PUNCH up your action…

Most spec screenplays I read suffer from use of the same action verbs over and over and over again…

Instead, take a little extra time and use highly descriptive and evocative VERBS that paint an immediate picture for the reader.

All VERB tenses, moods and voices can be used in Dialogue.

Only use the Present Tense in your screenplay description. Try avoiding all Past and Future Tenses.

Use the Present Simple whenever possible and try to avoid other Present Tense VERB Forms, like the Present Progressive. Favor VERBS in the Active Voice. This will make your Description more immediate and engaging.

The current spec writing style is terse and concise. Employ Adverbs and Adjectives sparingly. Instead, find more evocative, ACTION-Oriented VERBS. A strong VERB stands on its own. Extensive use of Adverbs and Adjectives is considered over-writing.

You only have a very limited time in which to tell your story. Make every word count. Chose the most effective VERBS possible.

Stay away from common VERBS like “run,” “walk,” “take” and “look.” Substitute the VERBS listed below or consult a Thesaurus to discover other ACTION-Oriented VERBS.

Although certain writing styles, such as Action Stacking, may require deliberate grammatical errors, use such techniques VERY carefully.

Unless used as an intentional stylistic device, incorrect spelling, grammar or punctuation is considered highly unprofessional.

Make sure everything in your spec screenplay is easy to read and understand.

Instead of walk or run, consider using:

ADVANCE
HURTLE
MINCE
SIDLE
STRUT
AMBLE
JOG
RACE
SLINK
SWAGGER
BOLT
LEAD
RUSH
SNEAK
TIPTOE
CRAWL
LIMP
SASHAY
SPEED
TRAIPSE
CREEP
LURCH
SAUNTER
SPRINT
TREAD
DART
PAD
SCAMPER
STAGGER
TRIP
DASH
PARADE
SCOOT
STAMP
TROT
FLIT
PLOD
SCRAMBLE
STEAL
TRUDGE
HASTEN
PRANCE
SCURRY
STEP
WADDLE
HIKE
PROMENADE
SCUTTLE
STOMP
WHIZZ or WHIZ
HURRY
PROWL
SKULK
STRIDE
ZIP
HUSTLE
MARCH
SHUFFLE
STROLL
ZOOM

Instead of look, consider using:

CONSIDER
EYEBALL
LEER
PERCEIVE
SPOT
CONTEMPLATE
GAPE
MAKE EYES AT
POUR OVER
SPY
DETECT
GAWK
NOTE
RECOGNIZE
STUDY
DISCERN
GAZE
NOTICE
REGARD
SURVEY
DISTINGUISH
GLANCE
OBSERVE
SCAN
TAKE IN
EXAMINE
GLIMPSE
OGLE
SCRUTINIZE
VIEW
EYE
INSPECT
PEER
SNEER
WITNESS

Instead of take, hold, reach for or pick up, consider using:

CAPTURE
ENFOLD
GRIP
PLUCK
SEIZE
CATCH
GAIN
HEFT
POUNCE
SELECT
CLASP
GATHER
HOIST
PRY
SORT
CLENCH
GRAB
LIBERATE
RESTRAIN
SNATCH
CLING
GRAPPLE
NAB
SCOOP
SIFT
CLUTCH
GRASP
PILFER
SECURE
THRUST

Other useful ACTION VERBS:

