Can a screenwriter be a novelist too? Doug Richardson shares part 2 of his experience getting script feedback and the joys of writing novels.
Stewart Farquhar discussing how to craft a hook. Why would you labor for months or even years on a story void of an inducement or a reason for anyone to read your creation start to finish?
Professional script reader Ray Morton discusses the lessons he's learned from his years of reading spec scripts.
Stewart Farquhar answers what are story HOOKS and why are they important? No or Bad Hook = Weak Story = No Interest.
Jeanne Veillette Bowerman encourages writers to examine their old screenplay feedback, even if it's years old, to see if their writing is really the problem... or something else.
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.
This article is a little less legal-y and a lot more business-y but still would be good to know as you navigate your screenwriting career. The subject is screenplay feedback, how to take it, what to do with it, how to give it and generally how not to shoot yourself in...
Beyond remarks on story structure and character development, Jeanne Veillette Bowerman wants what she calls screenplay notes from an “emotional read.”
When assessing a screenplay for a producer or a private client, there are a number of specific elements that script reader Ray Morton looks for.