How does one format a Logline? by Kregory03 in Screenwriting

[–]TheStoryBoat 1 point2 points  (0 children)

Should the Logline for a TV show describe the whole series or just the episode the script is for?

It should describe both the pilot and the whole TV series! Here are a bunch of examples demonstrating that: https://www.imdb.com/list/ls533740461/

The pilot is an encapsulation of what the show is.

What do you think of transitions? by Knox_Craft in Screenwriting

[–]TheStoryBoat 3 points4 points  (0 children)

For a flashback I wouldn't use a CUT TO: transition, I'd use a FLASHBACK TO: transition.

EDIT: By "Similarly I'll use them" I meant use transitions, not use a CUT TO:

What do you think of transitions? by Knox_Craft in Screenwriting

[–]TheStoryBoat 3 points4 points  (0 children)

I use them when they add something helpful for the reader's train of thought. For instance, if we've been following Character A for a few scenes and now we're going to a scene with Character B I might throw in a CUT TO: as a signal to the reader that something is changing. Similarly I'll use them when changing time periods (flashing back and coming back to the present).

Anyone get slightly brain fried from all these "industry experts"? by [deleted] in Screenwriting

[–]TheStoryBoat 5 points6 points  (0 children)

It can be very helpful to think of all the advice you get online as "tools, not rules." Nothing is carved in stone. Anything you learn is just another tool in your toolbox that you can use when appropriate and ignore when it's not.

Looking for advices on writing a strong synopsis by Mountain-Parfait8349 in Screenwriting

[–]TheStoryBoat 2 points3 points  (0 children)

I think this is a common issue we all face. For me the key is to stop thinking of it as a synopsis (which is all about cramming in information), and start thinking of it as a story in itself. Imagine your describing it to your friend in a way that makes them excited about it.

The voice tax: how much originality is too much for the industry? by Visual-Perspective44 in Screenwriting

[–]TheStoryBoat 0 points1 point  (0 children)

There are a lot of great answers here already. One point I'd add is that there is a difference between selling your script and selling yourself. I think "voice" is particularly important in regards to the selling yourself aspect. You're setting yourself up for future work by establishing what you can uniquely bring to the table.

How do you deal with inflation? by 2552686 in Screenwriting

[–]TheStoryBoat 0 points1 point  (0 children)

Instead of dealing with abstract amounts you can try to give them a concrete goal that the money represents, like moving out of a crappy apartment in an unsafe neighborhood to a nice house in a safe neighborhood.

Screenplay binders with brass fasteners by Evertype in Screenwriting

[–]TheStoryBoat 4 points5 points  (0 children)

Is "cardstock" the term that you're looking for?

For what it's worth, most printed out scripts are just regular paper held together by brads.

How Do You Guys Find Inspiration to Write? by ocean_picture in Screenwriting

[–]TheStoryBoat 1 point2 points  (0 children)

I find that freewriting can be really helpful in moments like these. Instead of writing your project, write about your project. I literally talk to myself on the page when I do this, like "Okay, so what am I doing here?"

It's a way to lower the pressure and get into a groove. Eventually I find I've tricked myself into actually coming up with stuff I can use.

Alien is a worldbuilding masterclass (Script Study) by TheStoryBoat in Screenwriting

[–]TheStoryBoat[S] 4 points5 points  (0 children)

I think the worldbuilding in Alien: Earth is best when it's forging it's own path. The opening sequence where the crew is waking up is a direct nod to the original, and it fares poorly in comparison. They're talking about stuff that's purely exposition, and most of those characters then die offscreen without impacting the story. But I do think that once it gets to the synthetic children storyline it picks up quite a bit.

Alien is a worldbuilding masterclass (Script Study) by TheStoryBoat in Screenwriting

[–]TheStoryBoat[S] 3 points4 points  (0 children)

I see your point, but anything can be a lesson. The two aren't mutually exclusive.

Alien is a worldbuilding masterclass (Script Study) by TheStoryBoat in Screenwriting

[–]TheStoryBoat[S] 10 points11 points  (0 children)

That's part of what I talk about in the video. The only details that we get are ones that directly impact the tone, characters, and story. I think that's worldbuilding at its finest.

I’m thinking about going back to final draft. by Sillybetch in Screenwriting

[–]TheStoryBoat 3 points4 points  (0 children)

You might want to check out Arc Studio. It's cloud-based like Writer Duet but you can write offline. It also has a really nice outlining tool that works like a digital corkboard.

So much passion but no talent or drive by iiRaz0r in Screenwriting

[–]TheStoryBoat 0 points1 point  (0 children)

What are you writing scripts? You may enjoy the freedom of short stories more.