There are many important ingredients in a screenplay: premise, plot, characters, dialogue, and so on. One of the most important is logic. Ray Morton shares some of the many ways logic functions in a screen narrative.
Professional screenwriter Craig Van Sickle opines his dislike of novice script writers investing their money in script feedback services when they're often kept in the dark about who is reading their material and giving them "expert" notes.
Beatriz at Dinner (written by Mike White, directed by Miguel Arteta) has all the elements that make for a scintillating evening -- until it doesn't. Paul Joseph Gulino shares tips on how to deliver what your audience wants.
Nothing should be placed in the script unless it has some kind of meaning, somehow furthering the characters or the story. David Landau explains how to use a set-up and payoff to elevate your audience's experience.
Getting your script ripped apart can be heartbreaking. Vicky Hinault gives 6 tips for dealing with honest feedback.
After reading countless spec scripts, professional script reader Ray Morton has noticed a variety of mistakes writers consistently make. See if you're making any of those same blunders.
Taking notes is an art. Paul Peditto gives tips on how to take screenplay notes like a pro to improve your story and increase your odds of success.
Some writers complain that Ray Morton's script assessments are a bit harsh – that he focuses more on the negative aspects of their scripts than the positive. “Why can’t you be nice?” they ask plaintively.
You can't get past a script reader until your story impresses them. Asmara Bhattacharya gives you 36 tips on how to not irritate your script reader.
The third edition of 'I Liked it, I Didn't Love It' was recently released. Script caught up with Rona Edwards and Monika Skerbelis to discuss what's new in this edition and the world of filmmaking, in general.