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Roger wrote: "Structurally, the movie has one of the earliest and most frustrating inciting incidents I’ve ever encountered. The opening scene takes place in a station wagon as 14-year-old Duncan, his mom, her boyfriend Trent, and Trent’s daughter drive toward the house they’re going to stay in for the summer. At the top of the scene, while Duncan’s mom and Trent’s daughter are sleeping, Trent asks Duncan if he’s awake just so he can then tell the boy that, on a social scale from one to ten, he’s a three and needs to raise that score this summer. Who says that to a child? Never before have I hated an antagonist so much right from the start. By the third page of the script, it’s clear that the movie is about Duncan proving that he is not a three." See that? That is a strong emotional response to the story. If you can generate that from the first 2-3 pages of your script, that is what you want. Immediately get the reader involved in the story, hating one character, feeling strong sympathy for another. In reviewing the script, I was also reminded how the opening scene with Duncan seated alone in the rearward facing seat in the 'way way back' of the station wagon sets up perfectly for the bookend ending: INT. STATION WAGON - DAY - CONTINUOUS Pam climbs over Steph and joins her son. They just sit, staring straight ahead. No need to check in with each other. They’re on the same page. For now, they need only enjoy the view from the way, way back. And, just as the slightest hint of a smile comes to Duncan’s face, we.... Beautiful, no need for dialogue, the visual says it all: "They're on the same page." I also want to note how terrific the character Owen (Sam Rockwell) is, yet another memorable Mentor character. And interestingly, he goes through a bit of his own metamorphosis, his own coming of age suggested, even a possibility he might look up Owen's mother down the road. The screenwriters (Faxon & Rash) co-wrote The Descendants with Alexander Payne and won an Academy Award for that script. Their writing skill shows in the pages of TWWB.

There are sooooo many things I love about this script. So many screenwriting lessons. A few that resonate with me... - dialogue that suits characters to a T and how characters are differentiated by their dialogue. Each is very distinct. If you were given bits of dialogue without character names from this, it would/should be very easy to know whether it's Duncan or Owen or Trent or Caitlin or Roddy or Betty, who's one of the many gems in this script. Characters don't all sound the same. Shouldn't. This script hits this notion out of the park! - writing that pulls the reader down the page. To me, a script shouldn't read like a novel, nor like a cookbook or instruction manual. It should read like someone is sitting beside me telling me the story. This does that. There are things the writers have done in the action/narrative lines which are unique and brilliantly done, almost like little "asides" and the places emphasis is added via underlining, and these little half-sentences to drive home points. - I'm a massive fan of "bookends" and this script gives us that beautifully. Same but different. Both "rides in the back" are towards something semi-unknown and potentially scary, but the state of mind of the characters clearly is much different in the final bookend. - thematically sound!! The whole "let it be yours", "go your own way" message is Duncan's, yes, but it carries further/across to other characters as well. Namely his mom, but others too. This is one of those movies, much like LITTLE MISS SUNSHINE when that came out, that I was sooooo anxious for just from hearing about and seeing previews. A small film that packs a wallop --- wallops, I should say, of humor and emotion and relate-ability. I will take this sort of story over a giant summer blockbuster film every day of the week and six times on Sundays!!

Glad you enjoyed it, JoniB, and thanks for your comments. Your point about character "differentiated by their dialogue" is an important one to be reminded of. There may be a certain kind of 'functionality' to dialogue in that it advances the plot, however its actual form - the very words used and how they're used - must originate from each living, breathing character, which as you note TWWB script does. As to those little "asides," I categorize that as 'editorializing' wherein the Narrative Voice, the story's invisible character who is 'telling' the story, comments on the moment from time to time. Just as this from the very last paragraph in TWWB: "No need to check in with each other. They’re on the same page." Technically that is what some call an 'unfilmable'. But the fact is we, as screenwriters, have the freedom to write these type of 'asides' as long as we do so in a judicious manner... which TWWB does. Like you, I'd love to see more quality movies like TWWB. The best way to ensure that: Make sure we spend actual $$ to support them in theaters and via VOD. Thanks again, JoniB, for your observations!

Really loved the read of this. Steph was an interesting character since she ended up literally blocking Duncan off from Susanna (lying on the bench, dividing them in the beach.) This was very akin to Trent blocked Duncan from his mother. It was cool to see the similarities between father and daughter, and also an externalization of the obstacles that Duncan needs to surpass by going his own way.

I love Betty! Abrasive in the beginning; blunt, crass, somewhat invasive and forceful of space and time (friendship) - we're sort of fooled by that in the beginning. But in the end I found her to be one of the most compassionately empathetic characters (aside from Owen and the water park gang) who shoots straight and doesn't hide anything. Sure she's kooky and loud and obviously broken, but she's completely aware of her feelings and recognizes what others don't because she's been there and doesn't waste time tip-toeing. She's the rusty, yet solid anchor for Pam in the end - the external strength.

Great observation, dproctor, a dynamic that hadn't occurred to me, but you are so right. Your insight leads me to two thoughts: * Obstacle: So much of a Protagonist's journey is confronting and overcoming them. Indeed, many of a story's Plotline points are shaped around obstacles that emerge. Why are obstacles important? Apart from the obvious, such as creating conflict and tension, they force the Protagonist out of their comfort zone and compel them to stretch and grow to overcome them. * Character = Function: This is one of my screenwriting principles and your observation about the comparison between Steph and Trent, each of whom creates an obstacle for Duncan, speaks to that. Obviously the characters are more than just obstacles, but from a narrative POV, this function lies at the base of each character. Thanks for your post, dproctor! Nice insight.

Glad you spoke on behalf of Betty, Despina. In my view, she is a Trickster, sometimes an 'ally', other times an 'enemy', and pretty much ruled by her own needs. Another sign of a Trickster: Often they are sidekick characters who are played for laughs. As you noted, her character's tone and role evolves over the course of the story, donning more of the mentor mask, especially in her relationship with Pam. At first, she comes off as embarrassing. By the end, she provides a dose of honesty born of her own tumultuous life that adds a nice bit of texture to the story. Plus her character is a total hoot! Thanks for that, Despina!