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

House Of Cards: A Conversation With Beau Willimon

House of Cards creator, Beau Willimon, discusses writing for Netflix, working with David Fincher, and delving into the psychology of narrative power struggles. Artiz Moreno’s short film, Colera, follows with an ominous glimpse of a town that decides to take the law into their own hands, without considering the consequences.Read More

Pets in Movies – How Can a Pet Improve Your Characters and Plot?

Marilyn Horowitz explains how adding pets can flesh out the characters in your screenplay. We often find ourselves with characters that seem a bit familiar, but are hard-pressed to find a way to freshen them without losing their essence. One solution that works is to give your characters a pet. This technique can do two Read MoreRead More

Movie Industry Money Terms Explained

Entertainment Lawyer Christopher Schiller dives into common money terms in filmmaking contracts and what they mean for screenwriters. Typically studios, producers or anyone else funding movies don’t work with piles of bills lying around in a vault, ready to fund movies. There are numerous schemes that are used to shift funds when needed into the Read MoreRead More

Tips For Working With Feedback On Your Script

Scott Meyers answers a reader question about dealing with feedback on your script. This is a really good question because as you suggest, Alejandro, if a writer follows the advice of someone whose feedback is wrong, that can only hurt the story. On the other hand, what if a writer receives solid suggestions that can Read MoreRead More

Legally Speaking, It Depends – Who Owns Script Notes?

You get notes on your script – perhaps it makes it better – but who owns the copyright on those notes? Entertainment Lawyer Christopher Schiller tries to figure it out. As you’ve likely learned fscript notesrom reading my previous articles, starting to fathom out who “owns” the notes themselves should be straight forward. The note giver, Read MoreRead More

The Edit: The Writer’s Most Unkindest Cut of All

  Kevin Delin explains that although a movie cannot exist without first being the product of a writer’s imagination and pen, the editor really makes the final decision. But somewhere after all that effort, from all those people, with all that experience, the script is finally done; no more rewrites. And therefore you might believe Read MoreRead More

A Primer on Screenwriting Contests

Christopher Schiller writes about the different kinds of screenwriting competitions out there from aspiring scribes. There are about as many different variations of screenplay contests as the screenplays that are entered in them. Each has its attractions and detriments, risks and rewards. With so much variety it is hard to make generalizations as to what Read MoreRead More

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