#Screenwriting Tools

[shaham10]

Struggling to move your story forward?

Let My Next Film’s user-friendly AI-powered scriptwriting tools help you overcome writer’s block and bring your vision to life. Sign up at mynextfilm.ai and start your 21-day free trial today!

[chronicowboy]

realising why exactly the episode felt a little off to me and it's because it should have been athena's grief as the a plot, the 118's grief as the b plot and the missing child case as the c plot but instead copaganda took precedent and it was the case as a plot, athena's grief b plot and the 118's grief as c plot which is just hmmm

[ronniaugust]

How to Write on Final Draft (without it feeling so daunting)

It's incredibly difficult to open up a Final Draft document without feeling like you're literally writing your final draft, so here's a few features you can use your advantage!

1. Turn on dark mode

Dark mode makes it look like less of a script and more of an outline. Edit and rewrite in light mode, you will feel the difference.

2. Use speed view

Speed view gets rid of pages and page numbers and therefore you are only looking at the words you type.

3. Use focus mode

Focus mode removes the scenes, page numbers, and outlines you have at the top on the program while writing. Another way to forget about focusing on progress.

4. Make a messy beat board

Throw all your ideas onto the beat board, it should help make the document feel a bit more lived-in and less pristine.

Bonus:

5. Set a template with your formatting and use that to start every script you write

While a script format is very ridged, there are things you can do to personalize it. When you find those things, make them in a Final Draft doc (without actual writing) and save as your own template so you don't have to change all the elements every time.

[erinthewriter-blog]

Character Development Tips!

To learn how to avoid the above and create 3-dimensional characters with interesting backstories that inform their interactions with other characters, click here to get The Character Backstory Workbook!

[filmcourage]

This Mistake Costs Screenwriters Future Work - Collin Watts

Watch the video interview on YouTube here.

[mrcatfishing]

I've seen a few people make the NotebookLM Audio Overviews of their fiction, and I wanted to see what it did with a screenplay. Seemingly, it actually did better with this than it did with prose fiction. It's a good summary of the works, and the analysis is about on par with the feedback I got from my peers in the screenwriting class.

I think the weakest points are the shoddy pronunciation of Marja and Vaike-Pakri, and interpreting the Author's statement at the end of Magic Enforcers as some special secret.

[leftluminarytragedy]

 Mugafi: Revolutionizing Screenwriting with Cutting-Edge Software

In the world of screenwriting, creativity and efficiency are paramount. Mugafi, a leading name in screenplay software, is dedicated to empowering writers with tools that streamline the creative process, allowing them to focus on crafting compelling narratives. Whether you're a seasoned screenwriter or an aspiring storyteller, Mugafi offers a robust platform designed to meet your unique needs.

Seamless Writing Experience

Mugafi’s user-friendly interface is designed to provide a seamless writing experience. The intuitive layout allows writers to dive straight into their work without the distraction of complex menus or cumbersome tools. With Mugafi, formatting your screenplay to industry standards is effortless, thanks to its automatic formatting feature. This ensures that your script is always polished and professional, adhering to the stringent guidelines expected by producers and studios.

Collaborative Capabilities

Collaboration is at the heart of the film industry, and Mugafi excels in facilitating teamwork. The software’s real-time collaboration feature allows multiple writers to work on a single script simultaneously. This fosters a dynamic creative environment where ideas can flow freely, and revisions can be made instantaneously. Whether you’re working with a writing partner across the room or across the globe, Mugafi keeps everyone on the same page.

Comprehensive Toolset

Mugafi comes equipped with a comprehensive toolset designed to support every stage of the screenwriting process. From brainstorming and outlining to drafting and revising, Mugafi has you covered. The software includes a powerful story mapping tool that helps you outline your plot, develop characters, and structure your scenes. Additionally, the built-in notes feature allows you to jot down ideas, track changes, and keep your thoughts organized.

