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Sample
Tips
TIP
#55: Another common criticism: Dialogue is on the nose.
It states too clearly what the character is thinking without filtering
those thoughts through the character' personality and agenda. If
sixteen-year-old Megan has a crush on classmate Ben and wants to
get to know him, she's not going to go up to him and say I've
got a crush on you. Chances are she will say something like Nice
shirt as a way of initiating her agenda of getting to know
him better.
TIP
#108: Breaking blocks of action description into paragraphs
of between one and three lines of type can make the action read
more quickly and ensure that the Hollywood Reader sill not miss
important moments. When paragraphs detailing action run from six
lines to a half page, these almost always communicate that the
screenwriter has included too much minor information about character
movements and that the action is overly detailed. The goal is to
communicate the essence of what the actors will portray
on the screen. Ultimately, the director decides on the details
of the action's choreography.
TIP
#115: Delete camera angles and other technical descriptions
unless you are also a director. These can detract from the project,
especially if you have limited experience and aren't making the
best choice of shots. Better to use your screenplay to do the writer's
job: developing characters, dialogue, and a story.
TIP
#179: No clear goal. Every protagonist needs a clearly
delineated goal to inform the story and show the reader what to
root for. Without a clearly defined goal, the protagonist is probably
going to wander pointlessly from one scene to the next and your
story won't build the momentum needed to carry it to a rousing
climax.
TIP
#266: The more you can turn your characters who share the closest
of relationships against each other, the more profound a sense
of conflict you create. This is why a story of betrayal often works
best if those betrayed are family members. We'd hate to experience
what we're seeing on the screen. That's a great rule to write by.
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