Hi folks. This is a quick post to let you know that I’ll be taking a few weeks off. Regular daily tips will return at the end of January.
You may have noticed that I’ve been taking more short breaks recently. I feel it’s necessary to avoid burning out. After all, I’ve been writing daily tips for (almost) 1200 days in a row! I’m confident that I still have a lot to say about screenwriting. However, I also think that I may eventually need to transition to a less rigorous update schedule — say, two or three posts a week.
But that’s all in the future. For now: good luck, happy writing, and I’ll see you in a few weeks!
P.S. If you need to contact me in the meantime, please feel free to drop by my Twitter feed (twitter.com/xanderbennett) or email me at firstname.lastname@example.org.
Ideally, every major choice a character makes should either A) strengthen what we know about them, or B) challenge what we know about them. If it doesn’t do either, maybe it doesn’t need to be in the script?
Biopics aren’t the whole story of a person’s life, from birth to death. They’re the story of one particular flaw in that person’s character. The question is whether they overcome the flaw or it overcomes them.
Keep it moving. If you feel like a scene is slowing you down, end it early.
Don’t start with static characters and try to manipulate them into conflict. Start with loud, argumentative, restless, ambitious, larger-than-life characters and put them in the vicinity of each other.
Don’t feel bad about destroying large parts of your story world. You created it; you can uncreate it.
Don’t apologize for your weird idea. Embrace it, explain it, and learn how to make others understand it.
The longer you wait to introduce the main villain, the bigger and bolder her first scene should be.
As a writer, you have two choices: you can either reinforce society’s comforting lies, or you can find your own truths and tell them.
The earlier you can foreshadow the major themes and conflicts of your story, the better.