Advanced Analytics and Feedback

Understanding how your screenplay resonates with readers is crucial. Mugafi’s advanced analytics provide insights into your script's readability, pacing, and overall structure. The feedback system enables you to receive constructive critiques from peers and mentors, helping you refine your screenplay and elevate your storytelling skills.

Integration and Export Options

Mugafi understands the importance of flexibility and compatibility. The software seamlessly integrates with other writing and production tools, making it easy to export your screenplay in various formats, including PDF, Final Draft, and Word. This ensures that your script is ready for submission or further editing in your preferred software.

Secure and Reliable

Security is a top priority for Mugafi. The platform ensures that your work is protected with robust encryption and secure cloud storage. You can write with peace of mind, knowing that your creative ideas are safe and accessible anytime, anywhere.

Conclusion

Mugafi is more than just screenplay software; it’s a comprehensive solution designed to enhance your creative process and bring your stories to life. With its user-friendly interface, collaborative capabilities, comprehensive toolset, advanced analytics, and secure environment, Mugafi stands out as the ultimate screenwriting companion. Join the community of writers who trust Mugafi and take your screenwriting to the next level. Write your masterpiece with Mugafi today!

READ MORE...AI Story Generator Tool Script Screenplay Writing software Mugafi

[thedaddycomplex]

Do you have a good resource for story beats/templates? Story mapping?

(I assume you mean a resource to track story beats and mapping and not a resource for generating them. Forgive me if I am mistaken as I have no advice for the latter.)

I learned story mapping/beats/pacing by trial and error and I don't recommend that because it's like banging your head against a brick wall every time you sit down to write.

The two absolute best ways to perfect your pacing and story mapping skills are:

Read a lot of books or screenplays, depending on which format you're writing

Outline, outline, outline

Reading helps build the muscle for beats and mapping because you ingest it to the point that when you encounter a pacing issue, you know it. You feel it in your belly.

As for outlining, it's an age-old tool for a reason. Personally, I hate outlining and often don't do it, but those stories and scripts are often the ones that need the most editing.

Beyond that, this may sound silly because it's kind of a cliché in the business, but the Save The Cat books are full of great tools and tips for pacing, character, etc. It started as a how-to for screenwriters, but now it's a whole media empire of instructionals for writers of all genres and formats, including novels.

You could try that resource (or one of the hundreds of copycats... see what I did there?) to build up your story mapping skill to the point where you know when to ignore those Save The Cat rules.

There are also a lot of other online tools in which you can enter character info and scenes to make pacing easier. (When writing More Than Stars, which had eight—yes, eight!—lead characters, I used a program that turned the character arcs into a graph just so I could keep track of it all.)

[literaryvein-reblogs]

Writing Notes: Villain Monologue

Villain Monologue - a long speech by an antagonist, antihero, or “bad guy”.

Villain monologues may reveal the speaker’s inner humanity or be an opportunity to showcase the bad guy’s wickedness.

Strong performers can bring these characters to life, but movie monologues start with a great screenwriter.

How to Write a Villain Monologue

Define the purpose of the monologue. Monologues can progress the plot, delve into character backstories, and much more. Understand how your monologue operates and how its placement fits into the architecture of your script. Ensure you are intentional with each word.

Hear your monologue read aloud. When you have a draft of your monologue, read it aloud and then hear an actor or peer read it. Assess how natural the speech sounds and ask yourself if your specific villain would speak this monologue.

Instill truth in your villain. Though your character is fictional, their wickedness may be more symbolic than realistic. Ground the villain in reality. Villains should have goals, reasons for their actions, band a three-dimensional personality beyond their malice.

Play with different forms. Villain monologues come in many different styles. There are origin stories (in which a character explains why they behave the way they do), torture descriptions (in which the villain tells what violence they will enact), and calls for sympathy (in which a character expresses remorse for their wrongdoing).

Revise your monologue. After drafting and hearing your monologue, edit as you see fit. Some parts may be unclear or overwritten—edit your writing until it comes across as you intend.

