Tag Archives: script writing

Film Script Format

Write Your Story in a Screenplay Format

Now you have your story structured and characters well developed, You need to write your story in a professional film script format. This is where all the creative work kind of stops, since professional film script format  has very strict rules, so be careful.

Now:

Many writers use  a script writing software to write in script format even if you plan to use a screenwriting software, you should go through the rules mentioned here, so you can make sure that everything is in place. It may sound complicated at the start, but, trust me, once you’ll understand the basic, it will come easily to you.

I am going to walk you through the basic format rules and if you want to deepen your knowledge on the subject, I recommend reading the book The Hollywood Standard: The Complete and Authoritative Guide to Script Format and Style.

Film Script Format’s First Page

The first page needs to have the title on about line 25, on the page center in quotes and in caps letters.

Four lines under the title should be the “Written by” (also centered) and 2-3 lines after that should be the name of the writer.

I also like to write my contact information at the bottom of the page.

Writing The Scenes

The important thing to remember is that every scene needs to start with the details of who, what, where and when. The script should be written is present tense since revealing to us on the paper as we read it, as if we are watching the film.

The Slugline

The first line that describes the scene called slugline, which is the headline of the scene. Each time your character moves from one location to another, it’s a new scene and you’ll need a new headline. The slugline reveals to us the number of the scene, is it shot inside or outside (writing as INT/EXT), the location of the scene and the time of day (day or night).

The order here is very important.

It should all be in capital letters, so it should look like this:

      12.INT.LIOR’S ROOM.NIGHT

The reason for being strict about the slugline is so the producer/cinematographer/sound man and all other crew members can go through the script quickly and get the general idea about the production.

For example, they can learn how many scenes in the film need lighting (those that are shot inside) and how many are going to use sunlight (those that are shot outside at daytime). If you’ll read the lesson about Script Breakdown, you will understand why this is very important when working on the budget

This is why many directors and producers ask for the script in a Final Draft format because it makes it easy for them to divide the scenes like that.

The Scene Description

After writing the slugline, you should write the scene description. The scene description is built from a few short sentences and should give us a clear image of what we are going to see on screen.It should be written two spaces below the slugline and between the margins.  Every scene will start with a scene description, but it can be written during the scene every time something happens that is not a dialogue.
When a character is introduced for the first time, you should write her name in capital letters and add a short description of her.

Remember! You can only write what we see. You can’t write stuff like “Leroy is sad”, you should show us he is sad. You have to remember that the audience is not going to read the script. You can sometimes use metaphors to set the mood, but be careful there.

So it what we have now will look like this:

      12.INT.LIOR’S ROOM.NIGHT

      Leroy, a fat, 40 years old man, is sitting with a small dog next to him. Leroy is           crying while looking at pictures and the dog is licking him.

Notice I didn’t write “sitting with HIS dog”. If I want the audience to understand that the dog belongs to Leroy, I need to find away show it.

Writing The Dialogues

The talking character’s name should be written 3 lines below the description and about 4 inches from the edge in capital letters. The character’s lines will be 1 line below and about 3 inches from the edge.

The whole thing should lool like this:

      12.INT.LEROY’S ROOM.NIGHT

     Leroy, a – 40 years old man, is sitting with a small dog next to him. Leroy is              crying while looking at pictures and the dog is licking him.

DOG

                                         Hey Leroy, are you OK?

LEROY

                                         No. I miss my girl

Adding action lines

Now, Leroy wants to get up in the middle of the conversation. This is how we write it:

      12.INT.LEROY’S ROOM.NIGHT

      Leroy, a – 40 years old man, is sitting with a small dog next to him. Leroy is crying while
looking at pictures and the dog is licking him.

DOG

                                         Hey Leroy, are you OK?

LEROY

                                         No. I miss my girl

DOG

                                         Why?                                                                                            

          Leroy gets up without looking at him

LEROY

                                        I don’t want to talk about it!

There are much more and if you want to get perfect in it,

You can also get Screenplay template from this link

Developing Characters With Great Characters Examples

 

How To Develop Your Story Characters

Every movie is driven by its character. The plot never does anything by itself.
I’m going to teach you how to develop your characters while keeping your character reliable and interesting.

Developing characters is all about making your characters complex, ambiguous with good and bad qualities. Your character can be stupid if you want it to be, but it has to have an inner logic that it is loyal to it. Her actions in the movie should go by her personality and not out of nowhere.

