How To Write A Short Film Script

How To Write A Short Film Script

By Dipak Chowdhury

Short scripts are a good way to cut your teeth in the world of script writing and make good practice for writing future features. The principles of writing a short script are much the same as that of writing a feature length script. If anything writing a short can be much more challenging than writing a feature as you have less time to get a clear, concise idea over to your reader or audience in a way that's entertaining.

How To Write A Short Film Script

However, with the advent of social media getting your film out there has become much easier and short films work well as potential 'calling cards'. The following article is a guide to writing a short narrative-based screenplay.

Idea:

The first thing you're going to need is an idea or premise that you can develop into a story. Your idea may be a specific scene, a snippet of dialogue or a particular place for example. Whatever your idea it is this that has motivated you to write this script and from this idea you will need to develop it (through conflict and drama) into a fully realised story that will entertain and engage your reader and potential audience.

Structure:

In order to develop your idea into a story you will need structure. Structure is the foundation of any story and usually comes in the form of a beginning, middle and end. If there is a problem with your structure there will be a problem with your story as the two go hand-in-hand and are not mutually exclusive so it is imperative you get your structure right. The following is an example of an idea developed and broken down into these three components:

Beginning:

Estranged couple invent a series of dark games to spice up their non-existent love life only to be thwarted by interruptions and apathy.

Middle:

Frustrated, the 'games' soon become reality as the couple verbally taunt each other with hurtful home-truths which escalate into a physical fight.

End:

Out of the fight some spark of passion is at last ignited and the couple end up on the floor in a passionate embrace.

Using this structure as a foundation to develop the story further we can now move on to the next step.

Plot points:

Any story is about conflict and how that conflict is resolved. Through conflict you create characters who in turn create the story. You introduce conflict by way of obstacles and it is how your characters overcome these obstacles that makes them who they are and the story what it is. Through obstacles and conflict we now expand each component step by step using plot points:

Beginning:

• A woman relaxes in front of a movie only to be thwarted by an obstacle in the form of an intruder who demands she take her clothes off.


• Exerting her control the woman orders the intruder to leave and threatens to call the police only to be thwarted by an obstacle in the form of the man overpowering her.


• Turned on by his show of power the woman succumbs to her passion only to be thwarted by an obstacle in the form of a telephone call thus revealing the game they are playing.


• The woman begins a different game only to be thwarted by an obstacle in the form of the man's lack of enthusiasm.


• The woman tries again only to be thwarted by an obstacle in the form of the man's flat refusal.

Middle:

• Appealing for help, the woman asks what he suggests they do only to be thwarted by an obstacle in the form of the man demeaning her by suggesting she make dinner.


• Retaliating, the woman attempts to humiliate the man by questioning his sexuality only to be thwarted by an obstacle in the form of him blaming her lack of sex appeal.


• Testing his love, she declares she's leaving only to be thwarted by an obstacle in the form of his apathy.

End:

• Seizing his attention by force she physically attacks him only to be thwarted by an obstacle in the form of him physically overpowering her.


• Turned on by his sudden show of action/attention she kisses him who turned on her by her show of affection/love kisses her back.


• Weary of yet another one-of-many, similar-type rituals they have to go through in order to express their feelings she half-jokingly tells him she hates him to which he replies in kind.

Through conflict we are able to plot a rough story from beginning to end and at the same time give ourselves a clearer idea about who these characters are. We are now ready to go into more detail as we move onto the next step.

Outline:

Screenwriting by its very definition is a very restricted form of writing as you are basically creating a technical document for a film crew and actors to work from. However, the outline stage of screenwriting is where you can get to let it all hang out and let your inner 'artist' roam free. There are no rules here. Using your step outline and story structure as your foundation to flesh out your story in more detail you can give your unconscious free reign to do and say what it wants in the form of a short story albeit with little to no dialogue (you want to save the best till last). Here your story is expanded and becomes more detailed. Descriptions of characters, the house they live in, the clothes they wear, who they are, where they're from, their state of mind, inner feelings - anything goes. Pour it all out. No inhibitions. Let your free flowing, stream-of-consciousness all out within the parameters of your outline until you have nothing left to say and everything that's in your head is down on paper or on your computer screen. Once your artistic spirit has been exhausted and satisfied you can move on to the next step.

Format:

Out of that morass of free-writing you can now at last edit your work down into something resembling a screenplay as you separate your prose into blocks of individual scenes. Each scene heading indicating whether the action takes place inside or outside (INT or EXT), the location

(E.G. LIVING ROOM) and time of day (DAY or NIGHT). Various formatting software are available such as Final Draft or Celtx which will automatically format your screenplay as you go along thus saving you much time in the process. The descriptive text and action should be terse, to the point and written with an idea of what the camera is going to see and how you want the film to be played to the reader/audience.

