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Screenwriting

The Business of Screenplay Feedback

Entertainment Lawyer Christopher Schiller on Screenplay feedback: how to take it, what to do with it, how to give it and generally how not to shoot yourself in the foot career-wise while dealing with it. Feedback can come in a myriad of forms. Notes, comments, suggestions, demands, alterations, polish, considerations, “here’s an idea” offerings; just Read MoreRead More

Each TV Network Does Dramas Differently: Here’s How

Terry Curtis Fox examines the strategies each television network employs in their crop of scripted television shows. Thirty years ago, when I began writing episodic television, there were network dramas and syndicated shows. These days, when I’m teaching one-hour drama, that single catch-phrase encompasses everything that fits the time slot. But the explosion of different Read MoreRead More

Legally Speaking, It Depends: Copyright in Court

New York Transactional entertainment attorney Christopher Schiller discusses what may happen if you should be involved in a copyright case that sees the inside of a courtroom. Specifics being key to every case, this effort will only lay out the big-picture elements of what it might be like to take a copyright claim to the Read MoreRead More

Creating Characters: The Behavioral Paradox

Benjamin Broomfield explains how to use behavioral paradoxes to make your scripted characters come to life. Character or characterization has been described as contradiction. Although this is the truth, it is – crucially – not the whole truth. The first thing to understand about character is: Character is created through exploration. Character exploration occurs through presenting Read MoreRead More

Writing Screenplays from the Height of Your Intelligence

Improvisational actor Brett Wean shares how the concepts of improvisation, in this case the concept of “Height of Your Intelligence” can be applied to the work — and play — of writing your script. On stage, in order to discourage audience members from yelling out stupid things like, “Boobs!” or “Farting,” improvisers often ask them Read MoreRead More

Is Dialogue Really That Important?

Cameron Cubbison examines the importance of dialogue and what constitutes good dialogue. Norma Desmond may not have thought that dialogue was all that important…lovably bitter wretch that she was…but she was wrong. Dialogue is one of the absolute most important elements in a screenplay, for myriad reasons. I would imagine most writers know this without Read MoreRead More

On Stephen King’s MISERY And The Art Of Suffering

King’s novel is a horrific love letter to writing and the necessity of enduring pain There’s that that wise old adage, “Write what you know,” yet there’s another, less spoken of piece of writerly wisdom – one that we don’t like to acknowledge because it’s simply too honest: writing is pain. Not that the act Read MoreRead More

The Story of Story: How I Learned to Stop Worrying & Love Structure

Justin Morrow traces the history of story and how we approach the human endeavor of explaining what happened. It is a truism that, “we tell ourselves stories in order to live.“ But, it is also remarkable what a human characteristic the drive for narrative is. We’ve been telling stories since we learned how to communicate, Read MoreRead More

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