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Creating a character that the audience will want to meet

Think about what makes you relate to a character. Is it when she reminds you a little bit of you or someone you like? Or maybe she reminds you of who you want to be. Indiana Jones is a great character because he is a tough dude that many of us, men, wish to be. He is also full of adventure spirit we wish to have.

Look at all the characters you like in films and in novels. What is it about them that reminds you of you? What is it that make you like them?

In the movie Inside out, the writers had to deal with the happiness of the Joy character. The problem was she was happy all the time and no one can relate to that. The writers did a good job with the character by creating two elements: first is when Riely started to get sad. Joy try to fight the sad feelings and this is when Joy appears to us as vulnerable. The second thing that the writers did is that they made it clear that Joy is happy all the time because she cares about Riely and want her to be happy and not from selfish reasons. This is also something we can relate to.

You should also think if the characters you write are ones that the audience would like to hang out with? Are they interesting enough? Are they funny or smart? What is it about them that makes you want to meet them?

Developing The Characters Goals & Motivations

  • The characters are moving the plot with their choices. The protagonist  (The main character) is the leading voice in the story and there for his goal will be the most important one, but all the characters should have goals too.
    Why is that so important?
    The audience wants to see a character that makes things happen. We like the character just for the fact that she is trying to change her world (which means she doesn’t have to succeed). As long as the drive and goals of your characters are clear to the audience, you are in a good place. Find out what each character wants to get from the story.
  • You also need to know why the characters want to get these goals. What is their motivation? Remember! All of the decisions she’ll make in the story will come from that motivations and goals.
  • Sometimes the motivations might come out of fears. Find out what is your character fear or darkest side and where is it coming from.

Quick Tip!
You should watch out for passive characters. Don’t get me wrong. There are many successful films with passive characters like Big Lebowski, but you have to be a skillful writer to pull it off. If you are using a passive character, something is got to happen to pull her out from her passiveness.

  • The character will usually go through a road of obstacles until she’ll get to where she wanted to be at the beginning of the film.

Look for the emotion

You need to really investigate your character’s leading emotion. What is the one emotion that keeps following her throughout the script. Is it her obstacle in the film that needs to be changed in the end or is it what’s motivate her? Or maybe even both? The character’s emotion is something that should be changed throughout the film. For example, the emotion that leads Batman is anger or repressed anger. This feeling makes him walk a thin line between helping people and hurting them.

Developing a 3- Dimensional Characters

Your characters need to be believable and you will get that by making 3-dimensional characters and you will create that by knowing their back story.

  • Another important thing to remember is that your character had a life before the story begun (unless she is born into the world in the story). Many beginner writers forget that and they get a very shallow character. You should start by writing her biography. A complete resume of her life from birth until the story started. You have to know your characters like you know your best friend.
  • These are the things you need to know about your characters:
    Physical: how do they look? What is their weight, height and age? Do they have any distinguishing features? Is he strong? Is he tall? How does she talk?That may not be important to the story, but you need to know it for yourself.
    Sociological: Where did she grow up and where does she live now? What kind of family did he come from? What were his earlier jobs before he got to where he is now? Were there any important events in his childhood that changed him?
    Psychological: How does your character talk? What kind of person is he? What are his greatest fears? What are his greatest desires? Is he a perfectionist? Is he a slob? The important thing here is to understand her point of view on life.
  • Writing the background of the character is important to understand the mood and style of the story you are going to tell.
  • The more you’ll make your character look and feel real, the audience will love her more. The more specific you’ll be in her biography – the better.
    Don’t write general things like James is a dog with a fear of abandonment and every time his owners are going out he is going mad.
    Write: When James started to get used to his new house and owners, the wife didn’t feel good and both she and her husband went to the hospital and didn’t come back for two days. Ever since he is suffering from a fear of abandonment. Think about 5 characters you like from films, TV or literature and think what it is about them that you can identify with. That will help you understand the idea better.
  • Put yourself in her shoes and stop to think about her actions and relationships. Look at all the actions she is doing and make her start thinking about them. Make her ask questions like, Why am I doing this? Am I sure this is the right thing to do? Why do I hate this person so much?
  • Don’t be afraid to take details from other people you know. Start carrying a notebook and start writing interesting details about people you meet.
  • Use Psychological websites. There are many sites with psychological tests that you can run your character through. Try that. it’s fun and you can learn great things about your characters

Even if you find the bad guy generally repulsive, you need to be able to put yourself so thoroughly into his shoes while you’re writing him that, just for those moments, you almost believe his slant yourself.
K.M. Weiland, quote from Maybe Your Bad Guy Is RIGHT!

