Style = Voice

August 24th, 2015 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, August 31, 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 2015:

August 31: Core IV: Style

September 28: Core V: Dialogue

October 12: Core VI: Scene

November 9: Core VII: Theme

November 30: 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 August 31, go here.

For The Core Package, go here.

I look forward to the opportunity to work with you!

Reader Question: How much do I need to focus on “stylized writing”?

July 24th, 2015 by

Question from Thomas:

Hello Scott,

I’m beginning to write screenplays; however, I wanted to know how good at stylized writing do I need to be to become a successful screenwriter.

I aim to describe everything clearly. Clear enough for the cast and crew to understand and see the story in their minds.

Most scripts I read are so colorful and stylish. Is that something I should work on or do I just focus on telling my story clearly?

Thomas, your question goes to the heart of a writer’s voice. So a few things.

First, we have to draw a distinction between a selling script and a shooting script. The latter is a blueprint for the production team to make a movie. The former is what we, as writers, write to sell the project and move into development.

They can be two different beasts.

Whereas as shooting script (or production draft) may be much more about being “clear enough for the cast and crew to understand,” a selling script has one audience: The buyer. We are trying to engage the hell out of him/her.

Which leads to the second point: Entertainment is at a premium with a selling script. You may have heard of David Mamet’s one rule for script-writing: “Never be boring.” We have zero chance of getting a script to a production draft state unless we get it set up in the first place. And to do that, while clarity is important, entertaining the reader is more important.

This, Thomas, is why you see “colorful and stylish” writing in the scripts you have been reading. At this stage, we want to do whatever we can to excite a script reader about our story.

So yes, my advice is you do have to pay attention to your script’s style.

And this leads to the third point, something I raised earlier: Voice. Specifically what I call Narrative Voice.

Whatever the script’s genre is, the style exhibited primarily in scene description should reflect that genre. An action script should read hyperbolic. A comedy script should read funny. A thriller script should read intense. A horror script should read scary.

Here’s the thing. A novelist has a lot more leeway to convey their voice to a reader. Not so a screenwriter. Dialogue, yes. But not much else. So we need to embrace scene description as a platform to entertain and engage a reader.

Hence stylish writing.

With a selling script, clarity is important. Establishing a voice which entertains the reader in scene description, more important.

How to learn to do this? Read scripts. Focus on spec scripts which have sold in the last few years. Then test it out. Experiment with your own writing.

Give expression to your own Narrative Voice. It’s a major selling point for any spec script.

Reader Question: Are there differences between a ‘selling script’ and a ‘shooting script’?

December 30th, 2014 by

Reader question in comments from mrchristf01:

Scott,

Thank you for the post.

I didn’t really get what you were talking about until I saw the line:

“Yu uses every weapon that’s available against Jen but none
are any match for the Green Destiny.”

Then it hit me: it’s like show, don’t tell in novel writing.

My own reading of this script would never have told me that. Thanks for pointing it out.

From a review of some of the other scripts on your site, I would say the same concept about the differences between types of scripts [shooting script, selling script, etc.] is necessary to understand the script-in-hand. This leads me to a few questions.

Is there any way to annotate which type of script is posted on your site?

Is a ‘selling script’ the same as a ‘spec script’?

mrchrisf01, you picked up on the subtext of my post: there is a selling script and a shooting script. Sometimes they end up being one and the same. For example, if you read a Coen brothers’ script, what they write reflects pretty precisely what they shoot. Being writer-directors helps in that regard because they have an inner knowledge of what they mean by their scene description.

Re my point about Crouching Tiger: It may have been fine for the minimal description of the fight scene relative to production because they knew they would work out all of those moves in rehearsal, then refine during shooting. That is a shooting script also known as a production draft.

If, however, you were writing a selling script – which is in effect what a spec script is and, frankly, any draft up to the point of active pre-production – you have to do more. Find that delicate balance between enough description to evoke images and mood in a reader sufficient so they experience the movie you envision, but not so much that it bogs down the read or includes content extraneous to the forward movement of the narrative.

There is no simple calculation or formula for knowing how to do this. You simply have to read movie scripts. Lots of them. Then you write scripts. Lots of them. You try out things. You write too much. Then too little. You get feedback. In the end, much of this boils down to the development of your own writing style. And by the way, different genres play out differently on this front. Action scripts will almost by definition have a lot more action description than, say, a character-based drama.

