How can you recreate the feeling of cinematic high-tension on the page? Chas & Stu take a close look at sequences of high-tension – the ones that make you lean forward in fear, or jump backwards in terror. Without camera angles, lighting, music or sound, how can screenwriters can evoke those emotions in readers using only the page? These […]
Are your story rules in your pilot strong enough to play out over the life of your show? Stu and Chas move away from the world of features and dive into the Pilot Episodes of some (New) Golden Age Television: THE SHIELD, THE WIRE, BREAKING BAD, and MAD MEN. And we sneak in some discussion about […]
Cinema is a time-based art, and one of the primary tools in film editing is manipulation of time. A closer look at sequences in the scripts of PULP FICTION, THE BOURNE IDENTITY, THE BOURNE ULTIMATUM, WOMAN IN BLACK, RAIDERS OF THE LOST ARK, UP, WHIPLASH, and THE UNTOUCHABLES reveals how master screenwriters use the same time-controlling techniques on the page. The closer a writer can recreate cinema’s use of time on the page, the more of an “I’m watching a movie” feeling you can generate for the reader. Or, as Chas puts it, writing like you’d edit. We discuss use of white space, super-present tense, decompression & compression, Soviet Montage Theory, the Kuleshov effect and just a tiny amount of grammar.