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How Is Script Writing Done?

Dec 4th 2019 at 1:28 AM

Every movie or TV series begins with an Idea of TV Writer and Book Editor. Whether it is an original idea or a book, you want to adapt to the screen.

You have an idea. Maybe it’s vague or general, and perhaps you’re not sure if it’s any good – but it’s a beginning.

A screenwriter writes your idea on a piece of paper or your laptop. It doesn’t matter. No one will see it but you. Jot it down shortly, whatever and however; it comes to mind. No judging. Get it out of your head; it doesn’t need to be more than a few sentences. Write it down and move on to.

Think of your hero in this world. How does he behave? What does he know and what doesn’t he know? What is his past story, what are his wants and needs, and what are the obstacles that stand in his way?

Character is important

You got your world, and now you need characters to roam the world and get in trouble screenplay help. To do that, you need to ask

● Who is the main character?

● What does the character want?

● What prevents her from getting it?

The answers to these questions form a compass. They will guide you on how to build the plot and what obstacles to put in your character’s way. Another benefit of answering these questions is you’ll know what choices and decisions your style will make when facing a dilemma. These answers will change more than once during the work on the script, and that’s fine. It’s more than beautiful; it’s the way it should be.

Even if a screenplay writer writes a TV series or a movie that has more than one main character (which happens, especially on TV), I suggest that at this stage of the process, you focus on one aspect. After you’ve defined who the main character is and what she wants and why she has trouble getting it, repeat the process for the other characters as well. Or at least for another 3-4 aspects.

Pre Writing

Perform the Pre-write treaty, and you will conserve your time and fill less dishearten. Therefore, you will have a better chance of not quitting and finishing your script. That is how important this step is, and that is why I made you an exclusive freebie –“From idea to structure“.

It’s a 5-day mini-course, in which you’ll learn how to:

● Identify and design your main character.

● Build the main conflict.

● Structure of the main story points.

● It is a simple and efficient process to start a new project. It’s a process I have successfully used and taught for many years.

Building of Words

The world-building is especially crucial for a scriptwriter to write for films and TV series that take place in worlds that are different from ours (such as a Game of Thrones, The Handmaid’s Tale, etc.).

The world-building is an easy and fun process, so take as much time as you want and have fun with it. Formulate some actual impression and imaginativeness into designing your world, and I assure you, your script will benefit from it.

How is word building done?

Imagine a world in which you want your story to take place.

Picture it as vividly and with as many details as you can.

For example, what kind of technology is available in your world? Is it more advanced than our technology? How do people communicate with each other? Phone? Letters? Crows? Telepathy?

How are nature and the climate there? And how does that affect the politics, economics, and architecture?

Is it a religious place? If so, what religion? Is it a theology we understand or a ritual you established?

What is the history of the world? Clothes? Food? Anything you can think of.

Writing

Synopsis.

A Synopsis is the essence of the story, told in the order the audience would be watching it.

The overview should have all the crucial conspiracy points.

● Beginning – Everything from the moment the film/episode starts and up to the inciting incident.

● It is an inciting incident – An event that sets the story in motion. The inciting episode HAS to have a significant effect on the hero.

● First turning point – The hero starts the journey and deals with the new situation caused by the inciting incident.

● Call to action – The hero’s goal gets more specific.

● Point of no return – At the midpoint of the story, the hero will have to risk everything.

● All is lost – Complications and great danger. The hero will have to rise to the occasion and find new inner strength.

● Second turning point – Change in direction. Stakes are higher. The hero has one last shot at redemption.

● Climax – The goal is met; the problem is resolved actively by the hero. The fighter achieves or ceases to function irreversibly. (In a TV episode, that may not be the case).

● The end – The film/episode ends.

Dialogue

Good dialogue, in my opinion, is a dialogue that sounds authentic for the world and the character.

Tips for writing good dialogue:

● Choose a uniqueness to each character. Be subtle.

● Say the dialogue aloud. Hear if it sounds natural. If it doesn’t, change it.

● If you feel you’ve heard it before, take it out. Check this list of the most overused sentences in films. It’s hilarious and a right wake-up call to all screenwriters.

● DON’T let the character say the subtext – the subtext is the true meaning of what we say. In real life, people usually do not say what they want to speak directly.

● Most times, the first draft is full of subtext, and you can quickly fix it in later drafts.

About the Author

General Background

Professional Screenwriter since 1995. Professional Screenplay Ghostwriter since 2007. Experienced in Comedy, Family, Adventure, Suspense, Drama and Spiritual films. Specialize in Story and Character Development for feature film screenplays and new TV Series.

Suzanne has written over fifty screenplays, including scripts that have been optioned, produced and/or in development. She has previously lived in Los Angeles and New York City and is currently residing in the Boston area where she is originally from. She offers screenplay ghostwriting and TV writing services to a vast array of clients, including helping clients to write and develop new screenplays and TV shows.

Education

Columbia University, Graduate School of Arts, NYC Film Division – MFA in Screenwriting Graduated with Honors (3-year program)

 

Hampshire College, Amherst, MA – BA in Narrative Film, Screenwriting & Playwriting.


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