Tom Vaughan

TÁR and Remaining Teachable

The Mental Battle

TÁR and Remaining Teachable

The first page of Todd Field’s screenplay for Tár made the rounds on Twitter over the weekend. It has the look and feel of a 30-year-old script. Confident and masterful, but tough to read. You have to be patient with it. It demands your concentration.

It’s Not About The Plot

It’s Not About The Plot

Too often, the new writer thinks MORE plot will save them. This is rarely, if ever, true. One of my biggest realizations from breaking down the structure of screenplays was seeing just how simple the plots actually were.

A quick and dirty guide to managing too many characters

A quick and dirty guide to managing too many characters

A student asked me about what to do with a script that had a lot of young kids running around as supporting players. Twelve to be exact. She wanted to know how to introduce them, how to help the reader keep track of them, etc…

My biggest leaps were between projects

The Mental Battle

My biggest leaps were between projects

I have seen it repeatedly over the years. Newer writers have an idea for a screenplay that they love, and they write the damn thing. This is huge. Finishing a screenplay is a big deal. Knowing that you can complete one of these things pays tremendous dividends later.

Writing it down isn’t just about remembering it

The Mental Battle

Writing it down isn’t just about remembering it

You know the advice about writing something down to make sure you remember it later. Don’t trust yourself, they say. You will forget it. So keep a pen and paper or that notes app on your phone handy.

Audiences Care About Relationships

Audiences Care About Relationships

I was frustrated with the fourth season of Stranger Things. It felt like the season spent most of its time getting out of Russian corners it painted itself into the season before. But I kept watching. And watching. And while I wondered why I kept watching, I really shouldn’t have. I knew the answer.

The Passion Polish

The Passion Polish

The passion polish was introduced to me by my frequent writing partner Kristy Dobkin. She got it from her first professional mentor Frank South, who was the showrunner for MELROSE PLACE back in the day.

Why and How I Fought To Have My Name On A Film That I Hated

Why and How I Fought To Have My Name On A Film That I Hated

THE QUEEN MARY started its WGA credit arbitration this week. Like my last film, WINCHESTER, the arbitration was automatic since an “executive” wrote a draft of the script (usually, a writer has to dispute the proposed credits for arbitration to begin.)

Don’t Worry About Being Subtle

Don’t Worry About Being Subtle

Many young writers struggle to be decisive in the moments that populate their screenplays. They find it challenging to openly declare and dramatize what a single moment is about.

The Purpose Of Story Structure

The Purpose Of Story Structure

Structure is perhaps the most teachable aspect of screenwriting. I suspect this is why it gets so much attention in screenwriting education. Other aspects of the craft (characterization, dialogue, and the all-important “voice,” among other things) can often rely more on god-given talent and

Script Coverage in Perspective

The Mental Battle

Script Coverage in Perspective

It is tempting to give script coverage more validity than it deserves. After all, someone read your script and wrote their reaction down. It feels formal. Official almost. A proclamation!

The Late Night Talk Show Test

The Late Night Talk Show Test

The idea behind it is that every scene should be interesting in its own right. There are no throw-away scenes. A scene should not be there just to get to the next one. Is there tension? Is there drama? Are there laughs? Stakes? Is there a dramatic question that we’re invested in?