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about • contact • script notes • script proofreading -- subscribe to feed via email: pages about contact script notes script proofreading categories aaron sorkin (3) action movies (2) actors (1) agents (4) behind the scenes (4) blake snyder (2) book reviews (5) career (3) characters (21) clichés (1) comedy (6) concept (5) consultants (1) contests (12) corey mandell (1) creativity (6) critique (6) dialogue (12) dialogue in the wild (1) diversions (26) events (3) feedback (7) film festivals (1) final draft (2) formatting (19) general (12) grammar (1) humor (16) industry advice (44) industry terms (2) interviews (9) j. michael straczynski (2) jacob krueger (1) lajos egri (1) links (18) loglines (6) low-budget (3) managers (1) meetings (1) michele wallerstein (34) miscellaneous (9) modern craft (8) motivation (13) movie reviews (19) movie titles (2) my demon girlfriend (3) my experiences (30) off topic (1) pacing (1) pet peeves (1) pilar alessandra (1) pitching (6) plagiarism (2) plot (3) podcasts (1) pre-writing (1) query letters (2) quick screenwriting tips (12) quotes (11) rants (5) reader questions (2) rewriting (2) rhet reese (1) scene headings (2) scenes (12) screenwriters (3) screenwriting basics (2) screenwriting expo (4) script notes (10) script proofreading (6) script vs. movie (2) shorts (14) software (3) steve kaplan (2) story (2) structure (9) style (19) television (14) the black list (3) the walking dead (2) theme (2) third act (1) tools (1) trailers (2) transitions (1) triple time (3) true blood (3) videos (7) villains (1) wake unto me (1) william akers (2) words (4) writer's block (1) writing (48) archives july 2018 june 2018 april 2018 december 2017 october 2017 april 2017 january 2017 august 2016 july 2016 may 2016 february 2016 march 2015 november 2014 august 2014 july 2014 june 2014 april 2014 february 2014 january 2014 december 2013 november 2013 october 2013 july 2013 may 2013 august 2012 july 2012 june 2012 may 2012 april 2012 march 2012 february 2012 january 2012 december 2011 november 2011 october 2011 september 2011 august 2011 july 2011 june 2011 may 2011 april 2011 march 2011 february 2011 january 2011 december 2010 november 2010 october 2010 september 2010 august 2010 july 2010 june 2010 may 2010 april 2010 march 2010 february 2010 january 2010 december 2009 november 2009 october 2009 blogroll just effing entertain me wordplay john august screenwriting from iowa the bitter scriptreader blake snyder scriptxray 10 page torture test michele wallerstein go into the story friends photo quoto situational awareness matters! sweet on veg in pursuit of pretty things life solutions counselling rent a muse, the novel mission viejo homes expert meta log in articles (rss) comments (rss) scriptwrecked is the brainchild of trevor mayes, screenwriter, script consultant, and cat whisperer... more . new shot, new paragraph author: trevor mayes jul 08 when do you start a new paragraph? one thing that tends to confound new screenwriters is the issue of paragraphs. some scripts have longer paragraphs. other scripts have shorter ones — some as short as one word. so how do you decide it’s time to start a new paragraph? i’m glad you asked. and the answer is surprisingly simple: one shot = one paragraph the movie in your mind as a screenwriter, you should be visualizing your movie as you write it. and in doing so, you’re actually imagining the various shots and angles the audience would see if you directed the movie. so when you visualize the action in your mind, whenever the camera angle changes — that’s considered a new shot. if it’s a new shot, then it should be a new paragraph. let’s look at an example. visualize the following action from my script fire fight. where would a new shot occur? red flashing lights undulate across the top of portland, oregon’s ladder truck 10 as it speeds to an apartment complex. 20 stories up, thick smoke plumes from windows on the top floor. high winds whip the ashy cloud into chaotic swirls. panicked residents stream out the front entrance, past the arriving truck. i’ve chosen to break up the action as follows: red flashing lights undulate across the top of portland, oregon’s ladder truck 10 as it speeds to an apartment complex. 20 stories up, thick smoke plumes from windows on the top floor. high winds whip the ashy cloud into chaotic swirls. panicked residents stream out the front entrance, past the arriving truck. so why have i broken the action up in these spots? because there would be different shots used to capture the action. since i’ve chosen to focus on the “red flashing lights” and the truck itself, that’s a tighter shot. in order to jump 20 stories up, you’d have to use a wider shot to capture it, so it’s unlikely it would be all part of one take. however, if i had written something like this, it’s conceivable it would be one shot. ladder truck 10 speeds to the base of an apartment complex. flames ravage several floors of the building. in this version, we’re referencing the fire truck and the burning building in what is effectively one continuous image. so it’s conceivable that we’re seeing both things in one wide shot. and what about the second paragraph break i chose? well, we go from looking at the “high winds” “20 stories up” to the the “panicked residents” streaming “out the front entrance.” so we’ve gone from focusing on the top of the building to the lower floor of the building. that would typically require a new shot angle and therefore a new paragraph. the pacing of the movie/script will often determine the length of your paragraphs. action scripts tend to have shorter paragraphs because there are so many more shots involved. there’s a lot happening and switching rapidly between shots invokes the feeling of urgency. drama scripts, on the other hand, tend to have slightly longer paragraphs because we’re usually taking more time with each shot, establishing the tone the scene or soaking in the emotions of the characters. it’s really important that you visualize your movie when you write it. if not, it won’t “feel” like a movie, and the reader will notice. this is the kind of tip i routinely give as part of my script consulting or proofreading services . if you’d like some help with your script, i’m here for you! category: style , writing | 2 comments quick screenwriting tip: don’t abbreviate in dialogue author: trevor mayes jun 25 quick screenwriting tip: don’t use abbreviations in dialogue. abbreviated words like “dept.” and “sen.” are confusing in dialogue and force the reader to stop and think, however briefly… which is bad. is it “deputy” or “department” / “senator” or “senior”? just spell it out. mr./mrs./ms. are fine, however. but spell out “doctor.” category: dialogue , quick screenwriting tips | leave a comment the incredible(s) sale! author: trevor mayes jun 16 it’s finally here! one of my favorite films of all time is the incredibles… not just favorite animated films — favorite films, period. i just think it’s brilliant. in celebration of the opening week of the long-awaited sequel that was just released, i’m offering a 25% refund on any proofreading or script notes purchased through june 22nd . just place an order on proofreading or script notes , send me your script and tell me who your favorite incredibles character is, and i’ll issue you a 25% refund. bam! and when you get a chance to see the sequel, let me know what you think! category: script notes , script proofreading | leave a comment shakes his head author: trevor mayes jun 13 efficiency screenwriting is all about efficiency. maximum impact with the minimum number of words. so one of my biggest pet peeves is when i see the following in scripts: she shakes her head no. there are two big things wrong with that action line: why is the word “no” there?! we already know she’s saying “no” because she’s shaking her head. if the audience can figure out what she’s indicating without her actually saying it, there’s no need to give the r

