The Scriptshadow Twitch Contest

Posted on February 28, 2012 | by admin

Okay, so for the last few days I’ve been racking my brain trying to figure out ways to find a few more gems, find a few more Disciple Programs.  So I came up with an idea.  This Sunday, between 12:00 pm and 12:15 pm Pacific time, any writer who’s made less than 10k through screenwriting and does not have a manager or an agent, can pitch me their script IN A SINGLE TWEET.  Yes, that’s right.  You’ll have 140 characters to pitch your screenplay.  I will read the first 10 pages of my FIVE FAVORITE pitches.  Whoever has the best first 10 pages, I’ll read the entire script and review it on the site. If I really love it, I’ll pass it on to the higher-ups.  This will be a grand experiment. I have no idea what to expect.  But it should be really fun.  As someone else put it, you’ll basically have to come up with a logline for your logline. There are no rules to how you have to pitch – as long as it’s within a single Tweet. And you can only pitch me ONE IDEA. I’ll post a reminder on Friday with more detailed information.  So first, GO FOLLOW ME ON TWITTER.   And second, START PREPARING THOSE TWITCHES.

EDIT 3: Will probably push this back guys because it’s getting a lot bigger. Won’t happen this Sunday.  So you’ll have a little more time.  Not sure actual time frame but 2-4 weeks sounds reasonable. This should give you time to work on those scripts!

EDIT 2: Guys, this thing is going to get a lot bigger. A LOT.  I’ll keep you updated in the coming days as I start putting it together.  But needless to say, I’ll be looking to change a writer’s life. :)

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Screenplay Review – The Hand Job (GUEST REVIEW!)

Posted on February 28, 2012 | by admin

A last second change brings us a guest review of a 2010 Black List script about teenage girls exploring their sexuality. Enjoy!

Ha, you guys thought I was going to post a review of one script, but I did a switcheroo on you and now I’m posting another! Don’t ever try and predict the Scriptshadow. Because you can’t! Why the switcheroo? Because I’m going one better. Instead of reviewing the script of John Swetnam, I’m interviewing him instead! Tomorrow. So be there or be…um…not there. But you should be there. Cause I ask him some fun questions. In the meantime, today’s guest review is from Matt Williams, who’s reviewing the 2010 Black List script, “The Hand Job.” He’s also the first Scriptshadow reviewer to use the semicolon. So watch out!

Genre: Comedy/Coming-of-Age
Premise: Over the course of the summer of 1991, up-tight Brandy Clark aspires to check off all the points of her “To-Do” list, which would ultimately conclude in losing her virginity.
About: Originally appearing on the 2010 Black-list, “The Hand-Job” (now re-titled “The To-Do List”) is slated for a 2013 release, to-be directed by writer Maggie Carey, and starring Aubrey Plaza in the role of Brandy.
Writer: Maggie Carey
Details: 112 pages – July 6, 2009 draft (This is an early draft of the script. The situations, characters, and plot may change significantly by the time the film is released. This is not a definitive statement about the project, but rather an analysis of this unique draft as it pertains to the craft of screenwriting).

Mega-cutie screenwriter Maggie Carey.

