SCRIPTREADERPRO.COM

We are currently hiring! Full time reader x 1, Part time reader x 1.

Fancy working for ScriptReaderPro as a reader? Please send us your resume and sample coverage to jobs@scriptreaderpro.com

Payment is per script and varies depending on the project.

What the Position Involves

Providing first class screenplay coverage to our clients, to a deadline.

What the Position Doesn’t Involve

Admin stuff like photocopying. Putting out the trash. Research. Making coffee. Therefore it doesn’t matter where you’re based.

We’re Looking For People With…

A passion for film and an extensive knowledge of screenwriting. (A formal qualification in scriptwriting or film related program will be looked at very positively)

A high command of written English.

Ability to deliver work to a deadline. Our reputation depends on it!

And most importantly, script reading experience. And lots of it. Professional experience is preferred from either a studio, agency, script analysis service etc

Please contact us at jobs@scriptreaderpro.com with any further questions. The deadline for applications is March 4th 2012.

Our Screenwriting eBook — “How to Master Sequences” is now available on  the iTunes bookstore and all other major eBook platforms. It can be downloaded by visiting our Author Page on Lulu.com here: http://www.lulu.com/spotlight/infoatscriptreaderprodotcom

This screenwriting eBook contains powerful and practical tools to help writers truly master screenplay structure and take command of their story by utilizing sequences.

It is divided into two sections: 1) Explanation and analysis of sequences and how they work. 2) Sequence breakdowns of six Hollywood films demonstrating this analysis.

In the book you will learn:

— How sequences underpin three act structure by adding hidden plot points.

— How Hollywood films such as The Virgin Suicides, Raiders of the Lost Ark and (500) Days of Summer, utilize sequences after reading our sequence breakdowns of six major movies.

— Why it’s so important to not just think of screenplay structure in terms of three acts. — How sequences are self-contained “mini-movies” with three acts and six major plot points of their own.

— How sequences make conflict easier to create, and screenplays ultimately easier to write.

And much more!

Take your screenwriting to the next level by purchasing our screenwriting eBook at http://www.lulu.com/spotlight/infoatscriptreaderprodotcom

Just when do you know if your script is ready to show it to a professional script consultant like ourselves, or a producer, manager or agent?

Time and time again we see the same mistakes repeated by different writers. So, in response, we’ve come up with a checklist of some of the most common mistakes we encounter.

If you can answer “Yes” to all the questions below, your script is probably well on it’s way to becoming a solid draft and ready to send out into the world.

1. Can you tell your story in two or three concise sentences? What it’s about, what the conflict is, who the protagonist and antagonist are, what the goal is etc. These should all be easily explainable in a short, sharp pitch.

2. Is the concept original—something you’ve never seen before on screen—and has high stakes attached? A life changing event for your protagonist. Something that an audience can connect to emotionally.

3. Do you have a clear protagonist with a goal to achieve against a strong antagonist? Again, are there high stakes attached? Are we going to care what happens?

4. Are all the classic three act plot points in place? Is there an Inciting Incident in the protagonist’s life at the beginning of the script? Do they make a Big Decision around page 25? Is there a Midpoint around page 50? etc. And do these plot points properly fulfil their functions? e.g. Is the Climax a showdown between protagonist and antagonist?

5. Are there 7 or 8 major sequences in the script? Each with its own Call to Action, Midpoint, Climax etc. within a three act structure? (See our eBook—“Master Sequences: What’s Really Going On Under Three Act Structure,” for more info.

6. Are there clear A, B and C stories? Is the A story the thing the protagonist must achieve by the script’s end, and the B story the thing that helps he / she achieve it? Most scripts we receive are not nearly complex enough, and the main reason is a lack of solid subplots that impact on the main plot.

7. Does the script fulfil its genre requirements? If it’s a Comedy do people get hurt but not die? If it’s a Horror do people get hurt and die? Every genre has its own set of rules. Does your script follow them?

8. Does each scene serve a dramatic purpose, have a beginning middle and end and go from a negative to a positive charge or vice versa? Who’s the protagonist of the scene and what’s their goal? If it doesn’t have these things, chances are your screenplay also suffers from the next point—unnecessary waffle.

9. If you open your script on any page and compare the dialogue to that in, say, Up in the Air, does it hold up? The biggest fault in spec script’s dialogue is unnecessary waffle. Does every line have a purpose?

