Donald L. Vasicek

What do you see when you
look at yourself in the mirror?
Exploding fireworks like July
4th? If so, you’ve celebrated
July 4th when it wasn’t July 4th.

Why the fireworks? Does it
have anything to do with how
you feel about yourself, your
life? If it does, then, you might
want to replace the explosion
with peace.

“How can I do that? I’m in debt.
I hate my job. Gas prices are
greed at its finest. Peace? What
am I supposed to do, smile while
my life dissipates?”

“That is your choice to make. I
choose writing.”

“What does that do for anyone?”

“It gives one a point of reference,
a place where one can go to pull
the weeds out of their life. Writing
can be metamorphic. It can change
the way you perceive yourself and
your life. Try it today. In one hour,
you will feel something inside of
you that you have forgotten.

“Simply, you will remember to be
happy today. Tomorrow is up to
you, just don’t forget to be happy
tomorrow as well.”

Donald L. Vasicek
Olympus Films+, LLC
http://www.donvasicek.com
dvasicek@earthlink.net

First, just a slight sound. Sort of I’m frightened,
but I want to do this. Not in words, but her eyes,
there a murky green with rounded pupils as large
as dimes.

They shed love on me. “Please, help me. Please,
I want to die.”

I leaned down to her ear. “Annabelle, I love you.
I will always be with you.”

She suddenly felt warm next to my hand on her
shoulder. Emaciated, six years old, and dying.
I stroked her. I nodded to Dr. Green.

She removed a needle from her white smock,
from one of those large pockets.

“I love you, Sweety. I’ll always love you. I
will always be with you.”

It happened in a short second, or less. Dr.
Green slipped the tip of the needle into a
catheter on Annabelle’s right leg, which was
wrapped in a royal blue cloth. Dr. Green
pushed her thumb on the butt of the needle
holder.

I looked at Annabelle. Her eyes looked at me.
Then, she died. Her eyes, frozen in death,
stared at me. No breathing now.

Her shoulder, skin and bone, some black and
white hair, quiet and dead now.

Where was I to go without Annabelle? Home,
I decided. That’s where she wanted to go, I
knew. I buried her under the cherry tree in
the shade, one of her favorite places.

It is so quiet without Annabelle. Who can I
turn to now? Annabelle’s eyes instructed me
to follow the bright star in the East, Venus, I
believe, someone named it that. She said that
is where you will find your direction “without

me.” 

“Go there. It will give you information you do
not now have. It will give you information that

you can utilize.

When I looked at Venus the next morning at
4 a.m., during my run, I saw my life in front
of me. It was clear.

Dick Sutphen’s THE LAW OF NEW BEGINNINGS:

For each of us in our time, there are major life
turning points. There is a break in the energy
wave patterns and complete change results.
Everything is affected this change in flux; some
things to a lesser degree than others. Examples
would be: 1. A traumatic situation or tragedy,
such as the death of a loved one. 2. A religious
conversion. 3. A point in therapy when
something clicks and from that time on the
patient begins to get well. 4. A mother giving
birth to a baby. The lesson is to learn to take
advantage of these new beginnings.

I let go of Annabelle. I am writing, something I haven’t
done to any great extent for eight years
since I began “The Sand Creek Massacre”
film project. Although there is a physical void
without Annabelle, she is with me.

Writing of any form requires
study and research.  The strength
of any type of writing resides in
the application of what one learns
and research, and then, applies it
by writing, writing, and more writing.
Each time one writes something, they
become a better writer.

For you, you might want to think about
writing and producing documentaries.  It
is rare a writer is hired to write a
documentary film.  Many documentary films
do not have a script.  Those that do, are
usually written by the director/producer
of the film.

As for feature films, short films, etc., one
can learn how to write screenplays through a
variety of ways.  No approach to learning how
to write screenplays is inscribed in marble.  It
is dependent upon the individual writer.  Some take
screenwriting classes.  Others study screenwriting
books.  Some work with a script consultant until
they have their screenplay market ready.  And others
wing it.