We all remember the summers in between the various years of our high school experience. More so than anything, these years can, in many ways, be considered the most formative of our lives. Whether you spent your summers at the local swimming pool, working a job, chasing girls you had no chance of hooking up with, getting high, or all of the above (yes, those are the only things high school students do) – we all remember these times. And Brandy Clark will remember hers.
“The Hand-Job,” which has been re-titled “The To-Do List” (a wise move, imo), reminds me what you’d end up with if you combined The Last American Virgin with Dazed and Confused with Bridesmaids. It has the theme-similarity and coming-of-age quality of The Last American Virgin; the laid-back, free flowing feel of Dazed and Confused; and the female-oriented vulgarity of Bridesmaids. But the question is – does it work?
Brandy Clark is 16 years old. She’s a virgin, a prude, a do-gooder proud of her achievements. She’s also smart, tenacious and a little uptight. In the opening sequence, she’s trying out to be a lifeguard at the local swimming pool. Immediately we recognize her as someone who goes above and beyond, even when there is absolutely no reason to.
We meet her two best friends, Fiona and Wendy – collectively known as “The Girls.” We meet her popular and gorgeous sister, Amber, who is two years her senior, and the object of Brandy’s disdain. We meet Cameron, her long-time male friend, and Rusty, the object of her desire.
The year is 1991. The school year has just ended, and Amber is finally finished with high-school (mostly, anyway). When an end-of-the-year party is thrown at Amber and Brandy’s house, Brandy gets drunk (a rarity), and pursues Rusty, even though it’s a hopeless endeavor. The next morning, she finds her sister and Rusty sleeping in her bed, and she flips out.
This is the event that pushes Brandy to do something about her prudishness. She makes a summer “to-do” list, deciding that she must work her way up to the big event (losing her virginity), like “training for a marathon.” And so she sets out to check everything off, with anyone she can.
The opening fifteen pages of The Hand-Job were a little meddling to get through. And while that apparently didn’t turn out to be a problem for Ms. Carey (since this is in production with some major actors attached), it can definitely be an issue for other writers. We’re all told that you need to grab the reader within the first few pages. And it’s true. Had I not set out with the goal of finishing this script, I probably wouldn’t have.
These opening pages, to me, basically amount to a bunch of high school kids either talking about their boobs, talking about someone else’s, or insulting each other with what felt like trying-to-be-cutesy one-liners.
The biggest issue here is that a goal doesn’t really emerge until the end of the first act. Brandy is introduced as a fairly interesting character right off the bat, but her lack of a real goal until late in the game is a problem. Sure, she obviously likes Rusty and that’s made clear in the first 10 pages, but the GOAL, the driving CONFLICT of this script, doesn’t arise until she decides to make the list.
There are times when it’s necessary to withhold the character goal until the end of the first act. These times are few and far between, however (Rocky comes to mind). But when you do this, there must be a REASON. In Rocky, the reason is simple and clear – had Rocky agreed to fight Apollo Creed by page 4, we wouldn’t have given a shit. His character needed to be established for us to CARE. With The Hand-Job, there is no question that the writer could have amped up the pace, bringing the main conflict to the forefront much earlier, without losing anything, and gaining much. (Carson note: I have an opinion about this in the comments below).
However, once we get to the second act, the script really picked up. Not all of the scenes work, but many do. Especially in the third act, where there were numerous highlights, particularly between Amber and Brandy (despite these developments being somewhat predictable, they do WORK).
My least favorite scene occurs in the second act. Brandy, while working her job at the pool as lifeguard, is told to fish out a piece of poop that’s floating in the pool. Assuming this is a prank, and that it isn’t real shit, she skims it out of the water and, in front of everyone, tastes it to show that it’s just a Snickers. But surprise! It isn’t.
This scene was frustrating for two reasons 1) I’m not the biggest fan of toilet humor to begin with, but more importantly 2) this is an example of desperately trying to get a laugh though gross-out humor, even if it logically makes little sense. I mean, seriously? To prove she’s being pranked and that it’s really a candy-bar, she tastes it? There’s no other way?
On the other hand, gross-out humor is used effectively in a film like Bridesmaids (the gown scene). In that film, the gross-out development is well-developed, organic to the story, and most importantly, creates conflict that ripples throughout the story. Here, this event never rears its head again. The scene is entirely superfluous, and I hope it’s removed from the final film. It’s a simple enough fix, and a minor point, but it’s an example of how wrong you can go if you’re reaching too far for laughs (or scares, or thrills, or whatever) and it isn’t logical to your story.
There’s a subplot in here that involves the pool manager, Willy (in his 30s), and his girlfriend, Nicole. This thread involves the oldest characters in the story, and could have been used to drive home the theme from an older perspective (rather than the entire story revolve around teenagers). Problem is, this subplot is far too underdeveloped, and really doesn’t play a huge part in the script. It feels like wasted potential.
Finally, I wanted to mention the stakes. What happens if Brandy fails to achieve her goal? Nothing, really. She returns to the status quo, no worse than when the story began, and life goes on. She doesn’t lose her friends. She doesn’t die. Nothing happens.
Granted, many coming-of-age stories don’t have an incredible amount at stake – or I should say, most of the stakes are internal. But problem was, I never FELT Brandy’s internal desire. I mean, it’s there, but did I really FEEL it? No.
Take one of my favorite coming-of-age scripts, Almost Famous. If William fails to get his story and write his article, does he really lose much? Nah. Yeah he won’t get paid, but most of what he has to lose is internal. Thing is, I really FELT how much he wanted and needed to succeed at his goal. I really felt like this was important to him. With The Hand-Job, I didn’t.
So the answer to whether this script works or not is – yes and no. While there are problems, I always ask myself after reading every script – was it entertaining? It’s an autonomic response. And with The Hand-Job, I was definitely entertained. Not amazingly entertained, but it did hold my attention, partly because Ms. Carey has a fluid, visual writing style, and partly because she does create an interesting character in Brandy.
In the end, I’m teetering between “not for me” and “worth the read.” But because it held my attention – a feat that hundreds of other scripts have failed to achieve – I’m going to give it a “worth the read.”
[ ] What the hell did I just read?
[ ] wasn’t for me
[x] worth the read
[ ] impressive
[ ] genius
What I learned: Get to the point as early as possible. Many of the scenes here do a good job of getting in late and leaving early, but the first act could have used a quicker pace to get us to the point (the conflict). If you don’t do this soon enough, you could lose the reader, even if your second and third acts are amazing.
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Screenplay Review – Run All Night

