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	<title>Write Your Screenplay &#187; Script Analysis</title>
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		<title>Should You Write An Ensemble Piece?</title>
		<link>http://www.writeyourscreenplay.com/2011/12/17/should-you-write-an-ensemble-piece/</link>
		<comments>http://www.writeyourscreenplay.com/2011/12/17/should-you-write-an-ensemble-piece/#comments</comments>
		<pubDate>Sat, 17 Dec 2011 14:58:31 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Crash]]></category>
		<category><![CDATA[Ensemble Pieces]]></category>
		<category><![CDATA[The Tree of Life]]></category>
		<category><![CDATA[100 rules and how to break them]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=4171</guid>
		<description><![CDATA[What do most of Robert Altman&#8217;s films, and screenplays like Crash and The Tree of Life have in common? They&#8217;re all ensemble pieces. So why do so many screenwriting teachers warn against writing for ensembles? And should you dare to write an ensemble piece yourself? Check out this new video for Scriptmag, in which I [...]]]></description>
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		</item>
		<item>
		<title>Are You Afraid of Cliche?</title>
		<link>http://www.writeyourscreenplay.com/2011/12/11/are-you-afraid-of-cliche/</link>
		<comments>http://www.writeyourscreenplay.com/2011/12/11/are-you-afraid-of-cliche/#comments</comments>
		<pubDate>Sun, 11 Dec 2011 05:42:22 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Crazy Stupid Love]]></category>
		<category><![CDATA[Finding Your Hook]]></category>
		<category><![CDATA[marketing your screenplay]]></category>
		<category><![CDATA[Pitching Your Movie]]></category>
		<category><![CDATA[Script Notes & Feedback]]></category>
		<category><![CDATA[writer's block]]></category>
		<category><![CDATA[Writing Lifestyle]]></category>
		<category><![CDATA[100 rules and how to break them]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=4075</guid>
		<description><![CDATA[Is your fear of cliche killing your writing? In this video I recently recorded for Scriptmag, I discuss the screenplay for Crazy Stupid Love and how you can engage with your cliches in a healthy way, in order to set your creativity free and and create the kinds of fresh and exciting scenes you dream [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2011/12/11/are-you-afraid-of-cliche/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Rule #5: Showing vs. Telling</title>
		<link>http://www.writeyourscreenplay.com/2011/11/21/screenwriting-rules-and-how-to-break-them-rule-5-show-dont-tell/</link>
		<comments>http://www.writeyourscreenplay.com/2011/11/21/screenwriting-rules-and-how-to-break-them-rule-5-show-dont-tell/#comments</comments>
		<pubDate>Mon, 21 Nov 2011 19:11:24 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[100 Rules And How To Break Them]]></category>
		<category><![CDATA[Action and Image]]></category>
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		<category><![CDATA[Character]]></category>
		<category><![CDATA[Screenwriting Business]]></category>
		<category><![CDATA[When Harry Met Sally]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=3756</guid>
		<description><![CDATA[100 Rules and How To Break Them Rule #5:  Show Don&#8217;t Tell That you should &#8220;show&#8221; instead of &#8220;telling&#8221; is perhaps the most sound advice any screenwriter can follow. After all, movies are visual, and it&#8217;s almost always more interesting to see someone do something right now in the present than to hear them talk [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>NEW VIDEO: How To Avoid A Dud Ending</title>
		<link>http://www.writeyourscreenplay.com/2011/11/08/screenwriting-video-how-to-avoid-a-dud-ending-for-your-screenplay-nyc-online/</link>
		<comments>http://www.writeyourscreenplay.com/2011/11/08/screenwriting-video-how-to-avoid-a-dud-ending-for-your-screenplay-nyc-online/#comments</comments>
		<pubDate>Tue, 08 Nov 2011 18:44:56 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
		<category><![CDATA[Adaptation & Revision]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=3243</guid>
		<description><![CDATA[Se7en: How To Avoid A Dud Ending Check out this new video I recently recorded for Scriptmag.com and learn how to discover a great ending for your screenplay.]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2011/11/08/screenwriting-video-how-to-avoid-a-dud-ending-for-your-screenplay-nyc-online/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>100 Rules and How To Break Them.</title>
		<link>http://www.writeyourscreenplay.com/2011/09/29/100-screenwriting-rules-and-how-to-break-them-write-what-you-know-nyc/</link>