INT. LIVING ROOM - NIGHT

A beautiful WOMAN relaxes on a sofa completely entranced by an erotic movie.

Behind her a door opens slowly and a MAN silently enters the room.

Unaware, the Woman continues watching the movie as the Man quietly closes the door.

Totally engrossed in the movie, the Woman remains oblivious to the Man standing ominously behind her.

The door handle CLICKS shut.

The Woman suddenly snaps to attention as she springs round to face the intruder.

Once you have written your formatted screenplay from beginning to end, step by step, outlining each character's inner motivation you are ready for the final and arguably most fun stage.

Dialogue:

There is a reason why I save dialogue writing until the very end of the screenwriting process and that is to avoid 'on-the-nose' dialogue. 'On-the-nose' dialogue is dialogue spoken by the characters to further the story or to express how they are feeling when it is action through conflict that ought to further your story and express how your characters are feeling. It is also a lot easier to come up with convincing dialogue when you know your character's inner motivation then it is when you don't. When you are upset do you tell someone you are upset or do you cry quietly to yourself when nobody is looking? When you are angry do you verbally express your state of anger or do you storm out of the room in a fit of expletives? When in love do you tell your lover how much you love them or do you show them your love through action in the bedroom? Dialogue is your character's ammunition. It enhances the things that they do. Know your characters from the inside first through action and conflict and you will find you won't even have to come up with clever lines to put in their mouths because they'll start speaking for themselves.

Rewriting:

The rewrite and editing stage of the writing process is probably the most important stage. Having spent so much time on it you might find it hard to view your script with objective eyes. Once you've completed a draft leave your script alone and forget about it for a few days or even weeks. This is to ensure that when you return to it you can view it with objective eyes. You want your script to be as tight as possible, moving through the action from beginning to end as economically and smoothly as possible. Cut out any superfluous words in the directions or dialogue that doesn't need to be there. Less is more. If your characters can say something with one word rather than a paragraph cut it out. Be ruthless in your editing until you feel there is nothing unnecessary left to cut.

Ultimately script writing is a craft that takes years of practice and dozens of scripts to master. I don't offer this article as the definitive guide to screenwriting but merely as an example of my own personal method.

Dipak Chowdhury is a scriptwriter and producer. Click the following link to see how the above example translated to film http://www.youtube.com/watch?v=xtN1jjdq6kY

Article Source: http://EzineArticles.com/?expert=Dipak_Chowdhury
http://EzineArticles.com/?How-To-Write-A-Short-Film-Script&id=8978867

Three Act Structure : Screenplay Structure

Screenplay Structure - Three Act Structure

By John Halas

Proper screenplay structure is understood by few would-be screenwriters. Three act structure is integral to your screenwriting success. Virtually every successful movie uses the three act structure. If you are interested in writing a three act screenplay there is an easy formula to make that happen and there is still an infinite range of possibilities within the three act structure.

 

[caption id="attachment_109" align="aligncenter" width="640"] Screenplay Structure : Three Act Structure[/caption]

You are probably familiar with what a one act play looks like and if we expand that to a five act play like they do in the TV show Law & Order you will have some idea how to meet in the middle of the two. Most plays are one act, Law & Order is five. In order to write a three act play, it's not the mythical being you are afraid of. It can be done. The good thing to remember is that most every movie you have every watched is done in three acts, does that make it easier to imagine?

So what makes an act? Here are a few ideas to make the process a little easier for you.

Act One: Screenplay Structure

The first act in any screenplay is usually between 25-40 pages long. That will give you some idea of what you are working with. Every movie starts off "normal" before all hell breaks loose, normal should last for the first 10 minutes of the screenplay. The end of act two has to force the character to go into act two, this is called the "point of no return" something changes in the character during act one and he will never be the same and has to continue forward.

Act Two: Screenplay Structure

Welcome character into act two. Act two is made up of about 45 pages. The character now has to react to everything that has happened and the changes made into his world. The worst fears of the character are about to come true and then the character realizes "hey this isn't so bad" and moves forward again. "Reacting" changes into regaining control of the situation that the character is in. The end of act two is supposed to push the character to a mini climax in the story. This should be a high point for your character before act three throws the character into a tailspin.

Act Three: Screenplay Structure

Reality comes crushing down on the character as you hit the character with a huge setback. Is all lost? At this point in the story your character seems to be doomed but suddenly new information is provided that could change everything for the character. The character now races to the resolution in his journey. There is no right way to finish a screenplay, though it is usually nice to end things with a twist. Pull the rug out from under people. They love that stuff.

How would your screenplay benefit from flawless structure and vibrant characters?

CONTACT Screenwriters for Hire to write or edit your screenplay.

VISIT http://ScreenwritersForHire.Com/,

CALL/TEXT: (323) 570-HIRE / (323) 570-4473 or

EMAIL: John@ScreenwritersForHire.Com right now.