Again the single biggest key in my view: Read movie scripts. You just start to ‘get’ it after a while.

As to knowing if a script is a selling or shooting draft: In the world of online scripts, it’s really the wild, wild West, you’re never sure what you’re going to get. In general, I recommend focusing first on spec scripts that sell or make the Black List. Those represent the closest to what we want to be writing, at least stylistically, when we write a spec or even a writing assignment – again before pre-production. But it’s also helpful to read production drafts in order to compare them to the movie as that helps you to discover that balance between writing too little / too much, and always to write visually.

For more on selling script / shooting script, check out this Business of Screenwriting post I did on the subject.

Final point: Scene description is a critical component of the craft if for no other reason than the fact a majority of the words we write in most screenplays is not dialogue, but action. How we handle that aspect of the script-writing process is key. To that end, I will be offering a new Craft course through Screenwriting Master Class in May 2015 called Scene Description Spotlight. Look for more information on that soon.

Twitter Rant: Eric Heisserer on Minimalist Screenwriting Style

September 15th, 2014 by

Eric Heisserer (A Nightmare on Elm Street, Final Destination 5, The Thing, Hours, Story of Your Life) is probably the Hollywood screenwriter most willing to go online and provide a Twitter rant on a specific subject related to the craft. Writer Tim Wainwright hosts a blog and has been posting Eric’s rants there for the last year or so.

After several GITS readers asked me about archiving screenwriting Twitter rants so they wouldn’t get lost down the online rabbit hole, I reached out to both Eric and Tim about hosting some of Eric’s previous rants here. They both thought that was a swell idea.

Today: Eric’s February 2014 Twitter rant on “Minimalist Screenwriting Style”:

All right my Twitter buddies, I wanna talk about a certain style of screenwriting. It will likely lead to today’s challenge.

I’ve seen a rise in a certain style of writing in the past few months. Half of the scripts I’ve seen use the “haiku” narrative style. By that I mean the extremely terse Walter Hill form of writing. Soft returns, loads of white space.

First off: Yay! Congrats to all of you swinging for this minimalist style. It’s incredibly hard to pull off. So let’s talk about pitfalls.

The Walter Hill minimalist style isn’t merely a matter of omission. You can’t simply cut out a ton of action and format the rest as a poem. Every choice must be a conscious one. We need to know who the characters are in a scene. What things look like. Details. Don’t be vague.

I’ve read scripts recently where the only description was character action, i.e. “Joe runs.” This is too minimal; non-cinematic.

Likewise, there should be reason why and when you choose a soft return. Usually that choice should be directorial in motive. Suggest a new shot with the new line. Or a movement within the shot to catch a detail. Make it a cinematic choice.

So the Tuesday Challenge is this: Try out the minimalist style for five pages with these constraints: 1) With each new location/room, pick three details in the location to describe at the head of the scene. Shine a light on three sensory tidbits (at least 2 visual). 2) When you introduce a character pick three words to describe them. Make 1 physical, 1 psychological, 1 metaphoric.

The Walter Hill style isn’t about omitting descriptive detail, but rather paring it down to poetics. Find the most powerful word and use it.

Do not write it like a kid in a dark room with a flashlight, waving it around and making light saber noises. Point it at the dead body.

The link to Tim’s blog post for this rant is here.

Eric has put together a book that arose from his Twitter exchanges: “150 Screenwriting Challenges” which is available for Kindle here.

Each day this week, I will be posting one of Eric’s Twitter rants via Tim’s blog.

You may see all of the Screenwriting Twitter Rants archived on the site here.

Thanks, Eric, for taking the time to share your insights with the online screenwriting community.

Thanks, Tim, for making the effort to aggregate Eric’s Twitter rants.

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!

Style = Voice

September 9th, 2013 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 16, 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 16: Core IV: Style

September 30: Core V: Dialogue

October 21: Core VI: Scene

November 4: Core VII: Theme

November 18: 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 16, go here.

For The Core Package, go here.

I look forward to the opportunity to work with you!

