Free Screenwriting Resource: Over 80 Legal PDF Movie Script Downloads

August 29th, 2014 by

Read scripts. It’s one of the keys to learning the craft of screenwriting. Good news: There are plenty of online sites which host movie screenplays. Bad news: Most of those scripts are hosted illegally and without the permission of movie companies.

However for the last several years as part of their For Your Consideration campaigns for various movies during award season, movie studios and production companies have been making some of their scripts available online. We have aggregated over 80 of those and made their PDF downloads available to you. Free. Legal. And most of them are shooting scripts, the closest draft you can find to what was actually produced.

Some of the notable titles: 12 Years a Slave, American Hustle, Frozen, Gravity, Looper, Moonrise Kingdom, Prisoners, The Social Network, and The Wolf of Wall Street.

Go here to access all of those scripts. And be sure to come back in December as the 2014 For Your Consideration scripts become available.

Go here to access links to all of the select group of Free Screenwriting Resources from Go Into The Story.

Each day in August, I’m going to highlight a screenwriting resource available on the blog. Why? Because with over 15,000 posts and 70+ archive topics, I want to make sure readers are aware of the many, many assets available here for reading and research. And they are all free!

2011 Screenwriters Roundtable, Part 4: Chris Borrelli, F. Scott Frazier, Jeremiah Friedman, Nick Palmer, Justin Rhodes, Greg Russo, John Swetnam

August 28th, 2014 by

As something of an elder member of the screenwriting community, one of the wonderful experiences I have had since I started the blog is to get to know dozens of writers who I think would be fair to describe as ‘Young Turks’. Not necessarily young in terms of their age, but rather with regard to their zeal for the craft and their brazenness in how they approach storytelling. There is a kind of fearlessness in evidence among this group, along with obvious talent, and I find their words, both in conversation and in their scripts, uplifting and inspiring.

Back in 2011, I corralled several of these writers for a screenwriters roundtable which I ran as a series of blog posts. Readers loved it. So I reached out to the group again in 2012. They agreed to another roundtable. Again, readers loved the conversation.

By this time, a thought occurred to me: Visiting with this same core group of writers in an annual roundtable would not only give us the benefit of their perspective on the craft and state of the movie business, it would also allow us to track their individual and collective development.

I discussed this with the group and thankfully, they agreed to do another roundtable at the end of 2013.

In two weeks, I will be featuring that new installment of the screenwriters roundtable, but I thought as a run-up to that, it would be a good idea to reprise both the 2011 and 2012 interviews.

First, many readers will not have had the chance to read either of those conversations. Also this will give us a sense of how the careers of these writers are evolving. Indeed, as we speak, two of them are directing their first feature length movies.

So each day this week, I will post the 6-part 2011 screenwriters roundtable featuring Chris Borrelli, F. Scott Frazier, Jeremiah Friedman, Nick Palmer, Justin Rhodes, Greg Russo and John Swetnam. Next week, the 2012 roundtable. Then the week of September 8th, the newest installment of our screenwriters roundtable.

Here is Part 4 of the 2011 Screenwriters Roundtable.

[Originally posted March 8, 2012]

A special treat this week on GITS as each day I will be posting excerpts from a screenwriter’s roundtable I did with some of the best and hottest young screenwriters in Hollywood: Chris Borrelli, F. Scott Frazier, Justin Rhodes, Greg Russo, John Swetnam and the writing duo Jeremiah Friedman & Nick Palmer. How good are they? Over the last 2 years, they have combined to sell 12 spec scripts, and that doesn’t include the numerous writing assignments they have landed or original pitches they have set up.

Here are the 12 spec scripts they have sold:

Chris Borrelli: “The Vatican Tapes” [Black List 2009], “Wake”, “Sad Jack”.

F. Scott Frazier: “The Numbers Station”, “Line of Sight” [Black List 2011], “Autobahn”, and a fourth project as yet unannounced.

