With A, you can deduce B, and from B then deduce C and D. Maybe it's not good to deduce downward and go back to adjust A, but to write a script, you must find A.
Screenwriter's secret is to look at the movie and TV drama from the beginning to the end, but it is written in reverse: from the end to the head. The audience does not know the ending, there can be 10,000 guesses, to increase the fun of watching; screenwriters do not know the ending, there will be 10,000 possibilities, then let yourself get lost and can not move forward. Not only written backwards, but also backwards, the ending is reconciliation, the front is a misunderstanding; the ending is an epiphany, the front is confused, screwed up. In short, think of the last climax before you write!
Looking for the first person to throw a punchWhether it's a movie, a short film, or a dramatic passage, in the opening 3-5 minutes, someone has to throw a punch, the first domino, the first bump, the first crisis. This first punch had better be hard enough to provoke a strong reaction, the impacted party and the audience to be confused, to cause a big enough ripple, to cause a series of chain reaction, to whet the audience's appetite, curiosity: what happened?
What is a screenwriterA young friend boasted of being a screenwriter, so he attracted criticism, saying that he did not know what he was doing. In fact, screenwriting is a profession, just like carpentry, blacksmithing, cooking, locksmithing, etc., nothing less. In my opinion, anyone who intends to write, is writing or has written screenplays for a living, or who can sell his screenplays, can call himself a "screenwriter", which is not shameful and there is nothing noble about it. It's just carpentry, isn't it?
Logic is more of a requirement for being a screenwriter than imagination. Imagination is like a child, logic is an adult. You listen to a child tell his rambling fantasies, the most you can praise his naivety, but will not be fascinated by his "story", will not explore, will not be curious, will not be serious, will not look forward to, will not be shocked, will not think y, and the formation of these feelings, you need a logical and meticulous creation can be achieved.
Familiarize yourself with the character Who is the protagonist? What was he doing before his appearance? Family status physical features? Academic education? Strengths and weaknesses of personal preferences interpersonal relationships ...... know him not a one-time completion, repeated refinement and mutual reinforcement with other characters, as if meeting people in life, the understanding of his background continues to deepen. Most importantly, the character design serves the purpose for which you are writing him. Conclusion: The character biography must be repeated many times and be subordinate to the theme of the script.
On the topic1What is the topic? The answer to the question "What is your script about?" is the subject matter. It's about education, about the war, about fatherly love, about revenge ....... Is the subject matter important? Yes, many subjects can't be filmed, some subjects are too difficult to handle, and some subjects have been so badly written that producers reject them because even you, as an audience member, reject them. Listen to the advice and don't write about it. There are some subjects that at once make a difference and you will be encouraged to write about them. Important!
About the subject matter2The subject matter isn't important either, it's too general and insubstantial. There is no theoretical difference between cold and hot subjects, except for certain specific subjects that are banned. Even the producer producer, only the subject matter as the first sentence of conversation, the next is still to see how the screenwriter to write a certain subject matter. From what angle, digging to what depth, expressing what thoughts and feelings, reflecting what problems, where there is sublimation, these are important.
About the starsToday's high star salaries have made movies and TV shows unbearable. Why do stars go up in price? Because there are not enough stars. Why is the star not enough? Because of the lack of star-making mechanism. In fact, every star is from the non-star small actors and actresses, by what change? Rely on a good movie. Good script, good director, good team. But today's TV stations and production companies seem to forget all this, in the end the first chicken or the first egg?
Can the theme first can! Screenwriters often receive propositions, theme first has also produced classic works. The key: 1. do not seek deep theme, all the theme is a big road; 2. can not go straight to the theme, the more twisted the better; 3. the theme is not important, with what story to illustrate it is important; 4. weakening the theme of the existence of the theme, hide it, the theme is the audience tasted out; 5. the theme is meaningful, the story is interesting, first of all interesting, and after the significance of the story.
