Tom Vaughan

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In 29 years of writing features, I never once heard anyone use the terms "A Story" or "B Story" in a development meeting. Only in TV have I heard these terms. I think it was popularized by Blake Snyder. As a teacher, I can understand why he did it. But it can fool people. Outside of true ensembles, there really is no "B Story." There is only ONE story. Feature subplots support that story. They influence it. They affect it. They are necessary to push or pull the protagonist on their journey. If you do not understand why the subplot in your feature is essential for an emotionally satisfying ending, then there is a very good chance you should cut it.

@Cara_RogersOOO Thank you, Cara! That is delightful to hear!

@storyandplot I quoted it in yesterday's writing sprint, stated the link! We meet in zoom from all over, share industry info, and write together. Your insights were appreciated! 🤓

Independent producers are the soft underbelly of the Hollywood gatekeepers. Yesterday, I shared with 12,000 subscribers the process of taking a spec script out and why newer writers should focus on those producers. Did you miss it? One more chance in the replies 👇

@SomersaultFilms I'm lost. Can you elaborate?

@storyandplot That depends on WHO reads it. I'm a film producer.

@LukeBarnett I show the film and the script to my advanced class every semester.

More to come once it’s announced but the Crossing Over Express feature is moving forward with some great folks. There’s a new deck and this page, with maybe 1% of the love we’ve received, will always be a reminder of what a great experience it’s been. What a ride. ❤️

@menonfilmpod Final Destination rip-off. No thanks!

This may seem ridiculous, but it happened to me last week. Get Over It (2001) dir. Tommy O'Haver

@srin_writer Yep.

@storyandplot Can be very counterproductive if taken at face value without nuance

@SomersaultFilms Wish I could say more definitively, but that depends on the story.

@storyandplot The question is what's " the space" between "A Story" and "B Story"? On the scale from 1 to 10.

@batcountry1980 @BenStiller I have him blocked for just that reason.

@BenStiller You’re not disagreeing with him, btw. He will have nicked this wholesale from someone else.

100 percent disagree. One of the great film making achievements. Warren Beatty is one of the best directors of the last 50 years. This is a beautifully made film on every level with one of the great Diane Keaton performances. Any person wanting to make a love story that is both small and epic should watch this. In this era of shorter attention spans REDS stands out as what long form storytelling used to be. This used to be what a big screen movie was with our IMAX or special effects - and it is breathtaking. The witnesses alone - real people from the era telling the story interspersed with the films scenes give of a depth and authenticity we never see anymore in studio movies. See REDS!!

@georginascull @LukeBarnett I haven't, but I love that era and Lee Pace. I am kind of shocked I HAVEN'T watched it.

@storyandplot @LukeBarnett Tom, have you watched Halt & Catch Fire? Be interested in what you think... I loved it so much but hardly ever hear it being mentioned.

Having withdrawals after finishing Mad Men. Which show should my wife and I rewatch? Thinking same era of prestige TV. We’ve done BB and BCS recently, and GoT. Not super interested in a 100+ episodes like Lost or West Wing. Did Sopranos during Covid. Give me your suggestions!

@johnnyblackout It was definitely a lot more fun before. It was such a clear process, and defined expectations. Now, it's... maybe something will happen sometime in the future.

I miss producers jockeying for territories and the updates from reps like 'So and so into New Line and This Producer into Sony. Another producer wants Universal.' Etc. 'Go out on Tuesday and pray for an offer by Friday...but, hey, if it goes into the weekend read - that's ok (but it's really not).' Nerve-wracking fun. Going Wide has pretty much gone away. It's a different vibe now. I was too young for the 90s spec boom, but there was still a lot of activity in the early and mid 2000s.

@Pennington90234 🙏

@storyandplot Super helpful. Thank you Tom

@deborahbetenew Thank YOU, Deborah!

@storyandplot thanks!

Interested in screenwriting? I share everything I've learned over 28 years as a professional screenwriter in a weekly email that you can read in less than 5 minutes. Join 12,000+ other subscribers here: storyandplot.link/twitter

If you want to approach reps for your screenwriting, either directly or indirectly, allocate more resources to pursuing younger ones. Younger reps still fight for projects and the new writers they're invested in. Most older reps work just as hard, but they work "smarter" because they can. They only want slam dunks. They move on quickly when something hits resistance. Again, because they can. It is easier and more lucrative to OVERBOOK their TOP clients than to push their LEAST-established client and lose out to someone ELSE’S top client. This goes for staffing, too. Some clients are easier to staff than others. And showrunners? The agent will focus on them and understandably so. The younger reps -- or the reps that ENJOY finding and breaking in new talent -- deserve most of your attention. Younger reps are growing their client list. They are more willing to take a chance. They are more likely to still be idealistic, fall in love with projects, and keep pushing through all those initial passes.

Your attitude matters. I can't say it enough. This business is a mental battle every single day.

@NormanBertolino Wonderful! Thank you!

@storyandplot Really great and informative newsletter this morning Tom, really glad I started subscribing. Thank you!