#screenwriting advice

[filmcourage]

The Writer's Room Survival Guide - Niceole Levy [FULL INTERVIEW]

[scarlct-vvitch]

ok i am screaming into the void - i need someone who i can bounce ideas off of/who can help me edit a screenplay and i just know one of u is secretly harboring skills (and i would help u back !!!!) pls a girl needs help

[bangjiazheng]

5 of the BEST Pieces of Screenwriting Advice!

[writingwithfolklore]

If it doesn’t impact the rest of the story, you didn’t raise the stakes

              I recently went back to a chapter at the midpoint of my novel and changed a huge detail of it because I thought it didn’t raise the stakes enough as it was. Because of this change, I had to go through every single scene and chapter beyond that point and edit it to fit in and make sense. It was annoying, but that’s how I knew I achieved what I wanted to.

              Raised stakes change everything about a story.

              If your characters can continue on as they were, then you didn’t really raise the stakes at all. This heightened pressure or danger has to be heightened enough that their lives as they know them are different now.

              Consider this: at the midpoint, you introduce a mutated form of a monster your characters have been facing that’s more deadly and intelligent than its predecessor. It’s a super scary scene, but after that, your characters go back to their safe house to talk over how best to kill it.

              Suddenly, this new monster doesn’t feel as much of a threat. It’s just another element of the same threat they’ve already been facing.

              To properly use this element as a way to raise the stakes, it should take away something the characters rely on—safety, allies, powers, etc. Something they can’t get back, and don’t get back for the rest of the story. They now have to adapt to new circumstances, and things will never be as easy for them again.

              So maybe instead, they flee to their safe house only to discover that it’s no longer safe—the monster is smart enough to get through their hidden entrance and corner them. Now they’re stuck out in the open, taking turns keeping watch and slowly deteriorating to sleeplessness and stress.

              That’s a delicious steak.

[deniselavestal]

Your writing deserves love, kudos, recognition, and it is totally VALID to want those things, but a lack of it does not diminish nor determine your worth as a writer.

I know it's frustrating, but your stories are worth telling regardless. (+ sometimes a story pops off months after it was first published).

[barbaragenova]

Hard earned wisdom from screenwriter and comic book writer David Avallone 

[eliceislandent]

How To Break Into Hollywood As A Writer

If you want to make it in Hollywood as a writer you better know what you’re doing. There are a few ways you can try to “break into the biz” as we say. Here are some ways people have succeeded before.

Good writing is honest, authentic, and precisely crafted. If you can stand out in these ways on the page then you will find success.

For starters, if you want to be a writer you need to offer something pretty special. One way is with an original script. Or a “spec script” as it is called in the business. A spec script is a script you write for free (speculatively) banking on the hopes it will get you more work.

A mediocre script isn’t going to cut it. It can’t be something we’ve seen before. You need to be original. You need to demonstrate you have an original voice.

It is important to adjust your expectations and have the proper goals for your spec script(s). Your spec script is a calling card. For people in the business to get a sense of your writing. Are you a comedy writer? Drama? What’s your style ? Do you have a voice? The goal of a good spec is to offer a sample of your work that makes an impression on people.

Good writing is honest, authentic, and precisely crafted. If you can stand out in these ways on the page then you will find success.

The goal should not be to sell your spec. Ultimately, you have no control over whether something sells. Besides, the odds of selling your spec pilot are very very low.

A spec script is meant to get you a job. On a TV show. Then, once you have that job, say on a TV show writing staff, you write your way up the ranks at that show. Eventually, you earn the right to sell and run your own show in the future.

Or your spec gets you a job writing a movie for an open writing assignment working someone else’s movie (i.e. a producer or a director). It gets made so you get to write another movie. Until, eventually it’s your movie that’s getting made.

Another way to get your foot in the door it is you can work as an Assistant. Start at a talent agency, get in a desk and use the relationships you make as you come up in the business to land a job as a writing assistant to a big time Showrunner.

