Debbie Moon at 2012-06-06 16:16:39:
I think the only rule you can't break is "Don't be boring."
plinytheelder_t at 2012-06-06 16:23:38:
I was thinking "don't suck", but yeah.
The Bark Bites Back at 2012-06-06 16:44:00:
I included a number of song lyrics in my last script for a karaoke scene. I was asked by several people "what would you do if the rights aren't granted?" or simply stated, "that's the music director's job". So I did the unthinkable: I went into the story to interview the characters as to why they broke this rule and this is what they told me: ME Uh-hem, excuse me... Norman looks around - confused. ME Yes, you. NORMAN (drops to knees) Oh my God! It's... God! ME No, it's just me... the guy who created you-wait, I guess that sort of makes me God. NORMAN Whatever it was I did, I promise to never do it again! ME Don't worry - your mother thought what you did into your pillowcase was just a nasty ear infection. I'm here because there's been concerns you're using copyrighted material in the movie you're in. NORMAN I'm in a fucking movie! No way! (looks around, skeptical) Wait a minute... am I on candid camera? ME When you went to the bar, you sang a few songs for karaoke and you don't own the rights to them. What do you have to say about that? NORMAN You made me do it. ME That's beside the point. NORMAN Look, I had a few beers and got caught up in the moment. What? Am I suppose to stop before I take the stage, call some yo-ho somewhere and ask if I can get permission to sing their song? People don't do that in the real world. I am in the real world, right? ME Sort of. Why did you sing that particular song? NORMAN Because I was inspired at that particular moment. Don't you ever find a certain song fits the moment perfectly - like it was written specifically for that moment? ME Peekin’ Through the Knothole In Grandma’s Wooden Leg comes to mind, but that's another story... NORMAN So what was I supposed to do? Do it via sign language? Sort of loses the purpose, don't it? ME I suppose you're right. NORMAN Truth is, I was trying to connect with somebody. Yeah, I may have turned half my audience off - but sometimes the reward is worth the risk. Imagine if I got up there and you made me sing something called "insert feel good love song here". What the hell is that suppose to mean? How am I suppose to win anyone over with that? More importantly, what if I'm accidentally pointing somewhere on my body when I'm singing it? I'd be better off up on stage sending braille smoke signals. ME Good point. NORMAN Look, God... it's your world, man. I'm just a squirrel trying to get a nut, know what I mean? And I need all the help I can get from you. So there you have it. I went into my story to find out why my characters were "breaking rules" and I think they gave some pretty truthful answers. What do you think?
Teddy Pasternak at 2012-06-06 16:56:43:
I read the script for Dinner For Schmucks a while back and the funniest bit in the script was a scene where Paul Rudd's character is trying to go to sleep, and in the next room, Steve Carell's character accidentally switches the Soothing Ocean Noises CD to the radio and it starts blasting "EVERYBODY'S WORKING FOR THE WEEKEND!" and then back to the Ocean Noises. That made me laugh. That bit wouldn't have been half as funny unless that specific song was included in the script. Not sure if it ended up in the movie, though. Never saw it.
The Bark Bites Back at 2012-06-06 17:21:45:
I saw it, but don't recall if that was used or not. The movie it's based on, _The Dinner Game_, is far superior - we actually tried to storyform it with Dramatica. Interestingly enough, in that version of the story - they never make it to Dinner whereas the American version is all set-up for the big dinner.
The Bark Bites Back at 2012-06-06 17:22:19:
Dammit, I used "_" thinking I was on Google+ again!
Teddy Pasternak at 2012-06-06 17:39:57:
Oh, those Europeans with their movies that make you think. How can there not be a dinner in the film? It's in the title! ;)
Andrew Foley at 2012-06-06 18:22:47:
Make sure your final draft isn't written in pencil crayon.
CaveDude21 at 2012-06-06 19:58:22:
1. Story Trumps ALL 2. Don't be boring 3. Every scene should include some type of DRAMA/CONFLICT. Maybe that's just another way of saying #2. 4. The Protag should always have some type of GOAL. 5. There should always be escalating OBSTACLES getting in the Protag's way. 6. Been reading in a lot of places that there should "always" be some type of Emotional Shift in the scene too. Happy > Angry, Sad > Elated... Maybe (probably) I'm just over-analyzing. As long as you entertain your reader/audience > STORY TRUMPS ALL.
jannagummo at 2012-06-06 20:47:59:
I was taught that there were a few rules. -Always use proper format or your script won't get read -Grab them by the throat and never let go - Mind your structure... Begining Middle and End - The 2nd Act is where writer's go to die.
Scott at 2012-06-06 22:36:03:
Andrew, that is definitely a good piece of advice, but I have heard of scripts that were handwritten that sold. Most unusual, of course, but if the story is good enough, it can happen [one I remember was a guy in federal prison].
Nicholas West at 2012-06-06 23:00:11:
Generally, you should have words spelled properly, and formatting down solid. Also, conflict. There's no story without conflict.
David Komer at 2012-06-07 02:54:43:
Maybe: love each character and give them the attention they deserve. Think it through separately from each of their perspectives and try to make it both interesting and authentic for them. ?
Lydia Mulvey at 2012-06-07 06:15:18:
Rules I try to follow: -Don't be rubbish -Cut out the parts readers don't want to read (You know which parts.) -Lots of white space. -Keep a thesaurus to hand. -Use the thesaurus. Seriously. Find another way of saying "John walks into the room". -Don't let anyone read a first draft ever, not even your mother. -Have yourself surgically removed from the internet. It's a time vampire. -Eat cake on the days you get rejected. At least something will be sweet. (Be moderate in the cake-eating if you receive ten rejection letters in a row.) -Read/write/watch.
Lars Egholm Fischmann at 2012-06-07 06:59:43:
Re the protagonist... Hitchcock proved that you can actually kill off your protagonist early on and still do a masterpiece with Psycho. I think Scott is absolutely right when he says "there is no right way to write".
Richard Cosgrove at 2012-06-07 07:39:03:
Scott hinted at the only rule that can't be broken: Tell a story.
larry_barker@btinternet.com at 2012-06-07 11:00:54:
Strikes me there are two kinds of rules. 1. Rules about forma i.e. layout, typeface, binding etc. There as easy to do as not, so you might as well if it keeps everyone sweet. (Though why the 'readers' haven't yet worked out that any schmuck can follow these, so where's the filter??) 2. Rules about how you write - ignore these. The other day, some 'industry pro' was banging on about 'no camera directions'. But if it brings scene to life, do it. Same with V.O's, flashback etc etc. Don't let someone who can't do it tell you how you should do it.
Richard Cosgrove at 2012-06-07 11:22:07:
(Though why the ‘readers’ haven’t yet worked out that any schmuck can follow these, so where’s the filter??)
Seems you'd be amazed at how many screenwriters don't follow formatting rules - even the basics. While formatting errors are one of the factors readers, and producers, use to filter out screenplays, they will be overlooked if the story is good: which happened with 500 Days of Summer. I avoid explicit camera directions in spec scripts because it's the director's job to decide what movements a camera makes, and ultimately what is in front of the camera's lens, not the writers'. Also a director and their DoP will have much better ideas of what to do with the camera than I will, and camera directions tend to yank me out of a story.
Yvette Foy at 2016-06-29 15:05:21:
I love these so much. Copying, pasting, putting on my desktop. Thanks, Lydia!