| There are lots of tips online about how to outline | | | | Scene..and Then Flip |
| a screenplay, and how to sell your screenplay, and | | | | It may sound new agey, but really it's nothing |
| come up with a bestselling idea. But there isn't a | | | | more than making sure you don't end the scene |
| ton on the nuts and bolts of writing a single scene | | | | the same way you start it. Because that is... |
| in a screenplay. Here are a couple tips I've gleaned | | | | boring. Say your character is feeling great, is |
| from writing five full-length screenplays. Hopefully | | | | happy and in love. And we have a scene where |
| it helps you in your writing pursuits to keep you | | | | they end it feeling great, happy and in love. |
| focused and cranking out a great script. | | | | Nothing has happened. But if we end on her |
| Step 1 Figure Out Who Wants What and Why | | | | finding lipstick on his collar then something has |
| Before you type in "fade in" and start writing, it's | | | | happened. And we are intrigued. Do this simply by |
| important to know who the scene is about. This is | | | | writing down the scene starts and finishes w/a |
| not always your main character. How do you find | | | | smiley face/sad face or whatever you like. Do |
| this out? Generally it's who has the most desire, | | | | this for all your scenes and you can see the |
| the most to lose, and who is driving the direction | | | | emotional trajectory of your story. |
| of the scene. (I like to imagine who has the | | | | Step 3 Get writing |
| scarier look in their eye.) | | | | Once you've got your stakes, and your emotional |
| Once you've got that-find out who or what | | | | core get writing. As fast as possible. It's okay to |
| opposes the character w/ the most to lose. Could | | | | riff here because you've got a basic structure to |
| be the villain, could be a hurricane, could be | | | | work with. You'll go through many drafts, but |
| mutant puppies, could be themselves. Setting up | | | | that's okay. Just get it down and keep going, and |
| this conflict will not only keep you on course, but | | | | before you know it, you'll have a finished |
| make for a more interesting scene. | | | | screenplay. |
| Step 2 Take the Emotional Temperature of the | | | | |