This is a concept-driven industry now. For better or for worse. The concept should be unique but just as important: the unique thing should be what generates conceptually unified scenes.
If we can get the reader to see the images and feel the emotions, we can transmit our enthusiasm and excitement for the project to them.
Stories where the protagonist remains steadfast in their beliefs and, in doing so, changes everyone around them. This is called in some circles... "The flat-arc protagonist."
This week is a different kind of development challenge. What to do with notes from friends, family, other writers, coverage, contests, and any other input you get from the various sources.
Early in my screenwriting career, I was insecure, combative, and a pain to work with. Here is how I turned that around.
The early challenges of sloppy exposition are due mainly to a lack of confidence and trust. Which is also kind of the bad news. It takes time to develop those two things.
Put simply, writing vertically refers to making choices that push the reader's eyes DOWN the page more often than they go ACROSS the page.
There's nothing magical about the rewrite. It's the same as writing. So don't overcomplicate it, and don't let it intimidate you.
I left my last agents at Paradigm over a disagreement about two spec scripts. I liked them. They didn't.
By the end of your story, your protagonist should demonstrate resilience. I know, I know. How interesting could it be if every protagonist had this exact same trait? It turns out, it's very interesting.
Getting representation is a process, like most things, dominated by economics. That is, the allocation of limited resources. Yours and theirs.
Here are three character questions I ask to help nail down the underlying needs that drive a character’s transformation.