Stewart Farquhar explains how always writing the formulaic Hero's Journey can limit a writer's creativity. It's important to step outside of the box and think with originality.
How does a romantic comedy hater prepare to dive into the world of RomComs? Here are the steps screenwriter Despina Karintis devised to get started on her anti-Romantic romantic journey.
Anne-Cecile Ville explores the way we create female character bias in movies and how to go about it a different way.
You’ve got the idea for what the story might be. You’ve also got, most likely, some or all of the characters populating this world already in your mind. Paul Peditto suggests writing out Character Biographies.
Hollywood tends to make movie sequel after sequel chasing diminishing returns and never seem to recover. Christopher Schiller explores why is this disease is so contagious and widespread throughout the industry.
Chris Nolan's new film, Dunkirk, uses non-linear storytelling, in both space and time, to immerse the audience deeply into a large, complex event.
Figuring out how to create a compelling, entertaining, or meaningful story within a contained structure is a challenge every screenwriter should attempt.
Screenwriting advice can seem random, contradictory, even useless. Barri Evins gives guidance on which guidelines to listen to and those you should pretend you never heard.
I know writers love to know the “rules” and “formulas” and “principles” of writing, but truthfully, there are no great truths about writing. A great writer knows the pitfalls and takes a concept and creatively considers the most compelling way to tell that story—structure be damned.
When Warner Bros. 2009 smash-hit comedy, The Hangover, launched its much-anticipated sequel, Script talked with one of the writers, Craig Mazin. Instead of the bright lights of Las Vegas, the “Wolfpack” (and the film’s new writers) took their hijinks to Bangkok for a night to, or not to, remember.