http://screenwritinggoldmine.com/forum/ en Fri, 10 Sep 2010 04:11:37 GMT vBulletin 60 http://www.screenwritinggoldmine.com/forum/images/misc/rss.jpg http://screenwritinggoldmine.com/forum/ http://screenwritinggoldmine.com/forum/showthread.php?t=4489&goto=newpost Fri, 10 Sep 2010 01:42:37 GMT I understand when introducing characters they are capitalised in the description. However, I've noticed in scripts some writers capitalise other words. Was wondering what the rule is as far as capitalising words

Here is an example from the bourne identity script:

EXT. OCEAN -- NIGHT

The darkness is actually water. A SEARCHLIGHT arcs across
heavy ocean swells. Half-a-dozen flashlights -- weaker
beams -- racing along what we can see is the deck of an
aging FISHING TRAWLER.

FISHERMEN struggling with a gaff -- something in the water --

A HUMAN CORPSE. ]]> Basics fastback http://screenwritinggoldmine.com/forum/showthread.php?t=4489 http://screenwritinggoldmine.com/forum/showthread.php?t=4481&goto=newpost Tue, 07 Sep 2010 16:02:06 GMT hey all

let's say the protagonist meets someone on the street (this person is a stranger). they begin talking. after a couple lines the stranger gives her name (let's say her name is Jane). how do i label Jane in the dialogue? from the get-go do i label her Jane? or do i label her woman? or stranger? and then what happens after she gives her name? do i switch to labeling her as Jane?

thanks for the help. ]]> Basics isangmahal http://screenwritinggoldmine.com/forum/showthread.php?t=4481 http://screenwritinggoldmine.com/forum/showthread.php?t=4471&goto=newpost Mon, 06 Sep 2010 03:02:45 GMT I have literally just started writing the first draft of my script from the synopsis. What is the correct way to describe characters? Should it be... I have literally just started writing the first draft of my script from the synopsis.
What is the correct way to describe characters?
Should it be as they appear or should there be a separate list in detail about them? ]]> Basics laurencewins http://screenwritinggoldmine.com/forum/showthread.php?t=4471 http://screenwritinggoldmine.com/forum/showthread.php?t=4466&goto=newpost Sat, 04 Sep 2010 03:46:20 GMT Hi Everyone,
I was wondering what to do when a new page separates a character's name from his/her dialogue. Also, what do I do when dialogue continues onto a new page?

Thanks! ]]> Basics Jayathan http://screenwritinggoldmine.com/forum/showthread.php?t=4466 http://screenwritinggoldmine.com/forum/showthread.php?t=4456&goto=newpost Wed, 01 Sep 2010 21:48:20 GMT I have been working on two scripts and after one that i wrote came up short, 50 pages short, i wanted to lengthen it. The other is incomplete right... I have been working on two scripts and after one that i wrote came up short, 50 pages short, i wanted to lengthen it. The other is incomplete right now, its about 20-30 pages long.

I had an idea about combining the two together, because the way im taking them, it would work out very well. What my question is though, would it work to bring in a whole new story 40minutes into the movie.

Like, the way it all works out is one character has all this stuff happen, then he gets sent away. Then the other character would come in, and has stuff happen to him, and he gets sent away. The only difference is, the first character has a whole series of events going on, while the other has all of the events happen very quick.

Do you think this would work? Or do you think it would just end up dragging out the story or confusing the readers/viewers. ]]> Basics gohanz7 http://screenwritinggoldmine.com/forum/showthread.php?t=4456 http://screenwritinggoldmine.com/forum/showthread.php?t=4455&goto=newpost Wed, 01 Sep 2010 20:59:10 GMT I'm writing a romance feature that I envision as being rather heavy in the descriptive text area and kind of light in dialog. I've seen a lot of posts that address a similar question but primarily as it relates to action. Though it could be said that all descriptive text IS action, and I would have to agree that mine is too, I would also add that what I'm trying to capture is more "sense" related. One of my characters is blind. I want to heighten sounds and touches and tastes, etc. So there won't be a lot of "action" action.

I'd like to approach this in a manner that doesn't step on toes or close doors. I've had the darndest time trying to think of films that are similar to what I have in mind so that I could, perhaps, read the script/s and see how it was handled there. Certain scenes from "9 1/2 Weeks" comes to mind but it still doesn't capture what I'm trying to do.

Any suggestions?

Many thanks!