The Protagonist – Our Main Character

  • The audience should get to know the main character as much as possible and as fast as possible. The main character in the story is the person that from his point of view the audience will see the story. He doesn’t have to be the one who tells the story. In the Disney movie Aladin, we know Aladin is the main character, but the one who tells the story is the old Arab at the beginning of the film (which some claim it’s the Genie).
  • The protagonist also has to change during that road. If we said earlier that the goal of the main character is the fuel that drives the movie forward – the change is the resolving of the story. It is the premise which is the reason the story is presented to us. After all, the real job of your main character is to deliver your premise. A good example is Han Solo from the Star Wars series. Han Solo starts as a cynical character that only cares about himself (therefore the name Solo). Throughout the three films, Hans become a friend of Luke, the leader of the rebellion and in a romantic relationship with princess Leia.
  • There is usually one protagonist, but sometimes there might be two or more that will complete each other (as if they are one). When you have a few characters as one protagonist, I Recommend that in the beginning of the writing process, you’ll write more characters than you plan to have. For example, if your story has 5 characters as the protagonist right at the beginning as if you have 8 and see which one of them work best.
  • Don’t make your Character perfect – Perfect people are not interesting and they are hard to relate to. You always need to give your main character one flaw and usually the flaw will be related to his passion. It should be the same about your antagonist. Your antagonist can’t do bad things just because he is pure evil. There should be some complex feelings that drive him to do what he does. A good example for that is the protagonist od the movie Deadpool. Deadpool is more of an anti-hero than a hero- he is insecure, he hate himself and he deals with a big tragedy in his life.
  • Remember! Nothing is final. Your character will continue to grow while you are working on the script. Your characters may even surprise you during the writing
  • All these rules should be applied to te Antagonist as well.

ScreenWritersUniversity.com

The Format of Writing a Character in a Script

  • The first time you mention a character in the script, you should write it with capitalizing letters. After the name will come a very short description of the character. That’s why the first time, we write her name is with capital letters- so if the reader will forget who that character is, he can find her description very easy. The next time you will mention her name will be ןמ the standard first letter with capital. So, the first time a character is mentioned should look like this:
    “JAMES, a small brown dog with 3 legs is crawling after his master”
  • Remember! You can’t write emotion and thoughts when you describe a character or her actions. For example, you can’t write, “James is sitting on his bone so no one will be able to take it”. You can only describe what the character is thinking through actions or dialog (through actions is better). You also can’t sneak in information about the character- “James, Lior’s dog, is a small brown dog”.
  • Make sure the spelling of the character’s name is consistent throughout the script.

Remember! Your goal is to make the readers care about your characters, so they will more emotionally invest in the story.

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The Story Conflict

Script writing class-S
The Story Conflict

 story conflict definition

A story conflict is a gap between what someone wants or needs and the forces that prevent him from getting it. To build a story conflict, you need two forces that will work one against each other. It’s an elementary tool in every story that creates tension. The conflict will result at the end of the movie.

Why do we need the story conflict?

This is the most important part in writing a script. The conflict is the tool you use to help your main characters face their fears and all other emotional issues. By seeing how they react to the conflicts, we learn more about them and get to know them better. If a conflict reveals other sides of the characters that we didn’t know before, then our character is a good 3 dimensional one. It is also a tool that will help us to understand our story’s premise better

Types of story conflicts

There are 3 levels of conflicts you can use in your movie:

Inner conflict – Thew hero has a problem with himself and his morality. For example, the protagonist doesn’t want to rob a bank, but, on the other hand, he doesn’t have any money to feed his family. Fear and guilt can be good obstacles. Other good examples of inner conflicts can be sexual, religious, cultural and etc.
Inner conflict is considered to be the most powerful one. It helps us to feel empathy towards him.
Personal Conflict – This is an external conflict between the protagonist and a different character (or characters). The other character will be the antagonist.
Universal/social – Protagonist is against something very big like a hurricane, the government, etc.

Sometimes the universal and personal conflicts will represent an inner conflict. Basically, what you need to remember is that a conflict is whatever that try to stop the protagonist from getting what he wants.

