| The intention of writing a screenplay with the | | | | there is still no formal, well-structured speech, or |
| hope of succeeding in the film industry is a true | | | | that it is syntactically or grammatically incorrect, it |
| dream of many people with or without any | | | | is about let the unconscious express over the |
| technical qualification. Maybe is your own | | | | rational part of the brain. You are still at the stage |
| experience go to the keyboard with your mind | | | | of letting ideas flow. But this process should be as |
| completely blank, and praying for inspiration when | | | | an exercise for the muscles in a gym, something |
| looking at the screen. While this may actually | | | | that should be practiced daily, at least 30 to 60 |
| occur in some cases, usually what happens is that | | | | minutes. The intention here is to stimulate the |
| you will be sitting for a while without anything to | | | | creative genius asleep inside the skull. There is no |
| write until you choose to leave work for later. | | | | strict rule on how long it should take this routine, |
| The keyboard may not be the best place for | | | | or whether it must be morning, afternoon or |
| inspiration. These 5 tips will help you in the task of | | | | evening but what is clear is that it must be a |
| generating ideas to write a screenplay. | | | | habit. Even when an idea could be great, if it does |
| 1. Making a list of possible topics: everything that | | | | not take written form, it will fly faster than a |
| goes around in everyday life can be an invaluable | | | | wisp of smoke. |
| material to write a screenplay. Many times we try | | | | 4. Exploring: Once you have got some ideas |
| to concentrate in order to obtain "the great idea" | | | | worthy of further, should elaborate a little on |
| that will turn on all our neurons, to write fluently a | | | | them to see if they are gold veins. In this step |
| masterpiece in a few days, but still engrossed in | | | | you have to write two or three paragraphs about |
| the hunt for that "great idea" are not perceived | | | | the characters and situations of interest by |
| by our eyes facts that might be a good start to | | | | establishing certain harmonic relationships. The |
| write a decent screenplay, and it also allows us to | | | | point here is to begin developing a plot that |
| make money to survive while the best-seller | | | | generates questions such as: What would be the |
| comes. The mother carrying the child by the hand | | | | behavior of certain character?, What would be his |
| to school, the man reading the newspaper on the | | | | her appearance? Who would be related with a |
| subway, the bird perched on the wire with a | | | | particular character?, Should there be references |
| contaminated gray sky as background, the shiny | | | | to historical facts?, Will there be fictitious |
| eyes of an old woman of indeterminate age who | | | | situations? How bizarre or logical should be?, etc. |
| buy things on the street, etc.., anything. Should | | | | 5. Research: Once you select two or three |
| make a list of those ideas most appeal to you. | | | | possible candidates stories to write is where you |
| 2. Playing with ideas from the list: associate, put | | | | must begin to use your research capabilities. This |
| them in different contexts perhaps different | | | | step serves several purposes: |
| countries, cultures, languages, religions and so on. | | | | 1) give credibility to certain scenarios documented |
| Imagine these ideas in other times past or future. | | | | by descriptions of historical events or technical |
| Include additional characters to the original idea. | | | | situations, |
| Reverse the sequence of events or make a new | | | | 2) provide interesting twists to the story from |
| one. Remove or add key elements. Add fictitious | | | | distortions of facts, |
| situations, absurd, crazy, etc. | | | | 3) avoid using cliches or hackneyed themes or |
| 3. Writing: What?, Anything connected with ideas | | | | situations, 4) deeper detail the features of a |
| and games in the previous point, no matter that | | | | person, place or a specific situation. |