One way to add that mysterious quality of emotional layers or ‘depth’ to a plot is to have the hero’s emotional journey echoed in a subplot. Alan Ball, the screenwriter of ‘American Beauty,’ does this masterfully.Read More
There’s no con more satisfying and lucrative than finding a way to make a living as a screenwriter. And Ted Griffin is a man who knows a good con. Anyone who tried to follow the clever criminal head games he built into his screenplays for Ocean’s Eleven and Matchstick Men knows not to trust this guy. Read More
Theme is perhaps the most powerful, yet least understood element of story structure. It is powerful because theme is an emotional argument: It speaks directly to the heart of the reader or audience. It is least understood because of its intangible nature, working behind the scenes, and between the lines.Read More
Question: I have completed my screenplay, but I never wrote a treatment. I met a producer who wants to see a treatment only. Some people say a treatment should be three pages long, some say 12. Any advice?Read More
For the last 30 years, screenwriting has been dominated by a mechanical approach to creating story. For example, the so-called “three-act structure” is really a mechanical imprint from the outside that is laid over the top of a story. Act breaks are completely arbitrary. They don’t actually exist in the story.Read More
Presented by the WGAW Publicity and Marketing Committee, this March 27, 2010 all-day seminar offered Writers Guild members tools to help them get online, promote their careers, raise their industry profiles, build their brands and distribute and monetize their work.