Posted on February 27, 2012 | by admin

A fellow screenwriter who burst out of nowhere with a 750k sale returns with his newest spec, which sold last month.

Genre: Crime/Drama/Thriller
Premise: A washed up hitman is pulled back into the game when his estranged son accidentally gets tangled up in a bad situation with his former employer.
About: Brad Ingelsby jumped onto the scene when he sold The Low Dweller a few years ago. The 750,000 dollar spec sale was spearheaded by getting Leonardo DiCpario attached. This is his new spec, which he just sold last month.
Writer: Brad Ingelsby
Details: 107 pages – 1/3/12 draft (This is an early draft of the script. The situations, characters, and plot may change significantly by the time the film is released. This is not a definitive statement about the project, but rather an analysis of this unique draft as it pertains to the craft of screenwriting).

Collin Farrell for Mike?

What better word-lover to follow Tyler than ANOTHER word aficionado, Brad Ingelsby! With these two on the Hollywood Scrabble board, it’s like a word-topia. It’s like a word-a-palooza. I have a feeling if it was just me, Tyler, and Brad at a bar, I would quickly be nudged out of the conversation. They’d be like, “Carson, could you parsimoniously pass me my drink?” And I’d counter with one of six four-syllable words I know – something like “affirmative” – and that would be it. I’d be out.

Anyway, this is Ingelsby’s second big script. I may not have been The Low Dweller’s biggest cheerleader, but hey, you know me. It’s hard for a slow-paced script to pull me in. Maybe that same thought nudged into Ingelsby’s noggin, because he did title this one, “Run All Night.” Promises of something faster paced? Read on to find out.

Jimmy Conlon is a hitman in Philadelphia. To give you an idea of what Philadelphia’s like – they boo Santa Clause there. No, I’m not kidding. Santa Clause showed up to an Eagles game once and they booed him. So the kind of people who live in this city? Not the huggable types. Important to know for later.

Anyway, Jimmy’s finally hung up the gun (do you hang up a gun) and spends his days in cushion land getting wasted all day. While I understand this is the de facto writing method for 30% of the screenwriters out there and can be really fun when combined with the internet, it definitely doesn’t suit our friend Jimmy. Clearly, he’s wasting away.

So Jimmy’s got a son, Mike, who he hasn’t stayed in touch with. Mike drives a limo. Has a family. Lives a clean life. He’s basically the opposite of his father.

