http://thescriptlab.

com/

The character and the story

CharacterDrivenScreenplays
Withthisapproach,ifyoutakeawaythe
character
,thereisnostory,becauseitisthecharacter
(nottheidea)thatisthecornerstoneofthescreenplay.Thecharacteristhelifeline:the
heart,themind,andthesouloftheentirescript.ThinkJeffBridgesasBadBlakein
CrazyHeart
(2009),KateWinsletasHannaSchmitzin
TheReader
(2008),orMickeyRourkeasRandyin
TheWrestler
(2008).

StoryDrivenScreenplays
Withthisapproach,oftenthetitlealoneisenoughtounderstandtheentirestory:
Wedding
Crashers
(buddycomedy),
RoboCop,
(crime/action),
HowtoLoseaGuyin10Days
(romcom).
Allsuccessfulfilms,butineachscenario,thecharactersaresecondarytothe
story
idea.
Imagine
Twister
or
Jaws
or
Speed
withcompletelydifferentcharacters.Thestorystillworks.

The Magic
Youare
sellingyou
,notjustyourscreenplay.Youresellingthewayyou"show"thevisual
storytellingonthepage.That'sstyle.That'svoice.That'spersonality.Andthetrickistousethat
style/voice/personalitytomakethereaders"seeit".
Sogoaheadputasmuchofyouinyourwritingasyoucan,andthenwhenpeoplelineupto
readyournextscreenplay,theydoitnotjustbecausetheyreinterestedinthestory,the
character,orthepitch,butinstead,becauseofthewriterbecauseofyou.
Youvehearditbefore:
writewhatyouknow
.Butitsjustasimportantto:writewhatyoulove.
Youhavetogettowhereyoureinspired,becausetherealmagicoriginatesfrominside.Andif

thesparkisntignitedfromwithin,therewillbenofireinyourscript.Andthebestwaytoconjure
upandmaintainthatmagicistofocusonwhoyouarecreativelyandbetruetoyourself.
Ifyoureascifiguy,forexample,bethat.Beproud.Butbethebestscifiguypossible.And
nevertakeadayoff.Becomeamastermechanicofeverythingscifi.Learnaboutscifi
characters,stories,andstructure.Understandthescifiaudience.Becomefamiliarwithevery
elementspecifictothescifigenre.Butmostimportantly,gowithyourgutitisrarelywrong.
Yourbraincanrationalizewhyyourewritingthescript,whyyousupposedlylovethematerial.
Butyourgutknowsthetruth.Itjustfeelsit,andwhenitfeelsright,youmustlisten.
Youneedtobeexcitedaboutyourmaterialyouabsolutelymustcareaboutthecharactersand
thestoryyouretelling.Yourscreenplayshouldbeamovieyoudcampoutovernighttowatch
yourselfokay,maybenotovernight,butcertainly,youdwaitinaverylongline.Believein
yourscriptbeexcitedandconfidentinyourstorybecauseifyoudontfeelthemagicyourself,
nooneelsewillfeelitforyou.

Your characters craves change

Remember to have solidified starting and end points for your characters.
They need to go through transformation that spits them out in the end.
Bottom line, keep this front of mind. It can slip away without you even
realizing it until you go back and read a bland character that stays
stagnant throughout the entire story.

Creating Heroes We Hope and Pray For

Themostimportantcharacterinyourscreenplayisyourprotagonist:yourhero.Butwhen
creatingyourhero,audienceconnectioniskey.Yourheroneedstobeaninterestingsomebody

whowantssomethingbadlyandishavingtroublegettingit,ANDalsoasomebodythatthe
audiencecaresaboutsomebodytheyhopeandfearfor.Butwhencreatingacomplex
character,simplyknowingwhat'sbeneaththe
tipoftheiceberg
isnotenough.
Inorderforyouraudiencetobeemotionallyinvestedwithyourhero,youmustalso(1.)know
theherosgoalsanddreams,(2.)beawareofwhattheherowilllearn,and(3.)makesurethe
heroissomeonetheaudiencewillempathizewith.
KnowtheDream/Goal
Thisismorethanjustknowingthe
herosmainobjective
thatis,thepursuitofwhatyour
protagonististryingtoaccomplishthatgivesshapetoplottingthemainstoryofthefilm.You
mustknoweverydream,want,anddesire.Take,forexample,anactionfilminwhichyourhero
isonalifeanddeathpursuittorescuehisabducteddaughter,themainobjectiveisobvious,but
whataboutalltheothergoals:doesheregretthepastandpromisetobeabetterfather,does
hesecretlywishforacceptance,orisitsomethingmoretangible,likethedesiretotakehis
daughtertoaYankeegameforthefirsttime?Themoreyouunderstandwhatyourherowants
bothinternalandexternaltheeasieritwillbeforyouraudiencetochampionhiscauses.
CharacterAwareness
Everyactionhasareaction,andnothingisaseasyasitseems.Therealityisthatsituationsare
complicated,especiallywhat'sbeneaththesurface,andeventhoughitisobviousthatyourhero
mustbeawareofthemainobjective,itisusuallyamistakeifyourheroisawareofthefull
dimensionsofthethemeatthebeginningofthestory.Itsokayforyouraudiencetoseethebig
picture(ornot)sometimesyouwantyouraudiencetodiscoveralongwithyourhero.But
regardlessofthecreativedecisionsyoumakeastowhattheaudienceknowsandwhen,itis
importantthatyourherolearnsalongtheway.The
theme
anditsimplicationsshouldbe
revealedonyourherosjourney.
Sympathyvs.Empathy

CreatingaherothatwefeelsympathetictowardisaHUGEhelp.Itsalmostimpossiblenotto
careifwefeelsorryforsomeoneelsesmisfortune,nottomentionthatsympathyoftenequates
tolikabilityandalikeableheroiseasytohopeandprayfor.However,sympathyisnotthe
essentialingredient.Empathyisthekey.Noteveryheroislikeableorshouldbetherearemany
heroes(orantiheroes)thatwedislike,butwestaywiththembecausewereabletounderstand
whytheydoastheydo.