Article Source: http://EzineArticles.com/?expert=John_Halas
http://EzineArticles.com/?Screenplay-Structure---Three-Act-Structure&id=8328230

Book into a Movie : What Each Screenplay Scene Must Accomplish

Book into a Movie--What Each Screenplay Scene Must Accomplish

Author: Danek S. Kaus

The scene is the basic building block of a movie. In screenwriting, every scene must move the story forward in some way, that is, show the protagonist taking the next step toward the goal, the antagonist attempting to thwart the protagonist or reveal information. If you write a scene that doesn't do any of these things, cut it.

[caption id="attachment_178" align="aligncenter" width="650"] Book into a Movie : What Each Screenplay Scene Must Accomplish[/caption]

A scene usually takes place in one location and for a particular period of time, unless the scene dissolves to a later moment. Then it is usually considered to be another scene, even if it is still the same location.

According to who you ask, the definition of a scene may vary. Robert McKee, one of the gurus of screenwriting and author of the book 'Story,' says that a scene may take place in several locations if it is the continuation of a particular event. He gives the example of a couple arguing as they get ready for work in the bedroom, eat breakfast and drive to work. By his definition, that would all be one scene.

I believe it's best not to get too hung up on definitions, but focus on understanding the concept. A scene is a usually single event happening at one point in time that moves the story forward. But even this idea can get tricky.

Say you're writing a courtroom story. You come to the scene where the prosecutor, who is the protagonist, interrogates a defense witness. He forces her to reveal that she is the girlfriend of the bad guy and that she has been lying. That's one event.

She cries. That's a second event. The accused grabs the bailiff's pistol and shoots the judge, That's a third event. The detective who arrested the criminal shoots the bad guy in the arm. Fourth event. Reporters rush out of the courtroom. Fifth event. And so on.

Still, despite all these things that are going on, this is essentially a single event-the prosecutor questioning a witness. Information is revealed, and the DA has moved closer to his goal of putting the bad guy behind bars.

Just like the entire script, each scene must have a beginning, a middle and an end. It must be a complete unit of your screenplay.

Begin each scene at the last best possible moment. In the kitchen example above, don't waste time with a lot of set up. Don't show the wife or husband, rooting in the fridge, cracking some eggs, putting bread in the toaster, dropping the eggs in the frying pan if these actions don't move the story forward. Start the scene when the second person enters and continues the argument that started in the bedroom.

Another critical element of constructing a powerful scene is to consider, and reveal to us, what each character's attitude is at this moment. Are they happy or sad? Depressed or confident?

What does each character want? And what is his or her attitude about getting it?

Finally, who gets what they want and who doesn't? What is each character's attitude about that?

Article Source: http://www.articlesbase.com/screenplay-articles/book-into-a-movie-what-each-screenplay-scene-must-accomplish-5269914.html

About the Author

Danek S. Kaus is a produced screenwriter of an award-winning feature film. He has two movies in development and three more of his screenplays have been optioned. Check out his his screenwriting site for more articles on screenwriting. You can also request his Free Ebook screenwriting for authors

Movie Script Writing - Why It is Harder To Turn A Book Into A Movie?

Screenwriting-- Why It's Harder To Turn A Book Into A Movie Than It Is To Turn A Movie Into A Book

Author: Danek S. Kaus

One of my screenwriting Twitter followers asked me the question: Which is harder-turning a book into a screenplay or turning a screenplay into a book? Without any hesitation, I responded that it' s much more difficult to turn a book into a movie.

[caption id="attachment_173" align="aligncenter" width="500"] Movie Script Writing - Why It is Harder To Turn A Book Into A Movie?[/caption]

For one thing, you have much less room to tell the story when screenwriting. A novel can be 80,000 - 100,000 words and more, and take up hundreds of pages. A screenplay must, with very few exceptions, run 90 - 120 pages, with lots of white space on the pages. Average word count is somewhere around 20,000 - 25,000 words.

The reason for the strict page count when screenwriting is that the rule of thumb when making a movie is that one screenplay page equals one minute of screen time. It doesn't always work out that way but you still need to watch your page count.

So you can see the problem from the outset. Books have much more room to develop their themes, stories and characters. They can spend a lot of time describing a scene or a character, and delve deeply into their backstory. Although it is important to be aware of page count because of production costs and marketing, novels have less exacting word counts.

Novels can be more flexible. They allow the writer to spend time on what interests them most. Novels also allow authors to have fun with the language, to show off their poetic flair, if they want to. For many people, including me, part of the joy of reading a great novel is the writing style of some of my favorite authors.

A novel can reveal to us what a character is thinking. In screenwriting, you can only write what can be seen and heard on the screen. Sure, there are voice overs, but most directors and producers prefer not to have them unless absolutely necessary.