		<comments>http://www.writeyourscreenplay.com/2011/09/29/100-screenwriting-rules-and-how-to-break-them-write-what-you-know-nyc/#comments</comments>
		<pubDate>Thu, 29 Sep 2011 14:34:42 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=2846</guid>
		<description><![CDATA[100 Rules and How To Break Them Introducing my new series &#8220;100 Rules and How To Break Them!&#8221;  Each week, I&#8217;ll be analyzing one of the so called &#8220;rules&#8221; of screenwriting, and exploring both why they exist, and how to break them in interesting ways that make your writing better and your stories more powerful. RULE [...]]]></description>
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		<item>
		<title>THE TREE OF LIFE Part 5:  Non Linear Storytelling and The Hegelian Dialectic</title>
		<link>http://www.writeyourscreenplay.com/2011/06/28/the-tree-of-life-part-5-non-linear-storytelling-and-the-hegelian-dialectic/</link>
		<comments>http://www.writeyourscreenplay.com/2011/06/28/the-tree-of-life-part-5-non-linear-storytelling-and-the-hegelian-dialectic/#comments</comments>
		<pubDate>Tue, 28 Jun 2011 18:18:55 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=2265</guid>
		<description><![CDATA[In Parts 1, 2, 3 and 4 of this series I discussed the Hegelian dialectic between Nature and Grace represented by Jack’s father and mother, and the way that dialectic is used to give structure to the film. The Dialectic Within Jack Just as Thesis and Antithesis are embodied within the characters of father and [...]]]></description>
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		<item>
		<title>THE TREE OF LIFE Part 4:  Breathe Life Into Your Structure</title>
		<link>http://www.writeyourscreenplay.com/2011/06/26/the-tree-of-life-part-4-breathe-life-into-your-structure/</link>
		<comments>http://www.writeyourscreenplay.com/2011/06/26/the-tree-of-life-part-4-breathe-life-into-your-structure/#comments</comments>
		<pubDate>Sun, 26 Jun 2011 13:55:55 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=2239</guid>
		<description><![CDATA[As discussed in Parts 1, 2 and 3 of this series, The Tree of Life is built around a dialectic between Nature, as represented by Jack’s father, and Grace, as represented by his mother. When using a Hegelian Dialectic to structure your screenplay, it’s important to remember that your characters are more than just the [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2011/06/26/the-tree-of-life-part-4-breathe-life-into-your-structure/feed/</wfw:commentRss>
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		<item>
		<title>THE TREE OF LIFE, Part 3:  Who is this Hegel Guy Anyway?</title>
		<link>http://www.writeyourscreenplay.com/2011/06/22/the-tree-of-life-part-3-who-is-this-hegel-guy-anyway/</link>
		<comments>http://www.writeyourscreenplay.com/2011/06/22/the-tree-of-life-part-3-who-is-this-hegel-guy-anyway/#comments</comments>
		<pubDate>Wed, 22 Jun 2011 13:22:32 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=2228</guid>
		<description><![CDATA[In Part 1 and Part 2 of this series, I discussed how Terence Malick gives shape to central the question of The Tree of Life through the choices of his main character, Jack. The structure through which Malick gives shape to those choices is known as a Hegelian Dialectic: one of the most powerful tools [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2011/06/22/the-tree-of-life-part-3-who-is-this-hegel-guy-anyway/feed/</wfw:commentRss>
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		<item>
		<title>THE TREE OF LIFE Part 2:  From Questions To Structure</title>
		<link>http://www.writeyourscreenplay.com/2011/06/16/the-tree-of-life-part-2-from-questions-to-structure/</link>
		<comments>http://www.writeyourscreenplay.com/2011/06/16/the-tree-of-life-part-2-from-questions-to-structure/#comments</comments>
		<pubDate>Thu, 16 Jun 2011 13:04:22 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=2187</guid>
		<description><![CDATA[In Part 1 of this series, I discussed the question around which Jack&#8217;s journey in The Tree of Life is built: “Why Should I be Good If You&#8217;re Not?” Struggling in a world in which both God and Father can act in such contradictions of beauty and violence, Jack the son is left with a [...]]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>THE TREE OF LIFE:  Great Movies Are Built Around Big Questions</title>
		<link>http://www.writeyourscreenplay.com/2011/06/10/the-tree-of-life-great-movies-are-built-around-big-questions-script-analysis/</link>
		<comments>http://www.writeyourscreenplay.com/2011/06/10/the-tree-of-life-great-movies-are-built-around-big-questions-script-analysis/#comments</comments>
		<pubDate>Fri, 10 Jun 2011 12:25:55 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=2103</guid>
