Me: *wearing 6 inch platforms* Me: *attempts to sit down* Me: *plummets to my death*
Read moreWHAT YOU WANT IS SUBTEXT
So, it’s sort of like a puzzle. You want to convey the information that your protag was, let’s say, orphaned at the age of seven and inherited a vast fortune. How do you do it? TRICK QUESTION. You do not want to convey information, you want to create curiosity and emotion and feelings of connection…
Read moreWhy did I write? Because I found life unsatisfactory. Tennessee Williams (via letteratura-litterature)
Read moreFormat Friday: Secondary Scene Headings (Slugs)
somedayscreenwriter: A question I get a lot is how to handle minor location changes within a scene, such as going from the living room to the kitchen in an apartment or from a cubicle to the break room at the office. I touched on this in a previous post about scene headings but let’s look a…
Read moreTO MAKE MORE DIMENSIONAL FEMALE CHARACTERS…
You have to get past thinking of them in terms of who would be willing to have sex with them. Go out in the street and look at ALL the women. Every single one of them has compelling dramatic conflict in their lives. Imagine that.
Read moreSTOP THAT
annerocious: Two spaces after a period looks very old-fashioned.
Read moreHOW TO STOP OVERWRITING YOUR DIALOGUE
It’s simple. We’re watching it. Develop your characters in such a way that even someone who has never seen True Blood can grasp what they are looking at here. If this doesn’t make sense, get out your notebook and write down everything you can tell about these two people and their relationship and their backstories…
Read moreSTOP THAT
Two spaces after a period looks very old-fashioned.
Read moreannerocious: The most drama queen prairie dog ever. This is the Nathan Lane of prairie dogs.
Read moreWE DO NOT DISCUSS THE CRANE
annerocious:
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