Jeremiah Friedman & Nick Palmer: “Family Getaway” [Black List 2010].

Justin Rhodes: “Second Sun”.

Greg Russo: “Down”, “Autobahn”.

John Swetnam: “Evidence”, “Category Six”.

Our conversation covered many topics and is a unique opportunity to learn what it’s like to go from aspiring to professional screenwriter. Beyond their insights into the craft, I’m sure you will be inspired by their passion for what they do, their love of movies, and just in general how much fun they are.

Screenwriter’s Roundtable: Part 4

SM: That gets into the whole area where you’re trying to give them [producers, studio executives, directors] some ownership over the project or the story, right?

Scott: You absolutely have to. Here’s the thing: My dad was a TV writer and he gave me advice as I was getting into the business over the last couple of years. And one of the things that he would always tell me, having spent time on TV shows and sets for two decades, is that it’s a collaborative process. There are gaffers and grips and catering people: This is their livelihood, right? They want to be a part of the process. They don’t just want to come in and service a movie, they want to actually be a part of it. And that goes from executives to directors, too. As much as we start a process, we just start with a blueprint. And being able to hand that blueprint over to other people, and being okay handing it over to other people, and then saying okay, now you add to it. Nobody sets out to make a bad movie. Nobody sets out to collaborate on getting bad ideas into a movie. It’s one of those things that you have to be okay with. It’s a shared vision. Unless you’re a guy like Quentin Tarantino who gets to write and direct and edit, it’s a collaborative medium. We have to share.

Justin: Something that I would add, one of the areas that you do have control over is who you get into bed with. So if you’re worried about getting bad notes or a bad collaborative experience or them having ownership over something, it’s kind of “Don’t make a baby with a woman you don’t want to live with.” That’s my perspective on this. If you’re going to sell a screenplay, you don’t have to sell it to the first guy who asks if you don’t want to. Or you go to a meeting and you don’t think you guys are going to gel.

John: My problem is that they give me money, I’ll just sleep with anybody.

[Laughter]

SM: Let’s talk about that now because it’s a big difference now you’re all established and in the business. You’ve got representation, you’ve all been working with some top agents and managers. How much help are they in that regard, in terms of interpreting those types of people that you may or may not want to work with? Just in general, what’s your working relationship? What do you expect from your agents and managers and what do they expect from you?

Scott: They expect us to write, that’s what they want from us. They want us writing scripts, they want us writing movies. I always say that the currency of the screenwriter is a completed script. Very few people are going to pay you for beat sheet or an outline or an idea: It’s a completed script. That’s what I bring to the table for them and I expect advice about navigating the tricky waters of Hollywood. And I take their counsel seriously. I wouldn’t be repped by them if I didn’t respect and appreciate their counsel.

Jeremiah: Yeah, we’ve had some friends who’ve had less fortunate experiences with representation than we’ve had once we ultimately signed, and I think for us we expect honesty above all else. That when we give them material and we ask for their opinion or we ask about a meeting or an executive we want to have a truthful conversation about that stuff. We try and work as much as we can as full partners. I think there’s a lot of preconceptions about what agents are going to be like, but if you can find your way to relationships that feel like a partnership…

Nick: Yeah, feel like a partnership and that you can turn into a partnership and think of it as a team effort, then it can be incredibly beneficial.

Greg: Your agent, your manager… They’re your eyes and ears. They’re out there laying down covering fire while you’re down in the shit. They’re out there scouting what’s ahead of you trying to find the best way to get you through. It really has to be that team or else you’re going to get killed down there. I’ve been thoroughly impressed by that with my team and I love when they come back and say that they’ve got all this research on a project and who’s going in and this is where they’re going to position me. That’s what you need cause you can’t be worried about that. Your job is to just go in there and kick ass when you get the chance.