		<description><![CDATA[SPOILER ALERT: You may want to come back to this article after you have seen The Tree of Life. Often as writers we get so hung up on linear, narrative structure that we forget that there are completely different forms of screenplay structure that can be equally moving and powerful. What makes Terence Malick’s The [...]]]></description>
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		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>SUPERBAD: The Rules of the Genre</title>
		<link>http://www.writeyourscreenplay.com/2011/04/17/superbad-rules-of-genre-script-analysis-nyc/</link>
		<comments>http://www.writeyourscreenplay.com/2011/04/17/superbad-rules-of-genre-script-analysis-nyc/#comments</comments>
		<pubDate>Sun, 17 Apr 2011 13:05:22 +0000</pubDate>
		<dc:creator>Jess</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=1554</guid>
		<description><![CDATA[In parts 1, 2 and 3 of this series, we’ve looked at The Lincoln Lawyer, Win Win, and Away From Her to explore the way real world and imagined rules function in creating the reality of a movie. But, this is just the beginning of understanding how rules work in a script.  Because each kind of movie [...]]]></description>
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		</item>
		<item>
		<title>AWAY FROM HER:  Create The Rules That Amplify The Truth</title>
		<link>http://www.writeyourscreenplay.com/2011/04/14/away-from-her-create-the-rules-that-amplify-the-truth-script-analysis-nyc/</link>
		<comments>http://www.writeyourscreenplay.com/2011/04/14/away-from-her-create-the-rules-that-amplify-the-truth-script-analysis-nyc/#comments</comments>
		<pubDate>Thu, 14 Apr 2011 12:29:41 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Adaptation & Revision]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=1512</guid>
		<description><![CDATA[In parts 1 and 2 of this series, I’ve discussed how movies like The Lincoln Lawyer and Win Win take real world rules and dramatize them to create a journey for a character. But what about when you feel like you need to completely make up a rule to make your story work?  Or when [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2011/04/14/away-from-her-create-the-rules-that-amplify-the-truth-script-analysis-nyc/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>WIN WIN: Make The Truth Work For You</title>
		<link>http://www.writeyourscreenplay.com/2011/04/12/win-win-make-the-truth-work-for-you-script-analysis-screenwriting-nyc/</link>
		<comments>http://www.writeyourscreenplay.com/2011/04/12/win-win-make-the-truth-work-for-you-script-analysis-screenwriting-nyc/#comments</comments>
		<pubDate>Tue, 12 Apr 2011 16:17:24 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Adaptation & Revision]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=1490</guid>
		<description><![CDATA[Win Win: Make The Truth Work For You If you read Joe Tiboni’s blog, you may be surprised to discover that the real-life lawyer who inspired Paul Giamatti’s character in Win Win never assumed guardianship of a client (for money or otherwise), never committed a client to a nursing home against his will, and never [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Lincoln Lawyer And The Law</title>
		<link>http://www.writeyourscreenplay.com/2011/04/10/the-lincoln-lawyer-and-the-law-script-analysis-nyc/</link>
		<comments>http://www.writeyourscreenplay.com/2011/04/10/the-lincoln-lawyer-and-the-law-script-analysis-nyc/#comments</comments>
		<pubDate>Sun, 10 Apr 2011 13:01:08 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=1477</guid>
		<description><![CDATA[Here&#8217;s a great question I recently received from a student Question: I&#8217;m working on a [comedy] script right now about [premise deleted]&#8230; and I&#8217;m doing a little bit of research on the laws surrounding International Marriage Brokers and Immigration. What&#8217;s your opinion on how to handle the laws, and how strictly to adhere to them?  [...]]]></description>
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		</item>
		<item>
		<title>The Inexplicable Redemption of Agent G</title>
		<link>http://www.writeyourscreenplay.com/2011/04/01/script-analysis-the-inexplicable-redemption-of-agent-g-vampire-cowboys-nyc/</link>
		<comments>http://www.writeyourscreenplay.com/2011/04/01/script-analysis-the-inexplicable-redemption-of-agent-g-vampire-cowboys-nyc/#comments</comments>
		<pubDate>Fri, 01 Apr 2011 23:01:20 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
		<category><![CDATA[Script Analysis]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=1460</guid>
