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SimplyScripts Screenwriting Discussion Board    Screenwriting Discussion    Screenwriting Class  ›  How do you all write? Moderators: George Willson
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  Author    How do you all write?  (currently 5321 views)
DanC
Posted: February 23rd, 2016, 2:14am Report to Moderator
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I find this topic to be very interesting. I admit before I begin to write anything that I have a pretty solid idea of the characters what they're going to say what they're going to do and every major action point already planned out.

For example, when I wrote evil Genesis, I had all the characters names and I had every major plot point and how many pages each plot point was to take up. That way I knew roughly how long that the screenplay would be, and whether or not I needed to add to it or take it back a bit if there was too much plot. After all nobody wants a screenplay of more than 120 pages.

The reason why they tell you to interview your characters is pretty simple actually. You're supposed to know every single thing about them. You're supposed to not only know their highest and lowest points, but you're actually supposed to know every single thing about their lives even if there is no chance that they appear in the story, ever will appear in any story, ever will appear in any series. The reason for this is simple. It helps form who they are. Every time they make a decision that does or doesn't work it affects who they are later in life.

Even something as simple as what is your favorite color can offer insight into that character. For example if the person's favorite color is black it is perhaps conceivable that that person likes goth or vampire stuff. Or perhaps they are going through a dark moment in their lives and can identify with the darkness.

As a writer, it is important to know every aspect of every nook and cranny of your world. After all, you're God, and if you don't have the answers then who will? Too often people will just sit down and write without really understanding or knowing what the characters are all about.

For example, I was watching this Japanese cartoon once and in it the creatures who lived under the water had firepower. Naturally I chuckled because water creatures should have water powers and not fire based powers. That comes from not fully understanding your own characters.

Another example could be that this kid on the road to becoming a gangster had lost both his parents and execution style deaths. So if later on you write that your character executes somebody you better have a good reason why they would do that because unless there a sociopath or psychopath, there would probably not kill somebody in that way.

I hope that helps and if I can answer any other questions feel free to pick my brain. After all, writing is so much more than beginning typing. There is so much planning that must go into a story no matter how you achieve that story, it essentially becomes a living breathing entity.

Good luck,
Dan


Please read my scripts:
http://www.simplyscripts.net/cgi-bin/Blah/Blah.pl?b-series/m-1427564706/

I'm interested in reading animation, horror, sci fy, suspense, fantasy, and anything that is good.  I enjoy writing the same.  Looking to team with anyone!

Thanks
Dan
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Equinox
Posted: February 23rd, 2016, 9:57am Report to Moderator
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Hey Dan, good to see you're back again!

On Topic: I've tried writing with an outline multiple times, but I always drifted away from it so much in the end, that I thought it was a waste of time. I start with a rough idea of a story and the main protagonist(s). For my TV scripts I try to think of a big opening scene / teaser and continue on from there. Usually I end up too long, so in order to fit it into 50-55 pages, I work over it and cut out anything I feel isn't really necessary.

I'm currently working on a new TV pilot script, I tried with the outline approach again, not sure how it'll end up this time.


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eldave1
Posted: March 21st, 2016, 12:39pm Report to Moderator
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Thanks CJ - I found it an interesting read


My Scripts can all be seen here:

http://dlambertson.wix.com/scripts
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KyleC
Posted: July 16th, 2018, 2:30pm Report to Moderator
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Hi guys, I'm new here, though I've lurked for a bit and really enjoyed reading your discourse.

I have a big ol' magnetic board in my garage, and I cut up tons of 3x5 pieces of cardboard, covered them with dry erase paper, stuck a magnet on the back of them and use them as magnetic index cards. Therefor I can write up a bunch of scenes and place them here and there, wherever I want. I have a big dry erase board beside it that I write down themes, character ideas, fun quotes, complications, timelines, whatever.

But first, I come up with an idea that really gets me.

After blasting music and scribbling tons of scenes on my magnet and dry erase boards, I'll get on the computer and start organizing them, starting by writing a logline outline, where each scene gets one line. I'll develop those scenes further before writing a mega outline, where I detail these elements: location, character, synopsis, conflict,  fun ideas, and pitfalls.

Then I'll write the first draft, realize I got everything wrong, complain to my wife that I should quit, hurl myself outside in a fluff, she'll run after me with a brilliant idea, and then I'll realize "oh yeah, I married a writer, I should just lean on her to fix these problems and I wouldn't hate myself." Then I'll go back inside and fall in love with the story again.

