 30 or page 140?
I personally have never sat down and read any of these books cover to cover. Not one. So I don’t have a bible to preach. But I’ll preach story forever. In any form, story is story. You either know how to tell it or you pay attention and figure it out. You can study paradigms or methods or listen to jokes and read newspaper articles. it doesn’t matter how you break it down, the good ones all share the same understanding.
Posted by Kevin on August 20, 2008 at 11:32 am
Totally, bheeler!
Posted by The BlueCat SCreenwriting Workshop: London Sept 20th - Video Editing Forums: Digital Director on September 1, 2008 at 11:08 pm
[...] and concern into a compelling film. To read reviews of Gordy’s first London workshops go to: http://kevinlehane.com/2008/08/17/go…uecat-workshop OR http://lucyvee.blogspot.com/2008/08/bluecat-london-workshop-august-16th-08.html The First Ten [...]
Posted by Jerry Nossaman on October 13, 2008 at 6:35 pm
Just returned from Gordy Hoffman’s “10 Page Workshop” in Chicago. Workshop is the correct term (started at 8am and finished after 6pm—10 people, each with 10 pages). Everyone has their crack at each others script while Gordy monitors and then “cuts to the heart”, no bleeding however. A natural teacher leaves you feeling “I can do this thing”…very worthwhile…wonderful participants.
Jerry Nossaman