John: For me, I had been through a couple different managers and agents over the last few years, and after going through the process with a lot of different people… and they were all really good people, they were all really good friends and partners in a lot of ways… but what I wanted for me now was I wanted to talk about my career. My future. It always seemed to be about the spec you have. When you get your first manager or first agent with that spec, a lot of the talk is about the strategy of that particular spec. And what I want to talk about is where am I going to be in ten years. How do we get there? What do I need to start doing now in order to become the guy I want to be in five years? And when I met my guys, I had a meeting with a bunch of different people, and that was the reason why I signed with them. Because I went into the day and said, “Loo, this is where I want to be.” And it wasn’t just… I’m pretty arrogant, as Scott can probably tell you, but I have these huge goals, and I wanted these guys to believe in those goals and that they actually had a plan to help me get to that place that I wanted to get to. So it’s about thinking about the future and planning ahead, because this business is way too hard for just right now. All of us want to be doing this conversation in five years. That’s the important part to me… longevity.

SM: I want to jump to something that I think Scott said, basically that the stock and trade for a screenwriter is a completed script. I think there’s something going on with you guys. I’ve been around 25 years now and I’ve tracked the spec script market every year since then. And there’s something going on that’s different. Now. With this group of people. It used to be that Joe Eszterhaus would come along and he’d actually sell two or three specs or what not, but by-and-large what happened, the paradigm was you’d use a spec to break in, then you’d go after writing assignments and pitches and the rest of it. And  very rarely would working writers come out with spec scripts. It happened, but not that often. You guys, some of you in particular, you seem to be going back to that. That is your stock and trade in a way: You keep going back to these spec scripts. So I’m curious, is that strategy? Is that driven by your desire to get that story written? What’s going on there where you’re going back and putting spec scripts out on the market, even though you’re well-established in the business.

Chris: For me, I found it was a trap early on, where I was creating documents. I had a script, but I was just creating documents for execs, and a year went by and what had I created? What had I added? And thinking again, not from our point of view as writers, but thinking from the point of view of buyers, and people who make money off the buyers — agents, managers, etcetera — our real value is to create story, to create scripts. There’s a saying in business — nothing to do with film — don’t look for a job, create a job. So I don’t ever plan to stop writing specs. I’d love to do two a year, if I get really busy, maybe less. Maybe I can do more. I’m no Frazier, I can’t do seventeen specs a year, but I can do some. I think that’s our value: always be creating. And another thing about a spec is that it’s a wonderful advertisement for you. It’s the best commercial you can do for your career. It goes out to a hundred people who read it, and they may not need it/want it/like it, but hopefully they like it enough that you’re on their radar even stronger than you were before. I’m a big fan of it. And I also believe… I call it brick-laying. I’m never happier career-wise than when I finish writing five pages a day. And that movie, whatever it is, feels closer to me. It’s not just a document. It feels somewhat real. I’m a big fan, I don’t ever plan to stop writing specs.

Scott: For me, I went out on a lot of assignments this year and it’s not like it was a choice to only do specs, but I’ve gotten sent out on a bunch of assignments, and I’ve gotten close, but they’ve never materialized. But I have sold two specs this year, and I sold two last year, and so I’m being successful in that. It’s what I’ve kind of gotten used to. And if I wake up every morning and I’m not writing, I feel off, I feel weird. So if there’s nothing else to be working on, I might as well be writing my own thing…

Chris: — that you love –

Scott: — exactly, that I love to do. That I’m fortunate enough to be able to do.

John:  Yeah, I only wrote my last spec because I was tired of Frazier fucking selling so many, and I had to keep up so I had to go write another one. I was just going to sit around and do nothing and drink but… thanks, Frazier.

