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Put it in a Google doc or something if you want feedback :) Learning about what goes into creating/writing/producing a series is a real eye-opener :)

Dialogue that deepens character understanding is just as important as dialogue that progresses the plot - as long as the characters are worth understanding deeper.

Of course it's every bit a BBC show - the sort of thing that's only practical when commercial considerations do not force creative processes. Sadly our present government is attempting to tear the whole institution apart. The advantage that Dave has is that despite being a commercial channel...

Just a quick (and minor) correction - it's no longer a BBC show, as new episodes (since 2009) are produced by the UK channel Dave. I remember watching the very first episode when it first aired - I was far too young to understand it all, but I remember laughing a lot :) There are some very...

They really, really are. TWD is at its best pretty much ignores the zombies completely, and that's exactly the right approach to take. I loved the Morgan episode - pretty much everything good about TWD (and there isn't a lot) compressed into a single episode.

H44: Why not just post your script up here? Or post your collection of ideas and endings etc up? It's impossible to make suggestions on a piece of writing whilst being so removed from the actual writing itself. You've done it before, so instead of asking weird abstract questions, why not put...

Eloquent and thorough as usual, but I have no idea whether you're agreeing or disagreeing with me :) I agree that you have to know the rules to be able to successfully riff around them, and following a roadmap makes sense until you can find your own way. What annoys me is when a perfectly...

Simplified to that level, then yes, all stories (and movies) stick to the 3-act structure. But the issue with it is more the rigid takes on specific story beats (like the "All is lost" moment in this thread) that some people take as prescriptive rather than descriptive. Hollywood increasingly...

It was OK, although the editing was a bit glitchy in places. Other than that, I think it looked nice. I didn't really find it all that funny (I only laughed once - at the "...and a woman" line). I don't think the punning worked half as well as you hoped :)

It always throws me when a movie or TV show uses a song I know note-by-note, and then cuts a few bars out for length. I always feel somehow violated :lol:

This is all getting a bit meta for me...:hmm:

I don't think V.O. is what you're looking for in any case. If the other characters in the scene are able to hear and react to the detached voice (or would be able to if they were there), it's not a V.O. - it's an O.S. character, just as if the character was talking from another room. V.O. is...

If you don't see the character on screen, then you'd use (O.S) instead of (V.O) - voiceover is for when speech is completely separate from the action. If the character is taking part in the scene but is just not visible, it would be off-screen (O.S). In the second question, I guess you mean a...

That would probably work. I misread your first post, I thought you said that the VO would be at the beginning and end (as in American Beauty). Another few considerations - a VO normally suggests that a character is recounting a story at a later time, meaning that they survive whatever peril...

It would normally come off as a little odd to me, but then one of my favourite movies of all time (American Beauty) does more or less this. However, in that film the mystery and stakes of the VO are very different to most VOs, as the whole movie is a very in-depth character study. Who has the...

:lol: I would maybe be interested in collaborating as a writer, depending on the project.

Aren't this mob of people he assembles the families of victims? Presumably, they have been introduced before? In that sense giving them a bit of screentime in the first act would probably be all they need. However, sufficient backstory to make hurt and/or grieving innocent people into a...

I'm guessing most Americans won't haven't watched it, but the second season of the UK series Broadchurch is a good example of what to avoid. After a solid first season whodunnit, the story outside of the court case of whoactuallydoneit was dull and uninspiring, verging on nonsensical, and so...

What an odd little troll you are.

The appalling grammar should have marked you out as a troll :lol: