Screenwriting Hacks for Drama -- writing movie scenes

[@madmax3375]

I encourage anyone that is writing a spec-script to watch everyone of W.D.'s videos. Watch them over and over. Join her courses at her site. This woman will teach you exactly what to do and help you write the tightest script. My journey with her started in September last year and my script was rewritten by April of this year. It's now in the hands of several producers at this time. I had people that never read screenplays before do reads on it and got the same feedback with what I intended for the viewer to see. I wanted someone to tell me it sucked, but they didn't. They weren't best friends or family either. This woman is the best teacher for this subject, I promise you!

[@worddancer-howtowriteascre9144]

That's so exciting and inspirational! Well done! Keep us posted:)

[@fariborznarimani8891]

I find your videos very helpful for new writers. I would like to thank you for sharing them generously.

[@Filmgirlphilosopher]

That example story about the little girl was golden. That should be a film.

[@quentilpompey6827]

Thanks. You are the first to actually do this and I love it. Very helpful.

[@laszlob1294]

Thanks for showing me how drama can be subtle. A definite thumbs up from me.

[@jawadahmed1938]

I don't skip the Aids to support your work. You're awesome Love from Pakistan.

[@eurodalmatia316]

Dear, WD greetings from Croatia, Europe. I'm following your lessons reagularly. Your tips are exgactly the same I've learned in a writing school here in Croatia. BTW, I'm a creator and a writer of one of the bigest tv series that someone made in my country. I must say thanks for your effort to put all these tips online, coz they are very helpful for new, young writers.

[@Filmgirlphilosopher]

When listening to that first scene the way the voiceover was written made me think it was either a supernatural being, an alien or an AI talking about humanity and what they planned to do to save them. It felt like an intellectual force that had love for humanity, but also were detached in a non-biased way like a separate entity watching humanity.

[@nimeshmukwakwa2820]

Your videos have taught me how to construct a script i didnt know how to construct a script but i had the ideas then i started watching your videos all of them and now i have four completed scripts and still have 5 more am working on.In South Africa media schools are quite expensive but because of your videos i am a complete script writer.I pray that one day you will do the same retreat you did in france in South Africa as well,we have talent but undiscovered and we would use your help.Thank you for everything may God keep blessing you for what you are doing for us.South Africa appreciates you.

[@dil7771n]

Your videos worth not less than an expensive course on screenwriting. Immense love and respect for sharing these valuable lessons you learned throughout your career !!

[@mallorysandstrom3928]

Annoyed Bennis, thank you! THAT'S why I could only milk so much from a certain conflict in my first novel. The dialogue builds, there's tension, and the survivors push each other's buttons, but they don't have different goals in that scene. They actually share the same ultimate goal of getting rescued. Bennis. Yes.

[@joeldrummond6058]

I love the bennis example! It is pure genius. Thank you for all of your thoughtful and helpful advice, Word Dancer.

[@chihiro9054]

LOVE this format of reading pages and discussing them + BENNIS is hilarious!

[@WavesWatcher1]

Speechless. Such deep knowledge. Play & replay. Thank you STIAN, & Word Dancer

[@EduardoRivera-ej8ju]

Shhh! Take out the air off the tires! Uff!! That was mind blowing! Also, loved Bennis, the Sherlock Holmes version. Hahaha! Another amazing video! Thanks!

[@xianthegaian4060]

I just can’t get enough of these Golden tips...thank you word dancer✨

[@carlostomas1917]

Wow. I was amazed how you broke that first scene down. I would love to submit my script for review.

[@ComicPower]

The story with the shaman twist added. Hooked me.

[@dominicthewriter417]

I ADORE your videos! I've learned SOOO much from you! Thanks for all you do!

[@Diaz55]

I might submit a little sample of what I'm working on. This video good by the way.

[@ciobrombe825]

And I thought tennis was boring :D Thanks a lot, you are amazing.

[@luzciano]

These videos are helping me a lot, I'm about to start the rewriting of my screenplay and your teachings are great, fun and with amazing examples. Thanks for sharing your knowledge

[@convolution223]

Interesting insights. I'd add: When people are equally matched, they test each other and are more honest and open about emotions both positive and negative, both offensive and inoffensive. It depends on whether when they spar it’s ultimately a draw between them or not. If it’s a draw, they could be friends. If one person is always winning, that’s abusive and they might be trying to take out their competition.