10. If you open your script on any page and compare the writing style and description to Little Miss Sunshine, does it hold up? Do you write things like “The phone rings. Kaitlin looks at it nervously. She thinks about who it could be. She bites her bottom lip. Finally, she gets up, walks across the room and picks up the phone.” Or “The phone rings. Kaitlin nervously picks it up.” We hope it’s the latter.

This post is to let you know our Screenwriting eBook—”Master Screenplay Sequences: What’s Really Going On Under Three Act Structure,” is now available to download from our website.

This screenwriting eBook contains powerful and practical tools to help writers truly master screenplay structure and take command of their story by utilizing sequences.

It is divided into two sections:

1)     Explanation and analysis of sequences and how they work.

2)     Sequence breakdowns of six Hollywood films demonstrating this analysis.

In the book you will learn:

— How sequences underpin three act structure by adding hidden plot points.

— How Hollywood films such as The Virgin Suicides, Collateral and (500) Days of Summer, utilize sequences after reading our sequence breakdowns of six major movies.

— Why it’s so important to not just think of screenplay structure in terms of three acts.

— How sequences are self-contained “mini-movies” with three acts and six major plot points of their own.

— How sequences make conflict easier to create, and screenplays ultimately easier to write.

And much more, all for the price of a coffee and a muffin!

We hope you’ll head on over to the site to purchase a copy of this screenwriting eBook. On this page you can also download a sample of the first few pages.

Keep learning and keep writing!

So, as you may already know we have a screenwriting e-book coming out very soon—“Master Screenplay Sequences—what’s really going on under three act structure.”

As we mentioned in a previous post, the book goes deeper than the classic three acts to expose how screenplays are really constructed using sequences.

The screenwriting e-book contains not only the tools and knowledge required to construct proper sequences, but sequence breakdowns of the five most popular genres in Hollywood today.

We not only describe how sequences work within the framework of three acts, but how each individual sequence is itself broken down into a mini-movie.

This book will equip you with the knowledge required to employ sequences in your own script, making structure and conflict easier to understand and, ultimately, easier to write.

Here’s a sample taken from the breakdown of The Virgin Suicides. We’re in Sequence D, which takes us up to the midpoint where Lux gets together with Trip—the action which leads her unwittingly to her and her sister’s deaths.

Sequence D – Trip gets together with Lux (- / +)

I

Tim watches a boy make Lux laugh—he can’t believe it.

Several schoolboys talk to the camera about their relationships with Lux. But the narrator says the only boy who got to know her was Trip Fontaine… (negative inciting incident)

Montage: Trip flirts with a girl / He walks down the hall and all the girls stare at him / He lets a girl into his house / He flirts in class.

The narrator says Trip could have any girl he wanted but fell in love with Lux. Trip goes into the wrong class to avoid a teacher and ends up behind Lux. She turns and smiles. (call to action)

Adult Trip talks to the camera about how he never got over Lux.

Lux ignores Trip at school. (big event)

II

Trip approaches the Lisbon girls outside, but she ignores him.

Trip sits depressed at home as his dad tries to advise him about Lux.

In the school movie theatre, Trip sits next to Lux as everyone watches a documentary. They silently flirt, and then Trip says he’s going to come round her house and ask her out. He leaves. (midpoint)

At the Lisbon’s, Trip sits with the family watching TV.

Later, Trip says goodbye to Lux and leaves. (all is lost)

III

He gets in his car, disappointed. Then, Lux suddenly jumps in the car and they kiss passionately. She rushes back inside. (screenplay midpoint / positive climax)

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The screenwriting ebook can now be downloaded here.

This post is to let everyone know about our upcoming screenwriting ebook, “Master Screenplay Sequences—what’s really going on under three act structure.”

As the title suggests, this screenwriting ebook moves on from traditional three act theory to expose how each act is actually constructed using sequences.

We were motivated to write it because of the distinct lack of information on structure out there beyond the generic framework of three acts and five major plot points.

Sequences are SO important and yet hardly anybody seems to want to write about them!

By the end of reading this book, you will have a complete understanding of how sequences underpin each act, making each one that much easier to write.

Six films—one of each major genre—are broken down to show their true inner workings.

You can find a list of those films below in the table of contents:

1. Introduction: Re-thinking Structure

Going deeper than the usual three acts to discover the world of sequences underneath.

2. So, Just What is a Sequence?

How acts are broken down into sequences and sequences into segments.

3. But What About Jean Luc Goddard?

Why it’s wrong to call screenwriting structure methods “anti-creative.”

4. A Note on Genre

Why this book contains sequence breakdowns of each of the top five genres in Hollywood today.