Tips for Writing Villain Monologues

Counter your protagonist’s traits or speech patterns. If your protagonist speaks cheerfully and quickly, give your villain a dark, measured cadence. Villains can be foil characters to your main characters, and monologues can show off this contrast.

Position your villain monologue toward the end of the narrative. In some stories, but not all, the villain is the supporting character, not the protagonist. For this reason, you must give the audience or readers time to get to know the character. Only after that point, and often during a final confrontation, should your villain finally get their shining moment to change the audience’s mind or confirm their notions of this character.

Try giving your villain a catchphrase. Sometimes writers utilize the power of threes: Repetition is a helpful tool, and repeating a phrase thrice in a story can help audiences track a beginning, middle, and end. If your villain has a catchphrase, let them speak it toward the start, the rising action, and the climax.

Examples of Great Villain Monologues

Apocalypse Now (1979): Colonel Kurtz details the horrors of war in his monologue, sharing that he poisoned children with polio. Kurtz deduces that the best soldier is the one who cannot feel and instead transforms into a killing machine devoid of empathy.

The Matrix (1999): In the cyberpunk movie The Matrix, Agent Smith interrogates a captured Morpheus and tells him of his plan: to destroy Zion, the underground city where those who have escaped the Matrix go to be free. The monologue underlines how Smith is Morpheus’s antithesis: The former has chosen to live within a planned system, and the latter wants to break free from it.

The Incredibles (2004): Even an animated movie can feature a fantastic villain monologue. In The Incredibles, the character Syndrome shares his origin story: He was a fan of Mr. Incredible and wanted to be his sidekick, but Mr. Incredible rejected him. This embittered Syndrome, who then manifested artificial superpowers to wreak havoc on the Incredibles.

The Dark Knight (2008): The Joker gets a few famous supervillain monologues in this Christopher Nolan film, which sits between Batman Begins (2005) and The Dark Knight Rises (2012). First, the Joker tells Bruce Wayne’s love interest Rachel how he got his scars, and later, he tells Batman just how similar the two are.

Inglourious Basterds (2009): Anti-Semetic SS officer Hans Landa delivers a monologue disparaging Jewish people and the police to hawks who have to search for rodents to keep the circle of life going. Set in World War II, this movie, and Landa’s monologue, showcase the ideologies that led to the persecution of countless lives.

Game of Thrones (2011–2019): Cersei Lannister is a power-hungry character who gets many monologues across this hit HBO drama’s eight seasons. Toward the end of the series, she torments Ellaria Sand, who poisoned Cersei’s daughter. Cersei explains the equal vengeance she will seek on Ellaria’s imprisoned daughter.

The word “monologue” derives from the Greek roots for “alone” and “speak,” and it is the counterpart of the word “dialogue,” which comes from the Greek word for “conversation.”

Monologues can address other characters in the scene or be one character talking to themselves or the audience.

Monologues serve a specific purpose in storytelling���to give the audience more details about a character or the plot.

Used carefully, they are a great way to share a character's internal thoughts or backstory or to give more specific details about the story.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

[sgiandubh]

(Perhaps) the right end of the stick?

Just before the sordid show of which I have been the unwilling subject, I have promised you my take on this whole Mexican charade and I intend to settle this once and for all.

In the meanwhile, I have been watching with a jubilatory smirk, from the side wings of the fandom, how the dots have been, as always, connected in the most mendacious possible way. And how rivers of pixels have ran amok with the utmost minutiae regarding that distillery trip to San Sebastián del Oeste.

For what is worth, everyone kept an eye exclusively on the Czech young woman, simply because that was the narrative to be sold to S's fandom. And what I believe is the wrong end of the stick, waterfall sound tidbit on top. But we know that, at least ever since that (in)famous 'Go, Sarah', right?

Despite my hinting in comments, almost nobody asked themselves anything of substance about The Fan, whose first selfie with S gave away the getaway (see what I just did here?).

This lady, to be more precise - forgive me, but I think you might not remember her, right?

Or should I rather say Dr. Sarah and Mrs Solange Neustadter, judging by her dual, and even manifold, online persona?

