Screenwriters Anonymous pt.2: Sustainably Sourced Feedback

How to handle feedback ☛ Readers of my previous piece will have swallowed their pride and sought feedback on their screenplays from carefully selected readers, whom they have taken pains to approach with an attitude of open enquiry (you have done that, haven’t you?) But what happens next? Is it just a case of getting … Continue reading

Screenwriters Anonymous

Script feedback – how, when and why? ☛ I love screenwriting. It’s both the most important and the cheapest part of film-making, in some ways the most fun but definitely the hardest. To give you a sense of how hard, two of the worst scripts to have been filmed in the UK in recent times, … Continue reading

Don’t Make your Header an Own Goal

The Art of the Title ☛ You’re sending your independent feature to film festivals in hope of glory, but you’ve not yet got any reviews and let’s imagine that Focus aren’t backing you with a massive marketing campaign. All you have is what you can put in the festival programme: a short synopsis / the … Continue reading

The Joy of Treatments

How and Why to Write Treatments ☛ Many screenwriters will think this title a bad joke – there’s little they enjoy less than writing treatments. I use to have the same aversion, but I’ve learnt to love the little fellas, in fact my two latest feature film projects only exist in treatment form right now. … Continue reading

Expect the Unexpected

Genre: What’s it Actually For? ☛ Take your script to a producer or a script editor and sooner or later the question of genre will come up. “What genre do you consider this to be?” is a question that script editors like to throw at the unsuspecting writer. Maybe you’re acutely genre-aware and can answer … Continue reading

Snubbing Sir Basil

Exposition and How to Avoid it ☛ One problem that vexes screenwriters no matter what their level of experience is how to deal with exposition. If you’re not familiar with the term, exposition is information that is given to allow the audience to follow the plot. Problem is, it’s very commonly given clumsily. You know … Continue reading

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