The key to action storytelling is to find the character action. There are two kinds of action: active action and passive action. The former is what I want to do. I want to go to graduate school and strike out to prepare for the challenge. Passive action is the road well on the way, a flowerpot fell from the sky on the head, bleeding rescue, blood type is not right, did not bring money, the doctor is not there ... ... The screenwriter's task is to give the character action to set obstacles, he overcame the obstacles to achieve the purpose or turn to safety, is the story.
Events must occur after the audience is brought into the prescribed situation the character is in in an abbreviated manner. Only an event can bring a character to life and make the audience empathize. Event elements: 1. enough impact to make the characters move; 2. must cause the audience's attention and expectations; 3. can cause a chain reaction; 4. can cause the characters conflict (external) and entanglement (internal); 5. there is room for imagination. A movie needs 3-5 interrelated events.
Changes and twists in the development of inflection point events. Character action leads the audience in a certain direction, or to achieve the purpose or an accident that makes the direction of the character action change that point, is called the inflection point. Inflection point features: 1. logical necessity; 2. attention and emotional peak; 3. the direction of the corner of the unexpected (the need for screenwriters to dig a pit for the audience to jump); 4. with rhythmic regulation; 5. reflecting the changes and diversified features; 6. play a role in the transition of the start and end.
The story of the hard hand is generated by the action, the action comes from the character, the character force comes from the screenwriter to give him the pressure. I call it the pressure spring. The more the writer presses the spring, the more powerful the character's action is. Therefore, a good old man cannot be a good screenwriter. Screenwriters can not be too good to the beloved hero, you have to let him suffer, be insulted, by the blow, so that he has a lot of crises, no way out, suffering, life is worse than death ...... the so-called heaven will be a great task in this is also.
Life TextureWhat is the life texture of a script: 1. vivid characters, 2. story close to life, 3. vivid and interesting dialog, 4. rich in details, 5. calm but tense ...... How to become a script? Probably: 1. good observation; 2. maintain sensitivity; 3. accurate interception; 4. learn to refine; 5. bold reasoning; 6. adhere to the accumulation; 7. compound expression. These largely belong to the technical level, in fact, the work is outside the poem, to maintain and cultivate their own humanistic feelings is the most important.
Personalized dialogue one of the screenwriter's confusion, can not be a thousand faces, a thousand mouths a cavity it. But the language has a great homogeneity, we all speak human language, do not speak bird language, too special will make. Character personalized dialogue should be: 1. can not go against the character; 2. try to have some personalized signs (mantra, words); 3. the way of speaking is more important than the words; 4. the character of the inner basis of the greater than the outer resemblance; 5. strengthen the highlights to avoid deliberate.
Love with the audience to write a script is like having a love affair with the audience. The audience is a beautiful woman, you must first love her, and then tease, please, tempt her, find out what she wants, what she wants, and then give, pay, meet her. Can be attached, unprincipled concessions will not work, you have to have firmness. You can not overly spoil her, to her weakness you have to inhibit, teach, warn, intimidate, and subsequently (climax) to conquer her, the party embraced the return of the beauty.
A dramatic task is a task that the writer wants to accomplish in a scene, a paragraph, or even an entire play. It can be both a character's task or separate. In the attack on the nameless heights, the character's task is to defeat the enemy, but the dramatic task is to show the cruelty of war or brotherhood. Key points: 1. must be clear in advance; 2. synchronized with the role task; 3. the real soul that directs the character's actions; 4. the role task wraps around the dramatic task; 5. the whole play dramatic task = theme.
What is the hated screenwriter's screenwriting? The screenwriter is a person who makes something out of nothing (fiction), a provocateur who makes a big deal out of nothing (conflict), a ruthless lang-negative man (make people cry), a father-killer and adulterer-wife-un***daijian's enemy (enragement), and a thieving son of a thief who only wants the world to be in chaos (climax) ...... Once upon a time, there was a handsome man who coincidentally met a beautiful woman, and they fell in love at first sight, fell in love, and since then have lived a happy life - who reads such a smooth sailing story?
Reasonable and peculiar to write a script to set up the characters and events are often entangled, because reasonable and peculiar destined to contradict each other, everywhere reasonable is easy to bland, overly peculiar and inevitably against the logic. My experience is to consider the peculiar first, and then rationalize it. If it doesn't make sense after all that effort, discard it. Then re-find and set up another oddity. Even if there is no peculiar event, try to get a different peculiar angle. In short, be odd.