Finding out your story conflict and strengthening it

Identifying the main conflict in a movie can sometimes be a little tricky, but you have to do it or you won’t be able to get very far.
The main conflict should be summarized in one sentence: “The main conflict is between ___ and ____ (the opposing forces). If You have trouble to do that, then you need to investigate it.

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These are questions that will help you to strengthen your story conflict:

  • Who is our main character and what is her goal? The main character’s goal is really the first part of the conflict. What is it she is trying to achieve? You have to find what is the one thing they just have to get. This is going to be the fuel of your film so put some thoughts into it. It has to be something very strong. It has to be something that agrees with her beliefs and ideologies. Try to think even bigger and answer what is their goal for after the film end. What do they want to have 30 years from now?
  • The next question will be, what is stopping her from getting what she wants or need? There is a force that fights her. What is the motivation of this antagonist? Being a pure evil guy is not a good motive and if you are using an inner conflict and the antagonist is the protagonist’s fear of talking to strangers, it can’t be just because that’s the way she is. It has to have some kind of reason. Understanding that force will help you understand the obstacles that the protagonist need to go through. Make sure that this antagonist is equal in power to the protagonist. Nobody wants to see a fight between a lion and an ant- We know who will win right at the start.

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  • The third question is: What is at stake? If the protagonist won’t get what he wants, is there something he might lose? Is it something worth fighting for? Understanding what’s at stake is the answer to the question, why is it that our hero doesn’t give up?

Building a conflict up to the climax

We now agree that every good story needs a conflict, but your conflict needs to grow and develop throughout the film. The sooner you’ll bring in the conflict (as a very small one at the start), the better it will be for your movie. If you don’t want to start the conflict right at the beginning, it can also be good to insert some subtle clues and hints to the upcoming conflict. The conflict will grow with obstacles that get harder and harder to overcome into a point where everything that gained might be lost if the protagonist won’t win this last obstacle. That point is called Climax. The climax usually will reveal to us in what way the hero has changed.

ScreenWritersUniversity.com

Use conflict everywhere you can

Every scene needs to have a conflict in it and every time you show a conflict in a scene you need the audience to care about the outcome. After you set the goal of your character, try to see what is it she wants to achieve in every action she acts, in every scene. She may say to her daughter not to go to the party because it’s dangerous, but what she really wants might be for her daughter not to grow up so she will not feel the she is getting old. Look for the main character goal in everything she does and says and then look for what is the force that works against this small goal.

Your Story Premise

 

Make A Strong Story With A Good Story Premise

The story premise is actually the leading force behind what we do in real life. In storytelling, the premise the concept that leads the plot and the characters in the story.

The biggest advantage of the story premise is that it helps you understand your story and your main character a lot better- Why is your main character acting the way it is? Why doesn’t it give up? What’s it desires? What’s the source of its obstacles? and Why does he having a hard time overcoming them?
Once you’ll answer those questions you will know the core of your story better.

How do I know if the premise is good?

It is important to understand that a good premise is not judged by the idea itself. We have plenty of ideas. The premise is judged by the way the director translate the idea to film. The premise has to enter the viewer mind without him noticing it.

All good premises are built from 3 essential parts:  An ambitious character, a conflict, and a closure. I will talk about these 3 things later on in my blog, but for now, you need to know that your premise will dictate those 3 elements. Once you find your premise, your characters are not free anymore, they need to serve that premise. Everything in the story- the characters, the conflicts and the actions should arise with the screenwriter’s premise.

Now:

Usually, you should be able to sum your premise up in 2 or 3 sentences. If you can’t, then it’s probably not accurate enough. Ask yourself what your story tell us that we have to know, what’s the point of this story? At first, you can start by formulating it as a question- for example- “Doe’s love wins it all?”
On the other hand, you have to make sure your premise is not too obvious. We still want to entertain them.


The 4th element of a good premise

There is another important element to consider, when writing the premise and it is the script writer’s point of view. It may sound like a not important thing to deal with, but trust me- it is! First of all, If you don’t have anything you want to say, why do you want to work on this art form? There are many other better ways to make money. But more important, your unique point of view is what can make your movie an original one. I recommend reading the find your own voice article to understand how to find your own point of view.
The theme doesn’t always has to be a very important one about mankind, it depends on your way of seeing the world, but every story has to have one. In my opinion, a movie should never be judged by his premise but, by the way, he proves his premise in the movie.


