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melodrama, reality -

Reality: The Avoidance of Melodrama

Reality: The Avoidance of Melodrama
A consistent differentiator we see at ScriptArsenal between pro and amateur screenplays is the inclusion of melodrama. This can manifest itself in various ways, but most typically shows up as overreaching. If your characters are screaming, “Noooooo!!!!!!” a half dozen times in a script, that’s one sign you may be indulging in too much melodrama.

A film that nails this, and a worthy example for screenwriters to study, is the Best Picture winner SPOTLIGHT. Late in the film, SPOTLIGHT dances nimbly around a scene that, in most scripts (and produced films) would probably tip over a bit into melodrama.

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episode, pilot, series, template -

The Trap of Pilots: Setup vs. Template

The Trap of Pilots: Setup vs. Template
Far and away the most consistent note on pilot scripts we get here at ScriptArsenal is that the script is mostly setup, and does not function as a template or representative episode of the series. In other words, the “real show” starts on Episode 2, after the pilot sets up the world of the series, the scenario the protagonist finds themselves in, etc.

Often it can feel like a pilot simply doesn’t have enough page real estate to both establish the story and present to the reading audience what an average episode is going to look like. A great case study for how to do this can be found in the pilot of UNBREAKABLE KIMMY SCHMIDT.

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bad dialogue, good dialogue, on-the-nose dialogue -

Writing Good Dialogue: How Human Beings Talk

Writing Good Dialogue: How Human Beings Talk
Arguably the most consistent note that shows up in the script coverage for screenplays from newer screenwriters is an abundance of on-the-nose dialogue. It’s this bizarre thing that happens where we all know how human beings speak, but it is so tempting to just let them say what they mean. 

This is the plainest difference between “good dialogue” and “bad dialogue.” It seems subjective, though, right? When it comes to on-the-nose dialogue, it isn’t really. The simple litmus test for this is, “Are your characters saying what they mean?” If the answer is yes, that’s on-the-nose dialogue.

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screenwriting tips, spec script, standard operating practice -

Screenplay Sale: How Much Money Do I Get?

Screenplay Sale: How Much Money Do I Get?
Unfortunately, the economics of screenwriting are challenging for most people who do it, and that includes working pros. Let’s take an example sale and walk through it, and sadly observe the money get chopped away on that screenplay sale.

Earlier this year, Global Road bought the spec screenplay “Rawhide Down” from screenwriter Alex Cramer. Deadline reported the deal as six-figures. So, let’s say, for argument’s sake, this sale was for 350 thousand dollars or more.

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actor-bait, compelling concept, great ending, screenwriting tips -

Great Endings: What Feels Right In A Classic Ending

Great Endings: What Feels Right In A Classic Ending
What makes a great ending? It can be a maddening question. Maybe you’ve found an awesome, compelling concept, figured out a strong narrative structure and plot, and written a multi-faceted, actor-bait protagonist role. But try as you might, you still can’t nail that ending. It feels too flat and predictable, too abrupt… it just feels wrong.

A lot of times, this boils down a lack of thematic challenge intrinsic in the choice of ending. Let’s consider some classic examples. THE SEARCHERS is widely considered a classic of the Western genre and frequently shows up on “best of” lists.

The end of the film shows John Wayne, after he’s triumphed, and seemingly “won” the movie by returning his abducted niece. He should come inside the cabin and have a happy moment, right? 

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