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Ask Us Anything About Screenwriting

*DISCLAIMER: I use CAPITALIZATION for EMPHASIS - not shouting.

As @indietalk pointed out in another thread, we have some extremely knowledgable members here that I think can answer ANY question about screenwriting that any of you may have. I think it would be great if we kept the thread going with all those questions. If this isn't allowed? I apologize and please delete the thread. It just seems like we should have an ONGOING place to answer all these questions.

There are NO stupid questions. Ask away!
 
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A double hyphen is correct as there in no pause.
And since there is no pause, you must use CON'T to weld the broken sentence. Whoever told you otherwise was wrong. It needs to be in there for post.
Ask yourself, what will it mean to the editor? "..." might mean he needs to snip the dialogue and squeeze in a few frames extra frames to fit the pause. CON'T enables him to see instantly that the dialogue slips seamlessly from scene to scene.
And HERE YOU GO AGAIN. I'm not wrong IF this is a spec. POST? That's putting the cart before the horse a bit, don't you think? LOL. If this is something that somebody is going to shoot WITHOUT being marketed then I stand by what I said -- WRITE IT ANY WAY YOU WANT.

But if this is to be a spec? Nobody is WORRIED about POST in a spec script. LOLOLOLOL. That's what SHOOTING SCRIPTS are for.
 
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Hi Creative Screenwriters,

I just joined this community, and i was wondering about culture here, how as screenwriter can share their works for review and feedback, what are policies or regulations need to be considered? is there special format followed or topic of interests?

Thank you for this supporting community, I am glad I found you :)

Kind Regards
Essa
 
Hi Creative Screenwriters,

I just joined this community, and i was wondering about culture here, how as screenwriter can share their works for review and feedback, what are policies or regulations need to be considered? is there special format followed or topic of interests?

Thank you for this supporting community, I am glad I found you :)

Kind Regards
Essa
Post in this subforum

If you post 10 pagers or less you have better odds of getting feedback.
Post a link to a PDF in screenplay format.
 
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What makes a great blockbuster story/film?:)
In my humble opinion... A real blockbuster? One that makes a shit-ton of MONEY?

1) It's gotta be HUGE. The bigger the better. Why? Because the more a studio spends on a movie? The more publicity it gets. The more discussion it gets online. The more anticipation is developed. In fact? I honestly believe this can easily become part of your marketing protocol.

2) You need both famous actors and extremely talented actors but in reality? I don't actually think you need to have the MOST FAMOUS or the most expensive. In fact? I would find a happy medium here... A famous actor but one who's rate is reasonable. Not a $25 Million Dollar behemoth with net points. I actually hate this but I do think it's absolutely true. Great character actors make famous actors look great. I believe combining the correct mixture of both in a movie is another piece of the formula.

3) Keep the story simple. Unless you're a Christopher Nolan? Probably best to keep the story simple so anyone and everyone across the globe understands it. They used to call them FOUR QUADRANT FILMS -- maybe they still do. But today? An audience in China needs to be able to understand the story as easily as a an audience member here in America. I think to do that is not that difficult as long as you stick to the basics of humanity that resonate with ALL OF US. LOVE. HATE. REVENGE. Yada yada. You know the drill.

4) Your characters need to have flaws... At least the MAIN characters. Anyone and everyone can identify with an EVERY MAN or EVERY WOMAN. They should not be perfect. You want your audience to immediately be able to jump on their train and ride with them all the way through the story.

5) Great music. Exciting music. Music that goes WITH the story and the action of the story.

6) I can't say I know WHEN to actually release a film but I am damn sure that a film you want to become a BLOCKBUSTER needs to be released at JUST THE RIGHT TIME. Unfortunately, for us mere mortals? All we can do is what we can do. Studios however, have access to data that they can crunch for weeks on end to nail down a profitable release date.

Of course these are just broad strokes... But in my humble opinion? You need all of this to really generate a BLOCKBUSTER.

Worth reading...
 
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In my humble opinion... A real blockbuster? One that makes a shit-ton of MONEY?