Small climax relative to the big climax, in the movie prominence, because the movie once viewing, before the end of the biggest climax is set to appear, before the small crisis and resolution (inflection point) is called a small climax. TV series is too long, it is difficult to find the big climax (multiple viewings), coupled with the actual TV series subplot by the director of the last arbitrary cut, it is more difficult to accurately set the inflection point, so it can only be fuzzy. Experience: take the story paragraph as a standard, 3 to 6 inflection points with a paragraph climax.
The first three episodes of the TV series is agreed to be a long commentary, in the long viewing process, the audience to pay a lot of time and attention, so the first three episodes of the audience to decide whether to continue to watch the key, but also become the buyers and TV stations (to collect the ratings) to judge the basis of the crucial. Heroes three axes of the new official three fires: 1. informative (character scenes style visual action); 2. tight rhythm; 3. conflict iterative; 4. strong dramatic tension. Play hard! 5. Create big suspense (make people feel that there is a big drama to follow); 6. Interesting (lines, organs set, details). In short, the screenwriters make as much effort as they can.
Screenplay standard Robert McKee, who worked as a script editor in Hollywood, used to write reviews that said a script had witty scenes, a keen sense of humor, smooth writing, and appropriate diction, but the story was disappointing. He never wrote a review that said the script had terrible grammar, misspellings, awkward dialogue, jumbled orientation, and poor print formatting, but it had a great story, a moving story, deep characters, and a great climax. Bad script for the former, good script for the latter.
Accounting for the play, although the background of the story, character relationships, events, such as the need for a necessary account, but should try to avoid pure, separate account of the play, a good account should be: 1. non-disposable in different scenes and dialogues leaked out; 2. leaving the audience to supplement the residue of their own generalization or reasoning; 3. in line with the scene and the characters of their own logic naturally flow; 4. try to explain the use of bring out the characters character special; 5. Character specialties; 5. Try to have a push on the plot development.
The scene for the articulation of the two scenes set up for the excessive paragraph, characterized by wandering from the plot. Bad script throughout the play is a scene, and write a good scene should be: 1. logic of a ring, and therefore indispensable (although not to promote the plot itself, but take it off is to destroy the plot); 2. rhythm regulator (not from the role of the plot, but for the next climax to do the emotional emotional padding); 3. can be interesting to play with the idle pen, to show the lyrical style of humor and fun style.
The climax is the culmination of a conflict and its resolution in a literary work. The action of the protagonist throughout the movie is constantly encountering obstacles (conflicts), obstacles from the enemy (people, nature, tangible or intangible forces, and even themselves, etc.), and is getting bigger and bigger, the protagonist is in crisis. Before the end of the last crisis can not be overcome, and the end of the world, the protagonist with all his strength to win the victory over the opponent (comedy comedy) or failure (tragedy). Key points: 1. the last crisis must be extreme (the hero put to death); 2. must form the inflection point (the apex of the sharp turn); 3. there must be an unexpected solution to the formation of the turnaround (can be guessed by the audience to form the solution is not a culmination); 4. must rely on the hero himself to complete the whole action (victory or defeat). Write the climax of the big no-no: fatal crisis, suddenly a thunderbolt, a lightning bolt, the powerful enemy electrocuted.
Out-of-place and Flawed #1 Characters are the most unappealing. A common phenomenon is that the antagonist and the positive supporting characters are impressive, and even lead to the actor who plays the main character is not easy to red. The reason is that screenwriters like their protagonists too much, making them so perfect that they are unreal and unapproachable. It is recommended to intentionally give some out of place and flaws to the main character as needed. Out of the ordinary refers to language, actions and behaviors that are out of the ordinary (external), and flaws refer to weaknesses and imperfections in the core of the character (internal).