You can determine what works best for you by knowing
who you are, how you best learn, why you want to write
documentaries, features, etc., and what audience you
want to attract with your work, and why.  Answering
these questions will give you insight into what to
write and the approach to take in order how to learn
to write.

by

Donald L. Vasicek

So, you began your screenplay with a visual metaphor.

You’ve introduced your main character, the setting,
the time, the theme, and you’re introducing other major
and periphery characters. You’re getting to like your
story pretty well, when all of sudden you hit a
block. What is your story about?

This question is asked many times over each day
in the film business. So, you’d better be prepared for it.
Your story is about a character who reacts to something
that causes him (I’m using the male gender because I
honestly don’t know what is correct when writing articles.
Someone please tell me how to deal with this so I can be
grammatically and politically correct.) to begin acting instead of
reacting to what is going on around him.

The first step in your main character’s transformation
(you’d better have one if you want to sell and get your
screenplays produced)is when he reacts to the introduction
of the dramatic premise. Until this time in your screenplay,
you should have established your main character who
should be in a setting and time interacting with other characters who
should all be showing (I emphasize “showing” instead of “telling”
since all great writing “shows” instead of “tells”) different aspects
of your theme. You should have established all of these elements by
about page 10 of your screenplay.

On or about page 10 in your screenplay, you show something that
occurs that is out of context of what you have set up so far. This
turning point in your screenplay is when you have your main character
react to something that establishes the dramatic premise of your
screenplay. This dramatic premise will be the plot of your
screenplay. Something happens to your main character that begins his
transformation arc because he is forced to react to something he has
been avoiding, but he must react to it until he overcomes it, or it
his life will never change for the better.

In the $56 million MGM screenplay I was a writer/consultant for,
“Warriors of Virtue”, Ryan, the main character is shown in school,
with his friends, with his family and how he reacts to these people
and this setting. Problem is, Ryan wears a leg brace, a defect in his
leg he inherited with birth. Kids push him around. He can’t play on
the football team. He argues with his parents. His dog barks at him.
He has a lot of problems until he’s challenged to leap over this
rushing water to show other kids that he’s not a wimp. Then, his
real problems begin. He leaps and falls into the water. He is swept
into an alternate universe where he has to change or he’ll never be
able to return to his home. The evil Komodo and his army, a village
of “people” and five Kung Fu Kangaroos who need his help stand in
his way. This is where his transformation arc begins. This is where
the dramatic premise for the movie is established. From this point on,
Ryan begins to change, and to never be the same again.

This alternate universe (no different than what your main character
should be experiencing at this point in your screenplay)”attacks” Ryan.
He survives the plunge, but now he’s being threatened by the evil
Komodo’s soldiers in a forest. When some Kung Fu kangaroos rescue him, he
begins to see that someone cares about him, and he doesn’t even know
why. And miraculously, he discovers that his leg is healed.

Fearful of the village, which is made up of a loving community of people,
at about page 45, Ryan foreshadows he is going to be at the end of the
movie. He meets a girl, Princess Anne and he isn’t afraid of her. At midpoint, the village
is attacked by Komodo and his soldiers. Though fighting valiantly, the Kung
Fu Kangaroos are outnumbered. They manage to drive the invaders
away, but, they know, that unless they come up with some kind of
miraculous idea, Komodo is going to take over the village and kill
everyone. And now, Ryan has a stake in the outcome. Where before, he
cared little about himself, now, he not only cares about himself, but he
cares about Princess Anne as well. But, Komodo has kidnapped her to hold her for ransom
in order to force the village leaders to give in to his demands and give up
the village (Komodo desires the village because of its love and its peace
because this kind of behavior terrorizes him).

At about page 75, Ryan tells the village leaders and the Kangaroos that
he believes he can talk Komodo in releasing Princess Anne. Interested,
he tells them how.

At about page 90, Ryan, under the protection of the hidden Kangaroos,
Ryan confronts Komodo about releasing Princess Anne. Komodo, struck by Ryan’s
audacity, challenges him to a duel with swords. Only Komodo knows his soldiers
are near to back him up, but unaware of the hidden Kung Fu Kangaroos.

