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H44, all dialogue is purposeful in that it advances the plot and character development. Sometimes is just about one or two lines, not a whole page of dialogue. There is a difference between romance and lust. Picking someone up at a bar may not require more than one line. The power of the...

Overall, the concept is good. Where it needs improvement is overall pacing. It is too wordy. You really want to focus on "What's my central story?". As a screenwriter, you need to put yourself in the director/producer's shoes in part. Time is money. This isn't a novel where the reader's...

The problem is you have three different stories that you have intertwined in your head and none is being developed. There is the "war room" plot you open with, then the "Victoria-Drake" romance, ending abruptly with the "alien salvation". Each of these needs further elaboration and development...

It's your movie and your money. Make it how you want. Honestly, all your threads boil down to the following boilerplates: You have three choices: change it, remove it or leave it as it is. This narrows your choices to: change it or leave it as it is. First, genre IS NOT about budget...

Never good to take things to the extreme but if you watch enough "behind the scene" clips, you get a good sense of what's involved. However, you need to focus on the "bread and butter" parts of the producer role. Many times the producer needs to secure and oversee financing. There are...

In working with actors, writers, directors and producers, I've found that we all have our strengths and particular interests. However, as a producer, you want to be familiar with all aspects of the media business. Too many people think "anyone can write a script". After reading hundreds of...

While writing often involves culling experiences of others and combining with our own to present a unique product, all of your blogs seem pretty canned re-hashes of other people's thoughts and writings. What is your experience since I can't find any reference on IMDb? While I appreciate you...

I appreciate your sentiment but the reality is that almost 75% of the population likes that level of predictability. As Directorik mentioned, even non-linear films have segments that follow a similar structure. That doesn't mean that people don't appreciate being shaken up, but there is always...

The best way to learn is from feedback by a produced screenwriter. Just using 'bad' scripts without knowing why they are 'bad' is like trying to learn to drive a car by looking at all the accident reports. On the other hand, just reading books can be helpful but still not get you there. So...

They should not be common elements of a spec script. At least not in the spec script of an unknown writer. I didn't say it was wrong just that it's best not to get into the habit of including them. The reality is that most directors and producers who get your script will ignore what you've...

They are electrons. Make a copy of your script and make the changes. What do you have to lose? Since the consultant has read the script and we haven't, our input is worth the electrons they're written on. On the whole it seems like sound advice since you've been wrestling with shortening...

It just needs to be clear. Personally, I prefer 'turns in' or 'enters' the parking lot. 'Pulls' sounds more colloquial. 'Pulls up' to a barricade or 'pulls in(to)' a parking place aren't "wrong", per se. As a reader, I wouldn't think twice about it unless you write "pools" for 'pulls'. Most...

I've been where you've been. In many ways, screenwriting frees the writer to focus less on providing detail and more on story and character development. Details are a production issue. While we are the architects, we're not the interior designers. You made a good start. Some of your...

When the actor is speaking outloud, you never use V.O. even when mumbling. I could have written SAM (to himself) Damn sons o' bitches! or SAM (under his breath) Damn sons o' bitches! or SAM...

You'll need to ask your readers then. I'm not aware that you've posted the script here so none of us are readers. We also need to see what the readers see. You keep changing your story and characters. The choices are dependent on how you develop your characters. As non-readers, making our...

I do appreciate the time you put in to writing it. I don't mean to offend as I do believe you have a creative story. And while that format may work well in European film production, most writers hope to market their scripts to Hollywood. I can only advise what would best impress an American...

All screenplays are structured fundamentally with a 'three act' concept: intro, action, resolution. Each of those pieces can be teased apart in different ways. Writing for television (or a series) requires very clean style. A very good guide is that every five pages has a minor beat. Every...

A villain could choose to: 1. Kill Cop A first. 2. Implicate that Cop A and Cop B are both crooked to the regular police and arrange for them to catch him. 3. Have Cop A's love interest as a captive. 4. Fake his own death. Possibly in front of regular police so Cop A is blamed. 5. Meet and...

INT. OFFICE - DAY Sam looks out the window, distant, gives a resigned nod and grabs his hat from the desk and pauses. SAM Damn, sons of bitches. He exits exhausted, pulling the door closed behind. A beat. Phone rings a couple times before a click...

Welcome to the forum. You clearly have a vision but the script's format clouds it. You may wish to obtain books on proper formatting of a script or screenplay. You don't write the opening credits. You can put in the scenes as a montage but the "produced by ..." etc. are not to be included...