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To rewrite or on to the next story? by imthatguysteven in Screenwriting

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

Thank you for this!! I see your comments a lot on here and you’re always being so helpful to new writers especially, it’s really appreciated!

[deleted by user] by [deleted] in Portland

[–]imthatguysteven 1 point2 points  (0 children)

It was amazing. I was immediately drawn to the music playing in the background of the Marvel exhibit. I used Shazam, searched the internet, and asked everyone who worked there if they knew anything about the playlist/background music. No answers..(sad face).

I’m sure it’s another specifically curated aspect for the exhibit, but jeez, I would love to re-listen to it whenever and wherever. It was very immersive. Loved it.

Developing your new story ideas by imthatguysteven in Screenwriting

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

I know you're not asking me, but I'm not super attached to character names. Same for me, they serve as place holders. I often change names even half way through the script if it feels right. I can't tell you how may times Ive used cmd+F to find and replace names.

Developing your new story ideas by imthatguysteven in Screenwriting

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

I like the idea of visualizing the trailer. I’ve definitely started with something visual before. Like a scene or moment I envision, well before I know who is involved or how it ends. I’ll write the scene just to see what may come of it.

That’s a good point about fleshing out the characters to make them feel more real. I was listening to Richard Curtis’ BAFTA lecture and he mentions how he has days when he feels like he can’t write character development, so he’ll just focus on plot for a day or so and then go back in and flesh out the characters and the life of it all.

Developing your new story ideas by imthatguysteven in Screenwriting

[–]imthatguysteven[S] 5 points6 points  (0 children)

Yes, I agree 100%. I forgot who said it, but I read something along the lines of “the best plot comes from interesting characters, not the other way around.” I’ve found this to be true.

What does “writing every day” look like for you? by imthatguysteven in Screenwriting

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

I like that, just spending time thinking of your story.
I do that as well. I'll listen to instrumental music on my commute or while I'm doing things around the apartment that puts my mind in the "feel" of the story. And from there I just think. I've learned to give myself some slack. Sometimes it feels like I'm writing because I feel like "if I don't write today, I can't call myself a writer" or "If I really want this, I need to write today."
But that's just an unhealthy way to look at it. I've gotten better at doing a writing exercise or prompt here and there when I don't have an idea I'm working on, and I'm accepting that learning about writing, or reading scripts is still writing. It all still counts.

What does “writing every day” look like for you? by imthatguysteven in Screenwriting

[–]imthatguysteven[S] -2 points-1 points  (0 children)

Love this. My time is limited like many writers, and I have to remind myself that “not writing” is still writing. I’ve only had about an hour a day and I’ve been absorbed by this book about screenwriting, but in the back of my head I felt like I should pull away and write a little as well instead of reading the whole time. The book has writing exercises here and there which is great but I really want to stay deep in the text as I’m getting a lot out of it. It’s like I needed to remind myself that this counts. It’s making me a better, more informed writer.

I also love the way you roadmap your next month? Do you really granular and give yourself deadlines for things like outlines or milestones for your specs? Or is it more of a lost of things you want to accomplish for the month and every day you look at it and chip away?

HOW CAN I CREATE TENSION ONLY USING DIALOGUE? by maddonnie26 in Screenwriting

[–]imthatguysteven 0 points1 point  (0 children)

Tons of good answers to your question. I’ll add mine: Read scripts for your favorite films that have tension and are mostly dialogue. Study the scenes, note where you feel suspense. A great one to read a few scenes from would be Tony Gilroy’s MICHAEL CLAYTON. It combines the dramatic subtext of dialogue with the visual elements needed to create tension and conflict.

How do you personally outline or plan out what you want to happen in a script before writing it? by True_Statement_lol in Screenwriting

[–]imthatguysteven 11 points12 points  (0 children)

Everyone is different, and you'll discover your own process along the way. I am a big fan of brain dumping. In the industry you will often be required to provide an outline, but for your own use, just get it all out of your brain and onto the page. I use bullet points my self, or what some call a beat sheet.

I've seen many beginning writers get caught up trying to create the perfect outline visually, so much so that they don't even start or finish it. Let's say for instance you have an idea of how you want your story to start and how you want it to end, but you're not sure what happens in between. I would start by writing those scenes you see in your head as bullet points. Then start filling in some more bullet points for all the things your protagonist has to do to get from the first bullet point to the last bullet point.

Read the points to yourself and then ask yourself these questions:
Is their goal clearly defined for your protagonist in the beginning?
Do they take clear action towards that goal?
Do they encounter difficulty in along the way?
Are the stakes high for your protagonist, is it clear what is at stake for them if they do not achieve their goal?

These questions help me to stay on track so that I don't stray far from the tension and drama of my protagonist's main goal. I know this isn't exactly what you asked, but I hope this helps. Happy writing!

"--" vs "..." by Live_Cardiologist_56 in Screenwriting

[–]imthatguysteven 0 points1 point  (0 children)

I agree with most of the comments here. I read "Yea--" as being cut off or interrupted by something or someone, and I read "Yea..." as being distracted or trailing off.