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I'm seeing a lot of comments about the vehicles that seem off base to me.
The requirement is a vehicle has to feature prominently in the script. Meaning it has to have some bearing on the story. That doesn't mean it has to take place in a vehicle, or that the majority of the script has to be set in and around a vehicle. It just has to feature in a meaningful way. The suspense scene should definitely feature a vehicle, that was the heart of the challenge. Beyond that, if the action leaves the vehicle but the vehicle is still present, or if another vehicle enters the story, or if the vehicle isn't a traditional one but still meets the definition of a vehicle, in my opinion it all counts.
I'm seeing a lot of comments about the vehicles that seem off base to me.
The requirement is a vehicle has to feature prominently in the script. Meaning it has to have some bearing on the story. That doesn't mean it has to take place in a vehicle, or that the majority of the script has to be set in and around a vehicle. It just has to feature in a meaningful way. The suspense scene should definitely feature a vehicle, that was the heart of the challenge. Beyond that, if the action leaves the vehicle but the vehicle is still present, or if another vehicle enters the story, or if the vehicle isn't a traditional one but still meets the definition of a vehicle, in my opinion it all counts.
I'm seeing a lot of comments about the vehicles that seem off base to me.
The requirement is a vehicle has to feature prominently in the script. Meaning it has to have some bearing on the story. That doesn't mean it has to take place in a vehicle, or that the majority of the script has to be set in and around a vehicle. It just has to feature in a meaningful way. The suspense scene should definitely feature a vehicle, that was the heart of the challenge. Beyond that, if the action leaves the vehicle but the vehicle is still present, or if another vehicle enters the story, or if the vehicle isn't a traditional one but still meets the definition of a vehicle, in my opinion it all counts.
Then I have interpreted the parameters differently than you.
"The majority of your screenplay must heavily feature some sort of vehicle AND have at least one sequence of prolonged suspense."
the word majority in the above, to me, means the vehicle should feature in the screenplay more than not - a 2 minute suspenseful vehicle scene followed by 4 minutes of no vehicle, for me, does not fit this parameter. That's how I'm going about it in my scoring anyway.
Just noticed you used the word majority in your post - the parameters literally use the word majority lol
Agree with the multiple vehicles - there's no mention it has to be a single vehicle. Also agree that it should affect the story some how and be involved in the suspense scene.
Then I have interpreted the parameters differently than you.
"The majority of your screenplay must heavily feature some sort of vehicle AND have at least one sequence of prolonged suspense."
the word majority in the above, to me, means the vehicle should feature in the screenplay more than not - a 2 minute suspenseful vehicle scene followed by 4 minutes of no vehicle, for me, does not fit this parameter. That's how I'm going about it in my scoring anyway.
Just noticed you used the word majority in your post - the parameters literally use the word majority lol
Agree with the multiple vehicles - there's no mention it has to be a single vehicle. Also agree that it should affect the story some how and be involved in the suspense scene.
You're right, the vehicle has to feature in the majority of the script. And so far that's what I've been seeing. But I've seen some comments calling out writers because the action leaves the vehicle, but the vehicle is still present, it's still a part of the story, and often it's returned to, sometimes more than once.
And does majority mean the bulk of the page count or the most substantial part of the story? For me, it's the latter. Some scenes carry more weight than others.
Anyway, that's how I rate, but I've always been flexible with the interpretation. Like there are some entries that are not at all horrors, but there's only one I rated lower for it so far.
I don't. There's a lot of repetition in the feedback as it is. If someone doesn't have anything new to add, at least they're giving their impression. That's helpful for the writer to at least see where they landed as a reader.
The requirement is a vehicle has to feature prominently in the script. Meaning it has to have some bearing on the story. That doesn't mean it has to take place in a vehicle, or that the majority of the script has to be set in and around a vehicle. It just has to feature in a meaningful way. The suspense scene should definitely feature a vehicle, that was the heart of the challenge. Beyond that, if the action leaves the vehicle but the vehicle is still present, or if another vehicle enters the story, or if the vehicle isn't a traditional one but still meets the definition of a vehicle, in my opinion it all counts.
That's the way I interpreted the OWC. There's only a fewI read so far that doesn't quite fit, but I give them some leeway if a character or two isn't actually in the vehicle or transportation. As to my own entry, I haven't been hit with that criticism much but the week is young. I don't concern myself much, though, because some OWC are open for interpretation, and sometimes those interpretations can get creative. It all depends on execution.