Screenwriting must be minimalist. Character descriptions tend to be very general, in order to allow for more casting options. Also, movie dialogue must be much shorter. Every sentence and every word must move the story forward in some way.
Novels can have multiple subplots. Most films only have one or two, if any. There's simply not enough time for them to develop in about 90 minutes.

Another reason that screenwriting is so much more difficult is that the audience only has a brief moment to absorb all they can form each scene. When people read a book, they can go back a few pages if something is not clear. You can't do that in a movie theater.
In books, words tell the story. In movies, images, along with dialogue, tell the story, but images are preeminent.

On the other hand, for the reasons listed above, and others, turning a screenplay into a novel is a much easier process. The writer can use all those ideas, characters and subplots they had to discard because of space and time limitations. They can have fun with the language and more easily reveal the thoughts, emotions and motivations of their characters. If your novel is a few thousand words above what your editor asked for, you can probably get away with it. But if a screenplay is too short or too long, it gets tossed without even being considered.

One challenge that a screenwriter may encounter when turning a screenplay into a book is that they now have to be more specific with details of locations and the visual appearance of their characters. So, although writing a novel is not easy, it is easier that writing a screenplay.

Article Source: http://www.articlesbase.com/screenplay-articles/screenwriting-why-its-harder-to-turn-a-book-into-a-movie-than-it-is-to-turn-a-movie-into-a-book-4923703.html

About the Author

Danek S. Kaus is a produced screenwriter of an award-winning feature film. He has two movies in development and three more of his scripts have been optioned. Check out his his screenwriting site for more article on screenwriting. You can also ask for his Free Ebook screenwriting for authors

Movie Script Writing - Book into a Movie : Screenplay Format

Book into a Movie -- Screenplay Format

Author: Danek S. Kaus

If you want to be successful at screenwriting, you must first learn proper screenplay format. Screenplays look very different on the page than novels do, and they have certain length requirements. If your script doesn't look right, it will get tossed without further consideration.

[caption id="attachment_168" align="aligncenter" width="700"] Movie Script Writing - Book into a Movie : Screenplay Format[/caption]

It must also be the proper length. Newbies to screenwriting often make their scripts too short or long. They need to be between 90 and 120 pages. If a script is too short or too long, it will get thrown away without further consideration.

Left hand margin should be 1.5 inches. This allows room to punch holes for brass brads that hold the script together. Right hand margin is one inch. One inch margins top and bottom.

Be sure to use only Courier or Courier New 12-point font. The reason for doing this is that movie makers use a rule-of-thumb that one page of a screenplay is equal to one page on screen time. Using different fonts would make that rule unreliable.
When you begin your script, write FADE IN: in the left-hand margin, one inch from the top of the page.

Screenplays are written in scenes, not chapters. Every scene begins with a slugline that states where and when the scene takes place. They begin with either INT. (interior) or EXT. (exterior). Next you indicate the specific location followed by a dash and the time of day.

Here is how the slugline looks:

INT. A CLASSROOM - DAY

Next, drop down two lines and describe who is in the scene and what they are doing. The first time you introduce a character in your story, their name should be ALL CAPS. After that, use traditional capitalization. For example:

ALICE WALKER, early 20's, wearing an inexpensive suit stands, at the blackboard, writing out math problems in the empty classroom.

Begin the dialogue at 2.5 inches and end it at about 6 inches. Character names in dialogue are in ALL CAPS and set at 3.5 inches.

If dialogue jumps to the next page, put (CONT\'D) below it. Begin the next page with the name of the character followed by (CONT'D) on the same line.

There are some more rules for screenwriting format, but these will get you started on the right track.

If you're really serious about a career in screenwriting, consider investing in screenwriting software. The two industry standards are Movie Magic Screenwriter and Final Draft.

Article Source: http://www.articlesbase.com/screenplay-articles/book-into-a-movie-screenplay-format-4828600.html

About the Author

Danek S. Kaus is a produced screenwriter with two films in development. Three of his screenplays have been optioned. Several author have hired him to adapt their books into movies. To learn more visit his  Screenwriting site. You can also learn about his Screenwriting Services there.

Movie Script Writing - Steps to Writing a Good Movie Script

Steps to Writing a Good Movie Script

Author:zoulkifl

Before you should think about ever becoming a good scriptwriter, there is one basic requirement that you should develop early on; that is to practice writing about whatever it is that you have in mind.  It is true that scriptwriting is one of the most fundamental tasks in making movies.  In fact, before a director could come to work or even before the cast is assembled, as story and a script should first be created and prepared respectively.  Apparently, the jobs of the director and the actors rely much on what is written in the script.  However, nobody is born a scriptwriter.  Therefore, you should not expect to be an award-winning one with your very first project.

