Seven Essentials for Projects “Based on a True Story”

Seven Essentials for Projects “Based on a True Story”

Seven Essentials for Projects “Based on a True Story”

Joey Madia
Joey Madia
5 years ago

Seven Essentials for Projects Based on a True Story

“Based on a True Story.” Five very powerful words. But also kind of complicated…

Yet, despite the complications and often polarizing reviews when “true stories” debut, there’s no denying there’s something about a “true” story that’s value-added.

The voyeurism intrinsic to our psychology is essential to engaging with Narrative, and those five words enhance the marketing, anticipation, and audience experience.

Take the decades-long success and spinoffs of Law and Order, which used “ripped from the Headlines” as another way to say “based on a true story.”

Another example of alternative phrasing is from the 2018 film Winchester. The filmmakers used “Inspired by actual events.” I like this. It gives storytellers more leeway than “based on a true story” by evoking Inspiration outright.

And, as anyone knows who’s been involved with telling “true stories” through page, audio, stage, or screen, narrative storytelling barely resembles the truth of its source material.

Admittedly, “truth” is a thorny concept. Human memory’s famous unreliability and self-protective ego mechanisms have necessitated the maxim, “There are three sides to every story: yours, mine, and the truth.”

For 30 years I’ve written, acted in, produced, and/or directed nearly thirty plays, one-person shows, screenplays, historical education-entertainment programs, and historical fiction novels “based on a true story.” It’s my passion, and I take the responsibility seriously, so I’ve thought a lot about it.

Seven Essentials for Projects Based on a True Story

There are immense challenges with bringing “true stories” to life. Regardless of the source material, we have to follow tried and true narrative rules. Most of us adhere to some form of the 3-Act model and Hero’s Journey.

Therein lies our first mountain to climb: “Real life” rarely holds to these rules.

The following essentials will help.

1. Stories Need to be “Heightened and Compressed”

I learned this from playwright/screenwriter David Mamet. Think about your life. Even if it’s at times more dramatic and filled with tension points than you want, it is probably far from a constant stream of plot points, twists, and obstacles.

Most lives aren’t.

As writers, though, we’re telling a story that averages 120 minutes. So tensions have to be heightened (made more dramatic, with bigger stakes and harder adversaries than might have been true) and events (and the time between them) compressed.

Here’s a metaphor I use with my students: Hold a tube of toothpaste vertically and compress it. The toothpaste will heighten in the sense of rising out of the tube. The more compression, the more dramatic the escape of the toothpaste.

Seven Essentials for Projects Based on a True Story

Black Sails is a good example of heightening and compressing, especially when it comes to Blackbeard and other historical characters, although timelines, locations, and even some socio-political aspects were manipulated to heighten and compress.

Staying with maritime themes, I’m reading Patrick O’Brian’s Master and Commander. He spends a lot of ink explaining his rationale for where he heightened and compressed, though he doesn’t use these terms. It’s an excellent primer for anyone interested in writing Historical Fiction (aka “based on a true story”).

Another example is Steven Soderbergh’s 10-year journey to make Che. Although there was great commitment to authenticity (to which I can attest, having spent 18 months researching and rehearsing a one-man show I’m touring as Che), there are still places—and the screenwriters explain this in various documentaries—where they heightened and compressed, and others where they filled “gaps” in history with educated guesses, chosen in part for narrative strength.

2. Uneventful “Gaps” must be Filled with Action

Life, even for the famous, is rarely nonstop and intense all the time. There are lulls in the most adventurous of lives. These lulls can be deadly to narrative drive and tension. More compressing and heightening is needed in order to fill the “gaps.”

Gaps are also the place where the characters are going from where they are to where they want to be.

How much liberty you take with a gap dictates the distance you travel from the source material (and the truth).

Gap-filling is a reward of telling “true stories.” Is there a period in the person’s life that’s unknown (e.g., there are endless “takes” on the 18 years between Jesus’s episode in the temple at 12 and re-emergence at 30, when he gathered his disciples)?

These gaps are the places where I and other writers take the most liberties.

Seven Essentials for Projects Based on a True Story

Consider Dan Simmons’s 2017 AMC series The Terror, based on his novel. Simmons is a master of filling the gaps with paranormal elements. His novel Drood is a brilliant take on the last months of Charles Dickens’s life.

Vice, the Adam McKay follow-up to The Big Short, uses highly stylized storytelling in order to fill the gaps in the life of the secretive Dick Cheney.

At times a writer will opt for a “cleaner” version of the truth, such as Peter Morgan did with Ep. 109 of The Crown, when he had Churchill’s wife burn the controversial Graham Sutherland portrait of the PM rather than having a maid hide it. In an episode that centered very much on character (with strong interpretative performances by Stephen Dillane and John Lithgow), it would have been too “busy” to unfold a conspiracy to hide the painting. It’s a minor change with great effect.