Scott: I’ll tell you a funny story about that. The first time Swetnam and I ever met, it was the middle of the summer and I’d been doing a lot of assignment after assignment, where I was putting together documents, beat sheets, all this crap. And I hadn’t written an original page in probably two-and-a-half months and it was getting to me. I was literally like physically itchy. I needed to write. So Swetnam and I go out to get a burger, and it was three days before his movie Evidence started shooting, and he was telling me about how awesome it was, and they were building sets out in Valencia, and they were about to shoot a movie. And I was like, son of a bitch. I need to write a movie. So I went home — and this is no joke — and I was so pissed at Swetnam for getting this movie made, and I’m thinking, what is a movie that I could write really quickly? And I had three or four ideas that I’d had sitting on the back-burner, and one of them was a contained thriller. And I went home that night after burgers with John Swetnam and I sat down and wrote the first draft of Autobahn in like ten hours. Because of John Swetnam.

John: Where’s my fucking ten percent, dude?

[Laughter]

Scott: So, I don’t know. We push each other.

John: Then I went and wrote Category Six because he pissed me off writing a script in ten hours, I wrote mine in four days and I was really pissed. So I just wrote one last week in a weekend, so fuck you, Frazier.

Here’s something about screenwriters: We’re competitive. Oh sure, some of the nicest people you will meet. Well, at least most of us. But when we read about someone selling a script or a pitch, at least some part of us is going, “Damn him/her!”

We want those gigs. We want those headlines. We want that money.

The competitive spirit can be destructive. But it can also be incredibly creative. Read up on John Lennon and Paul McCartney. They did just like I said: Paul would write a song one day and play it for the guys. John would come back the next day with his song. Then Paul. Then John. That led to greatness.

So embrace your creativity. But also embrace your competitive drive.

You’re going to need it to make it in Hollywood.

Each day for this series, I’m going to highlight one of the writers. Today: Justin Rhodes.

Justin Rhodes writes, directs, and lives in Los Angeles. He came to filmmaking by way of animation after a detour through architecture. In 2011 he sold his spec “Second Sun” to Warner Bros. after developing it with producer Scott Aversano. Earlier the same year, he sold a pitch to Summit for producer Wyck Godfrey and Temple Hill. In 2008 he directed a cheesy low-budget action movie on location in Trinidad called Contract Killers, and in 2010 co-wrote an indie political comedy called Grassroote for director Stephen Gyllenhaal starring Jason Biggs, Joel David Moore, Lauren Ambrose, Cobie Smulders, and Cedric the Entertainer. He drinks entirely too much Red Bull. If you find him laying dead from a heart attack, please inform the paramedics that it was probably a caffeine overdose in case they have stuff for that. If they do, he’ll owe you a life debt and be your own personal Chewbacca. If they don’t, he won’t be in a position to blame you for not being more helpful.

For my one-on-one interview with Justin here.

You may follow Justin on Twitter: @twopointfour.

For Part 1 of the roundtable discussion, go here.

Part 2, here.

Part 3, here.

Tomorrow: Part 5 of this exclusive screenwriter’s roundtable. Much more to come over the next few weeks.

Thanks again to Chris Borrelli, F. Scott Frazier, Jeremiah Friedman, Nick Palmer, Justin Rhodes, Greg Russo and John Swetnam for their participation in this conversation.

Free Screenwriting Resource: Dialogue! Dialogue! Dialogue!

August 28th, 2014 by

If you need some inspiration writing dialogue, boy, have we got you covered! Every single day this blog has been in existence, I have featured a post called Daily Dialogue. We are talking well over 2,000 posts spotlighting notable movie dialogue. You can check out the posts year by year:

And check this out: The GITS Daily Dialogue Topic Index! You can read about Liz and Allie, two sisters who are big fans of the blog, and were inspired to create the index.

Either way, a great resource for writers looking for inspiration for their own dialogue writing.

Go here to access links to all of the select group of Free Screenwriting Resources from Go Into The Story.

Each day in August, I’m going to highlight a screenwriting resource available on the blog. Why? Because with over 15,000 posts and 70+ archive topics, I want to make sure readers are aware of the many, many assets available here for reading and research. And they are all free!

