From the recent ATX Festival:
After more than a decade of reporting crime from the streets of Baltimore, how did a career journalist like David Simon learn to navigate a TV writers’ room? The outcome was in no small part due to the indispensable guidance of veteran TV producer Tom Fontana. Together, they brought Simon’s realistic characterization of the BPD’s Homicide division to life in the provocative and critically-lauded, Homicide: Life on the Street. Separately, the two would go on to create two series that began to define HBO and stand out as part of the TV revolution: Oz and The Wire. Join Simon and Fontana as they reflect on their earlier and vastly different experiences in the realm of 90s broadcast TV.
Simon and Fontana are icons: Homicide, Oz, The Wire. Incredible TV. And Willimon (House of Cards) is on his way to joining them. The conversation is both illuminating and hysterical, so many great anecdotes.
For example for the series Oz, Fontana wrote out each character’s story for the entire season, all their scenes, then folded the scenes together into an episode.
For more ATX Festival videos, go here.
For the fourth straight year, June is Scene-Writing Month here at Go Into The Story. Every Monday-Friday at noon Eastern / 9AM Pacific, I will upload a post with a scene-writing prompt. Each day, write a scene per those guidelines. Upload your scene here in the comments section of the original post. That way you can critique others’ pages and receive feedback on your scene as well.
Why scene-writing? If the average scene is 1 1/2 to 2 pages long and a script is 100-120 pages, then a screenwriter writes between 50-80 scenes per screenplay. Thus in a very real way, screenwriting is scene-writing. The better we get at writing scenes, it stands to reason the better we get as a screenwriter.
To provide extra motivation for this series — to get people to WRITE PAGES — I am giving away some of my Core classes to Scene-Writing Challenge participants. That’s right: For free!
Everything you need to know about screenwriting theory in this unique curriculum based on eight principles: Plot, Concept, Character, Style, Dialogue, Scene, Theme, Time.
CORE I: PLOT – A one-week class which begins with the principle Plot = Structure and explores the inner workings of the Screenplay Universe: Plotline and Themeline. Start date: June 27.
CORE II: CONCEPT – A one-week class which begins with the principle Concept = Hook and examines multiple strategies to generate, develop and assess story ideas. Start date: July 11.
CORE III: CHARACTER – A one-week class which begins with the principle Character = Function and delves into archetypes: Protagonist, Nemesis, Attractor, Mentor, and Trickster. Start date: August 8.
CORE IV: STYLE – A one-week class which begins with the principle Style = Voice and surfaces keys to developing a distinctive writer’s personality on the page. Start date: August 22.
CORE V: DIALOGUE – A one-week class which begins with the principle Dialogue = Purpose and probes a variety of ways to write effective, entertaining dialogue. Start date: September 19.
CORE VI: SCENE – A one-week class which begins with the principle Scene = Point and provides six essential questions to ask when crafting and writing any scene. Start date: October 3.
CORE VII: THEME – A one-week class which begins with the principle Theme = Meaning and gives writers a concrete take on theme which can elevate the depth of any story. Start date: November 14.
CORE VIII: TIME – A one-week class which begins with the principle Time = Present and studies Present, Present-Past, Present-Future and time management in writing. Start date: December 12.
Each is a 1-week online class featuring 6 lectures written by me, lots of screenwriting insider tips, logline workshops, optional writing exercises, 24/7 message board conversations, teleconferences with course participants and myself to discuss anything related to the craft of scriptwriting.
A popular option is the Core Package which gives you access to the content in all eight Craft classes which you can go through on your own time and at your own pace, plus automatic enrollment in each 1-week online course — all for nearly 50% the price of each individual class. If you sign up now, you can have immediate access to all of the Core content.
In June, to qualify to take one of my Craft classes for free, write and submit ten  Scene-Writing Challenge posts, then provide feedback on ten  posts from other writers. The former to get you writing, the latter to work your critical-analytical skills.
A chance to take any of my eight Core classes, interface with me online along with the usual stellar group of writers who take Screenwriting Master Class courses, while using writing exercises and feedback to upgrade your skill at writing and analyzing scenes?
ISN’T THAT AN AWESOME IDEA?!!!
That’s what I’m prepared to do to encourage you to write pages.
