How to dialogue. In a spec, this exchange would be a page and a half long, with Mal and Jayne stating many facts at each other. This is what direct conflict looks like. And it’s funny, too.
Read morecthonical: gallifrey-feels: Fanfic authors: READ THE WHOLE FUCKING PAGE THIS IS ONE OF THE MOST IMPORTANT AND VALUABLE LESSONS YOU CAN LEARN AS A WRITER. I SAY THIS AS A READER AND A PROFESSIONAL GENRE EDITOR. I don’t just make this stuff up for my own amusement.
Read moreNotes from a Screenreader: Right Hook
nywift: Photo via Go Into the Story. A spec script with a real hook jumps right out of the pile. It’s the difference between an indestructible cyborg from the future relentlessly attempting to murder Sarah Connor and Sarah Connor, for instance, getting a message from the future that she should start taking self-defense classes while…
Read moreAll you need to know about screenwriting.
Read moreallfonsocuaron: (2/?) Favourite Directors→ David Fincher “Filmmaking isn’t if you can just strap on a camera onto an actor, and steadicam, and point it at their face, and follow them through the movie, that is not what moviemaking is, that is not what it’s about. It’s not just about getting a performance. It’s also about the…
Read morePLEASE, FOR THE CHILDREN…
Turn off the “continued” at the top and bottom of every page option. It’s in the preferences menu.
Read moreSHOULD I DIRECT THE OPENING CREDITS ON THE PAGE?
USEFUL CONFESSIONS #7
Subtext and misdirection will magically appear in your first draft when you change your mind about your plot halfway through. Exploit the crap out of them.
Read moreSETTLING IN FOR THE BACKSTORY
Backstory mostly doesn’t matter. It’s just information used to interpret other information, none of which is dramatic.
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