#Screenwriting Techniques

[atimelesschild]

I know this isn't a proper way to outline, but it's how I outline. It's the only thing that's ever worked for me.

[beskad]

god, I know I'm not saying anything new, BUT. The use of repetition in "how many guards on each level?" And the way we as the audience are shown the individual emotional progression with each instance? Cassian growing more insistent, more desperate, Kino being unwilling to even entertain the question, reprimanding him for asking?? Culminating in them finding out someone was sent back to a different prison level after "release" and Cassian calmly, resolutely - basically not even a question anymore, just a statement - saying "how many guards on each level." Kino, visibly disturbed but with equal resolve,

"Never more than twelve."

It's such a simple formula, but it's so well executed that I get chills every single time.

[karmaalwayswins]

Schnee "When a Deep Character Pretends to be Shallow - Hobie Brown" (2023)

[filmcourage]

5 Steps To Script Analysis For Actors - Jean-Louis Rodrigue

Watch the video interview on Youtube here.

[erinthewriter-blog]

The Character Backstory Workbook is here!

This is for writers who love character profile templates but hate that they don't give you enough room to write and you want to do psychological deep dives on your characters. Also, I'm using Rosie from my novella Truth Weekend in this video as an example.

Click here for the workbook.

Click here to watch the full YouTube video!

[wackus-bonkus-maximus]

You mad man, you evil master mind, you fucking genius

Im hooked, tethered, tied to this fic. Chp 43 exploded my brain, changed my view point. Maybe I��ve binged watched too much Jane the Virgin but this has stakes and drama to rival it. It is so cinematic, you have to get into writing for movies because they will eat this up!

The influence of mthyo’s, how this is all doomed to repeat. Tales of woe will tell themselves over and over again. I’m screaming.

Just had to say I loved this! Your work constantly astounds

aahhh thank you!! 🥺❤️🙏🏼 hugging you and crying right now, i really really appreciate that!

i watched jane the virgin too lolo (rec if you haven't seen it), and you're right their use of stakes and drama is a bit too good. i'm so glad you liked how i utilize those narrative tools in my fic! and funnily enough, i DO study screenwriting (study meaning watch youtube videos about it and read save the cat! articles)! the story arc formats from screenplays can kinda translate over to novels if you tweak them, which is how i've been writing odnlb lol. this IS an experimental fic to see if i can adapt the snyder structure well. good to know it's working ❤️

oh i just love greek tragedies and circular storytelling. it's a joy to put them in my fics! even more of a joy to know you were touched by it.

thank you so much for the compliments! i do hope you enjoy the rest!

[screamingeyepress]

What makes horror compelling? Check out this interview with horror screenwriter and author Peter Atkins, one of the minds behind Hellraiser and Wishmaster.

Peter Atkins was born in Liverpool, England on the second of November, 1955. He was a founding member of The Dog Company, a 1970s avant-garde theatre group, along with Clive Barker and Doug Bradley—with whom he would later work on the Hellraiser movies. As well as his movie and TV work, he is the author of the novels Morningstar (1992), Big Thunder (1997), and the collection Wishmaster and Other Stories (1999). He is married to Dana Middleton and lives in Los Angeles, California.

How did you come to work on Hellbound: Hellraiser II?

Clive Barker, Doug Bradley, and I were all members of The Dog Company (a 1970s theatre company in Liverpool and London) and were extremely close friends. When Chris Figg, the producer of Hellraiser, was putting a team together for the sequel, Clive was kind enough to recommend me. Read On https://www.screamingeyepress.com/interviews/peter-atkins/

[townpostin]

Karim City College Hosts Script Writing Workshop

Mumbai screenwriter Sajal Kumar shares insights with Mass Communication students A script writing workshop led by Mumbai-based screenwriter Sajal Kumar was organized by Karim City College’s Mass Communication Department. JAMSHEDPUR – Karim City College’s Mass Communication Department hosted a script writing workshop featuring Mumbai-based screenwriter Sajal Kumar, sharing industry insights with…

[thewaltcrew]

Director Kirk Wise, screenwriter Linda Woolverton, and actor Robby Benson on casting the Beast [x]

They gave me an incredible amount of freedom. I didn't want Beast to be a cartoon character. I played it as though I were doing a Broadway show. As if this was a living person. And I wanted him to be funny. By funny, I don't mean shtick or one-liners. I am talking about real comedy. When real comedy works, and is truthful, especially with the Beast, it comes out of the fact that he is so pathetic. For some reason, I really understood that. Ha! Because of that, they gave me a lot of leeway. [x]