When do I start thinking about my premise?

The premise is usually the next step after the idea, although sometimes it becomes clearer after writing a few drafts. Although it will be easier for you to develop your story with a clear premise.
Once you find your premise I recommend writing it in a small piece of paper and putting it somewhere in front o
f you while you are writing the story.

How to deliver the premise in the film – 2 examples

In the movie A Clockwork Orange, the story premise is “Can we define goodness and evil with esthetics?” The answer according to the movie is NO. We see it best in this scene:

 

In this scene, the hooligans are breaking into the old couple’s house, beat the husband and rape his wife. For me, This is one of the most violent scenes in cinema’s history. Kubrick plays an evil game with us. He wants us to feel ambivalent about this scene.
So how does he do that? With colors!
The scene before has very gray colors. When we get use to the gray, blue cold and dead colors, we move on to the next scene. Now, we are in a house with lots of warm lights, the camera is very stable. We feel good about this scene. We are set to start the ambivalent feeling.

another good example will be the movie Rumble Fish. This is the most important scene in the film. Can you guess why?

So how does Francis Ford Coppola tells us to pay attention to the scene? First of all the name of the film is Rumble fish and Rusty’s brother is talking about rumble fish, but also, this is the only scene with some color in it. In this scene, Rusty James meets his biker brother in front of an aquarium in the local pet store. Rusty asks if everything is alright and his brother tells him to look at the fish. He explains to Rusty that the two tanks are separated because if they will be together they will fight themselves. The brother tells the officer that the fish belong in the river – “I don’t think they’ll fight if they will be in the river.” and this is the big question of the film- the great story premise, “Will they fight if they are free?”. The film premise is “Are we, humans,  evil by nature or does society makes us that way?”

ScreenWritersUniversity.com

 Homework

Your homework now is to take a look at some of your favorite movies (choose at least 5) and find out what the story premise is. Not only you need to find it out, you will also need to prove it through the film. How does the film project this premise? I really recommend doing this homework and if you want to send it to me I’ll be glad to read it

Script Writing – The Screenwriter’s Requirements

Do You Have what It Takes To Become A screenwriter?

There are many techniques, tips and tricks that I will talk about them later on in the scriptwriting section, but before that, I think you should look inside yourself and see if you really have what it takes to become a professional screenwriter. Looking at all the writers who really succeeded, one can see a number of common features to all. I will try to review some of them here

Creativity and originality in script writing

Script writing is all about being original and creative. Now I’m not talking about re-inventing the wheel here. Take Pulp Fiction or Memento, for example, They both tell a pretty simple story- Memento is an ex-insurance investigator who tries to find his wife’s murderer and Pulp fiction is about two hitmen trying to get a stolen bag back to their boss. In both cases, the stories are not that original, but the way the stories are told- the structure of those films, the characters, and the dialogs are very original.

As a beginner screenwriters, though, it is important to be original and stand out. I will write about inspiration and creativity later on in the blog, but the crucial thing to understand is that you have to be affected by life and not TV or the other movies you’ve seen. You can not know from where inspiration will come, so you should be ready all the time. It will also help greatly if you surround yourself with creative people but, on the other hand, don’t be too affected by them too. Allow yourself to be alone from time to time and figure out what you have to say to the world.
Click here to read about finding your own voice

“You see things; and you say, ‘Why?’
But I dream things that never were; and I say, ‘Why not’?”
George Bernard Shaw

Flexibility with the script writing

Script writing is not an art that stands on it’s on. A film is produced by a very large group of people and lots of money is invested. You will be required to be flexible and compromise with your story. Of course, you do not have to sell your soul to the devil so fast, but know how to balance with what the producers want and what you want. I recommend reading the Make low budget film article to understand what the producer look at in the script when he plans the budget.

Commitment to your script

The main thing to remember in script writing is – Do not give up no matter what! When You start working on your first script, it will be something like this – you sit in front of the blank page in a notebook or on a computer and just stare at it. It could be an hour, two hours or a full day. You do it every day. Never Give Up. Take a notebook everywhere you write down scenes in every spare moment you got. If carrying a notebook is too heavy for you, I recommend using an app called celtx script – Celtx Inc. It’s a great app that many screenwriters are using. The app allows you to be able to work on your script anytime and anywhere. The app also helps you to write formatted scripts right away and to share it with your partners.
Even when you finish writing the script, you will still be required to do many rewrites. Keep doing that until you have something that you, the director, and the producer are happy with.

