Stewart Farquhar explores multiple literary devices for building your story world to create curiosity and better engage a script reader.
Films like A Quiet Place show ways to add subtext to your script beyond focusing on dialogue. Valerie Kalfrin examines how to express subtext through action, scene and character descriptions, character names, settings, even an entire scene or the theme of your screenplay.
Andrew Bloomenthal discusses the timely and compelling film, A Kid Like Jake, with screenwriter Daniel Pearle, and one of the film's stars, Claire Danes.
In Part 2, Paul Peditto gives even more no-nonsense advice on how to write action lines that are lean, mean and effective. A must-read!
As a professional script reader with years of experience, Ray Morton gives advice on five types of movie ideas a screenwriter should avoid.
Effectively taking feedback in a way that helps not only your writing, but also your career, takes practice. Tim Schildberger gives six tips for taking feedback like a pro.
The dictionary defines dilemma as a situation with a choice to be made in which neither alternative is acceptable. Two equally unacceptable alternatives—two equally painful choices. Stewart Farquhar shares tips for creating dilemma in story for both the antagonist and protagonist.
Veteran screenwriter Jeremy Leven (The Notebook, Alex and Emma, Crazy as Hell, Playing for Keeps) shows how to lay the groundwork for writing the reveal without giving it away or making the audience feel they are being toyed with.
Order of Operations isn't just for mathematics. Ray Morton created one for script revision as well – a way of prioritizing the elements of a screenplay from what he considers the most important to the least important.
Have you spoken out in your dialogue every intention and emotion? Don’t rob the characters of chances to find emotion in between the words. Paul Peditto examines some examples of dialogue subtext.