Present progressive. Passive voice. It describes things that convey no story meaning. The sluglines are complex. The dialogue is all exposition. The prose style is literal and impersonal. No original images or details. Research errors. Bad grammar, usage and spelling. Improper format. Nothing happens. First pages are your resume. They show that you know what…
Read moreYES, I WILL READ FOR YOU
It comes up a lot, so here’s the thing. I am happy to read the first ten pages of your script in pdf, between us friends, and give you an opinion. If you want coverage of your entire screenplay or pilot, I will provide it for a small fee, which is small. You can send…
Read moreWHAT HAS YOUR SIDEKICK DONE FOR YOU LATELY?
Sidekicks are important for a lot of logistical reasons. You can compare and contrast them with the protag for character development, they can reveal the protag’s interior for clarity, and they are pretty handy for getting into trouble and causing escalations. But they aren’t just plot tools. Remember this part? Even though Finding Nemo isn’t…
Read moreHiveword: a planning tool for writers
theproofangel: Hiveword: a planning tool for writers When you are planning a long piece, you need somewhere to jot things down. If your idea is hazy, or if the result will be complex, conventional techniques can get messy. Pieces of paper can get chaotic. Spreadsheets are useful, but although sorting is useful, after a while it…
Read moreNotes From a Screenreader: Speech Exhaustion
Notes From a Screenreader: Speech Exhaustion nywift: Photo via Go Into the Story. Speeches in early pages give readers creeping dread because they are weapons-grade tools and should not be brought out casually and waved around for piddly little tasks like exposition. Speeches put the brakes on. Is it more than three sentences…
Read moreDO I REALLY NEED AN ANTAGONIST?
No. You don’t have to paste on a bad guy to fit a formula, you can be very successful without a Hans Gruber or Sauron or Regina George. Any condition hostile to the protagonist achieving their goal is antagonistic. You do need hostile conditions. There is no conflict, hence zero drama, in stories where there…
Read morethescriptlab: SEQUENCE BREAKDOWNS Bridesmaids (2011) First link also contains sequence breakdowns for many other films across a wide range of genres. Knowing how to sequence-wrangle gives a sense of purpose, direction and momentum to your screenplay.
Read moreI’ve changed my mind so many times after digesting new information that I am no longer in any rush to volunteer my opinion about things that are none of my business.
Read moreBASIC PHYSICS AND YOUR SCREENPLAY: PART TWO
INERTIA: a property of matter (YOUR PROTAGONIST) by which it continues in its existing state of rest or uniform motion in a straight line, unless that state is changed by an external force. (YOUR INCITING INCIDENT)
Read moreI am not lying
annerocious: My followers are a really smart, good-looking, talented bunch of people. Plus you like baby animals. So. You’re even more of the best.
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