First, there was Dr. Sarah Neustadter, PhD, specialized in clinical and transpersonal psychology and author of Love You Like the Sky, a rather well received book on grief management and coping mechanisms, after someone's suicide:

[Source: https://sarahneustadter.com/about/]

Up until now, there is strictly nothing to write home about. Enter Mrs. Solange Neustadter, who is really Dr. Neustadter's version 2.0. With a slightly different profile, personal brand and short-term projects:

[Source: https://www.instagram.com/solange_neue/]

She is supposedly an OL/S fan, but how come there is zero OL-related content on her Instagram page? Not the slightest shred of an allusion, while we do have many references to travel (with Mexico a firm favorite), Anthony Bourdain, comparative mythology authors like Joseph Campbell and his Hero with a Thousand Faces (a great read I highly recommend, by the way), etc. And even her former boyfriend, that she unfortunately lost to suicide - hence the book, which I believe is a very good one.

Things become perhaps more interesting once we move to X, which proves that at some point, The Fan felt the need of a change in her own life:

[Source: https://x.com/SolangeNeue]

For some reason, I found this short comment tidbit quite interesting, especially considering her new, very recent Captain Solange personal brand:

But also a slowly emerging interest for Hollywood and its Tinseltown industry:

A screenwriter, absolutely. With a strong interest in learning how to become a professional and a romantic drama feature screenwriting project. As such, she took part to the Stowe Story Labs' Fifth Annual Sidewalk Narrative Lab, a workshop and networking-oriented side event of the Sidewalk Film Festival (Birmingham, Alabama), an indie oriented event which managed to attract Time Magazine's attention:

[Source: https://stowestorylabs.org/news/stowe-story-labs-announces-roster-for-fifth-annual-sidewalk-narrative-lab]

And now for her newest incarnation, Captain Solange, The (surprised?) Influencer. Not really successful, if compared with her ambitions, but hey, a girl can dream:

[Source: https://www.thehandbook.com/influencer/solange-neustadter/ - last updated on July 14th, 2023]

It is, of course, just a coincidence, that her new website has just been released after her Mexican trip:

[Source: https://www.solangeneue.com/]

Basically, yet another women-oriented empowerment and dating/ life coach service, with rather hefty price tags to boot:

Her six-weeks programme based in LAX promises her clients 'life changing tools', in order to 'make [them] feel outrageous and connected'. Also, this - for some reason, this caught my eye:

'Hot tips on where to meet great Angelenos' - here is where a bell does ring, indeed. I can't help but wonder if this very interesting person is on Raya, hmmm.

To cut the story short, I am honestly asking myself a couple of very simple questions:

What are the odds (and by this, I mean the organic odds) that a screenwriter-cum-influencer wannabe, who is in dire need of networking and/or some extra social media exposure, would spontaneously meet S in Nayarit, Jalisco, Mexico?

And what are the odds the above screenwriter-cum-influencer would post the selfie that relaunched some wild innuendo, in a very much overdriven fringe of a C-lister's fandom?

Come to think of it, this is a really, really small favor to ask of a friendly, but definitely transactional 'stranger'. And mutually beneficial, to say the least. Note she immediately knew what to do: after luring the iPhone Alarm Tumblr Brigade, she quickly deleted the tag on her post, along with all the nosy fan questions. Go figure, huh?

The rest of the story really did write itself. This is nothing we have not already seen. I could take bets, already, perhaps including what next week will bring us. Heh.

I am going to let you draw your own conclusions. I could be tragically wrong, in which case I am ready to acknowledge and recalibrate, as always. But let's also remember this simple cycle/pattern:

Instagram follow (mutual or not, it does not matter, at this point in time) -> Fan pic (usually a latergram) -> Instagram Story (now, with voices 🙄) -> Mutual/Collateral Instagram follow(s) -> even more innuendo -> if it does stick: double down, no matter how outrageously/if it does not stick, abort operation and leave in drawer, ready for future reactivation.

It never fails.