5. What the Heck Does That Mean?

Screenwriting terms used in this book, both old and new.

6. A Note on the Analyses

A look at the fixed yet fluid nature of sequences.

7. Action / Adventure Breakdown

A sequence breakdown of Raiders of the Lost Ark.

8. Comedy Breakdown

A sequence breakdown of Planes, Trains & Automobiles.

9. Drama Breakdown

A sequence breakdown of The Virgin Suicides.

10. Thriller Breakdown

A sequence breakdown of Collateral.

11. Horror Breakdown

A sequence breakdown of Wolf Creek.

12. Non-linear Breakdown

A sequence breakdown of (500) Days of Summer.

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This book will help you master sequences, master structure and therefore the means to tell the story you want to tell.

We hope you download this screenwriting ebook when it becomes available and pass it on to all your friends!

See you on the next post!

Here’s the final part of our series of posts on how to sell your script.

Step 7. Send out your screenplay

Armed with your list of managers, producers and leads from people you know in the industry, it’s now, finally, time to get that puppy out there!

In order of preference, we suggest the following steps:

1)     Give your script to someone you know (or someone a friend knows) in the industry.

2)     Call the producer / manager and request to send in your script.

3)     Email / snail mail the producer / manager and request to send in your script.

4)     At the same time as doing one or two of the above, submit your script to showcase websites, such as InkTip.

The number one golden rule in sending out your script is: Never Send Your Screenplay To Someone Who Hasn’t Asked To Read It.

The second golden rule to requesting a submission is finding out what the company’s submission policy is, and then adhering to it.

The third golden rule is to keep your query brief and professional; whether it’s a call or an email or a letter.

Step 8. Sit back and wait… Then, repeat

Resist the temptation AT ALL COSTS to leap on the phone after three days, call all the companies you queried and demand to know why they haven’t yet responded to your masterpiece.

If they don’t get in touch, they’re not interested. However, there are a number of possible favorable responses to your query:

1)     A request to read a synopsis. Great, send it in!

2)     A request to read the script. Even better! Ask them their submission policy and then send that bad boy in!

3)     A pass on the script you sent in, but a request to read something else. In this case you should ask whether they want to read a synopsis or the whole script, and send it in.

After receiving one of the three responses above, in this case it’s permissible to follow up your submission after a couple of months . Again, keep the query to the point, friendly and professional.

And then, wait… But while you wait, you should be writing, honing your craft, networking and sending out new queries.

If you hear absolutely nothing favorable about your work after sending it out, then it may be time to concentrate on trying to get your craft up to standard.

There are no guarantees in this business, but eventually, if your work is good, and you diligently follow these eight steps, you will sell your screenplay.

Welcome back to the next post in our look at how to sell your screenplay.

In the first post we examined the following three steps: 1) Write as many scripts as it takes to get good. 2) Gain some positive feedback. 3) Create a portfolio of scripts and synopses.

Now, to the next stage…

Step 4. Place in the Top 10 of a screenwriting contest

Placing well in a contest is obviously not a guarantee to success, but doing so greatly enhances your chances of landing representation and hence selling a script.

Although not all scripts that win or do well in screenplay contests are amazing scripts, the industry keeps its ears firmly to the ground of these things in the hope of snapping up new writing talent; especially the high profile competitions such as Nicholls and Scriptapalooza.

Place well, and you have more ammunition for your resumé in preparation for the next step.

(Read our previous blog on screenwriting competitions, here, for more info.)

Step 5. Research the hell out of your script’s market options

Presuming your screenplay isn’t optioned immediately after doing well in a major competition, you will need to start approaching literary managers and producers. For now, forget agents. A manager will help you find an agent.

Research takes time, but is well worth the effort in the long run; saving you countless hours of frustration pursuing pointless leads.

1)     Buy the latest copy of the Hollywood Representation Directory. Make a list of all the managers who represent screenwriters.

2)     Buy the latest copy of Hollywood Creative Directory. Make a list of all the producers who work on similar material to yours.

3)     Go online and make a list of all the alternative screenplay submission engines, such as InkTip. (We have a page that lists some of the best which can be found here.)

4)     Create a list of everyone you know who’s somehow connected to the industry. Or, at best, someone you know who knows someone connected to the industry. The amount of scripts sold over the water cooler each year are testament to the fact that Hollywood is built on relationships.

5)     Create a list of all the networking opportunities you can possibly get involved in at writers groups, societies, screenings, etc. In fact, points 4 and 5 are by far the best way to approach someone with a script.

