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Horror Films That Feel Way Too Real

The real world is a scary place, and it doesn’t always make sense. From serial killers to the stranded and lost, anything can happen if you’re not careful. It’s with movies like this that we feel the sense that we’re being watched, that we’re not alone, even when we are the only person in the room. For every night you don’t want to walk to your car, for every flickering sodium streetlight on the corner, for every time you felt something touch your toes while swimming, there’s a movie that has inspired that fear.

Check out these horror movie scripts:

• Misery
• Psycho
• Jaws
• The Texas Chainsaw Massacre
• Green Room
• Hostel
• Saw
• Black Christmas
• The Purge (2013)
• Dahmer – Monster: The Jeffrey Dahmer Story
• Cujo

Read More: These are the Scariest Movies According to Science

The Culty and Occulty

Anyone can see that horror has huge potential in various situations — but while the mundane can bring horror to your mind, many terrors lurk within the demonic, the occult, and the machinations of groups with malevolent beliefs. Using superstition, witchcraft, or outright brainwashing helps make these horrifying situations feel all the more intrusive. That’s partly why we can’t get enough of them.

Download these culty horror movie scripts:

• The Conjuring
• Get Out
• Hereditary
• The Evil Dead
• Insidious
• Annabelle
• The Invitation
• Candyman (1992)
• The Wicker Man
• The Witch
• Rosemary’s Baby
• Dead Silence
• Wish Upon
• Midsommar

Hilarity in Horror

Every now and then, someone will think to put horror stories into a funny light — and it works. Turns out, humans very much enjoy putting terror and laughter together. Whether it’s a dark comedy with meta-references to the genre or an outright parody, there are a few movies that really exemplify the use of “tongue-in-cheek” or other schticks in the horror milieu.

These horror movie scripts mix laughter with the macabre:

• Shaun of the Dead
• Scream
• Freaky
• Gremlins
• Happy Death Day
• Killer Klowns from Outer Space
• Krampus
• The Menu
• Death Becomes Her
• Buffy the Vampire Slayer
• An American Werewolf in London

Read More: The Delicious Marriage Between Horror and Comedy

Terrible Knowledge, Terrible Tidings

You can see where this is going: Science fiction stories and cosmic horror both lead to the outlandish, the otherworldly, and the horrific, all usually thanks to a breakthrough of some kind. For every horror movie that brings dangers unknown to the forefront, there’s a chance that it uses science fiction to do it, whether that means genetic abominations, undiscovered species, or infected hordes of once-human creatures.

These horror movie scripts are perfect for fans of both horror and sci-fi:

• 28 Days Later
• The Fly
• Prometheus
• Shivers
• Nope
• Annihilation
• Leviathan
• Scanners
• Stranger Things

Horrors of the Human Mind

While serial killers are one of the most striking examples, they’re not the only way that the human mind can manifest in horror. From psychological terror to the utmost reaches of psychic power, there’s a lot that can come from the brain to fuel your nightmares time after time.

These horror movie scripts are sure to tickle your brain:

• The Shining
• Pi
• Carrie
• American Psycho
• The Lizzie Borden Chronicles
• Jacob’s Ladder

The True Creatures of the Night

The most well-remembered staple of gothic horror, the vampire holds a special place in the hearts of movie lovers. Whether it’s the Prince of Darkness himself, a band of bloodthirsty bandits, or your new neighbor, there’s something truly awe-inspiring about a horror movie that holds to one of the oldest cinematic horror traditions of all time. And no, just because a movie has vampires doesn’t make it a horror movie.

Check out these horror movie scripts that feature bloodsuckers:

• Bram Stoker’s Dracula
• Fright Night (1985)
• 30 Days of Night
• The Lost Boys
• From Dusk Till Dawn

Read More: How to Make a Monster

The Most Iconic Horror Classics

The moment you’ve been waiting for: the movies that go on in our minds — and in Freddie Krueger’s case, in our nightmares — iconic horror classics. From Jason to Michael Meyers, from the Creeper to Pennywise, all the way to Captain Howdy himself, there are just some creatures and beings that instill ultimate fear within us every time.

Check out these classic horror movie scripts:

• Halloween
• Night of the Living Dead
• Alien
• It (2017)
• A Nightmare on Elm Street
• Jeepers Creepers
• Friday the 13th
• The Thing (1982)
• The Exorcist

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No matter where it comes from, fear is a powerful tool for storytelling. Whether it’s combined with science, comedy, or the outright supernatural, it has become a steady source of screenplays worth reading. But remember — there’s a whole library out there waiting for you. The Script Lab carries many more than just these stories. These lists may include the cream of the crop, but you get to harvest whatever you like from the dozens of horror screenplays at your disposal!

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'Silent Night' (2021)

Remember the Setting

Any setting should become its own character of sorts, including the holiday season when used properly. When it’s Christmastime in your quaint little town beset by a serial murderer, you should at least acknowledge that consistently throughout the film. Wherever you start, make sure the setting fills the world. Whether it’s a chilling carol from the streets to set the mood, entrails wrapped around the Christmas tree, or a cold night filled with snow, isolation, and silence, each needs to become the world. When thinking about your setting, ask yourself this: “Would my story happen the exact same way if it was a different time of year, a different setting?” If the answer is “yes,” take a moment to brainstorm how to better incorporate the Christmas setting into your narrative. Steeped in traditions, imagery and even sounds expected by your audience, this season is well known and you must play on those expectations. And the more familiar the audience feels with a setting, the more upsetting and disturbing it is to see that setting ravaged by horrors.

Read More: 3 Low Budget Movies to Inspire Your Horror Screenplay

Sint (2010)

Get Specific

Horror tends to see two extremes in the industry: films that provide cookie-cutter killer stories (be it alien visitations, demon possessions, or mundane murders) and flicks that go hog-wild with a unique concept or spin premise. The best Christmas horror movies belong to that second group. That said, not everything needs to be extreme. 

For example, while Gremlins and Sint (the 2010 Dutch dark comedy horror film) do their own thing, Black Christmas arguably does not have a remarkably unique concept. But how is Black Christmas hailed by most as the best Christmas horror movie of all time? For one thing, it was the most revolutionary Christmas horror movie of its time, breaking boundaries that had never been broken in theaters before. 

The other thing was its specific filmic language: it delved into the idea of voyeurism so deeply and so intimately that it became a disturbing exemplar for the subgenre of killer POV horrors. This was so profound, in fact, that the same filmic language was adopted by none other than John Carpenter four years after this movie, where he used it to great effect in Halloween (1978). Bob Clark’s dedication to that specific feature of visual storytelling (among other directorial trademarks he uses) was significant enough to propel it into the zeitgeist as it inspired Carpenter to employ the same idea.

Don’t Take Things Too Seriously

The best examples of killers ravaging the holiday season come from a bit of self-awareness that ranges from the darkest and most chilling spectacles such as Black Christmas to campy flicks with very ironic or comedic shticks (e.g., 1997’s Jack Frost). You may, for example, make garish references to other Christmas films. Consider movies like Better Watch Out, whose callbacks to Home Alone are significant enough to warrant notice. Still, other films use more levity when sharing that self-awareness with their audiences. After all, how would the anthology of A Christmas Horror Story come together without disc jockey Bill Shatner? What would Gremlins be without fun, ridiculous devastation or its parody of the monster movie subgenre?

Read More: Want to Get Noticed in Hollywood? Write Horror

Some General Rules in Horror

There are some rules that horror films benefit from in general. Not every horror flick will use the rules the same way. Still, you should keep these in mind while crafting your story about death, danger and demented gingerbread:

Maintain Tension (or the Illusion of Tension)

There are always going to be slow burns. Not every story can scare the audience every 10 minutes, but you do need to think about how the tension will mount and maintain its gravity throughout the story. For something like Dead of Night (1945), there’s an element of mystery to drive that tension. Movies like The Leech also take a slower approach, delving into character more than the action in ways that pay off later on. All that said, some serial killers or satanic Santas engage in an ultimate slay-fest that feels almost thriller-like, as they more consistently up the ante. Whichever way you set it up, horrors require that tension to set the audience on edge and get them primed for shock, fright, or utter disgust.

Read More: 25 Films You Have to Watch If You're Writing a Horror Script

Pay Attention to Your Characters

Any successful story — even one when the characters start to die off — requires an emotional connection with the characters in question. You need to prioritize the exploration of these people in your narrative to make them three-dimensional: Give them flaws and conflicting traits that feel realistic. As you do this and apply motivations to their actions (apart from the prevailing goal to “stay alive”), you’ll start to see your characters take unique shapes. This, more than anything, creates a story that feels very much your own, despite how similar your murderous Christmas tale might be to others on the docket.

Read More: What Makes a Killer Horror Movie? Common Horror Character Archetypes

Gremlins (1984)

Have Your Own Rules

Again, every tale of terror differs from others. You may choose not to follow every rule, and you may choose a different direction from most successful horror flicks. That said, you need to keep a consistent internal logic for your story. For example, Christmas horror movies like The Advent Calendar and Gremlins explicitly set up rules to follow. Failure to follow them results in danger or death. Other movies, like Krampus (2015) offer themes throughout that get reinforced as the subtle “rules” of the story. Whether implicit or stated outright, this internal logic will determine success in the horror genre, no matter which other guidelines you follow. When you create expectations, they need to pay off — and if you do it right, a horror will pay off those setups in ways the audience didn’t expect or even want. After all, upended catharsis is what the horror genre is all about!

It’s important to remember no two films are the same, nor should they be. Instead, you need to remember the needs of your story. Is it a character-driven psychological horror, or an intense Santa-stricken gore-fest? Those two flicks require different approaches to structure, tone and characterization. That said, you can use some general rules like those above to guide your story. As you do, you’ll discover methods of making your screenplay stronger and getting your ideas to stand out. Keep these in mind, and you’ll be scaring the pants off the holiday crowd in no time.

Read More: Develop Your Horror Movie Idea in 15 Days

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The post How to Write a Great Christmas Horror Movie appeared first on ScreenCraft.

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The Political Fantasy Perspective Problem

Anyone who remembers the David Lynch movie from 1984 will cringe at the thought. And as you cringe, you might remember something distinct about the disaster that was Dune’s first cinematic attempt: The perspective problem. Fans will obviously already know that Dune is a sci-fi fantasy epic involving high-stakes political plots.

More than that, the people involved in those politics have their own motivations, musings, and manipulations to consider along the way. This interpersonal intricacy leads Dune to the forefront of the zeitgeist, with many political fantasies drawing inspiration from it time and again. A famous example of this inspiration is George R.R. Martin’s A Song of Ice and Fire, whose interwoven betrayals and dastardly intrigue were adapted into the award-winning series, Game of Thrones.

Consider the interplay between Lady Jessica and Duke Leto Atreides, who are forced to play into a game of seeming mistrust. Perception is everything, and the reader only knows what the Duke knows thanks to the fantasy convention of multiple-perspective writing. Much like the insider’s perspectives that we get from the characters in Martin’s novels, the same applies here — and it requires thoughtful work to demonstrate those perspectives in the same intricate manner. If you fail, you wind up with Lynch’s forced internal monologue moments, an absolute travesty in the world of screenwriting.

Read More: The Biggest and Baddest "Big Bad" of Sci-Fi & Fantasy

Dune (2021)

High-Density Lore and Exposition

In the same vein as high-density dialogue that speaks to perspective, there are also places where dialogue must deliver the specifics about the science-fiction world in question. That said, Dune is a novel that uses everything from internal musings to open conflict to deliver exposition and even worldbuilding lore, such as the reason computers have been eradicated.

But, to deliver all of this in character speeches would diminish the narrative. Everyone knows that it’s better to show, not tell — especially when you’re writing an adapted screenplay. How can you show the years of royal family feuds and bad blood, the centuries of human skill advancement, all in one movie? The truth is that you simply can’t do that.

Read More: 5 Ways to Crack the Code of Writing Great Movie Adaptations

Instead, a filmmaker is forced to pick small moments and explain them as succinctly as possible. Showing a mentat or Bene Gesserit using their skills or having a political figure explain a single choice gives insight into the world — but it doesn’t force the window open for too long. An audience can’t be subjected to an entire encyclopedia of Frank Herbert’s vast universe, with its keen worldbuilding and stunning backstories. Instead, exposition comes from unique, actionable moments that affect the development of a character or storyline.

Lady Jessica being told that she was instructed to conceive a daughter shows how Bene Gesserit can control their bodies. Baron Harkonnen’s malicious actions betray his desire to unravel House Atreides — and he explains very little about the history between them, making the revelations more organic and engaging by default.

The Loudness of Subtlety

One of the most unique things about the world of Dune is its focus on acts of subtlety. Body language, tone of voice, and other methodologies of essentially mind-reading come up throughout the series. That said, a movie can carry some of that weight very well in most stories. Dune is the exception because the story necessitates a valuable skill in the protagonists: Paul and Lady Jessica each can exercise superhuman detection of these minutiae.

Their ability to detect lying, deference, and bodily workings beyond normal perception makes this story riveting even in a room with no true “action.” These subtleties are loud and can be perceived by the reader thanks to these kinds of perspectives — but when attempting to recreate these subtleties on screen, this loudness dissipates. The creativity then has to flow as filmmakers decide how to convey specifics like heightened levels of fear, habitual tells, and other openings only a trained assassin could spot.

In the 2021 adaptation, one creative maneuver involved changing the conflict. Instead of discovering through body language — and failure — that one of the Harkonnen soldiers was deaf and immune to the Voice, the movie showed the same deaf soldier turning away when the Voice was finally used to orchestrate Paul and Lady Jessica’s escape. It’s this kind of maneuver that saves time and energy in belaboring the point: We know that Paul and Jessica understand the human body, so why drive it home in a spot too laborious to do so?

Read More: What Hollywood Wants (And How to Give It To Them): Intellectual Property Adaptations

In Summary: Rationale, Memory, and Attention

It’s easy to pin down specific moments where book-to-movie changes happen. What’s not so easy is finding out why.

The big umbrellas under which these problems come up have yet to be defined — so let’s define them. Firstly, we mention perspectives and the problems that come with that transition onto the big screen. Essentially, that’s the character’s rationale. The way they think — and why they think that way — create very important signposts for the audience, but the modality simply changes between book and movie. That’s a major difference.

The next challenge was Dune’s use of lore and exposition: the world’s memory, so to speak. Memory is a powerful device that can be conveyed through flashbacks, dialogue, and character actions, but the context for it is often lost when moving something from page to film. This is a difficulty even in original screenplays — but in adaptations, you risk cutting and losing the wrong things in translation.

Finally, there’s the issue of plot attention, made clear in Dune by the more specific challenge of communicating major plot points through subtle actions. Between these three major categories, you can see why any adaptation might be difficult — and why Dune most of all has such complex hurdles to overcome for any filmmaker. There are other challenges, too, like communicating the planetary scale of the conflicts in the story. Luckily, with a bit of ingenuity, adaptations like Denis Villeneuve’s Dune (and its upcoming Part Two) can deliver on these challenges in fascinating, successful ways, making fans happy in a way that the 1984 film never could.

Read More: Plot Vs. Story: What's the Difference?

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Read More: The Art of Writing Horror: Constructing a Scare

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Redshirts and the Cold Open

As the story opens, you may be treated to a cold open and a peek at the monster or killer. When the danger at hand first reveals itself, even if it’s still hiding, there are usually some screams and some poor unsuspecting people who end up getting slashed. Those people — the first to die, who are maybe even nameless or part of a posthumous headline — are “redshirts.” Popularized as a term after Star Trek personnel that generally died off thanks to some undiscovered terror, the redshirt is a classic tool of the horror genre. Only through this kind of encounter can the audience see what’s in store for the main characters before they get to see for themselves.

Scream (1996)

The Believer and the Skeptic

Usually as a dichotomy, many horrors — especially those involving science-fiction worlds or the supernatural — utilize people who view what’s happening from very different perspectives. Iconically presented in duos like Mulder and Scully from The X-Files, the believer and the skeptic are character archetypes that serve to question the status quo. Is there a real cause for concern, or is there a reasonable explanation? These questions come up with the characters who play this role, and through them, you can try to explain theories that may or may not bring your audience closer to the truth as you write.

Read More: How Screenwriters Can Embrace Horror in Their TV Scripts

X-Files (1993-2018)

The Herald of Doom

People who live to see another day after facing the monster often try to share their stories. The same goes for the townsperson warning someone to leave, the ghost of a victim, the fortune-teller, or the paranoid neighbor who’s seen too much. No matter what the person looks like, they are the Herald of Doom — the person who tells the protagonist that danger awaits them. Generally a creepy experience altogether, the Herald can share the truth in a very upsetting way, or they may only know half the story while their sense of danger is incredibly accurate.

Pet Sematary (1989)

Cats and Other White Rabbits

Enough of humans for a second — animals can totally have their own character archetypes, too. Horror stories commonly use animals to distract the audience or the characters themselves, and cats have become a staple in this regard. Like Alice following the White Rabbit, an unwitting victim might follow the cat, dog or other innocent creature into a trap set by the monster or killer lying in wait. It’s rarely the animal’s fault — just a cat being a cat — but you can bet that something bad will come of paying too much attention to that cat instead of other things going on around them.

Read More: 101 Terrifying Horror Story Prompts

Tales from the Darkside: The Movie (1990)

Obviously Creepy Children

Especially in horror stories developed from some supernatural concept, creepy children have made their appearance quite often. These children are always obviously creepy to the audience — but the fun part is the effect they might have on the main characters. Some of the “obviously” creepy children are seen as completely normal by the rest of the characters, who ignore the creepy behavior. Then, of course, there are those that act as omens of something much more dreadful to come. Every now and then, the obviously creepy children even reveal themselves as the actual villains.

The Shining (1980)

Resident Liars

One of the most frustrating and horrifying ideas in modern horror is the idea that someone would lie and endanger everyone else. And yet, these recurring archetypes appear in film quite often. Whether it’s someone keeping their mortal sin under wraps — the thing that brought the monster in — or it’s a comrade hiding the fact that they got bitten or otherwise compromised, these resident liars are often the downfall of a trusting group of survivors. If nothing else, that break of trust adds to the horror genre’s impact on an audience. This type of emotional devastation does wonders in stories like these.

More Read: Wanna Get Noticed in the Industry? Write Horror.

