Hello Screenwriters!!!
I was reading my InkTip newsletter today and realized something. I don't have a single location, low budget script. In fact, I don't have an idea, under that category, in my idea journal.
This is important because, many of the script requests are for movies made under 500k, that are single location. (Sometimes less than 500k)
Writing an entire script set in one location is almost counter intuitive to how we, as screenwriters, work. We think in every changing visual scenes. But--
--It can be done well. The Breakfast Club takes place in a school. Reservoir Dogs has a couple cut scenes but basically takes place in a warehouse.
So that's what I'll be working on the next few weeks. Coming up with an idea for single location script.
Friday, September 14, 2012
Tuesday, September 11, 2012
Roll with it
Hello Screenwriters!!!
I've been thinking lately about what makes me roll my eyes when watching a movie.
Where should I start?
Nerd falls in love with hottest girl in school: The head cheerleader is supposed to realize looks aren't everything; But if looks don't matter, why does the nerd fall for the hottest girl in school!
Heroes that dodge bullets: This was great in the Matrix, but now I just roll my eyes. (This has replaced heroes that outrun bullets)
Farting: This was done so well in Blazing saddles but that was 40 years ago. It isn't funny anymore! (And if a dog farts in a movie, I'm turning it off)
Boyfriend turns into a Jerk: A woman is in a love triangle during a romantic comedy, then for no apparent reason, one of the guys into a jerk. She ends up with the "Right" guy, but by default.
Characters in period pieces that have modern day, politically correct points of view: If a character is in the eighteen hundreds they shouldn't talk and act like a modern person.
What about you? Any pet peeves? Anything that makes you roll your eyes when you see it on screen?
I've been thinking lately about what makes me roll my eyes when watching a movie.
Where should I start?
Nerd falls in love with hottest girl in school: The head cheerleader is supposed to realize looks aren't everything; But if looks don't matter, why does the nerd fall for the hottest girl in school!
Heroes that dodge bullets: This was great in the Matrix, but now I just roll my eyes. (This has replaced heroes that outrun bullets)
Farting: This was done so well in Blazing saddles but that was 40 years ago. It isn't funny anymore! (And if a dog farts in a movie, I'm turning it off)
Boyfriend turns into a Jerk: A woman is in a love triangle during a romantic comedy, then for no apparent reason, one of the guys into a jerk. She ends up with the "Right" guy, but by default.
Characters in period pieces that have modern day, politically correct points of view: If a character is in the eighteen hundreds they shouldn't talk and act like a modern person.
What about you? Any pet peeves? Anything that makes you roll your eyes when you see it on screen?
Friday, September 7, 2012
Shout it out loud
Hello Screenwriters!!!!
I have read quite a few books on screenwriting. Some of the advice is great, some you ignore. One bit of advice I read recently is; reading your script out loud.
In previous writing books, I had come across the idea of doing a table read with local actors, but this book advised, you should read it out loud yourself.
I figured, what could it hurt, so I tried it.
I have to say, it made a big difference. By reading the script out loud, I found a whole different set of mistakes I had missed previously.
But what it really helped was, finding awkward phrases. Dialogue that just didn't work and actions sequences that were oddly written and in need of a re-write.
I know it sounds a bit odd, but if you haven't tried this before, I would give it a try.
I have read quite a few books on screenwriting. Some of the advice is great, some you ignore. One bit of advice I read recently is; reading your script out loud.
In previous writing books, I had come across the idea of doing a table read with local actors, but this book advised, you should read it out loud yourself.
I figured, what could it hurt, so I tried it.
I have to say, it made a big difference. By reading the script out loud, I found a whole different set of mistakes I had missed previously.
But what it really helped was, finding awkward phrases. Dialogue that just didn't work and actions sequences that were oddly written and in need of a re-write.
I know it sounds a bit odd, but if you haven't tried this before, I would give it a try.
Tuesday, September 4, 2012
What'cha, What'cha, What'cha want
Hello Screenwriters!!!
Not long ago I became stuck on a script. The lead character, Tong, was in the middle of his seven trials. The problem was, I was already near page one hundred and Tong had four trials to go before the final act; the showdown with the evil Warlord. The script was going way too long.
I was stuck.
What was I to do? I decided look for answers in books on writing, so I bought the screenwriters bible and dusted off a bunch of my old writing books. I read, and read until-
Epiphany! Tong had never clearly stated his goals!
This is important because, having your lead character tell the audience what they want, gives the audience something to root for. We want the lead character to succeed, be it saving the world or finding true love.
So what did Tong want? To defeat the Warlord? Yes, but that wasn't his true goal. Then it occurred to me, Tong just wanted to be good at something. You see, all his life his father had told Tong, he would never amount to anything, that he would fail.
