By Paul Chitlik
submission draft. He finds the hidden constitution of screenplays, sequences, and scenes, as he publications you thru the method of analyzing your draft, restructuring it, and populating it with plausible, advanced, and compelling characters. alongside the way in which he outlines how one can make your motion jump off the web page and your discussion crackle. whereas the 1st version used to be regularly occurring in movie university rewriting sessions, it was once additionally suggested as an creation to screenwriting craft through a few professors and execs. Paul Chitlik has incorporated, for the second one variation, extra examples, routines, and purposes for tv, the net, and different media, utilizing a variety of citations in movie, tv, and the net to underline his method.
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Additional info for Rewrite 2nd Edition: A Step-by-Step Guide to Strengthen Structure, Characters, and Drama in your Screenplay
The Beat Sheet It’s possible that your story is out of balance or is missing some of the points. Now’s the time to determine where you are in your structure. Were all your points expressed in terms of the protagonist’s goal? Were they in proximity to the balance described above? Now we’re going to get intimate with your script. Without making any changes in your story yet, we need to see exactly what you have in terms of scenes, so let’s write a beat sheet of your story. If you’re like most professional screenwriters, you didn’t just sit down and start to write your screenplay.
How long is this process going to take? If you have no other responsibilities and can work full time on it, it could take from a few weeks to a couple of months. If you have a job and a family, maybe three to four months working ten hours per week. Adjust your time frame accordingly. Writers are notorious for procrastinating. I suggest you do the same, but with a plan. I usually straighten out my office, vacuum the house, go for a bike ride, and take in the dry cleaning. Whatever you’re going to do, write it down, then do it.
There are others, too, because there are always other things going on in a protagonist’s life — he could have a story with the barista at the local Starbucks; there could be something happening with his dog; he might have an issue with his floor wax. These should reflect his main issue in some way, but don’t necessarily have to. The protagonist is not the only person in your movie. He has friends, lovers, enemies. Each of these people can have a subplot of his own. The more important supporting characters can have a story with the seven points, especially the antagonist.