[@soundhead18]

Makes me want to watch Marriage Story right now. Seems like a film that the characters go back and forth and bump heads with good dialogue.

[@soundhead18]

Watched Marriage Story. It was great! Should be called Divorce Story though lol

[@bradebronson8835]

Just finished an epic trilogy script surrounding the extreme dangerous sport of BENNIS

[@worddancer-howtowriteascre9144]

Love it!

[@miaveranika30]

God... I've got goosebump when you tell story about a little girl....

[@cedricbruintjies4275]

I have only decided to write my first book last month. I also want to write a screenplay of the book. Thank you for your insight and support. I am learning a lot from you... You are great!

[@lloydrobert6182]

Ah, Bennis!!! That made a huge difference in the way I think. I'm writing a story right now, and simultaneously doing the screenplay, and finding your advice so helpful. Thanks a ton. 👍♥️

[@zyn5107]

This is very informative. Walking through that script was very helpful because the feedback echoed my own thoughts on it. Ideally meaning I'm on the right track. Thank you.

[@SadTown99]

Geez…. Your absolutely legendary 😩 Your channel is like a master class from the film gods 🙌

[@staywoke3316]

I love u so much Queen I'm in class online Dis is very informative I'm working on my first script and I just want to learn the correct way to write

[@40belowceo]

Great video! So informative and helps me so much. Thank you for this!

[@everythingfluid]

Thanks for this

[@heatherbrown384]

Fabulous watch. Gave me great ideas.

[@oliverwitherspoon6752]

the #1 reason I click off a movie or show is when the story starts trying to preach to me... especially about the environment and/or social justice because I feel bombarded with these subjects. It's everywhere. It's exhausting to listen to or watch a program trying to pound the same nail into my head over and over and over and over again... I get it already. click.

[@Shade23753]

^^^^^^^^^^^^^^^^^^I SECOND THE MOTION^^^^^^^^^

[@bananian]

Yeah, especially when they don't offer any solutions. It's kind of lazy.

[@patrickcashdan5455]

It could be cool if you did a video on intercutting scenes.

[@Adven4U1]

If you're writing a story involving a twist villan, sometimes you'll write a scene that seems like "Bennis" but in hindsight, is actuatlly "tennis."

[@worddancer-howtowriteascre9144]

There are not rules except, "Don't be boring."

[@Adven4U1]

Word Dancer - How to write a screenplay That’s exactly why Disney and Pixar twist villains suck they are either are far too predictable (Incredibles 2) or they come out of nowhere (Frozen and Zootopia) The best animated movie twist villain I’ve seen was in the LEGO Movie 2. Never saw it coming but it made sense in hindsight And that’s the 🔑 to a good plot twist.

[@duechbaggerful3075]

i like how you explained suspense and mystery can you pull a well known story and add suspense or take it away and add mystery and so on. i think thatd really help

[@sofgitvnetwork171]

your videos are amazing. they help so much. thanks for sharing

[@subhashnisarta8040]

You are the screenwriter I appreciate your screenwriting experience and pitching how to make it good with different scenarios location and characters to suit in the film, how to represent the goal described very well Thank you so much for your kind help in my knowledge.

[@jag5798]

I love your channel and wish you would do weekly or monthly talks.

[@worddancer-howtowriteascre9144]

Me too - it's hard to find time:)

[@simonjonathan1730]

Hi, I love your channel, it inspired me a lot, also helped me write 04 scripts, really hope we could meet in person... I am interested in the update of ur Nichole winning script too, u said ur clearing it with the producers, just wanted to know should I keep my hopes up for the update or not, thanks a ton and hope ur channel grows 😇

[@worddancer-howtowriteascre9144]

I'll let you know:)

[@ColHanko]

Could you do a writing montages video?

[@doughaley2455]

Thanks for another super informative video!

[@andresdodge7635]

Thanks ! 👌

[@stevenaveed7742]

Thank you so much

[@THEARTOFGRAPPLING]

Please can you do a break down on Game of Thrones season 8, especially episode 6 on what they could have done different to made it better, and what they chose to do why it did not work very well.

