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scriptwriters-network · 2 days ago
Write with the door closed, rewrite with the door open.
Stephen King
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screnwriter · 2 months ago
fuck a break up, have you ever gotten emotionally attached to a scene and then realized it doesn’t work so you have to remove it from your story
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oceans-foundfamily · 8 months ago
Okay so uhhh my sister borrowed my copy of the Inception script and is using it as a reference to rewrite the ENTIRE THING BUT AS A MUPPET MOVIE
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mysharona1987 · 4 months ago
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By Grant Snider
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kiingocreative · a month ago
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The Structure of Story is now available! Check it out on Amazon, via the link in our bio, or at
“That is why fiction existed, as a way to look at the world without being broken by it.” ― Olen Steinhauer, The Middleman
The first time I sat down to write a novel I had the idea that my post-apocalyptic book—about surviving after a nuclear holocaust—needed to be more realistic. Isn’t that ironic? My Sci-Fi Fantasy needed to be more realistic.
So, I showed every time a character walked in and out of a room. I even had a scene with the MC pooping in the woods! Oy! I tried to make every conversation believable. I tried to make their arcs more intricate because people are complicated and we don’t make real changes in a week and WHY ISN’T THAT EVER REALISTIC IN A BOOK! You hear me? Of course, you do. I just screamed at you in all caps. Sorry about that. I’ll turn down my volume.
Do you know why this was a mistake—this need to be realistic? It wasn’t because I did research. Research is invaluable. Things need to make sense. You can’t have a gun in a story that doesn’t even exist in real life (unless you make it very clear this gun only exists in the fantasy world) because some guy in Cleveland is going to get angry because he knows all about guns and he’s going to write the worst review you have ever read. OK Gary, we get it. You really like guns. Research is important.
No, it was a mistake because I forgot why people read fiction in the first place.
People know you can’t drastically change your personality in 200 pages. They know some hunky prince isn’t going to ride in on his horse and save them from a dragon just because it’s a Tuesday. Readers don’t care about your character’s bowel movements (unless you make a joke of it, like Bridesmaids).
People read fiction to escape reality. For just a moment your own problems disappear. Instead of dreading work tomorrow, you are marooned on an island with nothing but a shovel. Next time you become a princess trapped in an ivory tower and swoon when someone comes to save you. In the next story, you are a badass heroine who knows how to save herself. And with each story, you get a piece of humanity without also being bogged down by anxiety. You find a small piece of yourself in those characters and they make you braver, more ready to take on the dragons in your own life.
Reality was God’s greatest gift to man. But fiction was man’s greatest gift to himself.
Now if you write a romance and every character is rich and famous and pink and yellow and they live on an island with money-pooping llamas and everyone’s flawless and you go too far towards surrealism, well… good luck finding people who want to read that story.
If your characters are too imaginary who is going to relate to them? Who is going to root for them to win? We all want to find pieces of ourselves in stories. That’s the whole point.
Didn’t I just say DON’T be realistic? Now I’m saying you need to be realistic? Gah. Don’t you just hate when people contradict themselves like that?
What I’m saying is you need to find balance. Your story doesn’t need to be so real that you describe how often they poop or add “umm” or “like” or “…” to every conversation. You don’t need to make sure all their changes take place in a realistic timeline.
Writing is a balancing act between real and make-believe and you are a grand trapeze walker, braving the act for the world’s entertainment. And friend, you’ve got this.
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isabellestone · 10 months ago
Quirks To Show Your Character’s ADHD
From a certified ADHD adult(ish) human. 
Not being able to shrug a niggling feeling or through until it’s dealt with.
Saying ‘one more minute’ when hyper-focused, then looking up to find two hours have passed.
F i d d l i n g 
(With literally anything available) 
Sometimes having trouble falling or staying asleep because their damn brain won’t shut up. 
Yet still being a semi-coherent person the next day, despite only being out for four hours. 
Because  e n e r g y 
Eventually learning ways to get to sleep, but getting annoyed when they fail.
Struggling to wait their turn when speaking or in games.
Losing track of their point mid-speech.
Inability to control thoughts as they overlap and run away faster than they can be caught. 
Having too many hobbies.
Being more creative under stress.
Speaking really really fast when excited or after caffeine.
Struggling to remember instructions.
Struggling to listen to instructions.
Spotting patterns and details others often miss.
Forgetting brilliant ideas just as quickly as they were thought up.
And thus being really impulsive when we get ideas.
Desperate attempts at organisation (giving everything a place).
And yet still not remembering where they’ve put anything.
I m p a t i e n c e 
Disclaimer: Not everyone with ADHD will experience all of these things, and there are many more things that people with ADHD experience. If you experience these things, it doesn’t necessarily mean your ADHD, but these things are widely present in those who have it. If you want to write a character with ADHD please do your research and only take this as a starting point.
[If reposting to instagram please credit @isabellestonebooks]
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hirxeth · 2 months ago
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Fleabag created by Phoebe Waller-Bridge
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thebeautyofmovies · 3 months ago
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About Time (2013)
Directed by Richard Curtis
"I just try to live every day as if I've deliberately come back to this one day to enjoy it as if it was the full final day of my extraordinary life"
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leeroysdancer · 3 months ago
Bucky and Steve on a date:
Waitress: what do you want to order?
Steve: a chocolate smoothie with 2 straws
Bucky: awwww
Steve really excited : watch how fast I could drink this!
Bucky: what am I doing here again?
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scriptwriters-network · 20 hours ago
Start where you are. Use what you have. Do what you can.
Arthur Ashe
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screnwriter · 5 months ago
a great piece of writing advice i’ve heard, if not one of the greatest, is that you should always write what your characters would say, not what you want them to say.
this might sound confusing to some people, given that you’re the writer, and you provide your characters with a voice (they wouldn’t exist without you) but writing what your characters would say/do, as opposed to what you want them to say/do, really just comes down to what you want to happen in your story, and what realistically would happen.
as in, you might want one of your characters to be open about their feelings, and to trust the person standing in front of them. but your character has trust issues, and they don’t easily open up to people. forcing this character to do so anyway, will only lead to inauthentic storytelling, and characters that continuously contradicts themselves.
let your characters guide you through their lives, and let the story unfold itself. you won’t always have control over what happens.
characters will face the consequences of their actions, one thing will lead to another, and the story will turn in a direction so far from the one you initially meant for it to go in. let that happen. don’t force a story in there if it doesn’t go with the current narrative.
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sarahwyland · 11 months ago
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One of my cohort members sent me this today and it made me all soft. 
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kindly-whisper-norbury · 4 months ago
AO3 script/screenplay tutorial
A while back I started working on a “screenplay” fic that I wanted to post to AO3, but I was disappointed to find no template or skin to make it look like an actual, real script. Well, after a lot of fiddling around I managed to work out the CSS and HTML, but I felt kind of wrong keeping it to myself. So here you go, folks… this is what I worked out.
Note that though this makes the screenplay look authentic enough on a monitor or on mobile in landscape mode, it does not show up well in portrait mode. You might need to either tweak it a bit, in that case, or else make an author’s note mentioning that readers in portrait mode may need to use the “hide creator’s style” button, which will take away the formatting, but will at least make it readable:
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Alrighty, then! First you are going to need to create a new work skin…
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With this code:
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After you have set that up and saved it (and after you have written your screenplay, of course), go ahead and make yourself a new story draft with that skin selected, then copy and paste your script into the rich text area. It will then look something like this:
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So now to make it look like this…
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The HTML code would be something like this:
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The transitions (SMASH CUT TO, FLASHBACK TO, etc.) will be tagged like:
<div class="Right" align="Right">
<p> DISSOLVE TO:</p></div>
That will place them on the right side of the document. Although I also tagged my FADE IN / FADE OUT that way, which might be a style matter, but I just like the way it looks. All other SCENE HEADINGS I leave untagged to keep them on the left.
Anyway, be sure to close the tag with </div> or else everything is going to end up over on the right.
Like the regular scene headings, I did not tag my action lines, keeping them on the far left.
Then we come to the CHARACTER, (parenthetical), and dialogue lines.
In my case, I put fifteen spaces before the CHARACTER and ten before the (parenthetical). I figured it would be easier than trying to HTML format absolutely everything (yay shortcuts!). The dialogue is left as-is, however.
The HTML for this should look like:
<div class="indented" align="left">
<p>               ADAM<br />
          (Dejectedly)<br />
This isn’t as easy as I thought it would be.</p>
<p>               MARTIN<br />
          (Standing beside Adam’s chair)<br />
Writing seldom is. But you’re really brave to make a novel your first real foray into fiction-writing.</p></div>
Note that you do not need to make a new tag for every character/parenthetical/dialogue if it is back-and-forth with no action lines in between. And again, don’t forget to close your tag with </div>
I noticed that sometimes when I edit directly on AO3 it adds extra paragraph tags for some reason (those errant <p> </p> tags in the example above), so I tend to try to do all my tagging locally before pasting it into the HTML section of the draft editor.
I am sure there is an easier way to do it, but this is what I figured out, so I hope this helps at least a little! And I wouldn’t mind if you gave it a reblog so that others can find this tutorial (does this count as a tutorial?).
Good luck, and happy writing!
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docbrownstudies · 9 months ago
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literally... every note i take just makes me more and more excited to start fully plotting out my screenplay. i’m ready. i’m here for it. 
i’ve mentioned this book before - ‘save the cat’ by blake snyder, but i do also want to recommend syd field’s ‘screenplay’ and john yorke’s ‘into the woods: a five act journey into story.’