That’s about to change, however. Mike is unknowingly tasked with bringing a couple of low-lives to a guy named Colin McGuire’s place, who’s also a low-life, but with lots more money and guns. And when these guys ask for their payment, Colin gives them a bullet sandwich instead (yes, I just used “bullet sandwich” in a sentence. Roll with me here. I’m still upset about being kicked out of Tyler and Brad’s conversation).

Once Colin realizes these guys came in a limo, well naturally he has to kill the limo driver too. Which is exactly what he tries to do. But Mike narrowly escapes. This leaves Colin with a problem. A virtual eye-witness to his murders. Now here’s where things get interesting. Jimmy, Mike’s father, used to work for Shawn McGuire – as in COLIN’S FATHER. That’s who he used to kill people for.

So now Mike has no choice but to go to his father and ask him what the hell he should do. Jimmy, back in business mode, says he’s going to try and take care of this diplomatically. So he calls his old boss, explaining that it’s all good – that his son isn’t going to say anything. But while this is happening, the loose-cannon Colin sneaks in to kill Mike. When Jimmy realizes what’s going on, he runs into the room, just as Colin is about to pull the trigger, and shoots him dead.

Jimmy then tells Shawn what happened – that he just killed his son. Shawn agrees that he did the right thing. If he were in his position, he would’ve pulled the trigger too. But he follows this with a really chilling sentence: You know how this has to end, right? Jimmy knows. So he grabs his son, and the two have to “run all night,” and not just from Shawn, but from everyone in the town that Shawn owns, which is everyone, including the cops. Will they make it out alive?

Run All Night starts with a very un-reader friendly gaggle of Irish names. Everybody’s named Shawn or Frank or Collin or Conlon or Maguire or Dorsey. My guess is Brad doesn’t read a lot of scripts or else he’d know how difficult it is for a reader to keep track of that kind of character spread. If I’m looking at a large character count, I’m using everything in my arsenal to make those names individual and memorable. I’ll use nicknames, unusual names, monikers (Fat Bill). I’ll push unimportant character intros to later so they don’t get lost in the slog. But it really gets hard if all the names are one nationality like this. I was checking my notes every 30 seconds to keep track of who was who.

But after that…Run All Night gets good. Really good in fact. I got goosebumps after Jimmy kills Colin, makes the call to Shawn to tell him he just killed his kid, and Shawn, somewhat understanding, replies, “You know how this has to end.” That was my official “sit up” moment (Whenever I sit up, it means a script’s got me).

Brad also makes the wise decision – WHICH I ALWAYS TELL YOU GUYS TO DO – to create an unresolved relationship between Mike and Jimmy. Once you have an unresolved relationship, the audience emotionally invests themselves in the journey until it’s resolved. So it’s one more way to pull the audience in besides the cool plot of running from the bad guys. Was the relationship here a little too familiar at times? Yeah, probably. But Inglesby added just enough of his own spin to make me believe these two were real people with real issues.

And, you know, I always like when a writer throws in the wild card character. I remember how this very device SAVED a script that I would have otherwise forgotten. We also saw it work for Everly. Here, it’s Andrew Price, a trained killer who looks like he never outgrew his high school mathlete days. Shawn hires him to dispose of his son’s killers and boy does he pull out every trick in the book to do so. I don’t know what it is but there’s something about the wild card character that just shakes shit up. You don’t feel like you have as good of a beat on what’s going on. They create uncertainty and unpredictability and I love that.

Scriptshadow vets (not to exclude the Disciple newbies) may have also noted a key Scriptshadow truism– our character’s goal. Remember, if you just have the characters on the run the whole time, it’s probably going to get boring. Your characters need a purpose! They need somewhere to go! So Ingelsby uses the kid who witnessed the murder as the character goal. They need to find that kid so they can prove that Colin, did indeed, kill those men.

