by Joe Bunting |
Have you ever fantasized about writing a Hollywood movie? Or maybe, with a bit of luck, create the next Lost.
In a visual age, with the decline of traditional publishing, some look to writing screenplays as a way to create the “literature of the future.”
But what is the process to write a screenplay? How do you even begin? And how is it different or similar to writing a novel? In this post we’re going to look at the five step process professional screenwriters use.
by Brendan Hufford |
I’m always looking for new opportunities to improve my writing. As an author and businessman, learning and improving the tools that keep me in business are a high priority on my daily list of to-dos. After all, if you’re not growing, you’re stagnating. And no one can afford to be stagnant in the business of writing.
MasterClass offers a cool opportunity to take online courses from masters in their fields. Is it worth it? Specifically, is Aaron Sorkin’s screenwriting class worth it? And will it help you?
by Guest Blogger |
Polishing a screenplay, or doing a polish on a script, is a part of the screenwriting process that few screenwriters ever go into detail about when asked. Even when plied with liquor. Sure, we’ve all heard writers and producers use terms like “tighten it up” or “give it some polish” or “tweak it for production,” but what do any of those terms really mean?
Let’s break “the script polish” process down into two general goals a screenwriter needs to focus on when sitting down to polish her script. Those two general goals are maximizing impact and minimizing risk.
by Guest Blogger |
Do you struggle with screenplay structure? Especially sustaining momentum in that long second act?
When learning how to write a script, writers are overwhelmingly taught that screenplay structure is all about three acts. The problem with this three act formula, however, is that it often leads to writers running out of steam in act two as they try to fill it with “conflict.” This means act two becomes a series of disconnected events that aren’t really connected and seem to exist just for the sake of “things happening.”
This happens when screenwriters focus too much on traditional three act structure and ignore the building blocks underneath each act—sequences.
