Andrew+Mosquera's+Unfamiliar+Genre+Project+How+To+Guide

02/16/12 HOW TO GUIDE TO:

WRITING SCREENPLAYS Congratulations, Up and Coming Screenplay Writer, Congratulations, you have now opened the one document that will bring you true success in the competitive world of television show production! Following this ten step program will ensure that your screenplays are __engaging__, __promising__, and full of __lovable__ characters. Now, listen carefully to the writerly wisdom of critically acclaimed screenwriter Andrew Mosquera as he reveals the secrets to his success: PART I Conception []
 * 1) The first move I made was “to imagine.” Yes, **imagine** what cool exciting stories you can write. Writing is like dreaming. Imagine this cheap first draft of your screenplay actually airing on TV. Imagine which actors you would have to play whichever roles in your cast. It is important at the start to dream up something epic.
 * 2) Then, it’s time to realize the dream. The “epicness” of the imaginary will usually take fragmentary forms of strokes of genius, clever plot twists, and a catchy line for a character here and there. This bank of fragments will give this play and any future episodes __promise__. Planning a screenplay is like harvesting a crop. Now you must pick the fruit (just the ones within reach) from this Dreamtree. Begin now to carve out the junk and arrange your fruit into the pie dish: into that manageable, realizable story. You should decide now what your **plot** will be so that you can begin writing.
 * 3) But wait! Don’t get cocky. Hold your dream for a moment, but take the time to appreciate the realizations of other dreamers. You’re not the first kid to write a play now! **Study** the scripts to see how they work. This will make your play __engaging__. Study especially the scripts of those TV shows that make the mark for you. Screenwriting is like a sacred art. Read and pay due reverence to their excellence. Only after you practice that reverence can you begin to
 * 4) **Analyze** how these smash hits become hits. What special something makes the show appeal to you. You begin to notice the attractive voices of __lovable__ characters, the tricks and turns of plot, or the smart uses of limited scene time. The mysteries of this sacred art are given in a revelation of dogmatic technique. Here is a great resource for scripts available for free download, O financially struggling apprentice:


 * 1) Now watch some of these shows, yes, on TV. Do you really think you can learn how to write an Emmy Award Winning drama just from reading pages? All of those pages are worth nothing without the big screen! You need to see the finished product. It is best to watch some episodes on TV that you have also read in script form. Bathe yourself in the glory. Screenwriting is like a spa. Immerse yourself! Relax and breathe in the aroma of success: the relief, the //effleurage,// that rewards a production crew at the end of their work will be your reward soon too!
 * 2) If you haven’t been writing already, lazy fool, get writing!

PART II Gestation []
 * 1) Now, get to work, young apprentice! Writing is like raising a family. You must love each of your characters as if they were your children. Take time to imagine, again, their lives before, during, and after this show. Where could they be in future episodes, even? This will give your play __promise!__ What’s in a **name**? These are important because once production starts, you can’t change them. A great character name ought to have some relation to its meaning and its sound in relation to the character’s person. A great character name ought to have a reference to some other great character, if you want to get all intertextual. I have found it very time consuming to get just the right name and this has slowed down even a genius like me! It is a good idea, apprentice, to give provisional names until you finish your final draft. Now, you should have a character list with some description as proper. This description can be in the cast list or take its place in the script at the character’s first entry.
 * 2) You know who you have here and you know where the plot will take them. Where will we be? Screenwriting is like city planning. Imagine a **venue** that is familiar to you: play on your experience. This will make your play __engaging__. If you don’t want to film this in your boring neighborhood, simply transfer this knowledge to whatever place you want to be the setting. Then, do some research on that place. Learn some specific details that can lend to your story. Now, you should have the sets list.
 * 3) Start writing the actual dialogue and description! Everything is lined up for you. Sound check, lights, camera… Action! I have learned that a genius like mine works best at this point rushing ahead like a rocket to the end, only after the launch pad is ready: everything above. Dare I say: screenwriting is like a rocket? By simply **writing naturally** you will learn which voices work best in a) description, b) camera directions, and c) per character. Developing your voice will make your play __loveable__. Revisions of these parts can be done once you finish, giving the piece continuity. Just make sure that each page resembles a screenplay. Observe this example of how a page should look :

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 * 1) Now, let’s say your young inexperienced apprenticed mind lacks that special genius that will enable you to rush to the end. Let’s take it step by step. It is a good idea to set aside some time to familiarize yourself (don’t worry about memorizing) the **jargon**. Remember this is really the job of the director. A great screenwriter will embed liberty in his script for actors and directors. A punk screenwriter will be nit picky and give too much direction: there will be no place for you, young one, at the Emmys! Here is a great resource for screenwriting terminology: []
 * 2) When writing dialogue try to make sure that it is **dialogue.** Only cheap second rate screen writers overuse voiceovers and let their scenes drag on and on. You can only do this once in //Taxi Driver// then never again! The most __engaging__ scripts are driven by dialogue. Indeed, description should be entirely unnecessary if your dialogue is spot on! Screenwriting is more like talking than writing. Always keep that mental videotape rolling when you write dialogue. If it sounds weird being said, you must revise. It is even best to read your dialogue out loud to test listenable it is.
 * 3) **Description** is where you must shift your focus to the production crew. You are writing for people who understand the jargon. You are writing these descriptive lines for the business of it all. Here I must reveal one of my secrets to success, young apprentice. Description will make your script __loveable__: it will make //you// loveable to the production crew. Yes, you can win the heart of the director and actors here! Even you, O Inexperienced One! This is where there is the most artistic liberty for the screenwriter. However, don’t go overboard if you communicate best in simplicity. If simple concise descriptions are natural to you then write that way. If you prefer abstract ideas, write that way. Don’t be afraid; directors aren’t as simple minded as they seem. Remember that with whatever style you affect in your descriptions, you must allow for the liberty of interpretation from actors and directors.
 * 4) Here is another resource for inexperienced and generally naïve screenwriters. Although this simpleton believes that sheer genius (like my own) can be reduced to a mere formula (ha!), this article brings up a good point that “an excellent screenplay exceeds a great promise.”

Keep this wisdom in mind, apprentice. Keep writing and never be afraid to revise. That will be my parting gift of wisdom: never be afraid to revise. Ready for more wisdom? Just mail in your application and the $100 application fee to Easy Money Writers 30802 Mackenzie Drive Wasteland, MI 48185 Your success awaits you!