Protagonist's Objective

Onlyinlightoftheprotagonistsobjectivecanascreen
story
beplotted,becauseintheend,the
pursuitofthatobjectivedeterminesthecourseoftheaction,howeverstraightforwardordevious
thepathmaybe.
Thethreemainpointsabouttheobjective:
1.TherecanbeonlyONEmainobjectiveifthefilmistohaveunity.
2.Theobjectivemustbecapableofarousing
OPPOSITION
inordertoproduceconflict.
3.TheNATUREOFtheobjectiveisaleadingfactorindeterminingtheattitudeof
theaudience
towardtheprotagonistandhisopposition.Protagonistandobjectivearesocloselyidentifiedin
ourmindsthatitisimpossibletoconsideronewithouttheother.
Remember,superficialtraitshelptodepict
character
:language,mannerofspeaking,dress,
gesture,physicalcondition,mannerisms,andsoon.ButtheKEYFACTORstillcomesbackto
thecharacter'sOBJECTIVEandthemeansemployedtoattainit.
Andwhenthestoryends,whathappenstothatobjectiveordesireisessentialtotheemotional
impact.Arewegladthathereachedwhathewasafter,ordowehatehimattheendbecause
hereachedit?Arewesadhedidntmakeit,orarewegladthathecouldnt.Thesepossibilities
determinethetension,whatwehopeandfear.

Desire

Myperfect,lovableprotagonist,inallhiswisdomandglory,isalsocompletelycontent.He's
happy.He'spassive,withnorealdesires.Inotherwords,he'sacompleteanduselessbore.
Afterweeksofresearch,weeksofoutlining,andtwentyfivepagesofwriting,it'salldead.
Contentcharactershave
nodesire
.Nodesiremeansnogoal.Nogoalmeansnoreasonfor
conflict,andnoreasonforconflictmeans
nostory.

The story
Itssimple.
Writingascreenplay
,orscreenwriting,istellingexcitingstoriesaboutexcitingpeople
inanexcitingform.Andtheessentialelementsofagoodstorywelltoldare:
1.Thestoryisaboutsomebodywithwhomwehavesomeempathy.
2.Thissomebodywantssomethingverybadly.
3.Thisgoalisdifficult,butpossibletodo,get,orachieve.
4.Thestoryaccomplishesmaximumemotionalimpactandaudienceconnection.
5.Andthestorycomestoasatisfactoryending,notnecessarilyahappyone.
(Character+Want)xObstacles=Story
Therootofwritingagreatstoryorscreenwritingafilm.
Inthissection,notonlywillyoubecomeproficientindevelopingstoriesaboutinteresting
characters
whoarestrugglingtoachieveunequivocal
goals
throughthepracticalapplicationof
storyscenarios
and
storyquestionnaires
,butyouwillalsoexplorethethreemajorareasof

story:
location
,
population
,and
situation
.Youwilllearntocreate
original
,believableworldswith
aclearlydefinedpopulaceandawelldeveloped,plausiblesituation.

Act one: The set-up

Usually
thestory
reallybeginsatthemomentwhenthefirstcharacterfacesthedifficultythathe
orshehastosolve,anditbetterbeacleardifficulty,andhebetterrealizethathemustdo
something.Dramaticformmeans
action
,andactionbringstension.Sotheawarenessofthe
tension,andtheclarificationofwhatthenatureofyourtensionis,helpstobuildthewhole
script
.
ACTONE:ESSENTIALELEMENTS
TONE:
Veryquicklyyouwanttoestablishthetoneofthescript:isitaseriousfilm,acomedy,a
fantasy,aspoof?Letpeopleknowrightawaythatitisokaytolaugh,tocry,todream,etc.
THEME:
Youwillalsowanttoestablishthethemeofthefilmwhatmessageareyoutryingto
convey:Dontjudgeabookbyitscover,Theunderdogtriumphs,Goodversusevil.
WORLDOFTHESTORY:
Asthestorybegins,youwillintroducetheworldofthestorywhere
doesittakeplace?Whatisdifferentandinterestingtothisworld?Whataretherulesofthis
place?
CHARACTERINTRODUCTIONS:
Atthesametime,youwillintroducethe
principlecharacters
totheaudience.Bespecificand
original
.Letusknowtheirage,howtheydress,walk,talk.Give
themasceneinwhichtheystandoutfromtheothers.Let
theaudience
knowthesepeopleare
special.
PROTAGONISTWEAKNESS:
The
maincharacter
sweakness(s)mustbeclearsothatthe
laterobstaclescanattackthatweaknessinthe
secondact
.

INCITINGINCIDENT:
Theincitingincident(orpointofattack)isthemomentwhenthedramatic
conflictannouncesitself.Itsthefirstperceptionofthepredicamenttocome,andusually,a
momentthatisveryvisual.
MAINTENSION:
Andthispredicamentsetsupthemaintensionaroundwhichthestorywillbe
built:Willtheyfallinlove?Willtheyrobthebank?Willtheyescapealive?Willtheydoallthree?
THESTAKES:
Thestakeshavetobeclearinordertoshowtheaudiencehowandwhythis
tensionisimportanttothem,ormoreimportantlywhatwillhappenifthecharacterdoesnot
solvehis/herproblem.Itshouldbehugeamatteroflifeanddeath.
OBJECTIVE:
A
charactersobjective
orgoaliswhatdriveshim.Thisshouldbeveryspecific,
veryclear.Howbadlydoeshe/shewantsomethingandwhatarethelengthshe/sheiswillingto
gotogetit.

LOCKIN:
Thefirstactconcludesoncethemaincharacterislockedintothepredicament,
propellinghim/herforwardonanewquesttryingtoaccomplishaspecificgoal.Nowthe
reader/audienceknowsthecharacter,thepredicament,andtheobjective,soeverythingelseis
aboutthefuture.

Act 2: The Obstacles

Thisisthemeatandpotatoesportion...ANDthemostdifficultpartof
writingascreenplay
.Most
mediocreandflawedscreenplaysareplaguedbyslowormeanderingsecondacts.Keepin
mindthemaintensionandthatyourcharactershouldalwaysbeonthepathtoresolvingthat
tension.

Thesecondactbeginsrightafterthelockin:themomentwhenthecharacterisstuckinthe
predicamentandmaintensionitistoolatetoturnback,sohe/shemustgoforward.Nowthe
character
aimstowardsthegoal,
theobjective
,andhe/shehasthefirstmeetingoftheobstacles
andantagonistsorcircumstances,alwayswith
risingactions
.
The
firstsequence
usuallypresentsthealternativesolutions.Whatarethechoices?What
shouldbedone?Andthecharacterselectsonealternative,andifitshouldbetheworstone,
thenheselectsanotherone,andinthemeantime,therestofthealternativesareeliminated.
Thenthecharacterusesoneofthewaystosolvethepredicament,anditseemstowork,and
thatsusuallythefirstculminationormidpoint.
Butitsnotthatsimple,becausethereareconsequencesofthingsthathappenedbeforethathe
didnttakeintoconsideration.Heoffendedsomebody.Hedidntdothingsthathewassupposed
todo.Heforgotaboutthings.Youbringthosethingsbackinthesecondpartoftheact,andat
thattimetheycanbeenteredalmostwithoutmotivation,becauseanythingthatworksagainst
yourcharacteratthattimeisacceptable.Anyaccident,anycoincidenceisfinebecauseit
makeshispredicamentworse,andthereforeweenjoyit.Alsoithelpstoexplorethevalidityof
thedesireofthedream.