		<description><![CDATA[The Vampire Cowboys’ new play, THE INEXPLICABLE REDEMPTION OF AGENT G, is more than just a hilarious genre bending, kick-ass-ninja-stage-fighting, comic book romp. It’s also a profound look at what it means to find and follow your voice as a writer, the inexplicable questions of identity and the challenge of telling a true story in [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2011/04/01/script-analysis-the-inexplicable-redemption-of-agent-g-vampire-cowboys-nyc/feed/</wfw:commentRss>
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		</item>
		<item>
		<title>INCEPTION: Part 7 Can The Words You Tell Yourself Really Change Your Life?</title>
		<link>http://www.writeyourscreenplay.com/2010/09/22/inception-part-5-can-the-words-you-tell-yourself-really-change-your-life/</link>
		<comments>http://www.writeyourscreenplay.com/2010/09/22/inception-part-5-can-the-words-you-tell-yourself-really-change-your-life/#comments</comments>
		<pubDate>Wed, 22 Sep 2010 14:46:01 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=736</guid>
		<description><![CDATA[As discussed in As discussed in Parts 1, 2, 3, 4, 5 and 6 of this series, Christopher Nolan&#8217;s screenplay Inception is deeply rooted in the principles of hypnosis.   Learning more about these principles may not only change the way you approach your own writing, but also help you understand new ways that you can [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2010/09/22/inception-part-5-can-the-words-you-tell-yourself-really-change-your-life/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>INCEPTION: Part 6 Is Leonardo DiCaprio Dreaming?</title>
		<link>http://www.writeyourscreenplay.com/2010/09/15/inception-part-6-is-leonardo-dicaprio-dreaming/</link>
		<comments>http://www.writeyourscreenplay.com/2010/09/15/inception-part-6-is-leonardo-dicaprio-dreaming/#comments</comments>
		<pubDate>Wed, 15 Sep 2010 13:07:33 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Hypnosis For Writers]]></category>
		<category><![CDATA[Inception]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=750</guid>
		<description><![CDATA[As discussed in Parts 1, 2, 3, 4 and 5 of this series, Inception is built around a three step down and three step back up structure that closely mirrors the techniques of classical hypnosis.  But just as the story is built around dreams within dreams, so too may it be built around an inception [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2010/09/15/inception-part-6-is-leonardo-dicaprio-dreaming/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>INCEPTION Part 5: The Hypnotic Structure of Inception</title>
		<link>http://www.writeyourscreenplay.com/2010/09/08/inception-part-5-the-hypnotic-structure-of-inception/</link>
		<comments>http://www.writeyourscreenplay.com/2010/09/08/inception-part-5-the-hypnotic-structure-of-inception/#comments</comments>
		<pubDate>Wed, 08 Sep 2010 13:57:26 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
		<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Hypnosis For Writers]]></category>
		<category><![CDATA[Inception]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=747</guid>
		<description><![CDATA[Just as the real hypnotic script discussed in Parts 1, 2, 3 and 4 of this series uses a three step structure to hypnotically bring about a change, the structure of the film Inception also takes three steps down, and then three “kicks” back up, to plant the post hypnotic suggestion of breaking up his [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2010/09/08/inception-part-5-the-hypnotic-structure-of-inception/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>INCEPTION Part 4: The Power of Post Hypnotic Suggestion</title>
		<link>http://www.writeyourscreenplay.com/2010/09/01/inception-part-4-the-power-of-post-hypnotic-suggestion/</link>
		<comments>http://www.writeyourscreenplay.com/2010/09/01/inception-part-4-the-power-of-post-hypnotic-suggestion/#comments</comments>
		<pubDate>Wed, 01 Sep 2010 12:12:25 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
		<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Hypnosis For Writers]]></category>
		<category><![CDATA[Inception]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=733</guid>
		<description><![CDATA[As discussed in parts 1, 2 and 3 of this series, Christopher Nolan&#8217;s screenplay Inception is deeply rooted in the principles of hypnosis.   Learning more about these principles may not only change the way you approach your own writing, but also help you understand new ways that you can break through writer&#8217;s block and build [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2010/09/01/inception-part-4-the-power-of-post-hypnotic-suggestion/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Inception Part 3:  How Inception Really Works</title>
		<link>http://www.writeyourscreenplay.com/2010/08/25/inception-part-3-how-inception-really-works/</link>