[@worddancer-howtowriteascre9144]

Jacob Krueger has some things on GOT you might check out. He has a whole podcast series on it.

[@THEARTOFGRAPPLING]

@@worddancer-howtowriteascre9144 thank you, would also be nice to hear your thoughts as well as I have invested in your channel. I will check him out, thanks again

[@ciobrombe825]

@@THEARTOFGRAPPLING It's not a matter of season 8 or episode 6. They had material for an epic drama and decided to make a cheap soap opera. From that point on GOT was beyond saving: instead of the hero's journey we have the teenager's hanging out...

[@THEARTOFGRAPPLING]

@@ciobrombe825 I seriously think GOT went downhill from season 5. But series 8 was an absolute joke.

[@stiankallhovd7041]

If I may... I do have strong opinions myself on this matter, and I believe there's one thing in particular that really ruined the ending of the series. This is the one thing, out of many, that I think is the ultimate weakness. Here's what I wrote in response to Kim Chance, who discussed season 8 with her friend and critique partner, Megan LaCroix: Dear Kim... THANK YOU SO MUCH for this video!! And to Megan as well. :) Allow me to present a perspective on Dany's arc that you didn't cover specifically... By far the most disappointing thing with season 8, is Dany's sudden transformation, i.e. her decision to burn down a city and kill thousands of innocents. Absolutely agree with your criticism of this. But let's think for a moment: WHY is this character development problematic? Some would argue, as you also mentioned, that Dany has lost a lot of people (including dragons) since season 7. There are also some other things, such as being criticized by "everyone" in the north, by Sansa in particular. And then, in episode 8.5, Jon apparently doesn't love Daenerys the way she wants him to love her. According to Jon, she is "just his queen." Now, I don't believe that all of these things by themselves are enough to justify a character motivation on Daenerys' part to burn down a city and kill thousands of innocents. Not by far! But let's suppose that all of these events actually are enough to give Daenerys the motivation she needs... In that case, would there still be a problem with Daenerys' character arc? If so, what would it be? The *more important problem* with Daenerys' arc is not that we don't understand Dany has suffered on her journey. We all understand this intellectually. We all *know* Dany has suffered -- but we don't *feel* it. And feeling what a character goes through is way more important than just knowing it, after all!! So how could the series have made us *feel* Daenerys' pain to a considerably greater extent? How could the series have made us *believe* that she actually WERE so torn emotionally as to be willing to destroy an entire city? The keyword: *Emotional consequences!!* We have all SEEN Daenerys having a rough time. This has happened time and time again, through several seasons. But unfortunately, this "seeing" is all that has been! It has always been about the moments of change; the moments of loss... But what happens in the aftermath of those moments? How do these events affect Daenerys at a daily basis? We could have felt such a tremendous compassion for Daenerys! All the series needed to do, would have been such simple a thing: merely show us Daenerys' pain on a day-to-day basis in the aftermath of her losses. Unfortunately, there were never any scenes portraying emotional consequences. The creators of the series just wanted to rush off to the new plot events instead of following the characters' emotional journey. And let me assure everyone of this: a perspective on "ordinary life" events after a huge loss on a central character's behalf is *by far* the best thing a reader or viewer could experience! What a powerful moment of being able to bond with that character, in the long-lasting moments of deep suffering! All the pain and compassion we could have gotten to feel! If only we could have seen how senseless that character’s life has become… Indeed: What an excellent opportunity the creators had with Daenerys time and again to make us feel compassion! And then, at the very end of her character arc, we learned that all of her losses were really for nothing...

[@ImageAfilms]

Hi, I Love your videos. I just wanted to share an opinion: all great scripts are metaphysical...just cloaked. The problem with an overtly "metaphysical" script is it's too much on the nose and threatens to be preachy! Look at the film: the fountain, it has Conflict, its deeply spiritual, but so is Shrek, and the Babadook. Make a script great and in its greatness it will be metaphysical.

