Screenwriter William Martell explains how sometimes it's more dramatic to have a character do absolutely nothing in a scene. Inaction can speak volumes.
Subplots add depth and texture to your story. Drew Yanno explores the effective use of subplots in the movie 'Rear Window.'
Script Angel's Hayley McKenzie explores the balance between editing your writing and maintaining your creativity.
As this goes to press, Chris Schiller should be on set in the midst of producing his short film. You should always have a plan B, and a plan C, ready before you set out.
The first step of screenplay structure requires knowing the dramatic spine of your story. Susan Kouguell offers tips.
Just because a writer can write good dialogue doesn’t mean that, in the crux of the moment, s/he can summon whatever talent or craft I have in reserve and muster some pithy quip or putdown...
Ashley Scott Meyers talks with screenwriter J. Mills Goodloe about his new film, 'The Age of Adaline,' starring Blake Lively and Harrison Ford.
Paul Joseph Gulino discusses three problems with the idea of the end of the second act always being a “low point.”
Clive Davies Frayne discusses the need for originality as a vital part of the writing process. It's possible to understand originality as a process in and of itself.
Where’s the Gen-X Big Chill? Far from a full-out attempt at demographic summary, but putting in its two cents, is a new seriocomedy entitled The D Train...