Plotting a Path through the Wild

Colourful wooden slats laid down to make a gently winding path though a wild, dark green forest

I’m on the cusp of starting my screenplay. I’ve been immersed in the story for a few weeks now so the characters are keen to come out, interrupting my thoughts with flashes of action and snippets of dialogue. My brain is making connections, imagination fired up. It’s the Muse in motion, skipping along merrily and I, the scruffy intern, follow after, notepad in hand. My reluctant (and enlightening) pitstop at structure Admittedly, I wanted to skip the part of the screenplay guide (Save the Cat) that talked about structure. I’d already sketched out rough scenes (about two years ago) and …

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Loglines and a lot of head-scratching

Black and white photo of a typically scraggly-haired Einstein next to a quote which says: If you can't explain it simply, you don't understand it well enough.

I clearly needed to get a hold of my script idea before it went off on a tangent. First stop, write the logline – screenwriting guru Blake Snyder’s first piece of advice in his book Save the Cat. The logline is the one (or two)-liner that sums up what the film, TV programme or book is about. Why a logline? It’s useful for pitching your idea to the people who could potentially commission it, but it also serves as a handy guide whenever you’re stuck with the writing, helping you re-focus. The point, Snyder writes, is if you don’t understand what …

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