6)     Create a spreadsheet, detailing the name of the friend / company / manager you’re going to approach, who you spoke to / corresponded with, what the outcome was etc. Trust us, you’ll need it!

Step 6. Write a compelling query letter

Just like the synopsis to your screenplay, this needs to be red hot. It needs to be short, sweet and compelling; making its reader simply HAVE to read that screenplay.

Include, a logline, short synopsis of the script, and simple personal bio, remembering to mention that “Recommend” you received from ScriptReaderPro, and that contest you placed well in! We don’t have the space here, but there’s a ton of useful information out there on how to write a great query letter. Look it up and, if needs be, even pay a professional to take a look at it before making the call and sending it out.

In our final post, we’ll take a look at the final two steps required to sell your script. See you there!

So, now you’ve finally finished your screenplay how do you sell the damn thing?

In this post we’re going to take a look at the best way to do just that—sell your screenplay. Unfortunately, the steps are anything but easy and there’s no guarantee to any of it.

Follow these steps, rigorously, though, (for as long as it takes) and your hard work will be rewarded!

Step 1. Write another screenplay

By that we mean, keep writing until you have mastered the craft. Some people nail it after writing one script, but the chances of that happening are about a million to one.

Be prepared to write at least six scripts and six drafts of those scripts before you crack the art of screenwriting.

Step 2. Gain some positive feedback

You only want to start sending your script out to people who matter when you’ve gained some positive feedback from people who don’t matter.

Make sure that before you show your script to an agent, manager or producer, (or someone who can give your script to an agent, manager or producer) it’s rock solid.

By all means show your work to friends / family, but we suggest gaining some objective positive feedback from an industry professional before showing it to anyone really important. Gaining a “Recommend,” or at least a “Strong Consider” from a screenplay consultant is a good way of doing this.

Step 3. Create a portfolio

Once you’re confident your writing has reached the standard necessary, you should create a portfolio ready to show industry people at the drop of a hat.

This should include:

Two, preferably three, amazing scripts. There’s no point putting yourself out there with just one awesome script if that’s all you have. The first question you’ll be asked is, “What else have you got?” and you’d better be able to show them another script equally as good if you don’t want to blow your big chance.

An amazing synopsis for each script, including a title, logline and two or three pages outlining the story and characters. This is what people are going to ask for to save them reading the whole script in order to get an idea of the project and your talent as a writer.

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In our next post we’ll show you the following five steps in how to sell your screenplay.

Ah, subtext… That elusive screenwriting phrase that sends a shiver down the spine of most writers. Subtext is a difficult skill to master (even professional screenwriters get pulled up on it) but once you do, your writing will go up to a whole new level.

Go through your script’s dialogue, scene by scene, line by line, looking for instances of characters saying things in an obvious “on-the-nose” way. Be on the look out for all cases of characters saying exactly what’s on their mind and exactly what they feel.

TOM

I’m upset you were talking to your ex for so long back there.

JANE

Well, I wouldn’t have done if you’d remembered our anniversary.

Then…

Use these three methods below to make sure your characters talk using subtext.

1 Convey subtext through action rather than words

Show what your characters are thinking through their actions, rather than have them say what they’re thinking.

In the above example, say Tom and Jane are driving home from a party. If Tom’s driving really fast and wearing a scowl, we get that he’s upset about something that’s just happened at the party.

If Jane then flicks open a calendar, circles a date and drops it on his lap, we get that she’s upset about him missing an important date. It’s a silly example, but you know what we mean.

2 Convey subtext through words but not the obvious words

Characters with real emotions don’t show their vulnerabilities, they hide them. When they talk, their language disguises what’s really going on in their head.

In the above example, Tom could say, “So, Bill’s now a CEO? Wow, what a guy.” We get that he’s upset, he’s just not saying straight out.

If Jane replies, “He is. Just took his girlfriend to his beach house for a long weekend. Nothing fancy, but it sounded so romantic,” we’d get that she feels Tom takes her for granted.

3 Brainstorm a range of reactions

For any given instance of “on-the-nose” dialogue there are a range of possible alternative reactions for your character.

Try to get into your character’s heads to work out a possible range of reactions for when something happens. Ask yourself when X happens what would Y do? Take out the “on-the-nose” dialogue and replace with one of a list of alternatives, either verbally using subtext or, preferably, with action.

In Sideways, after Miles discovers his book isn’t being published, he doesn’t say “I can’t believe my book isn’t being published,” he demands a full glass of wine at the wine tasting. When the pourer refuses, Miles picks up the spit bucket and pours wine down his throat and shirt, before being thrown out.

