#screenwriting resources

[arcdreamer]

Websites for writers/scriptwriters #2 [info dump]

Let’s dive into some other places where we can get something going for us – writers and scriptwriters. 1. Authors Publish ( https://authorspublish.com ) Here you have posts with ongoing publishers/agents seeking submissions. That or lists where you can submit your works. Also freebies into exploring self-publishing and some good things to note out there. 2. Luxembourg Art Prize (…

[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 !!

[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.

[i-run-with-scissors39]

Hey nonny one resource I like is Scott Myers blog called ‘go into the story’. It’s at gointothestory.blcklst.com He’s got a lot of blog posts about screenwriting.

Just write. Simple. But true.

Read scripts. Watch films. Write. Research.

I would really love to become a screenwriter but I don’t know how to get into it or how to learn how to do it, does anyone have experience or advice they can give?

.

[lets-steal-an-archive]

step one: guess which email account i used (that took...awhile)

step two: reset password

step three: delete all comments and posts

step four: peace out on my two year reddit experiment

[filmcourage]

50 Ways To Write A Screenplay

See the video on Youtube here.

[thesorcerersapprentice]

Resource Review: John Truby's The Anatomy of Genres

Book Blurb: "Most people think genres are simply categories on Netflix or Amazon that provide a helpful guide to making entertainment choices. Most people are wrong. Genre stories aren’t just a small subset of the films, video games, TV shows, and books that people consume. They are the all-stars of the entertainment world, comprising the vast majority of popular stories worldwide. That’s why businesses—movie studios, production companies, video game studios, and publishing houses—buy and sell them. Writers who want to succeed professionally must write the stories these businesses want to buy. Simply put, the storytelling game is won by mastering the structure of genres. The Anatomy of Genres: How Story Forms Explain the Way the World Works is the legendary writing teacher John Truby’s step-by-step guide to understanding and using the basic building blocks of the story world. He details the three ironclad rules of successful genre writing and analyzes more than a dozen major genres and the essential plot events, or “beats,” that define each of them. As he shows, the ability to combine these beats in the right way is what separates stories that sell from those that don’t. Truby also reveals how a single story can combine elements of different genres, and how the best writers use this technique to craft unforgettable stories that stand out from the crowd."

Pros

The Anatomy of Genres is a (mostly) straightforward guide to the must-have story beats for most fiction genres (these include: horror, action, myth, memoir, coming-of-age, science fiction, crime, comedy, western, gangster, fantasy, detective, and romance).

Each chapter is dedicated to a single genre, so there's no need to read the entire 700-page guide in one sitting. Just skip to the chapter on the genre relevant to you and leave the rest for later. Only be aware that the author sometimes references information provided in previous chapters.

Truby offers fresh insights into how to mix and match genre beats for maximum effect. This is helpful if you want to write something a little off-centre, keep your readers on their toes and/or never worry about that pesky B-Plot again.

Cons

While Truby provides thoughtful meditations on the value of stories and how they change our worldview, these are somewhat distracting from the main content of the guide and are very lightly supported with arguments and/or evidence. Be ready for some philosophical name-dropping and contentious "hot takes."

The guide is US American-centric, with most examples hailing from US TV & Literature (the author is a US American screenwriter). This isn't necessarily a "con," but if you were looking for a more global outlook on genre, prepare to be disappointed.

Finally, the chapters are structurally inconsistent, with each chapter containing totally different section divisions. Don't expect to be able to readily reference parallel story beats across genres. This will take a bit of effort on your part and won't always work out.

My recommendation? Ignore the philosophy, embrace the beats, and take it all with a pinch of salt.

Best for: experienced writers who want to ensure their novel hits all the right notes and/or anyone looking to get out of a brainstorming rut.

[amglorious]

Screenwriting is an art that requires a unique set of skills and techniques to master. A perfect screenplay is the foundation for a successful film, and it's essential to get it right. It's not enough to have a great idea; you need to be able to translate that idea onto the page in a way that captivates your audience and leaves them wanting more. In this essay, we'll go over some tips and strategies to help you write a perfect screenplay.

First, it's important to understand the basic structure of a screenplay. A typical screenplay is divided into three acts, with each act having a specific purpose. The first act introduces the main characters and sets up the story's premise. The second act is where the majority of the action takes place, and the plot thickens. Finally, the third act resolves the story's conflicts and ties up any loose ends. While this structure is not set in stone, it's a good starting point for any screenwriter.

One of the keys to writing a perfect screenplay is to create characters that are believable and relatable. Your audience needs to care about the characters and their journey. This means taking the time to flesh out your characters, giving them unique personalities, and defining their motivations. Avoid creating one-dimensional characters; instead, give them depth and complexity. Remember, your characters are the heart of your story and will drive the plot forward.

