Remember your first ten pages are crucial if you want to grab and hold the reader's attention. Also, how you introduce the dramatic situation and your characters sets the tone of the movie and communicates a lot to your reader. With that in mind lets look at the opening sequence for THE HURT LOCKER. We'll just give a sample and here's the link for the script. THE HURT LOCKER right away gets us into the action, sets the tone, and establishes the dramatic situation. The "Hurt Locker" as a name will symbolize many things in the story, but with the opening it's for us to interpret the nature of being an IED specialist,what wearing "the Suit" and putting your life on the line truly means. The script is by Mark Boall and of course won the Oscar for Best Original Screenplay in 2009.
BLACK SCREEN
Over the BUZZING sound of an electric engine we--
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EXT STREET/DAWN
A grainy, low-resolution view, seen from sixteen inches above
street level. And we’re moving fast -- nauseatingly fast.
From this angle close to the ground we FLY down a road strewn
with war garbage: munitions, trash, rubber, animal shit --
all of which, from this odd, jarring perspective, looks
gigantic, monstrous.
We zoom towards a crumpled COKE CAN, the white ‘C’ growing
enormous on the screen, filling the screen like a skyscraper.
We SMASH into the can and barrel ahead.
A RAG flutters, blocks the view, then tumbles away, as we --
-- zoom downhill, see nothing but gray sand, then zoom back
up hill and off, catching air, a flash of the horizon line,
BRIGHT SUN, and land hard on a packed road.
We close in on one particular pile of trash, which is topped
with a white plastic garbage bag, and stop. Puffs of dust
and fluttering plastic.
We glide across the fluttering plastic. Flies buzzing.
Advancing slowly, inch by inch, to the edge for our first
glimpse inside the bag:
A RUSTY ARTILLERY SHELL.
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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.
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.
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.
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.
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.
"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.
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.
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.
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.