It’s a very good exercise to brainstorm and discard all other less visual, less true to character options before deciding on the one that will be in your screenplay.

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Take a look at our post “Show Don’t Tell—Here’s How,” for more information on screenwriting visually and with subtext.

Thanks for reading!

As you probably know one of the best ways to improve your scripted dialogue is to read it aloud. Not all screenwriters attest to this, but there is something all agree on… Table read your screenplay.

Organize a read through of your screenplay

William Goldman calls the screenplay read-through the most important part of the process in film production.

A script table read is also an extremely important part of writing a spec script, and yet few writers actually do it.

If at all possible, get some actors together for a table read of your screenplay, but otherwise just get a group of your friends together to read aloud the characters.

Don’t worry about a lack of rehearsal time. Usually people will be reading the script “cold” but that shouldn’t deter you from the process.

What are the benefits of a script table read?

The obvious advantage to having your script table read is ironing out the dialogue. All wooden, “on-the-nose,” subtext free, dialogue has no place to hide during a read through.

Phrases that you’ve read a hundred times in your head and sound fine can suddenly feel painfully awkward when read aloud by someone else.

But that’s not all. Nothing can beat having your script read aloud to flag up any unnatural situations, unnecessary / boring scenes and plot holes.

This will be the first time the script moves from out of your head into the real world.

The insight, observations and tips gained from a screenplay table read can be an invaluable exercise in discovering just how good (or bad) your script really is.

You’ll be able to see first hand how people react to your written words on the page. If it’s a Comedy, are people are laughing? If it’s an Action / Adventure are people excited?

Get it right during a script table read and you’re well on your way to getting that “Recommend” from a studio reader.

Table Read My Screenplay Competition

A great way to not only have your script table read but also win some cash and industry recognition, is to enter the Table Read My Screenplay competition.

Late entry deadline is coming up fast—July 1st. Good luck!

“Anytime you have other people interpret your work it brings a different light to it. I saw different facets to characters I wasn’t aware of before.”

— Alex Simon, Table Read My Screenplay 2010 winner

Welcome to part two of our look at how to improve your screenplay’s dialogue in a few easy steps. In part one, we showed you three great ways to improve your script’s dialogue.

Here’s another three.

Improve the scene

As we stated in our previous post, dialogue should come last when writing a scene. Dialogue doesn’t carry the action, but supports it.

The main point of a scene is what’s happens visually and how the story moves from one beat to another.

Therefore, the primary cause of bad dialogue isn’t really bad dialogue. It’s a bad scene. Good dialogue depends on your characters being in an already good scene.

Take a look at your scenes and ramp up the stakes / conflict until there’s something interesting happening in them regardless of the dialogue.

A scene charged with conflict in which something significantly moves the plot forward naturally lends itself to better dialogue.

Hide exposition

When your characters have to reveal dry information necessary to move the plot forward, one way to keep the scene from being boring is to make sure they’re busy doing something else.

Something you don’t do every day, but your character might.

In Lethal Weapon, exposition is hidden by Riggs and Murtaugh having a conversation while emptying clips at a firing range.

Another technique is to make one of the characters as confused as the audience about what’s going on. That way one character can explain what’s happening to them, rather than to us.

This is achieved near the beginning of Raiders of the Lost Ark, in the scene in which the two guys from the military visit Indy at his college. All of the exposition about the Ark, the Nazis, Indy’s former professor etc, is hidden by Indy explaining everything to the other guys.

Delete telegraphing

Don’t telegraph action. i.e. have a character say they’re going to do something and then go ahead and do it.

Avoid having a character say, “I’m going to make a chicken sandwich,” before showing them going to make a chicken sandwich.

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Be sure to check out our script coverage services for a complete assessment of your screenplay’s dialogue.

Writing a screenplay is not about dialogue.

Dialogue should be the last thing added to a script—layered on top of a solid foundation of structure and character.

In a scene what’s important is what both characters want and how they go about achieving it, regardless of dialogue.

So, with that in mind, below are three great tips to make your screenplay’s dialogue that much more professional:

1. Look at Your Page Shapes

Novice writers tend to write T-shaped pages—a few lines of description and then fill the rest of the page with dialogue. Professional writers break up their dialogue with action lines.

Two characters will exchange some words and then someone does something or reacts a certain way—the dialogue is broken by an action line, often revealing an emotion.

Film is all about constant visual activity. The viewer soon becomes restless with line after line of dialogue and no action.