Another important aspect of screenwriting is dialogue. Good dialogue is essential to creating compelling characters and moving the story forward. When writing dialogue, it's important to make it sound natural and authentic. Avoid using cliches and overly formal language; instead, write dialogue that sounds like it could be spoken by real people. Dialogue should also reveal information about the characters and their motivations without feeling forced.

In addition to dialogue, visual storytelling is crucial in a screenplay. A good screenplay should be able to convey a story visually, without relying too heavily on dialogue. Use visual cues, such as body language and facial expressions, to reveal information about your characters and their emotions. Remember, film is a visual medium, and your screenplay should reflect that.

One of the most challenging aspects of screenwriting is creating a compelling plot. A good plot should have a clear goal, obstacles, and stakes. The goal is what the protagonist is trying to achieve, the obstacles are the challenges they face along the way, and the stakes are the consequences of failure. A well-crafted plot will keep your audience engaged from beginning to end.

Finally, it's important to remember that writing a perfect screenplay takes time and practice. Don't be discouraged if your first draft isn't perfect; it's rare that any screenplay is perfect on the first try. Revisions are a natural part of the screenwriting process, and they can often improve your script significantly. Seek feedback from others, whether it's from other writers or industry professionals, and be open to constructive criticism.

In conclusion, writing a perfect screenplay is a challenging but rewarding endeavor. By understanding the basic structure of a screenplay, creating compelling characters and dialogue, using visual storytelling, crafting a compelling plot, and being open to feedback, you can create a screenplay that will captivate audiences and stand the test of time.

[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!

[spnscripthunt-inactive]

Anyone interested in some Hallmark Christmas movie scripts?

→ https://rickgarman.com/projects/tv-movies/

→ https://www.topherpayne.com/rome-in-love-hallmark

[squideo]

How to Write a Script for a Video

Not all videos require a script, but when they do it’s important to hit a number of key points within the required timeframe whilst keeping your audience engaged. The script informs the storyboard and final visuals, so it’s important to perfect the script before moving onto the next production stage. 

At Squideo, we provide optional copywriting under our whitelabel services. Alternatively, we offer copywriting assistance for clients who want to produce their own script but need help with optimisation – for example, reducing the length, refining the tone and keeping the language consistent. 

To delve into the world of copywriting, we’re having a conversation with Squideo’s resident Copywriter and Marketing Executive. 

01. How long should a video script be?

That depends on how long the video will be! We work on a rule of thumb at Squideo – 70 words per 30 seconds. If your video is going to be a minute long, the script should be 140 words. If it’s five minutes long, that goes up to 700 words. 

We calculated this by analysing the videos in our archives and looking at the words per minute speed of our voice over artists. There is room for variation, however. Typically we have a 10 word margin around this figure to ensure the script doesn’t stop awkwardly. The viewer should be left wanting more, not wondering why the feed cut out!

No matter the length of your video, it’s important to hit some key points as early as possible. Plenty of research has been done about the average view time of videos by different demographics on different platforms. A video needs to hook viewers as quickly as possible to increase the overall view time.  Try to mention:

The company or organisation’s name

Product or service name

Slogan

One or more unique selling points (USPs)

By including these points early on, you are certain that the audience has come away having learnt something about you even if they don’t watch the entire video. 

02. What is your process for writing a video script?

Squideo’s projects start with a kick-off call. This gives the client the chance to meet the Production Manager, who will be the primary liaison, and a Video Producer, who will work on the visuals. If they have asked for copywriting or copywriting assistance, I will also join the call. 

I have a list of questions that I need to ask before I can start creating a video script. Depending on how much information the client has already provided prior to the call some of these may already be answered, but it’s always helpful to confirm these details.

In the kick-off call, I like to ask:

About the company or organisation

For an overview of the client’s video idea

About the video’s key message and its aim

Where the video will be uploaded and who the target audience is

Whether it should be written in British English, American English, Australian English etc.

What tone the script should have

If there is any language I should include, such as a slogan or tagline

What the call-to-action will be

The call also gives the client an opportunity to ask the team questions, learn about our revisions process and put faces to the people they will work with on the project. 

03. Do you need to choose a voice over artist before writing the script?

Not necessarily. 

Sometimes the script can inform the choice of voice over artist. Once the video’s narrative is on paper and the tone has become clear, your choice of voice over artist might change to better match this script.

Alternatively, if you have a firm decision about the voice over artist early on in the process – perhaps voiced by yourself or someone on your team – this can give the script great direction in tone as it needs to reflect this language pattern. 

04. What do you mean by tone?

The tone of a video is the style of language it will use. That doesn’t only mean the dialect of English (British or American, for example), but also the presence you want your narrator to have. 

A corporate tone would use formal or semi-formal language. It might use more technical language for a specialist audience. 