My first audition was recorded on, of all things, a Sony Walkman. As a musician, I had branched out into recording engineer and loved to play with sound. When I saw the Sony Walkman I knew it had a little condenser microphone in it, and if I were to get too loud, the automatic compressor and built-in limiter would 'squash' the voice— and there would be very little dynamic range to the performance. I did a quick assessment and wondered how many people who had come in to audition for the part were making that error: playing the Beast with overwhelming decibels, compressing the vocal waveforms. I decided to give the Beast 'range.' Because of my microphone technique, and an understanding of who I wanted Beast to be, they kept asking me to come back and read different dialogue. After my fifth audition, Jeffrey Katzenberg the hands-on guardian of the film, said the part was mine…

Beauty and the Beast was so refreshingly fun and inventively creative to work on that I couldn't wait to try new approaches to every line of dialogue. Don Hahn is one of the best creative producers I have ever worked with. The two young directors, Kirk Wise and Gary Trousdale, were fantastic and their enthusiasm was contagious. I not only was allowed to improvise, but they encouraged it. It never entered my mind that I was playing an animated creature. I understood the torment that Beast was going through: he felt ugly; had a horrible opinion of himself, and had a trigger-temper. Those are things that, if done right, are the perfect ingredients for comedy. Painful and pathetic comedy— but honest. The kind of comedy I understood...

In the feature world of Disney animation, the actors always recorded their dialogue alone in a big studio, with only a microphone and the faint images of the producers, writers, directors and engineer through a double-paned set of acoustic glass. Paige O'Hara and I became good friends; it was her idea that for certain very intimate scenes, such as when Beast is dying, we record together. We were able to play these scenes with an honest conviction that is often absent in the voice-over world...

The success of this film was the culmination of a team effort but I must say, the honors go to the animators— and for me (Beast), that's Glen Keane — and to Howard Ashman and Alan Menken. This was the perfect example of a crew who 'cared'. And the final results (every frame) of the film represent that sentiment. [x]

[nicholasandriani]

Storytelling and the Andriani Cycle. Marrying Dan Harmon Story Circle with John Truby’s Techniques. A Metamodernist Approach

Dan Harmon, John Truby, and a Twist of Joseph Campbell For those of you that have been with me for some time, you know how I feel about the traditional three-act, Aristotelian storytelling structure: to put it nicely, I don’t feel for it. And as someone who believes that any valuable critique requires a valuable alternative, I’ve been working on my own iteration of the plot cycle. The following…

[tonkable-art]

✷ Tonk's Art Resources ✷

Hi! No one asked but I wanted to make a big list of art resources I use because I like to try and help people be creative! Not everything I list is free (mostly the books & some PDFs), but I’ll try my best to keep a big portion of it unpaid.

I've also made a carrd with the same links and a set of software links + prices but I'll be updating this with more things I find that I think would be helpful. :)

Drawing

GES DRAW PARTY - Timed model videos

Drawing Tutorials Online - Figure drawing tutorials (& fun SVA student sketchbook videos)

Line of Action - Timed model Photos

3 tips to improve your PEOPLE SKETCHING (fast urban sketching techniques), Sketching Scottie

Creating Backgrounds, Tim Mcburnie

Drawabox

Reference Angle

Kaycem

Colour Theory

Why Color Studies Are So Powerful, Light Ponderings

Marco Bucci

Colour Tips and Tricks, Iniro (PDF)

This post

Animation

The Animator’s Survival Kit, Richard E. Williams (book) - I think this one is a pretty obvious must-have

How to Animate Night In The Woods [Scribble Kibble #103], Crowne Prince - Helped me get a grip on After Effects

Little Miss Hellraiser Toon Boom Harmony Rig, Edu Bruks - Free Toon Boom Harmony rig

Alex Grigg // Animation for Anyone

BaM Animation

Storyboarding

Exploring Storyboarding, Wendy Tumminello (book)

Storyboarding Essentials: SCAD Creative Essentials, David Harland Rousseau & Benjamin Reid Phillips (book)

Storyboard Pro Crash Course/Tips for beginners, OhJeeToriG

A Guide To Storyboards, MagicBunnyArt (PDF)

Character Design

Character Design Crash Course - A huge free course document with assignments you can work through

Delicious in Dungeon - Fundamentals of Character Design, lines in motion

Writing

Writing for Animation, Comics, and Games, Christy Marx (book)