Rules and TipsWhat are the rules of a good script? The subject is too big to answer, but there are certainly laws. In general terms, all screenwriters and theorists struggle to find the psychological need of the audience to watch a movie and try to fulfill that need. Finding that need and listing them, running through them, is the rule. Finding ways to stimulate, incite and fulfill those needs in the form of words is the trick, or technique.
The ambush script before the paragraph for the latter part of the important inflection point buried hints, the role is to make that inflection point is both sudden (unexpected) and inevitable (reasonable). Key points: 1. ambush point both obvious (leaving an impression) and hidden (plus interference); 2. can be strengthened or repeated when necessary; 3. moderate amplification of false ambush mislead the audience; 4. ambush should not be too much; 5. set up method is mostly inverted, the first to determine the results (major inflection points), back to see what place is suitable for placement.
Subtext comes from the human mouth is not the characteristics of the play is suitable for the expression of the complexity of the character's inner prescribed scenarios, but also the most intriguing charm of the film dialogue, and it is difficult to write can only be lines. Key points: 1. to write the strings from the text; 2. to figure out the subtext from the character and the situation and write the lines according to the subtle and diaphragm of the relationship between the characters; 3. to write from the perspective of the performance, the actors say the lines and act the subtext.
New screenwriter homework want to be a screenwriter, whether or not the class graduated, what is the previous occupation is not important, the important thing is to love. Must do homework: 1. more good movies and TV dramas; 2. try to write; 3. appropriate reading a few classic screenwriting theory books; 4. analyze classic films; 5. more and write scripts for more exchanges with friends; 6. to write their own scripts as a story told to others to listen to, to seek feedback; 7. the conditions of the old screenwriters to consult a teacher or teacher. 8. continue to write.
Suspense1The thing in a movie that can arouse the audience's nervous anticipation. In fact, it is the process of triggering, developing, and resolving a crisis. General skills: 1. set up suspense, strong and sudden (quickly triggered); 2. put in neutral, natural glide, do not step on the gas (the eunuch is anxious the emperor is not in a hurry); 3. injected into the reinforcement factors, the crisis is gradually revealed; 4. deliberate delay (interference and inhibition), resulting in the strongest sense of tension; 5. release of the suspense, a sudden turn (smooth or reversal) to solve the crisis.
Coincidental chance event or character encounter. There are no coincidences! Script writing coincidence because: 1. although accidental is a regular experience of life; 2. can stimulate the audience's attention; 3. to enhance the dramatic; 4. can cause the audience to participate in and explore; 5. appropriate coincidence can be unexpected to solve the crisis. Note: 1. Coincidence must carry a logical necessity; 2. A play can not be used too much (except comedy); 3. Never used to solve the final crisis (climax).
Misunderstanding misinterpretation, misinterpretation, wrong blame, misplaced, etc., commonly used in the play to create conflict means, but also a common phenomenon of life, from the differences between people, distance. Conflict stems from differences, misunderstanding stems from differences, but misunderstanding is not equal to conflict, sometimes misunderstanding is false conflict, because misunderstanding conflict resolution is to rely on the elimination of misunderstandings, rather than a party to the conflict over the other party. Misunderstanding true conflict: the elimination of misunderstanding achieves a certain dramatic purpose.
The dramatic film is not the same as daily life, more condensed than life, more intense, more peculiar, more interesting, more ingenious, more out of the ordinary, more profound, more touching, more intriguing, and better looking content. The movie has a drama without drama, whether it is good or not, how to write a drama, not just a matter of skill, because there is no objective standard and technical indicators of drama. Methods: 1. training enlightenment; 2. objective test, tell the story to the people around you.
The idle writing screenwriters consciously arranged for the development of the story does not obviously promote the role of paragraphs, details or lines, etc.. Function: 1. Adjust the rhythm; 2. To accentuate the atmosphere; 3. To increase the sense of reality of life; 4. To add interest; 5. To assist in the delineation of the characters. Setting idle pen should pay attention to: 1. natural and not deliberate; 2. vivid and personalized expression; 3. break the coherence and tension; 4. idle pen can not be idle; 5. should not be too long. Example: Shawshank Redemption protagonist prison play opera.
