Technique of the Week: Character Archetypes and How to Use Them

By using character archetypes as a guide, you can create unforgettable characters for your screenplay. This article goes over the basic archetypes and how to build off of them.

Technique of the Week: Scenes of Preparation and Aftermath

Scenes of preparation and aftermath heighten suspense and infuse emotion into films, and it’s too easy to forget about them and instead opt for jumping around to the next set piece.

Scenes of preparation are notorious in heist and con artist films. The first half of Ocean’s Eleven is just a preparation for the heist. Scenes of preparation are also where the coach makes the big speech before a big game.

Scenes of aftermath show the consequences of a battle, or the result of a bad date. Scenes of aftermath show a defeated hero, or an elated team, or the consequences of a crime. Scenes of aftermath is where the hero tells a sidekick that this could be the start of a very beautiful friendship as they walk into the fog.

Technique of the Week: Direct Your Reader’s Eyes

As writers, we need to learn how to not only control the pace of the plot, but also the pace at which the readers read. This article discusses the difference between the two, and how you can direct your reader’s eyes to where you want them.

Technique of the Week: Saving the Cat

Today we’re taking a look at Blake Snyder’s infamous piece of advice for making your protagonist likable: save the cat, from his book by the same name. This is one of my favorite books on screenwriting, and this is one technique in particular that stands out.

Technique of the Week: The Character Reveal

The major moments in cinematic history are almost always character reveals, from “Luke I am your father,” to the discovery of the identity of Kaiser Soze, to the infamous reveal in Fight Club.

This article is about how you can work character reveals successfully into your script in order to take your audience by surprise.

Technique of the Week: V.O. vs. O.S.

Today, we’re looking at the difference between “V.O.” and “O.S.” in screenplays. They’re commonly misused — especially in the case of phone calls — and the difference is easy to set straight.