Hi Scott, I have a writing question. How would you indicate that a person keeps talking under another person's V.O.? They are both in the scene having a conversation. I currently have it like this in my script:

TIM: We should really look into getting Stewart on board. He'd be a great asset and could get us into the western region... etc.

Tim keeps talking, but is drowned out by Gary’s voice over.

GARY (V.O.): Oh, man. This guy never shuts up.

I've shortened it for the sake of this comment but Gary's V.O. and Tim talking goes on for a while. I'm trying to indicate that Gary couldn't care less about what Tim is saying and that his mind is drifting elsewhere.

It feels a bit clunky as it is now. Is it even necessary to write that action line "Tim keeps talking..." or could I just skip it and it would be understood that he keeps talking? What about using "... etc." in the dialogue line?

Thanks!

I hope this doesn't seen too random. My sister and I are writing partners. We're getting ready to attend a few events this summer, and we'd like to carry business cards with us. Since we write together, should we have just one card we give people with contact info for each of us, or is that totally weird and we should each carry our own?

Hi,

When can you stop tinkering with a script and finally say "done"?

You could pretty much rewrite something till the end of time so I'd like to know your thoughts on when you think it's right to move on.

Thanks!

Hi Scott,

From what I understand you now live in North Carolina. How has your career changed because of it? Has it been for the better or do you feel a bit detached from the day to day workings of Hollywood? Hope that's not too personal :)

Best way to write a group of shots, MONTAGE or SERIES OF SHOTS, and is there a difference?

Part Two of Montage/SOS question:

Does it make a difference how you write these shots if there is to be a VO in them? Say the Protagonist is describing the events as they are happening.

Hi Scott,

I have a character related question. Like they always says when the main character is introduced people should instantly like him or rather relate to him (i.e. "Save The Cat" moment).
Now my question is if the main character is a bad guy and he has no redeeming quality, or say the main character is just a normal selfish guy who just cares about himself, do we still need to create that moment ?

Cheers
Mragendra

Hi Scott, what's your take on writing spec with a sequel or trilogy in mind? Do you write the first and if things go really well pitch the follow-ups? Are there any advantages to having a script with future installments planned when it hasn't been commissioned?

Good set of questions. I'll start getting to them the week of April 25th.

Simple question, just need some quick clarification; here goes:

If you have a screenplay where both protagonists coincidentally have the exact same name, how would you differentiate them through scene description and dialogue?

Thank you.

Is there a magic 8 ball to help me choose a "helluva good" entertainment lawyer? Please say yes. ;)

Do you always have to have an establishing shot of the outside for the next scene inside? Especially if it's later in the story and it's an obvious location, say the Oval Office with the President.

Hi Scott, could you talk about writer residuals in a real world sense, sort of break it down?

Scott,

Forgive the amateur nature of this question. How well read (book form) does a screenwriter need to be?

I know this sounds stupid, but I've never been one to read books. I've read books, of course, but I am a child of cinema and television. I try to read as many screenplays as possible, which I believe help my writing tremendously, however, I often come across the advice that in order to write well, one must be well read.

Thanks for your response.