A reassuring tone is friendly and upbeat. 

An energetic tone is friendlier and relies on shorter, catchier language to keep the viewer engaged. It works well in adverts or educational videos.

A serious tone is informative and eschews sales language to focus on delivering key facts. 

Have a look at the example below. These scripts have been written for the same company, but the tone is different. 

Scripts can incorporate multiple tones to match your organisation’s brand. 

05. How long does it take to write a script?

How long is a piece of string?

There are two main factors that effect the speed of copywriting: 

How large or small the total word count is.

Whether all the details needed to write the script have been provided by the client(s). 

Taking these factors into consideration, Squideo’s Production Manager creates a schedule for our team and the client for key production targets and receiving client feedback. We have an average turnaround of 6-8 weeks, varying depending on the length of the project. 

Typically the storyboard is produced shortly after the script and both documents are sent together so the client can get a feel of how the two will work together. The client can then come back with revisions to the script and/or storyboard, which will be implemented then resubmitted for the client’s approval. 

[authortoberecognized]

WRITER’S FORUM  FICTION WRITERS

                        WEBSITES HELPFUL TO WRITERS   This is a series of posts which, I think, will be beneficial to writers. But first, I would like to include my usual warning about using websites. Whenever you check a website you are, in my opinion and I talk from experience, being put on a list for sale. So, expect the possibility of being bombarded by ads from companies you, perhaps,…

[nakajimeow]

A TIP FOR WRITERS !!

please take social media detox. i find that a lot of writers tend to feel anxious/insecure when seeing other writers on social media having 'better works' than them. like those 'better' writers, they also had a starting point too. they were once beginners and they constantly improved. please know that writing takes practice too and you can always improve by studying grammar and exploring your writing style. also, aside from that; scrolling mindlessly can lead to procrastination AND YOU WILL WASTE YOUR TIME DOING NOTHING instead of investing your time writing and enjoying other hobbies.

but if you want to stay on social media, only look up writing tips and advice or things that will help your writing journey evolve. writers, please focus on yourself and focus on improving. the only competition you have is yourself. do not give up. i repeat, DO NOT GIVE UP.

YOU WILL GET BETTER !! I PROMISE THAT.

[ronniaugust]

How To Write Good Dialogue (Part 1)

I'm gonna start this by saying I'm not trying to sound like a know-it-all. I am just tired of posts like these being absolutely fucking useless. I am aware this is basically me screaming into a void and I’m more than okay with that.

This guide is meant for intermediate screenwriters, but beginners are also absolutely welcome. :)

(about me)

-♠︎-♠︎-♠︎-♠︎-

I've noticed a rise in film students who want to make films that have no dialogue. Probably after your professor showed you Doodlebug, right? Fuck that.

I'll make another post about writing a short film, but all you need to know is: Don't waste the audience’s time. Most of these no-dialogue shorts have very little substance and take way too long to tell the shortest possible story. Not a good idea.

Useless Dialogue

Plain and simple, don't write useless dialogue. Useless dialogue is dialogue that just doesn't fucking matter. Dialogue matters by having ✨subtext.✨

What is subtext? Subtext is the meaning behind the action. That's it.

If I tell you that I love you and I got big doe eyes while I say it, it means I love you. If I tell you I love you through a clenched jaw without looking at you, I don't necessarily love you right now.

Simple, right? Great.

Now think about the subtext behind every line. Does your character mean what they're saying? Are they doing it to get what they want? What is going through their mind as they say it? As long as you know your character, you’ll have these answers ready to go. If you don’t, you’ll figure it out eventually. Just keep writing.

When you write your character walking into a Starbucks and saying, "One venti iced coffee," does that do something? Why do I need to see someone's boring Starbucks order? Do I need to know that your character's boring? Why are you writing a boring character? [Of course, in the rare situation where this is some revealing clue to the massive crime investigation, then it makes sense.]

Useless dialogue is any dialogue that has no meaning or purpose in your script. Delete and move on. You don't need to write entire conversations or scenes that bore us, just write what we care about.

I took a class once where my professor called a version of this "trimming the fat." Get us into your scene and out of your scene in as little time as it takes to have it achieve its full purpose in the script.

[P.S. You don’t “inject” subtext into your lines. Idk who started that vernacular in subtext teachings but I hate it.]

Show vs. Tell

I remember a glorious fight I got into with a Redditor last year about show vs. tell… TL;DR: Dialogue is “show” if you write it with intention and subtext. If someone says that dialogue is inherently “tell,” they’re wrong and can go fuck themselves.

Dialogue that is “tell” is expositional dialogue. But, hot take: Exposition isn't just in dialogue. It’s also those annoying clichés that make you roll your eyes in the theater (which we just call clichés and not exposition). I’m sure every professor I’ve had will disagree with this and then get me into a long conversation about it, but let’s ignore that for right now.