Some writers take considerable liberties with the timeline and truth. Oliver Stone’s The Doors, a film that created tensions among the band’s remaining members, exists in the realm of Myth. Rob Roy (with Liam Neeson) also takes big liberties, again elevating the character and the story to Myth.

With The Doors and Rob Roy, it’s important that Jim Morrison and Rob Roy went a long way toward creating their own mythologies. This is a good litmus test for work with historical figures.

Seven Essentials for Projects Based on a True Story

3. Repetitive Events in the Narrative Need to be Combined for Impact

This connects with heightening and compressing. Many of our tension points happen day in and day out (disagreements with colleagues, lovers’ spats, the frustrations of commuter traffic) but rarely devolve into blowups and screen-worthy conflicts.

As writers, instead of showing a dozen small arguments, we build early tension moments between characters, followed by a mid-level argument, followed by a major conflict that puts the hero’s goals in jeopardy (“raising the stakes”), which catalyzes Change Moments.

The same goes for skirmishes before a major battle or stops on a speaking tour for a politician. Once we’ve shown some quick, less stakes-oriented examples to establish scale (i.e., importance to the character’s narrative arc), we can move on. And must.

4. Honor the Maxim “Action is Character”

Robert McKee, the celebrated screenwriting teacher, says personality and behavior are revealed through action. In other words, “show, don’t tell.” If you put a person in intense circumstances, their true “character” is revealed. Do they stay and fight? Do they run? Do they commit acts of betrayal? To reveal a person’s true character through action, we need Rivals and Villains to drive and challenge them. The bigger the obstacles created by antagonists, the more the protagonist is forced to dig deep and show who they are. In real life, true Villains are rare. With “true stories,” the writer’s need to make antagonists stereotypical Villains can cause tension with either the person who serves as the model for the Villain or the person’s family.

Art Howe, former manager of the Oakland A’s, was offended by how he was portrayed in Moneyball (by Philip Seymour Hoffman). Olivia de Havilland sued the writers/producers of Feud, about Bette Davis and Joan Crawford, for lying about what she said and did. The family of the real Commander Denniston, a character in The Imitation Game (Charles Dance), was upset by how he was portrayed. This was the character chosen by the writer to relentlessly threaten and deride Alan Turing. In truth, Denniston did neither.

Seven Essentials for Projects Based on a True Story

5. We are Not Replicating the Person(s) Central to the Story

As two of the best actors in the business—Philip Seymour Hoffman and Sam Rockwell—have said about their portrayals of real people (Truman Capote and Chuck Barris, respectively), they are simply doing an actor’s interpretation of a writer’s interpretation of the person in question.

That’s a brilliant assessment of the storyteller’s craft.

I write and perform Chautauqua pieces based on real people, from several pirates who sailed with Blackbeard, to a Civil War captain who fought with an all-Black regiment, to the iconic “Che” Guevara and poet-activist Allen Ginsberg.

Although extensive research, preferably using first-person documents and video, is central to Chautauqua, what moves audiences is a personal story. This means finding the motivations behind their actions and illuminating their psychological complexities and contradictions. In Chautauqua, the performer answers audience questions for 15 minutes. So there’s an element of improvisation and a need to fill the gaps.

Enter the character arc.

6. There Must be a Clear Character Arc

The previous points I’ve addressed contribute to creating circumstances in which our hero can substantially change from start to finish. But this creates a problem: People rarely change in real life to the extent required by narrative storytelling.

What’s a writer to do?

First, look for the big events in the character’s life. You can’t fit them all into a single story, so choose ones with substantial Change Moments. Being elected president, a miscarriage, an arrest, a change in monetary status (from rags to riches and vice versa): These are moments that fuel narrative arcs.

Storytellers also seize opportunities for “redemption” in the arc, meaning the Hero has to make mistakes. Big ones: a hit-and-run or scandal they try to hide, an affair that leads to major familial/public consequences, ordering a charge during a battle that causes thousands of deaths, or ignoring a problem for some political or financial expediency that causes considerable harm. The subsequent Redemption moments also move the Change narrative.

A caveat: Families of subjects for biopics and other historical fiction will often fiercely promote the image of a loved one as flawless and always on the right side of history. This makes telling a compelling story impossible. What they want is a tame, boring documentary. Without specifics, there are many examples of “true story” projects that were in development with A-list actors and directors that were stalled or never made.

It’s something to keep in mind as you look for “true stories” to adapt.