[caption id="attachment_163" align="aligncenter" width="600"] Movie Script Writing - Steps to Writing a Good Movie Script[/caption]

The key to becoming a talented writer is practicing on a regular basis.  You may wonder how you would be able to write very often without any particular topic in mind.  That is actually the challenge.  A prolific writer does not wait for inspiration; he looks for it.  For as long as he has senses and, of course, the brain to process everything that he sees, hears, tastes, touches, and smells, he would always have something to write.  Once you feel that you can already begin trying your hand at scripts, watch plenty of movies, especially those known for good screenplay. Observe how the dialogues are made. Put your focus on the lines of the actors.

Since it is the skill in scriptwriting that you want to develop, seek inspiration as to what story you should have in mind from others.  You may even a movie already as an inspiration.  Afterwards, try to develop your own script on a scene-by-scene basis.  You may try to refer to a scene to an old movie and make your own screenplay for it.  Just like other forms of writing, a script is communication that is best appreciated by other people and not the scriptwriter himself.  Therefore, let someone read it and be open to criticisms.  Better still; ask a few friends to actually deliver the lines and find out if what you have written is not awkward when actually spoken.

Even during the reading of the script, be ready to introduce changes if these mean making the screenplay more effective and realistic.  It is actually when the script is read or delivered that you would find out if these are natural and not too formal.  Remember that main difference between writing a short story or a novel to movie script is that that latter is more conversational and natural.  Unless you are trying to make a Shakespearean film adaptation, avoid being too formal in the dialogues.

As mentioned earlier, writing a script may take years to perfect.  These are years where you actually practice a lot by writing short dialogues to scene scripts and, later, to full feature screenplays.  You can always strive to win an award for your screenplay.  However, be realistic by taking small steps towards your goal through constant practice.  Always be open to suggestions, especially if these come from those who have been in the business long enough.

Article Source: http://www.articlesbase.com/pregnancy-articles/steps-to-writing-a-good-movie-script-4961578.html

About the Author

Find out more about how to come up with a good movie script by checking on Filmmaking Mastery.

Movie Script Writing - Screenwriting Class

Screenwriting Class - Become The Backbone Of A Successful Film

Author: Adolph Paul

When we think about favorite movies, it is the rich and engaging story lines and the captivating characters that make them memorable. There are, of course, other important elements at play, such as costumes, settings or a favorite actor that is part of the film. But the core of any movie is the script, which is the vessel for the story line, the conflict, the characters and the dialogue, and details a visual translation of those ideas. Without a good script, there is no great movie! On first glance, being a movie screenwriter may seem to be an overnight way to make millions. In fact, it is a very difficult task that requires skill, endurance and some luck. If you believe you have the ability. Learn all the ins and outs of a script through Screenwriting Class or Script Writing Classes.

[caption id="attachment_160" align="aligncenter" width="500"] Movie Script Writing - Screenwriting Class[/caption]

Script writing is a skilled art, but often a forgotten ingredient in the silver screen success story. If you're looking for a different avenue through which to enter the film industry, here's a rundown of the essential components of a script and essential script writing elements. Screenwriting Class, Script Writing Classes helps to gain from reading screenplay books before he/she start his/her own masterpiece. By taking advantage of these tools that are been provided by theses Screenwriting Class, Script Writing Classes
Somebody who wants to learn screen writing will be able to have a greater chance of success in screenwriting and filmmaking with the following tips.

These classes help in:-
-How to develop ideas for your screenplay that will sell
-How to format your manuscript properly
-How to network with Hollywood so that you can get your script read
-How to market your screenplay to various parties
-History and principles of filmmaking and story design
-How to find a screenplay editor that you can trust

If you have a creative, imaginative mind and a good grasp of the written word, script writing could be a perfect career or hobby for you. There is a range of Script Writing Classes available to teach you the necessary skills and give you appropriate practice, guidance and experience before putting your ideas and work out there. An integral aspect of script writing is mastering the written word, including punctuation, spelling, proof-reading and structure. There are a number of other courses that can further develop these skills.

Anyone who is looking to make their way in the world of writing for TV and movies need to go to these Screenwriting workshops that will provide a basic platform to the young and budding script writers who are ready to join the silver screen's roll of honor.

Article Source: http://www.sooperarticles.com/art-entertainment-articles/movies-tv-articles/screenwriting-class-become-backbone-successful-film-234616.html

About Author:

Jacob Krueger offers script writing classes.

Movie Script Writing - Powerful Ways To Begin A Screenplay

Screenwriting -- Powerful Ways To Begin A Screenplay Part 2

Author:Danek S. Kaus

An interesting opening is essential for success in screenwriting.