Aye, caramba! Exactly.

[shaham10]

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[nanowrimo]

Write Smarter, Not Harder: 5 Ways to Conquer Chaotic Writing

Every year, we’re lucky to have great sponsors for our nonprofit events. ButterDocs, a 2023 NaNoWriMo sponsor, is an all-in-one writing app built for productivity, collaboration, and a more joyful writing experience. Today, the folks at ButterDocs share a few tips on organizing your writing to meet your goals:

NaNoWriMo is about to start, and you're champing at the bit to get to 50,000 words. But that's no easy feat! Because life doesn't stop when NaNoWriMo starts.

You're still going to have climb a mountain of chaos to reach your goal: Chaos like not being able to find your notes and outlines when you need them since they're scattered across multiple apps, or the constant lure of internet distractions.

And of course, once NaNoWriMo ends, the writing process continues. You'll need to get feedback, be able to actually easily take advantage of that feedback, and make revisions (especially if your ultimate goal isn't just a rough draft, but a polished novel).

Here are five tips from ButterDocs to beat the chaos and make your writing workflow less work and more flow.

1. Know what you're about to do.

We know you want to start maximizing your word count from Day One, but you'll thank yourself on Day Twenty if you lay the groundwork for yourself. Take some time to organize your research, develop your characters, lay out your major plot points, and consider your themes.

You don't need to buy and learn advanced plotting software. A digital whiteboard can be as intuitive as pinning index cards to a cork board.

2. Write in the best environment for you.

You're about to spend a lot of time writing. It's a good idea to get comfortable.

Think about what environment you write best in. Do you need the hubbub and energy of a busy coffee shop? Or the serenity of a cozy nook?

Once you find the right place, put the same effort into finding a writing app you'll actually enjoy writing in.

3. Stay in your writing flow.

Focus and dedication during NaNoWriMo is the whole ball game. Lose either, and your chances of hitting 50,000 words are harder.

Whatever your NaNoWriMo goals are, give yourself the best chances to succeed with tools that will help you get and stay focused. A timer, word counter, and goal tracker will help you with timed writing sprints and hitting daily writing goals.

4. Recover from distractions.

Distractions will happen. Chaotic writing aside, the human brain wants to wander for dopamine. And life inevitably gets in the way.

What's important is how you recover. Don't let one distraction or missed writing day snowball into another and another. Give yourself tools that help you get back on track. A simple notification to come back to your writing can be a big help.

5. Pull others in to help you move forward.

You may be participating in NaNoWriMo as an individual, but know this: you are not alone.

You have the entire NaNoWriMo community, among many other writing communities and groups you can turn to for any genre of writing.

When you feel stuck or need feedback on a draft, don't be afraid to ask for help. Just be sure to invite people into a writing app where you have control over the collaboration.

ButterDocs Early Access + NaNoWriMo Resources

Conquer chaotic writing by using a writing app built for exactly that. With ButterDocs, you can plan, write, share, and edit your writing all in one place, without the chaos. It's by the team that built Arc Studio, a leading screenwriting app with hundreds of thousands of users.

ButterDocs launches today in early access and we'd love to invite you to check it out for NaNoWriMo.

All NaNoWriMo participants can receive a free year of ButterDocs if you sign up by December 1st, 2023.

We're running a free online event on October 25th for everyone who signs up: "Getting (and Staying) in Your Creative Writing Zone During NaNoWriMo." with Grant Faulkner (Executive Director of NaNoWrimo), Matt Trinetti (founder of London Writers' Salon), and Allison Trowbridge (founder of CopperBooks). If you can't make it, we'll email ButterDocs users the recording afterward.

Visit https://butterdocs.com/NaNoWriMo to learn more about ButterDocs, claim your free account, and enter an exclusive sweepstakes giveaway for NaNoWriMo participants!

[ronniaugust]

How To Write Good Dialogue (Part 1)

I'm gonna start this by saying I'm not trying to sound like a know-it-all. I am just tired of posts like these being absolutely fucking useless. I am aware this is basically me screaming into a void and I’m more than okay with that.