		<comments>http://www.writeyourscreenplay.com/2010/08/25/inception-part-3-how-inception-really-works/#comments</comments>
		<pubDate>Wed, 25 Aug 2010 14:27:04 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
		<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Hypnosis For Writers]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=700</guid>
		<description><![CDATA[As described in Parts 1 and 2 of the series, the organizing principles of Inception&#8216;s &#8220;dream within a dream within a dream&#8221; structure seem to be drawn directly from a classical three-step approach to hypnosis.  This technique is used to help people create profound changes in their lives, by &#8220;incepting&#8221; suggestions for positive change into [...]]]></description>
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		<slash:comments>1</slash:comments>
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		<title>INCEPTION Part 2: The Power of Hypnotic Images</title>
		<link>http://www.writeyourscreenplay.com/2010/08/18/inception-the-power-of-hypnotic-images-and-image-systems/</link>
		<comments>http://www.writeyourscreenplay.com/2010/08/18/inception-the-power-of-hypnotic-images-and-image-systems/#comments</comments>
		<pubDate>Wed, 18 Aug 2010 13:28:09 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Action and Image]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=696</guid>
		<description><![CDATA[As I discussed in last week’s article, the organizing principles of Inception’s dream within a dream within a dream structure almost perfectly mirror the classical hypnosis training one receives at a weekend certification class in hypnosis. To understand how a movie can be built from this kind of organizing principle, you first need to know [...]]]></description>
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		<title>INCEPTION: A Hypnotic Script</title>
		<link>http://www.writeyourscreenplay.com/2010/08/11/inception-a-hypnotic-script/</link>
		<comments>http://www.writeyourscreenplay.com/2010/08/11/inception-a-hypnotic-script/#comments</comments>
		<pubDate>Wed, 11 Aug 2010 06:21:09 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=681</guid>
		<description><![CDATA[The Hypnotic Basis of Inception

One of the truly interesting things about Inception is that its structure seems to be based upon the principles of hypnosis.  In fact, the organizing principles of the dream within a dream within a dream structure of the film almost perfectly mirror the classical hypnosis training one receives at a weekend certification class in hypnosis.]]></description>
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		<title>TOY STORY 3, Part 5:  Let Your Characters Earn Their Happy Ending</title>
		<link>http://www.writeyourscreenplay.com/2010/06/25/toy-story-3-part-5-let-your-characters-earn-their-happy-ending/</link>
		<comments>http://www.writeyourscreenplay.com/2010/06/25/toy-story-3-part-5-let-your-characters-earn-their-happy-ending/#comments</comments>
		<pubDate>Fri, 25 Jun 2010 07:10:55 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=551</guid>
		<description><![CDATA[As discussed in Part 1, Part 2, Part 3 and Part 4 of this series, the structure of Toy Story 3 is built around the theme of loyalty, and desperate desires of both its protagonists and antagonists to be loved and played with by children.  Love is the currency of Toy Story 3, the one [...]]]></description>
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		<title>TOY STORY 3, Part 4:  Choose The Right Antagonist</title>
		<link>http://www.writeyourscreenplay.com/2010/06/23/toy-story-3-part-4-choose-the-right-antagonist/</link>
		<comments>http://www.writeyourscreenplay.com/2010/06/23/toy-story-3-part-4-choose-the-right-antagonist/#comments</comments>
		<pubDate>Wed, 23 Jun 2010 06:16:06 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=545</guid>
		<description><![CDATA[As discussed in Part 1, Part 2 and Part 3 of this series, Toy Story 3 does a brilliant job of exploring diverse aspects of the theme of loyalty, through an emotional structure built upon the toys&#8217; shared desire to be loved and played with by their owners, and the gigantic obstacles that stand in [...]]]></description>
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		<title>TOY STORY 3, Part 3: The Foundation Of Structure</title>
		<link>http://www.writeyourscreenplay.com/2010/06/22/toy-story-3-the-foundation-of-screenwriting-structure/</link>
		<comments>http://www.writeyourscreenplay.com/2010/06/22/toy-story-3-the-foundation-of-screenwriting-structure/#comments</comments>
		<pubDate>Tue, 22 Jun 2010 05:48:53 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=541</guid>