ACTTWO:ESSENTIALELEMENTS
OBSTACLES:
Thesecondactisallabout
obstacles
.Itelaboratesingreatdetailandintensity
onthedifficultiesandobstaclesthe
hero
facesasheorshestrugglestoachievehisorher
goal
.
Justwhenwethinkthesituationcantgetworse,itdoes.Andwhenthereisnowaythatour
herocangetoutofthejam,hedoes,onlytoendupinaworsejam.Basically,each
sequence
centersaroundanewobstacleorobstaclesofincreasingdifficulty.
FIRSTATTEMPTS:
Nowthatthecharacterislockedin,hemakeshisfirstattemptstosolvethe
problem.Thisisusuallythesimplest,easiestmannertoresolvetheproblem,andthese
attemptsusuallyfail.

RAMIFICATIONS:
Itisimportanttoshowtheramificationoftheattempts,whichmustresultin
anincreaseincomplications.
ACTION:
Everymovethecharactermakestrapshimevenmore.Eachactionsleadstomore
entrapment.Bemercilessonthecharacter.
SUBPLOT:
Asolidsubplotthatcarefullyintertwineswiththemaintensioninbothplotand
themewillbeagreatchannelinwhichtorelatethecharactersemotions(inregardstothemain
tension).
FIRSTCULMINATION:
Thisisthemidpointofthefilm.Ifour
hero
istowinintheend,thisthen
isthefirsttimethecharacterfindsasolutionthatseemstowork.Itisavictory.Ifthescriptisa
tragedy,however,thisoftenalowpointforthecharacter.
MIDPOINTMIRROR:
Thefirstculminationandendingofthefilmusuallymirroreachother:both
victoriesorbothfailures.
MIDPOINTCONTRAST:
Thefirstculmination(Midpoint)andthemainculmination(EndofAct
II)areusuallyincontrastwitheachother.
NEWATTEMPTS:
Bythefirstculmination,ourherohasfailedinhis/herfirstattemptsbutin
failure,realizestheweightoftheissueandbecomesawareofthecorrectmethodinwhichto
resolvethemaintension.He/shethencanbeginnewattempts,stillfacedwithnewobstacles,
thatgethim/herclosertoresolvingtheissue.
CHARACTERCHANGE:
Throughoutthesecondact,themaincharacterstartschanging,
learning,anddeveloping,oratleastintensepressureisputonthe
charactertochange
,andthat
changewillmanifestinthethirdact.
MAINCULMINATION:
thisistheendofthesecondactandthepointwherethecharactersees
whathethingshehasbeendoingisnotwhathehasbeendoing.Thetensionisatthehighest

point,andthisisthedecisiveturningpoint.Youmustconvincetheaudiencethattheirworst
fearsaregoingtocometrue.Thismomentwillchangethemaincharacterinsomeway.
FIRSTRESOLUTION:
Thisresolutionofthesecondacttensionoftenspinsthecharacter(s)into
thethirdact.(LukeSkywalkerandHanSolorescuePrincessLeiafromtheclutchesofevil
Vader...buttheystillhavetodestroytheDeathStar.)

Act 3: Resolution

The
audience
hasseenthejourneythroughwhichour
protagonist
hastraveled.Yet
the
audience
stillwantsreassurancethatalliswell,that
thecharacters
havechanged,anda
glimpseofhis/herfuture.
Oncethe
secondact
isresolved,thereisusuallyatwistandnewconfrontation,whichpushes
usintothethirdactconflict.Oftenthisistheresultoftheplotandsubplotmainculmination:the
conflictsoftheplotandsubplotcolliding.
Inthethirdact,
theprotagonist
willdemonstratehis/her
characterarc
inthemannerinwhich
he/shechoosestoresolvethethirdactconflict.(Forinstance:Inthebeginning,alowdown
charactermaychoosetolieorcheattoresolveanissue,butsincehis/herarchastaught
him/hermorals,he/shetriestohonestlyresolvethesituation).
Thecharactersnewvisionandhis/herattempttoendthethirdactconflictleadsustothe
obligatorysceneabigscenewhichtheaudiencehasbeenwaitingforsincethestorybegan.
Afterthat,youhavethedescendingpartofthestorywhereweseewhathappenedaftertheevil
won,lost,orwhatever.Youseehotheyliveafterwards.Andthefunctionofthetwistinthe
middleofthethirdactisthelasttest.Youshouldntbelievethesolution,veryoften,ifitcame
directlyfromtheresolution.Soyoucomewithsomethingthatoncemoreoffersthecharactera
possibilitytotryforthelasttime,inadifferentmanner.

Themain
story
andsubplotsareallresolvedindifferingways,butallwithsomesenseoffinality,
thefeelingthattheconflictisover.

ACTTHREE:ESSENTIALELEMENTS
CONDENSED:
Fast.Organized.Nonewcharacters.Nonewlocations.Thestoryisunraveling.
TWIST:
Thefinaltwistisasurprising,explainable,andmotivatedchangeindirectionofthe
action.
FINALCULMINATION:
Uptothispoint,our
hero
hasbeentested,hastriedeverythinghe
could,andthereisonlyonewayleft,becauseallthealternativeswerepresentedand
eliminated,andtherefore,comesthefinalculmination,oftenwherethemainplotandsubpot
collides,whichpropelsourheroheadonintoanewconfrontationwiththeinevitable.
CHARACTERARC:
The
maincharacter
isnowinanewsituationwithanewtension,and
he/shemusthaveopportunitiestogobacktotheoldcharacterandseeifthereisachange.
Thereshouldbe.
OBLIGATORYSCENE:
Theobligatoryscenethescenetheattheendofthefilminwhichthe
viewerhasbeenwaitingandlookingforwardto.Iftensionisaneageranticipationofthefuture,
thentheobligatorysceneisonethatthevieweralmostconsciouslyexpects.Inaway,ithas
beenpromisedto
theaudience
.
RESOLUTION:
Thisistheend.Thethirdactconflictiscomplete,
characterarc
complete,all
issuesresolved,andtheaudienceseesthenewstatusquoorwhatthefutureholdsforthe
characters.