The movie starts off with Tong messing up big time, that is when we learn about Tong's troubled relationship with his father. This was a perfect place in the script to let the audience to hear Tong say, "All I want, is to be good at something."
Once I established Tongs goal, "He wants to be good at something," and Tongs fear, "That he will fail" then the ending became clear.
Tong didn't need to finish his Seven Trials!
By not finishing his seven trials it would make the towns folk doubt Tong, this would feed Tong's inner most fears; that he would fail. Throw in the sudden arrival of Tong's father and we reach an emotional low point where all hope is lost.
Now I can cut the final four trials and get straight to the showdown!
What does you character want? Has you character clearly stated their goals? Have you given the audience a clear reason to root for your character?
Once I established what Tong wanted, the script became clear. Tong may have been battling the Warlord but his real opponent was his own fear and doubt. In order to win, he would have to believe in himself.
Not long ago I became stuck on a script. The lead character, Tong, was in the middle of his seven trials. The problem was, I was already near page one hundred and Tong had four trials to go before the final act; the showdown with the evil Warlord. The script was going way too long.
I was stuck.
What was I to do? I decided look for answers in books on writing, so I bought the screenwriters bible and dusted off a bunch of my old writing books. I read, and read until-
Epiphany! Tong had never clearly stated his goals!
This is important because, having your lead character tell the audience what they want, gives the audience something to root for. We want the lead character to succeed, be it saving the world or finding true love.
So what did Tong want? To defeat the Warlord? Yes, but that wasn't his true goal. Then it occurred to me, Tong just wanted to be good at something. You see, all his life his father had told Tong, he would never amount to anything, that he would fail.
The movie starts off with Tong messing up big time, that is when we learn about Tong's troubled relationship with his father. This was a perfect place in the script to let the audience to hear Tong say, "All I want, is to be good at something."
Once I established Tongs goal, "He wants to be good at something," and Tongs fear, "That he will fail" then the ending became clear.
Tong didn't need to finish his Seven Trials!
By not finishing his seven trials it would make the towns folk doubt Tong, this would feed Tong's inner most fears; that he would fail. Throw in the sudden arrival of Tong's father and we reach an emotional low point where all hope is lost.
Now I can cut the final four trials and get straight to the showdown!
What does you character want? Has you character clearly stated their goals? Have you given the audience a clear reason to root for your character?
Once I established what Tong wanted, the script became clear. Tong may have been battling the Warlord but his real opponent was his own fear and doubt. In order to win, he would have to believe in himself.
Sunday, September 2, 2012
Go-ing Go-ing gone
Hello Screenwriters!!!
One problem I face as a writer is my overuse of -ing- verbs. I don't mean to, it's just, I try not to think when I write. (I know that probably sound odd)
I re-read my script and see sentences such as -John is sprinting down the street- instead of, -John sprints down the street-
The saving grace; I don't have to show anyone my horrible first drafts.
My hope is; the more I re-write, the more I correct mistakes, the more these good writing habits will become ingrained into my brain and improve my future first drafts.
Only time will tell.
One problem I face as a writer is my overuse of -ing- verbs. I don't mean to, it's just, I try not to think when I write. (I know that probably sound odd)
I re-read my script and see sentences such as -John is sprinting down the street- instead of, -John sprints down the street-
The saving grace; I don't have to show anyone my horrible first drafts.
My hope is; the more I re-write, the more I correct mistakes, the more these good writing habits will become ingrained into my brain and improve my future first drafts.
Only time will tell.
Saturday, September 1, 2012
Shout it from the rooftop... on second thought.
Hello Screenwriters!!!
One of the toughest things for a screenwriter is, keep a good idea to yourself. You want to shout it from the rooftop.
I think that desire can work for you.
Stories need to be told; keeping them to yourself builds tension and desire. By making rules such as, not showing your script until it's finished, keeps that motivation and desire strong, thus helping you to finish the script.
Wanting to tell your story is like wanting to have sex, It keeps you on the edge of your seat: But once you have sex, you roll over and fall asleep.
Don't roll over and fall asleep with your script. Hold onto it until it's ready, then shout it from the rooftop. (figuratively not literally, don't want anyone blaming me for falling off the roof)
One of the toughest things for a screenwriter is, keep a good idea to yourself. You want to shout it from the rooftop.
I think that desire can work for you.
Stories need to be told; keeping them to yourself builds tension and desire. By making rules such as, not showing your script until it's finished, keeps that motivation and desire strong, thus helping you to finish the script.
Wanting to tell your story is like wanting to have sex, It keeps you on the edge of your seat: But once you have sex, you roll over and fall asleep.
Don't roll over and fall asleep with your script. Hold onto it until it's ready, then shout it from the rooftop. (figuratively not literally, don't want anyone blaming me for falling off the roof)
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