Currently working on finishing my first screenplay in years.
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Gerasimos
Posted: July 16th, 2018, 3:08pm Report to Moderator
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The first guide I read regarding story structure was the M.H. storymaster one (don't know if it's OK to link the website).

Long story short it goes like this:
Story setup>opportunity>new situation>turning point/plot twist>point of no return>aftermath

So I write those scenes first, then I fill up the rest. This has worked pretty well for two of my features, not so good for the other two.

Regarding the latter, sometimes I struggle to 'create/discover' one or more of those elements. As a result various things in those scripts feel a bit forced.. even to me.  This is why I guess, I have to write even more, or just find a better guide lol.


Features:
KTT Part ONE - The Polar Cabal
ALEXANDER - RISE OF THE PALADIN
ARAGORN - A LORD OF THE RINGS STORY
A Soul's Plea For Help
Coincidence

My facebook script page
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Scar Tissue Films
Posted: July 16th, 2018, 6:41pm Report to Moderator
Of The Ancients


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No particular set way.

Idea creation: I have a huge list of different ways of creating stories and I sometimes just sit and write lists of dozens of ideas that would make interesting films.

Brainstorming. From just bashing down everything I think of, or even parts of scenes in a text file in Dropbox, to using a software package to plot things: it depends on the project. Simple horror stories I find the linear Contour useful, deeper stories I often use Dramatica Pro. I've found that no software package, or book, on their own is definitive, but used together and with one's own knowledge they can become greater than the sum of their parts.

Over time I've also created my own little system based on all the books and software I've read and I've collated it all together in Scrivener. So I've got quite a comprehensive template to work from when I sit down to plot a story. From character creation, to all the available genres, to all the different plot structures so far invented.

The Cork board is quite good on there. There's a system for using a Cork board to plot everything out, even as far as thematic points, called something like Plotting Blockbuster Stories that's good for really epic pieces I'm planning.

I tend to plot things out in their entirety, then try to write the individual scenes non linearly using the pomodoro technique... You set a timer and just write as fast as you can without stopping. I do roughly 1 page in 5 minutes

However, my best work is often when I simply write without planning, but I can't rely on that.

I use a host of different packages to write from the obvious like Final Draft, Fade In and Celtx to my now preferred method of Distraction Free writing with Focuswriter, Ghostwriter, Worst Draft, Draft, Monkeywriter and others, using Fountain which allows me to write anywhere on anything and have a master file that can be sent to any screenwriting package with little risk of corruption or incompatibility issues.

Writing is also still sometimes on paper, in a coffee shop. There's still a lot to be said for the direct connection between mind and page.

Biggest weaknesses:

1. Hitting a point where something is wrong and being unable to fix it. Even when I can analyse exactly what's wrong with it.
2. Getting trapped in a cycle of never ending possibilities, resulting in constantly changing parts of the story, then having to change another bit, then getting to the 60th draft and there's 60 different stories in one and my brain is unable to get any of them straight.
3. Motivation.

Revision History (1 edits)
Scar Tissue Films  -  August 30th, 2018, 10:52pm
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TheReccher
Posted: August 4th, 2018, 11:14pm Report to Moderator
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Step one. I need a new project. So I structure my premise as so...a character easily summed up in some way, ie. the daughter of a sailor, a college student, a martial artist, is thrown into a conflict uniquely suitable to him/her.

Step two is my craft homework. I look at the premise line and extract goals, desire lines, themes, conflicts etc. I think of questions, what are the inherent holes, how can I fix them, are there rising stakes, an opponent. I carefully consider my genres suitable for the idea. I consider the dominant genre and secondary genre. I create foundational beat sheets based on John Truby's twenty two steps. My characters goal, wants, needs, and internal weakness are decided. I expand out an over-arching plot to hang on the desire line from the twenty two beats. I like writing it as a flow chart where the boxes indicate plot points. This takes dedication and time because I have to carefully think out every step. I don't want any holes or inconsistencies embedded in my story's foundation that will be difficult to fix later on.

Than I put it aside. Take a break. Let that foundation soak into my mind. And from that, my mind becomes so expanded, that the first draft floods out of me. I vomit out every idea. EVERY IDEA and sub-idea within that one. Nothing's out of the question. With no restraint or thought. I find that I can get two hundred pages in one or two weeks. So long as I have that outline to extract ideas from.