Seven Essentials for Projects Based on a True Story

7. It’s a Mistake to Put Historical and Personal Events through the Lens of Modern Moral Sensibilities

This is important. There’s a modern elitism that has developed in the way people from the past are viewed. “Those horrible, ignorant dolts—we treat people so much [insert positive adjective] now.” That, of course, is debatable.

For the storyteller, there’s no place for this kind of skewed lens. Just tell the story. If you honor the people by filling the gaps with appropriate action and present the facts, dilemmas, mistakes, arcs—all the things in this article—the audience will make their own judgments and, even better, you may evoke empathy, which leads to understanding and becomes a path to our not repeating history while gaining insight into the very human whys of the people involved.

What Kind of “True Story” Do You Want to Tell?

To see how these seven points work in practice, watch A Beautiful Mind, The Imitation Game, and The Greatest Showman and then research John Forbes Nash, Alan Turing, and P.T. Barnum, respectively, and then read (or skim) the source material biographies.

Tracking the various iterations is a fascinating process and a way to learn more about writing “based on a true story.”

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About the Author

Joey Madia

Joey Madia

Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach

Joey Madia is an actor, screenwriter, playwright, Escape Room designer, podcaster, novelist, and director. He has appeared in, directed, and written well over 100 plays and a dozen projects on camera, including the 2014 remake of White Zombie and his first film as writer/director received an Hon...

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13 Comments on Joey's Article