Camera as a Narrator

Inamovie,thecameradramatizestheprocessofviewing
theaction
andbringitonscreen,
allowingoureyestoseeonlywhatandhowthecameranarratorshowsittous.
Afilmistold,but
thestory
isshownbyacameranarrator.Justlikeanarratorinliterature,the
cameracanusetwopointsofviewthatequalthefirstandthirdperson.Wecallthemobjective
(throughtheeyesofathirdpersonobserver)andsubjective(throughaspecificfirstperson
character).
Ifthestoryistoldasonecharactersstoryorsubjectively,thecameraplaystheroleofthefirst
personobserver,showingonlyscenesinwhichthemaincharacterparticipates.Butinmost
movies,thecameraassumesamoreomniscientpointofview.Itisfreetofollowallthe
characters.

The real finesse begins when the camera is assigned not only a role observer, omniscient narrator - but is also assigned an attitude (curious,
amused, anticipating, foreshadowing, etc.) And a character of its own
(lyrical, critical, cynical, voyeuristic, etc.). As in literature, such a role
and character needs to be introduced from the start and must be kept
consistent throughout the whole picture to avoid a break of stylistic unity.
ConnectWithYourAudience
Ifthe
audience
isntinvestedwiththestory,ifitdoesntcareaboutthecharacters,ifitsnot
intimatelyinvolved,discovering,anticipating,predicting,andreachingconclusions...well,then
youreinbigtrouble.Remember,asascreenwriter,youresellingtoanaudience.Theyreyour
everything.Youwriteforthemsotheycanlaugh,cry,hope,andfear.Butdontforcefeed
youraudienceissmart.Neverjusttellthestory.Showit,andletthemadduptwoplustwo,
becausewhenyoudo,theyloveyouforit.

We must think about

writing as a triangle:
the writer
at one angle,
the
story
material at another, and t
he audience
at the final angle.

Therearealwaysthreeparts.Inscreenwritingthewritermustconsiderhis/herrelationshipwith
thescript
aswellasexplorehowthescriptwillaffecthis/her
audience
.Simplyput,thewriter

writesforanaudiencetherefore,thedecisionshe/shemakeswhenpresentingthestoryare
influencedbyhowhe/shewantstheaudiencetofeel.
Doesthewriterwanttheaudiencetobesurprisedbytheunexpected,orsmartbyallowingthem
toconnectthedots?Sometimesthewriterwantstheaudiencetodiscoveralongwiththe
character,sometimeswelearnbeforethecharacter,andsometimeswearethelasttofindout.

ThePoweroftheLogline
Whatsitabout?Evergetthatquestion?
Onesentence,25words.
Andsowehavethelogline:
Withhishandtrappedunderaboulderinaremotecanyon,AronRalston,facesthegreatest
dilemmaofhislife:cutitoffordie.127Hours(2010)
Inafuturewherecriminalsarearrestedbeforethecrimeoccurs,adespondentcopstruggleson
thelamtoprovehisinnocenceforamurderhehasnotyetcommitted.MinorityReport(2002)
Adoctorfalselyaccusedofmurderinghiswifestrugglesashedesperatelysearchesforthe
killerwitharelentlessfederalagenthotonhistrail.TheFugitive(1993)
Keepitshort,sweet,andtelltheentirestorywiththese3questions:

WHO
istheprotagonistofyourstory.
WHAT
goalarethestrivingfor?


WHAT
obstactleisintheirpath?

EndingsandBeginnings

Howdoyoubeginwhentherearesomanydifferentwaystodoit,andeachwaycanleadyou
downdozensofdifferentroads?Answer:KNOWYOURENDING.Lettheendingdictatethe
correctbeginning.
Ifyouknowthat
yourhero
findsthetreasure,beatsthebadguy,andgetsthegirlintheend,it
makessenseforhimtohavenoneofthatinthebeginning.Heshouldbedownonhisluck,
alone,andbeaten.
ThinkofIndianaJonesinRaidersoftheLostArk.Inthefilmsopeningsequence,Indyisall
alonesomewheredeepinaPeruvianjungle,facingeminentdeathbythehandsofatribeof
Hovitoswarriors,histraitorouscompanionshavebeenkilled,andtheidol,whichheriskedlifeto
obtain,istakenbyhisarchrival,Belloq.ThisistheperfectbeginningtoLawrenceKasdans
screenplaybecauseintheendIndyagainfaceseminentdeaththistimebythehandsofthe
Nazisbuthesnotalone.HehasMarion.AndBelloqisdestroyed.AndIndycomeshomewith
hisprize:TheArkoftheCovenant.
Youmayhearalotofpeoplesay,however,thatyoudontneedtoknowyourendingbeforeyou
startwriting.Somemayargue:Mycharacterswillguidemetotheending,or,Illdiscovermy
endingasIgo.Thismightbepossiblemaybeinanovelorastageplay,butnotina
screenplay.
Soiftheendingisthekey,whatmakesagoodone?Happyendingsareforstorybook
princesses,notnecessarilyforamovie.Filmendingscanbehappybutalsotragic,bittersweet,
hilarious,etc.Whatisimportantisthattheendingissatisfactoryandbelievable.
IntheendofRandalWallaces1996awardwinningscreenplayBraveheart,ourheroWilliam
WallaceistorturedinLondonsquare:hanged,drawnandquartered,emasculated,and

disemboweled,onlytocryFreedom!withhislastbreathbeforebeingbeheaded.Clearly,this
isnotthehappiestofendings.Butitissatisfactory.IfallofhisScottishmateshidinginthe
crowdcamerushingoutofthewoodworkatthelastpossiblemomenttorescuehim,battling
theirwaythroughthrongsisEnglishsoldiers,theendingwouldbecometriteandunbelievable,
andmoreimportantly,thethemeoffreedomandthepowerofmartyrdomwouldbefleeting.
Beforeyouwriteone
scene
heading,one
visualdescription
,onelineof
dialogue
,youmust
knowattheveryleastseventhings:theending(theresolution),thebeginning(thesetup),and
THEFIVEKEYPLOTPOINTS
(incitingincident,lockin,firstculmination,mainculmination,and
thirdacttwist),andinthatorder.Letyourendinghelptodetermineyourbeginning,andfrom
therethefivekeymomentstoplotyourherosjourney.
Sonowthatyouknowyourending,whatnext?Youmustwriteabeginningthatnotonly
complimentsyourending,butalsocapturesthereadersattention.
Atthebeginningofascript,youvegotabouttenminutestoaccomplishthreeveryfundamental
thingsforthereader:(1)illustrateindetailwhoyour
protagonist
isheorsheshouldbe
interesting,flawed,andifnotlikeable,atleastempathetic,(2)establishtheworldofthestory
andthecharactersstatusquo,and(3)setupthedramaticsituationthatis,makeitclearwhat
thestory
goingtobeabout.