ACCEPT
COERCE
EXPOSE
NAG
SAVOR
ACCOMMODATE
COMPLAIN
EXPOUND
NAIL
SCOLD
ACCUSE
COMPLIMENT
FENCE
NEEDLE
SEDUCE
ADMONISH
CONCEDE
FLATTER
NEGATE
SHAKE
AFFIRM
CONDEMN
FLIRT
NEGOTIATE
SHAME
APOLOGIZE
CONFIDE
FORGIVE
NUZZLE
SHOCK
APPEASE
CONFINE
GALVANIZE
ORDER
SMOTHER
APPLAUD
CONFRONT
GOAD
OVERWHELM
SOOTHE
APPRECIATE
CONTRADICT
GRAPPLE
PACIFY
SPECULATE
APPROVE
CONVINCE
GREET
PAMPER
SPOIL
AROUSE
CRITICIZE
GRIEVE
PERSECUTE
STALK
ATTACK
CROWN
GRIPE
PESTER
STARTLE
ATTEND
CRUSH
GUARD
PLACATE
STEER
AWAKEN
DAMPEN
GUIDE
PLEAD
STRING
BADGER
DARE
HAMMER
PLEASE
SUBDUE
BAIT
DAWDLE
HARANGUE
POISON
SUFFOCATE
BATTLE
DAZZLE
HEAL
POUT
SUMMON
BEG
DEFEND
HOLD
PRAISE
SUPPRESS
BEGUILE
DEFLATE
HUMOR
PREACH
SURRENDER
BELITTLE
DEFLECT
HYPNOTIZE
PRESSURE
SWAY
BERATE
DEFY
IMPEDE
PROD
TANTALIZE
BLAME
DEMAND
INCITE
PROVOKE
TAUNT
BLESS
DEMEAN
INFORM
PUNISH
TEACH
BLUFF
DENY
INSINUATE
QUARREL
TEASE
BOLSTER
DESTROY
INSTRUCT
QUIBBLE
TEST
BOOST
DIAGNOSE
INTERFERE
QUIZ
THREATEN
BRAG
DIRECT
INTERROGATE
RAG
TICKLE
BROWBEAT
DISCOURAGE
INTIMIDATE
REASON
TOLERATE
BUILD
DISPARAGE
JEER
REASSURE
TORMENT
BULLY
DIVERT
JOLLY
REBUFF
TOUCH
CAJOLE
DODGE
JUSTIFY
RELISH
UNDERMINE
CALCULATE
DOTE
KINDLE
REMIND
UPSTAGE
CAPITULATE
ELECTRIFY
KNIFE
REMINISCE
VILIFY
CARESS
EMPOWER
LEAP
RENOUNCE
WALLOP
CATEGORIZE
ENCOURAGE
LECTURE
REPEL
WARN
CELEBRATE
ENFLAME
LIGHTEN
REPRIMAND
WEAN
CHALLENGE
ENGAGE
LULL
REPROVE
WEIGH
CHEER
ENTERTAIN
LURE
REPULSE
WHACK
CHERISH
ENTREAT
MANEUVER
RESCUE
WHEEDLE
CLARIFY
ENTRUST
MASSAGE
REVOLT
WHINE
CLOWN
EXHORT
MENACE
RIDICULE
COAX
EXPLAIN
MOCK
SALUTE

When in doubt, use a Thesaurus.

Good luck!

Unk

June 17, 2006 | Filed Under Uncategorized

1 Comment 

Audience Identification…

Take a look at just about any film where you walk away saying, I didn’t get it and I’ll show you a film and most likely a screenplay where the writer failed to connect US to the characters in the script.

Great screenplays often translate into great films. There, I said it. Deal with it. In all great films, we must identify with, at the very least, the main characters.

How do we accomplish this?

By creating a character and story where we the audience feel as though what is happening to that character could just as easily happen to us… i.e., Audience Identification.

One of the best ways to do this is to develop your characters around people you know. If you don’t know anyone, develop your character around people you’ve read about, seen on television or at the movies.

When writing a screenplay, if you simply take the time and effort to create characters that we all know and can identify, sympathize, and empathize with, you’ll go far in getting your characters to GRAB the audience. You want the audience to GRAB onto your characters and NOT let go. You want them to care about your characters enough so they invest themselves into the rest of the ride i.e., your story, screenplay, and hopefully, completed film.

If you can in fact accomplish this, your audience will experience emotion so powerful that they cease being mere audience members and become willing participants of your movie.

