Stewart Farquhar answers what are story HOOKS and why are they important? No or Bad Hook = Weak Story = No Interest.
Clive Davies-Frayne second article about originality by saying that moral dilemmas should be the heart of screenwriting, rather than reverse-engineered rules.
WGA writer Michael Tabb illustrates and analyses the use of multiple mentor characters in a single screenplay.
Great screenplay writing has strongly defined characters that attract financiers, studios, actors, and directors. Wendy Kram gives advice on creating characters.
At various times in our lives we all suffer from some sort of Adapt-A-Phobia. Today, information flies at us so fast we are overwhelmed with the data, Part 3.
Clive Davies Frayne discusses the need for originality as a vital part of the writing process. It's possible to understand originality as a process in and of itself.
Yvonne Grace discusses character development in the television series narrative and how a multi-layered character enhances and complicates a strong TV drama.
Brad Johnson looks at the meet cute and how to best use it in your next romantic comedy using Bridget Jones's Diary as an example...
Characters are engines that drive ideas into a story. Each of the major character types plays a specific role in that process. Third is THE LOVE INTEREST.
Click to tweet this article to your friends and followers! We all know that great writing comes from great rewriting. And that second acts are where the real writers live. All that’s true. So very true. But it’s also true that we can all be guilty of nursing a labor of love script to...