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Features
January, 2008


http://www.donvasicek.com
http://www.donvasicek.com

Page 12 to 30 of Your Screenplay VIII
12 Part Series On How To Write Screenplays
By  Don Vasicek

Something extraordinary must occur that spins your story 360 degrees and into Act II
I
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.



Page 12 to Page 30 of your screenplay should show (I emphasize show since all writing, including writing screenplays, should show instead of tell) your main character’s world.

In this world, you want to show where he lives, what he does, where he works, who he knows, what he likes, what he dislikes, what his foremost problem is, how he is dealing with that problem as well as other problems, what motivates him, what his main goal is, how he is preventing himself from attaining that goal and how he is acting and reacting to that world.

Page 12 to Page 30 of your screenplay is where you must establish your main character, the antagonist (label this character the antagonist unless he represents evil and introduce him as early as possible, even on Page 1 of your screenplay if it is possible), other characters and periphery characters.

In order to accomplish this, have them interact in ways that reflect the main theme of your story and your main character’s foremost problem. Show why your main character has this problem. Utilize the setting(s) to also reflect the theme and the foremost problem of your main character. Converge on detail.

In these pages, establish your main character’s goal. Show your main character focusing on his goal, so sharply focused that it is life or death for him by juxtaposing it to his foremost problem.

At about Page 25 to Page 30, something extraordinary must occur that spins your story 360 degrees around and sends it off into Act II. Some call this Plot Point I. Others call it the main turning point (most produced movies have about seventeen turning points) in Act I. This event must happen to your main character. It must be an action that propels him into Act II emotionally and physically where you have him virtually running away from what has happened to him in Act I.

In my next installment, I’ll show you what should be in pages 30 to 45 of your screenplay. That is, if you want to know how to write screenplays that get produced.

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

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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-On–The-Brain and Spraka & Kinsla (Swedish). Author of How To Write, Sell, And Get Your Screenplays Produced (http://www.selfhelpguides.com/display.php3?guide=1822020729) and The Write Focus. Web site: http://www.donvasicek.com

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Features
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