UnderstandFilmGenres
Screenwritingisalmostneveraboutreinventingthewheel.
Thekeytowritingasellablescript
istounderstand
genres(andsubgenres)
andmeettheexpectationsofitsaudience.

Comedy

Comedyisagenreoffilmthatuseshumorasadrivingforce.Theaimofacomedyfilmisto
illicitlaughterfromtheaudiencethroughentertainingstoriesandcharacters.Althoughthe
comedyfilmmaytakeonsomeseriousmaterial,mosthaveahappyending.Comedyfilmhas
thetendencytobecomeahybridsubgenrebecausehumorcanbeincorporatedintomany
othergenres.Comediesaremorelikelythanotherfilmstofallbackonthesuccessand
popularityofanindividualstar.
ExamplesofComedyFilm:
GroundhogDay

Agrumpyweathermanfindshimselflivingthesamedayoverandoveragain.
ThePrincessBride

AfarmboymustsavePrincessButtercupfromaforcedmarriagetothe
nastyPrinceHumperdinck.
HappyGilmore

Arejecthockeyplayertakesupgolfinordertosavehisgrandmothershouse.

SubgenreofComedyFilm:
AnarchicComedy
Anarchicreferstoasubgenreofcomedythatusesstreamofconsciousnesshumor.Thehumor
inthesefilmstendstobenonsensicalwithexaggeratedcharactersandsituations.Anarchicfilm

oftenusesslapsticktendencies,yetisconsideredtobelesspsychicallyviolent.Unlikeclassic
comedy,Anarchicfilmstendnottorelyonnarrativetoexplainthecontextofthehumor.
Examples:
MontyPythonandtheHolyGrail,BlazingSaddles,AnimalHouse.

ActionComedy
Asitsnamessuggests,thissubgenrecombinesactionwithhumor.ActionComedyrelieson
thecharacterstobringoutthehumor,whiletheactionscenestendtobelessintensethaninthe
traditionalactionmovie.
Examples:
BeverlyHillsCop
,
RushHour,

HotFuzz
.

BlackComedy
BlackComedyisasubgenreofbothComedyandSatire.Thesefilmsoftenexploreconcepts
andtopicsthatareconsideredtaboo.BlackComedytakestopicsandsituationsthatare
commonlyheldasseriousandexplorestheminacomicalway.Becauseofthisapproach,Black
Comediesoftencausetheaudiencetolaughandfeeluncomfortablesimultaneously.
Examples:
Fargo,HaroldandMaude,Dr.Strangeloveor:HowILearnedtoStopWorryingand
LovetheBomb.

HorrorComedy
HorrorComedycombinescomedywithtraditionalhorrormoviethemesandcharacters.
Becauseofthesubjectmatter,HorrorComedyfilmscancrossoverintotheBlackComedy
subgenre.HorrorComedyfilmsaimtoscaretheaudience,butalsoprovidecomicaloutletsthat
lettheaudiencelaughattheirfear.

Examples:
Beetlejuice,Zombieland,ShaunoftheDead.

Dramedy
Dramedyfilmisagenrethathasadramatictone,yethasimportantelementsofcomedy.In
Dramedys,theamountofdramaandcomedyarealmostequallybalanced.Thisbalance
providescomedicrelieffortheaudience,whilestilladdressingseriousissues.
Examples:
LittleMissSunshine,TheRoyalTenenbaums,LostinTranslation.

Parody/Spoof
Parody/SpoofisasubgenreofComedyfilmthatbasesitselfinreality.Thesefilmsimpersonate,
ridicule,orscoffatserioussituationsandpeople.Thesefilmsrelyheavilyonsatireandcanbe
usedasameansofsocialorpoliticalcommentary.Parody/Spooffilmscanalsotaketheformin
afakedocumentarycalledaMockumentary.
Examples:
LifeofBrian,NakedGun,ScaryMovie.

RomanticComedy
RomanticComedyisagenrethatattemptstocatchtheviewersheartwiththecombinationof
loveandhumor.Thissubgenreislightheartedandusuallyplacesthetwoprotagonistsin
humorussituation.RomanticComedyfilmrevolvesaroundaromanticideal,suchastruelove.
Intheend,theidealtriumphsoverthesituationorobstacle,thuscreatingahappyending.
Examples:
RomanHoliday,WhenHarryMetSally,KnockedUp.

Slapstick
Slapstickcomedyisasubgenreoffilmthatincorporatesphysicalcomedyintothestory.
Slapstickusesvisualaction,suchasharmlessviolenceandhorseplay,todepicthumor.
Slapstickfilmoftenreliesoncomedictimingandacontrolledpsychicalperformanceofasingle
actororactress.
Examples:
Caddyshack,SafetyLast!,TommyBoy
.

Romance

Romancefilmcanbedefinedasagenrewhereintheplotrevolvesaroundthelovebetweentwo
protagonists.Thisgenreusuallyhasathemethatexploresanissuewithinlove,includingbut
notlimitedto:loveatfirstsight,forbiddenlove,lovetriangles,andsacrificiallove.Thetoneof
Romancefilmcanvarygreatly.Whethertheendishappyortragic,Romancefilmaimstoevoke
strongemotionsintheaudience.

RomanceFilmexamples:
SlumdogMillionaire
Knowingthegirlhelovesisafanoftheshow,anuneducatedboy

becomesacontestantontheHindiversionof
WhoWantstobeaMillionairet
owinherover.
TheNotebook
Anoldmanwhovisitsanelderlyinvalidwoman,readsalovestorytoherthat
centersaroundtwoloverstornapartbylifeevents.
LoveActually

AlookateightverydifferentlovestoriesthatarelooselyintertwinedinEngland
duringtheChristmasseason.

