Before I get to today’s blog…

Thinking about doing more with your writing? Why not join me in Paris June 2-7 for my Masterclass in Screenwriting? Come be part of a dynamic community of writers and literary agents to learn, to write, to network, to energize your literary goals—and just to have fun in the City of Light!

The Paris Writers Workshop is the longest running literary program of its kind. This program offers 6 masterclasses by renowned authors, each a specialist in their field—and I’ll be teaching the Screenwriting Masterclass—in English, of course.

The workshop will be held at Columbia University’s beautiful Reid Hall campus in the heart of literary Paris—Montparnasse.

Registration is now open: https://wice-paris.org/paris-writers- workshop

We’ll have a great time getting your story ideas off the ground!!

True Stories 59: 20s—Thirteen Lives

Last week we looked at Till, the tragic story of the lynching of a boy in the South in the U.S.. This week we’re going to look at a story that it seemed—for days when it was unfolding—would have a tragic outcome, but in the end, did not.

Averting tragedy. That’s an interesting premise for a film. And Thirteen Lives [2022] by William Nicholson, was definitely a tragedy averted—though two rescuers would die in the process.

About five years ago from this summer, the eyes of the world were focused on Thailand because of this astounding story. A group of young boys on a soccer team had gone to visit some local caves with their coach and didn’t return. They were all going to a birthday party for one of the boys later that day, and when they didn’t show up, their parents went to the caves and found their bikes parked outside—and the caves flooded.

It wasn’t difficult to assume the worst. But the parents immediately got in touch with emergency services in Thailand and divers came to try and find—and rescue—the boys.

Take a look at the trailer for the film: https://www.youtube.com/watch?v=R068Si4eb3Y

In reality, it took 10 days to find the boys, and another 5 to rescue all of them, and their coach. None of the boys died. And the film shows us that reality.

I don’t know where you were in June of 2018, but I’d guess you heard about the boys trapped in the cave. It riveted audiences worldwide. Day after day after day we’d hear of things being tried to save the boys. But after a week went by, well, I remember thinking, how incredibly sad for their families, their community… this was going to be a tragedy. A week trapped in a cave with flooding waters? There was no chance, right?

And that was the normal reaction. But the fact that the boys DID survive—that not one of them died—made this a story of incredible excitement. I can remember when I heard that the boys had been found alive after 10 days, and that now it was the task of getting them out of the cave alive. And then, five days later, that had happened, too. It all seemed like a miracle.

The challenge, of course, for the screenwriter is how to tell a story that’s going to keep you on the edge of your seat while in the theatre when we all know it turned out great. How do you keep that tension going?

Well, you study all aspects of the situation. How did the rescue happen? What kind of obstacles had to be overcome? What kind of arguments were there between the various entities attempting the rescue? And were there rescuers of particular interest that would let us see into this story on their level?

True stories can be tough—especially because, generally, we all know the outcome. This is a terrific film to study to see how that’s done—and done beautifully.

Next week, The Tender Bar, a writer’s coming of age story. And all of us writers have one, don’t we?

Copyright © Diane Lake

30Jul23

Email Diane a question to Diane@DianeLake.com