Screenplay: The Foundations of Screenwriting, Syd Field (book) - I have the 1987 edition

Reedsy

How to Plot a Comic From Start to Finish!, McKay & Gray

Portfolio Tips

How to make a Character Design Portfolio, Jackie Droujko

Top Tips on How to Kickstart Your Storyboard Portfolio, Brown Bag Films

25 Tips to Create an Animation Demo Reel, Sir Wade Neistadt

Extras

PuccaNoodles’ Animation/Art Resource Sheet

My Study References Pinterest board

Motivation Station - Playlist of sketchbook videos and some speedpaints that I use to motivate & inspire me

The Illustrated Freelancer’s Guide, Heather Parry & Maria Stoian (PDF) - Really useful for freelancers in the UK

Software substitution chart

Adobe Suite substitute chart

Remember to check out the carrd, it might have a more updated list!

[percheduphere]

LET'S TALK ABOUT THE CHOICE LOKI WANTED TO GIVE MOBIUS

Thanks for the comment, @sunflowerdigs!

I am also in HUGE debt to @loki-us for the below gifs that I could not find anywhere in Tumblr's gif search system. Thank you, friend! So many of my metas would not be possible without your help and support!

The poetic irony is definitely the point and is the reason why the S2 finale is as painful as it is.

I've previously discussed how Mobius would 100% absolutely choose to be with Loki at the End of Time and his decision-making history that points to this as being in-character here.

I also reviewed Loki's decision-making here.

Now let's discuss the choice Loki desperately wanted to give Mobius:

gif credit: @loki-us

gif credit: @loki-us

gif credit: @loki-us

(Original gif set post here)

What I love about this scene with Sylvie is that it is a perfect example of narrative subtext at work. The emotional thrust behind Loki's words may be interpreted as either platonic or romantic. Ultimately, it doesn't matter (well, it does, but it's a minor detail) because the definitive meaning behind the subtext is what the TVA means to Loki and what he actually wants, which is getting Mobius back.

WHAT LOKI WANTS: TVA = FRIENDS = MOBIUS

Let's break down the scene:

Sylvie asks what Loki wants. Sylvie, we must remember, is a Loki. She knows how Loki thinks, how he hides his vulnerability, and how he lies to himself. This allows her to suss out what Loki has difficulty admitting. I absolutely adore Sylvie for this.

1.) To stop HWR. - wrong

2.) To save the TVA. - wrong but closer; why?

3.) To save "all this" - too broad

4.) To save his friends. - correct

Ergo, stopping HWR is a means to an end, as it was for Sylvie. Saving the TVA could feasibly "save all this" from HWR, but who or what does Loki mean when he says "all this"? He means the timelines, certainly, but why does he care about the timelines? Because if all timelinee are destroyed, Sylvie and the TVA are destroyed too. Who is at the TVA? Loki's friends. Who is Loki's first and best friend? Mobius.

Therefore:

TVA = Friends = Mobius

Now, this isn't to play down the importance of OB, Verity, and Casey, but the series has been very clear about which friendship is the most significant to Loki. S2E1 -S2E4 builds up Loki and Mobius's closeness for the explicit purpose of likewise building up the cost of Loki's sacrifice. Their separation in the finale would not have been given as much attention nor hurt as much if they didn't become close.

The editing here is very intentional. In screenwriting, we call this technique "off screen dialogue", which is denoted by the character's name followed by (o.s.), then their line of dialogue.

In example, the shooting script might say:

On Don's reaction.

LOKI

(o.s.)

It was more about what I wanted.

If this wasn't formatted as such in the original script, it was likely formatted as such in the shooting script, which is a highly detailed version of the script with notes on how each scene should be shot in production and edited in post. The same cinematic technique is used in S2E4, after the pie confrontation with Sylvie, in which Brad, off screen, says, "Aren't you gonna say anything?" The dialogue overlays Mobius's reaction shot before cutting to the scene with Brad and Dox.

THE CHOICE LOKI WANTED TO GIVE (BUT COULDN'T)

It is also no accident that Loki very pointedly talks about Mobius, what he thinks Mobius wants, and how Mobius should have a choice. In making his point, Loki shows that he is actually quite confident that Mobius would choose the TVA and therefore, HIM.

But perched! The TVA means Loki's friends! How can the TVA also mean Loki?

THE TVA ALSO = LOKI

Well ...

