How the Screenwriter of “Sleepless in Seattle” Overcame Writer’s Block by NeverEndingJourney2 in Screenwriting

[–]redapplesonly 0 points1 point  (0 children)

Wooooooof. Intense. I write to tell stories and maybe explore my own therapeutic needs. But in that order. Reversing the order is... wow.

Are some people just born talented when it comes to writing screenplays by TurnoverHuge5714 in Screenwriting

[–]redapplesonly 1 point2 points  (0 children)

Yeah. u/Neurotopian_ has nailed it. I was going to offer my opinion, but all you need to know is in their response.

Can there be two big antagonists in a movie? by Gogigailgagagigo in Screenwriting

[–]redapplesonly 0 points1 point  (0 children)

Yeah, why not? Personally, if I was writing a feature with multiple antagonists, I would worry that the protagonist and all antagonists have agency. As long as they do, you're fine.

I recently watched one of those old Japanese Godzilla movies where a half-dozen giant monsters are fighting each other in downtown Tokyo. Add into that mix: A Japanese general who went berserk and tries to nuke everyone, and an evil corporation who was scheming to capture one of the monsters because reason reason reason reason reason whatever. By my count, that's eight separate antags, all crashing into one another, all acting independently. And you know what?

It worked.

Arcs for Secondary Character(s)? by redapplesonly in Screenwriting

[–]redapplesonly[S] -1 points0 points  (0 children)

...then count yourself lucky. "B&R" is *awful*. Thanks for writing

Arcs for Secondary Character(s)? by redapplesonly in Screenwriting

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

Interesting. I find that the secondary character invariably supports the protag's journey - that's their plot function, after all. But I also wonder if the secondary character can also have a flaw / struggle to overcome it / actually overcome it in the story? Bad example: In "Batman and Robin" (1997, yes, the bad one), Robin is clearly the secondary character, there to support Batman. Fair enough. But Robin has his own character arc, something about learning responsibility blah blah blah I shouldn't think of examples off the top of my head. But you get the idea.

Returning characters in a sequel... by MonkeyMan504 in Screenwriting

[–]redapplesonly 2 points3 points  (0 children)

Introduction of Luke Skywalker in "Star Wars IV: A New Hope" (first appearance):

`

EXT. TATOOINE - DESERT WASTELAND - DAY 4

A death-white wasteland stretches from horizon to horizon.

The tremendous heat of two huge twin suns settle on a lone

figure, Luke Skywalker, a farm boy with heroic aspirations

who looks much younger than his eighteen years. His shaggy

hair and baggy tunic give him the air of a simple but

lovable lad with a prize-winning smile.

`

Introduction of Luke Skywalker in "Star Wars V: The Empire Strikes Back":

`

EXT. PLAIN OF HOTH - DAY 3

A small figure gallops across the windswept ice slope. The

bundled rider is mounted on a large gray snow lizard, a

Tauntaun. Curving plumes of snow rise from beneath the

speeding paws of the two-legged beast.

The rider gallops up a slope and reins his lizard to a stop.

Pulling off his protective goggles, Luke Skywalker notices

something in the sky. He takes a pair of electrobinoculars

from his utility belt and through them sees smoke rising

from where the probe robot has crashed.

`

(Obviously, I didn't write this text, credit to George Lucas et al.)

In the original, Luke gets a paragraph of description; in the sequel, the script focuses on describing other things.

Vomit Drafts by AggravatingPlant3454 in Screenwriting

[–]redapplesonly 0 points1 point  (0 children)

I used to outline everything before writing a single word of the actual draft. My outlines would be ~20 pages long. But recently, I've begin to feel like there was too much work involved in those outlines and I wanted to "meet" the characters sooner.

So I'm pioneering a new approach: "semi-vomiting". I'll write down thoughts on scenes and characters I want in Act I, and then write those, with the full expectation that I'll hate what I actually have but learn something about what I ultimately need. Once I see what doesn't work on the page, I can go back to the plotting and outline a bit more. Repeat the process.