2. Stick to Three Lines or Less

Try to never write more than two or three lines of dialogue per character.

Read professional scripts and watch films, paying particular attention to how much each character says at once. It’s really not much at all.

Then, ruthlessly edit your own script’s dialogue. There is no time for small talk unless there is also subtext. Every line should advance the plot, characters and hopefully the theme.

(The exception to the rule is during a showdown scene if one character needs to give a mini speech.)

3. Remove All Parentheticals

That’s right, get rid of ‘em. There’s nothing an actor hates more when reading a script than being told how to act—when to pause, when to turn, where to look etc.

Maybe a handful of parentheticals are okay per script, but that’s all. Only use when absolutely necessary, (say when the dialogue completely contradicts an action) as too many makes a script look amateurish.

Go through your script right now and remove all instances of “beats” “looks” “turns” etc. in parentheticals. Give the actor a chance to breathe with the material and put their own spin on events.

The same goes for underlining and capitalizing in order to put emphasis on certain words. Take them out. Leave it to the actor.

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We’ll be back soon in another post with more ways to improve your screenplay’s dialogue!

For a full diagnosis of the dialogue in your script, why not check out our screenplay coverage services?

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How many scripts have you read in the past month?

Three? Two? None?

We know—it can feel like you’re wasting time, sitting down to read a script for two hours when you should be writing.

But help is at hand…

Why You Should Read Screenplays

As we’ve discussed in a previous post, reading screenplays should be a regular occupation of screenwriters.

We can’t stress enough how important it is to immerse yourself in professionally written scripts. You learn so much about structure, characterization, scenes, writing style, etc.

Basically, how the writer creates EMOTION in the reader from only a dead white piece of paper with some words on it. This is what we are all trying to do, and there’s no better way than learning from those who obviously know how to do it.

So, if you’re like many writers and find it difficult to make time to actually read scripts, do not despair.

Tip to Help Read More Scripts

A great tip to help you read more screenplays is to simply read a short chunk of a screenplay before you start writing your own.

It’s amazing how much easier it is to swallow bite-sized chunks rather than the whole pie at once.

Allocate fifteen minutes before you sit down to write to read that Tootsie script you’ve been meaning to get to for six months.

Or say to yourself you’re going to read ten pages. Twenty. Heck, twenty five!

Those fifteen or twenty pages every time you sit down to write (which should hopefully be everyday!) will mean you’ll finish reading a screenplay every week. Which is more than you’re reading at the moment, right?

Not only will you get through more scripts, but by reading part of a professional script before writing your own is a great way to get the creative juices flowing.

It’s hard to think of a better way to get in the mood to write!

Genre is one of the most important elements to get right when it comes to writing and selling a screenplay.

So, today we’re going to take a look at how to increase the chances of selling your screenplay by nailing it’s genre to a particular emotion.

What exactly is genre?

As you know genre is a way of categorizing films into a “type” for marketability purposes. Audiences want to know what kind of film they are going to see. Hollywood wants to know what type of film they’re going to buy so they can package it to a particular audience.

Sci-Fi isn’t a genre!

Many screenwriting books, screenwriters and tutors classify sci-fi, western, gangster etc. as genres. We think, though, that it’s best to classify genre in terms of EMOTION.

Terms such as “Science Fiction”, “Western” or “Gangster” don’t tell you much about the emotion you feel when watching them. Rather, they are sub-genres that tell the audience about the setting or style of the film they are going to see.

Alien is first and foremost a Horror.

Blade Runner is a Thriller.

But both have Science Fiction as a sub-genre.

Genre = Emotion

Our recommendation is to think of genre purely in terms of emotion.

Choose one of the five main genres below and write to its extreme; i.e. write in order to illicit the maximum emotion within that particular genre.

Action / Adventure

Thriller

Comedy / Romantic Comedy

Horror

Drama

Ask yourself “What emotion am I trying to make the reader feel when they read this script?”

Fear? Laughter? Excitement?

If your comedy has been called “amusing,” it probably needs work satisfying its genre requirements. Make sure your protagonist finds him / herself in the most hilarious / awkward / painful etc. situations possible.

In that Thriller you’re writing ask yourself, “What’s the most dangerous thing that could happen to my protagonist?” And then write it! Make sure it’s on the page and not in your head—what you think is thrilling often isn’t to the reader.

Whatever the genre, make sure you’re putting your protagonist through the biggest tests which will really help get that emotion onto the page.

Thanks for reading!

