Script Tip of the Day

First 10 Pages: 5 Major Rules

Fri, 13 May 2011 22:36:52 GMT

When it comes to the beginning of your screenplay, I’m a firm believer in letting the ending dictate the correct beginning. If you know your character dies in the end, it makes sense to use that profound piece of knowledge to structure a suitable journey (both for your protagonist and your audience) to that tragic end. Read more... (http://thescriptlab.com/screenwriting/script-tips/1064-first-10-pages-5-major-rules)

The Voice Over Value

Fri, 29 Apr 2011 00:27:07 GMT

Voice Over. Does it really improve your screenplay? Is it really the best way to bring out backstory? Does it really maximize how to reveal crucial information? No. Not really. Not really at all. As a rule, Voice Over should be a last resort. Because it’s almost always a mistake, and for beginning writers it is always a mistake. Read more... (http://thescriptlab.com/screenwriting/script-tips/1033-the-voice-over-value)

Screenplay Evolution: Story or Character

Thu, 24 Mar 2011 23:40:57 GMT

Screenplays evolve essentially two ways: plot driven (often called High Concept), when a writer plugs original characters into a tailor-made plot, or Character Driven, in which the plot is born organically from the characters, usually an unforgettable main protagonist. Read more... (http://thescriptlab.com/screenwriting/script-tips/975-screenplay-evolution-story-or-character)

Make Us See It: Writing With Personality

Thu, 24 Feb 2011 22:00:30 GMT

Okay, so you’ve written a screenplay. It’s clear and concise, it flows well, it's easy on the reader - which is no small feat - but it's almost too clinical because it’s lacking any style. You tell your reader things are happening visually, but you fail to engage us – to MAKE US SEE IT. And when I say that, I’m not just talking about the visual elements of a particular scene in your script. It’s more than that. It’s voice (http://thescriptlab.com/the-formula/voice): style, word choice, rhythm, even the occasional tinge of sarcasm, etc. Simply put, voice is flavor, and often, a technically sound script can still be a bore to read because it has no personality. Read more... (http://thescriptlab.com/screenwriting/script-tips/937-make-us-see-it-writing-with-personality)

Exposition: A Little Crazy Goes A Long Way

Fri, 18 Feb 2011 20:34:53 GMT

You’ve heard it before: “Crazy is what crazy does.” True. Forrest Gump was a lot brighter than people gave him credit for. It’s also true that film is a visual medium. Action does speak louder than words; it’s what a character does that reveals the most to the viewer. But there is dialogue (http://thescriptlab.com/the-formula/character/dialogue). Your characters do speak. And although the screenwriter should take every opportunity to “Show! Not Tell (http://thescriptlab.com/the-formula/script-tips/562-visual-script-show-dont-tell)”, even the most seasoned movie writer will find it necessary at times to incorporate exposition – almost always used to provide background information in order to help the audience understand an essential element of plot (http://thescriptlab.com/the-formula/structure/the-outline/51-plot-five-key-moments), character (http://thescriptlab.com/the-formula/character), or the world of the story (http://thescriptlab.com/the-formula/story/location/119-the-world-of-the-story). Almost every movie has it, but not every film does it well. Read more... (http://thescriptlab.com/screenwriting/script-tips/932-exposition-a-little-crazy-goes-a-long-way)

Writing Never Takes a Day Off

Fri, 18 Feb 2011 18:18:31 GMT

I’ve had more than my fair share of jobs: paperboy, busboy, yacht technician, landscaper, house painter, production assistant, office manager, carpenter, spin instructor, college professor, screenwriter, producer, director, and Co-Founder of The Script Lab. But despite all of these working experiences, the hardest two jobs I have had (and still work at everyday) are as husband and parent. Sure, I’ve made mistakes – lots of them. It took me almost a decade to understand that my wife didn’t want me to “fix” every problem; she just wanted me to listen. And when it comes to parenting, I figure if I screw my kids up just a little bit less than my parents did me, then I’m doing alright. But the reality is these are hard jobs because they are “full time” in the literal sense of the word. You don’t get to be a parent or a spouse between 2 and 4 on a Sunday, or whenever it’s convenient. It’s an every day, every hour, every minute occupation. If you want to be a good parent, Read more... (http://thescriptlab.com/screenwriting/script-tips/931-writing-never-takes-a-day-off)

