Advice

If you saw the season-ending episode of Monk, do you remember the clue that helped catch the killer?Me, neither.In the recent thriller Fractured, what was the mistake Anthony Hopkins made that proved he killed his wife?You got me.My point, and I do have one, is that often writers think the most important aspect of a good mystery is the ingenuity of the crime, the unraveling of the clues. Which is why many writers are scared to death of even trying to write a mystery or thriller.Fear no more.Yes, viewers of mysteries and thrillers like tightly-plotted narratives, clever red herrings, and...

The phone rang.It was a big shot producer from a major studio. "Hey, Ken, I love what you've done! What a great idea! I'm gonna steal it from you."Was he talking about one of my scripts? No. What he was talking about was - well, read on.Let's say you've had a pitch meeting. (And I'll talk about pitching later in this article.) The producer likes what he's heard and the usual line is "Send me a one-page synopsis."So you go home, knock yourself trying to condense your 118-page screenplay into one page.And what you write sucks.It reads flat, you've left...

When characters share emotions with the audience, it deepens the experience of the story. Viewers are made available to the storyteller through emotion: writers seek an emotional connection with their audience the same way actors and directors do. A smart plot is intellectually satisfying, but movies are about more than that. Audiences expect emotional stories. A clever plot is satisfying on its own, but one that fools and surprises us as much as the characters is all the more satisfying because in movies we like being manipulated, startled and stunned. But writers who get carried away with emotion can sacrifice...

Break out of the box of traditional screenwriting assumptions! In this excerpt from Writing the TV Drama Series: Second Edition, Pamela Douglas gives you some new rules for writing television that have changed significantly in just the past couple of years.An hour show has to fit in an hourActually, a network hour is less than 50 minutes, with commercial breaks, though pay cable may be longer, and syndicated hours are shorter. Usually, scripts for drama series are around 60 pages, though a fast-talking show like The West Wing sometimes went to 70 pages. On networks that break shows (for example...

At this moment in time, I think we're in the middle of a screenwriting revolution, a time where screenwriters are pushing the form and craft in new directions. I firmly believe that the traditional way of "seeing things" has changed, and we're looking for new ways to match our experiences and incorporate the new technology into our stories.In terms of the contemporary screenplay, it seems like we want to get closer to the subjective reality of our characters. Take a look at Atonement, The Lookout, Babel, The Bourne Supremacy, Kill Bill I & II, Eternal Sunshine of the Spotless Mind,...