This guide is meant for intermediate screenwriters, but beginners are also absolutely welcome. :)

(about me)

-♠︎-♠︎-♠︎-♠︎-

I've noticed a rise in film students who want to make films that have no dialogue. Probably after your professor showed you Doodlebug, right? Fuck that.

I'll make another post about writing a short film, but all you need to know is: Don't waste the audience’s time. Most of these no-dialogue shorts have very little substance and take way too long to tell the shortest possible story. Not a good idea.

Useless Dialogue

Plain and simple, don't write useless dialogue. Useless dialogue is dialogue that just doesn't fucking matter. Dialogue matters by having ✨subtext.✨

What is subtext? Subtext is the meaning behind the action. That's it.

If I tell you that I love you and I got big doe eyes while I say it, it means I love you. If I tell you I love you through a clenched jaw without looking at you, I don't necessarily love you right now.

Simple, right? Great.

Now think about the subtext behind every line. Does your character mean what they're saying? Are they doing it to get what they want? What is going through their mind as they say it? As long as you know your character, you’ll have these answers ready to go. If you don’t, you’ll figure it out eventually. Just keep writing.

When you write your character walking into a Starbucks and saying, "One venti iced coffee," does that do something? Why do I need to see someone's boring Starbucks order? Do I need to know that your character's boring? Why are you writing a boring character? [Of course, in the rare situation where this is some revealing clue to the massive crime investigation, then it makes sense.]

Useless dialogue is any dialogue that has no meaning or purpose in your script. Delete and move on. You don't need to write entire conversations or scenes that bore us, just write what we care about.

I took a class once where my professor called a version of this "trimming the fat." Get us into your scene and out of your scene in as little time as it takes to have it achieve its full purpose in the script.

[P.S. You don’t “inject” subtext into your lines. Idk who started that vernacular in subtext teachings but I hate it.]

Show vs. Tell

I remember a glorious fight I got into with a Redditor last year about show vs. tell… TL;DR: Dialogue is “show” if you write it with intention and subtext. If someone says that dialogue is inherently “tell,” they’re wrong and can go fuck themselves.

Dialogue that is “tell” is expositional dialogue. But, hot take: Exposition isn't just in dialogue. It’s also those annoying clichés that make you roll your eyes in the theater (which we just call clichés and not exposition). I’m sure every professor I’ve had will disagree with this and then get me into a long conversation about it, but let’s ignore that for right now.

Have you ever seen a movie where a character rubs an old, worn-out photo of a young girl while looking depressed? That's exposition. That character has a dead daughter. No shit.

Clichés are incredibly annoying. We all know that. Assume that any cliché you see - in this context - is exposition and try your best not to write it. (Tropes are different and sometimes necessary, so I’m not talking about that.)

Point blank: When you have subtext in your lines, they are "show,” not “tell.”

Before moving on, I'll bring up that while technically the dead daughter photo is subtextual, it is as close to the character saying “My daughter is dead,” as you can get. Don't treat the audience like we're fucking stupid.

The First 15

If you don’t know what the Inciting Incident is, please look up “3 Act Structure” before reading this.

The first 15 pages of your script is the part that comes before the Inciting Incident. This is the part you want to get right because, although people probably won’t leave the theater, they will absolutely find something else on the streaming service they’re using. The people making said movie will also just toss your script in the trash before it’s even produced, so it's best to get it right.

Dialogue in the first 15 generally follows the same rules, but carries a heftier additional rule. All dialogue in the first 15 minutes must, must, must tell us something about your character.

Remember when I talked about that boring Starbucks order? Why is your character boring? Don’t write that. Don’t write nice characters. Or pleasant characters. Or friendly characters. No one cares.

You want empathy. This does not mean “relatable.” It means “empathetic.” There is a difference.

I personally relate to Vi in Arcane, but I empathize with Theo in Children of Men. Both are excellent, but one personally resonates a bit more with me. You cannot write a character that deeply resonates with every single person, it is impossible.

