Monthly Online eZine  
News And Views For Working Writers

 INside Scoop
 IN Her Own Write
 Pen IN Hand
 Write On!
 Screen & Stage
 Top 10 Resources
 Book Reviews
 Items Of INterest
 Global Offerings
 INside Services
 Bill The Bard
 The Writer At Work
 Games & Puzzles
 Classic eTexts
 Free Software
 IN Banners
 Who's IN
 What's IN
 Editorial Calendar
 Join IN's Team
 Contacting IN

IN Front Cover


Learn To Be A Better Journalist

Buy Classic Literature Collections

Acclaimed Screenplay Writing Software

Books On How To Write Fiction

Become A Well Paid Travel Writer

Vote daily and raise our ranking!

January, 2008

The First Twelve Pages of Your Screenplay VII
12 Part Series On How To Write Screenplays
By  Don Vasicek

n this screenplay educational series IN will be covering the following course sections of information graciously provided by Donald L. Vasicek:

  • So, You Have A Movie Idea - I
  • More on Your Movie Idea II
  • Emotion and Your Movie Idea III
  • The Logline IV
  • The First Minute V
  • Write The End To Your Screenplay Foremost VI
  • The First Twelve Pages of Your Screenplay VII
  • Page 12 to Page 30 of Your Screenplay VIII
  • Page 30 to Page 45 of Your Screenplay IX
  • Page 45 to Page 60 of Your Screenplay X
  • Page 60 to Page 75 of Your Screenplay XI
  • Page 90 to the End of Your Screenplay XII

Don't miss out on a single issue of IN and how to get your screenplay from the page to the silver screen.

Even though each word, each sentence, each paragraph and each page is important in the screenplay, pages three and ten after page one are the next key points in your screenplay. On page one, in addition to the metaphor that shows the main theme, you should have also introduced your main character. If you havenít then, from page one to page three, you should begin developing the story and the main character. On page three, with dialogue, have someone mention the main theme for your movie.

For example, if your main theme is love, then on page three, have one of your characters say something like, "She even puts bugs out of the house." Translated, if you knew something about "she" by page three, you would interpret this to mean "she" is so loving that she puts bugs out of the house instead of killing them.

After stating the main theme, develop more of your main character and the setting where the story is evolving. Place a sharp focus on what kind of relationship your main character has with the setting (which can also include another character or other characters).

Show (always show instead of tell) your main characterís personality. What kind of person is this person? Who is this person? Where is this person? When is this person living? Why is this person in your screenplay? Answers these questions from page three to about page ten, give or take a page here or there.

On about page ten, establish the dramatic premise for your screenplay. Here is where the essence of the story should emerge. Something should happen. If it is a love story, the two lovers should collide in some form. If it is a murder mystery, you should show the murder occurring here, or a body should be discovered. If it is a drama, you should show what the main problem in the drama that needs to be solved by the main character should be.

Once you establish the dramatic premise on, or about page ten, then begin showing more of your main characterís world and the cradle of humanity you have them involved in in relation to the dramatic premise.

In my next installment, Iíll show you what should be in pages twelve to about page thirty.

Thank you for dropping by.
Good writing to you!
Part VII of XII
Previous part of the series.IN Icon

Donald L. Vasicek was a writer/consultant for Warriors of Virtue, screenwriter for The Crown, writer/associate producer for The Lost Heart and Born To Kill. He wrote, directed, and produced Faces, Oh, The Places You Can Go..., Haunted World and the award-winning The Sand Creek Massacre. He writes columns for Hollywood Lit. Sales, Moondance Int'l Film Festival's E-zine, Screenplace, Screenwriters Forum, Screenplayers.Net, Screenwriters Utopia, Ink-OnĖThe-Brain and Spraka & Kinsla (Swedish). Author of How To Write, Sell, And Get Your Screenplays Produced ( and The Write Focus. Web site:

Sign Up and Use Our New Forums! Voice Your Opinion! Discuss Our Content! Ask for Writing Assistance. Post Your Successes, Queries or Information Requests. Collaborate with Other Writers.

© Freelance Writing Organization - International 1999-2049

IN This Issue
The Write Group
Answering Submissions Calls
Part III: Have Ideas, Will Travel
Part II: Have Ideas, Will Travel
Part I: Have Ideas, Will Travel
Part II: Early Elementary Picture Books
Part I: Early Elementary Picture Books
Part II: Are These Mistakes Costing You Money?
Part I: Are These Mistakes Costing You Money?
Journey Within Your Mind

Support IN
Receive Free Gifts
$20.00 Voluntary Contribution
$35.00 Voluntary Contribution
$50.00 Voluntary Contribution

New Novelist Software

Effectively Manage Your List

Writers Digest 101 Site Award

Your Ad Here

Traffic Swarm For Writers

Hottest Books This Month!

Whose Books Are Turning Into Movies?
Bald Ego
Mouse Over To Pause

Writerís Block
The path to inspiration starts
Upon the trails weíve known;
Each writerís block is not a rock,
But just a stepping stone.

Poetry Is Not
Penned to the page
Waiting for us to admire.
It is only a lonely thought
Caught by tears on fire.

Silent Echoes
A quiet rhyme upon a page
Is what a poet gives;
Some gentle words whispered in trust
To see if memory lives.

Bard From Deadlines
What makes a poem finally work
Is not the time it takes;
Itís how the poet used the muse
To prophet from mistakes.

Be Mused
The art and craft of poetry
Are not so far apart;
The craft comes from the cunning,
The rest comes from the heart.

Fine Vintage
Donít plant your poem on the page
As though youíre hanging drapes;
Itís shape and flow should come and grow
Like wild summer grapes.

Getting It Write
Writers write what they know best,
Their passions, fears, and dreams;
Writers rarely write about
What other call their ďthemes.Ē

Double Vision
A writerís life is paradox,
Itís more than what it seems;
We write of our reality,
The one inside our dreams.

The echo of a promise,
The thunder of a sigh,
The music of a memory,
A child asking why.

Letter Perfect
Twenty six symbols arranged on a page
Can send a soul to heaven or torment it with rage,
Can free a fragile world or hold it in its net--
The power and the magic of the mighty alphabet.

The Write of Passage
The jump from writing just for fun
To getting paid for it
Begins when you first realize
You know youíll never quit.

It is not the magic of his wings
That sets us free from our bond.
It is the muse within ourselves
That lets our words lift us beyond.

Photo Poet
Consider your mind the darkroom,
Consider your life the lens,
Consider your eye the camera
On whose focus the poem depends.

Rising Moon
A poem is a rising moon
Shining on the sea,
An afterglow of all we know,
Of all we hope to be.

Star Light
Writing a poem,
Reaching a star,
In making good art
We find who we are.

Spider Web
A poem is a spider web
Spun with words of wonder,
Woven lace held in place
By whispers made of thunder.

The final draft upon the screen,
At last my poemís through;
A verse of only four short lines--
I rewrote twenty-two!

Read All Of Charles Ghigna's Poetry at

Our Own Banner Rotator System
Any banner seen below is either our own or one of our members.
Support the cause - click a banner.

Want Your 468x60 Banner Above? It's FREE For Newly Published Books

© Freelance Writing Organization - International 1999-2049
All Rights Reserved. Copying in any way strictly forbidden.
Our Disclaimer Is Based Upon McIntyre's First Law: "Under the right circumstances, anything I tell you may be wrong."