The Lie (2018)

The Red Herring

There’s nothing worse than a suspicious or dangerous-looking person showing up at times when they shouldn’t be there. They may be there to help the main characters or to serve their own undisclosed needs, but one thing to remember is they might be a red herring. A red herring is a person or entity who comes across as dangerous, suspicious or unsettling, only for the audience to learn that they are not the villain or a dangerous individual. The red herring may even serve as a Herald of Doom or as an accomplice to the killer themselves. No matter what purpose they serve, the red herring must draw suspicion for a while to give the characters or the audience the wrong idea.

Read More: Everything You Need to Know About Red Herrings

Psycho (1960)

The Final Girl

In horror tradition, someone in a group horror (especially the slasher subgenre) that gets to finally encounter the killer is often known as the “Final Girl.” Coming from an earlier tradition where a typically male survivor had one last stand in the horror genre, the Final Girl was a development that came from an intentional gender swap and a desire to avoid the Damsel-in-Distress trope. Not every Final Girl or last person standing gets to outlive the killer, but each horror does this their own way — and it’s important to have someone to root for.

Halloween (1978)

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Horror films have a certain effect on their audiences: We know to expect the worst, and we know what is coming, but we get satisfaction from seeing it done in ways that are fun, surprising or clever. The same goes for these archetypes. If you know what the rules are, you know how you can bend them for your audience to give them what they expect in ways they would never have imagined. Character archetypes are storytelling tools for a reason — use them by getting to know them, and see which ones work best for the horrific tale you want to tell!

Read More: 10 of the Best Horror Movies of 2022

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The post What Makes A Killer Horror Movie Character? Common Horror Character Archetypes appeared first on ScreenCraft.

But the dark side is the same way: Just as mysterious, wondrous, or awesome as the worlds and heroes we see in sci-fi and fantasy, the villains can possess such wonder or command such awe. In fact, the biggest of these are the ones that make fantasy or sci-fi stories truly worth telling. They are the biggest obstacles to overcome. They are the “big bads.”

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What is a Sci-Fi & Fantasy “Big Bad”?

It’s important to break down what a “big bad” really is: the villain of a serial arc in binge-worthy television, or the ultimate obstacle in a movie franchise. The “big bad” is a term meant to signal the dark opponent that looms on the horizon for the hero. As it so happens, this is a common trope that’s hard to escape. Often, it’s best used in sci-fi and fantasy stories — or narratives inspired by those genres. So, whether you’re watching or writing a superhero flick or a fantasy epic, you should recognize the pattern.

Read More: How to Write the Perfect Antagonist

In some of the biggest sci-fi and fantasy stories known to us, there’s an even bigger pattern. Namely, as the story progresses, you begin to see a driving force — the main antagonist behind the curtain. These are “bigger and badder” than all the other “big bads” in the story so far. It’s only by taking the fight to this level that the story finds its resolution. 

Look below for some of the most iconic franchises in sci-fi and fantasy today, and learn all about the villains that made these stories possible.

[Editor’s Note: Spoilers ahead for things you may or may not have already seen. Be warned!]

Sauron, The Lord of the Rings

It all began with One Ring to rule them all. The story itself is told in mere minutes at the beginning of Fellowship of the Ring, baring the bad guy as clear as day. And yet, Sauron feels so far away at the start of it all.

The Dark Lord of Mordor definitely has some agency, even as far as the Shire, where he first sends his Nazgûl. Still, it’s Frodo and Sam’s trek into his domain that makes him feel ever closer; the Ring makes him more dangerous than anyone can have guessed. His influence is felt far and wide, and it even pervades the most innocent of souls through the Ring’s power over others, even turning some into shadows of their former selves. 

The First Evil, Buffy the Vampire Slayer

Buffy the Vampire Slayer is a trendsetter when it comes to the “big bad.” With each new season sporting a different archnemesis for the young titular hero, it’s hard to tell who’s really the “biggest bad” of them all. Luckily, the show tells you exactly who the worst of the worst is when the time comes.

The First Evil, the one that preceded all other demons and monsters and bumps in the night, comes to Angel to announce its presence and taunt him into suicide. Yet, it still takes a good few seasons to make its real appearance, becoming the final “big bad” of the final season.

Its ancient power and overwhelming reach make this entity a truly chilling one. But its alien ways of behaving and its puppeteering are the main reasons that the First feels like such an omnipotent threat after all the Scoobies have been through.

Darth Sidious, Star Wars

The start of any empire requires finesse and determination, which Chancellor (soon-to-be Emperor) Palpatine had in spades. If you watched the original Star Wars trilogy from start to finish and then moved into the prequels, you’ll have a strong idea of what we mean. From the beginning, the devious Darth Sidious hid in plain sight, using politics as one tenet of his conspiracy to rule over the galaxy.

He succeeded and solidified his reign through subterfuge, influence, and even force as he gained the most obedient army ever seen. The real depths of Emperor Palpatine’s reach as he became insidiously (aha!) entrenched in the Force can’t really be known, but one thing is irrevocably true: His lieutenant, the feared Darth Vader, definitely resisted and killed him for good. Definitely. No rewriting history on that one. Don’t even try it.

Read More: 131 Sci-Fi Scripts That Screenwriters Can Download and Study

C-Man, The X-Files

The Cigarette Smoking Man, Cancer Man, or even just “C-Man” — the primary antagonist of The X-Files had many nicknames throughout the series. While many “big bads” came and went in the show, C-Man stayed an omnipresent part of the system that Mulder and Scully tried so hard to dismantle, unveil, or otherwise impede. He’s an informed enigma, a representative of something much larger — and in Fox Mulder’s eyes, much more sinister.

His stalwart protection of the secrets of the Syndicate and his sustained coverup of alien life make him the symbol of everything that Agents Mulder and Scully opposed. That said, it’s his ongoing legacy of sustained secrecy and misinformation that makes him so formidable — and such a prevalent, unbeatable foe in the eyes of the series, even when he breathes his last.

Thanos, Marvel Cinematic Universe’s The Infinity Saga

No secrets were kept from the audience if they stayed behind after the credits of each movie in The Infinity Saga. Hints of an unsteady shift into utter madness start there: Thanos’s first appearances happen in such small snippets, like at the end of The Avengers, and begin to unveil his master plan to a degree before he pulls out all the stops. Still, it’s his resolution that becomes the most daunting thing about Thanos.

He believes his solution to annihilate half the universe is a just cause, and to that end, he alters reality. He schemes to gain ultimate power not for power’s sake, but for a cause he believes will offer something better — and everyone knows that someone calling for a “New World Order” is the most dangerous of all.

Vecna, Stranger Things

Many strange happenings surround a town called Hawkins, Indiana. Whether it’s the introduction of a dangerous interdimensional creature, a hivemind monster, or an army of mind-controlled citizens, there’s always something new, big, and bad waiting around the corner here. Still, this all had to come from somewhere, right? Your culprit is none other than a psychic entity named Vecna, whose origins are actually very nearby.

Starting as a boy named Henry with profound abilities using ESP, he soon developed into a psychotic weapon of mass destruction, banished by Eleven into a separate dimension. It’s here that he honed his abilities even more and began sneaking his tendrils into the town, biding his time. And now, that time has come. Vecna is the biggest bad of the show so far, and this time, he might be inescapable.

The Deus Ex Machina, The Matrix

Throughout The Matrix and its franchise, one name is as ubiquitous as Neo’s own: Agent Smith. You’d think that means he’s the most persistent “villain” in the series — but you’d be wrong. Smith is a product of the Matrix’s existence, but he’s not the reason for it. Instead, you can blame an entity known as the Deus Ex Machina — rightly named, because this machine waged war on humans long enough to hate them and decide on a new world order of its own.

By creating the Architect, another primary antagonist of The Matrix movies, the Deus Ex Machina is the one actually responsible for that new world order — the Matrix itself. When Agent Smith becomes detrimental to the Matrix’s existence, however, Neo must come to terms with this entity. No matter how high you climb the ladder inside the Matrix, you’ll always find logic bending to the will of something above it. When the ladder extends beyond the Matrix, you find the Deus Ex Machina — leader of the machines and the biggest threat to humankind.

Make Your Sci-Fi & Fantasy Big Bads Bigger and Badder

From sci-fi action flicks to magical realism in TV, there’s always a Big Bad Evil Guy, a BBEG, to deal with. The “big bad” might bring portents of the apocalypse, or they may just stand in the way of the truth. But whatever it is, they stand for the exact opposite of the hero we are rooting for. They are the archvillain of villains, the greatest nemesis, and they are everywhere — especially in fantasy and science fiction stories.

It’s these foes that make a hero show off what they’re really made of — so when your hero needs to stand out, elevate your evil and make a “big bad” that’s “bigger and badder” than ever! 

Read More: 101 Epic Sci-Fi Story Prompts

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What Exactly is a Film Bro?

A film bro is someone identifying as a film nerd with shallow knowledge and limited, singular taste when it comes to cinema. A film bro often considers themselves a cinephile — and they often use the term in everyday conversation — while having a singular preference for films overpopulated with toxic masculinity, gray morals, and some other key traits.

You know these guys: To them, a film made more recently rarely makes the cut (and when it does, it’s dark and gritty). This leaves out a lot of modern or diverse perspectives, narratives, and characters, limiting their ability to enjoy other types of film. As a result, their understanding of the art is relatively shallow and informed by a very narrow point of view.

Let’s learn more about what a film bro is all about below.

Pulp Fiction (1994)

How Do You Know If Your Friend Is a Film Bro?

They likely watch crime movies religiously, as well as some of the best war stories. They probably swear by John Carpenter’s The Thing, Tarantino’s Pulp Fiction, and other auteur works without knowing much about films outside these genres. But how can you be sure?

The truth is, movies like Apocalypse Now, Snatch, and Reservoir Dogs are all great. There’s a reason they live on and have earned critical acclaim even decades after their creation. But if your friend only sees films like The Dark Knight and Fight Club as “peak cinema,” they might actually be stuck in that echo chamber. Think about the following amazing films — and how, when used as the only slate a person watches, they can reinforce the film bro mentality.

Read More: Quentin Tarantino's Top 10 Rules for Screenwriting Success

Popular Film Bro Movies

Here are a bunch of examples of movies celebrated and loved by "film bros."

• Goodfellas
• The Godfather
• Joker
• Donnie Darko
• Pulp Fiction
• Fight Club
• The Dark Knight
• Apocalypse Now
• Inception
• The Wolf of Wall Street
• Inglourious Basterds
• American Psycho
• Drive
• The Shawshank Redemption
• The Usual Suspects
• Nightcrawler
• Trainspotting
• Reservoir Dogs
• The Big Lebowski
• Se7en
• Full Metal Jacket
• A Clockwork Orange
• Taxi Driver
• Snatch
  

Film Bro Movie Case Studies

Goodfellas

The mafia and organized crime element is a common feature in the film bro slate. There’s a part of this that surrounds taste — there’s been a long-standing Hollywood agenda to reaffirm mobsters as “cool,” and it pervades when all people watch are films like Goodfellas and, similarly, The Godfather. Films like this are also male-dominated, a predominant trait in film bro films. Wanton violence also occurs in Goodfellas — yet another feature that identifies it as an eye-opening experience to teenage self-described cinephiles, which is how many film bros begin their existence.

The Wolf of Wall Street

There are people who get The Wolf of Wall Street — those who understand the dangers of what Jordan Belfort has done to himself. Then, there are film bros. Film bros tend not only to identify with Jordan as a character in a different way than most, but they see his lifestyle as something to idolize. Toxic masculinity, including gay bashing and charismatic narcissism, takes its toll on the narrative in a way that confirms the error of Jordan’s ways. However, a film bro tends to look at films superficially to reinforce their “ideal” version of cinema: Does it contain crime? Does it feature “heroes” who circumvent the law? Does it feature men acting on dark desires with little to no consequence? The Wolf of Wall Street features some attractive things to a film bro, but only at the surface level. 

Fight Club

Mental health is an important subject, and it’s a great thing to know that cinema recognizes this. They even attempt to tell stories about mental health. While some fail at this, like Split clearly has, others showcase complexity and even some awareness of that complexity. Fight Club offers tongue-in-cheek commentary on mental illness, and it even plays out in a way that simulates revelations that come to people who deal with similar disorders. That said, a film bro looks at movies like Fight Club, American Psycho, or even Joker with the hope of romanticizing what mental illness really means for someone experiencing it. They idolize men whose battles with society and self are riddled with violence, doubt or anxiety, and vicarious fantasy indulgence.

Read More: Screenwriting Wisdom From the Screenwriter Behind “Fight Club”

How To Keep “Film Bro” From Spreading

It’s not wrong to love good movies; the movies that film bros tend to like are celebrated for a good reason — many of them were made by the best directors of all time. They shouldn’t be the lone determiner of anyone’s taste.

It’s unhelpful to reinforce the idea that good cinema only consists of mostly men, gritty, violent worlds, dark humor, or stories rife with high-octane action. Instead, your film bro friend needs to expand their taste and understand why the movies they like are considered great films.

Show your film bro some films that stand out for other reasons: Whether it’s the same genre but from a new, diverse perspective, or it’s an auteur film that addresses subjects other than masculinity or violence, you can find “gateway” films to open the eyes of your film bro friend. Show them the complexity of the films they already know, and compare it to other films — something you know they’d like if they gave it a chance.

Suggest These Movies to Your Favorite Film Bro

Helping your friends broaden their horizons can start with a simple idea. For example, the themes of your movies can be a linking idea between a classic film bro film and something new. Some examples of this include the following:

If your film bro friend wants to see people take their own vigilante justice, show them something like Promising Young Woman to expand their perspective beyond Inglourious Basterds, Batman Begins, or V for Vendetta — all common film bro favorites.

For a film bro who likes to think about mortality, they don’t have to stay stuck with movies like Donnie Darko or Synecdoche, New York. Instead, open their minds with movies like A Ghost Story, Ingmar Bergman’s The Seventh Seal, or even Puss in Boots: The Last Wish.

If your film bro likes movies about greed, steer them away from just Goodfellas and The Wolf of Wall Street in favor of movies like Hayao Miyazaki’s Spirited Away or a film like Sorry to Bother You, whose absurdist humor tackles the capitalist powers-that-be.

Spirited Away (2001)

For movies about power and its corruption, your friend might try to stick with The Godfather or There Will Be Blood — but instead, have them watch The Favourite.

Finally, if you’re trying to wean someone off of film bro films about masculinity, help them reexamine that lens with films like The Rider or I Love You, Man instead of Fight Club or Raging Bull. 

Read More: 5 Ways Screenwriters Can (and Should) Include Diversity in Their Writing

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Film bro or not, a skipping record repeating similar movies and genres over and over doesn’t allow for growth as a movie lover. Whether you’re a filmmaker, a cinephile, or just dipping your toes in, you should keep trying new movies. Watch movies by women. Watch movies by BIPOC filmmakers. Watch movies by LGBTQ+ filmmakers.

Doing so helps you to better understand what makes good cinema — and why it resonates with people. Don’t let your film bros down by letting them stay in that echo chamber. Don’t stay inside your own echo chamber, either. Instead, share the experience of something new with a film bro friend today!

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

The post What Is a Film Bro? appeared first on ScreenCraft.

I’m happy you asked. Read on to learn why horror movies keep taking to the settings of summer camps — and why that’s a perfectly fine choice.

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Smells Like Teen Spirit

Do you know what changes a horror movie’s trajectory more than anything? It’s the choices that get made. If everyone made the right choices in a movie, you may not even be watching a horror movie — you might be seeing a thriller. But we won’t get into the specifics of that. Instead, think about the people that make those choices. Here are three factors that make younger folks the perfect target for horror setups:

Bad Decision-Making

Horror often relies on people to make uninformed or rash decisions — it’s part of the formula that prolongs the threat of danger. And no population is more prone to uninformed and rash decisions than teenagers. Teens in films are driven in many cases by hormones and the poor choices of their parents, in combination with enough knowledge and time to have developed more personality than a younger group of kids. 

Risk-Taking

Teenagers are also under the impression that they’re invincible: it’s a proven fact that younger people tend toward riskier choices because their sense of mortality is less than that of we who have already reached age 30. 

Gathering in Groups

The final ingredient for the perfect cocktail of murder and mayhem is the group dynamic. When teenagers get together in a story, something incredible often happens. Namely, the worst characteristics, like their sense of invincibility, become exponentially more problematic. When teenagers get together, we also see cliques form — a perfect “us versus them” dichotomy that makes the group nervous and puts them on edge. You’ll notice that while their mob mentality increases in times of distress, their instinct to split and splinter the group is similarly tangible.

Must Be Something In The Atmosphere

Summer Camp Settings Are Inherently Spooky

Horrors are genre films and genre films are all about atmosphere. It’s about where and when a story takes place, as much as it is about how that setting feels. Think about the iconic summer camp for a second: What are you picturing? If you pictured woods, you’re on the right track; if you pictured a creepy, still lake, you’re also correct.

The truth is that the woods and adjacent mysterious bodies of water produce the fear of the unknown in many people. What's out there in those woods? What's swimming right underneath my toes? What threat is lurking beyond where I can't see?

The Tradition of Creepy Campfire Tales

This setting also makes for great tall tales told around a campfire. In fact, the name “campfire” evokes the idea of a bunch of kids hearing scary stories. And in horror films, the legend we hear around that campfire is usually very much true.

No Adult Supervision is Cool — But Scary and Isolating

Places, like summer camps, are void of adult supervision in many cases, instead relying on slightly older teenagers to keep the camp from falling into complete ruin. 

More than that, though, there’s the element of isolation. A “camp” is by definition separated from civilization. You’re trapped, in a sense, locked out in the wilderness with nothing but the lodgings provided to you. Whether it’s communal cabins or private tents, the woods are always just beyond the walls — a boundary all too thin to ignore. You can easily feel the anxiety of being separated from lifelines like the police or your parents in a place like this, and that’s the point. On top of all this, a killer can use the woods — and the element of isolation — to their advantage, eventually separating the campers from each other very easily thanks to the setting’s natural ability to do so.

Horror Movies: Beyond the Summer Camp

Now, not all great horror movies rely on the premise of teenagers in the woods, obviously. In some cases, it’s a different wilderness, the people are adults, or there are new rules to survive. But the iconic things about teens in the woods are the choices they make and the place where they’re stranded.

Without the ability to be in a more populated area, closer to civilization, people are prime targets for whatever goes bump in the night.

