I’ve been privileged enough not only to work as a screenwriter for the last 20 years, but to talk to many other screenwriters about what they do and how they do it. So I am going to steal some screenwriting advice from them. One of my favorites is from writer Mike Werb. He says when […]
If you want to write a good movie, you need to give your screenplay emotional intelligence. “Chasing the Monster Idea” is a book by Stefan Mumaw in which he identifies seven questions that will help you determine whether you have a “monster” idea rather than just a good one (or a bad one). These questions also […]
To avoid having any one element of foreshadowing be too obvious, often the writer will throw in some red herrings–some things that could be foreshadowing but in fact don’t pay off or pay off in a different way than we expect. The person who has the gun in the drawer may become an immediate suspect in our minds, but later maybe we see him use it to light his cigarette and we realize it’s not a real gun (of course he may have a real one somewhere else….). That kind of misdirection keeps the audience guessing.
A few years back I had the first draft of my first screenplay ever. Like a lot of folks who dream of Hollywood success, I was eager to share my work with the world. Problem was, I had no idea what I was doing. Through a friend of a friend, I was put in contact with an “entertainment attorney.”
Listen. If you’re an ambitious writer, I’m going to tell you a secret. There is no better feeling in the world than the day you stop sending query letters and instead, you start producing your own work. For years and years, you have dreamed about seeing your work on the big screen. You know you’re good. So why ask for permission?
This screenwriting interview provides the Hollywood executive’s guide to writing for the green light.