Screenwriting

You're right, Judith Pajer. Writers can also use locations to create obstacles and opportunities for characters. And a character can use a location as a weapon/defense.

That's a great tip!

Most times, locations in my script are a bit unpredictable. It can range from a foggy dockyard to cinema lobby or tech lab.

I'll apply this more in my other upcoming scripts. Thanks.

You're welcome, P. J Oken. Thanks. Unpredictable is great. It makes it easy to set up traps for characters and twists.

Thanks Maurice Vaughan! I’ve made up several restaurants in particular that show up in several of my works (Johnny Valentine’s is a main one, and it has several subsidiaries!), as well as clothing brands and drinks. One rule I’ve come up with across the board is that anything and anyone I didn’t make up that exists in the real world has to earn the name drop in my works; so far the only person who has (other than Jesus) is Bob Ross.

You're welcome, Banafsheh Esmailzadeh. That's a great idea! I've made up restaurants, but I've never thought to have them show up in different scripts. Thanks for the idea. I make up brands too, but I haven't made up a drink yet. Thanks.

I like that rule. Some of the rules I come up with have to do with how society, companies, organizations, and monsters/etc. operate.

Congrats! Agree with Maurice Vaughan on USCO instead of WGA

Congrats Tuvan Uner on finishing your first screenplay. That's a huge milestone indeed! Wish you all the best with your other upcoming scripts!

T.A. Uner, you're right to be sceptical, and you're going to find you're pushed toward feedback and competitions by others who are struggling. It's been like that for years.

How you improve your craft is up to you. The feedback route has short-term benefits and potential answers from others, but you're ultimately having someone else painting over your work who isn't an interested party. Studying the craft is more long-term, gives you the skills, and empowers you with making your own artistic calls, but comes with a massive learning curve upfront.

Both routes can be free to ridiculously expensive, with results that don't correlate to cost.

When it comes to career building, the blunt truths are:

1) Supply massively outweighs demand

2) Cliques naturally exist

The idea that a new writer, with no contacts, can pen a script and have top players in the industry fighting one another over it is a fantasy. The doors are very much guarded with good reason. Most writers trying to get noticed are seen as amateurish deluded spammers, because, well, most sadly are amateurish deluded spammers.

There is a huge education resource and massive network right here on Stage 32.

We go over new screenplays every week on

my YouTube channel for FREE if you’re looking for notes.

Also, turning your screenplay into a comic book can help it gain visibility and often serves as a logical next step. Yes, we can help with that too.

CJ Walley Thanks for the blunt truth. It never hurts to get a dose of reality before embarking on any artistic crusade. Much of your feedback is universal and I got my fair share of experience when writing novels. It's sad that so many wannabes stigmatise all newcomers but it was the same when I was a self-published novelist. Rejection is a part of the game and I've learned to push past it when it rears its head.

Worst thing you can do in entertainment is tell people what will happen, have it happen as discussed, and then talk about what happened.

Plans are mostly there to show conflict between characters. Done well, they promise something exciting and then deliver something surprising that needs a new plan.

Thank you very much for the clarification—that’s exactly what I’m worried about: killing the story’s mystery with too many discussion scenes. CJ Walley

Look at the elements of conflict in those scenes.

Character conflict - Maybe two characters have history. Perhaps one plays power games.

Internal conflict - Perhaps a character doesn't have the confidence to speak up. Maybe another dominates too much,

Environmental conflict - Maybe there's a time pressure. Perhaps the location triggers one of them and they can't think straight.

That's where your real meat is. The drama. Apollo 13 and The Martian aren't just about finding the solution to the problem, they are also about people trying not to kill one another while they find that solution to the problem.

Thank you very much for the further clarification. I’ll try to apply this to my script. CJ Walley

Meriem Bouziani, this is supposed to help, with some editing etc. What many don't know is that your Ads, trailers etc. already would've told a story about the film to the audience, therefore to begin a scene (along with comments already made) you simply anticipate accordingly. The beginning scenes of a film is basically, to some extent, be viewed/conceptualized as a continuation storyline, of the Ads, trailers etc.!

Wish you the best!

Usually it takes me 2 weeks but it all depends on the content

Professionally, I work fast. Usually, within two weeks from soup to nuts. That's typically around a week getting the treatment in shape and then a week writing what will be 99% the final draft.

I wrote a script in a week that attached an Oscar nominee.

Took me five weeks to adapt a book.

It's meaningless, though, and comparison tends to make people think they are either too slow or rush too much.

The fact is motivation hits different and can be subject to non-artistic factors such as financial reward and opportunity. Then there's sheer practice, which makes a huge difference. I've been at this fourteen years now, the last half of that being writing professionally. My first feature script took me a few months to complete.

All that really matters is staying in the game.