Often times, this is a way to earn yourself a shot at proving you can write. Other writers in the show or the Showrunner themselves may offer you that chance by reading your script and giving you feedback. You might even be offered a chance to write an episode of the show you’re on.

Even if you aren’t you will learn more in a writers room than four years at film school.

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The true thing is there is no one way to make it as a writer in Hollywood. If there were everyone would go that route. Like law school for lawyers.

But whatever way you choose to try and break into the biz there is one truism: you can’t be lazy.

Hard work beats talent every time talent doesn’t work hard. There are no shortcuts. If you want it go after it. Don’t wait.

When it comes to the actual writing the key is to actually write. Only through doing will you get better.

And don’t let the perfect be the enemy of the good. Not in the job you hope to get. The plan you make for yourself. Or on the page. Give yourself permission to suck in the beginning. Keep at it and you’ll get better. Eventually, if you get good enough Hollywood will come to you.

[s-soulwriter]

How do we write characters authentically?

Hello, my dear writer! I assume we've all wondered at the beginning of our writing journey, "How do I find my own writing style? How do I stand out, and how do I make my characters sound authentic?" This post is dedicated precisely to the latter question. How do we write characters authentically?

Observe Different Personalities: Observe people of different age groups, from various cultural backgrounds, and with diverse life experiences. Pay attention to their language, gestures, and behaviors to develop a broad understanding of human diversity.

Take Time for Character Development: Invest time in developing your characters, including their background, motivations, goals, strengths, and weaknesses. The better you know your characters, the more authentically you can portray them.

Utilize Realistic Settings: Place your characters in realistic environments and situations that are recognizable to your readers. Describe the details of their surroundings, such as landscapes, buildings, clothing, and everyday items, to create a vibrant backdrop for your story.

Be Open to Change and Development: Allow your characters room for growth and change. People evolve over time based on their experiences and decisions. Permit your characters to learn from their mistakes, gain new insights, and undergo development.

Everyday SituationsAn additional tip is to place your character in various small situations, even if they are a fantasy figure. For instance, have your character order coffee. What happens if they encounter a ghost? What are their feelings about Christmas? Accompany them while shopping. How do they react when meeting their greatest hero? Describe everyday scenarios that aren't part of your official story but are meant for you to better understand your character.

[scriptwriters-network]

Don’t say you don’t have enough time. You have exactly the same number of hours per day that were given to Helen Keller, Pasteur, Michelangelo, Mother Teresa, Leonardo Da Vinci, Thomas Jefferson, and Albert Einstein.

H. Jackson Brown Jr.

[nakajimeow]

SELF-CARE TIPS FOR WRITERS

I do these to keep my mental/physical health well in order to write properly. I do not want to be stressed out whenever I am writing and also in order to avoid being in a rut.

REST YOUR EYES !! It is very important to take breaks from staring at our screens due to writing. You can nap or constantly blink to avoid eye strain/dry eyes.

DRINK WATER AND STAY HYDRATED. In my experience, staying hydrated gives me energy and avoids headaches. (PAIR THIS ALONG WITH A HEALTHY DIET TOO.)

FIX YOUR POSTURE. I know it is challenging to maintain good posture but it is a remarkably good investment. Sitting down while writing with a bad posture can cause us to have back/shoulder pains.

SLEEP !! Maintaining good sleep for about 8 - 10 hours helped my brain to function well. Lack of sleep gave me confusion and writer's block every time I tried to write. Plus, feeling sleepy and tired too.

EXCERCISE. I work out for 5 to 10 minutes or if I do not feel like it, instead, I do 5-minute yoga stretches. I could not believe it at first but this boosted my productivity and motivation.

JOURNAL !! Write down your thoughts, rants, and gratitude. Journaling helped me to let go of the heavy baggage I was carrying. I was skeptical at first because I thought it would not work but it made my mental health better and gave me clarity (it cleared all of my messy thoughts). I also used my daily documentation of my life as an inspiration for writing.

reblog to help other writers !!