With each line of dialogue, you must be saying something about your character that generates the empathy. Instead of telling you how to do this, I’ll direct you to a movie that will do better than an explanation: Casablanca.

Watch how Rick interacts with the world. What kind of man is Rick? Watch what he does, what he says, and how he treats people and himself. Watch that empty glass on the table. Watch his contradictions. Everything. Those things matter and it’s what makes you want to watch Rick for the entire duration of Casablanca.

“Realism”

This is maybe more directorial, but make your characters human enough, not too human.

Too human is when you’ve tried your best to capture all those little life-like speech patterns. You know, the ones that no one fucking cares about.

If your character coughs, they’re sick. If they clear they’re throat, they’re uncomfortable. If a bruise isn’t going away, they’re going to die. Simple.

Every moment on screen matters. Everything the audience sees is meant to lead them to a conclusion. Not the conclusion, just a conclusion.

The realism you want is in the choices your character makes, not how many times they say “Uh,” in a sentence.

Conclusion

Dialogue matters and should not be treated lightly or without care. Once you have this all engrained in your mind, dialogue should become effortless.

If you want an excellent way to think about this, Robert McKee's Story has an excellent chapter that helped clarify this all for me. Here's an excerpt and the context.

Warning, spoilers for Chinatown.

"If I were Gittes at this moment, what would I do?"

Letting your imagination roam, the answer comes:

"Rehearse. I always rehearse in my head before taking on life's big confrontations."

Now work deeper into Gittes's emotions and psyche:

Hands white-knuckled on the steering wheel, thoughts racing: "She killed him, then used me. She lied to me, came on to me. Man, I fell for her. My guts are in a knot, but I'll be cool. I'll stroll to the door, step in and accuse her. She lies. I send for the cops. She plays innocent, a few tears. But I stay ice cold, show her Mulwray's glasses, then lay out how she did it, step by step, as if I was there. She con-fesses. I turn her over to Escobar; I'm off the hook."

EXT. BUNGALOW-SANTA MONICA

Gittes' car speeds into the driveway.

You continue working from inside Gittes' pov, thinking:

"I'll be cool, I'll be cool ..." Suddenly, with the sight of her house, an image of Evelyn flashes in your imagination. A rush of anger. A gap cracks open between your cool resolve and your fury.

The Buick SCREECHES to a halt. Gittes jumps out.

"To hell with her!"

Gittes SLAMS the car door and bolts up the steps.

Story by Robert McKee, pg 156

The context of this page is McKee's way of explaining how to write characters. I found it very helpful.

-♠︎-♠︎-♠︎-♠︎-

Thanks for reading! I probably forgot something, so I made this a “part 1.”

I hope this helps someone since I’m really tired of finding short films on YouTube that are all fucking silent. The few who have done it well have been copied to death, so please write some dialogue. I promise you it’s so much better if you do.

Asks are open! :)

[erinthewriter-blog]

WRITING ROMANCE: The Secret To Writing Shipable Characters Part 1

The SECRET to writing shipable romances that we actually care about is by giving your characters flaws that are conducive to the plot and their character development.

Interesting and well-thought-out flaws make your characters interesting and complex, which makes us more invested in them, which makes us more invested in their relationships, which makes us want to see if they are going to screw up their relationships because of their flaws. Giving your characters inner issues that they need to work through builds tension, raises the stakes, and gives a compelling reason why your protagonist and love interest can’t just be together on page 5.

So how do we do this? There are three big ways, but the EASIEST way is to explore the negative or extreme side of a character’s positive traits.

The best thing about you could also be the worst thing about you. Think about your friends, family, and yourself. Oftentimes, your strength is your weakness.

Example 1: Your character is a hard worker, but they constantly state that they only feel happy when they are working. They feel inclined to work 24/7 to maintain their lifestyle or achieve their dreams at all costs, thus neglecting their mental health, family, friends, and potential partners.

This character’s arc could likely include:

· Not measuring their desirability/ ability to be loved by how successful they are.

