Blurbs and Reviews
THE MORAL PREMISE:
Harnessing Virtue and Vice for Box
Office Success
Stanley D. Williams, Ph.D.
ISBN
1-932907-13-0 - 199 pages, 10 pictures, Research Appendix, Films Cited, Text
Cited, Topical Index, Moral Premise Index, 16 Tables, 6 Figures, 105 footnotes.
Michael Wiese Productions (publisher). Ingram (Distributor).
How the Publisher Reacted to the
Manuscript
Michael
Wiese Productions
is the publisher of over 90 books on the film trade and enjoys a good
reputation in Hollywood as well as worldwide distribution. Perhaps their most
successful book to date is Christopher Vogler's The Writer's Journey:
Mythic Structure for Writers. In Michael's first email to Stan with his offer, he wrote,
in part. "You've written a
tremendous book. I know this because half the book is covered with my own
scribblings and ideas generated from your book ABOUT MY OWN SCRIPT. (It's
always about the reader. If you
provide value - you have a hit.) This doesn't happen to me very often. It's the
same thing that happened to me when I read the outline for Chris Vogler's The
Writer's Journey that has sold well over 100,000 books. So that's my litmus
test! I love your book and would be honored to be its publisher!"
What Others Have Said
Will
Smith
Overbrooks Entertainment
Stanley, The Moral Premise is the most powerful tool in my new tool box. The quality of my future films will be largely affected by YOU! Uh-oh...wait... what if they are not good?? OH well.. it's all on you!
Christopher
Vogler, Author The
Writer's Journey In this dismal age in which
we seem to have thrown away the moral compass, somebody seems to have found it
again. I jump up and down in my classes and in Hollywood story meetings about
the desperate desire of the audience for entertainment that embodies some moral
principles, some guidelines for ethical living, some prescription for a
healthier world and a saner life. The Moral Premise dares to suggest that movies might actually mean
something, that they can be more than the brain candy that passes for amusement
today. It brings us back to the vital first principles that used to make the
movies an important part of our lives, and I recommend it for all those who
want to bring depth and meaning into their writing. Blake
Snyder Screenwriter,
Author (Save the Cat) Hey Stan, just wanted you to
know I received your book from Amazon and am enjoying it immensely. As a
working writer for 20 years I can attest to the "elephant in the
room" in many studio notes meetings on scripts -- that elephant is moral
clarity -- and though we might not say its name, it's right there staring at us
in the balance of right vs. wrong. How many disccusions have I been in where
the "justice" meted out in a story is deemed either too harsh or too
soft? -- and we all know it! How do we know? All of us, from different
backgrounds, all attesting to the immutable laws that govern us as human
beings? I think it is our job to promote the telling of what that means because
it is our mission! It also just plain WORKS - ha! - my screenwriter side also
knows that it's just better entertainment! When you hit those marks of
transformation, and show how the "transformation machine" of Act Two
demarcates the trip, you touch people at a very deep and satisfying level. Ours
is really a noble pursuit. We storytellers wield a lot of power. So nice to be
on track with it, and use that power wisely. This stuff comes from God. We are
only the transmitters of the message, it's why inspiration can be tuned into,
if we know where to look... and admit we're not in charge! Thanks for getting
in touch and thanks for the great book; I will recommend it to all my classes! Wayne McLean Film Script Advisor and Consultant The information and material you present should classify as fundamental
knowledge to every movie maker and writer. Fred G.
Thorne - Writer/Producer/Director, Professor Chair,
Writing Division, Broadcast Education Association The Moral Premise is a thought-provoking tool for storytellers in every
medium, a cogent authority for the understanding of affective storytelling, and
is a goldmine of foundational materials with valuable nuggets for teachers and
students alike. Jonathan
Bock, President Grace Hill
Media, Studio City, CA Stan Williams has hit the
nail on the head — films with wide appeal that stand the test of time all
have a moral center. If only more writers would learn that sooner. The Moral
Premise can't come out soon enough! Drew Yanno,
Screenwriter, Author The 3RD Act: Writing a Great Ending to your Screenplay Stan, Thanks for introducing me to The Moral Premise - I'll never write the same way again!