Kat ]]> Basics KathyInKY http://screenwritinggoldmine.com/forum/showthread.php?t=4455 http://screenwritinggoldmine.com/forum/showthread.php?t=4437&goto=newpost Sun, 29 Aug 2010 01:19:47 GMT Combine short sentences

A: My back is killing me.
B: What did you do to yourself?
A: Jumped off a roof.
B: Extreme sports aren't for you.



A: My back is killing me, just jumped off a roof.
B: You should stop that and definitely not do something even more ridiculous.

Usually every 4-5 sentences I am able to do this. On the second page of one scene 20 lines went down to 12.

My script went down from 120 to 115 and Im just at page 31. This was even after doing initial sweep and dropping 6 pages.

This is without taking out ones that hurt a little bit, I've record page number if I need to.

Also rearranges sentences can allow you to take out junk like, They, us, when in many cases. (no clue what those words are officially called, don't care as many are gone)

Its great to be able to do that without taking out stuff you love. ]]> Basics SuperFly47 http://screenwritinggoldmine.com/forum/showthread.php?t=4437 http://screenwritinggoldmine.com/forum/showthread.php?t=4424&goto=newpost Wed, 25 Aug 2010 15:01:37 GMT This is a very basic question but when writing action lines in a script what is it correct to have two seperate characters performing something... This is a very basic question but when writing action lines in a script what is it correct to have two seperate characters performing something within one paragraph, ie.

MARY walks. JOHN skips.

or should they be split into two separate paras.

And if a character is performing many actions is this allowable;

MARY walks. She begins to skip. She takes out a rope from her pocket.

Or should each action be in a separate paragraph?
Thanks ]]> Basics BazG http://screenwritinggoldmine.com/forum/showthread.php?t=4424 http://screenwritinggoldmine.com/forum/showthread.php?t=4422&goto=newpost Wed, 25 Aug 2010 10:37:10 GMT Hey guys
I'm writing a short, about 15 mins, were all of the action takes place on more or less the same spot. The story takes place in the dessert at the roadside where the protagonist has her car parked, however, i am not sure when to make a new scene except of course when she is in and out of her car.
If for instance the protagonist is going out of her car or going to it would you then write EXT. NEAR CAR, EVENING or simply just let the scene shifts be between inside her car or out in the dessert.

Thanks a lot ]]> Basics Kasper http://screenwritinggoldmine.com/forum/showthread.php?t=4422 http://screenwritinggoldmine.com/forum/showthread.php?t=4420&goto=newpost Tue, 24 Aug 2010 23:56:23 GMT I'm writing a short film script at the moment and I wondered what the protocol was around writing a characters' dialogue in a second language (in this case Arabic).

So, just to clarify, the script is in English. An Arab employee in this firm speaks in English at work, but when he returns to his family at night, he speaks in his native tongue. ]]> Basics Chris Butler http://screenwritinggoldmine.com/forum/showthread.php?t=4420 http://screenwritinggoldmine.com/forum/showthread.php?t=4419&goto=newpost Tue, 24 Aug 2010 22:46:09 GMT Just wondering how you guys and girls have dealt with this struggle. Your script just won’t go below 126. It’s a blockbuster epic. Do you: ... Just wondering how you guys and girls have dealt with this struggle. Your script just won’t go below 126. It’s a blockbuster epic. Do you:

Leave it at 126 with the correct 1.5” and 7.5” margins, or;
Cheat the margins to 1.25” and 7.7” to get it to appear to be 120 pages?

Which would seem most professional/least amateurish? I say this based on the professionals such as James Cameron and Christopher Nolan bringing out hit screenplays they couldn’t get below 180 pages. Of course, we’re not quite them, but a great film sometimes needs a great (big) script.

Thanks for your thoughts on this quandary! ]]> Basics screenright http://screenwritinggoldmine.com/forum/showthread.php?t=4419 http://screenwritinggoldmine.com/forum/showthread.php?t=4416&goto=newpost Mon, 23 Aug 2010 15:59:59 GMT I remember reading somewhere its where the plot can be summed up in a sentence or two or where the title of the film reveals exactly what your going... I remember reading somewhere its where the plot can be summed up in a sentence or two or where the title of the film reveals exactly what your going to see, for instance, Armageddon, eight legged freaks, Jurassic park all of which you know what your going to see before you see it. Titles like these make millions/billions of dollars hence i'm guessing the "High" before the concept is its potential to earn. If people know what their seeing from the off then surely the percentage of dissapointment would be extremly low, so's giving that movie a great review through word of mouth etc....

I also read that for a movie to qualify as High Concept, the plot is way above character which makes sense to the aforementioned films.