· Finding pleasure outside of work.

· Not ghosting people for work.

· Finding a healthy work-life balance.

· Finding a partner that is also passionate about their work and is supportive.

Example 2: A character is exceptionally kind and optimistic, but their flaw is that they are too forgiving and can be naïve and easily manipulated.

How this could play out romantically:

· They are too forgiving of partners treating them poorly.

· They completely ignore red flags.

· They’re a people pleaser.

· They don’t want to ruffle feathers by saying that something upset them or inconvenienced them.

· They’re afraid that if they speak up, then the relationship will end.

· They have a pattern of staying in unfulfilling relationships.

Let me know if you want to see the other 2 ways that you can incorporate flaws into your romance!

All of this is just the tip of the iceberg when writing romance, so if you want to learn more ways to mine these flaws from your character’s backstory and how to weave them into the plot and character reactions, then check out The Character Backstory Workbook. It has over 100 questions that will help you craft your best romance yet! Happy writing!

To read my wlw novella, Truth Weekend click here.

[filmcourage]

If You Know The Ending... You Know The Beginning (Writing Advice) - Andrew Zinnes

Watch the video interview on YouTube here.

[cordjefferson]

Hi! Not sure if you still answer questions on here, but I feel lost as a screenwriter right now. In my final year of film school, I’m afraid the “industry” we are about to be let out into no longer exists. I don’t want to go back to journalism, but I also don’t want to fail at screenwriting in vain. I’ll keep going, but just wondering if you’ve ever found yourself in a similar place. Hope you’re well.

A few days after Trump was elected the first time, I called my dad to complain and commiserate. He listened to me worry for a few minutes and then he said, "You know, when I was a young man, it was common to wake up and find out that Medgar Evers had been killed or that Malcolm X had been killed or that Martin Luther King Jr. had been killed, or that another person had been lynched somewhere not too far from where I grew up. It was terrible, but we had to go on living our lives."

It was a helpful reminder that shit's always sucked -- in many ways it used to suck worse. That doesn't mean your fear is unfounded. You have every right to be afraid as all the world's ghouls circle their wagons in an effort to eternalize their wealth and influence, thus making our already intractable problems feel even more intractable. But the great news is that now is the perfect time for you to make your art.

Hard times can make for excellent work. Consider that punk rock and rap blossomed under Reagan. I'm currently in the middle of a novel called The Oppermanns, which follows a trio of German-Jewish brothers in 1933 Berlin dealing with the rise of Nazism. It's a great book on its face, but the whole piece becomes even more interesting when you discover that it was written by a German-Jew in real time as the Nazis rose to power.

Even if what you write isn't taken seriously at first, making art is never a failure. Artists aren't athletes, meaning you don't need to produce your best work before you turn 35 and your knees give out. Creativity is a lifelong pursuit. You'll only get better at it the more you live, learn, and grow. And because the winds of industries and the world are always changing, allowing their vagaries to scare you into inaction would be a death sentence.

I had a very long dry spell in the year 2014. I went to meeting after meeting trying to get into a TV writers' room and was rejected over and over again. After almost nine months of being told no, I finally emailed my manager one night to say that I was going to quit "working" in TV and go back to what was left of my journalism career. He asked me to stick it out for one more month, and two weeks later I got an interview with someone who hired me. Work has fortunately been pretty steady ever since. So, of course, stubborn persistence is also a valuable tool in all of this.

I can't imagine I'm saying anything that you don't already understand somewhere in your heart. You know that you've picked a challenging career. The arts are infamously cutthroat and chancy, and many of your contemporaries are going to quit somewhere along the line. It's a tough road to hoe, and the only thing that makes it at all tolerable is the ability to find value and joy in the making of your thing, whatever that may be. If writing something feels like it's been done in vain because you don't sell it or it doesn't become a hit TV show, I recommend you don't do this work. Only do it if the doing of it is what sustains you, because the doing of it may be what has to sustain you forever.

I'm rooting for you from afar. XO