Ed Solomon,
Screenwriter Levity, Men
in Black Bill and
Ted's Excellent Adventure The Moral Premise is insightful, thought-provoking, and unique. I wish
more people were writing the kinds of things Stan is writing. It's a
much-needed, fresh approach to the art and craft of writing. Howard
Kazanjian, Producer, Star Wars:
Return of the Jedi, Raiders of
the Lost Ark, Demolition Man A very interesting look at
story writing for the screen or novel. A great overview of how to structure a
story." Brian Bird,
Screenwriter/producer Bopha! Call
Me Claus, Touched By An Angel Really good stuff. Stan
Williams has created a new bible for screenwriters in The Moral Premise. Should be required reading, retroactively, for every
working Hollywood screenwriter, and the primer on which every aspiring new
scribe cuts his teeth. Cause and effect... motive behind every action... the
apple in Eve's hand... the basic elements in the giant continuing narrative
that is the universe." Jim Rossow,
Screenwriter Hijacking
Hollywood This is terrific! Stan
Williams book does what an undergrad and graduate education in film could not:
distill what makes a movie "good" into a concise, workable theory
that guides every scene. I've read all the major screenwriting texts from Field
and McKee to Seger and Cooper and, though they won't tell you this up front,
their methods are all based on the script containing a solid moral premise. I
wish I had this book back in film school. It would have saved me untold hours
of agony trying to salvage scripts that had one simple, yet fatal flaw; they
lacked a moral premise. Catherine
Clinch, Associate Publisher Creative
Screenwriting Magazine. Don't
let the Ph.D. throw you – Williams has created an accessible, functional
overview of classic and contemporary theories of dramatic writing.
Screenwriters who strive to present the higher ideal of what mankind can
achieve will appreciate his analysis of films that have succeeded on both moral
and commercial levels. This is exactly what's needed in a post-9/11 society
– encouragement for screenwriters and filmmakers to touch the minds and
hearts of a global marketplace with positive inspiration for the collective
good. Fr. Bob
Bonnot, SVP Programming Insightful,
clear, concise and enriched with many examples, The Moral Premise analyzes the
structure of successful screenplays and shows the reader how to do it
yourself -- act by bloody act. Read it. With its help, vanquish fear, stoke
your hope and write your story. Temma
Kramer, WGA Writer Little
John, Hallmark Hall of Fame, CBS Film
Professor, California State University, Northridge. A wonderful book on
screenwriting. Dr. Williams has written has synthesized the wisdom of classic
and modern theories of good dramatic writing into an interesting and useful
process of developing screenplays of impact and depth. A careful reading of The
Moral Premise provides writers with
useful tools to write powerful scripts of value and impact. The screenwriter may also enjoy the
benefit of applying this insightful material to their personal life with
benefit. The Moral Premise is a
welcome addition to the literature of dramatic writing. A valuable read for the novice. An enriching read for the pro. I think
it is terrific. Dave
Anderson, Screenwriter President,
Compass Film Academy Stan
Williams has crafted what will inevitably become the must read for both new and
intermediate screenwriters and novelists. The Moral Premise gives those of us who teach film, those of us who
write screenplays, and those of you who aspire to become a story-crafter, a
refreshing and powerful new perspective to the essential themes that surround
the basic value drivers in any – better yet – in ALL great
story-telling and story-writing. Drop all of your "do do" lists – get
this book, and curl up for the read of your screenwriting lifetime. And for
those who are helping the next generation of writers to get their "leg up" in
this crazy business – I predict this book will be at the top of your
recommended reading lists. Robert
Dyke, Writer/Director The
Moral Premise" provides a
figurative "slap-on-the-forehead" followed by an "of
course!" It's a complementary "Rossetta Stone," like Chris
Vogler's "The Writer's Journey," to guiding a writer through the
process of effective story telling. I read The Moral Premise as a favor to my friend, Stan Williams, but when I
finished the book — in record time assuming they keep records for such
accomplishments — I realized that it was Stan who had done me the
favor. I strongly recommend that
all screenwriters (past and future) allow Dr. Williams to share with them the
same eye opening experience he gave me. Jackie
Byars, Ph.D. Associate Professor and Director Film and
television theorist, critic, and author. The
Moral Premise is a real gift to
teachers and students of storytelling in any medium. It positions the modern
writer into the history of storytellling and narrative theory, even as it
reviews and evaluates strategies for the writing process. Williams offers many
examples from contemporary films, exercises for developing, identifying, and
structuring a story's premise, and concrete strategies for the writing process.