A couple of logistical notes:
* Limit your scenes to 2 pages. First, most scenes are 2 pages or less in length. Second, out of fairness to everyone participating in the public scene-writing workshop, let’s not abuse anyone’s patience or time with really long scenes.
* Don’t be concerned about proper script format when you copy/paste your scene, rather the content and execution are the important thing. So as a default mode, do this: (1) Don’t worry about right-hand margins on scene description or dialogue, just keep typing until it manually shifts each line. (2) Don’t worry about character name position, rather do this:
SCARLETT: Rhett, Rhett... Rhett, if you go, where shall I go? What shall I do? RHETT: Frankly, my dear, I don't give a damn.
Today’s prompt: An intervention.
A physical altercation. A verbal argument. Family and friends confronting someone who has a persistent behavioral problem. Lots of ways to go.
Write a 1-2 page scene, then copy/paste in comments.
If you are interested in qualifying for 1 free Core class with me, please note in each post you submit the number of scenes you have written. If today is your first effort, note that it is Scene 1. The next one, Scene 2. And so forth.
Also when you provide feedback on someone’s scene, please note in each reply the number of comments you have uploaded. So if today is your first response, Feedback 1. The next one, Feedback 2.
You are on an honor system, as I don’t have time to check every post, so do the right thing!
Remember: In order to qualify for one of my free Core classes, you need to submit ten  Scene-Writing Challenge posts, then provide feedback on ten  posts from other writers. One post and one feedback per scene prompt.
FEEDBACK TIP: Interventions almost by definition involve conflict. Brainstorm ways to up the conflict in the scene you review.
Want to join in? Here are the previous challenge prompts:
Day 1 challenge: A scene set in an inhospitable environment, e.g., outer space, underwater, desert.
Day 2 challenge: A scene involving a secret.
Day 3 challenge: Two people talk while dancing.
Day 4 challenge: The audience knows something the characters don’t.
Day 5 challenge: Miscommunication.
Day 6 challenge: An intervention, suggested by Lior Shemesh.
You can check out the fruits of our collective labor from the last three years:
Finally if you have what you think is a good suggestion for a scene-writing prompt, please post that as well.
It’s the 2016 Scene-Writing Challenge! Give a jolt to your creative and writing muscles… and win 1 free online class with yours truly.
On May 16th, this humble blog will celebrate its 8th birthday. Eight years! In the run-up to this august event, I’m going to write an occasional post reflecting on what it is you and I do here. As always, I am keen to hear any advice and suggestions you may have, especially since the site will be transitioning over to Medium in the next few months in conjunction with my longstanding partnership with the Black List.
Today I thought I’d start at the beginning and answer a question I get with some frequency: Why did you name the blog Go Into The Story?
Many of you know the answer, but a lot of readers don’t, so allow me to regale you with one of my favorite personal anecdotes. It derives from a conversation I had with my then three year-old son Luke. I was giving him a bath, a bit distracted as I was contemplating a story I had been working on earlier. On a lark, I asked Luke a question:
Hey, Luke, I’m starting to write a new script tomorrow. And it’s funny, but no matter how many times I start a new story, I get a bit, uh, nervous about it. Got any, you know, advice for your dad?
My son peered up at me and without a moment’s hesitation said:
Go into the story and find the animals.
God as my witness, that’s what my son said.
I thought that was just about the greatest thing I’d ever heard. As I mulled it over for the next several days, I peeled back layer after layer of meaning.
For starters the whole idea of going into a story is precisely what a writer does, immersing ourselves in a narrative universe that we participate in creating.
But over time, it’s the other part in which I’ve discovered more and more layers of meaning. Start with the verb “find.” Is there any word more appropriate to describe the writing process? Here are some of its definitions:
* “to come upon by chance”: Doesn’t that sound like brainstorming?
* “to locate, attain, or obtain by search or effort”: Doesn’t that sound like research?
* “to discover or perceive after consideration”: Doesn’t that sound like what happens when we mull over our story?
* “to feel or perceive”: As we go into the story, we become more and more emotionally connected to it.
* “to become aware of, or discover”: The biggie, where as explorers we uncover a story’s hidden gems.
Then there is “the animals.” I’m almost sure what Luke was thinking about was how a children’s story so often is habituated by animals. Thus in his eyes, my task was probably pretty simple: Go find the animals. They are your characters. But what if we think about it more symbolically.