Did I love this goal? No, I didn’t “love” it. I kept flashing forward to the court room with Shawn using one of the best lawyers money can buy to discredit the shit out of this boy. So I think something stronger could be used. But the point is that there’s a goal in the first place. Beginner writers wouldn’t even use a goal in this scenario so the characters would just be running around aimlessly with the audience asking, “What’s the point of all this again? Where are they going?”

But I was definitely entertained bythis one. It feels like Ingelsby is growing as a writer. Let’s hope that continues cause he’s frighteningly talented.

[ ] Wait for the rewrite
[ ] wasn’t for me
[xx] worth the read
[ ] impressive
[ ] genius

What I learned: You never want your characters wandering around aimlessly for too long in these “on the run” movies. They can be running from someone. But within 2-3 scenes, you want to give them a plan, something to do – because wandering around aimlessly gets repetitive. For that reason, always be asking yourself, “What can my characters be *after*? What can they *need to do* right now?” The sooner they have a plan in place, the sooner your script gains that essential focus that all good screenplays have.

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Coming Soon :)

Posted on February 24, 2012 | by admin


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Screenwriting Article – Recognize The Dramatize

Posted on February 23, 2012 | by admin
Hollywood Reader reading a non-dramatized script.

I can’t take it any longer. I can’t take reading all these scenes that are so…….BAD! Scenes that just sit there. Scenes where nothing happens. Scenes where characters babble. Scenes that only dole out exposition. Scenes without conflict. Scenes without DRAMA!

Ah-ha! There’s the root of our problem! No drama. No baby mama drama. And what do scenes without drama result in?…Does anybody remember? That’s right! Scenes of death. The worst possible scene you can write in a screenplay. These are scenes with no dramatic or entertainment value whatsoever. I don’t care if your characters are talking about the origins of the universe. If it isn’t dramatized, we’re bored.

Confused? Do you still not know what “dramatizing a scene” means? Don’t worry. Actually, DO WORRY. Because if you don’t figure this out, you will never learn how to write an entertaining screenplay. You’ll be able to write people talking to each other. You’ll be able to write exposition. You’ll be able to move the plot from point A to point B to point C. But you won’t write anything that entertains an audience. So let’s make sure that’s never the case.

“Dramatizing a scene” means finding a dramatic component – usually fueled by conflict – to center a scene around. For example. 2 people talking about their day is a boring scene. 2 people talking about their day when one of them has a secret lover hiding in the closet is a dramatized scene.

An easy way to assess whether a scene is dramatized or not is to imagine the rest of your movie stripped away. All you have is this one scene. Would that scene entertain a reader? Context, of course, is essential to any good scene. So that always needs to be factored in. But in general, is your scene entertaining in its own right? If not, chances are you haven’t dramatized it. Because that’s what dramatizing a scene does – it makes the scene work on its own.

In order to help you understand the practice better, I’ve decided to lay out three screenplays I’ve been working on in my free time. In each of them, I will show you what a non-dramatized scene looks like, and then the thought process and approach that goes into dramatizing it. Now I’m trusting you guys to not steal my ideas here. These are three of the best ideas I’ve ever had so please keep them to yourselves. Let’s start with the first one, my martial arts fighting epic…The Weigh-In.


TITLE: THE WAY(EIGH)-IN

PREMISE: A martial arts fighter named RIGBY BONAPARTE is near the end of his career when he gets a surprise shot at the mixed-martial arts championship of the world.

SETUP: Rigby is getting by on ramen noodles and Wonder Bread, fighting a bunch of nobodies on Friday night undercards. At this point in the movie, he hasn’t yet been offered the title shot.

THE SCENE: Rigby heads over to his gym to get some of his angst out. As he battles away on the punching bag, he watches a couple of hot young fighters spar in the ring. The entire gym watches them in awe. It’s clear that Rigby feels old, left out, forgotten. He gives the bag one last PUNCH and stomps out, pissed about life.

VERDICT: This may SEEM like a decent scene. We’re showing instead of telling. That’s good, right? It does get across some information about the character (that he’s over the hill and frustrated) but we kind of already knew that. I mean, where’s the drama here? The guy is punching a punching bag, watching people. That’s not a scene.