Without making the best choices, people in films make themselves more likely to get taken advantage of in the wake of oncoming disaster.

Whether that disaster comes in the form of a spooky undead killer, a monster of legend, or a regular ol’ psycho, it’s easy to replicate such harrowing and fearsome tales of your own when keeping that in mind.

The post Why Are There So Many Summer Camp Horror Movies? appeared first on ScreenCraft.

Some of the greatest stories ever told were those that got shot down at least once. There’s something about genius projects that can scare a lot of studios and networks — whether it’s pushing the envelope in multiple genres or covering more controversial ideas. And yet, the way that people cling to these shows has proven how genius these ideas really are.

So, which award-winning shows almost didn’t make it? And what lessons can we learn and utilize when it comes time for us to pitch a TV series or feature? Have a look!

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Stranger Things

Originally, the Duffer brothers saw a lot of rejection. In fact, before they even pitched their hit series Stranger Things, they were hitting walls. Executives didn’t want to hear a word, and brothers Matt and Ross worked their way into writer’s rooms by making a small-budget horror flick.

It was after this experience and their subsequent work with M. Night Shyamalan that the brothers started pitching their idea for a horror sci-fi show tentatively named Montauk, named after the infamous conspiracy theory about a military experiment on children. 

This show was rejected initially by between 15 and 20 networks, with most of the feedback being to lose the focus on the children or make it a kids’ show, rather than a serious horror series about middle schoolers. Matt and Ross Duffer refused to do so as they insisted this would ruin “everything interesting about the show.”

The brothers then decided to pitch the show to Netflix and won over executive Shawn Levy with their clear confidence in the project. As the show got picked up, it became the Netflix hit original series, Stranger Things, which was released on the streaming service in the summer of 2016 and will have one more season before concluding its epic story.

The lesson here — getting a pitch rejected, whether it's a TV series or feature, doesn't necessarily mean your idea is bad. It might just mean that you need to keep looking for the right home for your project. As Matt Duffer said in a CBS interview back in 2016:

"There's a line I like that Dustin says in episode 6, talking about Eleven — ["She's our friend and she's crazy!] I feel that way about Netflix. Netflix is our friend and she's crazy."

Breaking Bad

Vince Gilligan wasn’t known for many big successes before he conceived of Walter White and his ultimate journey as a “science teacher turned kingpin.” It wasn’t until he’d reached a rock-bottom low point of seeing his ideas rejected by multiple studios that he and his fellow writer Tom Schnauz started joking about how they’d make a living next. The idea of cooking meth in an RV was one of those suggestions made by Schnauz, inspired by a news story — and it stuck with Gilligan.

Whether it was Showtime and their preoccupation with Weeds, another drug-centered show, or FX with their numerous shows focused on similar characters to Gilligan’s Walter White, the idea of Breaking Bad was seeing rejection left and right. 

Still, HBO was the most baffling loss of all — with this drama-fueled network being an obvious choice for Vince Gilligan’s crime series. However, Gilligan described this meeting as the worst of them all, and the executive he pitched “could not have been less interested.” They didn’t give him a flat “no” in the room, though. Instead, HBO’s executives left him “on the meat hook” for a long while, with their lack of a response to his follow-ups speaking volumes.

Of course, AMC finally made their connection with Gilligan and allowed him to make one of the most riveting series in television history — with award-winning performances from Aaron Paul and Bryan Cranston that made the show a staple for any binge-watcher today.

The Sopranos

Hailed by many as the godfather of cable television, The Sopranos ushered in a new era for crime dramas — and for TV in general. In fact, it’s known as one of the best television shows to date. But The Sopranos was also rejected many times before it got its big break.

Starting as an idea for a feature, the show’s creator, David Chase, first pitched the TV series with a pilot that had no murder in it. Every network passed on it, ending with Fox. CBS even balked at the idea of Tony Soprano being a character that went to therapy, while Chase believed this angle was the main reason for making the show worthwhile.

After Fox declined to move forward, Chase had to rethink the series he was trying to sell. He realized that the missing murder and betrayal were things that audiences wanted to see in a mafia show — so he remedied that missing part before finally approaching HBO.

The rest is history, as HBO loved the idea and “plucked” Chase out of his “development hell at the last minute” by taking on and making The Sopranos one of the most critically-acclaimed TV shows ever produced, even inspiring a prequel feature, The Many Saints of Newark, which was released in 2021.

Pitching is hard. Not only is it nerve-wracking to be in a room with people that hold the future of your project in their hands but getting rejected doesn't feel great.

But guess what — hard doesn't mean impossible. In fact, you can make pitching your superpower if you learn from those who've done it successfully, unsuccessfully, or dozens of times for a single project, just like the showrunners of Stranger Things, Breaking Bad, and The Sopranos.

The post Let 'Stranger Things', 'Breaking Bad', and 'The Sopranos' Teach You How to Pitch a TV Series appeared first on ScreenCraft.

But if you're interested in studying examples of films and TV shows that address mental illness, whether through the lense of an irreverent dramedy or a harrowing biopic, we put together a list that might help.

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I Know This Much Is True

This television miniseries stars Mark Ruffalo as twin brothers Dominick and Thomas. His hard-hitting performance showcases the numerous issues that compound upon each other when your one and only sibling deals with something no one seems to understand.

Set in the 1990s, this drama moves back in time now and again to show the warning signs of Thomas’s descent into paranoid schizophrenia. Dominick shoulders the burden of being the point person and advocate for his brother, even when it pains him most. This story shows how even the closest relationships can be strained by tackling such an illness.

Please Like Me

An Australian television series, Please Like Me is an exploration of real-life issues that show up in both dramatic and comedic moments — just like real life.

After being dumped by his girlfriend, protagonist Josh realizes that he’s gay and gets to deal with a whole new chapter in his life. But while he gets to explore this exciting discovery, he begins having to care in a way for his mother, who recently attempted suicide. Josh’s social awkwardness sets the tone for a young man dealing with real issues like a mother’s mental struggles (and first dates), while still keeping some levity in each new development of the story.

A Beautiful Mind

A classic story and a biographical drama to boot, A Beautiful Mind is the feature film based on the life of celebrated mathematician John Nash.

Russell Crowe performs tremendously to show Nash’s struggle with the onset of paranoid schizophrenia, a narrative that begins for Nash in grad school. His wife and his friends watch as the man they knew begins to suffer delusions, leading him into a secret double life with “assignments” that only he can perform. As he learns and adjusts to the reality of his struggle, Nash also develops a method to keep the hallucinations at bay while eventually making waves enough in the subject of game theory to earn him a Nobel Prize in economic sciences.

This is a powerful story about overcoming the obstacles that a mental illness can bring on. While not every person should address their mental illness in the same way, this film also shows what people can accomplish, even after receiving such a serious diagnosis.

United States of Tara

How do you make the story of a mother with a serious mental disorder funny? Ask Oscar-winning screenwriter Diablo Cody. She explained her approach to writing United States of Tara, a series about a woman, played masterfully by Toni Collette, who suffers from dissociative identity disorder.

"I was nervous at the outset. The pilot couldn’t be 'sitcomy' but, at the same time, it had to be funny. It was a big challenge to find the humor in everyday life and not poke fun at the disorder. And I wanted to be as sensitive as possible."

Tara switches between identities, called “alters” (like alter egos), including that of her normal self, one of a doting housewife, and one of a rebellious teenager. While her alters may manifest with no warning at all, Tara’s family has grown used to the conditions of this disorder, and they help her cope in every way they can.

This show demonstrates just how good having a supportive family can really be for anyone with a mental illness or disorder.

Moon Knight

In a slightly different vein, one Marvel superhero gets to represent his mental illness on television.

Moon Knight is also known as Marc Spector, but his alter egos include Steven Grant and Mr. Knight. Marc becomes the object of interest of the Egyptian moon god, Khonshu, and his experiences with dissociative identity disorder (or something that looks a lot like it) make him the perfect terrestrial avatar for the god.

Of course, some of what you see in the series mirrors the aspects of DID, but Marvel is here to tell a big story using some real-life elements alongside fantasy and sci-fi. While the earlier four mentions are about real-life effects on people, Moon Knight is something both reminiscent and different.

Conclusion

I know my life has been affected by mental illness, just as so many others have. Whether you’re there to watch those stories, or you want to tell your own, remember that these issues are real and touch more lives than maybe we tend to realize.

Stories about mental health are becoming more common these days — we're talking about it as a society more often than we used to — so, when writing these stories, be kind, be honest, and be aware.

The post Explore 5 Drama Films and TV Series About Mental Illness appeared first on ScreenCraft.

John himself is an entity known throughout the criminal world, a trained assassin of the highest order. As such, when you fight him, you’re fighting a professional. It’s hard to get that kind of thing across on screen though, right? So, the writer of John Wick, Derek Kolstad, had to be very specific about his approach.

If you’re curious how one of the best “Dude With A Problem” action thrillers became a cinematic staple, stay tuned: the writing in the fight scenes had a lot to do with it.

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Precision and Accuracy

One thing about fight scenes is that they have to be choreographed to look real. But where does the choreographing start? In your writing. In John Wick, Derek Kolstad went a step further than a lot of other writers. While some screenwriters resort to language that covers several moments at once, Kolstad writes with each moment in his mind’s eye as a separate occurrence. 

When it’s put to paper, you see John’s actions occur beat by beat, image by image, in a way that often splits sentences to emphasize the beginning and end of each new action. Cause and effect are represented precisely and accurately. Read the sample below from Page 23 to get a feel for the rhythm of his very precise action writing:

It’s not just here, either. Whether it’s with ellipses or dashes, a lot of action lines are split up to represent both sides of the fight. You can see the same thing throughout the script, such as we see on Page 96:

As you see, each fight sequence is a give and take: first, an action line begins when a punch is thrown; then, the next action line would be someone’s face getting bloodied by the blow. It’s a tit-for-tat, play-by-play approach that someone might liken to a sports commentator. That is, if there was a sport that involved gunfighting and martial arts combined. Thankfully, I don’t know of any sport like that! With that element of precision and accuracy, there’s no mistaking who gets hit by whom. Each action is accounted for, which makes the narrative feel fuller, more action-packed, and more satisfying every time John downs another crony.

Emotional and Visual Commentary

It’s also important to note that every time there’s action afoot, Kolstad still uses that as an opportunity to get visual or to get emotional. In the following example, Kolstad informs the delivery of John’s battle cry as he takes down a bodyguard:

Make no mistake: this is an emotional commentary. There are plenty of these in the narrative, but Kolstad fits them alongside something to deliver or something visual (like a scream or a cry). This action is infused with emotional energy that bleeds into the scene. Speaking of bleeding, there’s also a distinct way of telling us we see blood on a man’s face: it’s “instantly crimson.” More visual commentary is seen when he describes John Wick as “soaked to the bone”, or the following examples:

Kolstad compares David’s “well-rehearsed” attack to a “well-oiled machine,” again informing delivery — and when the three remaining attackers see David’s fate, they are described as “far removed from their element.” That emotional commentary shows us just how afraid these criminals are.

Conclusion

It’s not an overly complicated approach, but it is one that requires great attention. Writing something as beautifully orchestrated as John Wick requires a writer who thinks about things step-by-step. If you can think precisely, while still infusing the action with emotion, you can bring about something far more satisfying than your run-of-the-mill action thriller.

You can come up with a script as satisfying as the legendary John Wick. Get practicing, and in no time, you’ll be killing it. Pun intended.

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post How Derek Kolstad Wrote Action-Packed Fight Scenes in John Wick appeared first on ScreenCraft.

If you’re a fan of the Dungeons & Dragons game (commonly known as D&D), you know just how much fun it can be to flesh out that vast world with your own characters — or roleplay as existing ones. Whatever way you enjoy your tabletop RPGs (homebrew or otherwise), you can always draw inspiration for your next campaign from these eight sci-fi and fantasy series.

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Game of Thrones

A no-brainer for anyone wanting to roleplay is the Game of Thrones series, based on George R.R. Martin’s A Song of Ice and Fire. There are original creatures, magic, politics, betrayal, and of course, dragons.

Whether you want your campaign to gather inspiration from the elements of the show, or you plan on starting the campaign in Westeros, you’ve got a lot of wiggle room.

The Order

A lesser-known series that involves a lot of possibilities, The Order is a Netflix show about magic cults, werewolf sainthoods, and the exploration of college-age drama in the middle.

If you want a world that has some rules established (but not everything explained yet), The Order might be a great base concept for your next run as the dungeon master.

Westworld

Fantasy and magic aren’t the only things that inspire wonder and excitement in D&D players. If you’re intrigued by sci-fi being a part of a campaign, look no further than the show Westworld. This series pulls together the idea of virtual reality and the wild west (among other worlds) into one powerful experience.

If you want your story to span different “universes”, you might use the Westworld model to your advantage.

The Lord of the Rings: The Rings of Power

Of course, I have to mention Lord of the Rings. This formative experience for many fantasy lovers has everything: wizards, orcs, elves, dwarves, and hobbits (though D&D may call them halflings).

Now, with the new series The Rings of Power, you have more than just an epic quest to Mordor to draw from. J.R.R. Tolkien’s famous world is the vastest and most in-depth fantasy world ever built — so you might just want to explore it with your party.

Supernatural

Set in the real world, but filled with monsters, angels, demons, and Chuck knows what else, Supernatural is a great story to build your own campaign from. The world is as vast as our own — just add a bunch of lore about creatures that go bump in the night, including bloodsucking fiends and Machiavellian celestials.

You’ll find plenty of things to fuel your nightmarish roleplaying, with plenty of television-born or real-world folklore left to be explored. 

The Mandalorian

If you like Star Wars, you might already know that there are RPGs you can play based on the iconic cinematic franchise. The stories of the Star Wars saga follow a limited number of heroes, but in the series like Clone Wars or more recently The Mandalorian, there is much more of a deep dive into George Lucas’s pet universe.

Are you ready to go planet-hopping and encounter the Force? Any dungeon master should consider it at least once.

Avatar: The Last Airbender

This series set the tone for bringing an original TV fantasy world that enchanted kids and adults alike. The world of Avatar: The Last Airbender is full of people with unique ties to the elements — and faction play is never more exciting than when you get some people from the Water Nation and the Fire Nation to fight against each other, or better yet, team up.

If you’re looking for a world that has established powers accessible to any person (rather than those damned classist wizards), now’s your chance.

Stranger Things

Whether you’re playing out the story of the series, or whether you’ve envisioned a new story within the world of Stranger Things, this is your big chance to bring horror into the gameplay. You can even use two worlds: the world of Hawkins (or your own hometown) as well as the world of the Upside Down, where things made of shadow reign supreme.

Whatever brings your party into such danger will be up to you, but rest assured, this series has more than enough fright fuel to bring you the campaign you deserve!

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post 8 Sci-Fi & Fantasy TV Shows That Will Inspire Your Next D&D Campaign appeared first on ScreenCraft.

From time-honored classics to newer staples, there’s a clear element of commitment to comedic form that evolves from animation. Whether it’s geared toward kids or a more adult audience, you’ll find that the examples below have proven to be important installations in the world of humor.

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The Simpsons

There’s scarcely anything that stands out to people as much when talking about hilarious cartoons as The Simpsons.

In an age when sitcoms dominated the airwaves, this one began to reign supreme as the true “nuclear family,” one where the breadwinner actually worked in a nuclear power plant — and where the outlandishness of animation could reflect the equally odd and hilarious nature of people in ways that didn’t have to be grounded.

The Boondocks

Outlandishness isn’t always based on looks — in fact, many times, it comes from characters’ actions. That’s the philosophy behind The Boondocks, and this show does it quite beautifully.

After all, this show about two kids from South Side Chicago living with their grandpa in the suburbs uses an anime-style art direction. This type of art turns this sitcom into an expressive display where adult situations have an intense impact: violence, racism, manipulation, and more are explored in this expressive style, shedding light on real emotions and surprising actions using the drawing styles found in many anime.

Rick and Morty

This newer comic series does a great job of fitting no molds. It’s not modeled to the specifications of a family sitcom like The Simpsons, but it does celebrate a lot of the same freedoms that Futurama has.

The art style is decidedly unique, with the original character designs a clear parody of Doc Brown and Marty McFly from Back to the Future. However, Rick and Morty share a very different relationship, and this show’s willingness to improvise and riff makes them a uniquely hilarious show for those who brace themselves.

Futurama

The success of The Simpsons gave way to the creation of another show from the same geniuses — a show about the future.

This sitcom, called Futurama, is an ensemble comedy with a lot of time on its hands. Thanks to the outlandishness of its setting in the year 3000, Futurama is able to make informed timely references to real-life events while still maintaining a degree of separation, as they do with the use of Richard Nixon’s disembodied head.

Futurama also makes it easy to give its own spin on everything from Greek mythology (the Amazonians) to folk legends (Robot Santa) for a world and comic style that is still, to this day, completely its own.

South Park

Nothing has to be high-res, beautifully rendered in 3-D, to make someone laugh. It just needs to be its own thing. That’s a clear philosophy that came into practice with South Park, a show animated first with construction paper in stop-motion.

Eventually, traditional methods would not work, and the show's creators, Matt Stone and Trey Parker, needed a new way to create hilarious hijinks and jokes at everyone’s expense using the fictional town of South Park, Colorado.

This show’s distinctive look is by far the most recognizable of any animated show today, and its irreverent and persistent topical comedy has formed some of the most gut-busting and controversial episodes of television to date.

Bob’s Burgers

While the not-for-children shows that dominate the comedy landscape have made their impact, there are still projects that have proven (somewhat) family-friendly while still using hilarious jokes about cannibalism, personal hygiene, and financial failure that connect with adult audiences.

If you’re looking to fall in love with a family while laughing the whole time, Bob’s Burgers is the show for you. This is another sitcom family, but this time they're running a burger joint — and proving a lot less egregious for younger audiences, despite a lot of the jokes still connecting with adult viewers.

Read More: 5 Screenwriting Tips from 'Family Guy' Showrunners

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post 6 Animated Shows That Changed the World of Comedy appeared first on ScreenCraft.

The cold open, or the teaser, is a scene or sequence of a TV show or film that comes before the title sequence, basically dropping you right into the story immediately. It’s where the reader first gets the tone of your screenplay, and more importantly, a taste of the world you’re building. Just like every other choice you make, the way you execute a cold open affects the overall story. And, since it’s the first impression someone gets, those effects are lasting, for better or for worse.

