scripting is 100% optional (depending on your method), but it’s very helpful for visualizing and figuring out different details about the reality you’re trying to shift to. it’s always helpful to go over your scripts before you shift, and/or put them under your pillow while you shift
here are some things that i typically script, and that i’ve learned to avoid;
NO NEGATIVITY —
throughout your script, try to keep negative energy away. shifting is all about having a positive mindset and happy energy. if you’re scripting that you can’t do this and you’re not capable of doing things, you won’t get too far. often, people say to avoid words like “i can’t” and “i don’t” in your script.
instead, write in different affirmations and acknowledge how powerful and capable you are! you are going to shift, so own it! believe in yourself!
you can say things like “i can’t gain unwanted weight,” “i won’t die,” “i don’t remember that draco’s family are death eaters” and such, but it’s always better to avoid those words if you can! :) try saying; “i’m immune to..” “i’m not able to..” or something else.
FORMAT DOESN’T MATTER —
you can script on your phone, or on physical pieces of paper. that decision is up to you! you can also write it out however you’d like; whether it be in bullet points, sections, templates, or other! pictures are also very encouraged! :)
HELPFUL THINGS TO SCRIPT —
– your safe word/action to shift back
– immunity to things (acne, death, bloating, etc.)
– relationships with other people (what do they think of you? who are they to you?)
– the time difference (this one is actually super important. DO NOT script “one second in my CR =“ at all. that will take A TON of mental energy. instead, try “five seconds in my CR =“ because then it’s not as intense. you may think that more time is better, but it can be draining. i personally do ‘five seconds in my CR = one week in my DR” and after doing the math, it’s a lot more time than i thought)
– skills you want (are you good at baking? singing? writing?)
– where you wake up (you can just choose to wake up in your DR bedroom, but it’s really up to you! it’s also helpful to script what your five senses experience once you’ve successfully shifted. like what you smell, what you taste, what you hear, feel, taste, etc.)
– not feeling overwhelmed (a lot of people script that they feel overwhelmed or scared when they shift so then they accidentally scare themselves awake, so try scripting that you feel at peace once you’ve shifted (: )
I know it’s been said but I do really want to talk ab what Lil Nas X’s Montero means for queer creatives (especialy queer creatives of color!)
I’ve been involved with the marketing side of writing since I was about 14 and one of the big things I heard was basically “if you want your work to be overtly queer, you have to expect it not to get famous”
I never ended up publishing what I was trying to because the only people willing to try and publish wanted me to compromise on the sexuality of the characters (the story being a non monogamous interracial romance between four men) and focus more on the other aspects of the story. Basically said to “tone it down” if I wanted to get published, to make it more palatable to a cishet audience or it “wouldn’t sell”
Montero isn’t “palatable” to a cishet audience at all. It’s explicitly about the queer experience and I don’t see how white cishets could possibly relate to it. There is no toning it down— and cishets hate it. But it’s a famous, popular piece of media in the public eye.
Montero is proving that queer people can make content about experiences that cishet people can’t relate to. It’s proving that we can make art that is personal and deeply tied to both race and sexuality. It’s proving that queer POC don’t have to “tone down” who we are or the stories we tell.
I'm surprised Movie Bob didn't say his childhood is now "dead" or something, with the Mario movie announcement. Likewise, I'd expect Dobson to say something at least equally stupid.
I believe he did say something to that effect, as he’s upset the Mario movie isn’t going to be some LOTR-level epic fantasy film. Probably thinks his crappy script for a Mario movie should have been made. In which the phrase “It’s a Brooklyn thing” is muttered by Mario as a hero line.
And it’s not even the worst “script” he’s come up with. There’s the dark and gritty Care Bears reboot meant to shit all over religion, or the Terminator film where the villain is a blue collar worker dude from the South who goes back in time to prevent automation from happening and the Terminator must save the world from not having everything run by robots.
THESE ARE ALL REAL MOVIE PLOTS/SYNOPSIS HE CAME UP WITH, BY THE WAY.
Hi there! How would a trans character be referred to in a script (e.g. for dialogue tags) if they switched names partway through? I’ve seen “original name/new name”, but I just wanted to check.
I think this is something you might see a lot of different opinions from trans people on.
I don't think that my own personal opinion should be taken as speaking for everyone at all, and I haven't had a lot of discussions with others about this either. I encourage other trans people to respond with what they'd be comfortable with, and why (if you're comfy to).
I personally feel like the most respectful route would be to use the new name throughout. Initially, when thinking this over, I considered potential for confusion - but I don't think that would be that much of an issue. I mean, scripts are often written with characters disguised as other characters, being referred to with the wrong name. So I don't think there's a good excuse there for keeping the old name.
I don't think I would be extremely put off by having the two names together, but I don't think you should do it anyway.