[@mitchwinters864]

Great video.. The golden egg I saw was when you said you talked to the Shaman (kid) & you got the clue for the tires.... (he showed the truck) Me= I would have had the kid say “shhh” while motioning his hands in a ⭕️ (circle), & you said, talk about the truck d,

[@joseafalvel]

So glad you're back woman, you rock !! I loved this video specially because your comments about this topic are so useful to me. If anyone reads me just in case you like to share your knowledge, look: I'm trying to write a dramedy, I have the world, the characters and the theme on my mind but I've spent the last months trying to create a conflict interesting enought to finally start. I know I'm really shame, it's about a woman in her late 29's who is very smart in the business world but she is conceited and has a "know it all" attitud, she reaches a point of her life when she considers that she hasn't achieved anything meaningful, everyone around her makes her feel like a loser and that makes her bitter and obssesed with the idea of being succesful at least at the workplace, finally she gets the chance to be a manager for the first time of her life but she eventually discovers that is not as easy as she thought (dealing with employees for example) and at the end she finds out that trying and then failing is nothing to be ashamed of, is part of life. The thing is that I can not come up with high stakes for my story, I remember Aaron Sorkin scripts like Moneyball or The Social Network which tell stories about people in leadership roles who wish to do something important and there are their careers or their friendships at stake but the woman I'm writing of I don't know yet, I'm not sure if she has to be the leader of a new branch office or if she has to turn the weakest service of the company into a profitable one, or if she has to present a big brand new project for some investors, my big issues are: what could be the obstacles in this scenario and what's the worst thing can happen if she fails?? The conflict is driving me nuts and after this video I realized that there scripts which are more inclined to tell more metaphysical and more character growing stories but anyways I would like to find a conflict for my script. Thanks word dancer, you're fantastic !!

[@stiankallhovd7041]

I kind of had the same problem with my own script... I knew who Rachel was as a character, but I couldn't find any way of breaking her general goal into lesser, more measurable goals that could serve as a foundation for conflict. Eventually, I discovered a particular goal Rachel could have in this film, and that's when I was able to outline the film. I think knowing specifically who your character is and what she wants is the first step to finding a foundation for conflict. If she has a goal that could take years to accomplish, and it wouldn't matter to her that it takes years, then you could either (a) create a reason for her to achieve this goal within a shortened time frame (that'll make the story more dramatic) or (b) have something interfere with her life, so that you now have two concepts for the film -- her general goal, and the problem she has to deal with on the side. I think character growth can only take place when facing challenges. It's therefore essential that the character both has goals and faces conflicts. Using my own story as an example once again: the reason I need to come up with goals and conflicts for Rachel, is that it's only then she can develop naturally as a character, and make a particular decision in film three of the series, which leads to an event that was really the prime motivation for writing this story in the first place. Dual concepts is a trademark of WD's by the way. Once upon a time, she had this video on this channel where ET was included. And then she removed it... :(

[@joseafalvel]

@@stiankallhovd7041 Hello, thanks for your answer; exactly, conflict is essential, someone wants something but there is another something which impides him/her to get it. I hope you succeed with your own script and yeah I must find out what's the goal of my character, I know what she needs but I'm talking about something intrinsical, I still need a visible objective and that's what is giving me headaches

[@stiankallhovd7041]

@@joseafalvel I hope you'll be able to find a solution. A final suggestion: Is there any way you can create a symbol -- a person or object -- that represents a problem with the world or something a character needs? Example: Say you're writing a story set in a fantasy world, and your theme revolves around how greed is a destructive force within humanity. In that case, you could have a dragon as the ultimate representation of human greed (dragons love to hoard shiny objects :) ). Defeating the dragon, then, could also have the symbolic effect of defeating the greed within humanity. I don't know what kind of story you're writing, but is there any chance you could innclude a symbol for either the problen, need or goal of your story? Perhaps you could write the same story in a different setting, even a fantasy world, so that the symbol becomes more natural (if you have fantasy creatures as symbols)? Maybe a fairy tale (not necessarily a fantasy world) is the right format for your story, where the character encounters people giving her advice, until she eventually receives the advice that puts her on the right path? Good luck moving forward!