Here are a few things to keep in mind as you write your own cold open for your sci-fi & fantasy scripts.

More info coming soon  |  Remind Me

Tone and Genre

One of the first things that gets established in a cold open is the emotional direction of the story. Is it a comedic story? Is it an intense thriller? These questions can be answered directly with the way you portray your story.

Think about the first moments of Game of Thrones. There’s a distinct sense of dread in touch with the fantastic enemy the Night Watch first encounters. The suspense leading up to their discovery is one element of the tone, but the tone is also communicated in the reactions of the characters. Nothing is made light — there’s a sense of seriousness in tow. That’s one effect of the cold open. It sets your tone.

That’s why the camp factor of Buffy the Vampire Slayer pays off so well, too. It’s a comedy with horror-fantasy at the heart of it all: it makes jokes as often as it provides fight scenes and monster slaying. The opening of Buffy’s pilot, with a playful twist on the expectations of who’s a vampire, makes the teaser scene indicative of the playful spirit of the series as a whole.

'Game of Thrones'

The Backstory

Worldbuilding has a lot to do with history, and most fantasy and sci-fi worlds require some history to be injected. Whether it’s organically done with a visually evocative flashback, like in Supernatural, or whether it’s being narrated like in Peter Jackson’s Fellowship of the Ring, you’re going to get a sense of what’s happened before the main events of the story. A good cold open will even deliver this in ways that are reinforced organically throughout the story.

Now, you probably don’t want to rely on narration too much — J.R.R. Tolkien’s world of hobbits, elves, and evils unknown is both very in-depth and incredibly well thought-out over decades of work, so narration did the three-hour flagship film justice. But bear in mind that every world needs a little of that history to make things clearer. How you do that should reflect the type of story you’re telling: so if you need to keep a little mystery in the mix, think about that before you write a tell-all cold open.

'The Lord of the Rings: Fellowship of the Ring'

The Rules

One of the more important things that worldbuilding relies on is a set of rules. How the world works, be it fantasy or science fiction, needs to be established through an understanding that’s common to the audience and the characters alike.

In a cold open, you can establish the rules a lot easier and more quickly than you normally would in a story. Whether it’s showing off the magic of a world, its limitations, or even bringing in a unique element like commonplace space travel, you’re able to use the first few minutes to introduce something that grips the reader’s attention and makes them aware of how the story world will work.

Conclusion

There are various reasons to include a cold open: fantasy and sci-fi stories benefit especially since it makes it easy to establish rules, build backstories, and even set the genre and tone of a story.

Remember, though, that the cold open is your first impression on an audience. A first impression is lasting, so you should only try to do this when you know what impression you’ll make. If you’re ready to make that impression, then it’s time you start writing your teaser and showing people a whole new world.

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post Why a Cold Open Might Be Your Sci-Fi Script's Secret Weapon appeared first on ScreenCraft.

When you're trying to think of the next big, exciting idea for a screenplay, there are tactics you can apply to get there. Be warned, not every tactic will work every time — you have to expect a few roadblocks here and there as a creator. But, the trick is finding ways to start writing more regularly, because the more often and consistently you write, the more opportunities you give yourself to produce new ideas.

These idea-generating techniques might help you do just that.

More info coming soon  |  Remind Me

“This Meets That”

One of the most common ways people explain a movie premise is by saying it's like "this meets that." You've heard it before. Sharknado is one idea that fits easily into this tactic: "It's like Jaws meets Twister." Or what about Stranger Things: it's The Goonies meets Alien. 500 Days of Summer has been described as How I Met Your Mother meets Garden State.

Some people will use this to describe the feel of a movie, while others use it to talk about the main concepts of a movie. Either way, if you’re looking to create something new, you can definitely start off with “this meets that.” It’ll send you down some interesting roads, especially if you’re writing a story like Buffy the Vampire Slayer meets The Office. Actually, never mind, you can’t have that idea. I’m calling dibs.

Dream Journals

As simple as it sounds, your mind is the best place to look for seeds to an idea. In many cases, you come up with interesting, sometimes crazy, and very original ideas from the dreams you have.

Whether your dreams are grounded ot feel like crack-fueled nightmares, you should write them down. Some of the coolest concepts have had their start in a dream or dream-like experience. Get into the habit of journaling your dreams. Many creatives do this and refer back to them when they want inspiration.

As a writer, you can choose to take these dreams literally as the basis for a new story, or you can use them as a metaphor for other story ideas. Either way, having them written down on paper will help you remember them and refer to them when you’re ready to start writing a new feature!

Art and Music

You don’t have to base your script on a novel in order to be inspired by something that already exists. Every time you visit a museum or listen to your favorite album, you’re getting a chance to come up with ideas.

What songs put an image in your mind? Is it a broken love song that makes you think up a drama plot? What pieces of art give you an idea for a story? Is there a painted landscape that makes you imagine a fantasy world?

As long as you’re not basing the story on the music or art, you can make something truly original. And because you’re building this from inspirations that moved you personally, the story you write will also be full of your raw thoughts and emotions. If you’re trying to make a moving feature film, this is a great way to start!

Conclusion

There are so many ways to get ideas in your head or on paper other than dream journaling and listening to music. Watch movies. Read scripts. Play games. Talk to strangers. Ideas can sprout out of the most mundane things. But every story eventually becomes a “this meets that," so don’t underestimate the power of bringing two ideas together to bring you something uniquely different.

However you decide to generate your ideas, don’t forget that you might be able to get more creative juices flowing if you have fellow creatives working with you. A brainstorming session or two can make things a lot easier in the long run when you're looking to bring more ideas to the table. Whatever you decide, you’ll eventually find your flow. Just don’t forget to write it all down when you’re done thinking!

———

Got a film idea you want to turn into a developed story concept? Our e-courses will help you do it in just 15 days!

Just pick your genre!

Comedy | Drama | Horror | Sci-Fi | Action & Thriller

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post How to Generate Awesome (and Original) Feature Film Ideas appeared first on ScreenCraft.

If you are anything like me, you indulge in comedy when you need a break from reality...or at any time, really.

Comedy can not only lift your spirits but it can also bring people together, which is why we need great comedies (and comedy writers) now more than ever.

So, whether you're a writer trying to break into comedy or just a bummed out human in need of a little chuckle, here are 10 comedy scripts you need to read, like, yesterday.

More info coming soon  |  Remind Me

Chewing Gum

Raunchy humor has long been a staple in British comedy and Chewing Gum is no exception. Focused on the antics of a religious 24-year-old virgin conflicted by her upbringing and her burgeoning sexual desires, this serial comedy by Michaela Coel tells us everything we need to know about the expectations of mainstream society, among many other things.

Dinner for Schmucks

There’s always that one person that you try to avoid. Someone you find irritating, like a rock in your shoe. In Dinner for Schmucks, you meet that guy, Barry (Steve Carrell), and you learn a bit about how he fits into the life of his newfound friend, Tim. Meanwhile, Tim plans to show off what an idiot Barry is in exchange for a promotion at work. But what writers learn from movies like this one is the simple fact that with a guy like Barry around, you never get what you expect. Ever.

What We Do in the Shadows

Inspired by the feature film of the same name, What We Do in the Shadows is a comedy show about vampires written, funnily enough, by Jemaine Clement (who plays Kieran in Dinner for Schmucks) as well as Taika Waititi. These two New Zealand filmmaker-actors show how anything, even something steeped in centuries of folklore and horror, can be the perfect fuel for a mockumentary sitcom about vampires.

Fargo

This Coen brothers film has long been an indicative case-in-point for dark comedy, thanks to the comedic timing and the macabre nature of the plot’s development. If you need to learn how to make a comedy that moves away from laughter-filled moments and instead uses serendipity (or lack thereof) as a dramatic tool, Fargo is a great script to study at length.

Shrek

Irreverence and fairy tales don’t always go hand in hand, but when they do, Shrek is the paragon of such combinations. The writers of Shrek (there were many) made sure that the film accentuated everything from naughty rhymes to blatant puns to even the moments of understated satire. When comedy is done with the blessing of existing, long-standing material, movies like Shrek are exactly what you get.

PEN15

With a flawless blend of serial arcs and episodic junior-high drama, PEN15 revives the old standard of adult actors as kids, but with more honesty and clear depiction of the teen awkwardness that most writers try to forget about. This show shows a writer how to be unabashed, blue, petty, and unfiltered — just like those kids you ran away from in junior high.

BlackKklansman

Real history isn’t all laughs. However, Spike Lee did his damnedest to write a tongue-in-cheek script that uses real-life events and real-life devils of America’s recent past to recreate a real story for the big screen. Lee teaches writers that you can and should teach through your writing, especially when tackling heavy material, like racism — even if it’s through comedy.

Fleabag

Serial comedies are already the future of television, and Phoebe Waller-Bridge is one of the staple writers/showrunners whose presence has become a mark of a damn good show. In her show, Fleabag, her portrayal as the titular character struggles through sex addiction, among other things. This series and its many dramatic climaxes create a brilliant and irreverent show that centers on a humanized, narcissistic rampage through the lives of others.

Bridesmaids

Blue humor, romcom tension, and a casual improv attitude of “yes, and” is all you need to create a masterpiece like Bridesmaids. This is a script where anyone above the approved age can laugh throughout, and between the cringe humor and the outright horrifying outcomes of certain lunch outings, this film has a right to be as dirty as it is funny.

Arrested Development

If someone told you “money isn’t funny”, they’ve never seen the Bluth family lose it all and then some. This cast of ridiculous characters fits the needs of an ensemble comedy show — teaching writers just how odd humans really are, and just how funny it can be to take the rich down a peg.

Conclusion

There’s always something you can do to make an audience laugh or smile. Even if they’re only acknowledging your dark humor with an equally dark chuckle, you’ve connected with your audience in one of the most powerful ways possible: through the art of comedy.

When you’ve read scripts like the ones above, you’ve equipped yourself with an arsenal of various comedic tools and story types. The rest, as they say, is up to you!

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post 10 Comedy Scripts You Need to Read and Download for Free appeared first on ScreenCraft.

A lot of people say what they're about: they tell you about their values, they tell you what their goals are in life, and they sure as hell can't wait to tell you what they've achieved lately. But, as every writer knows, talk is cheap. What counts when looking at a person is the things that remain unspoken.

Aside from ponytails, beards, a bright pair of brown eyes, or a scar across their face, other things can describe a character without them speaking. Those nonverbal ways of communicating a character's personality and such are invaluable when dialogue is scarce (or when it should be), so pay attention!

Enter Now  |  Final Deadline in 22 days

Posture and How They Carry Themselves

While not everything about a physical appearance needs to be said, there are a few visible traits that carry some significance depending on the character you're describing.

When first introducing a new person to your story, think about how they carry themselves. Not every character will require this thought, of course, but major ones often do. Are they a proud person? A dangerous person? A conniving weasel of a person? How they move about their world, and even their general posture, is one way to note this. Someone with poor posture is going to be seen as overworked or possibly a scheming type of person — while someone standing tall is going to be someone of confidence, be it your hero or your villain.

This kind of detail is just one awesome way to make your characters stand out from each other with visuals alone. 

Hygiene (Personal or Otherwise)

On the subject of character introductions, there's another nontraditional route when it comes to naming physical traits, namely, you can talk about the cleanliness of their appearance.

Are they unkempt, or do they primp and preen so much they appear to be spotless? Are they horrifically dirty (and possibly smelly), or do they give off a well-oiled aroma and aura alike? Your character might even not be a dirty person, but they keep things messy in their home. Whatever way you portray their hygiene (personal or otherwise), just know it reflects on who they are.

'American Psycho'

Depth of Emotional/Physical Reactions

Now, you don't need to do this every time, because you should let actors do their work. However, every now and then, it's useful to inform the reader on how deep an emotional or physical reaction your character can have to certain stimuli.

Does affection make your hero physically uncomfortable? Is there some kind of small inconvenience that makes your antagonist much angrier than normal people would be? Even the lack of depth can be telling, such as an antihero who seems to not react at all to the discovery of a betrayal.

Remember, people are unpredictable to a point, so if you can think of a "reason why", you have every right to surprise your audience with disproportionate actions/reactions from your characters.

Habitual Activities

Here's an easy one -- does your character do anything regularly out of habit? Some can be habitual liars, sure, but if you're shooting for nonverbal versions of this characterization method, you can go for other recognizable habits: vices like drug addictions, alcohol abuse, or smoking; virtues like habitually "turning the other cheek"; and even morally neutral habits like knuckle-cracking, gum-chewing, or involuntary recurrences like narcolepsy.

Habits and other recurring behaviors say a lot about people and help to make them stand out from others. In the end, that's all we're trying to do!

Violet Beauregarde in 'Charlie and the Chocolate Factory'

Where Their Attention Goes

Believe it or not, every character has a need. The more important characters make it known throughout the story, but everyone has something they want, need, or aim to achieve for themselves. That's why they always have their attention on something specific.

That minor character you wrote who's an obnoxious flirt? He's regularly going to be staring at other characters, looking for the next harassment case or the next bout of self-validation. Your story's hero, who's trying to keep her parents out of prison, is going to be focused on the big goal: proving her parents' innocence. That means she'll be paying attention when people mention her parents, or even when clues to the contrary start to pop up out of nowhere.

Whatever the example, the proof is in the motivation. Where their attention goes, there your characters will be also.

The Company They Keep

So you've heard the old adage, "A person is judged by the company they keep." It's true. There's never a case where it's untrue. In fact, the people you are around can always be used to decipher your very own personality to a point, whether you're like them or you're the complete opposite.

This is the idea behind getting to know the characters surrounding your character, too. A character surrounded by abusive friends may be a bully, too — or they may be emotionally stunted as a result of all that abuse. There's no one way to draw the picture because life throws all sorts of curveballs. But what you do have to draw is a conclusion: based on who your character is always around, they have X trait or Y trait. It's an exercise in psychology, so remember, there are many "right" answers.

Epithets and Strange Unique Facts

Finally, there are the things about a character that stand out thanks to their unusual nature. Give them an epithet-like descriptive quality, like Gray-Eyed Athena, whose gaze on mortals is known to be cold and calculating. A character whose face is described like "that of a human bulldog" has earned themselves such a specific, unique, and epithet-like description, wouldn't you say?

The same might be said for the villain in your story who's identified only by her gaping facial scar, or a simply unforgettable hairdo like Gary Oldman's Zorg in The Fifth Element. Hell, the accent does it too, if we're honest. He's not easily forgotten, and neither is the hook-handed pirate captain of Neverland, nor many other characters distinguished solely by a unique trait of theirs within the story.

Conclusion

It's easy to just say what you mean. It takes a lot more work to show it off. However, with this list of methods to nonverbally share your characters' traits, you've got a head start on the hard part! So what are you waiting for? Get to writing about who your characters are. And remember: show, don't tell!

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post 7 Unusual Ways to Describe Characters in Your Screenplay appeared first on ScreenCraft.

It's Sundance time! Thousands of cinephiles, filmmakers, and fest fans will be showing up virtually to catch the premieres of this year's best indie films. And even if you're unable to check out all the great titles that the film festival has to offer, you can still get a sense of what kinds of stories have caught enough attention to make it onto the program. How? Loglines.

For some of you, you’re painfully familiar with the logline; for others, this may be the first time seeing the word. Essentially, a logline is a sentence or two that sums up the most essential parts of your story -- something short, bite-sized, and makes us want to watch it. Filmmakers use loglines to market their film to agents, producers, and yes, film festivals, which makes them supremely important pieces of prose that all screenwriters should learn to master.

So, let’s look at some of the loglines used to represent the films in Sundance 2022, straight from their program. Soon, you’ll see why these attention-grabbing narratives fit the bill!

Enter Now  |  Final Deadline in 22 days

You Won’t Be Alone

Written/Directed by Goran Stolevski

Logline: “In an isolated mountain village in 19th-century Macedonia, a young girl is taken from her mother and transformed into a witch by an ancient, shape-shifting spirit. Left to wander feral, the young witch beholds the natural world with curiosity and wonder.”

The best loglines encapsulate the most pivotal hooks in a story, and the same is true of You Won’t Be Alone. The central factor of the story is this young girl’s transformation, and we already know there’s more to it as she’s “left to wander feral”. Ready to explore? That’s what a good logline does to you!

F^¢K ’€M R!GHT B@¢K

Written by Harris Doran & Emmanuel 'DDm' Williams; Directed by Harris Doran

Logline: “A queer Black aspiring Baltimore rapper must outwit his vengeful day-job boss in order to avoid getting fired after accidentally eating an edible.”

The logline for F^¢K ’€M R!GHT B@¢K is also short and sweet: It tells us who the protagonist is, what his goal is, and most importantly, what problem he’s facing — all within the space of one sentence.

Hallelujah

Written/Directed by Victor Gabriel

Logline: “After being stuck with the guardianship of their annoying, bookworm nephew, two brothers in Compton, California, have to decide if they are willing to take on the responsibility of being caretakers.”

Obviously, Hallelujah's logline follows the classic template of a one-sentence logline as well: the central conflict is introduced with a life-changing event, and the world of two brothers in Compton is the status quo that gets interrupted with this new addition to the family.

'Hallelujah'

Babysitter

Written by Catherine Léger; Directed by Monia Chokri

Logline: “Middle-aged sexist Cédric gets suspended from work after drunkenly kissing a female reporter during a prank on live TV. Stuck at home with his long-suffering girlfriend and their incessantly crying baby, Cédric teams up with his sensitive brother to co-author a confessional book apologizing for their past misogyny.”

Babysitter shows us another classically set up logline. There’s a clear status quo being interrupted by an inciting incident — a sexist is put on blast, and it spurs him into action writing a confessional book. There are two sentences here instead of one, but the goal is the same and the delivery succeeds in giving readers a clue as to what kind of movie they’re watching — a mark of great loglines.

The Janes

Directed by Tia Lessin & Emma Pildes

Logline: “In the spring of 1972, police raided an apartment on the South Side of Chicago. Seven women were arrested and charged. The accused were part of a clandestine network. Using code names, blindfolds, and safe houses to protect their identities and their work, they built an underground service for women seeking safe, affordable, illegal abortions. They called themselves Jane.”