Komodo, by far the superior warrior to Ryan, is about to take Ryan’s head with
his sword, when some of the soldiers show their faces. At that point, the Kangaroos
show themselves. An all out battle ensues.

Ryan races to rescue Princess Anne. The battle is so fierce, the out-numbered Kangaroos,
are exhausted and about ready to admit defeat, when Ryan, grabs a sword and disarms
Komodo. The Kangaroos take over and defeat Komodo’s soldiers. Ryan rescues Princess
Anne and saves the village.

In the closing scene, the village priest creates a mystical and spiritual avenue for Ryan
to travel so that he can return to his parents and other life. After a tearful goodbye to
everyone, Ryan leaves.

Upon his return to the town where he lives, his parents, friends, and the kids in school,
see that his leg is healed, and so is Ryan. Even his dog accepts him.

So, you need to take your character on a journey, by establishing the dramatic premise,
then roughly timing turning points in the story and in your main character. Page 1, a visual
metaphor that defines the theme of the story. Page 3, a line of dialogue, or an action
that directly pinpoints the theme of your story. About Page 10, establish the dramatic
premise. At about Page 30, something extraordinary should happen that spins your
character and story around 360 degrees and sends it off in another direction. At
about page 45, foreshadow how your main character is going to be at the end of
your story. Just a small action, something your character does to reveal this, like when
Ryan meets Princess Anne and he is unfraid of her. From this point forward, you must
have your main character creating all of the action. In other words, he/she must be
pro-active in all events. At about Page 60, midpoint, you must show that about all is lost
for your main character regardless of the new strength he/she is showing. By about Page 75,
have your main character change the way he/she is trying to accomplish his/her goal. At
about Page 90 of your screenplay, your main character should have a direct confrontation
with the villain (villain represents evil in fiction) or antagonist (doesn’t necessarily
represent evil so much as representing the opposing force to your main character’s goal).
This confrontation results in your main character winning and sets up how the story
is going to end. For the next several pages, your story should build to a climax where
your main character goes nose-to-nose with the villain or antagonist. Here, your
main character should have an epiphany. For Ryan, it was his discovery that he
must overcome Komodo in order return home to his family and friends. It is here where
your main character’s fatal flaw (the flaw that has caused your main character to
pursue a solution to it because it is more overpowering than any other flaw)comes to
the surface and must be overcome by your main character. With Ryan, it was his fear,
and he overcomes it.

After the climax, wrap up all loose ends and end the screenplay as soon as possible.

And there you have it. Nine easy to steps to writing a screenplay.

Donald L. Vasicek
Writer/Filmmaker/Consultant
http://www.donvasicek.com
dvasicek@earthlink.net

1) What is the correct format for writing an article?
2) What is the exact distance between the first and second line?
3) How many spaces between the first and the second paragraph?
4) How many spaces are needed to indent the first line?
5) What is the correct margin?
6) Give me an advice on how to create an article.
7) How to prepare an article that will have a chance of being published for payment?
What to do in order to sell articles to a magazine?
9) Relevant advice concerning article writing.
10) How to improve your writing in order to become a professional writer.

1. Indent seven spaces. Write in paragraph form.
2. Double space.
3. Two.
4. Seven.
5. Ten to twelve spaces.
6. Focus on specific subject matter.
7. Study similar articles that have been published.
8. Write a query letter about your article. Send it
to publishing outlets.
9. Focus on the a specific subject matter. Do adequate
research on the subject matter. Write as though
you’re telling a story, with a beginning, a middle,
and an end. Make sure you have a theme that holds
everything together. The theme should be the subject
matter of your article.
10. The most effective way to improve your writing is to study writing
and to write, write, and write.

“Make Your Work Shine”
Donald L. Vasicek
Writer/Filmmaker/Consultant
Olympus Films+, LLC
http://www.donvasicek.com
dvasicek@earthlink.net

Olympus Films+, LLC
“Commitment To Professionalism”
Mission Statement:

Olympus Films+, LLC is dedicated to writing and producing quality products that serve to educate others about the human condition.