Free Screenwriting Resource: How to Read a Screenplay

August 27th, 2014 by

There is reading a screenplay. And there is reading a screenplay. If you really want to understand a script — story structure, characters, themes, the whole enchilada — I posted a 7-part series providing an immersive approach to do just that.

Part 1: The First Pass

Part 2: The Scene-By-Scene Breakdown

Part 3: Plotline Points and Sequences

Part 4: Subplots, Relationships and Character Functions

Part 5: Metamorphosis

Part 6: Themes

Part 7: Style and Language

Lucille Ball reading script-1

This is not intended to train you to be a script reader, but rather to provide a set of tools for writers to dig deep into a screenplay.

Go here to links to my series How to Read a Screenplay.

Go here to access links to all of the select group of Free Screenwriting Resources from Go Into The Story.

Each day in August, I’m going to highlight a screenwriting resource available on the blog. Why? Because with over 15,000 posts and 70+ archive topics, I want to make sure readers are aware of the many, many assets available here for reading and research. And they are all free!

Free Screenwriting Resource: 30 Days of Screenplays

August 26th, 2014 by

Reading scripts. One of the single most important things you can do to learn the craft of screenwriting. And in my experience, this is one area many aspiring screenwriters fail to embrace. At bare minimum, you should be reading one script per week.

But if you really want a jump-start, why not read a script per day for an extended period of time? That way, you not only get the benefit of what you learn in each script, you also absorb things on a macro level: style, pace, scene construction, character, dialogue, and much more. This deep immersion into reading scripts on a daily basis over a significant length of time offers a unique kind of learning.

In the past, I’ve run two series precisely with this approach:

30 Days of Screenplays [2013]

30 Days of Screenplays [2014]

Each post provides background on the script, some analysis and a link where you can download a PDF.

Once the studios begin posting PDFs of their scripts as part of the For Your Consideration campaigns beginning in December, I’m sure we’ll run another series in 2015.

Be honest with yourself: You should be reading more scripts. Here you have two resources to help you do that.

Go here to access links to all of the select group of Free Screenwriting Resources from Go Into The Story.

Each day in August, I’m going to highlight a screenwriting resource available on the blog. Why? Because with over 15,000 posts and 70+ archive topics, I want to make sure readers are aware of the many, many assets available here for reading and research. And they are all free!

Style = Voice

August 25th, 2014 by

How you approach screenwriting style is a reflection of your writing voice. This is the case whether you are intentional about it or not. A professional script reader, who plows through hundreds of scripts per year, will pick up on a script’s sense of style – or lack thereof – from the very first line of scene description. Therefore it stands to reason you need to think about your writing voice as conveyed in your script’s style. And that is what Core IV: Style is all about, exploring the breadth and depth of the 4th essential screenwriting principle I teach in the Core content of The Quest:

Style = Voice

Start with this question: Who tells your story? Obviously, when you sit down to create a screenplay, you write the story. But when a manager, producer, agent, or studio executive reads your script, who tells your story to them?

It is someone who remains largely invisible, but whose presence is felt from FADE IN to FADE OUT. Someone about whom many screenwriters have little knowledge and yet traffic in that unseen world every time they write a scene. Someone who can make a screenplay a great read – or something less.

Let’s call it Narrative Voice.

Narrative Voice is not a narrator per se. You will never see it with its own side of dialogue. In fact, you will never name it in your screenplay. But Narrative Voice is there. And it is a critical aspect of your script’s success.

What is Narrative Voice?

Narrative Voice is the storytelling sensibility you bring to your screenplay through your writing style. Think of Narrative Voice as your script’s invisible character. Although silent, it is present in every scene, every line, every word you write. As you develop and sharpen each visible character in your screenplay, you also need to figure out who your Narrative Voice is, what your Narrative Voice sounds like, and how your Narrative Voice will play an active role in the telling of your story.