* Animals can be both domesticated and wild. So some things we discover as we go into the story are what we might expect (domesticated). Other times we’re surprised, even shocked by ideas and thoughts that spring to mind (wild).
* Animals are alive, organic, and intuitive beings. So are our story’s characters.
* Throughout human history, animals have come to mean something in stories. A fox is sly and cunning. A crow in many cultures signifies death. An owl is wise. Per Jung and others who study myth and psychoanalysis, animals can serve as conduits into the mind of the dreamer.
Which reminds me of something I read about a movie director who in prepping to make a movie gave each of the actors their own animal token as something they could reference in interpreting their character.
I’m sure if you think about it, you could probably come up with other shades of meaning for what Luke said, but suffice to say it’s become my favorite writing mantra both because of its layers of meaning and because of its source.
And that’s why I named the blog Go Into The Story.
If you have any thoughts about the blog, I would love to hear them. How do you use the site. What are your favorite features of the daily posts. And as I say, if you have any suggestions, please let me know.
An Indiewire interview with Bryan Sipe, writer of the movie Demolition starring Jake Gyllenhaal and Naomi Watts, directed by Jean-Marc Vallee.
Speaking of catching up, your career has had an odd trajectory. There’s almost a ten-year gap between this film and your last feature. What happened?
I came out here, and I got lucky early on. I sold this script, I had a writing partner, and I thought, “This is easy. No problem.” 24, 25 years old; I’ve got money in my pocket. And then I didn’t work again for like seven years.
Along the way, emotionally, I surrendered. I was waving this white flag and I was feeling this apathy. And that apathy was re-stimulating. It brought me back to this place where I was doing this demolition work [when I was younger]. What was happening was that I was in these burned out houses, ripping walls apart and stepping on nails going through my feet, standing around this debris or remains like a skeleton and going, “How the fuck is this my life?” I felt something so much bigger that wants to come out but I feel trapped inside of this environment.
There was that same apathy. It brought me back to that place, but now I was 27 years old or something like that and I was failing, not just in my career but in my relationships. I was broke. I was working in bar, where at first I thought, “I’m going to be here for a few months, I’m good.” I ended up working at that bar for nine years. Out of that apathy came this voice and that voice became this character and that character introduced me to these other characters.
So Davis and his experiences were what paved the way for you?
Once you’re walking down that hallway, it’s like, “Oh, there is a vending machine over there in a hospital. He walks over and hits the button and puts his money in, but the candy gets stuck probably, that’s what happens.” It really unraveled that way, and once I saw that thing that you see on those vending machines, a 1-800 number, I thought, “I got my other character.”
The movie is sort of elevated slightly above reality. There are things that we couldn’t get away with, that he says that we couldn’t get away with. But there are things that you think about, right? Maybe things that you want to say or things that you want to do. Like, it would be cool to get shot with a bulletproof vest. In this world it was acceptable. In my way, that was me doing it without the consequences. I get to explore what the consequences are for him.
A trailer for the movie:
For the rest of the interview, go here.
The top rated screenplay on the 2015 Black List is “Bubbles” and it was written by Isaac Adamson. It’s a terrific story, one of the most, if not the most unique ways to approach writing a biopic I have ever seen: The story is a snapshot of Michael Jackson’s life told from the perspective of his pet chimpanzee Bubbles. I would have been interested in interviewing Isaac simply based on the creative inspiration of that idea — I mean, who thinks like that — but when it hit #1 on the Black List charts last year, it was a no-brainer. I reached out to Isaac’s manager Lee Stobby and we finally arranged a time in Isaac’s busy schedule to spend an hour together over the phone, talking with Isaac from his home in Portland, Oregon.
Today in Part 4, Isaac and I discuss some themes at work in the script “Bubbles”:
Scott: I’d like to talk about some of the themes. We’ve already discussed, one, the hierarchical dynamic: Who’s the King? There’s another one, too, that’s played pretty strongly throughout, and that’s this idea of being in a cage.
There’s obviously the cage that Bubbles is in at the beginning in the prologue and then eventually winds back up in, but Michael Jackson himself essentially being in a cage as a kind of trapped public figure. Is that something you were going for?
Isaac: Absolutely. That was a theme that I wanted to run through the whole thing. This idea that Michael Jackson was caged by his own celebrity. Even in Neverland, he’s constructed what amounted to a cage for himself. He thought he was building a thing that would set him free, but that turned out not to be the case.