Another route you could go is formatting it like this:
JESSICA (as PHIL)
That way it's clear in the stage directions who Jessica is assumed to be at that time. After Jessica is referred to as her newer name and such, you could drop the (as PHIL) part.
one thing i love is an excessive amount of blood. my main character is a boxer, so it’s very normal. but in her story, she has a brutal fall from grace.
loses a huge fight, sponsors pull, gets a dui and then later ends up in a career ending car crash. she’s not paralyzed, but her hands are effected and her nerves are almost shot. almost. for the next year, they leave everything. taking a little money and moving to a small town, covered in inches of snow.
she allows herself to heal, fighting in brutal underground fights for cash. one day she wins the wrong fight, and some men approach her as she’s walking home to her apartment.
she’s cornered by a few large men. these men are definitely going to overpower, this is her first thought. she freezes, she’s never nervous in a fight but here she was. a man grabbed her, putting her in a full nelson hold as she scrambled to get out of it.
she’s beaten up severely, her face and stomach taking the most damage. after being lifted on her feet, barely able to stand from exhaustion, she is stabbed in the back with a small shiv after her thick wool jacket is removed. luck struck her because the person stuck it closer to her hip than the spine.
they dumped her in the snow, face down, excessive blood leaking from her face, so much so that she is unrecognizable.
If Screenwriting Isn't Easy You're Doing It Wrong - Brooks Elms
Film Courage: Should a new writer look at writing as a fun endeavor or should they check themselves in the beginning and say "Okay is this something I want to take on," the time commitment, time away from maybe friends and family, maybe there are going to be parts that won't be so joyous?
Brooks Elms, Screenwriter/Filmmaker: It's a great question and yeah absolutely, do it because it's fun. There's no other reason to do it and if it's not completely fun, do anything else. Find what is fun for you.
Film Courage: If there was something that was a hobby for you which you loved but you didn't want to take on as a career, could you say the same for writers? They just want to write for the...(Watch the video on YouTube here).
Personally, I think writing a dialogue is the most hardest task in the story. Many of our chapters might contain dope dialogues but mostly we can go a whole chapter without dialogue like ‘They said nothing throughout the chapter’. But come to think of it, dialogues ensure the reader that the story is moving on, that there is some sort of development in the characters. In short, dialogues will make your story leap forward and so sound like the characters are working for their goals.
But the real task is writing the right dialogue that would suit the situation and wouldn’t sound like you gave away too much information. Here are some of the rules that might help writers when they’re stuck on a dialogue in a scene.
The first key to writing a perfect dialogue script is to read. Usually when I’m stuck on a dialogue, I would randomly open up one of my old books and observe how other writer’s wrote a conversation between two characters. If it doesn’t work for you, you can go for a movie. Watch a movie, drama or just sit next to two people talking or debating. Observe their actions and pauses, how they stop at a point or stutter or how often they use a phrase.
2) Cut out extra scenes
It often gets tedious for a writer when they’re stuck in a chapter without dialogues - which usually happens when their chapter is overloaded with important descriptions. You can cut out a chapter or let the characters speak as descriptions. For example:
Character A (to character B): ” Looks like someone long abandoned this house, there’s dust everywhere”.
It’s a simple example but just to explain that the other character can speak about the associated person, place or plan if you’re looking forward to decrease the descriptions.
3) Provide a unique voice to your characters
By providing a unique voice to your characters, not only does it create a diverse cast but also excites the reader when they naturally know who’s speaking. An easy way of using this rule is by removing the speaker’s name or pronoun (she said, he said) and let the reader know who’s speaking on their own.
“You can’t just give away your coin collection!”
“They’re taking up way too much space, I don’t need them anyways”
“But you spend your entire childhood collecting these?”
In the above example, we know that there’s a conversation going on between character A and Character B. When you’re writing a dialogue scene with more than two characters, you can’t use the above rule as it can make the reader confused with who’s talking. In those situations where more than two are conversating, you can go for names and pronouns.
4) Say your dialogues out loud
If you feel like one of your dialogue or the complete conversation doesn’t make sense, say your dialogues out loud. It can help the dialogue sound more smooth and real and may provide a natural flow to the conversation as you write.
5) Keep it real
‘Keep it real’ which is one of the writing rules you may hear very often. Now what does it mean to ‘keep it real’ while writing a dialogue?. If two characters are meeting up in the scene, cut off greetings (they make the scene sound uninteresting and dull). Remember who the character is talking to and so change their tones in accordance, for example the reader would use a much lighter tone with their parents or elders or a rough tone when they’re around their friends, colleagues or enemies.
Cut out small talks or pointless things a person would say in real life. Many times people stutter half way through what they’re saying or stop mid way in a conversation but avoid adding that in your book and cut out extra information which isn’t important for the development of your character.
6) Actually write
You have to write to get started with the dialogues haha. Goodluck with that.
said it before and i’ll say it again: writers unintentionally making two characters have romantic or sexual tension and then adding their relationship as fans recognize said tension is not fan service (it’s good writing)