Olympus Films+ presents a place where your film or what you are writing including articles, novels, screenplays, reports, letters, etc., can become a smash hit through effective storytelling techniques.

Olympus Films+, LLC utilizes a Zen writing and filmmaking approach to telling your story on film or paper that can help you transcend the costs of acquiring high production values.

Olympus Films+, LLC can take your film or what you are writing to where you want it to be via helping you structure your film to your choice of audience(s).Contact award-winning writer/filmmaker Donald L. Vasicek at 303-903-2103 or dvasicek@earthlink.net today! It can only benefit your most profound dreams for success.Fair and negotiable rates to fit your budget.

Donald L. Vasicek/Olympus Films+, LLC, provides writing and filmmaking services. Services include tutoring, mentoring, consulting, writing, and filmmaking. This includes books, articles, etc., documentary films, feature films, short films, corporate films, etc.

Covering the full spectrum of writing and filmmaking, Donald L. Vasicek/Olympus Films+, LLC, also writes, directs, and produces documentary films, feature films, short films, corporate videos, personal and home videos, etc.

Donald L. Vasicek
Olympus Films+, LLC
dvasicek@earthlink.net
303-903-2103

FOR IMMEDIATE RELEASE

“Award-Winning Writer/Filmmaker Donald L. Vasicek Launches New Sand Creek Massacre Website”

May 21, 2008 — CENTENNIAL, CO — Award-winning filmmaker, Donald L.
Vasicek, has launched a new Sand Creek Massacre website.  Titled, “The Sand Creek Massacre”, the site contains in depth witness accounts of the massacre, the award-winning Sand Creek Massacre trailer for viewing, the award-winning Sand Creek Massacre documentary short for viewing, the story of the Sand Creek Massacre, and a Shop to purchase Sand Creek Massacre DVD’s and lesson
plans including the award-winning documentary film/educational DVD.

Vasicek, a board member of The American Indian Genocide Museum (www.aigenom.com)in Houston, Texas, said, “The website was launched to inform, to educate, and to provide educators, historians, students and all others the accessibility to the Sand Creek Massacre story.”

The link/URL to the website is sandcreekmassacre.net.
###

Contact:
Donald L. Vasicek
Olympus Films+, LLC
http://www.donvasicek.com
dvasicek@earthlink.net

A favorite Zen story in which three men are observing a flag fluttering in the breeze: One man says, The flag is moving. The second man says, The wind is moving. The third man says, You are both wrong, it is your mind that is moving.

If you look inside of yourself, you will see the information you need to be successful. This information contains everything you need to be successful. The secret to tapping into this information is contained in Writing/Filmmaking Whispering.  How so, you ask?

Look inside of yourself and you will see the answer. This is the secret to successful writing and/or film-making. Look inside of yourself and you will see the secret.

Why is it that Steven Spielberg is a successful filmmaker? He has the ability to look inside of himself and see the secret.

Why is Stephen King a successful novelist? He has the ability to look inside of himself and see the secret.

What do you seek when you write a letter, or make a corporate video? Do you look outside or inside of your mind and heart?When you look inside of your mind and heart you enhance your ability to see the secret to being successful in your undertaking.When you look outside of your mind and heart, you have no ability to see the secret to being successful.What rings true in each one of us is our ability to think and feel.

When we tap into those senses to write a screenplay or make a documentary film, we look inside of ourselves. We see the secret to successfully write the screenplay or making the documentary film successful.You might ask, but I do that and I see nothing.

The reason you see nothing is because you allow yourself to avoid seeing the secret. You allow yourself to avoid seeing the secret because you do not know how to see the secret.With Writing/Filmmaking Whispering, you will see the secret. You need simply to contact me.

Writing, any kind of writing, requires the writer to know inside of themselves why they are writing what they are writing.  It parallels knowing who the audience is of whom will read the writer’s writing.