Individual subplots illustrate a different aspect of the main conflict or shows a different step in the solution of the main conflict. William C. Martell examines how the subplots in The Shape of Water help shape the film's main conflict and theme.
While audiences like to be surprised, they also have very definite preconceptions of a movie. Ray Morton gives tips for balancing audience expectations.
Theme is a delicious ingredient of story that enriches every element. Barri Evins’ tips for adding theme from the outset to elevate your story.
Hollywood veteran Daniel Petrie Jr. (Beverly Hills Cop) moderated a panel comprised of Hollywood’s hottest horror scribes: Scott Kosar (Texas Chainsaw Massacre 2003, The Machinist, The Crazies), Wesley Strick (Arachnophobia, Scorsese’s Cape Fear, Nightmare on Elm Street 2010), and Stephen Susco (The Grudge, The Grudge 2).
Dunkirk's non-chronological approach to the narrative, make it a unique viewing experience, but is it worth the view? Paul Gulino weighs in.
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.
We hear very little about the low-concept screenplay. At least a sizable minority of films Hollywood releases each year are of this variety.
This month marks the 35th anniversary of the release of one of the all-time great movies: E.T.: The Extra-terrestrial, Steven Spielberg’s wonderful cinematic fable about a 10-year-old boy from a broken family who befriends an alien. Step behind the scenes to see how E.T. came to life.
Conventional wisdom says, “Write what you love.” Barri Evins’ “Ten Reasons You Must Love What You’re Writing” proves that is wrong. “Love what you write.”
Most writers create a pitch after their script is written, but Anne-Cecille Ville shares that learning how to pitch your story before you even outline it can help you find the flaws and bang out a more solid draft.