Story and Plot Weekly Email (Page 13)

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?

Why You Need A Young Agent On Your Team

Why You Need A Young Agent On Your Team

I have learned quite a few things over these years; unfortunately, almost always from making mistakes. One thing that has stuck with me is the importance of having a young agent on your team, especially when you’re just starting out.

How I Got My First Screenwriting Agent

How I Got My First Screenwriting Agent

As you can tell by the title, this is my story. There is actionable advice here, I promise, but I need to go back a few years because where I failed is just as important as where I succeeded. So let me start back in college…

My first big development deal: None of us knew what we were doing.

My first big development deal: None of us knew what we were doing.

The second script I ever sold was to a studio with an A-List actor attached through his producing deal on the lot. The lots were full of producer deals back then. My agent actually hated this script and told me to put it on a shelf somewhere and pretend it didn’t exist.

Why The Action Lines Matter

Why The Action Lines Matter

So I did that “passion polish.” I didn’t change any dialogue, I didn’t change the structure, or what happened in scenes. I just polished the action lines. That was it. It took me maybe a few days.

Why I Am Backing The Current WGA Leadership

Why I Am Backing The Current WGA Leadership

My belief is the WGA is here just for this very purpose. To protect writers when powerful forces try to impose something unethical on us because we are not powerful enough individually to fight back.