URL analysis for scriptwrecked.com

http://scriptwrecked.com/2013/12/
http://scriptwrecked.com/category/software/
http://scriptwrecked.com/feed/
http://scriptwrecked.com/category/aaron-sorkin/
http://scriptwrecked.com/2014/01/
http://scriptwrecked.com/category/television/
http://scriptwrecked.com/2011/05/
http://scriptwrecked.com/category/managers/
http://scriptwrecked.com/category/the-walking-dead/
http://scriptwrecked.com/2010/02/
http://scriptwrecked.com/about/
http://scriptwrecked.com/category/my-demon-girlfriend/
http://scriptwrecked.com/category/consultants/
http://scriptwrecked.com/category/corey-mandell/
http://scriptwrecked.com/category/links/

Whois Information

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Domain Name: SCRIPTWRECKED.COM
Registry Domain ID: 1568574188_DOMAIN_COM-VRSN
Registrar WHOIS Server: whois.godaddy.com
Registrar URL: http://www.godaddy.com
Updated Date: 2018-09-11T07:11:21Z
Creation Date: 2009-09-10T07:16:40Z
Registry Expiry Date: 2019-09-10T07:16:40Z
Registrar: GoDaddy.com, LLC
Registrar IANA ID: 146
Registrar Abuse Contact Email: [email protected]
Registrar Abuse Contact Phone: 480-624-2505
Domain Status: clientDeleteProhibited https://icann.org/epp#clientDeleteProhibited
Domain Status: clientRenewProhibited https://icann.org/epp#clientRenewProhibited
Domain Status: clientTransferProhibited https://icann.org/epp#clientTransferProhibited
Domain Status: clientUpdateProhibited https://icann.org/epp#clientUpdateProhibited
Name Server: NS09.DOMAINCONTROL.COM
Name Server: NS10.DOMAINCONTROL.COM
DNSSEC: unsigned
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  REGISTRAR GoDaddy.com, LLC

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  SERVER com.whois-servers.net

  ARGS domain =scriptwrecked.com

  PORT 43

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DOMAIN

  NAME scriptwrecked.com

  CHANGED 2018-09-11

  CREATED 2009-09-10

STATUS
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  NS10.DOMAINCONTROL.COM 173.201.72.5

  REGISTERED yes

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