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amybunmain · 17 days ago
I’m gonna go cry—
My mom just came to me with her phone on speaker and told me to stay quiet. Her former coworker was reading an email from her brother in law (who is a producer, author, and screenwriter), asking if I wrote anything else
“He was worried his criticisms were harsh, he only meant to be constructive. Your daughter has a rare gift that you hardly see in screenwriting nowadays; he keeps rereading the screenplay. More on how she writes the scene and the characters, it’s like you can see the whole picture- the lighting, the movement, everything. There’s raw talent, we hope he didn’t scare her out of that passion.”
Soooo- yeah- give me a while, I’m gonna go cry now jsjndndnd they’re such a sweet family 😭 And his “harsh criticism” was basically “the dialogue is awkward in some areas”😂
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isabellestone · 5 months ago
Alternatives to Outlining Fully
We all know I am a huge plotter – like excel spreadsheet level – but I wasn’t always like this. I’ve used many methods in the past and here are the best ones:
The Big Plot Points 
In this method, you simply write out the big points like the catalyst, the midpoint, the climax and any big plot twists in your story. This helps you keep in mind the focus of your story as you write it, without actually plotting. 
Baby Steps 
More detailed than the Big Plot Points, Baby Steps involves writing all the little plot points down in chronological order. Think of it like a list of directions that get you from the first page to the end of the story. You can stray from the path, but this helps you know exactly where you’re going and what you want to achieve along the way. 
Next 10 Steps 
This is one I used a lot when writing fanfic in conjunction with the Big Plot Points. Here I would literally plan out the next 10 things that I wanted to happen in the story and treat it as a mini arc. If I’d known more about story structure, I could have done this 4 times and ended up with 4 acts (1, 2a, 2b, and 3). Instead, I did it 6 times and ending up with 170k words... don’t be me.
Save the Cat! Beat Sheet
An industry classic, the 15 beats of Save the Cat! can help you outline all the key moments that shape a story without interfering with panster discovery fun. This method breaks each of the 4 acts mentioned above into bite sized chunks to ensure that all elements of a compelling story are there. I would highly recommend the book Save the Cat! Writes a Novel by Jessica Brody if you want to learn more about this essential method.  
Enjoy Editing 
Finally if outlining is not for you, you’ll need to become well acquainted with editing. All drafts take editing, but many pansters will spend more time on this stage than plotters, but then plotters spend more time plotting! There’s nothing wrong with being a complete panster, but it’s worth keeping in mind if you wish to forgo the plotting stage entirely.
As always, hoped this helped! 
[If reposting to Instagram, please tag @isabellestonebooks] 
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kiingocreative · 10 days ago
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The Structure of Story is now available! Check it out on Amazon, via the link in our bio, or at
If you want to read about robots and aliens, you aren’t going to pick up a romance novel with a half-naked man on the cover. Right?
Readers have certain expectations based on genre, the cover, and the blurb. These elements make unspoken promises.
The biggest reason for a negative review is not meeting expectations (or unfulfilled promises). If your cover promises adventure and you give them none, they are going to feel ripped off. If you’re marketing to the wrong genre, most of your reviews are going to be upset people who feel unsatisfied.
How can you find out what readers of your genre want in their books?
Well, for starters you can read that genre and pick out the pieces they have in common.
Another idea is to go to Amazon or Goodreads and read through the reviews of books in your genre. What did people praise? What did they complain was missing? Look for similarities in the responses. If a lot of negative reviews say there wasn’t enough suspense or everything was too predictable, you know readers of that genre are interested in puzzles to solve that aren’t too obvious. How can you incorporate that into your writing?
Here is a list of the general things people look for in different genres:
Romance - Readers of these look for passion, tension, seduction, emotion, and connection.
Erotic Romance - These should include all that romance offers but with a lot more sex.
Paranormal Romance - Everything found in a romance with a forbidden or impossible element.
Young Adult - These readers look for a strong point of view centered around a young character, emotional truth, relatable characters, and interesting plot.
New Adult - These are focused more on issues you face in your early twenties such as: career choice, sexuality, leaving home, and/or learning to navigate the adult world.
Fantasy - These include a magic system, a central conflict, complex characters, and well-developed setting.
Sci-Fi - Should have a well-developed setting and thought provoking themes. It is all about placing people in never before experienced circumstances and seeing how they handle it.
Historical fiction - These readers are big on historical accuracy and character development.
Thriller - Suspense! Keep these readers on their toes through red herrings, cliff hangers, etc.
Horror - Horror should include a shock factor and a degree of fear.
Literary Fiction - These often include political commentary, social situations, and/or reflections on humanity as a whole and are very character driven.
The biggest thing all of these have in common is great characters and lots of emotion. Every reader wants to feel something. They want to relate to the characters and cheer them on (or even despise them).
If you can keep your reader satisfied, they’ll beg for more.
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