Most significantly, The Moral Premise
focuses on the importance of a valid premise and the consistency with which
that premise appears in the story's spine, in each of its characters' arcs, and
in each and every scene and act. Paul
Patton, Ph.D., Assistant Professor Communication
and Theater, Spring Arbor University Exceedingly helpful for
anyone wrestling with the process of story-telling for both the screen and the
stage. Filled with examples of the dominant role played by the overarching
moral premise. Impressively well-researched, a veritable single source
reference on the long history of story-telling. His argument, though many
pronged, has one objective: to stab the reader with the strikingly simple, but
sometimes unsettling notion that the "moral premise" of a story is central to
its resonating power. His argument should be part of the working knowledge of
any storyteller. A helpful and informative resource that I will use for my
courses in playwriting and screenwriting. Robert
Johnston, Ph.D., Professor of Theology and Culture Fuller
Theological Seminary; Co-Director Reel Spirituality Institute; Author: Reel
Spirituality: Theology and Film in Dialogue The Moral Premise – theme, spiritual spine, controlling idea,
hidden (universal) truth, emotional through-line, informing vision – call
it what you will! All effective stories have it. Williams helps film writers
and critics alike understand the heart of a story. Given its strong blend of
theory, illustration and practical suggestion, Williams' book is important
reading for screenwriters, film makers and even film critics. Craig
Detweiler, Screenwriter Chair,
Film/TV/Radio, Biola University A
well-argued, well-researched tool (and fuel!) for creating vital screenplays. Stan
Williams connects box office success to enduring human virtues. The Moral
Premise provides a guiding principle
to drive you from Fade In to the closing credits. Douglas
Schulze, Founder,
Motion Picture Institute Film School Director:
The Rain, Dark Heaven, Hellmaster In
The Moral Premise, Dr. Williams does for content what Syd Field did for
structure. The book's "premise" is quite simply that behind every successful
film there IS a formula. For those who claim that a "predictable hit" is an
oxymoron, The Moral Premise proves them wrong. The Moral Premise could very
well be the "holy grail" of screenwriting. To crack the code I strongly advise
you read this book. The Moral Premise is an important and purposeful text that
every one of tomorrow's filmmakers needs today! Jim
Lichtman Ethics
Specialist Author,
What Do You Stand For? Each
of us has a need to make our lives matter. We strive to lead better lives
through the positive examples of others. Their struggles inspire us to
live out of our highest aspirations. Stan's "Moral Premise" causes us to ponder
our own principles, and realize that the pursuit of virtue not only leads to
hope, but to a life that matters. From Amazon.com
Customer Reviews More Than A
Must-Read!, September 14, 2006 By: Curt
Lalonde (Ann Arbor, Michigan) This book is not
only a must-read; it is groundbreaking. Dr. Stan Williams has uncovered the
blueprint for creating successful screenplays and film treatments like no one
has done before and willingly shares the precious details with readers. While
the book appears to be initially written for screenwriters and film makers as a
primary audience, the concepts and strategies Dr. Williams carefully walks
through have implications for so many other things including the art of
storytelling, training and education, business and marketing and much more. After first
providing a conceptual understanding of how the moral premise plays a major
role in successful stories and films, the author dives much deeper and provides
you with the DNA to create your own success. Just as the most memorable stories
and movies seem to withstand the test of time, the concepts, intricate formulas
and methods in this book are also likely to withstand the test of time for many
years to come. From Amazon.com
Customer Reviews Why I love
The Moral Premise , September 11, 2006 Reviewer: Martin Harold (San Diego, CA) Most respected
screenwriting books acknowledge the fundamental need for movies to embody a
theme, one which expresses a truth about our human condition and provides the
cornerstone for a story's unified action. This concept is crucial for a story's
success at the box office, and audiences can easily sense when it is lacking.