One sentence synopsis Blake Snyder calls it a story line. Elements: 1. unexpected, surprising; 2. sense of image, from which the whole movie must be visible; 3. audience and cost, perceived market positioning and investment size; 4. title, appealing and stimulate the imagination. All good movies can be summarized in one sentence, and a well-written story line will sell your idea and work. Example: A rich businessman falls in love with a prostitute hired for a weekend party, The Windup Girl.
Empathy Robert McKee says that classic movies all look brand new at first glance and familiar everywhere. In fact, screenwriters are forever on a quest to inspire familiar ****ing feelings in everyone through never-before-seen, never-before-heard stories. What is that? It is difficult to accurately express, but it must contain the separation of life and death, love and hate, family hatred, national humiliation, happiness, anger, sadness, old age, sickness, death, sex, wealth, poverty, honor and disgrace ... Remember: to the most fresh stimulate the most familiar.
Truthfulness and believability have long plagued screenwriters. In fact, our pursuit of truth (often called artistic truth) should be understood as: believable and evocative. Elements: 1. logical (the premise can be false, but the logic is impeccable); 2. full of life details; 3. coincide with the feelings and experiences that human beings *** have; 4. exclude non-essential disturbing factors (garbage) in life; 5. intercept or even strengthen the characteristics and elements of life that reflect the essence. In short, what @DirectorJiang Wei said is "like it or not", not "is it or not".
Negative characters have to be badass (calling the antagonist political)! Hello I am good everyone is good drama is very difficult to write and very difficult to watch! Having a bad guy is a normal part of life and even more of a necessity for theater. The bad guy must be written: 1. bad enough (especially for the good guy protagonist); 2. bad for a reason (there is no good and bad in the world without a reason); 3. multi-faceted (not necessarily written as a good person); 4. must be a person (written as the devil is to shirk his responsibility); 5. aggressive.
Torture the protagonist to determine the protagonist before starting to write and ask questions: 1. why write about him (theme)? 2. what he wants to do how the result (action and ending)? 3. his biggest crisis (climax)? 4. his enemies and friends? 5. his normality? 6. character is different? 7. fatal weaknesses? 8. biggest dreams? 9. biggest fears? 10. most cherished people and things? 11. Raw motivation (inner irresistible impulse);12. Is he interesting?13. Is he surprising?
Normal and ExtraordinaryLife is normal without a story, and the screenwriter's task is to tell one or several extraordinary passages that occur in the normalcy of life. The linear direction is: 1. the opening of the normal (explaining the information to introduce the scene to recognize the characters to create an atmosphere to determine the style); 2. triggering events or factors to break the norm (the first point of inflection, to stimulate the audience's expectations); 3. to push the momentum of the extraordinary; 4. to intensify the crisis and the resolution of it (the climax, the final point of inflection); 5. to return to the norm (the ending).
Magical if writing is a process in which screenwriters use their imagination (divergent thinking) and reasoning (logical thinking). Logic is reasoning: 1. If I were him (I stand up for him as his master); 2. If he were me (I control him as my master); 3. If the audience were him (use the audience to get into the scene and create accidents); 4. If he were the audience (stimulate the audience to empathize). Remember: I must be more (or at least equally) clever than he is and must control him.
Children's films are not strictly speaking a category of subjects, but the concept is clear, the movie for children. The reason for the scarcity of children's films over the years is one word: difficult!
Twitter script 1. when and where who? 2. what breaks the peace on a certain day? 3. what makes him have to do? 4. what difficulties he experienced? 5. who are his friends and enemies? 6. what are the contradictions, confusions, entanglements and fears in his heart? 7. what helps him to overcome the retreat? 7. what makes him step by step closer to the goal? 8. happiness is coming and what appears to make everything What made him finally overcome the enemy and get through the crisis to win the whole thing?
Where does inspiration come fromInspiration is magical, you are walking on the road, a drop of rain falls from the sky, falls on you for no apparent reason, and penetrates into your brain. So there is a poem, a painting, a novel, a script. Inspiration is not magical, it is a long-term accumulation, reading, observation, thinking, suddenly encountered a certain object of the collision of the spark, it makes you feel a flash of light, ignited the creative passion. Reminder: inspiration is not necessary to write a screenplay.