Than I take a break. I get back to the first draft and this is were I edit. I look at the draft and I cut everything that's un-necessary. I widdle it down to the tightest structure possible. I look at beat sheets and write the page count between each beat. If one of the numbers looks off, that usually means something more needs to be cut. One I get that tight structure, I get back to editing. By now, if I've done my homework right, I've found that every major mistake can be fixed with subtle and small rewrites that don't impact the size and shape of the story if I've done my outlining properly. This is where ENDLESS re-edits happen. I look at individual scenes and make sure they're executed properly. With good conflict, tight shape. Dramatic action. Density of beats. I might do more cutting, re-arrange scenes and than do small re-writes to glue them together. I often do scene outlines to create a skeleton with keeping my beat sheet beside me. This is a fantastic way to see flaws in your story that are hidden under the surface.

Often times this will also involve going to a scratchpad and writing down questions and holes and motivations that might need more explaining or expanding. And when I've gotten to the point where this list keeps on growing, and I'm running in circles fixing problems only to find new ones, I set it aside...

...and do a from scratch re-write. This always creates a HUGE leap in quality and all the major problems go away. And this is where writing becomes more enjoyable for me, because by now, I've spent so much time in this world and characters that they come alive to me. The tedious clinical connection I have with my material is gone, and I now care and love and understand my characters as people and not a list of beats and facts. Now that the story works I can move on to dialogue. With the characters voice in my head it's easier now that I postponed it. Because your first priority is structure. You gotta solve that huge five dimensional rubix cube than work on dialogue. So I write the dialogue. I use a recorder and act it out to make sure it works.

Than I put it aside, take another break, and than from than on, it's months of more rewrites and edits and banging my head against the wall. The great thing is that the more rewrites you do, the less grand and sweeping the changes are, and eventually you get to laser in on the cadence and rhythm and tone and flow of the writing.

And it's around this time where I have to get this out to my writer's group. I know that no matter how much work you do you can't write the perfect script. So I close my eyes and take outside criticism, I look at the notes, take them in, read and consider changes. I take a break, look at it with clean eyes, than I go back and back for for more rounds.

Than I make a promise, once I've hit a certain number of drafts. I'm done. I grit my teeth, accept that perfection is not possible and it's as good as it's going to get move on to a new project. Looking forward to new worlds and characters to fall in love with. Even if it doesn't work out, I can always count on achieving that.

Keep in mind, this is how I like doing it and I wouldn't recommend it for anyone who isn't as crazy as me.
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Kirsten
Posted: August 8th, 2018, 4:12pm Report to Moderator
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Giving up is not an option....

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I'm working on my first feature. I haven't outlined it. I'm just writing it as it comes. I'm doing it in sloppy format, and depending on my mood I'll either go back and fix things or I'll continue on with the story.  On the top of every page I've written 'ELICIT EMOTION'. A good in your face reminder.


"Turn that off, our friend has just been killed in a fatal sunlight accident!"....

'What we do in the Shadows.'
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FrankM
Posted: August 8th, 2018, 7:53pm Report to Moderator
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This method is popular, but I do not recommend it.





(Click the image for Tumblr page, also found pretty much everywhere else usernames start with an @)


Feature-length scripts:
Who Wants to Be a Princess? (Family)
Glass House (Horror anthology)

TV pilots:
"Kord" (Fantasy)
"Mal Suerte" (Superhero)

Additional scripts are listed here.
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MatthewG
Posted: August 28th, 2018, 6:06pm Report to Moderator
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Figure out the main plot points and write to fill in the gaps between them.
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DustinBowcot
Posted: August 29th, 2018, 1:10am Report to Moderator
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I just write.
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Anon
Posted: August 29th, 2018, 10:05am Report to Moderator
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When it comes to the script, I also just write. But research is huge if it's a subject I don't know inside out. And I find that the longer a concept has been knocking about in my head, the better it comes out when I write it.

But as for physically planning out the story / outlining etc ... To me that's all the work and none of the fun. It makes me bored of the story before I've even written it. I had to do it once but when I came to write the actual script, I put the outline in the bin. And wrote something much better.



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DustinBowcot
Posted: August 29th, 2018, 11:56am Report to Moderator
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Oh, yes... research is king. I hate outlining and I'm terrible at it. My outlines all look like shit, but, thankfully, my writing is good - at least, so I'm told.
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