|
By Rachel Wimberly
Scribes John August and Pamela Pettler take time with scr(i)pt
to discuss their roles in the creation of the upcoming stop-motion
animated fantasy Tim Burton’s Corpse Bride.
By Richard Kelly
Scribe Richard Kelly describes how he jumped into Domino,
the “pseudo-biopic-action-satire” detailing the
life of British-model-turned-bounty-hunter Domino Harvey.
By Jeffrey Caine
Screenwriter Jeffrey Caine recounts his dedication to adapting
the John le Carré novel The Constant Gardener.
By William C. Martell
Screenwriters often discuss story, structure and characters,
but few ever examine the actual process of creating the story’s
plot. To curb the epidemic of poorly planned scripts, columnist
Bill Martell defines and breaks down the process of plotting
your screenplay.
By Joel Haber
Beyond avoiding clichéd use of language, developing
screenwriters must also learn to recognize the hackneyed characters,
trite storytelling devices, and overused plot points that
mark them as amateurish writers.
By David Landau
Have you ever considered writing a script based on a true
story and found that what really happened just doesn’t
fit into a marketable story structure? Screenwriter David
Landau examines two excellent examples of films based on historical
fact and their use of dramatic license.
By John Hill
As Freud asked about screenwriting, what do women want? A
Rescuing Male©? Or a tough, kick-ass female protagonist?
By Michael T. Kuciak
The logline is more than a sales tool. Producer Michael Kuciak
shows a step-by-step example of how crafting a great logline
can help chart your course to deliver a saleable script.
By Marilyn Horowitz
Part Two of this article gives writers six more exercises
to help them perfect the scenes they have already written
using fun and intuitive techniques.
By Ray Morton
Like stories and genres, screenwriting methods go in and out
of favor including effective techniques and ineffective gimmicks.
In this edition of “Meet The Reader,” Ray Morton
examines several troublesome gimmicks that are currently in
vogue.
By John Scott Lewinski
Producer Jeffrey Kurz was on the top of the Hollywood food
chain when he decided to leave Miramax, move to Wisconsin
and form his own independent production company.
By Rita Cook
Waiters-turned-writers Ben Brandstrader and Jonathan Sadowski
describe how their tale of an ordinary man’s struggling
with the issue of significance put them on the Hollywood map.
By Kate McCallum
Screenwriters discussing writing is the topic explored in
dissecting the who, what, why and how of writer-director Michael
Steven Gregory’s new “doculogue” We,
The Screenwriter.
By John Scott Lewinski
Veteran scribe Peter Iliff offers advice that every screenwriter
should know on managing your career and finding a healthy
balance in The Writing Life.
By David S. Cohen
Roman Polanski phoned Ronald Harwood to say “Oliver
Twist” just two years ago. The movie was shooting a
few months later. Harwood explains how he adapted a beloved—and
very long—literary classic in record time.
By Jim Falletta
Script consultant Jim Falletta discusses how getting a job
as a reader can do wonders for a screenwriting career.
By Chadwick Clough
Learn to avoid the common pitfalls that readers, agents, producers
and executives all encounter in scripts they give a pass,
from lack of focus to repetitive dialogue, undeveloped characters
to shifting focus.
|