RomanceSubgenres:
RomanticDrama
RomanticDramafilmisagenrethatexploresthecomplexsideoflove.Theplotusuallycenters
aroundanobstaclethatispreventinglovebetweentwopeople.TheobstaclesinRomantic
Dramafilmcanrangefromafamily'sdisapproval,toforbiddenlove,toone'sownpsychological
restraints.ManyRomanticDramasendwiththeloversseparatingbecauseoftheenormityof
theobstacle,therealizationofincompatibility,orsimplybecauseoffate.
Examples:
Titanic,BreakfastatTiffany's,AnOfficerandaGentleman.

RomanticComedy
RomanticComedyisagenrethatattemptstocatchtheviewersheartwiththecombinationof
loveandhumor.Thissubgenreislightheartedandusuallyplacesthetwoprotagonistsin
humoroussituation.RomanticComedyfilmrevolvesaroundaromanticideal,suchastruelove.
Intheendtheidealtriumphsoverthesituationorobstacle.
Examples:
RomanHoliday,WhenHarryMetSally,KnockedUp.

Adventure

Adventurefilmisagenrethatrevolvesaroundtheconquestsandexplorationsofaprotagonist.
Thepurposeoftheconquestcanbetoretrieveapersonortreasure,butoftenthemainfocusis
simplythepursuitoftheunknown.Thesefilmsgenerallytakeplaceinexoticlocationsandplay
onhistoricalmyths.Adventurefilmsincorporatesuspensefulpuzzlesandintricateobstaclesthat
theprotagonistmustovercomeinordertoachievetheendgoal.

ExamplesofAdventureFilm:

PiratesoftheCaribbean
Ameekblacksmithjoinsforceswithafreespiritedpirateandhis
cursedshiptorescuehislove,thegovernorsdaughter.
IndianaJonesandtheLastCrusade
Whenhisfathergoesmissing,famedarchaeologist
IndianaJonesmustfindhimandultimatelystoptheNazisfromobtainingtheHolyGrail.
NationalTreasure
AmoderndaytreasurehunterisinaraceagainsttheFBItofindawar
chesthiddenbytheFoundingFathers.

AdventureSubgenres:
SwashbucklerFilm:
Thissubgenreischaracterizedbylavishsetsandcostumes.Swashbucklerfilmoftenincludes
periodweapons,castles,anddramaticbattles.Thestoryusuallyrevolvesaroundadamselin
distressandthecharminghero.
Examples:TheThreeMusketeers,TheMaskofZorro,RobinHood.

Action

Actionfilmisagenrewhereinphysicalactiontakesprecedenceinthestorytelling.Thefilmwill
oftenhavecontinuousmotionandactionincludingphysicalstunts,chases,fights,battles,and
races.Thestoryusuallyrevolvesaroundaherothathasagoal,butisfacingincredibleoddsto
obtainit.

ActionFilmExamples:

DieHard
ANewYorkcopgivesterroristsadoseoftheirownmedicineastheyholdhostages
inanLAofficebuilding.
RaidersoftheLostArk
Anadventuringarcheologistracesaroundtheworldto
singlehandedlypreventtheNazisfromturningtheArkoftheCovenantintoaweaponofworld
conquest.

ACTION:SubGenres
ActionComedy
Asitsnamesuggests,thissubgenrecombinesactionwithhumor.ActionComedyreliesonthe
characterstobringoutthehumor,whiletheactionscenestendtobelessintensethaninthe
traditionalactionmovie.
Examples:BeverlyHillsCop,RushHour,andHotFuzz.

DisasterFilm
ADisasterFilmisbasedaroundaplotthatincludesaseeminglyunavoidableandimpending
disaster.Thedisastercanbeeithernaturalormanmade.Manyfilmsinthissubgenrewillrely
onspecialeffects.
Examples:TheToweringInferno,Airport,andTwister.

GirlswithGuns

Thissubgenreofactionhasaleadingfemaleastheprotagonist.GirlswithGunsfilmsoften
incorporatemartialartsandgunplay.AlthoughthisgenreispopularinAnimeandHongKong
actionfilms,ithasseensuccessinEuropeandtheUnitedStatesaswell.
Examples:KillBill,LaraCroft:TombRaider,andNikita.

ActionWar
ActionWarisasubgenreofActionfilmthatincorporatesthetraditionalaspectsonanaction
filmintoastorylinethatrevolvesaroundwarorwartime.Notonlycanthesemoviescontain
stunts,battles,andahero,buttheycanalsoexplorethemoreserioustopicofwar.
Examples:ApocalypseNow,AllQuietontheWesternFront,Platoon.

StoryQuestionnaire
1.Whoisyourmaincharacter?Hero?Antihero?
2.Whyshouldwebeinterestedinthem?
3.Whatattractsyoutoyourprotagonist?Doyoulikethem?Loathethem?
4.Whydoyouneedtowriteaboutthem?
5.Whyshouldwebeexcitedaboutthem?
6.Whydoyoubelievewewillfindyourherosympathetic?Empathetic?

7.Whatmakesuscuriousaboutthem?Whatistheir"mystery"?Whatistheir"magic"?
Charisma?Howdoyoushowit?
8.Whatdoestheaudiencefindinthemaincharacter'sstorythatisrelevanttothem?Whydo
youbelievetheywillidentifywiththem?
9.Whatisthecherishedsecretdesireofyourmaincharacter?
10.Dowelaughatyourhero,feelamusedbythem,ordoweadmirethem?
11.Whatdowehopefor?
12.Whatareweafraidof?
13.Whatistheworstthingthatcould(andhopefullywill)happentoyourhero?
14.Whatisthemostfavorable,brightestmomentthattheywillexperienceinthestory?
15.Whataretheygoingtoloseiftheydon'tfindawaytoovercometheadversities?
16.Whycan'tyourcharactersgetwhattheycrave?
17.Howcanyoumaketheobstaclesinnerorexteriormoreinsurmountable?
18.Howcanyoumakethethreat,thedanger,moreexcruciating,agonizing,humiliating?Who
candothat?Whyshouldthey?
19.Whycan'tyourcharactersliveatpeacewiththeirconscience,respectthemselvesifthey
don'tgetwhattheysopassionatelywant?
20.And:whatisitthatyourcharacterswant(consciouslyandtangibly)?