		<description><![CDATA[As discussed in Part 1 and Part 2 of this series, the structure of Toy Story 3 is built around a simple desire shared by its characters, and unified around a simple theme, loyalty.   As Andy grows older and heads off to college, the desperate desire of the toys to be loved and played [...]]]></description>
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		<title>TOY STORY 3, Part 2: The Beauty of Unintended Consequences</title>
		<link>http://www.writeyourscreenplay.com/2010/06/21/toy-story-3-part-2-the-beauty-of-unintended-consequences/</link>
		<comments>http://www.writeyourscreenplay.com/2010/06/21/toy-story-3-part-2-the-beauty-of-unintended-consequences/#comments</comments>
		<pubDate>Mon, 21 Jun 2010 18:09:06 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=538</guid>
		<description><![CDATA[As I discussed in Part 1 of this series, Toy Story 3 does a wonderful job of building its structure around the greatest wish of its main characters: to be loved and played with by children.  When the toys feel that their owner Andy no longer cares about them, this desperate desire forces them to [...]]]></description>
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		<title>TOY STORY 3: Theme, Structure and Your Character’s Desire</title>
		<link>http://www.writeyourscreenplay.com/2010/06/20/toy-story-3-screenplay-theme-structure-and-your-characters-desire/</link>
		<comments>http://www.writeyourscreenplay.com/2010/06/20/toy-story-3-screenplay-theme-structure-and-your-characters-desire/#comments</comments>
		<pubDate>Sun, 20 Jun 2010 09:42:44 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=532</guid>
		<description><![CDATA[If you&#8217;ve read the reviews, seen the movie, or talked to a friend, you know by now that just about everybody loves Toy Story 3.  Audiences cheer.  Critics gush.  Grown adults laugh and weep like children.  So what makes this movie work so well?  And how can you use its secrets to improve your own [...]]]></description>
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		<title>KICK ASS! The Promise of the Premise</title>
		<link>http://www.writeyourscreenplay.com/2010/04/16/kick-ass-the-promise-of-the-premise/</link>
		<comments>http://www.writeyourscreenplay.com/2010/04/16/kick-ass-the-promise-of-the-premise/#comments</comments>
		<pubDate>Sat, 17 Apr 2010 03:20:34 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Blog]]></category>
		<category><![CDATA[Finding Your Hook]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/blog/?p=184</guid>
		<description><![CDATA[Kick Ass! Does Just That&#8230; It&#8217;s rare that you see a big budget action movie that succeeds on as many levels as Kick Ass! Hilarious, high stakes action sequences, directorial vision, fabulous characters, bold acting choices, and more-fun-than-you-can-shake-a-nunchuck-at combine to make Kick Ass! the kind of action movie producers and audiences alike can salivate over. [...]]]></description>
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		<title>A PROPHET… And You’re Worried YOUR Character Is Unlikable!</title>
		<link>http://www.writeyourscreenplay.com/2010/03/10/a-prophet-worried-your-character-is-unlikable/</link>
		<comments>http://www.writeyourscreenplay.com/2010/03/10/a-prophet-worried-your-character-is-unlikable/#comments</comments>
		<pubDate>Wed, 10 Mar 2010 22:19:40 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[A Prophet]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/blog/?p=169</guid>
		<description><![CDATA[There are many reasons to brave the shocking violence of Thomas Bidigain and Jacques Audiard&#8217;s new film, A Prophet (Un Prophéte).  This brilliantly crafted screenplay, which takes you into the brutal world of a French prison through its main character, Malik, makes the prison world of The Shawshank Redemption look like daycare.  As you follow [...]]]></description>
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		<title>Wild Thoughts About WILD THINGS</title>
		<link>http://www.writeyourscreenplay.com/2009/11/05/wild-things-archetypes-emotional-symbolic-structure/</link>
		<comments>http://www.writeyourscreenplay.com/2009/11/05/wild-things-archetypes-emotional-symbolic-structure/#comments</comments>
		<pubDate>Thu, 05 Nov 2009 20:45:39 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=108</guid>
		<description><![CDATA[Script Analysis: WHERE THE WILD THINGS ARE

SPOILER ALERT: If you haven't yet seen Where The Wild Things Are, you may want to check it out before you read this article.

Let's set aside the question right now of whether or not Where The Wild Things Are is a good movie. Let's set aside the question of whether you liked it or not (or were a little bit embarrassed for liking it as much as you did).

And if you feel like you wasted your twelve bucks on a movie in which essentially nothing happens, let's set that aside too.