Time to take The Way(eigh)-In through the Scriptshadow Dramatizer!!!

DRAMATIZED SCENE: Clearly, this scene needs more conflict. I have an idea. What if Rigby went into the locker room to change, only to find out that…his locker’s been given to someone else! Now we have some conflict (our hero is confused/angry) – somewhere to start our scene. Already, the scene’s looking better.

The situation also forces our character to be ACTIVE. He has to find out what happened. Why did someone change his locker? So let’s send him to the owner’s office and have him go off on the guy. That’s drama, right? Well, sort of. But I feel like we can do better. I mean, how dramatic is a private argument in a back office? Let’s put the argument right in the middle of the gym! Yeahhhh! Now the whole gym can stop and watch them go at it! Ooh, I’m liking this.

We’ll even have the owner, some crotchety old trainer named MACK, ignore Rigby when he approaches, focusing instead on these young buck fighters we had in our previous pointless scene. And to really maximize the drama, let’s make Mack hate Rigby. Let’s make him think Rigby is the biggest bum in the world, a real waste of space. Now, when Rigby finally reaches Mack and demands to know what happened to his locker, we have ourselves a bona fide dramatized scene.

SUMMARY: (Real movie – Rocky) I don’t know about you but I like this scene waaaaay better than the one where he’s banging on a speed ball looking upset. And all it took was a little dramatizing!

TITLE: THE BOAT HAZARD

PREMISE: A young strapping lad named Carribou Willoughby has managed to stow away on a passenger boat headed to America. It is on this boat that he falls for a beautiful out-of-his-league young lady named Jezzebel Gonzalez.

SETUP: So far, Carribou has only been able to marvel at Jezzebel from afar. She’s always flanked by a first-class entourage. He wonders if he’ll ever get a chance to speak with her before they reach America.

THE SCENE: One night out on the back of the boat, Carribou is laying down, chewing on some hey, when he notices – gasp – Jezzebel! She’s at the railing, staring at the stars, all by herself! This may be his only chance to talk to her. So he approaches, sidling up to her. “A wonderful night, isn’t it?” She turns, startled. But when she sees the handsome young man in front of her, she smiles. “It is.” Silence passes. The two look up at the stars. “You know what my father used to stay about the stars,” Carribou offers. “No. Tell me,” she replies. “He used to say that every star was one of the sun’s children. And that one day, they would all come back to rejoin him and when they did, there would never be darkness again.” She turns to him, offers her hand. “I’m Jezzebel.” He takes her hand up to his mouth, kisses it. “They call me Carribou.”

VERDICT: WORRRRRRRRRST SCEEEEEEEEEENE EVVVVVVVVVVVVVVVVVER!!! No conflict. On the nose dialogue. Cheesy lines. Ugh. Awful.

Let’s push this puppy into the SCRIPTSHADOW DRAMATIZER shall we?

DRAMATIZED SCENE: Okay, first of all, a person standing at the back of a boat looking up at the stars is the equivalent of placing your reader in a 4×4 foot concrete coffin. That’s how boring it is. So, how can we spice this up? First of all, let’s change Jezzebel’s situation. Let’s say she’s engaged to a man she despises. Yes! That’s good. And he makes her feel trapped. To the point where she’s considering suicide. Ooooh. Okay, now we’re on to something.

Jezzebel isn’t going to the back of the boat to look at stars. No. She’s going to the back of the boat to jump off! Now, instead of Carribou simply having to start a conversation with Jezzebel, he has to save her life!

But let’s amp up the conflict even more. She’s dead set on jumping. Nothing’s going to change her mind. So Carribou has to come up with a clever way to stop her. “The freezing water!” he thinks. That’ll be his angle. He can use that to scare her. And you know what? It’s working, to the point where she lets him approach, even take her hand to help her back over.

