What happens when you're the writer on set with Bruce Willis and he wants a change the Executive Producer doesn't? Doug Richardson was the writer in the middle.
Love of community can be the plot or sub-plot; it can be the driver of a character’s actions or it can be the background against which your story is played.
Doug Richardson, writer of 'Die Hard 2,' discusses the magic behind when a writer gets fired.
Pamela Jaye Smith & Monty Hayes McMillan explain how artists make interesting, conflicted, dramatic characters for your stories as they create their art against challenges both internal and external.
When you consider screenplay submissions, are you thinking your screenplay “is good enough” OR “I can’t look at it anymore, I’ll just send it out”?
You’ve worked on your script for months or maybe even years, and you finally label your script done. Ray Morton answers, "So what do you do now?"
Most often, when Dave Trottier reads a script, he thinks, “It needs color.” Color the characters; color the scenes; color the dialogue. Color can engage the reader.
Pamela Jaye Smith & Monty Hayes McMillan discuss how to put the love of death and destruction into your stories and characters for more drama.
Wendy Kram examines how great screenplay writing has in common strong character arcs, which chart the character's transformation from where he or she starts and where they wind up.