1) It's gotta be HUGE. The bigger the better. Why? Because the more a studio spends on a movie? The more publicity it gets. The more discussion it gets online. The more anticipation is developed. In fact? I honestly believe this can easily become part of your marketing protocol.

2) You need both famous actors and extremely talented actors but in reality? I don't actually think you need to have the MOST FAMOUS or the most expensive. In fact? I would find a happy medium here... A famous actor but one who's rate is reasonable. Not a $25 Million Dollar behemoth with net points. I actually hate this but I do think it's absolutely true. Great character actors make famous actors look great. I believe combining the correct mixture of both in a movie is another piece of the formula.

3) Keep the story simple. Unless you're a Christopher Nolan? Probably best to keep the story simple so anyone and everyone across the globe understands it. They used to call them FOUR QUADRANT FILMS -- maybe they still do. But today? An audience in China needs to be able to understand the story as easily as a an audience member here in America. I think to do that is not that difficult as long as you stick to the basics of humanity that resonate with ALL OF US. LOVE. HATE. REVENGE. Yada yada. You know the drill.

4) Your characters need to have flaws... At least the MAIN characters. Anyone and everyone can identify with an EVERY MAN or EVERY WOMAN. They should not be perfect. You want your audience to immediately be able to jump on their train and ride with them all the way through the story.

5) Great music. Exciting music. Music that goes WITH the story and the action of the story.

6) I can't say I know WHEN to actually release a film but I am damn sure that a film you want to become a BLOCKBUSTER needs to be released at JUST THE RIGHT TIME. Unfortunately, for us mere mortals? All we can do is what we can do. Studios however, have access to data that they can crunch for weeks on end to nail down a profitable release date.

Of course these are just broad strokes... But in my humble opinion? You need all of this to really generate a BLOCKBUSTER.

Worth reading...
I remember reading about "Jaws" being the first "Blockbuster" because it was the first to go outside of the 'studio system', (this is just off my memory) so correct me if I am wrong and am definitely not trying to spread mis-information etc if I am wrong.... What did Jaws do, that made it such a blockbuster? Would Jaws now be a blockbuster? or something like it? Not trying to get off topic and into film theory etc, but just really curious about the whole blockbuster writing aspect etc and again, sorry if I am getting off topic, it is just interesting:)
 
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I remember reading about "Jaws" being the first "Blockbuster" because it was the first to go outside of the 'studio system', (this is just off my memory) so correct me if I am wrong and am definitely not trying to spread mis-information etc if I am wrong.... What did Jaws do, that made it such a blockbuster? Would Jaws now be a blockbuster? or something like it? Not trying to get off topic and into film theory etc, but just really curious about the whole blockbuster writing aspect etc and again, sorry if I am getting off topic, it is just interesting:)
Well just take a look at JAWS...

High concept. Outside the studio system? I don't think that's correct. It was definitely a studio movie although I think it can safely be said that it was probably the first modern BLOCKBUSTER where MANY of its elements were repeated again and again... Almost becoming a blockbuster template of sorts.

In other words? It was NOT the typical studio movie being made at that time.

As for WHY it was a blockbuster? Well right off the top of my head although I was a kid at the time? It was a bestselling book. I know that because a friend's parents had a copy of it and let me read it. I was 14 or 15 at the time.

As I recall, just like THE EXORCIST, it spent a LONG TIME on the New York Times Bestseller List. I have to believe that was a very important element of it becoming a blockbuster.

There was LOTS of publicity for the upcoming movie. Lots of television ads. The book kept selling. That would explain a LOT of WHY it became and stayed a blockbuster too.

Unlike blockbusters today? Audiences who'd read the book couldn't wait to see it transcribed into a movie. As a kid, I remember people on talkshows saying they'd seen the movie over a hundred times. In those days? That was INCREDIBLE word of mouth advertising -- the best kind in my humble opinion.

And unlike movies adapted from books today? The majority of audiences LOVED the adaptation. LOVED IT. Told their family, friends, neighbors, and associates all about it. I remember hearing about it damn near every day for a very long time because if I remember correctly? It stayed in theaters for a very long time.

I think JAWS proved -- at least back then -- that a movie could appeal to audiences all over the world in addition to the United States and still make a ton of money and? Be well made -- high quality filmmaking. Seems to me that many films back then and today sacrifice one over the other and this was one of the first movies that didn't make that kind of sacrifice.