[@joseafalvel]

@@stiankallhovd7041 Thank you so much for your good vibe !! So far I hadn't consider to write fantasy, it can be a good challenge for someone like me who is a big fan of dramas. Actually I've been thinking about that kind of symbolism for my story, the movie I'm writing is a dramedy about a consultant who discovers that being in a management position is not as easy as she thought and for example my protagonist suffers from risk aversion and she is so afraid of failure that she hides those insecurities behind a conceited facade (the public representation of failure i want to portrait is the sum of common frustations at a corporate environmente, for example not getting promoted at certain age, the struggles of finfing a balance between job and family or spending many years at a company which doesn't give you the recognition you deserve) that representation of failure is what I agree with you it has to be depacted by an antagonist or by a situation my character has to overcome. Some ideas I had for that symbol were: a new boss who is ready to order lay-offs, she wants to start her own company but her potential partners doesn't know she has a bad record, maybe she is in charge of a big project for her company but she spoils it or perhaps she is relegate to a division of the company that she considers as non relevant for her career, but that conflict is not good enough I want to add more drama including some problems around her personal life (a divorce or dealing with the "perfect" lives of her group of friends) and I really realyy nedd a great obstacle, something that makes the audience think "ohhh I hope I'll never be in her shoes, I wouldn't how to react" My intention is come up with a conflict like Brad Pitt's in Moneyball, if he doesn't reach the playoffs not only his career will be over but also sabermetrics and the way he wants to change baseball will be rememberjust as a bad experiment which ended up inside the trash can of history. I want something like that Thanks again for reading me and for your advices, I'll work harder on this thing

[@stiankallhovd7041]

@@joseafalvel Sounds like you have at least 15-20 minutes of the movie covered, in which we get to know the main character, and where the pressure on her increases, which forces her to take risks. Seems to me that the plot should go this way immediately to build tension. And then, in order to solve the situation she's in, at least in a short term (before the climax later on), she comes across a helpful business advice or she gains the necessary courage to take a risk. Again, this is also my intuitive thought of how the story should unfold. Glad to know I'm motivating you to keep working. Good luck!

[@lonjohnson5161]

Some things threw me off a bit just looking at the script. First, when I was first learning format, italics were forbidden, but the VO narration is entirely in italics in this example. Are readers more tolerant of deviations from the norm than they used to be or is this the new norm and I failed to keep up? Second, the (CONT'D) (CONT'D) threw me off a bit as well. I've never seen it and I don't know what it means. Also, I thought (CONT'D) was falling out of favor on spec scripts. I don't mean to be a format freak, but I want to make sure my formatting won't negatively influence my future readers. Is it permitted nowadays to use italics, different fonts and colors if it adds to clarity or mood?

[@stiankallhovd7041]

Hi, Lon! CONT'D is an automatic feature when using certain screenwriting softwares. And certainly, the double CONT'D was not part of the script -- must have been an error that snuck in when two pages (in my script) has been merged into one (on the screen in the video). I have also heard, as you, that italics is frowned upon. To me, it just made sense to write continued voice over in italics to more easily convey to the reader that it *is* a voice over, and that it is the same character continuing her line of thoughts. If a producer has a problem with this, I'm sure I'd be able to make a reasonable agreement with her on this issue :)

[@worddancer-howtowriteascre9144]

Italics and bold are being used more and more, BUT there are always readers who will insist it is an error so reserve using it for cases where you need it to make the reader more clear for some reason. CONT'D can still be used, but yes, falling out of favor.

[@stiankallhovd7041]