[caption id="attachment_155" align="alignleft" width="397" class=" "] Movie Script Writing - Powerful Ways To Begin A Screenplay[/caption]

The first article on how to start your screenplay covered beginning with an action sequence, a day in the life of your main character and a 'real beginning,' such as the protagonist arriving at a new destination, starting a new aspect of their life or a new person coming into his or her life.

Here are three more great ways to open your screenplay:

MONTAGE - a montage is a series of brief scenes, often without dialogue, that indicate the passage of time or the state of affairs of something. For example, if your story is about a down and out baseball team, you could show a batter striking out, an outfielder dropping the ball, fans booing, a newspaper headline about the slump, and so on.

NARRATION - You might begin your screenplay with the protagonist or another character doing a voice over (V.O.) about the situation, how the main character arrived at this point in their life, etc. In the delightful 'A Christmas Story,' about a 10-year-old boy named Ralphie who campaigns to get a BB gun for Christmas, the adult version of the main character is the narrator, speaking in the past tense.

The narrator could also be simply a narrator, not a character in the movie. The narrator opening should be used sparingly, but it can work very well for some movies.

FORESHADOW - In some movies the opening scene is used to lay the groundwork for what is about to come. In 'The Fellowship of the Ring,' the first installment in the 'Lord of the Rings,' we learn about the creation of the Ring of Power and how it was used to control then subdue the great kings of the time, turning them into specters, forced to do the bidding of the dark lord. When humans recapture the ring but then lose it, memory of the ring and its evil powers is lost for thousands of years. Until it reappears in the hands of an unlikely hero, a hobbit.

Add these openings to your screenwriting bag of tricks, and you're well on your way to writing successful screenplays that sell.

Article Source: http://www.articlesbase.com/screenplay-articles/screenwriting-powerful-ways-to-begin-a-screenplay-part-2-4763716.html

About the Author

Danek S. Kaus is a produced screenwriter with two more movies in development, one of them based on a book. Several of his original screenplays have been optioned by movie production companies. He can adapt your book into a screenplay and also do a Professional Screenplay Analysis

Movie Script Writing - How To Begin A Screenplay?

Screenwriting For Authors -- How To Begin A Screenplay

Author:Danek S. Kaus

The first few pages of your screenplay are critical. Most execs, or Readers (people who want to become execs) will only give you about 10 pages to get them interested. That is why your screenplay must have a great beginning.

[caption id="attachment_151" align="aligncenter" width="585"] Movie Script Writing - How To Begin A Screenplay?[/caption]

Here are some of the best, time-tested screenwriting techniques to begin your story.

ACTION, ACTION, ACTION - All of the James Bond movies start with action, which might or might not be related to the main plot.

A police detective tries to arrest a pair of drug dealers. A gunfight erupts. One drug dealer is killed, the other drives off. The detective chases him in his own car, driving fast, dodging obstacles and shooting his gun. You get the picture.

A REAL BEGINNING - The hero or heroine arrives at the airport or train station in a new town. They begin their first day of work at a new company. A creepy person moves in next door. The protagonist meets someone who will be very influential - a love interest, mentor or nemesis.

A DAY IN THE LIFE - Show us the hero or heroine going about their normal routine. A single mother makes breakfast before sending the kids off to school and then going to work.

A lawyer might argue a case before a jury.

A doctor in an emergency room saves the life of a traffic accident victim. But the main plot may be about stopping a deadly epidemic. You might then choose to begin with that same doctor treating someone who has a strange, unknown disease that turns out to be related to the epidemic.

An inner-city teacher helps a disadvantaged child to learn how to read. Then we discover that she will fight an uncaring bureaucracy that wants to shut down a youth center to put in a shopping center. Or we may learn that her marriage might break up because she has given birth to a learning-disabled child.

The trick to making this opening work is not to let it get boring. Quickly give us a reason to root for the main character. Perhaps show them as an underdog in some way or introduce some conflict in their life. It can be related to the main story or not, but quickly give the reader a reason to care.

These are a few of the screenwriting techniques to get your movie off to a great start. Consider using them when you begin your next screenplay or perhaps do a rewrite on an existing one to give it a better beginning.

Article Source: http://www.articlesbase.com/screenplay-articles/screenwriting-for-authors-how-to-begin-a-screenplay-4741457.html

About the Author

Danek S. Kaus is a produced screenwriter with two more films in development, one of them based on a book. Several of his original screenplays have been optioned by movie companies. He can adapt your book into a screenplay and also do a Professional Screenplay Analysis

Screenwriting For Authors : Use Archetypes For Compelling Stories

Screenwriting For Authors -- Use Archetypes For Compelling Stories

Author:Danek S. Kaus

In your screenwriting efforts, be sure to make use of Archetypes. They are not to be confused with Stereotypes, which are one-dimensional characters we've seen in too many movies.