Would JAWS be a blockbuster NOW?

I doubt it unless of course you UPPED THE ANTE with the story and the special effects. Then? Possibly. But think about all the shark movies JAWS has inspired over the years... Take the best of the best of those -- not like SHARKNADO or films of that ilk, but good films. I don't have the time nor the inclination to look them up but they do exist... Take those and compare them to JAWS and you'll see in some of them a story and special effects that work with modern audiences. So if one were to make JAWS today? The envelope would certainly have to be PUSHED beyond what we've seen AFTER JAWS in order for it to become a blockbuster today.

But even having said that? Unless the book that preceded it was a bestseller that got millions of people talking about it and anticipating an adapted film? It would very likely just be another film. So much would depend on what I believe are the broad stroke elements I mentioned in my first reply to your post.
 
What I remember most about "Jaws" was going with my girlfriend. She was clutching my arm during all the violent parts. As we were walking out of the theater, I noticed that my arm was a bit wet. Beverly had gripped my arm so hard her long nails broke my skin, and I had streaks of blood running down my arm.
lol I am not trying to de-rail the thread but here is a funny concept in Texas for watching JAWS
 
lol I am not trying to de-rail the thread but here is a funny concept in Texas for watching JAWS

Too bad they don't have anyone with scuba or snorkel gear wearing shark fins swimming around the lake. Then they could reach out and grab legs when "Bruce" attacks. I'm sure some people would freak and fall off of their inner tube. A truly immersive experience. (Bud-ump--chah! I was going for the groan...)
 
The movie, Jaws, was amazing. The book, although on the best seller list at the time, really wasn't that good. The focus of the book wasn't on the shark, it was on town politics and Matt Hooper having an affair with Mrs. Brody.

I think the thing that made Jaws great is the fact that the mechanical shark never worked! Bruce was always breaking down, so Spielberg had to come up with creative ways of letting the audience know he was there; the music, the barrels that Quint harpooned to the sharks body to bring him to the surface, the dorsal fin cruising through the water, the girl being dragged thru the water. Fantastic, but it was not planned that way. Spielberg planned on showing much more of the shark. If he had, our imaginations would not have had to fill in the blanks, and you know, there is nothing as scary as what we imagine. Plus, timing. Audience in the 70's were still innocent. We had never seen anything like Jaws before... Today, we've seen everything. Much harder to truly wow people when we've seen it all.
 
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I remember reading about "Jaws" being the first "Blockbuster" because it was the first to go outside of the 'studio system', (this is just off my memory) so correct me if I am wrong and am definitely not trying to spread mis-information etc if I am wrong.... What did Jaws do, that made it such a blockbuster? Would Jaws now be a blockbuster? or something like it? Not trying to get off topic and into film theory etc, but just really curious about the whole blockbuster writing aspect etc and again, sorry if I am getting off topic, it is just interesting:)
One of the main things that made it a blockbuster was that it was released in summer and lots of young adults/teens went to see the movie multiple times. Up until that point, most movies were aimed at adults and there was never an expectation that money could be made through multiple viewings.
 
How best can a screenwriter prep themselves for the longer writing haul of a feature?

I've written a few shorts but I'm struggling to finish the feature as I feel like my act 1 is just not working and also does anyone have any tips for action lines - how can I make them less complicated?

I asked for advice on here and someone said to storyboard my scenes out - how would I do this if I'm not a great drawer?
 
How best can a screenwriter prep themselves for the longer writing haul of a feature?
someone said to storyboard my scenes out - how would I do this if I'm not a great drawer?
I've become a big believer in doing a detailed outline before you start writing the first draft - mine generally run between 12 and 15 pages.

Hammer out the details of the plot before you start the first draft. It's a LOT easier to move around bullet points than entire sections of a screenplay.

It's also a good way to be sure you've got your acts properly balanced and enough meet in act 2.
 
I'm not an outliner by any stretch of the imagination... I hate the word Pantser too. I write by discovery. I'm not here to discourage outlining either. Some writers need to do that before they can write OR, as I've discovered with some writers... Before they can feel good enough about their story to actually get down to the writing.

