The Thin Man, only without the thin man. One of the best done indie web series we’ve seen:
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In case you’ve missed what’s happening at TVWriter™, the most popular blog posts during the week ending yesterday were:
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Major thanks to everyone for making this such a great week. Don’t forget to click above and read what you missed. re-read what you loved, and, most importantly, come back for more soon!
The summer movie season is in full swing. In keeping with current trends, it’s all about the blockbuster, so I found it refreshing to see a movie come out that focuses on real people (as opposed to superheroes) and situations that at least somewhat reflect what is truly going on in the world.
Instead of featuring Captain America or Batman, “Money Monster” follows the very human TV host Lee Gates (a businesslike George Clooney) and his Director Patty (the very worried Julie Roberts) as they are put in a very dangerous situation I won’t describe here (just to prove that I can avoid spoilers when I have to, really.)
I recommend “Money Monster” as a rental and not for the movie theatre experience.
Happy Summer Movie Season!
Diana Vaccarelli is the TVWriter™ Critic-at-Large. Learn more about her HERE
A show that really, really works, about freeways that don’t. Somewhere in here is the key to the future of creative transportation, or transportive creativity, or…something.
Enjoy! We here at TVWriter™ sure as hell did!
And here’s Episode 1
Some people say that the key to screenwriting success is to stick to the template established by other successful writers. “Don’t make waves.” “Don’t be original.” Time now to hear from someone who said “Stuff it!” to all that and, well, so far so good:
ving a unique and compelling voice as a writer is something we all desire to have. Yet we are told (in forums and by so called gurus) that “We must follow the rules” to be a screenwriter, we must do everything exactly the same as everyone else.
People have looked at great screenwriting and found commonalities. However, commonality is not causality. Because if these common things are all that is needed to create a great script, writers wouldn’t be needed.
How the Rules came about
The rules came about by people looking at previous works and analyzing them to see what they could discover. (As far as I can see) Christopher Volger was credited with sending a memo that outlined some rules, which is what I think kicked off this entire rule concept.
This was intended as a way of quickly weeding out the vast number of bad scripts and making a studio’s workload less. It works, as bad writers do break these rules, but of course, so do some great writers.
People seem to point at the vast number of movies that comply with the rules, so therefore, the rules must be correct.
It is also a bit of a self-weeding garden, meaning that if everyone believes the rules must be followed, then all scripts and all movies would be following and complying with the rules.
The truth is, bad writing is just bad writing and squeezing it into some rules or structure would just make it well-structured bad writing, but there are commonalities between bad writing and good writing, which very few people are willing to admit or acknowledge.
As you can see by the graph above, Bad Writers and Great Writers don’t consider the rules when they are creating their work. They are focused on the work, but the only difference is that the great writers have craft and skill. It may be true that the rules outline the thousand-year-old patterns that have evolved in storytelling, but they are not rules. They are at best-accepted norms and as such are easy to recognise and are comfortable, but they are not mandatory, which is after all the definition of a rule.
What I have a problem with is people saying that things MUST happen or that you MUST never do something. Those are the rules that I think are wrong and don’t need repeating….