Not only is the real-life setup offered in this logline for The Janes, but we also get to know the premise through its buildup. The final sentence is made for impact, short and sweet, as it further cements the picture of a clandestine network by giving them a single, unified alias. Loglines can be used with stylistic approaches like this to really catch the attention of a reader. Advantageous, indeed.

Night Bus

Written/Directed by Joe Hsieh

Logline: “On a late-night bus, a panic scream shatters the night’s calm, a necklace is stolen, followed by a tragic and fatal road accident. The series of intriguing events that follows reveals love, hatred, and vengeance.”

A setup, more than one main conflict, and a teasing phrase to give the reader a sense of what follows. The logline for Night Bus has it all, and accomplishes it within the space of two sentences!

'Night Bus'

Utama

Written/Directed by Alejandro Loayza Grisi

Logline: “Time seems to move slowly far out on the cracked, dry land of the Bolivian Altiplano, where an elderly Quechua couple, Virginio and Sisa, carry on a humble routine. When their grandson Clever shows up, Virginio quickly sniffs out that he is there just to convince them to move to the city. The fact that the drought has left them without water doesn’t help their case for staying.”

It may be a bit long, but there’s something poetic about the way Utama represents themselves in the setup sentence at the beginning of their logline, but the writer also introduces a more specific central conflict — the arrival and agenda of Clever, who shows up at a crucial time for the elderly couple. If you write so a reader is privy to the central conflicts of a story via the logline, that’s always a good thing.

The Princess

Directed by Ed Perkins

Logline: “Decades after her untimely death, Princess Diana continues to evoke mystery, glamour, and the quintessential modern fairy tale gone wrong.”

Most of the world knows the real-life events of Princess Diana’s life to an extent. That’s why the logline for The Princess works without having to show much of the central conflicts; we see mention of her death, and that’s a crux of her narrative, but the rest of the story focuses on the feelings surrounding that “fairytale gone wrong,” an idea that immediately sparks intrigue in readers who come across that powerful phrase.

To The End

Directed by Rachel Lears

Logline: “Stopping the climate crisis is a question of political courage, and the clock is ticking. Over three years of turbulence and crisis, four remarkable young women of color fight for a Green New Deal and ignite a historic shift in US climate politics.”

Not only does the logline for To The End offer a sense of urgency, with the mention of a literal “ticking clock”, but there is also an explanation of the conflict, the characters, and even more about the story’s appeal to audiences, like these women of color being the central players.

'To the End'

Maidenhood

Written by Xóchitl Enríquez Mendoza & Samuel Sánchez Tual; Directed by Xóchitl Enríquez Mendoza

Logline: “Catalina submits to the tradition of her people to demonstrate her purity and worth as a woman to her beloved, but her body betrays her and she fails to demonstrate her chastity.”

Again, it’s about setting the backstory in a way that informs the narrative: here in Maidenhood, we already know that Catalina’s people have specific ideas about purity and chastity. The idea that she fails to demonstrate this chastity is the main conflict, but the setup lets us know there are expectations that won’t be met as a result of the plot. Without that background in the logline, we wouldn’t know why it matters that Catalina’s “body betrays her,” but with it, we now expect something to be very wrong and at odds with her people’s culture.

The Panola Project

Written/Directed by Jeremy S. Levine & Rachael DeCruz

Logline: “Highlighting the heroic efforts of Dorothy Oliver to keep her small town of Panola, Alabama, safe from COVID-19, The Panola Project chronicles how an often-overlooked rural Black community came together in creative ways to survive.”

The Panola Project is a true story, but due to it highlighting something not so well-known, it’s crucial that this docu-short’s logline paint the setup and conflict present, which it does easily. We now know exactly what Dorothy Oliver is facing — and what she aims to accomplish within the story.

Master

Written/Directed by Mariama Diallo

Logline: “At an elite New England university built on the site of a Salem-era gallows hill, three women strive to find their place. Navigating politics and privilege, they encounter increasingly terrifying manifestations of the school’s haunted past… and present.”

Master not only evokes imaginative ideas of what will happen, but it uses the origin of the setting, a Salem-era gallows, as the fuel for those ideas. This is what has to happen in the logline if the backstory is integral to the narrative, which in this case it clearly will be. 

'Master'

Fire of Love

Directed by Sara Dosa

Logline: “Katia and Maurice Krafft loved two things — each other and volcanoes. For two decades, the daring French volcanologist couple was seduced by the thrill and danger of this elemental love triangle.”

This logline for Fire of Love not only offers an emotional connection by describing this couple’s passion for volcanoes as the third lover in a love triangle but it also accomplishes a clear outline of what we’ll see in the doc, as the two volcanologists face “thrill and danger” in their pursuits.

Shark

Written by Nash Edgerton & David Michôd; Directed by Nash Edgerton

Logline: “‘Shark’ tells the continuing adventures of Jack, who loves to prank — but in his latest relationship, he may have finally met his match.”

This short is encapsulated in both setup and central conflict all in one succinct sentence. Not only that, but the phrase “finally met his match” implies a lot about what we will see in the film, without giving it all away. Keeping audiences interested with teasing phraseology is but one smart way of finishing off a successful logline, and Shark does just that.

The Exiles

Directed by Ben Klein & Violet Columbus

Logline: “Brash and opinionated, Christine Choy is a documentarian, cinematographer, professor, and quintessential New Yorker whose films and teaching have influenced a generation of artists. In 1989 she started to film the leaders of the Tiananmen Square pro-democracy protests who escaped to political exile following the June 4 massacre.”

Documentaries often have the ability to talk about the content delivered, as well as discuss the important facts about filmmakers that make them relevant to the content. This is true of Christine Choy, whose own experiences were tied specifically to the massacre and aftermath that are chronicled in The Exiles. In other words, the story comes across, but so does the reason for this existing point-of-view — both marks of an impactful logline.

'The Exiles'

Huella

Written/Directed by Gabriela Ortega

Logline: “When the death of her grandmother unleashes a generational curse, a disenchanted flamenco dancer resigned to a desk job is forced to experience the five stages of grief through a visit from her female ancestors.”

Huella has a classic logline: In just one sentence, it carries the necessary setup, the detailed introduction of a main character, and the central conflict and concept that the film is about!

Champ

Written/Directed by Hannah Peterson

Logline: “After basketball practice one night, Genevieve reveals a dark secret about their coach to her teammates. Wielding strategy and grit off the court, Genevieve works together with her teammates to find a way to retaliate.”

The logline for Champ shares the main inciting incident and the central conflict all in one fell swoop without giving too much away: there’s a dark secret about Genevieve’s coach, and she’s revealed it. Now, with the mention of revenge, it’s clear this secret is a big one that requires action — and we’re hooked by the promise of retaliation before we even know the secret itself.

Tundra

Written by Carlos Melian; Directed by José Luis Aparicio

Logline: “Walfrido dreams of the Red Woman, whose image persists and becomes an obsession. Something tells him she is near. Over the course of a day, Walfrido will follow her trail as he travels through the suburbs of an infested city.”

Tundra's entire narrative is told in only a few sentences, as the main concept, this obsession with the Red Woman, becomes the central reason for Walfrido’s own journey as well. This is powerful, as it tells festival-goers what “Tundra” is all about, without breaking the magic and suspense of what it means to travel “an infested city.”

'Tundra'

You’ve Never Been Completely Honest

Written/Directed by Joey Izzo

Logline: “Through animation and reenactment, ‘You’ve Never Been Completely Honest’ brings to life Gene Church’s original, never-before-heard interview recounting the harrowing physical torture and brainwashing he endured at a secretive, four-day business seminar in California in 1970.”

Since this is based on a real-life event, it’s imperative that the logline reflect that in some palpable way. The logline for You've Never Been Completely Honest does exactly that by talking about Gene Church’s interview — a strong call to action for anyone looking for documentary material and such. But what’s more powerful about this is the fact that we still see an attention-grabbing conflict within the logline: that secretive seminar where Church endured torture and brainwashing. Thanks to those stark details, we’re already hooked, and ready to follow the story wherever it takes us.

Alice

Written/Directed by Krystin Ver Linden

Logline: “Alice spends her days enslaved on a rural Georgia plantation restlessly yearning for freedom. After a violent clash with plantation owner Paul, Alice flees through the neighboring woods and stumbles onto the unfamiliar sight of a highway, soon discovering that the year is actually 1973.”

The promise of the premise doesn’t happen right away, and in doing that, Alice's logline manages to manipulate the devices of suspense and surprise in a powerful way before giving the reader the most interesting reason to watch: the realization that Alice’s bondage was kept over her more than a hundred years after the abolition of slavery. Readers experience surprise here, and thanks to the impact of that surprise, they watch to learn what happens next.

'Alice'

Dual

Written/Directed by Riley Stearns

Logline: “Recently diagnosed with a rare and incurable disease, Sarah is unsure how to process the news. To help ease her friends’ and family’s impending loss, she is encouraged to participate in a simple futuristic cloning procedure called ‘Replacement,’ after which Sarah’s last days will be spent teaching the clone how to live on as Sarah once she’s gone.”

There’s not only one chief conflict in the story — there are two, as evidenced by Sarah’s uncertainty and the introduction of the Replacement procedure. But more than that, the logline we see here encapsulates the entire concept in a shorter, detailed manner, something that’s usually imperative in a sci-fi concept narrative like Dual.

2nd Chance

Directed by Ramin Bahrani

Logline: “In 1969, bankrupt pizzeria owner Richard Davis invented the modern-day bulletproof vest. To prove that it worked, he shot himself — point-blank — 192 times.”

It’s simple, straightforward, and it outlines its relevance as a real-life story. However, the biggest thing that this logline for 2nd Chance accomplishes is its call to attention: the 192 point-blank gunshots that Richard Davis endured to prove his project worked — and to get himself out of financial ruin.

'2nd Chance'

Conclusion

There’s a lot that can make a logline stand out to a reader, and to a festival. It’s a competitive world out there, especially for filmmakers and screenwriters who want the attention their projects deserve. That’s why it’s important to learn lessons from the loglines that do catch people’s attention, and while no logline is “perfect”, the best ones are those that make a reader think, that make them interested, and that, in the case of a festival, make them watch the film.

If you can do that by putting the best elements of the above into practice, you’ll be well on your way to the best possible loglines your stories can have!

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post 22 Loglines from This Year's Sundance Films (and Why They Got Festival Attention) appeared first on ScreenCraft.

If you’re a fan of the horror genre, then you are at least a little familiar with the idea of rules. If you’ve long awaited the return of the iconic Ghost Face Killer in the newest Scream installment, you’re probably more than familiar with “The Rules”, with a capital “R”. If you’re new to the concept, though, we’ve got you covered. (Beware: In my usual form, some movies here will be spoiled for you — unless you watch them first.)

Writing your own horror script? Get actionable notes from our pro horror genre readers!

What Are “The Rules”?

The Rules are semi-permanent laws of survival. They’re what separates a “Red Shirt” from a “Final Girl” — in other words, what keeps the person destined to survive a horrific ordeal from becoming a tasty snack in the cold open. 

Some Rules have stayed true and withstood the test of time, like the fact that following disembodied voices or calls for help is almost a surefire way to get shredded, stabbed, or eaten. However, rules are, in famous reiteration, “made to be broken.” While some laws of the horror genre seem immutable despite this advice, we’ve seen many that have fallen by the wayside or even transformed.

The Old Rules

As established by the slasher genre in particular, Scream and other meta horror flicks (horror that makes a commentary on the genre) point out a significant pattern that was followed to the letter, making the survival of such a movie predictable.

Rules about never having sex, never drinking or doing drugs, and never saying the words “I’ll be right back” became a contextual message within Scream (1996), and the sequels to this first film inspired other Rules as well, especially those that had to do with survival.

'Scream' (1996)

The Modern Rules

Now that the golden age of slasher films is over 35 years past, horror fans have noticed the shift. There are new rules in place and things you thought you knew are no longer likely to save you from the devils that stalk the newest horror films on the block.

Even the release of Scream (2022) has people asking, “What are the new Rules?” In other words, How do you successfully survive a modern horror movie?

Let’s find out.

Rule 1: You’ve Already Seen The Killer

The most blatant message from Scream 2022 and other modern horror flicks is something you can actually find on the movie poster: “The Killer is on this Poster.” Okay, so it’s a little on-the-nose, but that’s what the Scream franchise is known best for.

The Rule here is simple: by the time the action really starts picking up, there’s a good chance you’ve already seen the Killer. In a whodunnit like Scream 2022 or Devil, it’s someone in the ensemble. In movies like Hereditary, there’s a more nuanced approach, with us seeing the demon who shall remain nameless (I’m not writing his name here, you can’t make me do it!) in the form of a possessed little girl.

In either case, it may not be clear right away, but by the end of the first act, you should expect that you’ve already seen the person (or thing) responsible.

'Hereditary'

Rule 2: Expect Death To Have A Purpose

It’s not always senseless killing. Yes, the Xenomorph in Alien was smart and calculating, but the killing didn’t have a pattern. In new horror, though, there’s a method to the madness, and in most cases, it’s because someone gets in the way, or because the Killer in question is sending a message. What kind of message? Well, it depends.

The Killer might use the first victim to bait another; the Killer might have drawn a connection between all the victims — think Final Destination. For a more modern example, though, you might think of The Witch: the disappearance (and implied death) of Samuel, the infant son, leads to a horrific breakdown of familial trust. This is revealed later to be all a function of Satan’s machinations — a plot designed to get Thomasin to sign her name in his book and become yet another witch in his grasp.

If you see a reason for you to be killed in a horror movie, you likely will be. Red Shirts are still a thing in some cases, but generally, there’s more to it than the random, violent deaths we saw in the ’80s.

'The Witch'

Rule 3: You Have To Think Meta

This may feel like a “gimme” at this point, but it’s still worth mentioning: before movies like Scream 1996 called attention to “The Rules,” it was mainly unspoken — characters didn’t acknowledge the Rules, because they weren’t acculturated to the dominance of horror film in pop culture. In other words, before the advent of Scream and movies like it, characters in horror movies didn’t fully acknowledge the patterns that we know exist in horror movies.

This predictability became a part of a meta-narrative as soon as characters started using it to their benefit. Jeepers Creepers is a fine example of the acknowledgment, although the characters don’t use this knowledge to keep themselves out of trouble: 

“You know the part in horror movies when somebody does something really stupid, and everybody hates him for it? This is it.” 

Be it Jeepers Creepers or movies that came well afterward, the idea is the same: by knowing the pitfalls of the genre, you understand the Rules to an extent. By understanding the Rules, you keep yourself from dying. Every time you see someone say, “Oh no, we’re not doing that, that’s how you get killed in a horror movie,” you’re seeing an example of a character who’s thinking in a meta-textual (or “meta”) way. And by thinking “meta”, you make yourself less likely to get killed.

'Jeepers Creepers'

Rule 4: Be Wary Of The One You Trust The Most

From social-psychological horrors like Get Out to the slasher film “love letter” reboot, Halloween (2018), someone is gutted thematically (and often literally) when they come to expect a trustworthy relationship with a specific character. If you’re in a horror movie, it’s best to have a healthy wariness of most people you come across. However, in a modern horror movie, it’s even more prudent to keep an eye on the person you trust the most.

As Scream 2022 puts it, never trust the love interest. While most films don’t adhere to this literally as the “love interest,” Get Out is one example of that particular situation being true. Rose poses as a loving sounding board for Chris’ misgivings but is later revealed to be in on the devious happenings in and near the Armitage homestead.

But in Halloween 2018, it’s not a love interest you have to watch out for: it’s the expert, the “Wise Old Person” of the film, Dr. Sartain. Whoever you expect to trust the most in a film is probably going to be the one that “gets” you in a modern horror film, so if you feel safe with someone — start wondering if you really are at all.

'Halloween' (2018)

Rule 5: Watch Out For A Passing Torch

Again, you can think of Thomasin from The Witch, or Peter from Hereditary, wherein these major characters become the “Thing to be Feared.” The Passing Torch of a horror movie is when a major character who is definitely not “the Killer” takes up the mantle and begins killing or becoming an accessory to the killing of other major characters. This is a bit different from the surprise ending, which has long been a staple of horror.

From movies like Paranormal Activity to the original Fright Night, stories old and new display a major character “turned evil” (a remix of the “evil returns” surprise ending). But in the Passing Torch, the major character that “turns evil” is a major plot point, possibly even a full-on endgame, but not just a stinger to the main story.

In a horror movie, if you see a character near you receiving special treatment, beware: it could be a Torch being Passed, and it might not end well for you.

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post The New Rules: How to Successfully Survive a Modern Horror Movie appeared first on ScreenCraft.

Here are the 20 best films we saw this year — films that if watching them is not on your resolution list, then put ‘em on that resolution list!

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Encanto

One of the latest Disney musicals is an animated fantasy story about a Colombian family who possesses magical gifts. That is, all except one ordinary child, Mirabel, who may be their last hope when the magic of the Madrigal family is endangered.

Summer of Soul (...Or, When the Revolution Could Not Be Televised)

In the summer of 1969, the Harlem Cultural Festival was a Black pride event whose impact is felt today thanks to the documentary, Summer of Soul. This feature showcases largely forgotten and lost footage of the legendary festival, most of which has remained unseen (until now) by the general public.

Censor

If you’re down for some psychological horror, this film by Prano Bailey-Bond is sure to get your attention. The protagonist, Enid, is a film censor who discovers strange similarities to her troubled past in one of the films she screened. The story then follows Enid as she tries to connect the dots between her trauma and what she’s just seen.

Dune

The first film of a two-part adaptation, Denis Villeneuve’s love letter to Frank Herbert’s mystical interplanetary fantasy is one of grand proportions. In it, we witness the events that ensue when a galactic royalty dictates one family take charge of the ailing source of an all-essential spice, a desert planet called Arrakis. If you’re one for fantasy sci-fi, this narrative (and its coming continuation) are well worth watching.

Read More: Pitfalls of Epic Adaptation: Why 'Dune' Was So Hard to Get Right Onscreen

Sound of Metal

Technically it may have come out a bit earlier to start, but box offices were still selling tickets to Sound of Metal at the beginning of 2021. The story captures the visceral inner conflicts of a drummer whose hearing starts to deteriorate; even as he starts to adapt to imminent deafness, not everything goes his way.