Thank you for making this video, Word Dancer! I appreciate that you had a humble approach to the script, and emphasized that the writer's intention should be considered when making final edits on a scene. I think you did a very good analysis of the first scene. It was very important to be made aware of how that scene may currently speak more to the mind than to the heart. I definitely want to reach the audience at an emotional level as well! For the second scene, I think you made a good suggestion on how to make it more meaningful. Since I believe that some introductions are important at this point, I do want to keep the scene. And as you suggest, I will consider giving Rachel a goal in the scene. :) Although I agree with you that the first scene should be re-written in a more emotional language, I would like to contest the idea that there is necessarily a conflict between the intellectual on the one hand and the emotional on the other... The way I envision the story, Rachel's philosophy will serve as a catalyst, a power source for emotional engagement. I believe that once the audience understands the problems Rachel wants to solve in society, and how her philosophy may contribute to solving these problems, they will also care about the intellectual aspects of the movie. I therefore intend to explain both Rachel's beliefs and the values of these beliefs early on in the script, to set up for more intense conflict later on. Improving these scenes will be a challenge, where I will also have to consider the functions they serve in a greater perspective. Thank you for providing me with these challenges. :) To those of you who are curious about the film, here is a blurb -- a teaser of sorts -- that explains what the film is about: *Philosophy of a Deeper Life* Rachel Ferres is a young visionary and a skilled philosopher who assists Dr. John Delaska at the Research Center of the Human Spirit and Related Beings. After a collaborate study on the human brain results in ground-breaking research, she desires to bring Delaska’s philosophy of thoughts and feelings to society, believing it will contribute to greater emotional wellness. While she prepares an article about factors of depression and how philosophy can lead to improved mental health, mysterious spirits make a public appearance, leading her on a journey to discover their true identity and purpose. And when her article gains the attention she has ultimately desired, she stirs a long-dormant anger in the public: an anger culminating in a social-political conflict where humans and supernaturals have goals of their own. *Genres:* Drama / Sci-Fi / Fantasy

[@patrickcashdan5455]

Stian Kallhovd -Who’s the villain? What’s the antagonist? Is there internal and external conflict? How does Rachel become the best character she can possibly be? What does she learn about herself? What do we learn about her?

[@stiankallhovd7041]

​@@patrickcashdan5455 Thank you for your attention, Patrick! This story is different from most other films in that it doesn't follow a "red thread" in the same way that most films do. From early on in the outlining phase, I realized that this story wouldn't be told very well if I forced it into a conventional story structure. Instead, I have chosen to embrace how the story is structurally different, and still make sure that the story progresses in its natural way. Since Rachel's (and allies') specific goal in this film is political of nature, it's a film where it's natural for different perspectives to be presented. Ultimately, beside Rachel's, the other perspectives to be presented are those of politicians, corporations and people at large. They too have opinions about Rachel's goal and some of the statements she makes about society. The closest thing to an antagonist in the film would be a group of spirits, or its leader, that is seen as a threat, not just by Rachel, but by society at large. Ultimately, I think that the many perspectives in the film makes it more accurate to define the film in terms of the themes it approaches rather than the "plotline." I can still tell you it's a film where you'll be seeing political and intellectual discussions, social uproar and fantasy violence. Thematically, the film will present much food for thought by asking political, philosophical and moral questions. I believe that the film will not only inspire, but also force the audience to take a stance to some of these questions throughout the film, as it's in our nature to categorize "right" and "wrong." And all of these things, as diverse as they may seem, are carefully integrated into the foundational topic of mental health.

[@patrickcashdan5455]

Stian Kallhovd sounds cool, good luck!

[@serpentineeyelash7528]

@Stian Kallhovd I don't know if you will see this comment, but I want to say I think your opening scene was much better than Word Dancer's version. Word Dancer's version was so glurgey, blatantly pressing the viewer's emotional buttons, it was like a chain email. So I hope you don't use her version instead of your own. Your opening narration was more subtle and mysterious and would make me want to keep watching. Sometimes less is more. Word Dancer has a point that the second scene is a bit bland though.

[@eldestchild6983]

Brilliant - yet again. I've referred to this video on multiple occasions, each time receiving new pearls of wisdom. Thank you! WD, RE: Writing Action Lines I am looking for ideas on how to best write AND format the action lines: at the start of a scene, between dialogue, etc. I've received conflicting advice. Have you made a video on this? (I can't find one.) Obviously these lines need to be clear and concise. I have seen this in one of your videos where you follow the action lines precisely, showing how too much focus has been placed on unnecessary details. (It involves a scene with two men? at a cafe.) Some say action lines needs to be whole sentences. Others use clear, concise phrases. I notice in many screenplays, some of the action lines are not full sentences (e.g. 11:58 A big city in a wealthy nation with buildings of many sizes.) I'm confused. Also, using Stian's lines above as examples, is it necessary to say "are visible"? (1:45 ...units of spiritual energy... are visible.) Isn't that assumed? Should we leave out words that could easily be inferred? Or is it important to be specific? We actually meet Rachel in the first scene but her, literal, introduction is in the second scene. Is that ok? I believe we need to capitise a character's name when it first appears. Is this only when they are first mentioned in the action lines? If they are on-set, should they be introduced in the action lines before they speak? If their first mention is in dialogue, is their name capitalised only when they are first mentioned in the action lines? Oh, and if the scene order goes back and forth in time (e.g. three different time periods), does the reader have to just figure this out? Or is there a way to show the time for each scene? Is this in the opening "action" words of a scene? (Oh, so many questions!) TIA

