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PostPosted: Sat 6:47, 26 Oct 2013    Post subject: hollister outlet sale How to Find Weaknesses in Yo

Paddy Chayefsky: "I'm not a great writer, I'm a great rewriter."
4. Act it out.
1. Read some FIRST-RATE scripts!
* Any background [url=http://www.sandvikfw.net/shopuk.php]hollister outlet sale[/url] information (i.e. "John is Tom's best friend.")
You might be amazed at how you'll spot those things you knowneed a little extra attention. They're those things that seem"odd" or don't feel "right" to you when you read it out loud.You might find yourself thinking that certain characters say anddo things that don't [url=http://www.sandvikfw.net/shopuk.php]hollister sale[/url] seem to "fit" their backstory. You likelyfind this especially true of dialogue. Circle these dialoguepassages so you can come back to them later.
In screenwriting, [url=http://www.tagverts.com/barbour.php]barbour online shop[/url] you only have TWO TOOLS to work with ina screenplay:
* Anything that cannot be photographed (i.e. "Mary loveschocolate ice cream.")
Writing is Rewriting
* One in the same genre as yours,
* Anything anyone "knows" (i.e. "Ed heard about Jennifer'sproblem at school.")
2. Now: read your script.
Rule of Thumb: Scenes and dialogue should start at thepoint where, if you cut out the start of the scene, what followsdoesn't make sense any more. This also applies to movies. Manyscreenplays really start around pages 30-50, which means thewriter spent way too much time setting up the story. How do youtell? As you read, it suddenly seems as though you've started a"movie in a movie" and you like it better than the one youstarted. Time to get divorced. Unsure? Write a second script andsee which version you like best.
ACTION: a visual description of what is seen on the moviescreen
This does NOT include:
Ernest Hemingway: "Don't get discouraged because there's a lotof mechanical work to writing...I rewrote the first part ofFarewell to Arms at least fifty times."
6. One more time out loud, but this time only theDIALOGUE.
Remember: not every story is movie material. Not everystory is as fascinating on the screen as it is in our heads.This is especially true of biographical stories. As interestingas someone's true-life experiences are, they rarely translatewell to the screen. However, it often makes an excellentbestselling book.
It might seem a little different now, but that's GOOD. You'rebecoming a little more objective.
The new screenwriter tends to have a love affair with is/her"baby." He's married to every word and nuance he's carefullyscripted onto each page. Often, it reads more like a novel thana screenplay and usually it needs a serious rewrite. It's timeto get a divorce.
* One that's an all-time favorite movie of yours.
* Anything the audience "knows" [url=http://www.rtnagel.com/airjordan.php]jordan pas cher[/url] (i.e. "This is the same woman wesaw earlier at the bar.")
You must not be afraid to hack, chisel or cut-out ANYTHING thatdoes not serve to push the [url=http://www.agentparadise.com]woolrich sito ufficiale[/url] story forward. Sooner or later,you'll write a [url=http://www.fibmilano.it]woolrich outlet[/url] scene that is just plain good. You're in loveagain and all is right with the world. Finally, you concludethat it doesn't serve the story as it should. You must get adivorce and hack it out of the script.
This is also an opportunity to get actor friends to read yourscript. If scenes are awkward or don't come across as youintended, they need work. Stage a reading of the script. Makesure all of the actors [url=http://www.davidhabchy.com]barbour outlet[/url] get a list of the characters they willportray and have someone assigned to all of the lesser,incidental characters. [url=http://www.giuseppezanottipaschere.com]giuseppe zanotti sneakers[/url] Don't prep them! Let the actor get theinformation about the character only from the script. If hedoesn't get it, neither will an agent, reader or producer; andyou need to go back the set-up the character so he DOES get it.During the reading, mark scenes that don't work or have theintended impact and come back to them later.
DIALOGUE: that characters say
You need outstanding examples of well-written screenplaysagainst which [url=http://www.rtnagel.com/louboutin.php]louboutin[/url] you can compare your work objectively. I recommendyou read at least three, preferably nine, screenplays. Here'sthe catch: You MUST read them ALL in the same week. Agents anddevelopment executives read 35-50 a week on their own time so Iknow you can read at least three. Don't look at a single page ofyour script until you've finished reading the scripts youdownloaded. Read one (or more) in each of the followingcategories:
Here's a common sense approach to self-analysis of your ownscreenplay:
Good advice from two guys who ought to know.
5. Read it through out loud again, but only the ACTIONDESCRIPTION.
* Any action description that uses '-ing' words. (i.e. "Sue isreading the newspaper." should be "Sue reads the newspaper.")
Do characters seem to drone [url=http://www.marrakech-hotel.fr]hollister france[/url] on and on? Can't tell WHAT they'retalking about? Do they talk about things not essential to thescene? Mark these scenes and come back and rewrite them later.
Movies are a visual medium. If your story isn't visual, maybe itshouldn't be a movie. Did you get lost? Are [url=http://www.rtnagel.com/airjordan.php]nike air jordan pas cher[/url] things vague? Arethe scenes not visual? Can you tell what's going by the visualclues? Mark those scenes and come back and flush them out alittle more.
* One that's been made into an OSCAR-winning or nominated movie,and
Isaac Asimov: "Either [url=http://www.agentparadise.com]woolrich outlet[/url] it sounds right or it doesn't sound right."
3. Read yours again: OUT LOUD.
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