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Discussing September/October With Andrew Shearer |
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 For those of you who haven’t read Jim Cirile’s article, 10 Big Mistakes … in the September/October edition of Script, definitely check it out. It’s great advice I wish I had heard before my writing partner and I landed our agent a couple years ago. I’ve given some of this very advice to friends on the verge of acquiring managers or agents, but unfortunately only because I learned it through painful experience. If I may, I’d like to add Mistake #11: Know when they ain’t feelin’ it. Continue reading ... |
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Barney Lichtenstein: A Story Analyst's Top-10 List: #4 |
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 Do secondary characters and even minor ones speak with their own distinct voices? Not every extra or store clerk must have something witty or profound to offer, but whenever appropriate, supporting or minor characters with distinct points of view should be adding color to the mosaic (i.e. Oracle’s musings in The Matrix; “plastics” touted by a materialistic party guest in The Graduate). Secondary characters who interact with your lead throughout the plot should ideally bring out some inner quality in your hero we might not see otherwise. Continue reading ... |
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What Happened to Sam & Jim? |
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 Hey guys. Really enjoy your magazine. What happened to the Sam & Jim column? Spencer S.
Hey Spencer, and Sam & Jim fans everywhere, thanks for your queries. What happened to Sam & Jim is simple -- they got busy in the best possible ways. We hope to have an update from our intrepid former columnists soon, and they can tell you themselves all of the exciting things they've been up to. |
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Barney Lichtenstein: A Story Analyst's Top-10 List: #3 |
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Writing should make the most of a lead’s entrance (the back of Sean
Connery’s head in first James Bond film; Bugs Bunny leaning on Elmer
Fudd’s shotgun). The opening line of dialogue from the lead should let
us know much about the character (“Bond … James Bond;” “What’s up,
Doc?”). Even if someone is just commenting on the weather, ideally it
should reveal something (sees storm clouds coming when there aren’t any
-- pessimist; expects sun when pouring -- optimist). Continue reading on the Scriptmag blog ...
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Meet the Reader: What Makes a Good Screenwriter? |
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 You have to know how to write: By that I mean you have to know the basic rules and concepts of dramatic writing -- things such as acts and conflict and inciting incidents and plot twists and reversals and climaxes and resolutions. You need to understand the purpose of each of these things, why they have been codified in the way they have, and know how you can bend or twist or even break these codes without compromising the dramatic integrity of your piece. In other words, all you rebels and iconoclasts and innovators out there -- you've gotta know the rules, especially if you want to break 'em. Continue reading on the Scriptmag blog ...
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Will Chandler: Blogging From Southampton |
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 Not sure if your scene is working, but not ready to have friends or colleagues look at it? Stephen Molton (The Kennedys, the Castros and the Politics of Murder)
said that he reads his scenes into a recorder and then plays them back.
Hearing your words read out loud “helps you work out the story but not
dissipate the energy, You’re not risking disapproval by an audience or
by someone who doesn’t understand where you’re headed with it.” Continue reading on the Scriptmag blog ...
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