Palm Springs

Did you miss having a time loop movie to enjoy? Did you miss having a time loop movie to enjoy? Did you miss -- I’m just kidding. Palm Springs brings romance and nihilism into the equation as two happenstantial lovers stuck in a grueling time loop try to pry their way out of the meaningless cycle.

The Mitchells vs. The Machines

Another animated film about family, this post-apocalyptic romp is focused on a forced family road trip as a last-ditch effort to connect before their film school daughter is gone to be with “her people”. During the road trip, robots take over, and it’s now up to this hapless household to save humanity.

Titane

This French absurdist horror film explores the outcome of Alexia, a showgirl whose traumatic past has led to a fetishization of cars and a titanium plate in her head. After a crime spree and an unexplainable change in her body, she poses as a mourning firefighter’s long-lost son.

The Power of the Dog

Based on Thomas Savage’s 1967 novel, Jane Campion's western drama revolves around the cruel and unusual behavior of a cowboy named Phil, whose kindhearted brother marries a widow, blending the two families together. Phil’s actions toward the rest of the family include demeaning acts and selfishness, all of which come to a head in various ways for each family member.

Pig

A chef-turned-recluse has made a living hunting truffles. He’s assaulted and his prized pig, the source of his livelihood, is stolen from him, and his search for her ensues in revelation after revelation about the people that this recluse has kept in his company from the past and present alike. 

Shiva Baby

What if chaos, frustration, and panic ensue while you’re grieving with your family? That’s Shiva Baby. From the discovery that her sugar daddy is attending the observance to navigating the very real social anxieties that come with it, Danielle’s story is relatable for many, with its very human take on things like grief and romance.

I Carry You With Me

Romance and drama go hand in hand for this next film: I Carry You with Me came to U.S. theaters in June 2021, and its narrative about two lovers develops over decades as a chef leaves his soulmate in Mexico to start a career in New York.

Candyman

I hear you’re looking for Candyman… buddy. If so, you’re in luck. The sequel came this year, directed by Nia DaCosta and co-written by none other than Jordan Peele, the writer of the 21st century’s number-one screenplay. This follow-up to the original horror flick revisits the same neighborhood, decades later, to delve into the origins of the legend himself.

Minari

This drama written and directed by Lee Isaac Chung follows the lives of a South Korean family who has immigrated to the U.S. in the 1980s. A semi-autobiographical look at Chung’s own life, Minari shows the struggles of starting a farm in Arkansas to grow and sell Korean produce.

Nomadland

This narrative by Chloé Zhao is based on the nonfiction book, Nomadland: Surviving America in the Twenty-First Century. Its drama follows a fictional nomadic worker, but a number of real-life nomads also make appearances within the film, which showcases this “houseless” culture in a way never brought to the screen before.

No Time To Die

Said to be the “Bond movie to end all Bond movies”, this epic spy thriller is the last to feature Daniel Craig as 007. It follows the legendary spy as he comes out of retirement to find a conspiring villain armed with new technology that could spell world disaster. If you want to watch Bond save the world yet again, watch this film immediately, then destroy this message.

Raya and the Last Dragon

A monstrous host of spirits from an ancient past come back to haunt the humans of Kumandra, and only the dragons of old knew how to stop them. The problem is, there’s only one dragon left, and a warrior named Raya has to find her before it’s too late. 

Lamb

A newborn unlike any they’ve ever seen comes into the household of María and Ingvar, and they couldn’t be happier. However, not everyone is happy to see the miracle of life taking place on this secluded Icelandic sheep farm. Watch the horror-mystery Lamb to learn why.

In The Heights

Based on the musical of the same name written by Lin-Manuel Miranda and Quiara Alegría Hudes, this story explores the close-knit Washington Heights neighborhood in Manhattan. It also centers on the dreams of local shopkeep Usnavi and the events that lead to him discovering where he truly feels at home. 

Judas and the Black Messiah

This historical drama delves into the story surrounding Black Panther Party chapter chairman Fred Hampton, as well as the man the FBI hires to serve them intelligence from within the chapter. As the informant becomes more embedded in the Party, his loyalties and his life quality start to change dramatically.

Conclusion

It’s important to have something to remember each year by, and if you’re using movies like these, you’re sure to remember 2021 fondly. If nothing else, you’ll have 20 great movies to start the new year with. What are you waiting for? Get the popcorn ready!

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post ScreenCraft's Top 20 Best Films of 2021 appeared first on ScreenCraft.

As the 21st-century rolls on, we have seen some phenomenal stories — and storytellers — speak to our changing times. We can see this on full display in the WGA's recently released 101 Greatest Screenplays of the 21st Century, a list voted on by a host of industry writers in film and television. This is truly something to marvel at: a pure and unadulterated finger on the pulse of the industry as decided by guild members from all over.

There's a little bit of everything here: a myriad of genres, styles, and subjects, but the common thread among each selection is the impact they've made on us over the past two decades. In fact, many writers have actually made their impressions on us more than once. Alfonso Cuarón, Quentin Tarantino, Greta Gerwig, Charlie Kaufman, and Paul Thomas Anderson all have repeat screenplays in this list, but Joel and Ethan Coen show up a whopping four times, proving they've got a presence in cinema these past 21 years that can't be denied!

This list features some great groundbreaking narratives, as well as those that are truly heartwarming, but one has proven to be a favorite of the most voters — a number one screenplay to stand above the rest. We'll let you get to Number One on your own, but a fair warning: if you want to read the winner for yourself, you probably shouldn't do so in the dark.

Okay, let's get to it!

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The WGA's 101 Greatest Screenplays of the 21st Century (*so far)

1. Get Out
2. Eternal Sunshine of the Spotless Mind
3. The Social Network
4. Parasite
5. No Country for Old Men
6. Moonlight 
7. There Will Be Blood
8. Inglourious Basterds
9. Almost Famous
10. Memento
11. Adaptation
12. Bridesmaids
13. Brokeback Mountain
14. The Royal Tenenbaums
15. Sideways
16. Lady Bird
17. Her
18. Children of Men
19. Lost in Translation
20. Michael Clayton
21. Little Miss Sunshine
22. Once Upon a Time in Hollywood
23. Promising Young Woman
24. Juno
25. The Grand Budapest Hotel
26. The Dark Knight
27. Arrival
28. Jojo Rabbit
29. Inside Out
30. The Departed
31. Spotlight
32. Whiplash
33. Up
34. Mean Girls
35. WALL-E
36. Pan's Labyrinth
37. Inception
38. Slumdog Millionaire
39. Before Sunset
40. In Bruges
41. Mulholland Dr.
42. A Serious Man
43. Amélie
44. Toy Story 3
45. The Favourite
46. Zodiac
47. Gladiator
48. The Incredibles
49. Knives Out
50. Ex Machina
51. Birdman or (The Unexpected Virtue of Ignorance)
52. The Lives of Others
53. Nightcrawler
54. 12 Years a Slave
55. The Big Short
56. Moneyball
57. Black Panther
58. You Can Count on Me
59. Boyhood
60. Finding Nemo
61. The Hurt Locker
62. Roma
63. The Wolf of Wall Street
64. Hell or High Water
65. Manchester by the Sea
66. A Separation
67. Spirited Away
68. Mad Max: Fury Road
69. Booksmart
70. City of God
71. Spider-Man: Into the Spider-Verse
72. Inside Llewyn Davis
73. The King's Speech
74. Django Unchained
75. Ocean's Eleven
76. The Lord of the Rings: The Fellowship of the Ring
77. Shaun of the Dead
78. Erin Brockovich
79. Call Me by Your Name
80. Three Billboards Outside Ebbing, Missouri
81. The Lobster
82. The Prestige
83. Midnight in Paris
84. The Master
85. Argo
86. Y tu mamá también
87. Phantom Thread
88. Superbad
89. Little Women
90. BlacKkKlansman
91. The Farewell
92. La La Land
93. Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
94. The 40-Year-Old Virgin
95. Ratatouille
96. Lars and the Real Girl
97. Nomadland
98. Winter's Bone
99. O Brother, Where Art Thou?
100. Legally Blonde
101. Silver Linings Playbook

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post Which Film Topped the WGA's List of 101 Greatest Screenplays of the 21st Century? appeared first on ScreenCraft.

As you start to notice your year coming to an end, you might also be under the impression you haven’t watched enough films to meet your yearly goals! So, to keep your resolutions before the new year, check out some of the great short films available to watch online right now -- including heart-wrenching stories of loss, Adam Sandler as a street performer, and Lulu Wang's Film Independent hit project. And who knows -- maybe they will inspire you to write your own short film!

Read More: 6 Features That Started Out as Short Films

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Are You Still There?

Caught out with a dead battery in her car, a dying phone, and no way to get help or to stay cool in the blistering heat. Safa is reminded of hard losses as her normal day becomes less normal pretty quickly, and all she can do is wait — and as you watch, viewers easily get a feel for what she’s been through.

The Jog

In this powerful and incredibly short film, a man who learns he’s been accepted into the police academy finds himself looking forward to a new prospect. Then, he notices something amiss in his own neighborhood, and what happens after he notices this gives audiences a chance and a reason to really think.

Goldman v Silverman

This short’s documentary-style shooting showcases two street performers giving vastly different experiences to the people of Times Square. What Silverman and Goldman do to each other’s acts tells a rich story of rivalry, and its approach to the comedic narrative is palpable, to say the least.

Don’t Go Tellin’ Your Momma

Inspired by the “Black ABCs” curriculum tool created by 1970s Chicago educators, this autobiographical experimental film explores terms relevant to the Black American experience, and more specifically to the personal childhood and coming-of-age musician Topaz Jones tries to capture in this audiovisual immersion.

Pumzi

In a world where the future has been ravaged by World War III, Africa’s biggest concern is water, the most precious and most rationed natural resource. Between using water as a controlled substance and the mysterious origins of a certain soil sample, there’s a lot that stands out about this film’s worldbuilding — and a lot of questions that need to be answered by its sci-fi premise.

Touch

This true story builds off of the struggle of a Chinese family whose patriarch’s faux pas resulted in a child molestation charge. His failure to understand American values and what defines inappropriate touch puts him at odds with his son and with the world at large — and it sheds a close light on what shame looks like in different cultures.

Colonial Gods

In this short film by Dee Rees, a Nigerian man recounts memories of a businessman who’d once taken him in to work and live with him, remembering their complex hardships and the man’s fight against displacement in a crumbling Wales community. Perfect for anyone who wants to feel a whole lot of feelings in the space of thirty minutes!

We Forgot To Break Up

It’s hard to connect with people you once called friends; it’s even harder when they’re famous musicians now, and when you’ve disappeared without a word for years. It only gets more loaded when everyone takes the past out on you. This powerful film is all about that experience for Evan, whose life has changed a lot since he last saw everyone.

Feeling Through

Tereek’s life is harder than it looks: he’s a teen without a place to call home. However, he’s come across another person who’s missing something. Artie, a deaf-blind man he meets by chance on the streets, puts his life in the hands of Tereek for a life-changing night that proves heartwarming for audiences everywhere.

Purl

This Pixar short is a ball of fun as well; this ball of yarn named Purl struggles to fit in at a workplace full of bros, really giving an interesting spin on the idea of what it means to feel left out — and what it means to make someone feel like a part of the team.

Conclusion

If you’re looking for a short that can break your heart or make you laugh a little, there’s something here on this list for you. If you’re looking for all of the above, you know what to do: run the gamut, and have a great time with all ten of these shorts!

Read More: What Can We Learn From the 2023 Oscar-Nominated Shorts?

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post 10 Great Short Films You Can Watch Online Right Now appeared first on ScreenCraft.

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Dan in Real Life

There’s nothing like falling for someone, and realizing she’s dating your brother. Dan in Real Life is a series of moments surrounding this same dilemma for Dan, a middle-aged father of three. As a writer, he’s mortified to learn at the dinner table that his brother used his own writing to win this girl over, and as a result, he can’t even form a coherent follow-up in conversation.

This scene is packed with heartfelt sympathy as well as a moment or two of secondhand embarrassment, so beware!

'Dan in Real Life'

Guess Who’s Coming to Dinner

The whole film is about a family dinner, but we don’t actually get to that part until the end. Why? Because this rom-com is geared toward the pre-dinner awkwardness that overcomes a white family in the 1960s when met with the unexpected revelation that their daughter’s fiancé is black. The patriarch addresses both families and the couple with a clear message: “These two should marry because they love each other, in spite of the society they’re up against.”

The speech ends with a request for dinner, and soon the whole family sits down to the end credits and breaks bread together. Talk about a dinner scene that works to show the theme of the story!

Edward Scissorhands

The stillness of an awkward family dinner is broken at first by the clinking of metal as Edward, the titular character, uses his bladed hands to try and have a normal dinner with a normal family. The difficulty is an underscore to what he goes through in other parts of the film, but everyone’s attempt to treat him normally (apart from Kevin) makes it clear he’s primed for acceptance among some people.

Of course, like all strange characters, he has trouble fitting in elsewhere anyway -- especially thanks to his scissorhands. But Peg’s family treats him as normally as they can think to, and it’s as heartwarming as it is comic.

Back to the Future

Ever relish in that moment in a comedy where everything is meant to be a nod, a reference to something else specific and possibly earth-shattering? That’s Back to the Future for you! The dinner scene in the Baines family home is one of those moments, rife with anachronisms to tell you exactly how out of his depth Marty really is.

From talking to his imprisoned uncle Joey as a baby to avoiding the advances of his young, lovestruck mother -- there are so many ways to get the viewer’s attention and tell them the same thing: Marty’s not in 1985 anymore.

Mrs. Doubtfire

A classic dilemma plays out in the “out to dinner” scene of Mrs. Doubtfire, where passionate voice talent Daniel Hillard is forced to play out his alter ego in the same night as he woos his boss’s boss for a potential career opportunity -- as well as spending time with his estranged family for his ex-wife’s birthday.

The hilarity of this situation ensues when Daniel switches between being himself and being the beloved nanny for his kids, Mrs. Doubtfire. Needless to say, things don’t go according to plan, and his cover winds up being blown. What it does go to show is just how much a father will do to earn time with his family after losing them.

The Nutty Professor

Sherman Klump is a man whose discomfort with his size is a part of the gag for the whole movie, and his family dynamic demonstrates exactly why he’s incapable of escaping his current situation, even though he wants to.

Sherman’s main conflict and even the concept for the story, his genetic research, play a part in the discussion amidst an escalating use of fart humor and tongue-in-cheek references to health as a whole. As if that weren’t enough, it also serves as a showcase for Eddie Murphy’s caricature acting, as he takes on multiple disparate roles at the dinner table just for laughs.

A Christmas Story

In this household classic holiday film, Ralphie’s family has dinner together multiple times that we see. However, the scene where Randy refuses to eat his meatloaf is especially interesting for the narrative, as it’s indicative of the family dynamic, as punctuated by Ralphie’s narration stating that his mother had not had a hot meal for herself in over 15 years.

It demonstrates Mrs. Parker and The Old Man’s differing parenting styles, their interactions with the children, and at the end, it shows us what kind of things can pull the family away from the dinner table: namely, winning a major award.

Howl’s Moving Castle

Sophie’s trying to break a curse on herself, but along the way, she becomes a part of Howl’s family -- which includes a fire demon who’s handy in the kitchen. The four eating together may not be a conventional family, but Sophie starts to prove she belongs with them pretty early on, as is evidenced by Calcifer starting to obey her when she takes to cooking bacon, eggs, and tea for the group.

For this gorgeously illustrated scene, it may all be breakfast food, but it’s in the spirit of a family dinner -- that’s for certain!

The Incredibles

The Incredibles are a family of superhumans, and with that premise comes a lot of playtime. Whether it’s introducing the struggles of “acting normal” or all-out sibling warfare that takes place between Dash and Violet, there is an opportunity for not only showing off these characters’ powers but also giving us a taste of what’s missing in their lives.

This is especially true with Bob, Mr. Incredible himself, whose interest in certain newspaper articles indicates what he’s missing in his life most of all.

Hook

This dinner scene is pivotal for a number of reasons, as it’s the way that Peter learns to embrace his childlike side once more -- first by taking to the immature insult battle with Rufio, and eventually to use his replenished sense of imagination, turning an empty table with no food into the battleground for an epic food fight.

If there was any way to watch Peter Pan (Banning) return to himself after becoming a mirthless workaholic, this is one of the most creative and enjoyable ways to do it!

Conclusion

It’s not about what’s for dinner -- it’s about who’s there having dinner, and possibly what happens while you’re there. Whether you witness a heartwarming speech, a wordless sup between friends, or a chaotic mess of a meal where “family” means picking on each other quite a bit, these scenes are meant to convey something important in each story -- and they each feel real for one reason or another.

From sibling rivalry to embarrassing extended family, you’re going to be inspired at your dinner table, too. So, if you pay attention, you might just get something to write about this holiday season.

Read More: 15 Indigenous Movies You Need to See!

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post 10 of the Best Family Dinner Scenes to Watch This Thanksgiving appeared first on ScreenCraft.

I know, your idea is special. It can't be broken down into such bare essentials, because there is so much more to it — right? Wrong. Every story has a heart, and that's what the logline gets at. Essential for pitching, for establishing story goals and structure, and even for outlining a story in the first place, the logline is the building block of storytelling. It's the core of your idea, the basic premise, put into one sentence. It's also an invaluable tool: tough though it may be to master, you need your logline, and you need it bulletproof. 

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Why Should A Logline Be Bulletproof?

More than anything, your goal with any producer, an executive, or even just some fellow writers is to use their time wisely. Yes, of course you want to get something out of it: a pitch meeting, a sale, a brainstorm session. But industry professionals value their time — and that means you should, too. That's why having a logline as one terse sentence that succinctly describes your story is the perfect way to communicate your idea with someone who has little time to spare.

If the smallest, most condensed morsel of your idea catches someone's interest, then they'll later ask for a one-sheet, a treatment, or even the script. But don't bombard them with that all at once. Get them interested first, using a logline that stands out and feels just as compelling as your story does.

The other reason you want a bulletproof logline is this: the overall story is informed by one central premise, which has one central character/group of characters and one central conflict within a specific world. If ever you find that your story, vast as it may be, has lost its direction, its focus, then the logline is a great place to remind yourself what the main focus should be. This is also why loglines can serve as the best starting point for outlining a story in the first place.