Have you ever seen a movie where a character rubs an old, worn-out photo of a young girl while looking depressed? That's exposition. That character has a dead daughter. No shit.

Clichés are incredibly annoying. We all know that. Assume that any cliché you see - in this context - is exposition and try your best not to write it. (Tropes are different and sometimes necessary, so I’m not talking about that.)

Point blank: When you have subtext in your lines, they are "show,” not “tell.”

Before moving on, I'll bring up that while technically the dead daughter photo is subtextual, it is as close to the character saying “My daughter is dead,” as you can get. Don't treat the audience like we're fucking stupid.

The First 15

If you don’t know what the Inciting Incident is, please look up “3 Act Structure” before reading this.

The first 15 pages of your script is the part that comes before the Inciting Incident. This is the part you want to get right because, although people probably won’t leave the theater, they will absolutely find something else on the streaming service they’re using. The people making said movie will also just toss your script in the trash before it’s even produced, so it's best to get it right.

Dialogue in the first 15 generally follows the same rules, but carries a heftier additional rule. All dialogue in the first 15 minutes must, must, must tell us something about your character.

Remember when I talked about that boring Starbucks order? Why is your character boring? Don’t write that. Don’t write nice characters. Or pleasant characters. Or friendly characters. No one cares.

You want empathy. This does not mean “relatable.” It means “empathetic.” There is a difference.

I personally relate to Vi in Arcane, but I empathize with Theo in Children of Men. Both are excellent, but one personally resonates a bit more with me. You cannot write a character that deeply resonates with every single person, it is impossible.

With each line of dialogue, you must be saying something about your character that generates the empathy. Instead of telling you how to do this, I’ll direct you to a movie that will do better than an explanation: Casablanca.

Watch how Rick interacts with the world. What kind of man is Rick? Watch what he does, what he says, and how he treats people and himself. Watch that empty glass on the table. Watch his contradictions. Everything. Those things matter and it’s what makes you want to watch Rick for the entire duration of Casablanca.

“Realism”

This is maybe more directorial, but make your characters human enough, not too human.

Too human is when you’ve tried your best to capture all those little life-like speech patterns. You know, the ones that no one fucking cares about.

If your character coughs, they’re sick. If they clear they’re throat, they’re uncomfortable. If a bruise isn’t going away, they’re going to die. Simple.

Every moment on screen matters. Everything the audience sees is meant to lead them to a conclusion. Not the conclusion, just a conclusion.

The realism you want is in the choices your character makes, not how many times they say “Uh,” in a sentence.

Conclusion

Dialogue matters and should not be treated lightly or without care. Once you have this all engrained in your mind, dialogue should become effortless.

If you want an excellent way to think about this, Robert McKee's Story has an excellent chapter that helped clarify this all for me. Here's an excerpt and the context.

Warning, spoilers for Chinatown.

"If I were Gittes at this moment, what would I do?"

Letting your imagination roam, the answer comes:

"Rehearse. I always rehearse in my head before taking on life's big confrontations."

Now work deeper into Gittes's emotions and psyche:

Hands white-knuckled on the steering wheel, thoughts racing: "She killed him, then used me. She lied to me, came on to me. Man, I fell for her. My guts are in a knot, but I'll be cool. I'll stroll to the door, step in and accuse her. She lies. I send for the cops. She plays innocent, a few tears. But I stay ice cold, show her Mulwray's glasses, then lay out how she did it, step by step, as if I was there. She con-fesses. I turn her over to Escobar; I'm off the hook."

EXT. BUNGALOW-SANTA MONICA

Gittes' car speeds into the driveway.

You continue working from inside Gittes' pov, thinking:

"I'll be cool, I'll be cool ..." Suddenly, with the sight of her house, an image of Evelyn flashes in your imagination. A rush of anger. A gap cracks open between your cool resolve and your fury.

The Buick SCREECHES to a halt. Gittes jumps out.

"To hell with her!"

Gittes SLAMS the car door and bolts up the steps.

Story by Robert McKee, pg 156

The context of this page is McKee's way of explaining how to write characters. I found it very helpful.

-♠︎-♠︎-♠︎-♠︎-

Thanks for reading! I probably forgot something, so I made this a “part 1.”

I hope this helps someone since I’m really tired of finding short films on YouTube that are all fucking silent. The few who have done it well have been copied to death, so please write some dialogue. I promise you it’s so much better if you do.

Asks are open! :)

[mercy-be-mine]

For my fellow tumblr horror-heads and film-bros - where can I download scripts?? I’m trying to write horror short films again but it’s been so long, I need a refresher. Any sites welcome! Legality encouraged but not required!

[nnoceurr]

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