Where does a story come from? There is no such thing as a ready-made story, except for a facsimile. Stories are made up! It comes from you, from deep within you! A story is something you write or tell based on what you've experienced, read, seen, heard, thought, felt, accumulated, imagined, experienced, speculated, reorganized and reordered with skill, and written or told in a way that is acceptable to your audience. The basis of the story is the human ****ness that exists within your individuality.
Show and Tell1 Both the limitations and the appeal of the movie lie in the fact that it is like life: clear as seen, vague, ambiguous and elusive as unseen, requiring guesswork. We can never see the human mind, we can only guess it by what we can see and hear (including the possibility of tongue-in-cheek language). The law: nine parts showing and one part telling. Use all your strengths and mobilize all the possibilities to show, the less words to tell, the better and unreliable.
Show and tell2 are an organic combination, inseparable. Can show include: expression, physical action, tone, volume, rhythm, and even make-up, costumes, props, environment, light and shadow atmosphere, etc.; to inform the language, including: dialogue, monologue and narration, as well as subtitles. Several situations: 1. show and tell the same; 2. show and tell the misplaced; 3. show and tell the contradiction; 5. show to cover up the tell; 6. show to demolish the tell.
The literary film 1 is relative to the commercial film. Is there a so-called literary film or not? Assuming there is, what are its characteristics? Several aspects of speculation it may be: 1. anti-climax film (whether to comply with the law of climax storytelling); 2. negative value evaluation of the film (social value judgment at the end of the story); 3. intellectual film (service crowd); 4. artistic taste of the film (focus); 5. to the international film festivals to get awards for the film (to go to).
Literary films2Anti-climax films, i.e., films that don't follow the laws and techniques of storytelling (opening, igniting conflict, unfolding, intensifying, crisis, climax, resolution of the crisis, ending). It is also known as a lifestream movie, which is told in the blandness of life as it is. People like to watch stories with a climax, but that doesn't mean they lack appeal without one. Documentary films are just as good and engaging as life as they intercept it. Like a documentary feature film.
Screenwriters are the best actors, and the best performance award at every festival should go to a screenwriter! How difficult it is, facing a blank sheet of paper or a flashing blue screen, we have to imagine a lifelike character out of thin air, and then get into their bodies, hide behind their souls, to act out their voices and smiles, to speak in different tones, to be angry, to be gentle, to be sad, although we perform without using our faces, bodies and voices.
Finding Perpetual MotionThere is no perpetual motion in the world, and the writers are struggling to find it. If they can't find it, then it's not the characters but the writers themselves who are walking back and forth in the room, annoyed! Once found the screenwriter is like a well-fed cat, sitting quietly in front of the computer, the characters in the play is moving, never stop, whether the script is 40 minutes, or 90 minutes, whether it is 30 episodes or 50 episodes, the characters themselves are moving, pulling the screenwriter's fingers running on the keyboard.
Screenwriter's IntentCharacter's IntentTry not to let the character's intent and the screenwriter's intent overlap, then the play will be thin. If the main character wants to fall in love, the screenwriter will write seriously about girls; if the main character wants to build an airplane, the screenwriter will write honestly about him overcoming technical difficulties, how boring it is! If the main character falls in love, you write about loyalty and betrayal; if the main character builds an airplane and you show loneliness, this is called composite expression! Let the character's intent be subordinate to the writer's intent.
DetailsDon't make this a simple question, it's really hard to explain the details of a script. Scenic details are the business of the art and set, action details go to the actors, portrait details go to the make-up, and psychological details belong to the novelist. What else? Language? Does that count? Does dialog count as detail? I don't know. Come to think of it, I can only focus on the word detail. The details of a script are the things that are small, small and demonstrable, things to be listened to carefully, looked at carefully, touched gently, and savored.