To benefit from these uses, though, your logline needs to be in its best possible form. To accomplish that, there are five questions you can ask yourself — and five easy fixes that can be applied in the case that something isn't optimal just yet! 

5 Steps to Fix Your Logline

Does Your Logline Have A Character Taking Action? 

Whatever story you're trying to tell, there's a chance you could start to get lost in the world you've created. However, without making sure that you have a protagonist in your logline, it's technically incomplete. But a story is never just about a person — it's about what that character does, and this is still true with the logline, as a condensed form of your story.

So, what's the big action that your hero takes? Do they embark on a quest to save the world, or do they enter a contest to win their dream home? Whatever it is, it's an action that is the centerpiece here, not just a passive character. To make sure you're using the best possible version of your logline, see to it that your protagonist is actively accomplishing something within.

Does Your Logline Define The Main Conflict? 

Piggybacking off the previous question, there's another major component to any story premise: the main conflict. The thing that your protagonist acts against, the biggest obstacle they have to overcome, is a major part of the story: the impending alien invasion, the descent into madness, or the ongoing dispute with awful neighbors that drives the story forward.

Does Your Logline Tell The Whole Story? 

Here’s a good one to really think about: because you’ve focused on condensing your story, you may be under the impression that only a partial teaser of a sentence will do. That’s not the case, though, because while it can be used to pitch ideas and tease someone into learning more, the logline is meant to completely reflect the idea of your story.

Many writers are tempted to make their sentence fit the setup of their story, rather than making it fit the story’s main premise. However, you can fix this by determining what’s most important: The main features of your logline should include a setup, of course, but there will be a mention of how things escalate, too. This completeness, the cause and the result, are exactly what the whole story is about.

So, if your story’s about a kid who gets bitten by a radioactive spider, that’s just how the story is set up to begin. The subsequent part, what happens next, ties into the main conflict of the full narrative. If you’re currently stuck only giving people the setup, make sure this second part is there as well, and make it compelling!

Does Your Logline Show Why Your Story's Unique?

Anyone can write about werewolves, dinosaurs, or a man being buried alive. It’s how this story is told that’s different: whether it’s because the concept is unique (a theme park full of live dinosaurs) or because the storytelling itself is unique (a contained movie within a live man’s coffin), your logline should capture it in some way.

If it’s how your concept is different, make sure those unique traits show in the logline plainly. If it’s how your storytelling is meant to be different, demonstrate your writing voice and make it clear why it’s unique enough to make the story feel fresh. Whether that’s through a sick sense of humor in your logline (perfect for a dark comedy) or an emotional connection established within seconds (perfect for a drama), you’ll find your best possible route for making people care about your story by affecting the logline just so.

Is Your Logline Easy To Read?

Here’s a simple one to answer: if your logline is too long, too dense, or too busy, it will not be easy to read, and your story’s not going to get across. That’s why it’s important to keep your logline to one sentence in almost every case. Sometimes two sentences might be warranted for a more complex film (most are not as complex as writers think they are), but these should not be long at all.

Many people even recommend a word cap, often around 30 words. Here’s the thing: you may not have to keep to this expectation, since it’s mostly arbitrary. As long as you’re not writing more than a sentence (possibly two in rare cases), you should be fine. This sentence, though, should not have anything unnecessary written into it. If someone can understand the goals, the conflict, the world of your story without a certain phrase or detail, that phrase or detail can be removed. Making sure your logline is succinct by doing so is imperative to keeping it entirely useful to a reader, as overlong or overly busy loglines will distract from the main point of a story.

Examples of Great Loglines

Learning the art and craft of writing a logline is essential for screenwriters — but it's no easy task. You need to condense your screenplay's concept, genre, story, characters, and plot to into just one to two sentences using just twenty-five to fifty words.

And what better way to see learn how it's done than to read loglines from the best movies out there! Check out our blog post where we list 101 of the best movie loglines screenwriters can learn from.

Conclusion

Your logline needs doctoring before you shop it around. It’s your first impression: it’s the foot in the door that gets someone to eventually read your script. If you’re trying to show people your script before sending them your logline, you’re doing it wrong. People in the industry value their time, and they won’t read a script that’s handed or emailed to them on a whim. They will, however, read what they’re interested in. And that’s why a logline is so useful. If you can get them to read a sentence that sums up your story, you have a better chance of getting them interested off the bat. And after all, you want people interested, right?

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post How To Fix Your Logline in 5 Easy Steps appeared first on ScreenCraft.

You’ve heard of plot twists, and you may have even seen some surprises in a story that qualify. Whether it’s to find out some events may not have been real at all (American Psycho) or to learn that the protagonist is just a victim of a huge ploy (The Village), some of the most satisfying twists in cinematic history are those that happen at the end of a film. But before appreciating some of the best examples out there, we have to look at what defines a twist ending.

[Warning: Spoilers ahead!]

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What Is A Twist Ending, Really?

If a plot twist is the sudden and absolute change in direction of a narrative, then a twist ending is when the plot twist occurs at the end (i.e. the dramatic climax or later) -- essentially creating the feeling that not half the story, not a single act, but the entire story has shifted in perspective with a reveal of some information. This information changes the fundamental nature of the story itself, and often, even the concept that the audience believes is present.

However, not all twist endings are created the same way; some reveals relieve a sense of suspicion and/or disbelief, while others force one where it didn’t previously exist. Whatever direction the narrative is headed in, a good twist ending will reverse that direction, shift the perspective, and move the audience through revelation and emotion.

Case Studies

Some of the most timeless, iconic examples of this can be seen below:

Psycho

One of the classics that made twist endings a popular part of the thriller and horror genres, Psycho is created from the premise that an unstable, murderous mother of a hotelier (Norman Bates) garners enough attention to warrant arrest.

However, when the time comes to deal with Norman’s mother, it’s revealed that she’s been a corpse in Norman’s house for some time -- and that “Mother” is actually Norman’s own alter ego, a personality that takes him over to exact vengeance on women who make Norman feel arousal.

The Sixth Sense

A psychologist for children helps one of his patients process what seems to be a sensitivity to spirits in the afterlife -- in his own words, the kid (Cole Sear) tells the psychologist, Dr. Malcolm Crowe, that he in fact can “see dead people”.

While Crowe helps him with this, we see the doctor also experience some distance and seeming marital issues between him and his wife, but when it all comes to a head, he discovers that he’s been missing one key detail: Crowe himself has been dead for some time, and Cole can see and talk to him for that reason alone.

Fight Club

This story surrounds an insomniac (The Narrator) whose depression and severe boredom start to ebb away only after meeting Tyler Durden. Tyler and The Narrator start an underground fight club to fight their boredom and to make themselves feel something in an otherwise mind-numbing world, but a woman named Marla starts to come between them.

The big twist is that Tyler never existed; as a figment of The Narrator’s imagination (and a severe symptom of mental illness), his nonexistence is a produced necessity that actually had been hinted at through several moments in the film before the actual reveal.

The Others

When you sit down to watch a film about a family tormented by ghosts, you never expect the family to be the actual ghosts. But that's exactly what you get with The Others.

Grace and her two children, who live in a sprawling estate darkened by curtains thanks to the children's photosensitivity, begin to see and hear strange things after hiring three new servants. Eventually, the family is convinced they're experiencing a full-blown haunting, especially after discovering the headstones of their servants in the nearby cemetery. Whoa... big twist, huh?

No, the real big twist comes when Grace encounters an old woman in the house wearing one of her daughter's dresses — the woman turns out to be a medium speaking to her through a séance, and Grace realizes that she and her children are dead and have been the ones haunting the house all along.

Planet of the Apes

Every time someone crash-lands on a planet, you expect that they’ll experience a very different world from what we’re used to. This is definitely the case in Planet of the Apes, where the crew that lands on the titular planet discover it’s actually ruled by talking apes. This may seem like a big surprise on its own, but of course, it’s the main concept. The actual twist that comes later is a bigger one: these humans have crash-landed on none other than planet Earth, which has since been overrun by these apes to this distant future date.

What They All Have In Common

There’s a lot to a twist ending, such as what the reveal means to the audience: Is it a new identity, an uncovered motive, or a completely different perspective on the movie altogether?

However, all great twist endings, the ones that live up to their name, have one thing in common: The stories are great, riveting, interesting, all without the twist ending already. A twist ending is the cherry on top. The Sixth Sense is meant to be emotionally evocative and compelling even without the news that Crowe is actually dead; it just makes it more powerful to learn that fact. In the same way, the concept for Planet of the Apes is riveting on its own, but the revelation of where they actually are makes for an even bigger impact on the audience, intellectually and dramatically.

Conclusion

Not every story benefits from such a twist ending; some are meant to be genuine, taken as they are. Others, though, make for great opportunities to exercise the element of surprise, and, in cases like David Fincher’s Fight Club, even offering tidbits throughout the story to tease what you’re going to reveal at the end.

Whatever you plan to do, though, remember: it’s all about the story first. Build your sundae, and then put the cherry on top. That’s what truly makes a great twist ending.

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post What Makes a Great Twist Ending? A Look At 'Psycho', 'The Sixth Sense', & More appeared first on ScreenCraft.

Here’s the deal: genre is a fun little monster to contend with all on its own, and to define it in one specific trait will often give you nightmares. However, there are some age-old tenets to both the horror genre and the thriller genre that have stayed true throughout the years (except where the lines blur and a few stories blend the two in a near-flawless way). But for us mortals, these rules of thumb regarding the differences between both horrors and thrillers will need to suffice.

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“On The Edge Of Your Seat” vs. “Have To Change Your Pants”

So, maybe you don’t crap your pants every time. It should still be clear which is which: in a thriller, you’re meant to be held at arm’s length by the storyteller the whole time. Suspense is the name of the game, and if you’ve read my article on surprise, shock, and suspense, you’ll know what I mean. However, in a horror film, the emotions that are built upon are feelings of dread, impending doom, of terror. In other words, you’re trying to scare the pants off your audience. Whether you do that with surprise, shocks, suspense, or a mixture of all three, the goal is sincerely different from that of the thriller, where adrenaline pumping is the main focus, not the feelings of fear that might introduce it.

It’s All In The Perspective

Ever notice that horror franchises (think Halloween or Alien) always have the monster return? Meanwhile, in a thriller franchise (anything from Bond movies to Bates Motel to the Taken series), you’ll mostly see the return of the protagonists — which are either the pursuants of the killer in question, or they might even be the killer themselves. That’s because horrors focus on the point-of-view (POV) of the victim more intimately, generating those feelings of dread and fear that we mentioned above. Thrillers, on the other hand, will change perspectives or even focus on the POV of the attackers and the attacker’s pursuants in order to build out a more unpredictable feel, which we’ll touch on later. 

Horror (in most cases) also builds a blind antagonism for the victim’s attacker, which isn’t always seen as drastically in a thriller. Why? Because of the significance of that shared perspective. When we see things from the point of view of a killer, a terrorist, a dangerous cult leader, or even the cop who’s chasing them down, there’s a more powerful connection to these villainous characters. Think of Patrick Bateman, the protagonist in American Psycho: although he’s done despicable things, his is the viewpoint we know and understand the most, given the storytelling. That’s part of what makes it a thriller; if it was told from the POV of his victims, there’s a greater chance that it would fit better into the mold of a horror genre film.

'Halloween' (1978)

Formulaic vs. Unpredictable

There’s a convention in horror that it’s made to be predictable. If you’ve ever seen any of the Scream films, you know how prevalent this idea is. However, there’s also a misconception that “predictable” means “not scary”. But let me posit this question: Even though you know exactly what will happen in The Exorcist, does that make it less horrific? Of course not. It’s formulaic, but it focuses on emotional values, not unpredictability. Thrillers, on the other hand, are known for their focus on the unpredictable. Part of this is to encourage that “sitting on the edge of your seat” experience that’s brought on by introducing adrenaline-pumping moments into the story. 

But that doesn’t mean unexpected things don’t happen in a horror: even Midsommar uses unexpected story events to indicate the slippery slope of Dani’s integration into the cult — which helps it bleed a bit into the realm of psychological thrillers — but the direction of the narrative is still predictably horrific, in that we soon know there’s no escape for the men who accompanied Pelle there in the first place. Meanwhile, a movie like Silence of the Lambs takes turns that are also unexpected, and the direction of that film is truly a surprise in certain ways to any first-time viewer, in addition to its ability to keep the audience on the edge of their seat (but maybe not crapping their pants) every time.

Clarity Over Blurred Lines

There have been arguments in the past over what defines a horror and thriller, and though many have validity, some lines that used to apply are blurring all the time — especially within films that borrow from both genres. One of these arguments is that thrillers deal with the psychological aspects of fear, while a horror film deals with those fear-inducing elements that are more corporal: mortal danger, imminent death, and so on.

While psychological thrillers are a story type all their own, there are also psychological horrors (watch Jacob’s Ladder for one great example) that still focus on terror while being more focused on the internalization of that fear — whereas a psychological thriller (The Shining) builds toward not the terror of Jack Torrence, but his eventual succumbing to insanity.

'The Shining'

Conclusion

No matter what kind of story you’re trying to tell, you’re going to focus on a point of view -- something that you want your reader or viewer to feel. With either a horror or thriller film, those things are a little more concrete once you decide what genre to go for, but even then, you should always just concern yourself with the story you want to tell first. After that, you’ll start seeing more of what feels important to the story: the perspective, the emotions, and even the twists and turns.

Chances are, if you’re a horror fan, your story will naturally lean that way — and if you’re a lover of all things suspenseful, you might just start writing a thriller without even realizing it!

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post What's the Difference Between Horror and Thriller? appeared first on ScreenCraft.

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Miner’s Mountain

In a town where some horrible killings have been kept quiet, the sheriff might know more than he’s letting on. Miner’s Mountain is a place I wouldn’t want to go in the dark… and if the film is any indication, neither should you.

Irradiation

Made in the Unity game engine, this ultra-realistic 3D animation explores a postnuclear Russian wasteland, and what Evgeniy finds there might just defy explanation. Cosmic horror like this really makes you wonder what’s real.

A Sickness

Living alone with a horrifying secret in his home, Stephen is not everything he appears to be. But you’ll find that out soon enough. This psychological thriller blends with horror to create something truly special and surprising.

The Rule of Three

Superstition can have such a deep and profound effect on our lives if we let it. There are, of course, the psychological effects — but is there more to it than that? Find out by watching The Rule of Three.

Tantrums

Psychological horror and thriller elements play out beautifully in this short film about a manipulative teen (with effective acting, I might add). This short proves that it’s true what they say: “Some people will do anything to get what they want.”

Makr

Following an exorcist that visits a couple, Makr is a film about the choice to deceive — and the ways one has to live with that choice when the time comes.

The History of Monsters

Loneliness and death feel so close together sometimes. That’s never more true than in The History of Monsters, where the protagonist’s monster-filled nights suddenly have one more person in them — a stranger she may not be able to trust.

Night Crawl

It’s a prison break, and then some. Two guys planning their escape find themselves with a bigger problem than their jail cell when their tunnel crawl leads to a startling discovery.

Lights Out

The goal was to scare you in less than three minutes, but this short film did such a good job, and so uniquely, that it became a major theatrical sensation. Warning: you might not turn out the lights anymore after watching this one.

Stucco

Disturbing images, psychological terror, and a main character with a phobia? This short checks off all three on the list and makes it hard to look away.

Mamá

If you remember this name, it might be because Guillermo del Toro directed a feature of the same name. He saw this short and was so inspired by its truly scary energy and atmospheric, well-planned vision, that he decided to take it a step further.

The Jigsaw

Creepy antique salesmen and dusty old puzzles can be scary as all hell if you get it just right. That’s what you get with The Jigsaw. 

Daddy’s Girl

When a father and corrections officer making his way home discovers a discarded bicycle, he follows a trail to discover that there just might be a little girl in trouble.

Duérmete Niño

A devout mother tries to get a good night’s sleep but keeps hearing something disturbing on the baby monitor. Don’t watch this if you’re an anxious parent of an infant.

Special Day

Everyone’s birthday is special, but Emily’s is about to become unforgettable. In this short, it’s all about the gifts — namely, the one that Emily’s family has been so eager to share with her.

Arrêt Pipi

Yup, it’s a story about a bathroom break, hence the name. A couple goes into the bathroom for an encounter that will make you think twice on every road trip.

Demon

An injured man with a troubled past finds refuge in the desert. But he discovers a secret that might change his thoughts on the man who saved him.

We Together

This horror-comedy short uses visual storytelling in a perfect way, and it incorporates dance to make it an impossibly satisfying film to watch — even if you don’t often watch zombie movies.

Dawn of the Deaf

With the climax’s beautifully creative use of ASL subtitles, this film chronicles a horrific, deadly event that seems to leave deaf people unaffected. Unless you count the aftermath, that is.

Oscar’s Bell

A camping trip with his son and his dog leaves Duncan with a traumatic experience and a question of what’s really out there.

If you’re looking for a fun way to do movie night, try marathoning this list of shorts for you and your bravest friends. Now, get to watching!

Read More: 10 Great Short Christmas Movies That'll Bring You Cheer

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post 20 Horror Shorts You Can Watch Online Right Now (If You Dare) appeared first on ScreenCraft.

From various eras, we've found some of the best possible cinematic experiences to inspire or educate anyone looking to write their next horror of their own.

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The Exorcist (1973)

Directed by: William Friedkin | Written by: William Peter Blatty

Some of you couldn't sleep when they first saw it: this movie is the stuff of nightmares. If you ever want to instill true evil into a script you're writing, start by watching this. Maybe with the lights on, yeah?

Pet Sematary (1989)

Directed by: Mary Lambert | Written by: Stephen King

Stephen King's answer to your questions about death. Some natural laws shouldn't be broken, some lines never crossed… but when they are, it makes for great horror.

Parasite (2019)

Written & Directed by: Bong Joon Ho

Class wars, blackmail, and people who will do anything for their families. Parasite has elements of horror woven into a truly arresting and unique experience.

Hereditary (2018)

Written & Directed by: Ari Aster

Horror that's brutally emotional and full of true shock for an audience, Hereditary is known for its sustained suspense and its big finish. You've been warned.

Candyman (1992)

Directed by: Bernard Rose | Written by: Clive Barker

Slasher-inspired horror instills superstition and legend into a world so well that its mythos is recognized by horror audiences everywhere. If you like that, you'll love that a spiritual sequel to the 1992 film is coming out this week!

