Story. Screenplay. Sale.
The craft of telling a story starts with structure skills.
A 17th Century tale of adventure on the Caribbean Sea where the roguish yet charming Captain Jack Sparrow joins forces with a young blacksmith in a gallant attempt to rescue the Governor of England’s daughter and reclaim his ship. (2/5: no inner journey, no antagonist) Toula’s family has exactly three traditional values – “Marry a … Read more
Let’s start by saying what it isn’t. It is not a tagline. It is not really a one-paragraph synopsis either. (and it’s definitely not a slug line) The Australian Film Commission says: “filmmakers are often asked to supply a one sentence version of their film story. This one sentence should give the most concentrated version … Read more
McKee’s STORY gave me the illusion the logline is one of the last things you ever write. Why? Because during development, things can change. Of course McKee is right. The creative process is unpredictable and you know where you start but you don’t know where you’ll end. Really? If you are assuming things can change … Read more
The essence of ‘plot point’ is the essence of drama, yet I find it hard to define. There will always be unresolved elements in its definition, much in the same way the responses to a kid’s unrelenting questions ultimately lead to the question about the Meaning of Life. Inside the Plot Point lies the Meaning … Read more
In an Australian government document relating to script development I found the term ‘omnipotent POV’. In a specialised screenwriting magazine I read “omnipresent POV”(*). Both are plain wrong. You’ve got to wonder: if they can’t even get the terminology right, there is reason to be concerned about their understanding of the concept. The correct term is … Read more