[filmcourage]

27 Dialogue Mistakes

[writergeekrhw]

25 THINGS I’VE LEARNED IN 25 YEARS IN TV WRITING

Well, it’s actually been 30 years now, but here’s a spew I did 5 years ago on the bird app to commemorate my 25 years as a TV writer. 

I’ve edited it a bit for clarity. Hopefully some of you will find it useful.

1. In TV writing (and writing in general) there is only one unbreakable rule: Thou shalt not be boring.

2. Write characters people want to hang out with for an hour or so once a week for years to come. Even if they're bad people, make them interesting, engaging bad people.

3. If your lead is a bad person, make them funny and/or sexy. Direct most of their bad behavior toward other bad people or themselves. Make them well motivated. Maintain rooting interest.

4. What makes a character special should be intertwined with what makes them struggle. Perfect people are boring.

5. Characters should complement/conflict with each other. No two characters should serve the same purpose/have the same backstory/have the same voice.

6. Cast the best actor, adjust the character to suit.

7. Give your leads the best lines/moments. No one is tuning in to watch the funny guest star. Like Garry Marshall said back on HAPPY DAYS, “I’m paying Henry Winkler $25,000 an episode. Give the Fonz the jokes.”

8. Your characters, good & bad, should reflect the reality of our wonderful, diverse world. White male shouldn’t be the default.

9. Avoid stereotypes. Stereotypes are boring.

10. If all your POV characters know some secret, the audience should know it too.

11. If your show hinges on a big mystery, know more or less what the truth is from the beginning. You can change it later if you need to, but write to a specific.

12. If your story doesn’t test your characters mentally, physically, psychologically, emotionally, or spiritually, you don’t have a story.

13. You can start by figuring out the Beginning, the Middle, or the End, but you don’t have an episode until you have all three.

14. Big suspenseful act outs (the last moments before the commercials) aren’t just a gimmick. They’re a good way to structure an hour of entertainment to make sure the audience is invested and your pacing is solid.

15. Every scene should be a consequence of the previous scene or a refutation of it.

16. A scene also needs a Beginning, Middle, and End. The end should propel the characters and/or audience into the next scene.

17. Every scene is a negotiation/confrontation between two or more characters who want different things or have different ideas on how to solve the same problem.

18. A good action scene is still a character scene. With punching. (This applies to sex scenes too, but you know, with sex.)

19. A crap page is better than a blank one.

20. It’s easier to cut than to add.

21. Good things rarely happen in the Writers Room after dinner. Go home, get some rest, write pages at home if you have to, start fresh in the morning.  Writers who have a life outside the writing room are better writers. Beware the showrunner who doesn't want to go home to their family. That said…

22. Script by day one of Pre-Production. No matter what.

23. You’re a writer first. Almost nothing happening on set or in post is more important than the writing. Delegate when possible.

24. Make an extra effort to surround yourself with writers who are different from you (background, race, gender, orientation, etc). Listen to their perspectives, especially on experiences alien to you.

25. And in the end the love you take is equal to the love you make. In TV writing and life in general. 

PART TWO HERE:

https://at.tumblr.com/writergeekrhw/25-things-in-25-years-part-2-25-things-ive/okjzwofyiq6i

[ronniaugust]

How to Write on Final Draft (without it feeling so daunting)

It's incredibly difficult to open up a Final Draft document without feeling like you're literally writing your final draft, so here's a few features you can use your advantage!

1. Turn on dark mode

Dark mode makes it look like less of a script and more of an outline. Edit and rewrite in light mode, you will feel the difference.

2. Use speed view

Speed view gets rid of pages and page numbers and therefore you are only looking at the words you type.

3. Use focus mode

Focus mode removes the scenes, page numbers, and outlines you have at the top on the program while writing. Another way to forget about focusing on progress.

4. Make a messy beat board

Throw all your ideas onto the beat board, it should help make the document feel a bit more lived-in and less pristine.

Bonus:

5. Set a template with your formatting and use that to start every script you write

While a script format is very ridged, there are things you can do to personalize it. When you find those things, make them in a Final Draft doc (without actual writing) and save as your own template so you don't have to change all the elements every time.

