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TWO GOOD TO BE TRUE

TWO GOOD TO BE TRUE

I sometimes see scripts that are pursuing multiple ideas. For example, we might have a horror script that is about two characters; one is contending with a cult, the other is contending with a slasher. It’s one thing if the cult and the slasher are connected. But if not, then we have two protagonists of two different A-stories uncomfortably residing under one title. There is of course such a thing as sub-plotting; narratives with an A-story, a B-story, a C-story, etc. But making each of those story threads reside within its own context is an approach that better works in...

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