Dr. Williams dives into this screenwriting tradition by consolidating the
various manifestations of the "theme" idea, emerging with the Moral
Premise concept that elucidates the heart of a story better than any of its
conceptual predecessors. Oddly enough,
Williams' simple but powerful Moral Premise idea brings back the old ideas of
virtue and vice. These two concepts have long been pariahs in our culture;
stashed away for fear their use would bring back the totalitarianism of an
objective standard for right living. The loss has been ours. Dr. Williams
illustrates the power these concepts hold in helping us to understand the
psychological spine of stories, which under girds and drives the external
action of all stories. I believe that it is imperative for the aspiring
screenwriter to understand the psychological spine of stories through the Moral
Premise concept, and it is equally important to heed the practical steps Dr.
Williams illustrates for the incorporating it into stories. The Moral Premise
provides the storywriter with a deep source of unity, design, and inspiration
for their stories. I encourage all writers to tap into this source From Amazon.com
Customer Reviews In one
word: WOW By C. Pence
(Chicago, IL) I read an interview with
Stanley Williams wherein he claimed his concept of a moral premise would
provide a more dynamic story for both screen AND fiction writers. Game as I am
for a lesson in how to improve my writing, I purchased THE MORAL PREMISE and
afforded it the opportunity to wow me. The result? WOW! This book is fantastic. THE
MORAL PREMISE doesn't advocate a religious or moral lifestyle for the writer
who would apply the ideas therein. What it does push, however, is the idea that
the truly great stories have at its core a moral premise, a statement that
amounts to nothing more than a conflict of two opposing values. It can be as
simple as, "Bigotry leads to injustice, but equality leads to
justice." You then structure your story around this one premise, with
every character playing to either end of the spectrum. The end result is a
bigger sense of purpose instilled in your story that will move your audience in
ways that most books/movies don't accomplish. That's just the nutshell
version of the technique; trust me when I say it's much more layered. And yet,
it's not difficult to grasp or execute; I've already applied it to my stories
with phenomenal results. Williams does front load the book with theory, as most
writing books do, but his theory proves to be riveting as he constantly fuses
it with practical application. Probably more important is that he backs up his
findings by analyzing a ton of movies. In this way, you learn that much quicker
how to correctly incorporate a moral premise into your story. I give THE MORAL
PREMISE 10 stars, and highly recommend it if you want to take your story to the
next level. From Amazon.com
Customer Reviews A timely
update of Lajos Egri By W.
Thielemans "script editor extraordinaire" (Belgium) Before Syd Field, Lajos
Egri was one of the most influentiual screenwriting gurus - except he never
intended to be. Writing about theatre plays, Egri developed the `premise' as
his main writing tool, a three-word phrase, which contains the theme of the
play (for instance: love conquers all). Keeping this premise in mind, the
writer makes sure that every scene expresses this theme in some way. Williams updates and
adjusts this theory to screenwriting. His contention is that the most
successful scripts use a premise which is a moral truth. Updating the concept,
he expands it by focussing on both a virtue and a vice (virtue leads to x, but
vice leads to y). In this way, the writer focuses on the conflict between the
two values, and avoids getting lost on the thematic level. Williams provides
eight steps for structuring your story material, which includes choosing the
virtue and vice, determining the arcs for the protagonist, antagonist and main
secondary characters, and then determining the dramatic beats to support them.
At the end, you'll have most of your story figured out. The Moral Premise is an
interesting, theme-driven approach to screen writing. A few points to keep in
mind though: moral laws vary enormously from culture to culture, so this system
should be most effective for `domestic' (i.e. culturally related) markets. In
some cases, it's pretty hard to relate the premise to the main storyline, as in
the original Die Hard. And some huge box office hits revel in amoral, even
immoral themes. From Amazon.com
Customer Reviews Speaks a
Universal Truth By G.