(Thank you so much for your marvelous gif set @riotinyellow)

After the Loom explodes, everyone is returned to their original timeline except Loki. What is significant but not often discussed is that Sylvie is returned to her 1982 Broxton, Oklahoma timeline. She did not remain at the TVA despite being a Loki herself. The subtext of this is that Sylvie associates the 1982 timeline as where she belongs, where she feels at home. If we parallel this subtext to Loki, this means the TVA is where Loki feels he belongs and thus, feels at home. He only begins to timeslip once he realizes the people he cares about aren't there. Notably, Loki unconsciously timeslips to Mobius the most. I have a meta on Loki's timeslipping here.

As people, we define ourselves not only by our past, our talents, our weaknesses, our interests, and our dislikes, we also define ourselves by our relationships (good and bad). The implication, therefore, is that TVA symbolically represents not only friendship and Mobius, it represents Loki, too.

The most painful part of Loki's argument, which is never communicated directly but is subtextually inferred, is that not only does Loki want Mobius to choose the TVA (him), he is confident that Mobius would choose the TVA (him). And why shouldn't Loki be confident? Mobius has been his most loyal friend. Mobius has never abandoned him even when he was angry with him.

This sets up the meaning behind the subtext of Mobius's departure from the TVA in the finale. Mobius insists the TVA provides him with meaning, that he likes it there, and that he is grateful for whoever took him and "gave [him] this pie" (interestingly, it is Loki who recruits Mobius first, gives him his name, and offers pie to help calm Mobius down).

EVERYONE'S CHOICE & MOBIUS LEAVING THE TVA

Once Loki is gone, however, Mobius only stays at the TVA long enough to ensure it's changed for good and has appropriate leadership. What's striking is that, with the exception of Mobius, all of Loki's friends, given the choice, chose to stay at the TVA. This answers the question Loki posed with Sylvie: How many of them would choose to stay?

Verity, OB, and Casey all have purpose. Mobius's purpose has always been Loki. That purpose evolved into friendship once he stopped Loki's "reset" and uncovered Ravonna's corruption. Just as TVA = Friends = Mobius for Loki, for Mobius, the TVA = Loki. When Loki is gone, so is Mobius's purpose, his place of belonging, his home. Mobius loses everything, including (platonically or romantically) someone he deeply loves.

[novlr]

I've often heard the writing advice to "start late, leave early" but I have no idea what it means. Can you help?

In essence, all that "start late, leave early" means is to enter enter a scene as late as possible, and exit it as early as possible.

It's a technique that streamlines storytelling and comes from screenwriting. It keeps the narrative tight, audience engaged and the plot moving along at a brisk pace.

Like with any writing advice, it's something you'd use at your own discretion, but for novels essentially what it means is not to bother with endless background and info dump before action happens. It prevents overwriting, and unnecessary exposition. We go into more detail in today's Reading Room post, so check it out!

[karmaalwayswins]

LocalScriptMan "The Key to Writing Criminally Good Relationships" (2023)

[angelflms]

Okay, so I have been thinking so much about this (I have been talking aloud to myself for like ten minutes bc I've invested myself wayyy too deep into this), but I think I know why Miguel bothers me so much despite being my favorite character.

The writers suck.

Now, I know I don't have screenwriting credibility and I'm merely just a girl and I know that perhaps they can't cram all of this shit into the show and make room for literally everyone else, BUT I think the reason why so many people don't like Miguel as a character is because he doesn't have much of a character to work with. So whenever he does something that shows character (the Mexico storyline, the Stanford storyline), no one feels bad for him. I think that maybe if he had definitive arcs for each season, while weaving it better into Robby's arcs (since they're foils and tethered to each other), he would actually be likeable. So I wanted to show you what I feel like I would do to write Miguel's post school fight arc. Feel free to tell me your opinions. (buckle up, this is a long one)

S3a

similar to what we see

but we actually get to be more into Miguel's mental response to the aftermath

I dont' think they went enough into his feelings with everything and that everything went a bit too fast (for Miguel) during the season.

perhaps they could've gone deeper into his PTSD, similar to what they did with Sam.

but instead it preventing him from going to school, it prevented him from doing karate all together.

it was clear early on that karate and Johnny slowly became all that Miguel cared about.

Johnny was sending mixed signals and Kresse's entry into CK was conflicting as their ideals were different.

Johnny made it clear that CK's mottos are a way of life, so Miguel was moving the exact way one would in karate irl.

Karate was his life. And it nearly ended it as well.