Either way? You need a complete story. If you're experiencing problems not having enough STORY for the rest of you screenplay? I would recommend doing one thing or the other or all three...

1) As @mlesemann does herself? Try coming up with a super detailed outline so all you have to do is write. In order to do this however, you need to know a lot about your story up front. So? If you do not know a lot about your story up front? Most likely, you'll end up having the same problem i.e., not having enough story for an entire story.

2) Write by discovery... This is how I write. I have a germ of an idea and I just let it flow. I'm lucky enough to be able to work and riff off these germs to keep coming up with more than enough plot points for an entire story. And since I work this way and have been for over thirty years? It comes easy to me personally.

I think both "1" and "2" come from a lot of experience and probably? Mostly LIFE EXPERIENCE. It's been my personal observation that most of the weak writing I've read by both professional screenwriters and those wanting to become professional writers is that they either do not have enough life experience OR they have trouble tapping into what life experience they do have.

I just binged FUBAR on Netflix last night... Not because Ahnold is in it but because I had several writer (pros) contact me about it. It is extremely dialogue heavy. TELL not show... LOL. It was almost as if the FUBAR team had all these personal problems and their actual mission just happened to get completed as they all dealt with these problems. LOL.

Let's just say (for me personally) that I won't be giving it a second watch.

So "3."

3) A combination of an outline and list of structural plot points. If you have a LIST of structural plot points? Many times, knowing WHAT each of these structural plot points need to contain (content-wise) is more than enough for you to brainstorm an actual plot point.

Most people I know and have known when it comes to wanting to be a writer have no idea what "structure" even is. They discover structure way too late in their writing careers (if you can call it that) after they've picked up a myriad of bad writing habits.

There are all kinds of writing structure out there... I could go over a list of them here but you'd be better off performing an intense Google search. A lot of writers talk about 3 ACT STRUCTURE but if you Google that? You'll find a lot of differing opinions about what a traditional 3 Act Structure contains when it comes to story... About the ONLY thing consistent with everyone's version of 3 Act Structure is that there is a BEGINNING, MIDDLE, and END.

Let's face facts... All stories have a beginning, middle, and end. LOL.

You need to know what NEEDS to HAPPEN in those beginnings, middles, and ends.

If, as a wannabe writer, you know AHEAD OF TIME what NEEDS to HAPPEN in your beginnings, middles, and ends? You'll have a much easier time brainstorming and or dreaming up what those beginnings, middles, and ends are.

For instance...

Let's take Michael Hauge's Six Stage Plot Structure...

It's as valid a story structure as anything else out there... This is NOT me endorsing or advocating using it. Just talking about it as an example here. If you were to use this Six Stage Plot Structure as your guideline, you can plainly see what NEEDS to HAPPEN for each of his six plot points.

Unfortunately... Most wannabe writers still don't end up with enough STORY or PLOT POINTS for an entire story when using something like this because they have no idea or even clue as to what needs to happen in a story let alone ACT II. Let's look a Hauge's Act II:

Stage III: PROGRESS
Vacillates between identity and essence

Stage IV: COMPLICATIONS & HIGHER STAKES
Moves steadily into essence


Most wannabe writers I've known and seen and read have absolutely no idea what these two stages NEED to CONTAIN in them when it comes to CONTENT or? They misinterpret what these do mean and are off a bit here and there when they do follow something like this and execute the writing.

Of course, Michael Hauge knows his Six Stage Plot Structure like the back of his hand and he could easily tell you EXACTLY what needs to happen in each stage. I'm sure he could sit down and explain for more than an hour what the above two stages need to contain but when a writer who knows virtually nothing about structure reads these two stages above?

They become even more lost.

Which brings me to the OOMPH of my reply here... Become a STUDENT of STRUCTURE plain and simple. Learn as many story structures as are out there and come up with your own. In other words? Create your own story structure. Why? Because once you do that? You're going to feel confident. You're going to attack creating a story with a determination you've never had before.

Sure... You could USE any of the story structures out there... For instance... People just love the SAVE THE CAT structure and again... This structure is as valid as anything out there but still... It's not YOUR structure.

