Former Disney Executive Producer Marc Handler's recently released new book, "Collaborative Screenwriting and Story Development: A Global Guide for Writers, Story Teams, and Creative Executives," rises above dozens of more run of the mill screenwriting guides by teaching existing and aspiring filmmakers how to bridge cultural divides - most notably between the narrative traditions of China and Hollywood.

"In a world that lurches from one war to another, where nuclear arsenals are being rebuilt and the destruction of humanity is a contingency plan, stories and films are among the few things that can bring us back to sanity," Handler tells Xinhua in an exclusive interview.

Handler explains that they do that in the humblest way "by reminding us that we are all human and that life is precious... Our differences are small, and our common humanity is infinite."

In his book, Handler imparts invaluable insights into the collaborative nature of modern storytelling. He articulates a vision of global cooperation, stating, "The world needs international cooperation."

He notes that "We need to learn from each other, understand each other, and develop effective ways to work together."

When author and screenwriter Handler first embarked on this book, he was an executive producer at Disney, China, where he spearheaded international co-productions and facilitated learning exchanges to bring Chinese media professionals to Disney in Los Angeles to learn from the top filmmakers in the entertainment industry.

"As the Chinese groups learned from their American counterparts, they adapted the things they did like to their own style. This broadened their perspectives and gave them new tools to work with on their stories," Handler recounts.

That gave participating Chinese writers, filmmakers and entertainment executives "the best of both worlds," he says.

"I realized that we Americans could learn from that approach too; in fact, all the international writing groups could learn from each other. Imagine new cultural ideas pinging in all directions, inspiring us, and making our writing more daring and inventive?" he enthuses.

Handler says he appreciates the mutual learning between Chinese and American groups, emphasizing that such exchanges "broadened their perspectives and gave them new tools to work with on their stories."

Throughout the book, Handler meticulously dismantles the Hollywood-centric view of screenwriting, presenting a more inclusive perspective that values stories and storytelling techniques from diverse cultures. This approach not only broadens the writer's toolkit but also fosters a deeper appreciation for unique cultural differences and storytellers from around the world.

Handler's narrative is deeply influenced by his experiences with Chinese storytelling traditions, introducing readers to concepts like the "Phoenix, Pig, Leopard Concept," likened to the Chinese version of the three-act structure, offering a vivid analogy that highlights the richness of Chinese narrative strategies.

One of the book's other standout features is its focus on collaboration and working in groups, reflecting the reality of most media projects today. Handler's insights into the dynamics of writers' rooms and the process of story development from a group perspective are invaluable.

He notes, "In writers' rooms, writers are required to do more than write scripts; they work cooperatively with other writers to plan seasons, break stories, create characters, and build series and franchises." This guidance is crucial for thriving in the modern screenwriting landscape.

"If you are part of a writers' room, how do you lay out a TV season? Set schedules? Plan workflow? How do you become an effective team member? Give and receive constructive criticism? Build a world-class creative team?"

Through detailed exploration of writers' rooms, character creation, and story development, Handler equips readers with the skills necessary for success in an industry that increasingly values collaborative effort and cross-culture exchanges.

Handler champions a vision where true creativity in screenwriting emerges from a place of exploration and openness. He advocates for an approach to storytelling that is intuitive and unconstrained, challenging conventional wisdom and encouraging writers to embrace a more fluid and imaginative process. 

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