Go On Your Own Quest — Week 4: Style

August 9th, 2013 by

The 2013 version of The Quest starts Week 4 today. Don’t let this opportunity pass you by because you can Go On Your Own Quest by following the structure of The Quest to dig into screenwriting theory [Core – 8 weeks], figure out your story [Prep – 6 weeks], and write a first draft [Pages – 10 weeks]. It’s a 24-week immersion in the screenwriting process and you can do it here – for free!

Plus you can join The Black Board, the Official Online Writing Community of the Black List and Go Into The Story, another free resource to help keep you inspired and on target at you Go On Your Own Quest from FADE IN to FADE OUT on the first draft of your original screenplay.

This week, we are reflecting on the subject of Style, mirroring the content the Questers are engaged with in Core IV: Style, working through six lectures I have written building off the 4th Essential Screenwriting Principle: Style = Voice. The lectures cover Elements of Screenplay Style, Narrative Voice, Psychological Writing, Imagematic Writing, and Action Writing.

For those of you who plan to Go On Your Own Quest, we began our week-long discussion on Style Monday asking this question: What is the key to understanding screenplay style? You can read that discussion here. Wednesday’s question: How have you learned screenplay style? That discussion here. Yesterday’s question: Why is white space on a screenplay page important? Discussion here. Today another question:

* How important is a writer’s voice to a screenplay’s success?

If you plan to participate in the Go On Your Own Quest challenge, you have 5 weeks before we move into the Prep part of the process. In that time, I challenge you to get to know your Narrative Voice, the approach you will take to your screenplay style for this story.

If you’d like to access the same Core content as the writers participating in The Quest, I will be teaching Core IV: Style starting Monday, September 16. More information on that 1-week online class here.

Why wait? You can have immediate access to the content of all eight Core classes by signing up for The Core Package. This enables you to go through all of the Core lectures (48 total, each written by me), tips, techniques and optional writing exercises on a self-paced basis as well as take any of the 1-week classes as I offer them. Plus The Core Package offers a nearly 50% savings compared to if you took each Core class separately. For more information on this unique offer, go here.

Meanwhile I encourage you to head to comments to discuss today’s questions. And for a related discussion on The Black Board, check out these topics:

For more information on Go On Your Own Quest, go here.

Onward!

Go On Your Own Quest — Week 4: Style

August 8th, 2013 by

The 2013 version of The Quest starts Week 4 today. Don’t let this opportunity pass you by because you can Go On Your Own Quest by following the structure of The Quest to dig into screenwriting theory [Core – 8 weeks], figure out your story [Prep – 6 weeks], and write a first draft [Pages – 10 weeks]. It’s a 24-week immersion in the screenwriting process and you can do it here – for free!

Plus you can join The Black Board, the Official Online Writing Community of the Black List and Go Into The Story, another free resource to help keep you inspired and on target at you Go On Your Own Quest from FADE IN to FADE OUT on the first draft of your original screenplay.

This week, we are reflecting on the subject of Style, mirroring the content the Questers are engaged with in Core IV: Style, working through six lectures I have written building off the 4th Essential Screenwriting Principle: Style = Voice. The lectures cover Elements of Screenplay Style, Narrative Voice, Psychological Writing, Imagematic Writing, and Action Writing.

For those of you who plan to Go On Your Own Quest, we began our week-long discussion on Style Monday asking this question: What is the key to understanding screenplay style? You can read that discussion here. Tuesday’s question: How have you learned screenplay style? That discussion here. Yesterday another question: Why is white space on a screenplay page important? Discussion here. Today another question:

* Use “we see” or not use “we see”?

If you plan to participate in the Go On Your Own Quest challenge, you have 5 weeks before we move into the Prep part of the process. In that time, I challenge you to get to know your Narrative Voice, the approach you will take to your screenplay style for this story.

If you’d like to access the same Core content as the writers participating in The Quest, I will be teaching Core IV: Style starting Monday, September 16. More information on that 1-week online class here.

Why wait? You can have immediate access to the content of all eight Core classes by signing up for The Core Package. This enables you to go through all of the Core lectures (48 total, each written by me), tips, techniques and optional writing exercises on a self-paced basis as well as take any of the 1-week classes as I offer them. Plus The Core Package offers a nearly 50% savings compared to if you took each Core class separately. For more information on this unique offer, go here.

Meanwhile I encourage you to head to comments to discuss today’s questions. And for a related discussion on The Black Board, check out these topics:

For more information on Go On Your Own Quest, go here.

