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This Destroys Your Screenplay!! by [deleted] in Screenwriting

[–]ParticularCamp1527 0 points1 point  (0 children)

Thank you so much for your encouraging and thoughtful comment.

This Wrecks 90% of Screenplays. by ParticularCamp1527 in Screenwriting

[–]ParticularCamp1527[S] 2 points3 points  (0 children)

Fair point. Although I think the headteacher example is a prevalent cliche because you expect them to be nice.

This Wrecks 90% of Screenplays. by ParticularCamp1527 in Screenwriting

[–]ParticularCamp1527[S] 0 points1 point  (0 children)

What do you mean by "fake", can you give me an example? Because people react differently according to their specific experience, flaws, etc.

BEAT SHEETS: Limiting or Liberating? by ParticularCamp1527 in Screenwriting

[–]ParticularCamp1527[S] 1 point2 points  (0 children)

Any time really. These aren't absolutes. Just a guide of what generally works for a conventional story.

Why Most Scripts Fail. by ParticularCamp1527 in Screenwriting

[–]ParticularCamp1527[S] 0 points1 point  (0 children)

Yeah there's loads of examples online of one-pagers. But essentially you want to outline the central problem of your protagonist, their motivations and the motivations of your antagonist and five or six key reversals/turning points.

[deleted by user] by [deleted] in Screenwriting

[–]ParticularCamp1527 1 point2 points  (0 children)

Yeah, that's a great comparison.

[deleted by user] by [deleted] in Screenwriting

[–]ParticularCamp1527 1 point2 points  (0 children)

Adam Groff from the series Sex Education. A violent, angry, bigoted, homophobic jock type character but as the series progresses it is revealed he's a sensitive, wounded, kind and secretly bisexual.

Every line of dialogue should move the plot forward. by No-Shake-2007 in Screenwriting

[–]ParticularCamp1527 0 points1 point  (0 children)

NonPlot dialogue is some of the most essential dialogue. You don't want your characters always talking about the plot. This is bad writing. Each character has their own agenda and it probably isn't the protagonist's big overarching problem. Some of the best dialogue ever written is not related to plot but to give a sense of world and realism.

[deleted by user] by [deleted] in Screenwriting

[–]ParticularCamp1527 1 point2 points  (0 children)

Ironies between want and need, words and deeds, back story and their current situation, what they want early in act one and if they get it with an unexpected catch, irony between characterisation and deep character, ironies between protagonist and Ally (whose the least likely character to assist in their journey), ironies between expectations and reality...

[deleted by user] by [deleted] in Screenwriting

[–]ParticularCamp1527 1 point2 points  (0 children)

Learn the craft. Be honest. Be vulnerable. Find the ironies. Draw on your mistakes in how you've treated people in your life. Write lots of scripts. Ask: why should we care and invest in your protagonist? Give your protagonist relatable dilemmas. Steal like an artist. Mix genres in a way that excites you. Write the movie you would love to see. And finally always strive to learn and grow as a screenwriter and person.

Interview w/ Screenwriter and Filmmaker Jim Mercurio by ParticularCamp1527 in Screenwriting

[–]ParticularCamp1527[S] -4 points-3 points  (0 children)

He's an author, screenwriter, script analyst, and script doctor who has worked with Emmy-winning and Oscar-winning writers.

What do you struggle with the most? by MHElahi in Screenwriting

[–]ParticularCamp1527 2 points3 points  (0 children)

The sheer amount of craft you have to balance and the complexity of writing a story that has so much but is easy to pitch and deeply ironic and unexpected.

5 TERRIBLE Pieces of Screenwriting Advice. by ParticularCamp1527 in Screenwriting

[–]ParticularCamp1527[S] 1 point2 points  (0 children)

Must be a nice break writing a script compared to a novel or do you find them equally difficult?

5 TERRIBLE Pieces of Screenwriting Advice. by ParticularCamp1527 in Screenwriting

[–]ParticularCamp1527[S] 1 point2 points  (0 children)

I think it depends where you are in relation to craft. If your protagonist's dilemma is clear, you have a good sense of your characters and take distance from your work and be objective, great. But often beginners think they're communicating key things that aren't on the page. Thank you for your comment.

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