[@TiagoCavalcanti-ji6hu]

Awesome.

[@AnthonyVideoMinistry]

Thank you for your awesome videos😊

[@jeremygold933]

Genius alert!

[@carlrylander396]

thanks.

[@drordror3]

Good video!(I think I probably watched all your video:) Thanks a lot. Can I please ask what sw you used to show this script page sliding as you read it? It was well edited and professional!

[@worddancer-howtowriteascre9144]

I just used my video editor and gave the pages motion. I recorded them first.

[@dataglasses]

The first thing I noticed was my front door was ajar, the second thing was .....all my Bennis Awards were stolen!

[@mattnelson2539]

I have a question. I’m writing a story that takes o place on two different planets and times where do I say that? Should it go on the slug line?

[@joeboyou2478]

The babies are called “ lil Bennisters” btw.

[@TheFall1834]

How about a video about adding length to a screenplay? What are some things a new writer might not think to add?

[@worddancer-howtowriteascre9144]

I'm not I understand your question. How to lengthen a script that is too short?

[@rahmenkyle8878]

Hi I really want to make my script better. It's about a screenwriter with a horrible past that provokes him to join a cult to Change the world through coercion and manipulation.

[@judsonanderson]

So if what you thought would be the end of the first scene because of it's climax won't fit until the 37th page but you have other climaxes earlier in scene one but not as climatic.

[@19macii88]

Hi how are you doing. Hey I'm trying to become an actor but I'm nervous and have a form of stage fright. How can I over come this fear.

[@worddancer-howtowriteascre9144]

I'm doing a video soon about facing fears:)

[@Darfaultner]

You need two things. 1. To meditate. 2. To get psychological help in dealing with your lack of self-worth. Your fear is based on an intense need to succeed and feel worthy. These moments have become too important to you and you are unable to let yourself live in the moment. You have attached too much else to the process and your mind and emotions have become too complicated. Don't take yourself so seriously and allow yourself to fail and be okay with it. Nothing matters, we are a but a blip in the universe.

[@jeremygold933]

It would be cool to do online consultations with you over video chat!!

[@joshuaortega1852]

Would it be to much of a contrast to have a sweet romance in police thriller. I want to do a gritty detective story set in a world of superheroes but I want a sweet romantic sub plot to give my MC a bit of restpit. I do not wanna just give him some to rescue and she will play an important part in the story but I want to give my MC some moments that aren't about catching bad guys and saving lives.

[@worddancer-howtowriteascre9144]

. Do what works.

[@goldeneddie]

5:20 'We're getting a lot of head.' And that's a _bad_ thing?! ;)

[@azazeellucifer684]

Almost slept on the second script

[@staywoke3316]

U are the the Best

[@purpetuallypurple]

I'm interested if you have any advice more specifically for animated screen plays geared towards children.

[@joshuaanyaeji2939]

I want to right a play for the first time

[@LLMAXG]

With the truck tyre improv, Can this not be overwriting? When i first started writing i wrote everything like this which was definetly overwriting. I still find sometimes its hard for me to know when im overwriting amd when its gold. Do you have any tips on differentiating between the two. Love all your videos!