Onward!

Go On Your Own Quest — Week 4: Style

August 7th, 2013 by

The 2013 version of The Quest starts Week 4 today. Don’t let this opportunity pass you by because you can Go On Your Own Quest by following the structure of The Quest to dig into screenwriting theory [Core – 8 weeks], figure out your story [Prep – 6 weeks], and write a first draft [Pages – 10 weeks]. It’s a 24-week immersion in the screenwriting process and you can do it here – for free!

Plus you can join The Black Board, the Official Online Writing Community of the Black List and Go Into The Story, another free resource to help keep you inspired and on target at you Go On Your Own Quest from FADE IN to FADE OUT on the first draft of your original screenplay.

This week, we are reflecting on the subject of Style, mirroring the content the Questers are engaged with in Core IV: Style, working through six lectures I have written building off the 4th Essential Screenwriting Principle: Style = Voice. The lectures cover Elements of Screenplay Style, Narrative Voice, Psychological Writing, Imagematic Writing, and Action Writing.

For those of you who plan to Go On Your Own Quest, we began our week-long discussion on Style Monday asking this question: What is the key to understanding screenplay style? You can read that discussion here. Yesterday’s question: How have you learned screenplay style? That discussion here. Today another question:

* Why is white space on a screenplay page important?

If you plan to participate in the Go On Your Own Quest challenge, you have 5 weeks before we move into the Prep part of the process. In that time, I challenge you to get to know your Narrative Voice, the approach you will take to your screenplay style for this story.

If you’d like to access the same Core content as the writers participating in The Quest, I will be teaching Core IV: Style starting Monday, September 16. More information on that 1-week online class here.

Why wait? You can have immediate access to the content of all eight Core classes by signing up for The Core Package. This enables you to go through all of the Core lectures (48 total, each written by me), tips, techniques and optional writing exercises on a self-paced basis as well as take any of the 1-week classes as I offer them. Plus The Core Package offers a nearly 50% savings compared to if you took each Core class separately. For more information on this unique offer, go here.

Meanwhile I encourage you to head to comments to discuss today’s questions. And for a related discussion on The Black Board, check out these topics:

For more information on Go On Your Own Quest, go here.

Onward!

Go On Your Own Quest — Week 4: Style

August 6th, 2013 by

The 2013 version of The Quest starts Week 4 today. Don’t let this opportunity pass you by because you can Go On Your Own Quest by following the structure of The Quest to dig into screenwriting theory [Core – 8 weeks], figure out your story [Prep – 6 weeks], and write a first draft [Pages – 10 weeks]. It’s a 24-week immersion in the screenwriting process and you can do it here – for free!

Plus you can join The Black Board, the Official Online Writing Community of the Black List and Go Into The Story, another free resource to help keep you inspired and on target at you Go On Your Own Quest from FADE IN to FADE OUT on the first draft of your original screenplay.

This week, we are reflecting on the subject of Style, mirroring the content the Questers are engaged with in Core IV: Style, working through six lectures I have written building off the 4th Essential Screenwriting Principle: Style = Voice. The lectures cover Elements of Screenplay Style, Narrative Voice, Psychological Writing, Imagematic Writing, and Action Writing.

For those of you who plan to Go On Your Own Quest, we began our week-long discussion on Style yesterday asking this question: What is the key to understanding screenplay style? You can read that discussion here. Today another question:

* How have you learned screenplay style?

If you plan to participate in the Go On Your Own Quest challenge, you have 5 weeks before we move into the Prep part of the process. In that time, I challenge you to get to know your Narrative Voice, the approach you will take to your screenplay style for this story.

If you’d like to access the same Core content as the writers participating in The Quest, I will be teaching Core IV: Style starting Monday, September 16. More information on that 1-week online class here.

Why wait? You can have immediate access to the content of all eight Core classes by signing up for The Core Package. This enables you to go through all of the Core lectures (48 total, each written by me), tips, techniques and optional writing exercises on a self-paced basis as well as take any of the 1-week classes as I offer them. Plus The Core Package offers a nearly 50% savings compared to if you took each Core class separately. For more information on this unique offer, go here.

Meanwhile I encourage you to head to comments to discuss today’s questions. And for a related discussion on The Black Board, check out these topics:

For more information on Go On Your Own Quest, go here.

Onward!