[writingwithfolklore]

5 Tips for Creating Intimidating Antagonists

Antagonists, whether people, the world, an object, or something else are integral to giving your story stakes and enough conflict to challenge your character enough to change them. Today I’m just going to focus on people antagonists because they are the easiest to do this with!

1. Your antagonist is still a character

While sure, antagonists exist in the story to combat your MC and make their lives and quest difficult, they are still characters in the story—they are still people in the world.

Antagonists lacking in this humanity may land flat or uninteresting, and it’s more likely they’ll fall into trope territory.

You should treat your antagonists like any other character. They should have goals, objectives, flaws, backstories, etc. (check out my character creation stuff here). They may even go through their own character arc, even if that doesn’t necessarily lead them to the ‘good’ side.

Really effective antagonists are human enough for us to see ourselves in them—in another universe, we could even be them.

2. They’re… antagonistic

There’s two types of antagonist. Type A and Type B. Type A antagonist’s have a goal that is opposite the MC’s. Type B’s goal is the same as the MC’s, but their objectives contradict each other.

For example, in Type A, your MC wants to win the contest, your antagonist wants them to lose.

In Type B, your MC wants to win the contest, and your antagonist wants to win the same contest. They can’t both win, so the way they get to their goal goes against each other.

A is where you get your Draco Malfoy’s, other school bullies, or President Snow’s (they don’t necessarily want what the MC does, they just don’t want them to have it.)

B is where you get the other Hunger Games contestants, or any adventure movie where the villain wants the secret treasure that the MCs are also hunting down. They want the same thing.

3. They have well-formed motivations

While we as the writers know that your antagonist was conceptualized to get in the way of the MC, they don’t know that. To them, they exist separate from the MC, and have their own reasons for doing what they do.

In Type A antagonists, whatever the MC wants would be bad for them in some way—so they can’t let them have it. For example, your MC wants to destroy Amazon, Jeff Bezos wants them not to do that. Why not? He wants to continue making money. To him, the MC getting what they want would take away something he has.

Other motivations could be: MC’s success would take away an opportunity they want, lose them power or fame or money or love, it could reveal something harmful about them—harming their reputation. It could even, in some cases, cause them physical harm.

This doesn’t necessarily have to be true, but the antagonist has to believe it’s true. Such as, if MC wins the competition, my wife will leave me for them. Maybe she absolutely wouldn’t, but your antagonist isn’t going to take that chance anyway.

In Type B antagonists, they want the same thing as the MC. In this case, their motivations could be literally anything. They want to win the competition to have enough money to save their family farm, or to prove to their family that they can succeed at something, or to bring them fame so that they won’t die a ‘nobody’.

They have a motivation separate from the MC, but that pesky protagonist keeps getting in their way.

4. They have power over the MC

Antagonists that aren’t able to combat the MC very well aren’t very interesting. Their job is to set the MC back, so they should be able to impact their journey and lives. They need some sort of advantage, privilege, or power over the MC.

President Snow has armies and the force of his system to squash Katniss. She’s able to survive through political tension and her own army of rebels, but he looms an incredibly formidable foe.

Your antagonist may be more wealthy, powerful, influential, intelligent, or skilled. They may have more people on their side. They are superior in some way to the protagonist.

5. And sometimes they win

Leading from the last point, your antagonists need wins. They need to get their way sometimes, which means your protagonist has to lose. You can do a bit of a trade off that allows your protagonist to lose enough to make a formidable foe out of their antagonist, but still allows them some progress using Fortunately, Unfortunately.

It goes like… Fortunately, MC gets accepted into the competition. Unfortunately, the antagonist convinces the rest of the competitors to hate them. Fortunately, they make one friend. Unfortunately, their first entry into the competition gets sabotaged. Fortunately, they make it through the first round anyway, etc. etc.

An antagonist that doesn’t do any antagonizing isn’t very interesting, and is completely pointless in their purpose to heighten stakes and create conflict for your protagonist to overcome. We’ll probably be talking about antagonists more soon!

Anything I missed?