[caption id="attachment_139" align="aligncenter" width="500"] Screenwriting For Authors : Use Archetypes For Compelling Stories[/caption]

Archetypes represent elements of our personalities on a deep level -- the mother, father, artist, teacher, king, etc. They've appeared in countless stories for thousands of years. They reach us on a subconscious level, which is perhaps why they have endured and still have the power to touch our emotions.

The archetype can be the skeleton upon which you build a fully-fleshed three dimensional character. Some of the common archetypes in movies and literature are: the mentor, the villain, the shape-changer, the fool, the wise old man or woman and the hero, to name a few.

Avoid the temptation to turn an archetype into a stereotype by giving them only one, very obvious, characteristic. For example, the mentor is often portrayed as a wiser, older person, such as Gandolf, in the Lord of the Rings trilogy.

But a mentor archetype can also be an older sibling who teaches a brother or sister how to tie their shoes, a boss on the job, a superior officer in the police department or military, a young boy on a tropical island who teaches the newcomer where to find the best fruit trees in the jungle or the customs of his people, and so on.

You can make your archetypal character richer by mixing personality traits that can seem contrary to their main role in your story or the society they live in. Shakespeare often used a Fool character for social or historical commentary, making them wiser, on that level, than the characters who believe themselves smarter than the Fool.

The Wise Old Man or Woman archetype could have a great sense of humor and tell bawdy jokes. Perhaps he or she could be a practical joker, dispensing sage advice with some exploding cigars.

For even greater depth and increased options in telling your story, you could mix and match archetypes. One of the archetypes described by Joseph Campbell in his book The Hero with a Thousand Faces is the Herald, who brings news or information that the Hero needs.

The Herald might also offer portents of things to come. What if you mixed the Herald with a joke telling Fool? How might that affect your story? Would it make the Hero discount the information? Or still act on it, but with wariness?

The choices you make are up to you. Use Archetypes wisely and they will enrich your screenwriting.

Article Source: http://www.articlesbase.com/screenplay-articles/screenwriting-for-authors-use-archetypes-for-compelling-stories-4738764.html

About the Author

Danek S. Kaus is a produced screenwriter with two more films in development, one of which is based on a book. Several of his original screenplays  have been optioned by film companies. He can adapt your book into a screenplay and also do a Professional Screenplay Analysis

Movie Script Writing : Avoid These Screenplay Mistakes 2

Screenwriting For Authors -- Avoid These Newbie Mistakes Part 2

Author:Danek S. Kaus

Hopefully you've had a chance to read my first article on the common mistakes that authors make in their early, and often later, attempts at screenwriting to adapt their book. If not, that's okay. Each of these articles can stand alone. So let's get started.

[caption id="attachment_128" align="aligncenter" width="500"] Movie Script Writing : Avoid These Screenplay Mistakes 2[/caption]

NOT CAPITALIZING CHARACTER NAMES - The first time you introduce a character, their name should be ALL IN CAPS, such as JOHN SMITH. After that, use traditional capitalization.

OVERLY SPECIFIC CHARACTER DESCRIPTIONS - Many newbie screenwriters try to cast their movies by introducing a character as a George Clooney or Salma Hayek type. This can make casting more difficult, especially if you can't get those actors for your movie. Instead, keep character descriptions more general, such as 'athletic, early 30's.

DIRECTING THE SCRIPT - Some beginning writers include camera angles and background songs in their scripts. DO NOT DO THIS. It looks amateurish.

LONG, COMPLEX SENTENCES - Use simple sentences in your descriptive passages so the producer does not have to pause and try to extract your meaning. It's a great way to get them to toss your script and move on to the next one.

LONG DESCRIPTIVE PARAGRAPHS -- Nobody likes to read long, unbroken blocks of text, especially directors and producers. Break up the description into short paragraphs. If you secretly dream of directing, using short paragraphs can be a subtle way suggesting where new shots or angles could begin, without actually stating so, according to some screenwriting coaches.

NOT INCREASING THE TENSION - Another big mistake is keeping the same level of conflict, or lack of it, throughout the script. A screenplay should have mounting tension and increasing stakes until you reach the climax, which should be the most intense scene of the entire screenplay.

BEING TOO CHATTY -- Movie dialogue is not like real-life conversation. Lose all the empty discussion, such as saying hello, asking how someone is and what they did last night, unless it somehow reveals character and advances the story. If it does not advance the story, cut it. Every action a character performs and every word they say should move the story along in some way.

Article Source: http://www.articlesbase.com/screenplay-articles/screenwriting-for-authors-avoid-these-newbie-mistakes-part-2-4318391.html

About the Author

Danek S. Kaus is a produced screenwriter with another film in development. Several of his screenplays have been optioned by movie production companies. He can help with your screenplay or adapt your book into a movie. He also offers professional script analysis and coaching.