I don't believe Miguel would immediately still want to be so gung-ho about joining karate again after nearly dying from it.

Johnny would lose Miguel's trust and would fight for it back. He already lost Robby. He can't lose Miggy too.

Miguel doesn't want to be around him for now, despite feeling bad for pushing him away

S3b

When finding out he was paralyzed, it hurt to find out, but at the same time, with his conflicited feelings about karate, he would feel a bit relieved.

I like to think that when the surgery worked, everyone was happy but Miguel because now people are going to expect him to want to go back to doing karate.

Eventually he and Johnny have a heart to heart and make up, though he's still a little bit hesitant on trusting him

he does reluctantly join Eagle Fang and he tries to make an effort to train again and get past his fear

Though things still feel like what it was like at CK, which isn't something Miguel is enjoying

Plus him being the only shot they have for the All Valley is putting presure on him, mainly due to Johnny

The scene where he tries to kick but fails happens

He falls and flashbacks of the school fight happen

He gives up and says he isn't doing karate anymore

That is until the finale fight when CK comes in and fights the EF/MD kids and Kyler beats him up

he remembers why he started karate in the first place and starts fighting again

He chooses to do karate again

S4

Again similar to what we see (Johnny and Carmen, the intro to Kenny, etc)

I think he still feels weird about being back in the world of karate and latches onto Daniel more as a sensei now with the conjoint dojos situation (he's a lot softer on him knowing his situation)

Which pisses Johnny off and makes him jealous (he just misses his kid ya know?)

He tries to make an effort with Miguel but he grows more distant after hearing Daniel's side of the events during TKK

This season could heavily parallel s2 with Kiaz as they're on the opposite sides of the coin now with Robby being with CK and Miguel learning more Miyagi-Do techniques

This could also bring more tension with Lawrusso because of how they're both treating and training him and how Johnny thinks Daniel is taking Miguel away from him

(maybe a fight scene about this idk)

Perhaps Miguel starts feeling bad about pushing Johnny away as he very much still cares about him and sees him trying

Daniel does talk to Miguel about how Johnny does care about him and how he's beaten up about everything and how he wishes he could change everything

This will make the whole "I love you" "I love you, too Robby" scene a lot worse

Miguel feels lost again

The sprain he gets during the All Valley was the final straw for him as he has a panic attack and in a heap of emotions, he leaves for Mexico, not just to find his dad, but to genuinely run away from everything

Also throughout this season, I really wanted to see more of Robby being guilty for what he did during the fight but pushing it away until he sees what Kenny does to Anthony and realizing that history is already about to repeat itself

Also also we do see Miguel talk about collage but brings up that he wants to become a PT (did I take this from someone who reblogged my other rant, yes) and probably want to go Boston University (they have a PT degree program)

S5

Same as we see for the most part

I was hoping Miguel would bring up the whole "I love you" situation but he never did and I wonder why

I wish we saw bits of the car ride home from Mexico and the awkwardness between the boys (there's a good ao3 fic that does this pretty decently)

Perhaps Robby can tell that something is off with Miguel though and tries to spark conversation but the latter refuses to talk to the former because of the school fight

I think the break up should still happen

Both because with everything going on with him, the breakup would just be another stab in the chest, but also because that fucking scene was so good!! Like idk if Mary and Xolo get their flowers for that scene but I'ma need them to get their flowers for that scene

Now he's just this ball of emotions

Johnny still wants to push for the boys to be close since he's caring for both of them now (and ofc the baby) so like in the actual s5, he still tries to get them to talk

Now I would've preferred a heart to heart reconciliation (similar to samtory s6) but since the dudebros would think that's too soft and this is a fighting show, the balcony scene would be fine

Though I do think in a later scene, Kiaz should have a more emotional talk with each other

Miguel just talks about how hard it has been since the school fight and how everything keeps on changing and everything gets a lot for him

Robby tells him that he gets it and confesses how guilty he feels for being the one to put him in the hospital

And then I feel like the rest of s5 can go the way it did

i don't know. maybe this is too convoluted but I do think that the lack of characterization and constant mischaracterization of miguel diaz is due how poorly the writers went about him post s3a imo. i think they could've done something great with him in a way people felt for robby you know? they always randomly bring things up as a way to say "hey he has trauma too" but it's always at the most inopportune times and it always comes off half-assed instead. i love miguel so much because of his happy-go-lucky energy but he has so much wasted potential which is wild to say when he's the main character.