For a full report on how your script satisfies its genre and much more, check out our writer friendly services at http://www.scriptreaderpro.com/script-coverage-services/

When writing a screenplay, one of the most important rules to master is the art of cause and effect screenwriting.

In screenwriting it’s essential to remember that:

Everything happens because of something else.

Writing is about making things happen because something else just happened.

Cause and effect.

It’s how life works, and it’s how screenwriting works.

Cause and Effect Screenwriting

As in our previous post on Macro to Micro reversals, this cause and effect action occurs at every level of the screenplay.

Act Three only happens because of Act Two. Sequence D only happens because of Sequence C. One scene only happens because of the previous scene, and one action in a scene only happens because of the previous action in that scene.

On the macro level it’s pretty obvious that one act or sequence leads to another, but what about on the micro level?

One great tip when writing scenes is to make things happen only because something else has just happened, rather than just writing it “straight” with no kinks in the road while getting there.

For example, in the scene in Little Miss Sunshine when the family get pulled over by a cop with Grandpa’s body in the back of the van, Michael Arndt could’ve just written the scene like this:

1. The family drive. 2. They get pulled by the cop. 3. He tells them a rear brake light isn’t working.

Instead, he made the family get pulled over through cause and effect screenwriting and wrote the scene like this:

1. The family drive. 2. They’re cut up by another driver. 3. Richard (Greg Kinnear) sounds the horn. 4. The horn won’t turn off. 4. They get pulled by the cop because their horn’s sounding.

Before Sunrise starts with a couple arguing on a train. Celine (Julie Delpy) is trying to read her book. The couple’s argument becomes so intrusive, she leaves for another section of the train and sits down opposite Jesse (Ethan Hawke).

Rather than just opening the script with Celine and Jesse meeting because they’re already sitting in the same section of the train, Richard Linklater gives their meeting a cause and effect, giving their random meeting on a train an even greater sense of irony and fate.

Whether it’s one sequence leading to another or one action leading to another within a scene, always utilize cause and effect screenwriting where possible.

It’ll tighten your scenes, make the script feel more organic and, ultimately, make it more likely to be bought.

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Want to know how to create a logline that sells? As you know, encapsulating your screenplay’s concept in a solid logline is essential before you start writing. Here are our top four screenwriting tips on how to create a great logline which succinctly sums up the core conflict and engages the reader.

1. Irony
What’s the most ironic situation your character could find themselves in, given their personality? In Private Benjamin, the most unlikely place you’d find a fussy, pampered woman like Judy is the army. In The King’s Speech, it’s ironic that the King, whose royal position involves public speaking, can’t talk without stammering.

Irony strengthens a logline immeasurably because it strengthens the core conflict by making it that much more surprising, intriguing and dramatic.

2. Pressure
By this we mean pressure on your character to act in a certain way and / or make a certain decision. If your character is just doing something in your logline because they want to, maybe try forcing them to do it instead. In Collateral, Max is forced to drive Vincent around town all night on his killing spree, rather than doing it because he wants the money. In Sideways, Miles is forced into a different kind of wine tour than he expected by Jack, rather than both of them agreeing to try and get laid.

Forcing your protagonist to act a certain way enhances the logline because it raises the stakes and the conflict. It’s always good to eliminate all possible escape routes for your protagonist, box them in a corner and then try and then try and get them out of it.

3. Ordinary Protagonist / Extraordinary World
Is your script set somewhere extraordinary, or involve extraordinary circumstances? If so, make sure it’s implicit in the logline where we are and what’s extraordinary about the world.

Then, make sure your protagonist is as ordinary as possible. Combine the two and, hey presto, you have a stronger logline!

Here’s some examples:

Wanted—loser office worker >> professional assassin
Eternal Sunshine of the Spotless Mind—shy office worker >> memory catcher

4. Extraordinary Protagonist / Ordinary World
So, you have an extraordinary protagonist, where’s the best place to set your story? That’s right, in the most ordinary place possible compared to their world.

Coming to America—African prince >> New York
Enchanted—cartoon princess >> New York

Send us your logline and we’ll do an evaluation of your script’s core conflict, potentially saving countless rewrites before you start writing the screenplay. All for the price of a coffee and a muffin!

Go to http://www.scriptreaderpro.com/script-coverage-services/
and select Logline Evaluation on the PayPal drop down menu.

Following on from our blog writing a scene in three acts, today we’re discussing writing a scene in one and half acts. Shorter, sharper and more to the point, this structure is the most common found in scenes.

As we described in our previous blog, the scenes reserved for the three act structure are usually the big emotional and / or turning point scenes. When the boy meets or loses the girl, when the adventurer hears about the quest, when the murderer is revealed etc.