In Core IV: Style, a 1-week online class I will teach starting on Monday, September 1, you will learn about:

* The ins and outs of Narrative Voice

* Elements of screenplay style

* Psychological writing (Perspective, Proximity, Perception)

* Imagematic writing (Verbs, Descriptors, Poetics)

* Action writing (Lines, Paragraphs, Direction)

And much more. The course consists of four components:

  • Lectures: There are six lectures written by me, each posting Monday through Saturday.
  • Writing Exercises: These optional exercises offer you the opportunity to test out your own writing style, plus the chance to workshop and receive feedback on one of your own loglines.
  • Teleconference: We will have a Skype teleconference call to discuss course material.
  • Forums: The online course site has forums where you may post questions / comments.

Our study scripts: Wall-E, The Hangover, The Dark Knight, Butch Cassidy and the Sundance Kid, The Last Boy Scout, Ferris Bueller’s Day Off, Chinatown, The Matrix, Black Swan, Legally Blonde, American Beauty, Little Miss Sunshine, Basic Instinct, Unforgiven, True Grit, The King’s Speech, and Winter’s Bone.

For those of you who have not taken an online class, the interface is extremely easy. Plus online classes can be an amazing experience. Most of the activities you can do on your own time — download and read lectures, review and respond to forum discussions, upload loglines and track comments. In addition, I’ve been teaching online for over a decade and it never ceases to amaze me how much of a community emerges in such an environment.

Core IV: Style is one of eight classes in the Core curriculum. Here is the schedule for the remaining five classes, the only time I will be offering these courses in 2013:

September 1: Core IV: Style

September 15: Core V: Dialogue

October 27: Core VI: Scene

November 10: Core VII: Theme

December 2: Core VIII: Time

Choose one or two depending upon your interests and needs. Or if you’re really serious and want to save some coin (nearly 50% off), consider The Core Package which gives you immediate access to the content for all eight Core classes which you can go through at your own pace, as well as the option of taking each 1-week online course.

“When I found out about Scott Myers’ Screenwriting Master Class, I signed up for the first module, to test the waters, but before the week was out, I’d signed up for the rest [The Core Package]. Wish I’d known about it all those years ago! Value for money, solid understandable notes, a teacher who’s been there and done it, plus swapping ideas with fellow writers – it doesn’t get any more real.” — Philip Brewster

I have gotten to know dozens of professional script readers throughout the years and I can let you in on this little secret: A writer’s voice as exhibited in screenplay style goes a long way toward winning them over and getting you favorable script coverage.

For information on Core IV: Style, which begins September 1, go here.

For The Core Package, go here.

I look forward to the opportunity to work with you!

Free Screenwriting Resource: Guide to Watching Movies

August 25th, 2014 by

I came up with this screenwriting mantra several years ago: Watch Movies. Read Scripts. Write Pages.

Why watch movies?

Because to be a good screenwriter, you need to have a broad exposure to the world of film. Every movie you see is a potential reference point for your writing, everything from story concepts you generate to characters you develop to scenes you construct. Moreover people who work in the movie business constantly reference existing movies when discussing stories you write; it’s a shorthand way of getting across what they mean or envision.

But most importantly, you need to watch movies in order to ‘get’ how movie stories work. If you immerse yourself in the world of film, it’s like a Gestalt experience where you begin to grasp intuitively scene composition, story structure, character functions, dialogue and subtext, transitions and pacing, and so on.

Movies must be in your lifeblood – and the best way to do that is to watch them.

As part of my effort to get folks to watch movies, I have solicited the help of GITS readers to provide guest posts featuring background and analysis of must-see movies. So far, here is what we have:

80s Movies

90s Movies

The master plan: To have archives for movies for every decade from the 1930s-2010s. Then hopefully the same thing for genres: Action, Comedy, Drama, Family, Fantasy, Horror, Science Fiction, Thriller, Western.

