LOVE STORIES: The 4 Rules of Romantic Triangles
When the hero or heroine of your love story or romantic comedy is choosing between two lovers, you must be careful not to lose sympathy for your hero.
Arenas and Finish Lines: AVATAR and THE HURT LOCKER
I find it fascinating that Avatar and The Hurt Locker – the two movies that duked it out for the 2009 Best Picture Oscar® – have so many common plot elements.
STORY STRUCTURE: The 5 Key Turning Points of All Successful Screenplays
Though writing a successful Hollywood movie is certainly not easy, the stories for mainstream Hollywood films are all built on only three basic components: character, desire and conflict.
STORY STRUCTURE: Novel Structure vs. Screenplay Structure
The term ‘Story Structure’ simply refers to the sequence of events in a story. A writer’s or filmmaker’s goal has to be to create an emotional experience for the reader or the audience.
STORY STRUCTURE: 10 Simple Keys to Effective Plot Structure
Structure is something that every agent, editor, publisher, Hollywood executive, public speaker, marketer and story teller talks about, to the point that it can seem complicated.
LOVE STORIES: The 6 Categories of Romantic Comedy
Romantic comedies – especially Hollywood Romantic comedies – are among the most formulaic of genres, with elements that have consistently contributed to these scripts’ and films’ success.
ADAPTATION: Michael Hauge’s 4 Rules of Adaptation
All film making, and all storytelling, has one primary objective: to elicit emotion in the audience. This objective is achieved with only three basic elements, which form the foundation of all story.
ADAPTATION: The 5 Key Elements to a Successful Adaptation
Fiction writers must realize that much of what makes a novel great is by definition eliminated from the movie: writing style; interior thoughts of the characters; narration.
ADAPTATION: Movies Aren’t Novels
Many fiction writers, at one point or another, consider adapting their own work into film. Because both novelists and screenwriters use characters to tell fictional stories.
COMMERCIAL POTENTIAL
One of the biggest mistakes screenwriters make is giving too little importance to commercial appeal of their story. Before putting words on the page, a writer should always ask…