Great advice for the most part, but not always applicable to every story -- case in point, the one "based on a true story" project I'm (sort of) working on is based on the rescue of Streetcar 304, so there's not a whole lot of compressing and gap-filling to do (because as soon as he launches off of the carrier, it becomes non-stop action, and even more so after the Vietcong shoot him down!)  But #4 is always applicable -- in a movie (any kind of movie), how a character acts shows what kind of person he/she is, that's a rule that you can break only at your own peril!  On the other hand, I don't agree with #6 -- a character DOES NOT have to substantially change from start to finish (in fact, mine tend not to), but ONLY to overcome the challenges he/she faces in the plot, so a character arc is NOT always a requirement!
5 years ago
Thanks
5 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
Thank you for your comments, Dennis. All best to you in all of your projects!
5 years ago
Joey, that was mind-blowing! :D Say, I don't mean to be off-topic, or anything, but which city and state are you from? I'm a Chicago entertainment fan who's looking for a local publicist who can interview me about my three topics that are based on soap operas, which your projects may have something in common with, and music. If you know someone, great. If not, then, it's OK, I won't waste your time, I'll look to someone else. To find a local publicist, I need to put in the work. Thank you very much.
5 years ago
Well, I've gone to some lounge post, but it didn't yield any fruits, but I won't stop until I get an answer.:)
5 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
I hope it yields some good fruit for you!
5 years ago
Dayna Noffke
Director, Screenwriter
Thank you so much for sharing this! I'm getting ready to embark on this journey and found this brought up a lot of questions/issues for me to ponder. Happy New Year to you!
5 years ago
Tom Stohlgren
Author, Researcher, Screenwriter
Great advice -- and a wonderful checklist! I've written two autobiographical scripts, and converted an autobiographical book to a script for a friend. Another friend and I wrote a script on scary cult in Mexico, based on actual events. In all such works, the challenges are enormous, but the reward for documenting real lives for posterity is priceless.
5 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
Had a look at the logline. Wow. A scam gone wrong. An excellent setup. I also read the logline for The Last Witch Trial. I am professional paranormal investigator, lecturer and author, so these stories are definitely of interest to me. 
5 years ago
Tom Stohlgren
Author, Researcher, Screenwriter
Devin Walker and I investigated the "Princess of Blood" -- in 1963 in the small Mexican village of Yerba Buena, involving torture, orgies, blood-drinking, and human sacrifices -- a real and creepy story from which we wrote the script "Worship" -- it's loaded up on my loglines page if you're interested. Best to you too!
5 years ago
Joey! Great article. Glad to know I'm not just quirky. I will probably quote you on numbers 4 and 7. (in the middle of an adventure novel series in the 1920s and) Run into people often who don't understand either of those. To me, those are simply real. Now I can say, it's not just me. Thank you!
5 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
Jerry: Thank you so much! Please quote all you want! Your project sounds very interesting. 7 has become a real challenge in the historical education work I do. And writing mostly about pirates these days, their motivations are hard for us to understand and much more complex than blowing holes in ships while loaded on rum. All best to you!
5 years ago
Vital Butinar
Director, Director of Photography, Editor, Filmmaker, Photographer (Still), Screenwriter, Colorist
Great blog! I agree with the points completely. It's funny I wrote a screenplay called Lost In The Waves based on a true story about a guy who got swapped off into the ocean while surfing and then surviving almost four days before rescuing himself. Looking back I actually did everything that's written above and I think it was because it was an interesting story from the start. I was listening to it from a friend who was with the guy and all the problems that came along with searching for the guy and then when I head the whole story I just wrote it from my perspective and it was filtered already. I had to add some stuff and turn some things around but it basically worked really well.
5 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
Sounds great, Vital! I love to watch documentaries, but write fictional stories as well. All best!
5 years ago
Vital Butinar
Director, Director of Photography, Editor, Filmmaker, Photographer (Still), Screenwriter, Colorist
Thank you Joey Madia. Yeah I love documentaries but I have always been more of a fiction type of person. Maybe it will change in the future. But in either case the whole story was like a film from the way my friend told me the story over the phone as he was looking for the guy to everything I heard from the media to the whole story after it was all done. I just said that's Cast Away all over again but in a different way. So I decided to write it to have another story that I can maybe turn into a movie one day.
5 years ago
Randy Goodwin
Actor, Producer
Great article once again, Joey! Thanks for sharing. It is always a pleasure to read your insights. Keep them coming. And continued success to you.
5 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
I really appreciate this, Randy! Many thanks!
5 years ago
PJ Edwards
Actor, Screenwriter, Voice Actor
Thanks for this! I am writing an inspired by true story for my next screenplay and these hints help! 
5 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
Thanks for the read and the good words, PJ! I am very glad to hear that these will help... that's why we do what we do. All best!
5 years ago
Pat Savage
Actor, Director, Music Composer, Musician, Producer
Thanks Joey this is pure brilliance. I have also read Showing Up and see you have another 8 blogs of great interest to me.which I'll be diggin into. Thanks and I'm working on my first blog for here too. Pat
5 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
Thanks so much, Pat! I appreciate you reading not only this one but others. I very much look forward to your blog debut!
5 years ago
Hi Joey Thank you for this blog. For the last two years I have been working on my screenplay, The Postcard, which is based on the true story of my Great Grandparents. Though their story is really amazing, I could tell you about it in a couple of paragraphs, but I have managed to weave out a feature drama surrounding that story. It has been a fascinating process. I never knew my Great Grandparents, so I have had to give them personalities, flaws, emotions and a compelling story. When I first started, I only wanted to write a 20 minute short showing the actual story of what really happened. I got something down, showed it to some screenwriters who offered amazing advice, the most notable was... 'put story before fact'. That really got me thinking and that spurred me on to write it as a feature. There are a few time frames involved in this story, because 'the postcard' refers to a postcard my Great Grandfather sent to his wife in the early 1900s and the postcard has been handed down through the generations to me and I think I have found a way to portray it well. At least, I hope so.
5 years ago
Thank you Joey, yes, very helpful. 
5 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
This sounds like an excellent project, Rosalind, and that you are going about it in a very smart way. I hope that the suggestions in the article help to move your project along.
5 years ago
Thank you so much for sharing this, Joey! I look forward to reading your post and learning more. I am working on turning my true story into a documentary. KR, Carina
5 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
Carina: Thank you so much for reading and responding! All best to you with your project!
5 years ago
Hi Giuseppe,  That is a really nice primer for writing a story that is based on a true story or true events.  I put a link to it in a recent screenwriting thread asking for advice on this very topic.  But this is a very nice article by you...hmmm...which leads me to believe that you are not one person, but are a composite of four different people, because no one person can be as prolific and busy as "Joey" claims to be!  (Just kidding, pai'san!) I don't know if you've seen this website, but they do a really cool scene-by-scene breakdown of many films, and rates the "false-true" scale of each scene. You can click into each scene, as represented in the bar graph for each film, and you'll see the rating and explanation of that scene. I think it's correct and factual., at least  :) Here is the link to that website. https://www.informationisbeautiful.net/visualizations/based-on-a-true-true-story/ Hope all is well there, and much continued fortunes in all of your endeavors, Joey!
5 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
My friend--it is so good to hear from you! Thanks for sharing the article to that website. I will have a look. Sounds very interesting. I always appreciate your good words and enthusiasm! 
5 years ago
Harri-Pekka Virkki
Author, Stunt Performer
Thanks Joey. Clarifying post. I guess "based on" is less vague as "inspired by" ? Anyway: the last 3 based on true events movies I saw (and liked) were "8 Mile", "Blinded By The Light" and "Green Book". Have a wonderful rest of the week!
5 years ago
Joey Madia
Screenwriter, Director, Actor, Story Analyst, Author, Acting Teacher, Performance Coach
Harri-Pekka: Thanks as always for the read and comments! "based on" is definitely less vague, which holds perhaps to a higher standard or certainly expectation. You have an excellent week as well! Great choices for "based on"!
5 years ago
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