The mother and father of all showbiz trade maags, Variety.Com comes up with a winner for writers. In other words, this is about writing because that’s how we and our viewers win, yeah?
Here’s what Variety has to say about this vid:
Variety recently sat down with some of our 2016 Writers to Watch, including the scribes behind “Moana” and “Sully,” at the Whistler Film Festival where they gave us a few tips on how to become a successful screenwriter in Hollywood.
Our friends at Script Reader Pro come through once again with this common sense guide to writing a good scene:
by Script Reader Pro
Writing a scene — one that moves the reader — can be a challenge. But there’s one technique you should include in every scene you write.
It’s a very simple method, and by the end of this post you will know what it is and how it’s implemented by professional screenwriters. Most non-screenwriters who watch films aren’t even aware of its existence, but it’s there in virtually every important scene in every film ever made. Even many aspiring screenwriters aren’t aware of its existence. Or if they are, they fail to use it when actually writing a scene.
One of the single biggest problems we encounter with writing a scene is that they don’t “turn.” i.e. there’s no “reversal” emotionally or dramatically in the scene from bad to good, or vice versa.
A scene should never start on a positive value and end on a positive value. Or start on a negative value, and end on a negative value. Instead, every scene you write should “turn.” That is, go from:
a positive (+) to a negative (-)
or a negative (-) to a positive (+)
If Jim starts a scene kissing Brenda (+), then it had better end on a negative like him getting dumped (-). Or, if it starts with Jim arguing with Brenda because he forgot their anniversary (-), then it’d better end with something positive, like them making out (+).
When writing a scene, every one must end up in the opposite place from where it started. Otherwise its purpose can be seriously questioned. This transformation from a positive to a negative or vice versa is known as the scene reversal….
It’s True Origin Story time! A solid guide to getting started writing for TV that we believe is worth taking to heart:
by Rebecca Norris
Dreaming of writing for TV? Via interviews with five working TV writers in Hollywood, this guide will take you through different ways that writers have broken into the television business. Even though their paths are different, there are three things the writers all have in common: hard work, love of the craft, and perseverance. You’ll want to set aside at least an hour to get the most out of this guide and these exclusive classes and interviews. This guide is created specifically for TSL 360 members. Get ready for a big dose of inspiration!
If you don’t already have a TSL 360 membership, be sure to join TSL 360 for a FREE 3-day trial membership! TSL 360 is the LARGEST screenwriting education content library where you can learn from the best in the biz, featuring dozens of masterclasses, deep-dive interviews and lectures from Academy Award-winning screenwriters, Emmy-winning TV writers, producers, agents, major studio executives – all in one place.
You’ll learn about:
Breaking into TV via the network/studio writing programs
Breaking into TV as a second career
Breaking into TV by writing for other platforms, such as theatre and games
Breaking into TV via the assistant route
Breaking into TV from contest wins
Breaking into TV after finding representation
Breaking into TV by bringing your own personal experience to the table
Kira Snyder is an Emmy-winning writer and producer, whose television credits include The 100 (CW), The Handmaid’s Tale(Hulu), Alphas (SyFy), and Eureka (SyFy). She was also a screenwriter on Steven S. DeKnight’s film Pacific Rim: Uprising.
Kira worked as the co-producer of The 100 for three seasons and also wrote five episodes of the series. On The Handmaid’s Tale, Kira worked as a supervising producer for ten episodes and worked as an executive story editor for thirteen episodes on Alphas and Eureka.
In her interview on TSL 360, Kira talks about getting into television after first having a separate career in gaming....
The way in which you write description in your teleplay or screenplay can make a huge difference in its effectiveness…and in establishing your professional level capabilities.
Our friends at Script Reader Pro have given the situation a hell of a lot of thought over the years, and we happy to pass it on:
Often screenwriters are so busy grappling with the dynamics of their story, what their protagonist wants, what pages their act breaks are falling on, etc. they forget to address the most immediate indicator of talent — writing style.
Great screenplay scene description, however, immediately communicates to your reader that your writing is at a certain level. That you haven’t just woken up one day and thought “I’m going to write a script and sell it for one million dollars!”
From the very first sentence, a reader is able to place where a writer is in terms of ability. So what you need to do is show right away that you’re someone who’s studied the craft and knows how to write first class scene description.
But before we get started with the amateur vs. pro screenwriters’ writing styles…
Just What Makes Great Screenplay Scene Description?
One of the main aspects of great script description is its ability to put clear images in the reader’s mind of exactly what the writer wants them to see.
Clear, interesting, precise, vivid images help the reader fall deeper into the heart of the story. It draws them in by piquing their interest and making them feel they are part of a unique world — an interesting, rich and visually arresting world.
Why risk telling your story using a bland, uninspired writing style and boring your reader, when you could put a little more effort in, keep them entertained and involved in your story?
In fact, there’s so much competition out there, you don’t really have a choice. Many production companies have two recommendation boxes at the end of every coverage report — one for the script and the other for the writer.
By this they mean execution and style. So, even if your story isn’t exactly firing on all cylinders, but possesses a rocking writing style, you could still get hired to do re-write assignments.
So, let’s get started with comparing some examples of amateur and pro screenplay scene descriptions…”