How does the character solve problems?
How a character solves their problems is a defining characteristic that we often forget.
The 3-Part Act 1 and the Inciting Incident.
Sometimes the needs of Act 1 do not lend themselves to an early inciting incident. For those unique stories, you have the 3-Part Act 1.
Write your Spec. But first, write your treatment.
I used to hate treatments. Now it's an immensely valuable part of my process.
A nepo baby's main advantage is something you can emulate.
The biggest advantage of nepotism isn't the connections; it's the immersion in the craft and the embedded belief that a career is possible.
Screenplay structure is fractal.
I approach each screenplay structure as a fractal and have found that the most satisfying screen stories follow this pattern.
After the midpoint.
The midpoint doesn't change the character. It just changes their direction.
How the monster movie structure can help you with any genre.
When structuring your story, you don't have to start from scratch. There are plenty of places to look for inspiration, and one of them is genre.
The scene is the emotion. The emotion is the scene.
Movies are an emotion delivery system. This is the point of the whole exercise. And that is the point of the scene.
Keep a scene dynamic through character tactics.
The key to keeping a scene fresh and alive is characters making choices in reaction to what happens around them.
What motivates the characters in your screenplay?
Anxiety means well. Anxiety’s job is to protect us, after all. It’s just usually an incredibly unskilled and unproductive way to do it.
Choosing the point of view of a scene.
The narrative point of view is through whom we experience a story, scene, or moment. We get information as they do, and often, as a result, that is who we empathize with.
How to write a montage.
Don't let proper montage format sabotage your montage.