So, what is a one and half act scene? These are scenes that follow the three act structure but get out at the midpoint. They contain the same pattern of Establishing, Call to Action, Big Event, but then, right after an unexpected twist or reveal at the Midpoint, they skip the All is Lost moment and go straight to the Climax.

Here’s a couple of examples:

In Rocky, when Rocky’s told by the promoter that Apollo Creed wants to fight him:

Establishing—Rocky is shown in by the receptionist

Call to Action—The promoter says he has a proposition

Big Event—He tells Rocky Apollo Creed wants to fight him

Midpoint—“It’s the chance of a lifetime. You can’t pass it by.”

Climax—Rocky thinks…

In Wedding Crashers, when John realizes Gloria’s a virgin:

Establishing—John and Gloria in bed, post sex

Call to Action—Gloria says nonchalantly it was her first time

Big Event—John confirms she was a virgin

Midpoint—Gloria says “I love you.”

Climax—CU: John’s horrified face

Writing a scene using these beats, whether it’s the full three acts or one and a half acts, really helps tighten them up, focuses the action and makes for leaner read.

See you on our next screenwriting blog post!

In this blog post we are going to take a look at how scenes are constructed using beats.

The big important scenes in your screenplay are the ones that can be broken down into beats that closely follow the same three act structure as the overall screenplay.

As we know, strong scenes are composed of a protagonist locked in conflict with an antagonist. The tension rises as the protagonist (or antagonist) pursues their goal through rising conflict, followed by a midpoint twist, an all is lost moment, and then the climax.

These scene beats can be thought of in these terms:

Establishing

Call to Action

Big Event

Midpoint

All is Lost

Climax

Denouement

Each scene, therefore, is a mini movie in itself. For example, in Sideways the scene in which Miles and Jack meet Maya in the bar can be broken down like this:

Establishing—Miles and Jack enjoy a drink at the bar

Call to Action—Maya enters and Jack says hello

Big Event—Jack tells Maya they’re celebrating the publishing of Miles’s book

Midpoint—Maya asks them what they’re up to tonight

All is Lost—Miles says they’re going to crash

Climax—Maya leaves

Denouement—Jack berates Miles

In American Beauty, the scene in which Lester seduces Angela looks like this:

Establishing—Lester hears music coming from the family room

Call to Action—Lester finds Angela and they make small talk

Big Event—Angela says she had a fight with Jane… over him.

Midpoint—They kiss

All is Lost—Angela says “this is my first time.”

Climax—Lester can’t go through with it and covers her up

Denouement—Lester comforts her

Do your major scenes fit the three act beat structure? Re-watch the scenes in the above examples and / or read them in the actual screenplays to see how they work. Study your favorite scenes from your favorite movies to test the theory and then make sure your major scenes adhere to the same technique.

Okay, so you’ve completed a first draft of your screenplay. Now the fun begins editing and honing your scenes so we arrive as late as possible and get out as early as possible.

Imagine a scene in which a man arrives home and learns his wife is pregnant. It’s something they’ve both wanted for a long time and he’s happy when he finds out.

Let’s take a look at some ways the scene could be tackled:

• Perhaps the man enters and talks about his day without noticing his wife’s unusual demeanor. Then, he finally realizes, asks her what the matter is and she tells him.

• Maybe he arrives home and they discuss something unrelated. Then, out the blue, she tells him she’s pregnant.

• Or, what if he’s already in the room and she says she has good news, but he’s too distracted by something to listen. Then, she finally manages to tell him.

Let’s take a look at how this scene was tackled in the Young Victoria screenplay.

80 minutes in, Albert’s standing in the room opposite Victoria. He says “Are you sure?” She nods. He kneels and puts an ear to her belly. They embrace. End of scene.

The fact that Victoria is pregnant is conveyed by one line of dialogue and Albert’s silent actions.

This is a great example of how to arrive late and get out a scene early. The writer omits the conversation in which Victoria actually tells him she’s pregnant and starts as late as possible—with Albert asking “Are you sure?”

All his delight at the news is then expressed through action over words when he places his head at her stomach and they hug.

Think of all the times in a movie you’ve seen a husband or wife come home to find their partner in bed with someone else. How much dialogue can you remember in that scene? Chances are the writer left it as late as possible to show the partner being caught and then any anger was expressed through action.

It’s this kind of economical writing that creates a sense of intrigue, keeps the pace moving and gives a screenplay that professional feel.