by Ben (SU Staff)
in Articles
When you're writing an action/thriller or suspense drama of some kind you have to be able to create tension, and well, suspense. The movie SPEED always comes to mind when you think about a really effective ticking clock story element. The ticking clock plot device is a powerful tool that adds urgency and tension to the narrative. It usually involves setting a specific deadline or time constraint for the characters to achieve their goals.
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by Christopher Wehner
in Articles
At one time or another, all of us, have been told by those wiser that we should “write visually” as screenwriters.
It’s good advice and frankly no self-respecting screenwriter should ever stop thinking visually.
But, what exactly does it mean?
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by Ban (SU Staff)
in Articles
Every scene in a screenplay should serve a purpose and contribute to the overall narrative. While the specific goals may vary depending on the story, genre, and context, there are things that every scene should accomplish.
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by Staff
in News
Here are the winners for a few categories at the Golden Globes.
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by Christopher Wehner
in Interviews
Dr. Linda Seger is the original script consultant having literally inventing the job in 1981; before her it didn't exist. Since then she has consulted on over 2000 scripts and presented screenwriting seminars in over thirty countries around the world. Seger has written nine books on screenwriting making her the most prolific screenwriting author we have. Seger consulted for Peter Jackson’s break-through film, BRAIN DEAD and Roland Emmerich’s breakthrough film, UNIVERSAL SOLDIER. She also has given seminars for studios, networks including ABC, NBC, CBS, production companies, television series (MacGyver, The Mary Show), film commissions, universities and film schools.
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by Christopher Wehner
in Interviews
This is an interview I was really happy to get back in 2004, it was a pleasure to interview such a screenwriting legend as John Michael Hayes. We have also added a neat short interview with him where he discusses characters and Hitchcock.
Rear Window is considered to be Hitchcock's most "cinematic" picture. At times it had to communicate a lot to the audience without a word ever being spoken. This isn't surprising as Hitchcock started directing in 1922, during the silent era, making several silent films. By 1954, the year Rear Window was released he had clearly mastered the art of directing. However, before he could unleash his visual brilliance there had to be a great script from which to allow such a great movie to be made.
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by Harry Caul
in Interviews
Twenty-two years ago Christopher Wehner wrote his first screenplay. Like most writers he dreamed of seeing his work make it to the big screen. After many struggles, rejections, and disappointments he is on the verge of his dream. When you go to his IMDB page it shows EL CAMINO CHRISTMAS as his sole writing credit. From that perspective you might considered him an overnight success; only its been a twenty-two year in the making one. And like almost all of these kinds of success stories it took chance encounters, some luck, and a lot of perseverance.
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by Christopher Wehner
in Op/Ed
First let me stop writing the script I am currently working on so I can pound out this short editorial. Though I should say allow me to stop bleeding at the keyboard as I struggle with the current scene I am writing. I have to admit that I am my own worst enemy as a writer. I procrastinate, often, and it can sometimes be so debilitating that I never finish some screenplays. Why?
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by Christopher Wehner
in Script Reviews
The Oscar nominated movie NEBRASKA, with an award winning screenplay by Bob Nelson, is in my opinion one of the better scripts recently produced for screenwriters to learn a little something about the craft. Why? It’s the epitome of efficient and dramatic storytelling. The script is pithy, direct, yet it has depth and emotion (theme) that is so subtle in its presentation.
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At one time or another, all of us, have been told by those wiser that we should “write visually” as screenwriters.
It’s good advice and frankly no self-respecting screenwriter should ever stop thinking visually.
But, what exactly does it mean?
Read more
All of us creative types have things we're naturally good at, and things we've learned to do, and things we aren't that good at (yet). This creates a creative trap: when approaching a project, we often work on the part we understand best — the part that scares us least. So if you're good at plot, you write the plot first, and then fill in the characters later. If you're good at characters, you write up the characters and then feel your way towards a plot.
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Everyone pursuing a screenwriting career will eventually realize this journey is not for the thin of skin or for those who cannot handle the emotional ups and downs this business brings. If you haven’t yet experienced the soul crushing disappointment of finally having written a script that goes into development, but it doesn’t make it to production and sits on a shelf, I don’t envy you. It’s happened to me a handful of times out of my nearly two dozen paid screenwriting assignments. Learn this early — there are no guarantees in the screenwriting game. You take your lumps, heal, and move on to the next screenplay and the next one.
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I love Readers! Yes they are the gatekeepers to the Promised Land and like it or not they do have power. But just how much? Well, I’m here to show you. I got my hands on a classified document folks, the holy grail… An actual copy of a real STUDIO MEMO covering GUIDELINES for their READERS.
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Scenes must have a reason to exist in your screenplay. Each scene must advance the plot forward through dialogue and/or visual storytelling. Characters’ journeys drive the script’s narrative, and each scene must steer their journey forward. Although some scenes might not even contain any characters, these scenes must still provide information about your plot, as well as your characters’ lives and actions. There is no set rule as to how many lines, paragraphs, or pages constitute a scene.
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The following has nothing to do with wet t-shirts. This entry is actually about screenwriting contests - a subject with little marquee value. One of the most popular category of questions that I find in my e-mail box is about screenwriting contests. As I say over and over, I believe that most are a waste of energy and entry fee. Some - like the Nicholl and Disney Fellowships - are very reputable and have launched a few Hollywood careers. Regardless of how reputable any contest might be, the screening process for most seems tenuous. Low fees for contest readers and a bulk of scripts guarantees a sloppy vetting system.
Here are the winners for a few categories at the Golden Globes.
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"Lowtide" writer, director and producer Kevin McMullin has sold his short story "Bomb" and is tabbed to write the script for "low seven figures" and "Gladiator" director Ridley Scott is attached to Direct. According to reports, 20th Century beat out studios Apple, Netflix, Sony, and Warner Bros.
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Books are the fastest and easiest way you can learn from an expert. In screenwriting, it’s no different. Some of the best screenwriters and those who have mastered the craft, have created countless books trying to encapsulate all they’ve learned in their work. If you’re a new screenwriter and looking to improve or simply to learn how to create better scripts, these three books will help you out.
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Everybody has a perspective. Everybody in your scene has a reason. They have their own voice, their own identity, their own history… But if you don’t know who everybody is and why they’re there, why they’re feeling what they’re feeling and why they’re doing what they’re doing, then you’re in trouble.
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What is a successful second act? One that keeps the reader engaged, moves the story forward, and successfully delivers it into the falling action; that being the third act climax and the denouement. A bad screenplay has a second act that simply doesn't keep the narrative trajectory in place and thus the spine of the story sags; meaning rising tension and conflict is not taking place.
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