Movie Script Writing : Avoid These Screenplay Mistakes

Screenwriting For Authors -- Avoid These Newbie Mistakes

Author:Danek S. Kaus

Screenwriting is vastly different from writing a novel or true-story book. It is a different medium and needs to be treated as such. It is a difficult form that even few authors are able to master.

[caption id="attachment_126" align="aligncenter" width="650"] Movie Script Writing : Avoid These Screenplay Mistakes[/caption]

With this in mind, here are a few of common mistakes of new screenwriters. Hopefully, this article will help you to avoid them and make your script or book into a movie more enticing to Hollywood.

STARTING TOO LATE - Novels can and often do begin at a leisurely pace, with scene descriptions, character backgrounds, etc. Because screenplays generally run a maximum of 120 pages, much of it white space, a screenplay has to get moving sooner.

UNNECESSARY DESCRIPTION - Screenplay description is minimalist, just enough to tell the reader where we are and a general tone of the place. Leave the rest up to the director and/or art director.

STATING THE OBVIOUS - one tendency of newbie screenwriters is to have characters tell us what we just witnessed on the screen. For example, if we are watching a track meet and John crosses the finish line first, it is unnecessary and boring to have a character say 'John won the race.'

FORMAT - Screenplays follow a strict format. The first thing a producer or Hollywood Reader (whose job it is to read scripts for their bosses) does is check the format. If it\'s wrong, even a little, they throw away the script without further attention.

LENGTH - Feature Film scripts are usually 90 - 120 pages, though close to 100 is usually preferred. The reason is that one page of a screenplay is considered to translate into one minute of screen time. Industry execs will generally not read a script that is of improper length.

TOO MUCH DIALOGUE - One big newbie mistake is to write page after page of dialogue. Movies are primarily a visual medium. There should be a good balance of dialogue and physical action, favoring action. Action does not necessarily mean gun fights and car chases. It means the characters are doing something.

Article Source: http://www.articlesbase.com/screenplay-articles/screenwriting-for-authors-avoid-these-newbie-mistakes-4318381.html

About the Author

Danek S. Kaus is a produced screenwriter with another film in development. Several of his scripts have been optioned by movie production companies. He can help with your screenplay or adapt your book into a movie. He also offers professional script analysis

Movie Script Writing : Screenwriting Myths

Screenwriting Myths -- Don't Believe Them

Author:Danek S. Kaus

There are a lot of myths about the nature of screenwriting, most of them perpetuated by people with no experience with the processes of the movie-making industry. Here are a few that you can toss away.

[caption id="attachment_121" align="aligncenter" width="500"] Movie Script Writing : Screenwriting Myths[/caption]

ANYBODY CAN WRITE A SCREENPLAY. Actually, screenwriting is extremely difficult. It is a form of writing that very few people who attempt it can master, even many successful novelists.

Corollary to this myth is the idea that because there are so many bad movies out there, you can write a bad screenplay and sell it.

Bad movies can be the result of several factors, not the least of which is the fact that often different writers are brought in at various stages and the fact that directors, producers and big-time actors often have a different vision for the finished film. At other times the investors, who often have no creative sensibilities, also chip in their two cents in addition to their investment.

YOU HAVE TO KNOW SOMEONE TO BREAK IN. Like any other industry, it helps if you have insider contacts. But newcomers break into screenwriting every year. Granted, it may have taken them years to develop their craft and make connections, but it can be done.

MY SCREENPLAY WILL ROCK HOLLYWOOD. Everyone in Hollywood has read a lot of screenplays. Your screenplay would have to be beyond Oscar quality to even cause a slight ripple, let alone create excitement.

FORMAT IS NOT THAT IMPORTANT. Wrong, wrong, wrong. The first thing someone in Hollywood does when they pick up a script is look at the formatting. If it's not correct, they will immediately throw it away.

YOU SHOULD GO STRAIGHT TO THE TOP TO SELL YOUR SCRIPT. That almost never happens. Producers, directors and other players will not talk to you unless you have representation by an agent or manager.

IT'S MY SCRIPT, I SHOULD DIRECT IT. Dream on. Unless you've established yourself as a director or a producer, or as an expert in some specific aspect of film making, nobody is going to trust you to be at the helm of a multi-million dollar undertaking.

WRITERS SHOULD WRITE AND NOT BE INVOLVED IN SELLING THEIR SCRIPTS. Writers should take an active part in selling their screenplays. Screenwriting is only one part of a writer's job. It's called 'Show Business' for a reason. Writers should treat it as such.

Article Source: http://www.articlesbase.com/screenplay-articles/screenwriting-myths-dont-believe-them-4256981.html

About the Author

Danek S. Kaus is a produced screenwriter with another film in development. Several of his screenplays have been optioned by movie production companies. He can help with your screenplay or adapt your book into a movie. He also offers professional script analysis and coaching