21.Ontheotherhand:whatdoyourcharactersneed(ontheemotional,subconsciouslevel)?
22.Howcanyoumakethetemptationsmoreirresistibleandthestakeshigher?
23.Whatcanyoudotoeliminatetheaudience'sdisbeliefintheinitialsituationorcollision
(willingsuspensionofdisbelief)?
24.Isthereadeadline(timepressure)fortheactiontocometoaresolution?Couldtherebe?
Whocancreateit?
25.Whenandhowdoyourmaincharactersrealizethattheyareintroubleandthattheymust
extricatethemselves?
26.Whatarethealternativesyoucanimagine?Howcantheproblembesolved?
27.Butwhyisitimpossible?Whoorwhatmakesthesolutionunattainable?
28.Canthepredicamentbeevaded?Whatwouldhappenifitwere?Whomakestheevasion
impossible?
29.Canthecomplicationberidiculed,ignored,forgotten?Makesurethatitcannot!
30.Canitbesolvedpeacefullyonfriendlyterms?Whowillimpairit?
31.Whoarethesupportingcharactersyourmaincharactercanrelyupon?
32.Whoarethesupportingcharactersyourprotagonisthopestogetontheirside?
33.Whatdoesn'tyourheroanticipate,knowabout?
34.Whatdoesyourherofalselyexpectthatwon'thappen?

35.Whoarethesupportingcharacterswhoareathreat,whotrytohumiliate,stop,ridicule,or
destroyyourhero'splans?Dotheyknowaboutthesecretdesiresthatyourherocherishes?
36.Whataretheirplans?Whattacticsdotheyuse?Whatmimicry,whatsubterfuge?Howdo
theytrytomislead,misdirect,confusethemaincharacter?
37.Whataretheirhopes,desires,dreams?Whatdotheywantandneed?
38.Howdotheyrationalizetheirmoves?
39.Howcantheirstubbornness,hatred,rage,damagedselfesteem,ambitionbefueled?What
canhelpthemtofeelrighteousintheiractions?
40.Willtheaudienceunderstandwhyyourcharactersactastheydo?
41.Whendoestheaudiencegettoknowyourcharacters'particularintentions,desires,hopes,
andfears?
42.Howcanthenextstepthatyourprotagonistmakesleadtotheunexpectedresult?What's
themiscalculation?
43.Whatdidthecounterplayerdo?Howdidthecircumstanceschange?
44.Howcanthegoalbemademoredesirable?Whocandothat?
45.Whatcancreatethehesitations,doubts,orscruplesinthecharacter'smind?
46.Trytoimaginealltheplaces,locations,sitesthatyourcharactercanenterinpursuitoftheir
objectiveorevasionofthedanger.Aren'ttheresomemoreinterestingsituationsthere?More
contradictory?

47.Howcanthelocalesmakethestoryandthespecificscenesorsequencesmoredramatic,
morecomplicatedanddifficult(therefore,morerevealing)forthecharacters?
48.Makealistofpossibleeventsthatcanhappenbelievablyandplausiblyinyourchosen
environmentandalistofpossibleeventsthatwouldbeunusual,outofroutine,andorder.Do
youseewhichoneswillworkbest?
49.Whataretheemotions,conclusions,anddecisionsthatresultfromthesetback,failure,or
complication?
50.Whatemotionsdoestheinsult,mistreat,injusticeevolve?Whatdanger,whatabyss
becomesvisiblefortheviewerthattheherodoesn'tsee?
51.Whatareourexpectationsnow?Whatdowehopefor?Whatdowewishthecharacters
woulddo?Whycan'ttheydoit?
52.Whatdoesn'tthemaincharacterknow?Whatistheerror,intentionalblunder?
53.Dotheantagonistsmobilizetheirforces?Dotheysetatrap?Dotheytrytoconfusethe
maincharacter?
54.Whatarethesocialreasonsfortheiractions?Dotheycomewithaccusations?Directlies?
Dotheyoutwitthemaincharacter?How?
55.Doestheheropanic?Feelalarmed?Insecure?Horrifiedfromtherealizationofwhatcould
happen?
56.Andwhathappensthathelpstheprotagonist?Ontheotherhand,whatcanhelpthe
antagonist?
57.Whatcharacterscanactascatalyststhatcanalterandincreasethereactionsofthe
antagonistorprotagonist?

58.Whatcharacter(orcharacters)cangothroughasimilarplightandfindadifferentsolution
compromise,assimilation,rejectionetc.?
59.Whatrelationshipsbecomethreatened,brokenup,orsuddenlytransformed?
60.Whatconsequencesofthepreviousactionscanaggravatethesituation?
61.Whataretheplacesyourcharactersdon'twanttogo?Areafraidtogo?Howdoyouforce
themthere?
62.Whatistheprevailingmood/toneofthewholestory?Doestheenvironmenthaveaface,
character,andtemperament?
63.Doesthetimeperiodreflectontheenvironment?How?Whatexpressesitbesides
costumes,props,architectureandmeansoftransportationandcommunication?Howdoesit
reflectourhumanattitudes,habits,customs,socialevents,rituals,andlanguage?
64.Aretheeventssufficientlyimportantandimpressionable?Dotheyhelptoelucidatethelife
style,engagement,andinvolvementofyourprotagonist?
65.Doesthemainheroshownaivet,weakness?Disbelief?Reevaluateeverything?
66.Doyourheroregret?Recriminate?Seekconciliation?Rejecttheoriginalplans?
67.Didyouexhaustallthepossibilitiesofselfassurance,shrewdness,andforesightednessthat
yourherocanpossess?
68.Didyougiveyourantagonistsachancetoshowtheirintelligence,vigilance,andalertness?
69.Whatprecautionsdoyourcharacterstake?Dotheylookforadvice?Forhelp?

70.Whatnewplansdotheycomeupwith?Howdotheyacquirenewcourage?Whatorwho
cansuggestanewstratagemforthem?
71.Howdoesyourherostudytheadversary?Doesyourprotagonistdiscovertheweaknessof
theantagonist?Oraretheywrongintheirassumption?Whattrapcanbothsidesset?
72.Howcantheyattackeachother?Howcanyourherotesttheenemy?
73.Howdoesinnerturmoilgrowintheirminds?Howdoesitembittertheantagonism?
74.Whatdoyoufeelistherhythmofthestory?Doesthetempoofthemainactionaccelerate?
75.Whatcaninterrupt,temporarilystop,misdirect,orconfusethegrowingconflict?
76.Arethechancesforthedesiredresolutionandforthedespisedoutcomeequal?
77.Whatisthemomentthattheviewerbecomesultimatelycuriousabout?
78.Whatdoestheaudienceimpatientlyexpect?
79.Whatdoesn'ttheaudiencerealizewillhappenwhenthemomentcomes?
80.Istheresolutionbecominginevitable?Whatcouldreversethecourseoftheaction?Didthe
herotryallthepossiblewaysandmeansandfindoutwhattheyinevitablyleadto?
81.Whathopesstillremainforthemaincharacter?
82.Whatarethemostfearedconfrontationsthattheprotagonisttriesinvain,obviouslyto
avoid,postpone,deny?
83.Whatisthemosthumiliating,painfulextremityyourherowillexperience?