Script Readings: Listen and Learn

Mon, 31 Jan 2011 03:54:56 GMT

It’s one thing to write a screenplay, another to rewrite it, and something else entirely to listen to what you have written. And creating an opportunity where a screenwriter can observe and listen to the story – to what’s surprising, what falls flat, and see how an audience responds – is a tremendous asset. The truth is that as screenwriters we have already shot the movie, designed the sets, and played every part in our mind’s eye, but film is a collaborative process, and what we think is fantastic is often flawed. Dialogue that we’re certain is necessary might be redundant and long-winded, or scenes that we think are compelling could actually be a bit of a bore and not essential to moving the story forward at all. But it’s incredibly hard to see all this when we’re stuck inside our own movie heads. Read more... (http://thescriptlab.com/screenwriting/script-tips/918-script-readings-listen-and-learn)

Finding the Magic Within

Mon, 31 Jan 2011 02:22:44 GMT

If there's a book you really want to read, but it hasn't been written yet, then you must write it. - Toni Morrison Good advice. And screenwriting is no different. If there’s a movie you want to see but hasn’t been written, write it yourself. But be original. Having a good idea and writing a solid script is almost never enough. Great material rises to the top because it’s fresh, innovative, and unique. If the scene you write could be in just any film, it doesn’t belong in your movie. Failure as a screenwriter is easy when you’re a cookie-cutter robot. But if you want success, you must be you. The reality is that most scripts are bad because they feel built, not written. And this is because most scripts are hollow; there simply is no magic. And the magic IS the art. And even though screenwriting obligates you to follow a specific structure (http://thescriptlab.com/the-formula/structure) in order to tell your story (http://thescriptlab.com/the-formula/story) in a cinematic and responsible way, the magic is necessary all the same. Read more... (http://thescriptlab.com/screenwriting/script-tips/917-finding-the-magic-within)

Creating Heroes We Hope and Pray For

Fri, 28 Jan 2011 02:19:03 GMT

The most important character in your screenplay is your protagonist: your hero. But when creating your hero, audience connection is key. Your hero needs to be an interesting somebody who wants something badly and is having trouble getting it, AND also a somebody that the audience cares about – somebody they hope and fear for. But when creating a complex character, simply knowing what's beneath the tip of the iceberg (http://thescriptlab.com/the-formula/script-tips/437-reveal-the-tip-know-the-iceberg) is not enough. In order for your audience to be emotionally invested with your hero, you must also (1.) know the hero’s goals and dreams, (2.) be aware of what the hero will learn, and (3.) make sure the hero is someone the audience will empathize with. Read more... (http://thescriptlab.com/screenwriting/script-tips/916-creating-heroes-we-hope-and-pray-for)

Word Choice Wisdom

Mon, 24 Jan 2011 18:09:56 GMT

Dialogue (http://thescriptlab.com/the-formula/character/dialogue) comes from the character, but action comes from you, and the words you choose to describe that action have everything to do with developing your own unique voice (http://thescriptlab.com/the-formula/voice), but until you become the master mechanic of that secret recipe, you must rely on your character (http://thescriptlab.com/the-formula/character). Say, for example, your character is a drug addict. Since there are many kinds of personalities, buying different kinds of drugs, at different socio-economic levels, and in different social groups, it just makes sense that the specific drug jargon used by a thug on the streets of the Bronx would be quite different from that of a privileged Hollywood socialite. If it’s cocaine they’re after, what do they call it: coke, candy, blow, flake, dust, powder, snow, sugar, etc? Read more... (http://thescriptlab.com/screenwriting/script-tips/914-word-choice-wisdom)