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by Bob Verini
Most people take an interest in the Academy Award solely
in February and March, and that's the way it should be. But
some of us think about Oscar all ... year ... long. ...
by Rita Cook
Former accountant and first-time screenwriter Brent A. Weindling
finds a new career after the sale of his script, Pearls
Before Swans.
by Sam A. Scribner
StoryView is a highly developed think pad designed to allow
writers to lay out and organize their thoughts and ideas
on a limitless virtual corkboard. The program is also designed
to let you be illogical in a logical manner and to think
nonlinear in a straight line. Sam A. Scribner gives a detailed
review of a software that just might work for you.
by David S. Cohen
The Caveman's Valentine, as viewers will see it, is intriguingly
close to George Dawes Green's novel. But the changes it went
through teach important lessons for anyone adapting a story
for the screen or for any novelist trying to make the transition
to screenwriting.
by Doug Wright
In 1995 Doug Wright's play, Quills, opened off-Broadway and
he eventually went on to adapt it as a feature film. Through
a journal kept during production of the screenplay, Wright
shares his experience adapting a highly theatrical play for
the screen.
by Bradley Glenn
Literary agent Bradley Glenn discusses what
clients expect from their agent and what agents expect
from their clients.
by Kieron Swaine
Everyone knows their spec is the best and will be snapped
up for a large sum of money, right? Well, maybe not. Follow
the highs and lows of one spec script's journey.
by Ray Morton
Exactly what is a reader and how does his work
impact screenwriters? Ray Morton explains the role and
function of a reader giving aspiring and seasoned writer's
tips on how to present a script in an advantageous manner.
by Genia Shipman
We all have certain things that causes writers
block--negative feedback does it to me every time.
by William C. Martell
Is your script running out of gas halfway
through? How to keep your story moving with the Three-Ds
of emotional conflict--Dilemma, Denial, and Drama.
by Guillermo Arriaga
Inspired by a near-fatal auto accident
and the novels of William Faulkner, Guillermo Arriaga
created his first filmed screenplay, Ameros
Perros. A story
filled with forbidden love, absent fathers, and shattered
bonds of brotherhood.
by William C. Martell
Kenneth Lonergan's new film has made almost every critic's
10-best list and has been called one of the best films of
2000 by the American Film Institute. One thing that everybody
agrees on is that Lonerganís screenplay has the most
realistic characters, situations, and dialogue of any film
in recent memory.
by Debra L. Eckerling
Steven Gaghan has a gift for creating multi-faceted characters
with elaborate storylines. This gift is evident in Traffic,
which he wrote for director Steven Soderbergh.
by Brent Brisco & Mark Fauser
Being asked to write Wakin' Up In Reno, a 'white
trash' version of Bob & Carol & Ted & Alice,
presented this duo with the daunting task of writing a road
picture where two couples on vacation make unsettling discoveries
about themselves and ultimately, must deal with those discoveries
when they return home.
by Reggie Rock Bythewood
During a trip to Kenya, writer/director Reggie Bythewood
knew it was time for him to write, with no apologies to anyone,
a film that would make a difference in the way Blacks are
perceived on screen.
by Michael Bacall
As an actor and screenwriter, Michael Bacall has developed
a unique approach to writing dialogue, and knowing what works
and what doesn't for his characters.
by Aaron Mendelsohn
Writing a family film is radically different from making
a family film. Aaron Mendelsohn, one of the writers of Air
Bud, explains the differences and imparts, somewhat irreverently,
his insight on what makes a family film enjoyable for kids
eight to 80.
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