Love it or hate it, Wild Things is a movie worth studying, because of the bold and unique ways it is structured to reflect its authors' premise, both in its most wonderful, and its most problematic elements.

PREMISE? WHAT PREMISE?
Wild things is governed by a simple idea-- or at least a strong suggestion-- that we are seeing the whole world through the perspective of a young boy-- as he works out his rage over his isolated life (and more importantly, his parents divorce) by playing with a bunch of stuffed animals in his room.

The writer-director team of Jonze &#038; Eggers make a very strong (and very risky) decision that nothing in the world of the Wild Things is going to exist outside what a boy Max's age could reasonably imagine. This is embodied in every element of the film:]]></description>
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		<item>
		<title>Where The Wild Things Are – Interesting Article</title>
		<link>http://www.writeyourscreenplay.com/2009/10/21/where-the-wild-things-are-interesting-article/</link>
		<comments>http://www.writeyourscreenplay.com/2009/10/21/where-the-wild-things-are-interesting-article/#comments</comments>
		<pubDate>Thu, 22 Oct 2009 00:33:40 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
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		<category><![CDATA[Script Analysis]]></category>
		<category><![CDATA[Where The Wild Things Are]]></category>

		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=104</guid>
		<description><![CDATA[I haven&#8217;t seen the movie yet, but thought this David Brooks NY Times Article about the film was an interesting discussion of character. I&#8217;ll weigh in with my thoughts after I&#8217;ve seen the film.]]></description>
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		<title>Script Analysis: What&#8217;s Wrong With &#8220;Surrogates&#8221;?</title>
		<link>http://www.writeyourscreenplay.com/2009/10/11/script-analysis-whats-wrong-with-surrogates/</link>
		<comments>http://www.writeyourscreenplay.com/2009/10/11/script-analysis-whats-wrong-with-surrogates/#comments</comments>
		<pubDate>Sun, 11 Oct 2009 14:00:07 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<category><![CDATA[Exposition]]></category>
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		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=92</guid>
		<description><![CDATA[Movies are a lot like professional sports. The things we notice tend to be the big plays, the brilliant scenes, the moments that make us say &#8220;wow!&#8221; But what actually makes movies work is a lot like what makes sports teams successful: not the brilliant moments, but the fundamentals. In football, those fundamentals are blocking [...]]]></description>
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		<title>Thoughts On &quot;Drag Me To Hell&quot;</title>
		<link>http://www.writeyourscreenplay.com/2009/06/10/script-analysi-drag-me-to-hell/</link>
		<comments>http://www.writeyourscreenplay.com/2009/06/10/script-analysi-drag-me-to-hell/#comments</comments>
		<pubDate>Wed, 10 Jun 2009 07:16:40 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<category><![CDATA[Drag Me To Hell]]></category>
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		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=34</guid>
		<description><![CDATA[I just saw "Drag Me To Hell" tonight.  Talk about a great example of how a well structured movie uses theme to craft a character's journey.    Spoiler alert:  If you haven't watched this movie yet, this might be a good time to dash out and see it.  Then come on back and read all about it.

The theme of "Drag Me To Hell" is pretty simple: selfish desire leads to the soul's destruction.  The film begins with a woman who is genuinely good.  And step by step, the structure of the film quite literally drags her to hell-- not just through the terrible curse that she must contend with, but by causing her to make such immoral choices in her attempts to escape it that by the time it's all over, she just about deserves her fate...]]></description>
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		<slash:comments>7</slash:comments>
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		<item>
		<title>Thoughts On &quot;Watchmen&quot;</title>
		<link>http://www.writeyourscreenplay.com/2009/03/03/script-analysi-the-watchmen/</link>
		<comments>http://www.writeyourscreenplay.com/2009/03/03/script-analysi-the-watchmen/#comments</comments>
		<pubDate>Wed, 04 Mar 2009 00:50:13 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
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		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=37</guid>
		<description><![CDATA[In my Monday class tonight a question came up about the difference between Message and Theme.

It turns out a perfect example can be seen in the "The Watchmen".

Theme is about the character's journey. It reflects the want the character is pursuing, the value in that character that is being tested, and the way the character changes.

Message is about the writer. It's what the writer wants you to believe. And in execution it tends to be preachy and unengaging, because it's all about PLOT and INFORMATION, rather than about a character on a journey...]]></description>
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