Steps to creating powerful characters…

First and foremost, you must KNOW your characters. You must know them as well as you know those people within your inner circle of family, friends, and associates. Chance are that you know someone in your life well enough to be able to predict their answer(s) to common, everyday questions… Cool. That’s a good start.

But what about the hard questions?

Do you know what your brother or sister would say or how they would react if for instance, you told them you were Gay? That you’ve been screwing around on your spouse? That you have an alcohol or gambling problem?

Would your parents answer the same as your brother and sister? As your other friends and associates?

Hell no.

So now you’ve got an idea what I’m talking about here. Everybody is different and so are their answers, their actions, their emotions, their reactions, their EVERYTHING.

But what if you don’t want to write about your friend that works at the post office? He’s boring!

Five words… Emotions.

LOVE (HAPPINESS)
HATE (ANGER)
FEAR
BETRAYAL
HUMILIATION

Chances are that unless you’re a recluse, you’ve probably experienced at least one of the above EMOTIONS in the experience you call your life.

Remember the old saying… Write what you know?

Write about the EMOTIONS that we all experience at one time or another and will continue to experience throughout the rest of our lives.

Making the audience of your story, screenplay, and film identify with your characters is really as easy as making sure your characters CREATE, or are SUBJECTED TO, the above EMOTIONS.

Have you ever felt humiliation? Probably. Have the rest of us? Probably. Subject your main characters to humiliation and we will INSTANTLY RECOGNIZE the same humility they are experiencing. Somewhere in the back of our minds… Deep in our subconscious, we will remember feeling the same exact way or a feeling SO CLOSE to what we are seeing that we will want to see what happens next.

Where do these emotions come from?

Insecurity.

There, I said it again. That’s right… We’ve all got ‘em. Yeah, even YOU back in the corner over there. No matter the race, color, creed, geography, background, environment, or national origin, we’ve all got one thing in common.

INSECURITY.

Give your characters some insecurity or insecurities and force them to become emotional about them. From these insecurities, spring EMOTION and EMOTION is how we protect ourselves.

Think about it… I yell at you — you yell back at me. Emotion. I say I love you, and you say you love me. Emotion. I say I hate you and you humiliate me… Emotion. LOL.

People lash out in their own emotional response to stay safe… To not get hurt or to be hurt as little as possible. What do we call that?

SURVIVAL.

We can’t help it. We all want to survive. We all must survive. It’s embedded into our DNA — we can’t help it.

Remember, when writing what you know, sure… Go ahead and write about your town, your friends, your job… Whatever. But when you’re writing your characters and their decisions and reactions to conflict, be sure to dig down DEEP into your soul and pull out those insecurities you’ve been hiding down there. Figure out what they are and give them to your characters.

Hell, for that matter, borrow some insecurities from everyone you know… The more insecurities the better!

To summarize…

When any of your characters come up against the following threats:

fear
hunger
loss
wild animals
natural disasters
monsters
ghosts
embarrassment
*NOTE: Add your own story element here…

The audience will most likely identify with your characters if they react with emotion to this conflict. Their emotions are OUR EMOTIONS.

By the same token…

When any of your characters yearn for any of the following:

love
companionship
food
revenge
*NOTE: Add your own story element here…

And finally, when any of your characters demonstrates:

sickness
abuse
humiliation
shyness
being orphaned
courage
loyalty
humility
kindness
*NOTE: Add your own story element here…

Audience Identification is guaranteed…

Unk

June 16, 2006 | Filed Under Characters

4 Comments 

HARDCORE is THE SEARCHERS…

So I just finished reading by John Brady. I got it off eBay for like less than a buck…

Anyway, great little book with interviews from the following legends of screenwriting…





While all the interviews were outstanding and I literally read the entire book in one evening, what really hit me was Paul Schrader’s opinion that and are (were?) the two best films ever made in America.

He goes on to say that (one of my favorite films) was actually THE SEARCHERS in the world of porn.

Kinda makes you think, eh?

Unk

June 15, 2006 | Filed Under Books

3 Comments 

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