Scott: Kind of like Xanadu in Citizen Kane.
Scott: Another thing, I think it’s Frank, one of Michael Jackson’s cadre of people who says on Page 83, this long and touching observant bit of business talking about Michael Jackson as a pop star in relation to the rest of the world.
He says, “You find the beast is bigger than you, stronger than you ever imagined. You discover the beast never sleeps, and the beast will trample you underfoot without a second thought.”
He’s literally talking about the public, and obviously it has some double meaning going on there.
Isaac: Yeah. It does. He is talking about the public but…I’m not sure how to answer that one.
Scott: Here’s a take on it that I had. Obviously, Bubbles is a beast, he’s an animal. He, through his actions to Michael Jackson later on in a horrifically violent way, exhibits that behavior. It’s almost a metaphor for what the public has done to Michael Jackson, whether he realizes it or not, through his own aberrant behavior.
Isaac: Totally. That speech is also there to kind of presage Bubbles’ later attack on Michael.
Bubbles pointing to a photograph of the King of Pop
Scott: You have that ticking clock, too, which the trainer says that as they get older, these chimpanzees become more in touch with their animalistic nature and you have to watch out for that. We see this instinct on Bubbles’ part, to become more and more in touch with his inner warrior.
Isaac: It’s just a natural part of, I would say human adolescence too, but chimp adolescence is that they get more aggressive. They get stronger, they get more unruly. They don’t like to wear clothes. [laughs] I don’t know if that’s true of adolescents humans, though maybe they wear less clothes.
Beyond a certain age, they’re too dangerous to handle and throughout the script, we see Bubbles fighting against this but ultimately being unable to stop his natural evolution into an adult chimpanzee. That was one of the central themes I was going for too, that ultimately Bubbles is punished for doing the one thing Michael Jackson can’t do, which is grow up.
Scott: I can totally see that. That leads right into this whole Jordan Chandler thing, the young boy that essentially led to the downfall of Michael Jackson in the public perception. There were the lawsuits and all that stuff where you get the sense that Michael Jackson’s trying to, setting aside whatever criminal activity may or may not have happened, trying to cling to his youth.
Isaac: It was definitely that. He was completely enamored of Peter Pan. If you look at the photographs of Neverland, there are Peter Pan statues and pictures and stuff like that everywhere. I know he was working with, I forget what director it was, but for a long time he was trying to get a film version of Peter Pan made where he would star as Peter Pan.
Even if you look at the shape of his nose as it evolves, he was going for that upturned classic Peter Pan nose at one point in his life.
Scott: The point you made that Bubbles does grow up and Michael Jackson resists that, and Bubbles of course in growing up is getting in touch with that inner animalistic side which exhibits itself in that assault on Michael Jackson, that’s an interesting point I hadn’t quite grabbed it, it makes a lot of sense.
I’ve read conflicting accounts on this: Did Michael Jackson ever go visit Bubbles again in Florida, or did he not?
Isaac: He never visited him in Florida that I’m aware of, but I read an interview with Bob Dunn, who was Bubbles’ trainer, that said that Michael would come visit Bubbles in Sylmar at this facility that Bob Dunn had. He visited there a few times with his kids, so that’s what that scene is based on. But once Bubbles went to Florida in 2005, Michael never came to visit him that I know of.
Scott: How soon in the process did you know that that end scene, where Michael does come for a visit and he brings the three kids, and there’s a touching moment there, how soon in the process did you know that that was going to be, essentially, the denouement of the story?
Isaac: That came pretty late. In my original thinking about it, there was going to be the attack and then the next thing we knew, there’s Bubbles in the ape sanctuary, thinking about Michael, still wondering about when he’ll return. But I realized that I needed something a little softer, and a little more emotional — a lot more emotional, actually — and also show some kind of healing that time has done.
I didn’t want to end with…have his last action with Michael be attacking him, because they had had this great friendship together and gone through this adventure together.
I just felt it needed a kind of grace note.
Scott: You have a great callback, that little finger‑to‑finger thing.
Isaac: That came pretty late, too. That was after the first draft, but before I’d shown it to anybody. I wanted them to have some kind of secret handshake that they could do, some kind of nonverbal way of communicating with each other.
I came up with the fingers touching, and I liked that a lot.
Scott: Then you went back to set it up?