Hey Oleg Mullayanov. I'd say don't rush the process; creativity flows at its own pace. Wishing you all the best as you continue this exciting journey!

I was up to one episode a week (traditional TV time) but once I got paid, all hell broke loose and it's only 3 days to Thursday and Wednesday has chores. so this week we'll probably be doing a rerun for anime with the artificial voice of Episode 2.

Good news! The collapse of one personality means another one can come in and take over. Does your script contain that or will that be for the sequel?

E Langley Ilanna Mandel Michael Dzurak If you bothered to look at my past posts here, you would find that I have a background in comics and I also write stories, so by using parentheses helps me to discern dialogue from character action and scenes. I just though you should know being you never bothered to ask 'Why'.

Hey, Gregory Barone. I suggest putting "raising an eyebrow," "curious," and "grinning slightly" on action lines since you're formatting the story as a screenplay now.

I agree with Maurice Vaughan. Action lines are a much better place for standard character details than parentheticals which are for unexpected exceptions.

I know why, so no need to ask. The writing stands on its own merit.

They're parentheticals, commonly used as a reference in screenplays for whom dialogue is meant, or simple emotion — (to Character) (angry). The general guideline is three words max. As Maurice, and others, have suggested, anything else is Action text.

Ch 6 Pg 21

Garerit and Colin stand atop a small hill, overlooking the vast field of sheep. The wind rustles through the tall grass as a few sheep wander too far from the herd. Colin "grinning slighty" adjusts the bolo in his hands—a sturdy, well-worn rope with three weighted stones at the ends. His grip is confident, despite his lamb-like appearance. Garerit stands "curious".

GARERIT: A bolo? You use that to herd them?

COLIN: Not just herd them, wrangle them. Watch and learn, Garerit.

Colin twirls the bolo above his head, the stones whirling in a blur. His stance is firm, his lamb-like ears flicking with focus. The motion of the bolo creates a low, humming sound as it cuts through the air. Garerit is impressed.

SFX: WHRRRRR

GARERIT: Hah, you handle that well. But how does it help with sheep?

A rogue sheep dashes toward a stream, straying from the herd. Without hesitation, Colin releases the bolo. It soars through the air, spinning as it sails toward its target.

COLIN: Like this!

The bolo wraps neatly around the sheep's legs, tangling them just enough to stop it from running further. The sheep lets out a startled bleat as it stumbles to a halt but remains unharmed. Colin rushes forward to free it, patting its head reassuringly. Garerit whistling, impressed.

SFX: WHIP-SNAP!

SHEEP: BAAAAH?!?

GARERIT: That's quite a trick! Quick and clean.

Colin grins, standing tall as he retrieves the bolo. He tosses it lightly in his hand, the weighted ends clicking together.

COLIN: You learn fast when you don't have a choice. The giant wanted his sheep tended well, and I refused to lose a single one.

Garerit smirks, arms crossed, clearly admiring Colin's skill. The sky above them glows with the warm hues of late afternoon, a moment of camaraderie between the two forming. Colin "grinning."

GARERIT: Remind me never to run from you—I'd hate to end up tangled in that thing.

COLIN: Don't act like a stray, and you'll be fine.

I have a bad way of learning things the very hard way.

Hi everyone, I'm Burundian (a refugee in Mozambique). I love to read, and now I've started writing I already have two books despite my limited time.And I've written a short film and I'd like opinions but I don't know how!! Thank you very much

That sounds interesting and has some Stranger Things vibes.

Work on the script, worry about pitching later.

Hi, Mujos Léandre. Welcome to the community. Congratulations on writing two books and a short script!

You could post your short script on your profile. Members can give feedback on your script, and producers search profiles for projects. That and networking are how I sold four short scripts to a producer. Click the gear symbol in the top right-hand corner and select “Edit profile” in the drop-down menu. Scroll down to “Loglines” and click “Add/edit loglines” to the right of “Loglines.”

You can also post your script on your profile here: www.stage32.com/loglines (near the top where it says “Add a Logline”)

We go over new scripts every week on my YouTube channel. Let me know if you want us to look at yours.

I had that problem a few years ago. Script almost finished. But I was unable to continue writing. My solution was to take one small item in my pencil notes. Do that change and then hit save. Next day I did another small change from my pencil notes, and then hit save. Day after day, it became easier for me to resume writing. So after a few weeks, my writing was again normal. This also demonstrates that it is a good idea to take paper printouts and make pencil notes.

The greatest advice I’ve ever gotten was from an animator friend: “Creating art or writing stuff is like pooping. You can’t force it out, and you can’t keep it in if you really love it, so it’ll come when you’re ready.”

Haha Callie Currence. Your friend's right.

This happens when your motivation is tied up in the results rather than the process.

