Average Speed=Distance/Time The farther you want to get, the faster you have to go, because you only have a given amount of time.
Read moreWhat do you mean, you can tell on Page 1?
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 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 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 moreWho’s Your Audience?
Tone + Genre + Story + Universal Message = Target Audience The first thing you decide is what story you want to tell, and the second thing to decide is who you want to tell it to. Really, it will make so many of your choices so much simpler. You can’t please everyone, but you…
Read morestephevemadrid: Procrastination kills. #writing #screenwriting #screenplay So true it hurts. Oh, well. Have to go do my nails.
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