All bibles don’t have to be holy ones, but those for television series come close, at least in the eyes of their creators. And while the executives who read them as part of their prep for green-lighting a series may make changes, they expect to see something fresh, new, exciting, and just plain impossible to turn down in their email boxes or on their desks.
Here’s some good advice on how to write your maybe-not-so-sacred manuscript so it zings.
It’s always best to start with the basics, and Stage32.Com knows the basics very well indeed.
What makes a good screenplay? This is one of the most important questions that an artist needs to be aware of every single day. In coming up with the best work of art, it is important to note that instead of relying on the meta aspects of essential tips of writing a good screenplay, hence for effectiveness, a better focus on the concept of the story structure is essential.
Here’s an outstanding video (podcast?) for all screen and TV writers. It’s the first in a series featuring Meg LeFauve and Lorien McKenna, whose combined credits include writing and production on such films as Inside Out, The Good Dinosaur and Captain Marvel, and we’re hoping it will be followed by many more.
The good news: The Invisible Man – the newly released version gog-only-knows.0 – is a hell of a film, and in spite of the title the hero is a woman played by the wonderful Elizabeth Moss.
The not so good news: In order to get the film made, the filmmakers had to do the “Man” title thing.
Ah well, someday, right?
Ageism, like so many other isms, is as rampant in Hollywood as it is so many geographical and professional areas. Perhaps even more rampant. Our friends at Script Reader Pro are here today with some excellent and practical advice on how to deal with it in the real world:
Unfortunately, ageism in Hollywood is definitely real. The many lawsuits and payouts over the years are proof of the fact that the industry views more mature writers a little differently from those in their 20s and 30s.