Scholes (SLC, Utah USA) Describes the reason why
stories are told and retold, and reveals what makes one story a classic and
another a waste of time. Williams provides a clear theory for analyzing stories
in any medium, as well as a usable methodology for creating a plot skeleton.
Other story theory books dwell upon teaching the reader how to use software or narrowly
focus on the meta-myth. This text explains how to find the soul of the story
and how to verify that it "speaks a universal truth". An excellent reference for
anyone hoping to write or improve the quality of their writing. From Amazon.com
Customer Reviews The Real
Hero's Journey By Derek
Rydall "The Script Doctor" Founder,
EnlightenedEntertainer.com, ScriptwriterCentral.com Author, "There's No
Business Like Soul Business," "I Could've Written a Better Movie than
that!" www.scriptwritercentral.com www.centerforconsciousentertainment.com www.derekrydall.com This is really an important
book. In an age where so many people are distracted by what's on the surface of
entertainment and media, this book reminds us that the real reason we make and
watch movies -- and in many cases, the real benefit of them -- is the
underlying moral premise (or 'message') of the story. Like life, what's being
said and shown on the surface, is rarely what it's really about. The true
hero's journey is an inner one, a psychological, emotional, spiritual adventure
from one state of character to another. And all the obstacles and struggles of
the story aren't there merely to create more action and entertainment, but
rather to peel away the layers of the character, to dramatize the 'moral
premise' of the piece, and ultimately transform the character and (hopefully,
in some small way) the audience. What Dr. Stanley Williams
does in his great book, THE MORAL PREMISE, is show us how this is done in film.
What he also does is show us how this same idea has been taught (and is being
taught) by all the major teachers on story -- from Socrates to Syd Field. More than anything, what I
personally appreciate and agree with in this book is that most films of
enduring quality and success have at their center this moral premise. At a time
where it seems as if the studios are looking for ways to create bigger and
bigger FX extravaganzas, this book reminds us (and hopefully them) that it is
the heart and soul of story, not the special effects, big bugets, or even
A-list stars, that make a film great and, in many cases, commercially
successful. Read this book. And make
your stories, no matter the genre, as clear and meaningful as you can! Derek Rydall From Amazon.com
Customer Reviews A Must Read By Curt Lalonde (Ann Arbor,
Michigan) This book is not only a
must-read; it is groundbreaking. Dr. Stan Williams has uncovered the blueprint
for creating successful screenplays and film treatments like no one has done
before and willingly shares the precious details with readers. While the book
appears to be initially written for screenwriters and film makers as a primary
audience, the concepts and strategies Dr. Williams carefully walks through have
implications for so many other things including the art of storytelling,
training and education, business and marketing and much more. After first providing a
conceptual understanding of how the moral premise plays a major role in
successful stories and films, the author dives much deeper and provides you
with the DNA to create your own success. Just as the most memorable stories and
movies seem to withstand the test of time, the concepts, intricate formulas and
methods in this book are also likely to withstand the test of time for many
years to come. From Amazon.com
Customer Reviews Glad It Was
Written By Kari Ann Morgan,
Microfilmmaker.com I cannot say how glad I am
that this book was written. Anyone who calls themselves a filmmaker (or a movie
reviewer) should be required to read this book. At a time when we are spending
so much money on movies, we are sorely uneducated on what makes a truly good or
bad film. While this book may not be
for everybody, you will not be disappointed if you do get it. There is a lot of
material and it is deep, but it is also easy to follow. It is not overly
technical and asks nothing more than the reader having an open mind and a
strong interest in good movies..." From Amazon.com
Customer Reviews Matthew
Terry, Screenwriter/teacher/columnist http://www.hollywoodlitsales.com A must read for any
screenwriter. Stan Williams does an outstanding job of cutting through what you
think your screenplay is about and getting to the heart of what your screenplay
is REALLY about. I remember this like it was
yesterday: I read a letter to the editors in regards to the film "The Deer
Hunter." The person wrote: "I can't understand how a film that
glorifies violence and beer drinking and hunting can win Best Picture."