Watch Movies. Absolutely critical in learning the craft of screenwriting.

Go here to access links to all of the select group of Free Screenwriting Resources from Go Into The Story.

Each day in August, I’m going to highlight a screenwriting resource available on the blog. Why? Because with over 15,000 posts and 70+ archive topics, I want to make sure readers are aware of the many, many assets available here for reading and research. And they are all free!

Go Into The Story Week In Review: August 18-August 24, 2014

August 24th, 2014 by

Links to the week’s most notable posts:

5 Screenwriting Skills: #1 — Talent

5 Screenwriting Skills: #2 — Knowledge

5 Screenwriting Skills: #3 — Experience

5 Screenwriting Skills: #4 — Voice

5 Screenwriting Skills: #5 — Conviction

“Conversations With Wilder”: Part 9

Daily Dialogue Theme for Next Week: Delivering Bad News

Declare Your Independents: Volume 26

“Failure, Writing’s Constant Companion”

Free Screenwriting Resource: 150 Story Ideas

Free Screenwriting Resource: Film School on the Cheap

Free Screenwriting Resource: Interviews with Professional Screenwriters

Free Screenwriting Resource: Script Reading & Analysis

Free Screenwriting Resource: The Definitive Spec Script Sales List [1991-2013]

Free Screenwriting Resource: The Story Behind Script Coverage

Free Screenwriting Resource: The Theology of Screenwriting

Great Character: Annie Porter (Speed)

Interview (Video): Ira Sachs

Interview (Video): Matthew Weiner

On the Rise: 13 Screenwriters to Watch

On Writing: William Sloane

Quest Writing Workshop: Chapel Hill, October 16-19, 2014

Reader Question: How to write about a historical figure, but not basing it off previous material?

Saturday Hot Links

Screenwriting 101: Brian Koppelman

Screenwriting News (August 18-August 24, 2014)

Script To Screen: All About Eve

Spec Script Sale: “Moonfall”

Spec Script Sale: “The Three Tenors”

The First 15 Pages

The Myth of the Overnight Screenwriting Success

Update: Go Into The Story Interviews

Writing and the Creative Life: “Come to the edge”

Writing Question: What are the best jobs that leave your day free for writing?

Free Screenwriting Resource: The Theology of Screenwriting

August 24th, 2014 by

The #1-rated movie on the IMDB Top 250 list is The Shawshank Redemption.

Redemption. A theological term.

In fact, it’s possible to see theological themes and dynamics in almost every movie.

Conversion. Doubt. Evil. Faith. Forgiveness. Salvation. Sin. Temptation.

If we consider these theological concepts as metaphors, they become valuable assets in shaping a story’s themes.

Go here for the 25-part series: The Theology of Screenwriting.

Go here to access links to all of the select group of Free Screenwriting Resources from Go Into The Story.

Each day in August, I’m going to highlight a screenwriting resource available on the blog. Why? Because with over 15,000 posts and 70+ archive topics, I want to make sure readers are aware of the many, many assets available here for reading and research. And they are all free!

 

5 Screenwriting Traits / 5 Screenwriting Skills

August 23rd, 2014 by

As I’ve done several dozen interview over the last couple of years, I was struck by five personality traits and five skill sets that keep popping up. Here is a series of posts on them.

5 Screenwriting Traits

5 Screenwriting Traits: #1 — Passion

5 Screenwriting Traits: #2 — Courage

5 Screenwriting Traits: #3 — Consistency

5 Screenwriting Traits: #4 — Flexibility

5 Screenwriting Traits: #5 — Persistence

5 Screenwriting Skills

5 Screenwriting Skills: #1 — Talent

5 Screenwriting Skills: #2 — Knowledge

5 Screenwriting Skills: #3 — Experience

5 Screenwriting Skills: #4 — Voice

5 Screenwriting Skills: #5 — Conviction

These are areas to identify, work on and develop to help your progress with the craft.