Tomorrow in Part 5, Isaac shares how he discovered “Bubbles” had been named the top-rated screenplay in the 2015 Black List and what that has meant to him as a screenwriter.
For Part 1 of the interview, go here.
Part 2, here.
Part 3, here.
Isaac is repped by CAA and Lee Stobby.
Zero Draft Thirty: Day 6.
March 1: Type FADE IN / The Beginning.
30 31: Type FADE OUT / The End. 30 31 days. 1 script. Movie script. TV script. First draft. Rewrite. Whatever.
I’m doing it. You’re invited.
To download your very own Zero Draft Thirty calendar — created by Bretton Zinger — and track your daily progress, you can download a copy here.
On Twitter, use this hashtag: #ZD30SCRIPT.
Facebook: Here. 700+ members strong.
Join the conversation for a chance to win The Trumbo Award!
Today’s Writing Quote
“If I have anything to say to young writers,
it’s stop thinking of writing as art.
Think of it as work.”
— Paddy Chayefsky
Today’s Inspirational Video
It’s never too old – or too young – to chase a dream.
Check back later for the winner of today’s Trumbo Award!
UPDATE: A Facebook post from Simon Littlefield accompanied by a photograph:
Taking a break from the keyboard this afternoon for a wintry walk along the canal in Hackney. It’s true – the universe is always trying to tell us something…
There may be no actual causal connection, at least in any scientifically verifiable form, between our Creativity and what the Universe puts in front of us.
BUT DON’T TELL A WRITER THAT!!!
The Universe sends us messages, ideas, and inspiration all the time. We just have to have eyes to see. And for that reminder, Simon is the recipient of today’s Trumbo Award!
Congratulations, Simon! And to the rest of us, as we go about our lives today and tomorrow, let’s bring a heightened sense of what the Universe is saying to us!
Another in our bi-weekly series in which we analyze movies currently in release. Why? To quote the writing mantra I coined over 5 years ago: Watch movies. Read scripts. Write pages. You will note which one comes first. Here are my reflections from that post about the importance of watching movies:
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.
Let me add this: It’s important to see movies as they get released so that you stay on top of the business. Decisions get made in Hollywood in large part depending upon how movies perform, so watching movies as they come out puts you in the same head space as reps, producers, execs, and buyers.
This week’s movie: Spotlight which won the 2016 Academy Award for Best Picture, written by Josh Singer and Tom McCarthy. You may download. the script here.
Our schedule for discussion this week:
Monday: General Comments
For those of you who have not seen the movie, do not click MORE as we will be trafficking in major spoilers. If you have seen Spotlight, I invite you to join me in breaking down and analyzing the movie.
A Creative Screenwriting interview with Charles Randolph, co-writer of Oscar nominated movie The Big Short, nominated for Best Adapted Screenplay:
What made you want to adapt Michael Lewis’s book for the screen?
I loved Plan B. I am always happy to work with them. Michael is the best American nonfiction writer. What Michael does is he is capable of being very generous to his characters while being very critical of the world they live. And he takes them at their word. He views them through the lens of what they want, and he takes what they want seriously. He believes in it. He also has inherent cinematic characters, people whose desires are very clear to us.
A man riding through the desert isn’t a story, but a man riding through the desert who is hungry becomes a story because we are no longer looking down on him but through his eyes because we know what he wants. And he is generous about his characters, they kind of hang themselves, so they have emotional complexity. He isn’t judging them at the beginning of his book.
The second thing he does is he does a very good job of casting his book. Of going into a world figuring out who are the most interesting, crazy human beings of that world and then telling about that world through those people. Inherently, they were very rich characters. So that is what Michael has.
What The Big Short, specifically has, is a very unique, emotional character in Baum (Steve Carrell), who is the guy who becomes the very thing he procures. And I thought that was the best character response to the 2008 crisis, because the 2008 crisis is us realizing we are all guilty.
I loved the idea of this man betting against the system because he believes it to be corrupt and incompetent only to win and he wakes up and realizes, “Oh, if I’m right then the system is corrupt and incompetent.” And of course no pessimist wants to believe they’re right.
The whole thing about being a pessimist is that you’re not right. So because he’s one of those guys who don’t want to be as pessimistic as he is, he is sort of bummed out and realizes there is this huge price to pay and he is part of that problem and not part of the solution. So that was interesting to me, I thought that was an interesting take on our collective culpability.