Courage to be in the business of scriptwriting

If you really believe you can make a living, only from your brain, so either you crazy or you have great courage. This script writing business is something very hard to do in the evenings after work (although that is not impossible). If you’re committed to the script, you’ll have to sit on it for days and that means no day job. It is important to ask yourself, are you really able to do it.

 

Know how to speak

It’s kind of sucks, but you will need to know how to sell yourself and your script. There is a thing called Pitch – the scriptwriter has something like a minute and a half to present his story to producers and to convince them that he is the person to tell this story. We will deal with this issue later on in the scriptwriting section of the blog, although I think it’s the least important things. At least not as important as knowing to write.

Knowing how to  look

To be good writers, you should turn off your autopilot and start to be present. Start paying attention to what is happening around you and start asking questions about what is happening. Stop hanging out with headphones in your ears and listen to the conversation around you and ask questions about what you see- what this guy story? Why this mother yells at her children in the mall? What’s her problem? Take a small notebook and write anything interesting you see, even if at the moment it does not look like something suitable for the film.

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Be Able to accept criticism

Perhaps the hardest part of the profession of script writing is the criticism. You worked on the scene all night. Suddenly there was a breakthrough, you ask a friend to read it and he doesn’t understand what you wrote. The trick is to know who to listen to and how. If a friend did not like the script, you do not have to run out immediately and change everything. Try to figure out what it is he did not like and most importantly, show the script to more people and see whether they think the same way. Be open minded to new ideas when you get criticism on your script and don’t be stubborn, but also didn’t change the script just to fit to the others opinions.

Passion

If you do not have a strong need for writing, you might want to give up the idea. This script writing business is a very difficult process, which can cost many frustrations and anger. If you do not really need to do this, you should never start.  Writing is something that burns inside of you and you have to let it out. Most professional screenwriters say that, even when they are not working on a screenplay, they are writing every day. They just must. The most important thing in writing the screenplay for a movie is to love movies. Writing a screenplay is a process completely different from writing a novel. You have to really love the field of film and to know how to express yourself properly in this medium. Watch as many movies and read many scripts, to learn the tricks screenwriters made there. So now you see that you have everything you need, you can go in and start learning how you can write the script of your life.

 

Find/Develop Your Inner Voice – Creative Writing Tips and Exercise

How To Find Your Inner Voice

 

When writing a good movie script, it is important to be able to communicate with yourself so you can touch the audience. Creative writing is all about breaking the boundaries of the professional writing for the purpose of expressing your thoughts, emotions and feeling instead of just delivering information about something. It’s a tool you use in academic writing also.

There are many creative writing tips out there, but trust me, only if you’ll use what you really feel, it will help you stimulate senses in the audience that they were not aware of before. The first step of creative writing is finding your own voice.

Now,

When we talk about “finding” your voice, we really mean that you should develop your own voice.

“Be yourself, everyone else is already taken”
Oscar Wilde

Like it or not, you have an artistic identity

To produce any kind of art, the artist must have something to say, a certain value,
a certain approach, some experience, and vision.

So here is the kicker:
In your life you’ve went through a number of events that affected you emotionally. They created your own voice. Finding your own voice will happen if you’ll have a real curiosity and a desire to understand the logic of things with the desire to solve them. You have to be realistic and to understand the events that have shaped you into who you are today.

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Before I’ll show you the exercise that will help you find your own voice, I want to emphasise that it is very important to write freely. Don’t think too much about rules and not even about your original idea when you started working on this film, just flow with whatever comes out and I promise your inner voice will come out

The Exercise that will find your voice

This is a very simple exercise that will change your script writing completely:
Try to think of five things you like the most,
five things you hate most,
five things you fear most,
five things you most believe in,
the five things you most appreciate
and five things you know best.
Try to think of five people who changed your life,
five discoveries that changed your life
and decisions that changed your life.

“A loud voice cannot compete with a clear voice, even if it’s a whisper.”
Barry Neil Kauffman  

For each category write at least 5 things. 10 If there is time. Try not to write general issues such as global warming or war. If something general like war appears again and again, try to understand what about war is it that makes you mad or fear. Vented this concept, understand what your relationship to these powerful emotions topics.

That’s it! A very simple but important exercise you must do before starting your writing career.
ScreenWritersUniversity.com

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