Finding perpetual motion 2 Have you found it? The theme of the script is that the soul is the rudder of the ship, the last climactic scene plus the ending is the terminal is the destination, the action line is the direction and course of the characters, the conflict is the waves is the reef, the action is the sails erected, but where is the wind? Where is the perpetual motion machine? Character relationships! There is no entanglement, no tension, no cause and effect, no grudge, no feud, no master, no right and wrong character relationship is a setup, and vice versa is the perpetual motion machine!
How to do a paragraph synopsis to attract people 1. Determine to attract people are investors, production companies, script brokers, they are insiders, so the story synopsis should be more professional, not the general literature reading. 2. Attracting professionals is mainly the story line, story inflection, climax, protagonist settings, character relationship settings; 3. focus on: character character distinctive and interesting, the story is clear to meet the logic, with surprises and a tense climax.
Character relationships how to frame more drama 1. differences, character traits try to pull apart, overlap and close to the deletion or merger; 2. antagonism, so that the characters in the play to produce confrontation and conflict; 3. complementary, the same camp of characters with complementary characters; 4. relevance, so that the characters to produce correlation, the family, in-laws, classmates, etc.; 5. abundance, tall, short, fat, thin, beautiful, ugly, strong, and weak, three religions and nine streams; 6. ...Mechanical, adding dramatic associations, encounters and reunions.
A play several lines, how to intertwine the line refers to the character throughout the action track. A play can be a line, can also be more than one (to increase the richness of complexity). The thread should not be too much, more than three will affect the understanding of the plot. Several situations: 1. completely parallel and not intertwined; 2. point intertwining, colliding at certain points; 3. bifurcation, a line in the middle of a line divided into several lines; 4. merging, a number of lines merged into a single line. There is only one main thread in a play.
The turn of the rise and fall of the turn how to write the rise and fall of the turn is a very literary expression, the meaning of which is three: 1. rise and fall, that is, the emotional ups and downs of the storyline caused by the audience; 2. change, the reversal of the development of the story and inflection points; 3. rhythm, the speed of the development of the storyline. There are intrinsic rhythm (inflection density) and extrinsic rhythm (caused by visual and auditory) two kinds. Note: staggered, sparse and dense, sharp and slow coordination, static and dynamic connected, alas, only to be seen.
What kind of ending is more powerful powerful is the climax + ending. Climax: 1. the final crisis to the extreme (the main character put to death); 2. the formation of inflection point (the apex of the sharp turn); 3. unexpected factors contributing to the turnaround (the audience can not guess); 4. rely on the main character to complete their own (victory or defeat). Ending: 1. Relief; 2. Sigh of relief; 3. All that is thought; 4. Clapping; 5. Philosophical sublimation; 6. Disappointment; 7. Obligatory publicity.
What to pay attention to when doing subplots/how to schedule when doing big scenesPay attention to the rhythm of doing subplots, and give due consideration to the cost of filming (the more the number of scenes the faster the rhythm, the higher the cost). Big scene? Is not the weight of the scene is very heavy? Is it a scene that takes up a lot of time? The scene of many characters? I don't really understand. General situation: not many characters of the big scene focus on writing drama, writing conflict; many characters of the appropriate consideration of the scene scheduling (in fact, the treatment of dialogue), highlighting the focus can be.
The difference between dialog and daily conversation is the same: 1. as natural as life; 2. in line with the logic of life; 3. in line with the character. Differences: 1. Dialogue must have a dramatic task (it is arranged by the screenwriter with a purpose); 2. Dialogue is the most wonderful language of life; 3. Avoid nonsense and linguistic garbage, except for special treatment; 4. It must be in line with the needs of the drama's prescribed situation; 5. If necessary, it can be emphasized to show the beauty of the dialogues; 6. It can be exaggerated appropriately according to the needs.
Explaining the plot with images or dialog is better preferably not with dialog. One of the items I mentioned in the bad dialog is to say the plot. The main thing is not real, not natural, even if you deliberately write a paragraph to explain the scene, it is not clever. Also not only use the picture, must explain the plot, can use the picture, body movement, props, eyes, expression, scene, voice, conflict, etc., natural flow. Even if you use dialogue, it is not directly said, but leakage.