As a writer? You'd be taking it on Blake Snyder's word that this is the END ALL -- BE ALL of screenwriting structure. Certainly, one can do this but if you're a WRITER or want to be a writer, why take someone else's word about what structure is or isn't?

Why not figure it out for yourself?

Well I think we all know why... These days? Everyone wants to round the corners off as much as possible. Nobody wants to do the real work when it comes to writing. A high percentage of writers want a ONE SIZE FITS ALL formula.

Well guess what? There is NO one size fits all formula.

However... You can in fact create your own LAUNCHING POINT by creating your own basic story structure and use it simply as a starting point to brainstorm ideas for your own story. In other words, if you KNOW what NEEDS to HAPPEN next? It's a hell of a lot easier creating an idea of how it needs to happen in YOUR STORY.

If you do NOT know what needs to happen next? Then you could be brainstorming an idea or plot point that's just kind of COOL to you but has no business being your next actual plot point.

Sure... You can use someone else's structure but again... Now you're relying on their VERSION of STORY. If you really want to be a writer? Why would you do that?

I highly recommend becoming a student of structure... A student of everyone's structure out there. They're all just a few Google searches away.

Find them all. Read them all. Understand them all.

This won't take you as long as you might think... Why? Because they are all very similar. However, as you continue to do this? You're going to automatically connect the dots from one structure to the other and see what's missing or see how they rely on too much of one thing. Watch movies and read books and take notes as you learn about these structures to come up with what they are missing.

Eventually? Come up with your own story structure. One that makes YOU feel CONFIDENT. One that makes you love being a writer.

But? Don't use it as a formula. Use it as a LAUNCHING POINT for your stories whether they end up being screenplays or books or even short stories. When I say launching point, I mean exactly that. Just a place to begin. Chances are you'll already have at least one or more ideas for cool scenes or plot points that got you interested in the concept for your story in the first place. If you know where the cool ideas for scenes and plot points NEED to BE? You're ahead of the game.

Plug them in where you think they need to be and now start bridging the gaps.

As you write the story however... Never be afraid to let your characters TAKE OVER because in my humble opinion, that's where the real magic of WRITING happens.

THAT IS WHY I WRITE. That is WHY I am a writer. To me? The MAGIC of writing is when your characters become SO REAL that they no longer want to follow your story structure.

You want them to go this way but THEY WANT TO GO THAT WAY.

I urge you to LET THEM GO THEIR WAY. Yes, by allowing them to go their own way means deviating from your story structure but again... This is to me? The MAGIC of WRITING.

Your mileage may vary.
 
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The MAGIC of writing is when your characters become SO REAL that they no longer want to follow your story structure.

You want them to go this way but THEY WANT TO GO THAT WAY.

I urge you to LET THEM GO THEIR WAY. Yes, by allowing them to go their own way means deviating from your story structure but again... This is to me? The MAGIC of WRITING.
This 100%.
When you get to the point where you say to yourself about a character, "(s)he wouldn't do that!" - whatever "that" is - then you really know your characters and you're truly getting someplace.
 
This 100%.
When you get to the point where you say to yourself about a character, "(s)he wouldn't do that!" - whatever "that" is - then you really know your characters and you're truly getting someplace.

A friend of mine recently recommended "The Wire", a critically acclaimed series that played on HBO many years ago. While there's no denying the material feels authentic, I just couldn't see some of the characters doing the things they ending up doing near the end of season one. It was like the writers forced it to help the plot along.

I couldn't help but think, "he wouldn't go to the cops to rat them out -- he would just leave or exact revenge" or "He wouldn't suddenly feel guilty and not care about the case after the cop was shot, he would be more resolved and go ballistic on the drug dealers".

In the writers defense, there was an effort to establish the necessary character arcs to justify the actions but it still felt forced. I just couldn't believe it -- the series didn't grab me like Breaking Bad did. In Breaking Bad, the arcs were more extreme, but I bought into them -- In the Godfather, Michael Corleone's transformation seemed real to me, and so I felt invested in the story.

Tough business this screenwriting stuff, so hard to pull off.
 
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