Am I on the right track here?

I could google it, but I'd much rather hear it from this forum.

Maybe you could list films that you believe are High Concept so I can get a better prospective.

Cheers

Charles

P.S, is there a spell checker the text area? ]]> Basics Charles http://screenwritinggoldmine.com/forum/showthread.php?t=4416 http://screenwritinggoldmine.com/forum/showthread.php?t=4414&goto=newpost Mon, 23 Aug 2010 14:57:26 GMT I'm sure it has been asked before but;

I am struggling to generate ideas about what to write about, I started writing maybe 2 years ago and had lots of ideas but in honesty was too lazy to do anything about it.

Now I have the fire in me to write and really want to but ideas aren't jumping up at me like they used to.

So my question is, How do YOU come up with ideas for your scripts?

Thanks ]]> Basics Rikib004 http://screenwritinggoldmine.com/forum/showthread.php?t=4414 http://screenwritinggoldmine.com/forum/showthread.php?t=4412&goto=newpost Mon, 23 Aug 2010 09:06:11 GMT I am practically finished by first sript. WOO!

I am very happy with it and can't see myself dong an sigificant changes in re-writes.

If I register it with library of congress and WGA, can I do more rewrites after?

The ideal plan is to do one rewrite myself, register it and then show it to trusted friends to see if I missed something and my mom to review spelling, grammar. ]]> Basics SuperFly47 http://screenwritinggoldmine.com/forum/showthread.php?t=4412 http://screenwritinggoldmine.com/forum/showthread.php?t=4407&goto=newpost Sat, 21 Aug 2010 19:07:17 GMT The Chinese have a well known system of physical self defense known to the world as Kung Fu or Gong Fu, depending on who you ask. Within this system... The Chinese have a well known system of physical self defense known to the world as Kung Fu or Gong Fu, depending on who you ask. Within this system are internal and external styles known as the "soft" or internal and the "hard" or external.

The flow of the internal style allows the practitioner to adapt to the actions of his "oponent" in such a way that the "oponent" essentially defeats himself through a series of over zealous actions. Thus the internal style, while effective and potentially damaging, remains reactionary and defensive rather than active and offensive.

The flow of the external is the opposite, attacking the strengths rather than the weaknesses of the opponent. For example, an opponent strikes with a punch. The Kung Fu practitioner has the option to defend himself (internal), or in the case of external, attack the incoming punch.

How does one attack a punch coming at one's head?

Simple, don't block it. Strike it. And strike it hard in a vulnerable area of the arm effectively giving the opponent a "charlie horse" and as a result, eliminating one of your opponents attacking forces. Such as capturing a knight or a bishop in the game of Chess.

The two "flows", internal and external work together to form an effective style of self defense.

The Kung Fu practitioner trains for years, his whole life in some cases, without ever mastering all there is to know in regards to the particular style he has chosen. These years are refered to as "Time" and the training, "Effort".

Kung Fu literally translates to "Time and Effort".

Writing is a lot like Kung Fu, and in more ways than the above obvious translation. Yes, writing requires time and effort, but how equally divided are those parts, and when the parts are added for a sum, is the sum equal to it's parts?

And how can one be sure those parts are the correct parts?

One who desires to become a writer and one who is a writer are essentially the same thing, assuming they both write. Whether or not one of them makes a living writing is of no consequence. A writer writes.

This is Time. A writer, or an aspiring writer both must sit down and write. A writer writes from the heart, his story slowly taking shape over the course of a few, or many, pages. He tells the tale of people, places and things, without a care in the world other than this, what is coming out of him.

Time is internal. A reactionary style of writing that allows the writer the freedom of the cosmos, an imagination without limit, flowing from the center of his being.

This is effort. The action of perfecting the technique, and doing so in such a way that any and all flaws are completely eliminated. Leaving one with only the most refined and intelligable story. Otherwise know as proof reading and editing. But it does go deeper than that, as people, places and things change, sometimes so can theme or premise.

So how does a Kung Fu practitioner refine his skills? After all, self defense is a dangerous business, one could be killed if things go awry.

Sparring.

You heard me. A Kung Fu practitioner spars with partners, sharpening his skills on another warrior in much the same way a knife sharpens against a stone.

Several members of this forum have asked for "feedback" on scenes and even entire feature length scripts. This is sparring. A writer sharpens on another writer.

What is writing?

Time and effort.

Dread ]]> Basics Dreadmoc http://screenwritinggoldmine.com/forum/showthread.php?t=4407