Entries by Elena Alston

Striking a Balance Between Visual and Narrative Scripts

Thursday 26 April 2018 /0 Comments/in /by

Visual Storytelling Visual storytelling refers to the images screenwriters use to convey a tone, emotion and style of a film. They show – rather than tell – the reader what’s happening in that scene and describe the character’s actions in such a way we know exactly what’s going through their minds. So, although it’s the […]

Comedy Do’s and Don’ts

Monday 26 March 2018 /0 Comments/in /by

Scriptwriting is a completely different ball game when it comes to comedy, one that is often mistaken as easy, particularly if the gags are simple. But writing funny is different from speaking funny. Just because you’re good at cracking jokes or sprouting wisecrack comments, doesn’t necessarily mean you’ll have that same knack when it comes […]

The TV Pilot Starter Pack

Wednesday 7 March 2018 /0 Comments/in /by

Writing a TV pilot is just about one of the most exciting ventures in the writing world, and if it’s comedy well, it just adds six feet more of pure, unadulterated fun to the mix. But because it’s not all party crackers and knock-knock jokes, and the process itself can be murky terrain, it helps […]

Finding Voice through Words

Monday 12 February 2018 /0 Comments/in /by

Voice is an odd concept. It’s elusive, slippery, hard to hold between two firm hands and define. It’s even harder to describe. Yet for scriptwriters, it’s everywhere. It’s tossed about in blog posts, praised (or condemned) in film reviews and loosely referred to in interviews. Voice is clearly a determining factor in every writer’s style, […]

Five Writing Habits to Finish your Screenplay

Monday 22 January 2018 /0 Comments/in /by

As the end of December rolls around, most writers vow to write more in the year ahead, even when juggling busy schedules. They’ll work less, go out less and make more time for script-writing. It’s a resolution that’s made in firm belief (and perhaps champagne-induced) it’s unbreakable. But if you’re already feeling stuck, overwhelmed and […]

Dialogue that Sings: What Dialogue does for your Script

Friday 29 December 2017 /0 Comments/in /by

Dialogue is one of the elements that showcases a writer’s talent in a matter of minutes, portraying time period, plot, setting and characterisation. It also reveals the subtext and context of your film. Because it’s so difficult to do well, good dialogue demonstrates your unique voice and style in ways that bring your characters alive […]

Understanding Antagonists, Beyond the Archetypes

Tuesday 21 November 2017 /0 Comments/in /by

A good villain is one who stands in the way of the hero’s goal, but an exceptional antagonist is someone who can exploit the protagonist’s greatest weakness. Although an antagonist is meant to serve the purpose of the protagonist’s journey, forever throwing a wrench into your protagonist’s honourable objectives, this doesn’t mean you should just […]

The Four Act Structure in Film and TV

Sunday 5 November 2017 /0 Comments/in /by

The Problem with the Three-Act Structure Writing a script is a bit like a helter-skelter ride. All bumps and twists and no end to the dizziness. Probably the most problematic part of any script is its structure, and more specifically, the three-act structure. Here we’ve got the second act, the murky midpoint where the writer’s […]

Scriptwriting Collaborations: A Look at Partnerships

Thursday 12 October 2017 /0 Comments/in /by

You might not have considered taking part in a collaboration. As writers, we’re very individual people, going at it as lone wolves, isolating ourselves between four walls to write and plot and scheme and essentially, go mad. But what happens when we actively share the madness with another writer? Below you’ll find out the main […]

The Elevator Pitch, Loglines & Taglines

Wednesday 4 October 2017 /0 Comments/in /by

What is an Elevator Pitch? An elevator pitch is your script’s concept, boiled down to a bite-sized portion of words. Also known as loglines, they’re a bit like short sales pitches; they’re a two or three sentence long summary of your script’s plot–and they’ll dress to impress. What does this mean? It means you’ve got […]