It's a bit like enjoying losing weight, but hating being hungry. You have to make the feeling of starvation and process of calorie management something that feels rewarding in the moment.

A lot of writers talk about what they are supposed to love as a chore, and those writers have sadly chosen to walk down a self-destructive path based in punishment rather than indulgence.

A process that feels almost like cheating and taking the easy route is, oddly enough, the one to lean into. Art isn't the same as school or work, as it's not something that directly rewards hardship. Making that mind switch is hard, especially later in life.

Give yourself permission to play around and make a mess. Go write the bits you're most exited about. Make your goal what you enjoy creating today rather than some validation you might get in ten years time. Ironically, your writing will be better for it.

Hi, Bartosz. I run into this all the time. I just finished a script where I hit the climax and then stalled out. I knew exactly what needed to happen next, but I couldn’t get myself to push through. That nearly‑finished draft sat on the backburner until I finally said, “Enough is enough; I’m getting this done.”

A couple things have helped me in moments like that. The first is a piece of advice I’ve heard many times and always come back to: you can edit a bad page, but you can’t edit a blank one.

The second is a habit of mine: I often write scenes out of order. If I’m frozen on one moment but I have a clear picture of what happens two scenes later, I’ll jump ahead and write that instead. I’ve even reached the end of a script with several gaps still in place, but by then I know exactly what I’m building toward. When I do this, I’ll mark the empty sections with something like “GAP #1” followed by a dozen lines of equal signs so I don’t forget about them when scrolling through the draft. Knocking out those gaps one by one gives a surprising morale boost.

And as others in this thread have said, sometimes the best thing you can do is step away for a bit. Clear your head. Focus on something else.

You might even try tinkering with another project; nothing heavy, just enough to keep the creative gears turning without forcing yourself into a corner.

Tea's run out - no more milk. As a Brit - this is tragic lol

Teas gone cold lol

With tear stained…..

Love it!!

she died alone…

That's great! Thanks for the update!

You're welcome, P. J Oken. I can't wait to see the winning film!

I saw this as a symbol for draft attachment. Of having that draft you love but just know it needs changes but are dreading a page one rewrite for fear of losing the story. That fear tears your writing initiative to shreds.

In this case, outside input can help. That's basically the story with my page one rewrite last fall.

Andrés Yang Oh, that's super good insight too Andres! Researching genres, like different animals, it sounds silly, but I had never thought of it. Duh, Juliana! I love that, thank you for sharing that : ) And yes, it will let you know what it needs, and very much hopefully without drawing blood : ) Although, growing up, I had a cat that literally scratched me so much I bled, and yet...fabulous stories emerged regardless. And, you're so welcome!

Michael Dzurak Really good perspective into this, exactly, that's what the draft edits sometimes feel like...it will evolve, it will grow, stretch, the characters will pop their heads out and say, "um, this is nonsense", or, " love this, but that's not really me, is it"? And, of course, the feelings you feel, the emotions, are always the compass...when you are writing from the heart, and you can feel he story...not think it... really good insight, Michael. And, I always get someone to read my first draft, always, an outside perspective, and I take down notes, and if I have doubts, I also ask a trusted advisor. Absolutely.

The part of your brain that you engage when you try to interact with a keyboard to write great prose is sadly not the same part of your brain that comes up with creative ideas.

It's a bit like trying to be charismatic when you're very self-conscious. Like asking your crush out on a date. Sure, you can picture it going amazingly, but when you come to talk, your brain hemispheres get into a fistfight.

The answer is to separate the creative from the technical, which we do through drafting. However, how a writer drafts best depends on how their mind works. Some re-draft and some pre-draft. Just like some painters carefully sketch out their work before committing to the brush and others just go for it knowing they can paint over everything over and over if needed.

CJ Walley That makes so much sense, it's a matter of accepting the process, understanding your own needs pre, or post, creative flow, and getting out of your own way : ) and with time, you grow in that, plus self-knowledge, then experience, and confidence. Allowing the cat to be...and it will always come to you, when you are one with the work...thanks CJ, I really like this. I appreciate the time and thoughtfulness of your share.

Is your book registered with the U.S. Copyright Office, Ye Vi?

Maurice Vaughan Yes

Okay, Ye Vi. I suggest contacting the Copyright Office and asking if you need to register your script since you registered your book already. www.copyright.gov

Writing isn't really copyright itself. Not in a hire a lawyer easily and get compensation sense. Not in a successfully sign over a chain of title sense.

WGA isn't the real deal. USCO is. If someone told you to go the WGA route, you need to question their advice in general.

Hi, Yan Ju Zeng. I'm mixed, but I grew up in a Black household (with my dad and brother) and family. I also grew up in the US. I might be able to answer your questions.