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Script
Tips |
November 2007 |
Powered by Movie Outline Software
YOUR FIRST STEP TO A SUCCESSFUL SCREENPLAY |  | | | 
In this Issue
Write a Treatment
By Marilyn Horowitz
Writing a treatment is a skill that can help any screenwriter succeed, at any point in the creative
process.
There are at least three parts of getting a screenplay sold or financed. Learning to write a
treatment can jumpstart a writer's career because it allows a screenwriter to communicate his or
her screenplay idea in a brief but compelling way. It also can be a powerful diagnostic and
creative tool. I am often asked if a writer has to actually write a screenplay, or can they just sell ideas?
You can't copyright an idea, only the execution. If you have a great idea, the only way to own it
is to write it. Writing a treatment is a fast way to test out an idea before the screenwriter commits
to writing a script. If it isn't terrific, move on.
Read Full Article
Turning Writer's Blocks Into Stepping Stones
By Steven Barnes
Years ago at a presentation at the UCLA Extension Writer's Program, I promised an
audience to teach them to conquer this beast once and for all. Later, another
instructor approached me and said "why did you say that to those people? It's not
possible." Poor woman. All she was saying is that SHE cannot break writer's block, which told
me all I need to know about her career. In all likelihood a promising beginning, perhaps
an award-winning poem or book...and then pain. It is not only possible to end writer's block
forever, but you can actually use it to your advantage!
Read Full Article
Act II - The Elusive Heart of the Screenplay
By Jengo Robinson
Act II is the longest and most difficult part of any screenplay. It is the 60-page
heart of the script. But it's a broken heart, split into two very distinct halves,
and the dividing page contains the most critical part of the story. This must happen at the
mid-point on page 60. The Mid-Point Shock is the show-stopper of a Hollywood screenplay should
burst like a thunderbolt halfway through the second Act, exactly one-hour into the drama. Figure
this out, because Act II cannot generally fall into place until this moment is
established. Anyone can read books on this subject, even more can become totally perplexed by
all the diverse and confusing points, moments of enlightenment, crises, percentages and
general lack of clarity. However, my disciplined method is a simple way of structuring Act II,
in line with Hollywood standards.
Read Full Article
ScriptTips News
By Dan Bronzite, Editor
We are delighted to announce that starting next month, Marilyn Horowitz will be contributing
a monthly tip article to our newsletter.
Marilyn is the president of ArtMar Productions, a script
consulting and film production company based in New York City. She is also a Writing Coach,
whose private students have achieved high levels of success. In 2004, Marilyn won the coveted
New York University School of Continuing and Professional Studies Award For Teaching Excellence,
where she teaches Writing The Screenplay In Ten Weeks, a course based on her workbook: "How To
Write A Screenplay In 10 Weeks".
Marilyn will be hosting a two day intensive weekend workshop: Writing The Screenplay: from
Concept to Outline in association with the NY Script Club.
Visit www.artmarproductions.com for further details.
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Marilyn Horowitz | |
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Marilyn is the president of ArtMar Productions, a script consulting and film production company
based in New York City. She is also a Writing Coach and NYU Professor.
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Movie Outline Testimonials | |
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"This is the most complete package I've seen for the screenwriter in one application
from outline to final draft."
Karl Iglesias
UCLA Instructor
"I use Movie Outline all the time. It has many powerful features, is easy to use
and makes writing & formatting a screenplay a breeze. No screenwriter should
be without it."
Kevin Williamson
Screenwriter
Scream |
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Advertisement | |
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Emmy-winning screenwriter
John Hill (QUIGLEY DOWN UNDER)
will fully mentor 1 writer with 1 script for $750 for up to 1 year.
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(702) 622-8251
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Top Tips
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Character Arcs are the foundation of an engaging story. If you want your audience to truly identify with your protagonist then create a complex journey for them to take. Everybody has hopes, fears, dreams and flaws. Make sure your central character has too. What is their goal? Is it emotional or physical? What do they really want?
Don't take the obvious option. If it's easy to come up with then maybe the audience would have expected it too. Instead, create a surprising chain of events and progression of scenes that keep 'em guessing. Lead the audience down a familiar route and then turn your story 180 degrees. This will leave them begging for more...
Humor in a dark place. Audiences love to laugh. Now sometimes it may not be appropriate but that could be the best time to insert a subtle gag or some light-hearted comic relief. Okay, this may not be the best of ideas for certain sensitive scenes but give it a try. Sarcasm is human nature and wit might lift an otherwise flat moment.
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