But that’s too easy. This is called the “Scriptshadow Dramatizer,” not the “Scriptshadow Sort-of-make-things-more-interestinger.” So what if she slipped! Yes, an obstacle (DRAMA!)! Now he LITERALLY has to save her. Using all his strength, he yanks Jezzebel up over the railing and to safety. Phew, she’s okay!

SUMMARY: Obviously, this is a scene from Titanic. You’re aware of the finished product. But what you didn’t know is that the “the sun and the stars” scene I mentioned earlier could’ve made the final cut had Titanic been in the hands of an amateur. Believe me. I’ve read tons of “Sun and The Stars” scenes in my life! Too many!

TITLE: CHUBBS HENRY

PREMISE: Chubbs Henry is an idealistic middle-aged literary agent at WMA who wants to change the business. He’s tired of the agency selling these crappy POS screenplays to the studios and wants them to make a stand. So he sends an e-mail out to everyone saying they need to get behind good material and good material only, even if it means selling less product.

THE SETUP: While Chubbs’ idealistic approach goes over well at first, a week later his boss calls him in and fires him. Sorry Chubbs. That’s not how this industry works. We sell crap because we make a lot of money off crap.

THE SCENE: Okay, so Chubbs just lost his job. What is he going to do? Well obviously he’s miserable, depressed. But he’s got to think of the future! So on the way to his car, he starts calling all of his writers, seeing if they’ll stay with him. The first eight say no but his big moneymaker, his top writer, says yes! Hooray. Chubbs is still in the game.

VERDICT: BORRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRING!

Let’s take this puppy through the Scriptshadow Dramatizer…

DRAMATIZED SCENE: First of all, the method of firing (boss calling him in) is too standard. Let’s try something different. Why not make it so his rival (Ted Sweets) gets to fire him? YEAH. Now this firing has some meat behind it, some angst. This should piss our hero off (pissing off heroes is good – creates conflict).

Next, him calling his clients on the way to his car is boring. Let’s make him have to do it at the office. Now he has to walk through an entire company that knows he just got fired. How embarrassing. But talk about conflict! Already this scene is way better.

And you know what? Why take Sweets out of the picture? When you have a great nemesis/villain, you want to use him as much as possible. Hey, I know! What if Sweets immediately starts calling all of Chubbs’ clients, trying to poach them before Chubbs can call them himself?? Okay, now we have some URGENCY to the scene. Chubbs has to move fast or risk losing his writers to Sweets. We could turn it into a sort of “phone-battle,” with both of them speed-dialing numbers as fast as they can.

That’s a good scene but you know what? We could dramatize it EVEN MORE. What if, in a previous scene, Chubbs’ promised one of his lower-level writers more personal attention? Like SWORE TO HIM that he’d give him more personal time? Yeah, and let’s say that that writer (we’ll call him Joe Estzeras Jr.) calls him RIGHT IN THE MIDST of this phone battle, demanding that personal time come RIGHT NOW. Okay, now we have a real obstacle. He can’t call people if he’s stuck talking to Estzeras Jr. Friends? We have ourselves a real scene!

SUMMARY: Obviously, this is the famous scene from Jerry Maguire. But did you see how it looked before it got dramatized? Talk about boring. And yet I read DOZENS of those scenes every single day. Which goes to show just how important dramatizing a scene is!

Hopefully these examples have given you an idea of how to dramatize a scene. And while it may seem daunting at first, figuring out how to dramatize a scene actually becomes really fun! It’s like a puzzle where you’re constantly asking yourself, “What elements can I add to this scene to make it more dramatic?” Just remember, not all scenes have to be over the top dramatized. Just like any aspect of screenwriting, the level of dramatization will depend on the genre, the scene, the tone, the situation and dozens of other smaller factors. Sometimes you need to throw a big heavy dose of dramatization onto a scene (like the Jerry Maguire example) but other times it might be something simple – like a wife who’s upset with her husband but won’t tell him why. What you don’t want to is a write a scene without a single dramatic element to it. I cannot stress how often I read that type of scene though. So I’m telling you guys. START DRAMATIZING YOUR SCENES. Recognize how to dramatize.

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