'Candyman'

Alien (1979)

Directed by: Ridley Scott | Written by: Dan O'Bannon

There's something about the loneliness of the crew and the horrific creatures inspired by the art of H.R. Giger — something we can all aspire to.

Halloween (1978)

Written & Directed by: John Carpenter

From the chilling music to the iconic point of view in the opening scene, Halloween has inspired homages in every genre, but especially within horror.

American Werewolf in London (1981)

Written & Directed by: John Landis

Listen to the bones cracking, the utter intensity of the transformation sounds we hear in American Werewolf in London. With that and the dark comedy placed throughout, this horror film is truly a can't-miss.

The Descent (2005)

Written & Directed by: Neil Marshall

It's all about raising the stakes in an adventure horror. The deeper they go, the more dangerous the journey — and in The Descent, it's not just the journey that's dangerous. It's who (or what) is down there with you.

Busanhaeng / Train to Busan (2016)

Directed by: Sang-ho Yeon | Written by: Joo-Suk Park & Sang-ho Yeon

This modern zombie movie is a beautiful example of threading emotional themes throughout, while still including a dangerous, deadly threat — like a mob of Infected on a train.

'Train to Busan'

Night of the Living Dead (1968)

Directed by: George A. Romero | Written by: John A. Russo & George A. Romero

The conception of all modern zombie movies comes chiefly from George A. Romero and this survival horror masterpiece. In it, he bred the traditional zombie with the idea of a vampire to create the most well-known fusion monster today!

Let the Right One In (2008)

Directed by: Tomas Alfredson | Written by: John Ajvide Lindqvist

A film that works mainly with deep-seated feelings, unsettling vagueness, and moments of pure shock, Let the Right One In is an unconventional horror that's very moving indeed.

A Quiet Place (2018)

Directed by: John Krasinski | Written by: Scott Beck, Bryan Woods, & John Krasinski

Everyone knows, there's something disquieting about silence, about the inability to speak — and in that way, A Quiet Place makes itself known for its creative horror landscape.

The Shining (1980)

Directed by: Stanley Kubrick | Written by: Stephen King, Stanley Kubrick, & Diane Johnson

It's the perfect marriage of supernatural horror and psychological torment. Anyone who fears a loss of sanity knows exactly how good The Shining is at setting your teeth on edge.

Read More: How to Write a Great Christmas Horror Movie

Psycho (1960)

Directed by: Alfred Hitchcock | Written by: Joseph Stefano

Anyone here like twist endings? I won't spoil it for you — even though this film is over 60 years old — but just know you're in for a surprise that's worth imitating.

'Psycho'

The Thing (1982)

Directed by: John Carpenter | Written by: Bill Lancaster

Inspired and informed by another film in the '50s, The Thing is a John Carpenter film that channels the unknowable horror that makes Lovecraftian stories so immense and intriguing.

30 Days of Night (2007)

Directed by: David Slade | Written by: Steve Niles, Stuart Beattie, & Brian Nelson

This film builds its world beautifully and plays with convention and suspicion in ways that only a vampire movie will. Plus, with a month-long darkness, you already know this is meant to be a monster movie.

Fright Night (2011)

Written & Directed by: Tom Holland

Having tons of fun with its remake of the 1985 film of the same name, Fright Night is what happens when vampire horror knows how to make fun of itself. Take notes.

Insidious (2010)

Directed by: James Wan | Written by: Leigh Whannell

A supernatural movie with an imaginative world of demons and possession, this movie even has a lesson to learn for those of you trying to use innocuous songs as creepy cues for the presence of evil.

28 Days Later (2002)

Directed by: Danny Boyle | Written by: Alex Garland

If Romero designed the modern zombie, then Danny Boyle's 28 Days Later introduced the idea of these creatures being a product of viral infection — and the source of diverse post-apocalyptic settings.

'28 Days Later'

Get Out (2017)

Written & Directed by: Jordan Peele

To instill social horror in a film is a careful science, but Jordan Peele does exactly that in Get Out, a film steeped in racially targeted horror and other unsettling discoveries.

Shaun of the Dead (2004)

Directed by: Edward Wright | Written by: Simon Pegg & Edgar Wright

Comedy first, and horror second, this intelligent and hilarious Simon Pegg film pays respect to various horror movie traditions, including those by George A. Romero as the epitome of a horror-parody combo.

The Conjuring (2013)

Directed by: Michael Chaves | Written by: David Leslie Johnson-McGoldrick

The revival of demonic horror flicks brought on a trilogy based on real events, including The Conjuring. This story shows that not everything in true history can be explained.

The Amityville Horror (1979)

Directed by: Stuart Rosenberg | Written by: Sandor Stern

Another one based on true crimes committed in the 1970s, The Amityville Horror has inspired books and films alike to make sense of the tragedy that occurred — because sometimes, the darkest tales are the most real.

The Hills Have Eyes (2006)

Directed by: Alexandre Aja | Written by: Wes Craven, Alexandre Aja, & Grégory Levasseur

This movie shows just how easy it is to make a monster through disaster — especially if the government's dangerous tests created mutant people who have forsaken their humanity to become cannibals.

'The Hills Have Eyes'

Conclusion

You've now got a list and a lot of stuff to draw inspiration from if you're ready to write a horror script. Just make sure you go to the restroom before marathoning these movies — just in case. 

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post 25 Films You Have to Watch If You're Writing a Horror Script appeared first on ScreenCraft.

Don’t worry, though. There’s a science and an art to the pitching process. One of the best ways to ensure you don’t deal with the disheartening realization that you’ve spoken too long (or not at all) is to formulate your pitch ahead of time. We’re not talking about a preparation slideshow that takes a half-hour to walk through. We’re talking about thirty seconds — an elevator pitch that gives you just enough time to catch someone’s attention if you do it just right.

So read closely, and get familiar!

Have a Snappy Title

You better not waste any time. You only have thirty seconds, remember?

Don’t ever forget to pitch the project with your title included. If you hate your working title, just give a few seconds of setup — let them know it’s a 90-minute exaggerated melodrama, a procedural, a dark 60-minute serial. Whatever it is, set the stage, and do it quickly — spend no more than a few seconds setting the expectation before moving on to something immediate and powerful, as you’ll see below.

The "Hard-Hitting Question"

This might be a bit of a misnomer, but it depends on your chosen approach: you can use a prolific statement, a small introduction to a strange world, or yes, even a hard-hitting question. Whatever it is, don’t wait for the answer — it’s part of the rhetoric.

Offer this question -- something like, “Ever wondered what really goes ‘bump’ in the night?”, or a statement that brings home a theme from your story, like “Some people will do anything to rid themselves of guilt — even something darker and nastier, as long as they can sleep at night.” The goal of this is to connect to an emotional or intellectual response in your audience. Whether it’s a passerby, your bestie, or an exec in an elevator (cliché though it might be), this is an important step.

Just make sure to introduce yourself first, or you might creep someone out.

Enter Now  |  Early Deadline in 22 days

Connect The Dots

Who’s the hard-hitting question about? What’s the world you’ve set up for us? Why share that thematic statement? You need to connect the dots between what you’ve just presented and the idea you have. If you’re talking about what really goes “bump” in the night — explore that further, by answering! If you’re talking about a person doing something dark and nasty to “clear their conscience”, tell us who they are!

This is where you introduce the Walter White, the Fleabag, the Sam and Dean of your story — and you explain in a few words their predicament or their world. Make sure that these dots include the beginnings of an actual story: "a woman in the midst of self-discovery," "a group of misfits trying to save the world," all with some personal flair. Identify a character, and identify a problem — and connect them to that thematic statement, that hard-hitting question that’s meant to make them think.

Keep Them Hanging

It’s the rule of any good story — or any good start to a story — no matter how long. A pitch is no different. Always keep your audience wanting more.

You’ve identified the project, provided a hard-hitting question to make them think or feel, and you’ve connected that question with a character and a problem. Now, it’s time to make that problem a cliffhanger: if the problem’s big enough, it may speak for itself, but in some cases, it may make more sense to build on it with a final thought, a question, or a teaser action that tells your audience the direction you’re going in, and the tone you’re shooting for.

For someone that’s living a double life, set up a question like, “Will his family discover his secret?” Then, think about genre, and make it a part of your cliffhanger. For example, if a group goes off in search of their travel companion in a dark, scary, dank environment, you may add a little flavor to the original question: “Will they find their lost companion… before something finds them?”

Keep Pitching!

Confidence is a powerful tool in a pitch meeting -- even an elevator pitch -- and feeling well-prepared can boost yours big time. With that in mind, you have to keep practicing.

Try recording yourself first, with the tips above to guide you, and make it under thirty seconds. Then, when you’ve perfected the pace of your pitch, start to share your pitch with others, with anyone who will listen, even if it's virtually over Zoom. (A lot of pitches are virtual now anyway.) Work on your delivery, and take note of what piques someone’s interest. If you’ve got them asking more questions, you know you’re doing it right — so keep at it!

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post Elevator Pitching: How to Grab Someone's Attention in 30 Seconds or Less appeared first on ScreenCraft.

It’s present in his work as the narrator in the contemporary reimagining of the horror anthology, The Twilight Zone, but you may be more familiar with some of the films he’s written that fit this genre. From the new Candyman coming out to his directorial debut, Get Out, Peele now has an established, noticeable style in his writing that clearly delights horror audiences.

Having a close look at Get Out and at Us, I was able to pinpoint the most telling trademarks of his writing. Read on to learn what they are!

Oh! And in case you’re unsure, I’ve got some mild spoilers to these features — so beware.

More info coming soon  |  Remind Me

Conditioning The Audience, Especially With Sound

Much of what we see in a Jordan Peele script has to do with setting an expectation: in Us, one of these expectations is the fact that nothing can be trusted visually. For those of you who have seen the film, you’ll know what I mean. For those of you who haven’t yet, trust me when I say, “looks can be deceiving.”

But the audience is conditioned for this, slowly but surely, as the eventual arrival of mysteriously recognizable strangers simply makes for the tip of the iceberg. Visions of peace and solidarity become something else entirely, and there’s even an element of mental trauma that gives readers a reason to doubt.

In Get Out, though, the conditioning even becomes a part of the story — as even the sound of a teaspoon clinking plays an important role in action, while still tipping off the audience. As if that weren’t enough, though, Get Out and Us were both written with older songs in mind for a portent of danger, with “Run Rabbit Run” and “Itsy-Bitsy Spider” playing these roles most noticeably in each film respectively.

The Emphasis On The Psyche

Not all horrors stress the importance of psychological trauma — but Peele’s screenplays certainly play out this way. For one, there’s the fact that each beginning includes the feeling of being cornered, rather than killing a victim. Another indicator is the way that psychiatrists and the mention of mental states have significance in each story.

But more than that, the focus on structure in each story is a settling of psychological discomfort for the viewer before some actual scary surprises become apparent to the protagonist about halfway through. Looking for more proof that the psyche is one of Peele’s favorite focal points? Consider the fact that certain antagonists within both narratives have explanations for their actions, using their own feelings, their thoughts, their psyche, and perception of things, to try justifying their heinous acts.

A Group Of Ominous Adversaries

You can’t watch Get Out without knowing the feeling of Otherness that’s forced on Chris during his time with his girlfriend’s family; in Us, another type of Otherness is explored, as is seen when Adelaide learns about her attackers in detail. In both cases, though, there’s a sense that something’s inherently, undeniably off about a certain set of people within the narrative. Whether it’s the creepy silence that washes over the party in Get Out when Chris departs, or whether it’s the eerie familiarity of the attackers in Us, each one accomplishes the same goal in different ways.

But in both, we get a reveal at the end (with hints long before this) that there is an ominous group with nefarious purposes behind each one. How that group takes advantage of each protagonist, though, is eventually made clear in the end, with devious detail.

Animal Traits, Shapes, and Descriptions

It starts with the “wet eyes” of animals — overcrowded rabbits in a cage, or a deer meeting its early demise. Both stories have them, and while rabbits prove to be a recurring feature in Us, even the screenplay of Get Out makes a rabbit reference, with “Run Rabbit Run” just before Andre is attacked. But there’s more! 

Animalistic traits are apparent in the attackers present in Us, making them seem relatively inhuman. In Get Out, the depths of Chris’s mind reveal a monstrous presence with deer antlers, and he finds himself in a room filled with taxidermied animals when things are at their darkest. It’s fair to say that between the descriptions, the traits, and the actual physical animals depicted, these images are each used to evoke something in the audience.

Escape… Of A Sort

I warned you. Spoilers from the literal last pages of each screenplay lie ahead. For both stories, there’s a sense of relief as each protagonist finds a way to fight past or through their aggressor. In short, each one seemingly escapes. The only caveat? Well, if you must know, in one of these two films, there’s a reveal that makes this escape seem a lot less real, and a lot more sinister. But don’t try to guess! Watch or read them both, and get the satisfaction of seeing it happen right before your eyes. 

Conclusion

Jordan Peele’s work is continually spreading into different genres, but insofar, his most recent features are horror films — with Candyman, his reimagining of the horror cult classic, coming to theaters soon. There’s a lot about his work that stands out as genre-specific, but of course, there are traits that feel all his own when put together in his current style. If you’re looking forward to seeing or reading Candyman to find out if the proverbial shoe still fits, you’re not the only one. I’ll be bringing this list with me, while trying to avoid popcorn butter stains — or screaming.

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post 5 Trademarks of a Jordan Peele Screenplay appeared first on ScreenCraft.

Her work has inspired a revival in the screenwriting world, with writers near and far breaking their fourth walls to emulate Fleabag's titular character. But what is it about her stories that makes them each so compelling? What makes audiences connect with Waller-Bridge's work on a human level?

There are a lot of things, but there are a handful of features that show up in every pilot she writes — with some of them shining more in drama, while others in comedy. Let's take a look at five trademarks of a Phoebe Waller-Bridge pilot!

The Reassuring Element of Discomfort

The idea that "we've all been there" comes to mind when we first see Fleabag (the character) awkwardly watch and wait as her only "customer" of the day freeloads by plugging in all his devices, camping out in her café, asking only for a glass of water. In Crashing, long-time friends Lulu and Anthony are uncomfortably comfortable with each other, and Anthony's girlfriend Kate gets to watch their electricity on the sidelines. Even in the high-stakes spy drama Killing Eve, one of the first things the protagonist accomplishes is sew discomfort among her superiors as she noisily paws at a croissant.

These humanizing moments of discomfort are the times that we say to ourselves, "Oh, no… not that!" In true BBC form, we might even call that character a "wanker" for all the awkwardness we feel — but the fact that it's real, achievable awkwardness is the best part. After all, it makes the character in question feel like an extension of your most uncomfortable self. And isn't that what every show should have?

More info coming soon  |  Remind Me

An Active Female Protagonist… At Least The First Time

While Crashing is an ensemble comedy, and while it explores the conflicts of various characters throughout, it all starts with Lulu (Phoebe Waller-Bridge herself) on a bus, making her way to the rest of the group. And by and large, Lulu's arrival is the centerpiece of unpacked emotion for at least two other characters in the story in an immediate way. The serial actions that build wouldn't have occurred without her, and in the same way, Fleabag and Killing Eve also have this in common.

Fleabag, Eve, and Villanelle (the enchanting assassin deuteragonist to Eve) are all characters who take a serial action into their own hands — and while some TV protagonists are content to be passive or reactionary, this is not the case whatsoever for Waller-Bridge's main characters by a long shot.

High-Traffic, Rapidly Paced Dialogue

The iconic back-and-forths seen in Fleabag are nothing short of brilliant, as they do a wonderful job of making Fleabag as a character seem witty and opinionated with an antagonistic flair that's rather charming. But this is something we see in Waller-Bridge's work from each area, drama and comedy alike — as it heightens the intensity of each regardless, and it gives us a lot to chew on in a short period of time.

This is as true of exposition from a rapid-fire Fleabag bit as it is of the banter that veils the obstacles coming between Eve and her investigation in the pilot. Waller-Bridge is definitely a writer you want to study if you want to learn about great dialogue.

Heavy-Hitting Visuals, Spaced Out For Impact

In conjunction with the previous aspect, it's true that by having more dialogue, all in quick succession, there might be less room to emphasize visuals. However, Waller-Bridge makes it worth the while, with specific moments that offer up the grandest details to make for a truly visual experience — so much so that it may not even need dialogue to accompany it, such as we see in several striking scenes of Killing Eve.

Whether it's the loaded sexual tension between Anthony and Lulu at their initial reunion, the drive to Tuscany for Villanelle's next kill, or the incredibly drunk girl leaning on Fleabag whose state is quite drastic, there's always a striking image a few pages away in any Waller-Bridge pilot. And, when it does happen, it's always a lot to take in — so it's well worth the wait.

Sexual Communication And Transformation

Like many good stories, Phoebe Waller-Bridge's scripts use sex to teach, to set the stage, to even transform a situation.

She uses Fleabag's opening to make sexual encounters an understood part of the central narrative. She uses Crashing to showcase a kiss that isn't everything we think it is. She even uses sex in Killing Eve to distract and to open up Pandora's box of enticements for Eve, whose job is only the first thing to transform for her in the series.

It's easy to see that sex in a Waller-Bridge script always accomplishes something for the story, and in that way, it definitely differs from some of the other shows out there.

Honorable Mentions & Conclusion

While there's a lot more that can be seen as similarities amongst her scripts, these five features are the ones I've noted first and foremost in each pilot of Waller-Bridge's.

As an honorable mention, I've also noted multiple pilots using the bus; for another, I see at least two characters with brazen connections to France early on, one being the Paris-based but traveled Villanelle from Killing Eve, and the other being French immigrant Melody in Crashing.

If you want to find more similarities, give them a watch -- they're well worth the binge. If you want to take it even further, read her pilots and episodes for yourself! The TSL Script Library hosts a number of them that you can download and read for free:

• Fleabag: S1E1 & S2E1
• Killing Eve: S1E1 & S2E2

David Wayne Young is an independent film producer and screenwriter with years of experience in story analysis, even providing coverage for multiple international screenwriting competitions. David's obsessions include weird fiction and cosmic horror, and he's formally trained in the art of tasting and preparing gourmet coffee in various worldly traditions, from Turkish coffee to hand-tamped espresso — all enjoyed while writing, of course.

The post 5 Trademarks Of A Phoebe Waller-Bridge Pilot appeared first on ScreenCraft.