[@subhashnisarta6801]

Yeah I have made some ideas 😌😃📱 and you know about my two dramatic 🎁 presentation 😸🤣 of dancing 😃📱 that two 😃📱 scenes may some classification of the people and make more dramatic 🎁 movements which is mandatory and many people can understand what I wanted to show therefore 🤠😉🙂🤠 no problem and objection from them but it is interesting because I think it is first time on network and little bit more pleasurable So in this connection of the story ideas continue to enjoyment with engaging them So story plot and rhythm of this story goes on internet well and good Little bit I clearly Know from you more about it how to create a visual evidence more and more pleasurable for the coming scene I am interested with your knowledge of story writer and screen play that all I remember from the last three years ago So nice to meet you again in real time ☺️😊❤️ thank you so much ❤️😘 again 💞📚 for your help 💕😘🎉.

[@LLMAXG]

5:21 i wish i was! Haha

[@2012XF3]

Maybe, you get this a lot but do you know what the Dramatic Need means? Im trying to read Syd Field but his concepts are confusing. Ive read Trottiers book first* about the 7 Magnificent plot points that utililize a Want(goal) and a Need. I understand this model better. I know that the Need is also known as the Heart of the Story or the emotional-throughline, but.. Do you know what Syd Field means by the Dramatic Need? Does it mean the same "Need" as Trottier explains or is it a Character's "Want"?

[@19macii88]

I live in Galesburg Illinois and the only thing that's here is the orpheum theater and the prairie players Civic arts theater and unfortunately no acting schools are acting classes are in this area now the only suggestion I got was to go to Knox college or Carl Sandburg college that are the two colleges here in town unfortunately with my learning disability that I have they want a fast education I'm a slow learner what are my options into getting into acting without going through schooling I am a very slow learner but I'm a persistent learner and I do want to learn new things unfortunately I don't know who would be willing to help me with classes because I know it's a very financial headache that I may not be able to endure I am on disability or should I say SSI and disability and I live in a low-income housing how can I better my situation so I can get out there into the acting field under these circumstances just curious oh and before I send this message are we allowed to have direct communication with you I have a phone number possible enough for you to be able to call me and maybe give me more avenues so that I can go from there if not I understand

[@worddancer-howtowriteascre9144]

I know less about acting, but there are good books and videos on acting. And you can always perform on your own youtube channel!

[@cjtrent1969]

sounds kooky AF and there is no genre here Unless it is Theatre Of The Absurd

[@cjtrent1969]

what is that shit...OMG U left a mark on me

[@Shade23753]

Every action descrption was something you'd see in a book rather than a screenplay. "SHE IS PASSIONATE ABOUT HER WORK" well how are we to glean that from her walking down the hall??? Karen "ALSO FUNCTIONS AS A SECRETARY AND AS THE COMMUNICATIONS ADVISOR OF THE FACILITY", hard to grasp from her just sitting behind the "reception desK' the job of a secretary! The 2nd scene is one of the most "Hey , how's it going" swamps frowned upon in nearly every book on the subject, the only thing we actually find out is that she went on a trip and talked to someone about some vague theory to which we are not privy and would like to hear Rachel and Jennifer share vague "experiences". As we progress she TELLS us that John is the director and it's kind of MORE OF SAME, telling instead of showing. How about, "She enters the door marked 'DIRECTOR" and sees John sitting at his desk",, how would we SHOW that Marie is the EDUCATOR and WRITER of EDUCATIONAL TEXTS, whatever those are?????? SHe's sitting at a desk HOW DO WE LEARN SHE'S "OUT GOING"????? Honestly any reader worth their salt would have thrown this thing in the bin after the second page ASSUMING they gave him a break on the "unformed liquid bubbles" of nothing. I'm sorry if this sounds harsh but the real world is a "harsh" place and this would have ended up in the trash.

[@Glitch-qj3nj]

Be my MOTHER

[@rashawn2737]

Ya know nowadays you could get a strong bennis fan-base just for the irony of how boring it is..I’m just sayin it’s fascinating that we live in an age where absolute failure can be considered success

[@melindawolfUS]

This script doesn't seem like a story best told through film... feels like the author has ideas they want to convey and would be better off creating a documentary instead.

[@staywoke3316]

🥰🥰🥰🥰🥰😙😙✊🏿

[@cjtrent1969]

write a novel nobody is going to attempt to film all of that BS

[@Rubrick23.]

Do you read screenplays??

[@Filmgirlphilosopher]

That example story about the little girl was golden. That should be a film.