The Big Short
What was the process of adapting the book like, and how long did that take?
It took about three months to write it down, and another three months to reduce its complexity. So, six months, a little longer than usual.
There was some research to do too, although Michael had done most of it. Things like finances, that whole Florida thing, understanding how mortgage brokers thought at the time, what they were doing, understanding how strippers were owning five houses and a condo, that kind of thing.
I usually start with the characters. I try to see what defines and makes them specific and unique. I usually give them each a quirk and measure everything against that quirk. I try to arrive at that right tone.
I wrote the Florida section first because it wasn’t in the book and that’s when I realized it was more comedic than I thought. At that time, it was more satirical and more character-driven humour. And then Adam McKay came along and sort of made it more into farce, which made it work better because there is so much abstract and complex information to communicate.
In general it was trying to find the right tone that was slightly funnier than your average Milos Forman comedy, which is all grounded character-based but not so satirical where you got “Wag the Dog.” Somewhere between there was what I was shooting for.
Once I got the tone down, then I went through the plot. The market’s movements provided you with an underlying plot. You make your short deal, then the bank is trying to squeeze you out, and then it all breaks loose. So that was pretty easy, and it provided character arcs against that.
For the rest of the interview, go here.
You may download the script for The Big Short here.
Reading scripts. Absolutely critical to learn the craft of screenwriting. The focus of this weekly series is a deep structural and thematic analysis of each script we read. Our daily schedule:
Today: Takeaways. You may download a PDF of the script here.
This week, we have been reading, analyzing, and discussing the script and movie 12 Years a Slave. In some ways, today’s exercise is the whole point of the series: What did you take away from the experience of reading and analyzing the script?
Screenplay by John Ridley based on a “Twelve Years a Slave” by Solomon Northup.
IMDb plot summary: In the antebellum United States, Solomon Northup, a free black man from upstate New York, is abducted and sold into slavery.
For Part 1, to read the Scene-By-Scene Breakdown, go here.
For Part 2, to read Plot analysis, go here.
For Part 3, to read Character analysis, go here.
For Part 4, to read Themes analysis, go here.
For Part 5, to read Dialogue, go here.
Head to comments and let me know what your takeaways have been from the script for 12 Years a Slave.
I am looking for volunteers to read a script and provide a scene-by-scene breakdown for it to be used as part of our weekly series. What do you get? Beyond your name being noted here, my thanks, and some creative juju, hopefully you will learn something about story structure and develop another skill set which is super helpful in learning and practicing the craft.
The latest volunteers:
12 Years a Slave – Georgevine Moss
Beasts of No Nation – Jacob Holmes-Brown
Bridge of Spies – Scott Guinn
Carol – Jillienne Bee
Celeste and Jesse Forever – Ryan Canty
Diary of a Teenage Girl – Cynthia
Ex Machina – Nick Norman-Butler
Frozen – Doc Kane
Gone Girl – Ashley Lara
Inside Out – Katha
Legend – Olivia
Leviathan – Piotr Ryczko
Locke – Megaen Kelly
Macbeth – Trung
Man Up – Kristy Brooks
Monsters University – Liz Correal
Mud – Kevin
Nightcrawler – DJ Summit
Pawn Sacrifice – Michael Waters
Steve Jobs – Angie Soliman
Straight Outta Compton – Timm Higgins
The End of the Tour – Steve F
The Iron Lady – Leslie
The Way Way Back – The Deuce
Trainwreck – Joni Brainerd
Wreck It Ralph – Kenny Crowe
To see examples of scene-by-scene breakdowns, go here. Part of the goal is to create a library of breakdowns for writers to have at their disposal for research and learning.
You may see the scripts we can use for the series – free and legal – by going here.
To date, we have analyzed 52 movie scripts, a great resource for screenwriters. To see those analyses, go here.
Thanks to any of you who will rise to the occasion and take on a scene-by-scene breakdown.
And for those of you who have volunteered, please send me your scene-by-scene breakdown as soon as possible!
Circling back to where we started, reading scripts is hugely important. Analyzing them even more so. If you want to work in Hollywood as a writer, you need to develop your critical analytical skills. This is one way to do that.
So seize this opportunity and join in the conversation!
I hope to see you in comments about this week’s script: 12 Years a Slave.