84.Whatisthemomentwhenyourantagonistfeelstriumphant?
85.Howcanyouincreasetheadversary'sdeterminationnottogiveup,nottoshowany
restrain,tofighttothebitterend?
86.Howcanbadorgoodtimingheightenthestakes(tooearly,toolate,speedingupthe
plans,etc...)?
87.Whendoestheherorealizetheinevitabilityoftheoutcome?Cananappealbemadetothe
antagonist'sbetternature?
88.Canthefearofshameordisgraceoflosingone'sfacebeused?
89.Howdidthecircumstanceschangetomaketheoutcomemoreweighty,impressive,
convincing?
90.Doesanybodyadmittheerrors?
91.Doesanybodyplead,begforgiveness,orconfess?
92.Isanybodywillingtogiveup?
93.Isanybodytryingtoescape?
94.Doesanybodyfeelshame,disgrace,insecurity,betrayingone'smostcherishedprinciples?
95.Doesanybodyfeelterrorstrickenofbeingexposed?
96.Istherearescueforanyoftheadversaries?Isthispossible?Forwhatprice?
97.Isthereamomentwhenaconsciencestrickencharacterrealizestheconsequencesoftheir
actions,seesthemselvestrulyandrightly,andtriestostoptheinevitable?

98.Whatisthelastthingthemaincharacterfindsoutabout?
99.Whatdoes"victory"meanafterthewholestoryisover?
100.Howshouldtheviewer/audiencefeelwhenthestoryends?

SceneQuestionnaire

Theimportanceofaskingquestionstodevelopcharacterandexplorestoryisoftenquitehelpful,
butquestionaskingshouldneverbelimitedtopeopleandplotalone.Thesceneisjustas
importantandessentialtomoviemaking.Afterall,afilmisjustabunchofscenesstrung
togethertocreateacomprehensivewhole.Thetrickistowritescenesthatareclearand
concise,whilestillengagingthereader/viewerinacreativeway.
Sogiveitatryexplorethese50questionsandbeginwritingbetterscenesbyfindinganswers
totheseessentialsceneelements.
TheBigOnes
:

1.Whatisthepurposeofthescene?
2.Isthescenerelatedtotherestofthestory?
3.Howdoesitadvancethestory?
4.Doesitrevealsomethingimportantaboutthecharacter?


OnLocation
:
5.Doyouusethelocation?
6.Whereandwhendoesthescenetakeplace?
7.Couldanothertimeorlocationservetoheightentheimpact?

OnCharacter
:
8.Doyouintroduceyourcharactersinmotion?
9.Doestheintroductiongiveaglimpseintothenatureofthecharacter?
10.Istheintroductionmemorable?
11.Areanynewcharactersintroduced?Ifso,aretheymemorable?
12.Isitclearwhosesceneitis?
13.Whatcharactersarepresentatthebeginning,whichonesenterduringthescene,andwho
isthereattheend?
14.Wherewerethecharactersbeforethescenestarted?
15.Wherearetheygoingafteritends?
16.Doesthedialoguereflectcharacter?Isitnatural?Forced?

17.Aretheirinnerlivesrevealedthroughaction,dialogue,andreaction?
18.Doallyourcharacterssoundthesame?
19.Dotheyhaveanaccent?Makethesamegrammaticalmistake?
20.Doestheirprofessioncolortheirspeech?

OnCharacterObjective
:
21.Whatdoesyourcharacterwant?
22.Isheorshemotivated?
23.Isthecharactersgoalclear?
24.Arecharacteractionsbelievable,probable,oratleastplausible?

OnConflict/Obstacles
:
25.Whatisthecentralconflictofthescene?
26.Istheconflictwithoneormultiplecharacters?
27.Withthecircumstances,withinaparticularcharacter,orboth?
28.Whataretheobstaclesfacingthecharacter?

29.Howdotheobstaclesstopthecharacterfromgettinghis/hergoal?
30.Aretheobstaclesdifficultenough?Aretheytoodifficult?

OnAction&Activity
:
31.Isthescenestatic?
32.Isthereunityofaction?
33.Aretherevisualandaudiocluesandsuggestions?
34.Areyouusingmoodandsoundtocreateafeelingforthescene?
35.Isthereanyuseofdramaticirony?
36.Doestheactioncometoastandstill?Ordoesitpropelthestoryforward?
37.Doyourcharactershavesomethingtodo?Anactivityorbusiness?
38.Oraretheyjuststandingaround,abunchoftalkingheads?
39.Aretheeventsplausible?Mustdisbeliefbesuspended?
40.Dotheseeventsobeytherulesofpreviouslysuspendeddisbelief?

OnTime&Economy
:

41.Hastimebeeneclipsedsincethelastscene?
42.Ifso,isitclearhowmuchtimehaspassed?
43.Areanyelementsofthefutureused?Shouldtheybeused?
44.Areyoustartingthesceneaslateaspossibleandgettingoutearly?
45.Doesthescenebelonginthestorybeingtold?Shouldyoukillit?

OnAudienceConnection
:
46.Doestheaudienceknowwhatmightgorightorwrongwithinthescene?
47.Dotheyhope/fear?Aretheyactivelyengaged?Orjustpassiveobservers?
48.Isthescenetoopredictable,ordoesitallowtheaudiencetoadditup?

OnScriptContinuity
:
49.Doyouhavescenesofpreparationandaftermath?
Weneedmomentswhenwearealonewiththecharacterswherewereallygettoknowthem.
Thesearethemoments,usuallybeforeorafterimportantscenesofconflictinascriptwhenwe
reallyareintheshoesofthecharacters.Wearedrawnintotheirmindset.Weknowwhatthey
arefacingorhavejustfaced,andweunderstandwhattheyarethinking.Mood,music,and
propsareoftenveryimportanttothesescenes.


OnUseofContrast
:
50.Doyourscenescontrast?
Night/Day,Int./Ext.,Action/Peaceful?Forexample,aclaustrophobicsceneinajailcellcuttoa
sceneinarowboatinthemiddleofamountainlake.Readyourscriptsceneaftersceneisa
scenetoomuchliketheonejustbeforeit?Isitanotherfourpagedialoguescene?Doesittake
placeinanothersmokefilledroom?Thinkofwaystousecontrast:otherpossibilities,places,
andscenarios.