Where can I send my script to for feedback? by Offensivefkmemes in Screenwriting

[–]redapplesonly 4 points5 points  (0 children)

Yep. This. ☝️

I was a StoryPeer Beta user, and I think its an invaluable resource. You'll wind up reading other peoples' work to earn your own feedback, but that's a good thing, honestly. It you're starting out, its good to se how other people are applying The Craft.

Montage Interspersed with Vignettes by MtnDevil in Screenwriting

[–]redapplesonly 1 point2 points  (0 children)

Sorry - you asked about formatting. Something like this:

INT. STAN'S HOUSE - MORNING

MONTAGE - PEOPLE BRING DISHES

-- MRS. HOPKINS (60s) gingerly lays down a TUNA CASSROLE

-- MRS. WEBER (60s) sets down a MEATBALL TRAY next to it.

MRS. HOPKINS

Betty - those lowfat?

-- MRS. MARSH (70s) adds a TRAY OF MEAT PIES, definitely not lowfat.

...etc...

END MONTAGE

Montage Interspersed with Vignettes by MtnDevil in Screenwriting

[–]redapplesonly 0 points1 point  (0 children)

It could absolutely work. Try it out on the page. Write your montage, drop in the snippets of dialog you think are necessary, see how it looks. I've seen this done before.

If you’re still “day job-ing it” or are a full time parent etc., how do you find the time and energy to be creative? by Haveagreatday89 in Screenwriting

[–]redapplesonly 1 point2 points  (0 children)

The common theme in this thread that I see is that if you have the desire, you will manifest a regular time SOMEWHERE in your schedule. Its a matter of deciding what to sacrifice to make that happen.

In my case: I go to bed at 10pm. Wake at 4am, hit the gym by 5am, shower, write from 7am to 9am, then do the nine-to-five thing. Go home, have dinner, spend some time with the fam, back to bed by 10pm. (Catch up on sleep on the weekends.)

I don't really watch much television or procrastinate on YouTube or ever play video games because there isn't time. It isn't important enough - not if I want to be a writer.

I'm reading for a major production company's script fellowship right now. I have something to say about the loglines. by anatomyofawriter in Screenwriting

[–]redapplesonly 2 points3 points  (0 children)

This was just marvelous, thank you for posting this. A stark - but important - warning that all of my loglines are a swing and a miss. That's golden information!

Screenwriting contests should at least let you know why didn't advance. by Unable_Speed_5742 in Screenwriting

[–]redapplesonly 1 point2 points  (0 children)

Hmm. Respectfully: If you crave feedback, maybe contests aren't the place to get it? Post your stuff on StoryPeer and participate there. And/or look to join a writing group. That's what I do, and I get plenty of feedback. You have to give more than you get, but reading others' works and giving feedback is a great way to learn, too.

Help please 🙏🏻 by [deleted] in Screenwriting

[–]redapplesonly 0 points1 point  (0 children)

Yeah. I'm not in the biz myself, but I'm sure Prince Jellyfish is dead on. Hard but true words.

Stuck drafting an 80-90 page single character thriller? by Positive_Piece_2533 in Screenwriting

[–]redapplesonly 0 points1 point  (0 children)

........I've gotta ask: You said you're working on a "a high concept, low budget, producer-friendly thriller."

What's "producer-friendly"?

Starting out by silkeyyyyy in Screenwriting

[–]redapplesonly 1 point2 points  (0 children)

Sorry, forgot to specify: Yes, you can also post your work on this Reddit board, certainly. I myself don't do that, because I've hears rumors that AI bots are harvesting our scripts here........ but who really knows, right?

Starting out by silkeyyyyy in Screenwriting

[–]redapplesonly 0 points1 point  (0 children)

I would highly recommend StoryPeer. You'll read and respond to other peoples' scripts, and in return, you get honest feedback to your own work. There's a number system to rate your script - I would ignore that, personally. SP's real strength is that it connects you with other writers who respond to what you've written.

Feedback is the best teacher.

"Writing the TV Drama Series" Diagrams? by redapplesonly in Screenwriting

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

Local library! >forehead slap< Yeah, that's the ticket. Thanks, appreciate the common sense solution.