This person was, obviously, looking at the over all story - not at what the
movie was REALLY about which is a film about love and sacrifice and, literally,
laying one's life down for a friend. Far more depth than "beer drinking
and hunting." What are we talking about?
The "subtext" of a film. What the film is REALLY about. "The
Incredibles?" What's the movie about? "It's about a family of
superheroes that does battle against an evil villain and saves the world!"
What's it REALLY about: It's about love, the power of family, finding your
identity, making sacrifices and doing what is right against all
obstacles." In the book: "The
Moral Premise" author Stanley D. Williams, Ph.D. takes the concept of
subtext and creates a layer of subtext under it. It almost asks: "What's
the SUBTEXT really about?" And if you come up with the answer, then you
have the Moral Premise. The Moral Premise can be
described easily as saying: "Evil actions equal failure, Good actions
equal success" (depending on the script you are writing). That's a poor
example of what the author creates. For example, Dr. Williams's Moral Premise
for "Bruce Almighty" is: Expecting
a Miracle Leads to Frustration; but Being
a Miracle Leads to Peace By digesting a number of
films, including "The Incredibles," "Bruce Almighty,"
"An Officer and a Gentleman" and, to a greater extent,
"Braveheart" - he breaks down the Moral Premise and then shows how
those films adhered to the premise as stated. It is within the process of
dealing with that Moral Premise and the fact that the characters first reject,
return to, and live out, that Moral Premise that not only gives the film depth
but also, in turn, creates Box Office Success (see full title of the book
above). Dr. Williams goes into
extreme detail when it comes to figuring out that Moral Premise and then
applying it to your story taking you first through chapters describing the
Moral Premise and then taking you through steps giving you a step-by-step of
applying the Moral Premise to your script. The initial chapters, with
titles like: "The Moral Premise in Modern Writing Guides" and
"Structure of the Moral Premise" give you a fully detailed analysis
of the subject (including footnotes) and then the chapters end with exercises
to give you a better understanding of what was discussed. The step-by-step chapters
encourage you to apply what you've learned with your own script. Where the
previous chapters felt, in some ways, like a class room - the steps feel more
like you have been let loose on the world to use the knowledge that you have
learned. I will warn you: This is a
weighty book - not in terms of size - but in concept. I found myself re-reading
sentences to get a better grasp on what he was saying (often times thinking in
my head how to apply what I was reading to my current story - and not paying
attention to what I was reading). I am still not sure that I fully have the
concept - but I do see how I can use some of the tools he has given me to add
more depth to my current script - to give my characters more of a purpose, more
of a reality, more of a "Moral Premise." Where I felt the book could
have improved was by providing BAD examples. We know there are a lot of
terrible films out there that had no box office success - how did their lack of
Moral Premise add to that failure? And how could have ADDING a Moral Premise possibly
pull the film out of studio killing tailspin. Is there a Moral Premise in
"Catwoman?" What about "Basic Instinct II?" But then
there's the rub, I bet with both "Catwoman" and "Basic Instinct
II" if you looked for a Moral Premise you could probably find one - so the
movies sucked by either NOT focusing on the Moral Premise or they just sucked
on a whole. Another suggestion that Dr.
Williams makes is by going through your characters, figuring out the arcs and
the plot points and the dramatic (or comedic) beats BEFORE you put pen to paper
(or fingertips to keyboards). He suggests getting out 3x5 cards (or using a
computer program) to plot these out and arrange them in a way that reinforces
the Moral Premise. As helpful as this sounds - and I'm sure it is VERY helpful
- most of my students want to jump right in and start writing their script and
not think about these nuances and details (as important as they are). So if you
want to dive right into your screenplay - go ahead - but you might need to do
some backtracking. Stan Williams does an
outstanding job of cutting through what you think your screenplay is about and
getting to the heart of what your screenplay is REALLY about. A must read for
any screenwriter.
WaynesMovieWorld.com
Hallmark Channel
Moontrap, Timequest
Media Arts and Studies, Department of Communication, Wayne State University
Author: A Matrix of Meanings;