8 thoughts on “Open Forum: Questions”

1. My question this week for you Scott is, how do you format insert shots in spec sript format?

   For the benefit of all, from one of my screenwriting reference books I submit the following definition of what an insert shot is:

   "An insert shot is a special kind of closeup featuring a prop to show some important detail. Often an insert shot focuses on the written text of a sign, book or note."

   This reference book depicts THIS as the way to format an insert shot:

   JOHN

   rips the envelope and pull out a brithday card. He opens it.

   INSERT – CARD

   Words scrawled in burgandy lipstick: "ENJOY YOUR BIRTHDAY. IT'S YOUR LAST."

   BACK TO SCENE

   John react with alarm. He takes a closer look at the envelope.

   What do you think, Scott?

   - E.C. Henry from Bonney Lake, WA

2. Scott,
   First time question asker, long time blog reader; What is your approach for rewriting scripts? Do you go from draft to draft immediately or do you take time between each draft? I ask because I'm in the middle of a 5th draft, but I have another idea trying to push its way out and I'm torn as to whether to rewrite my script or start on a new idea, giving the old idea a small break.
   Thank you!

3. Is ignorance really bliss?

   That is to say, if you knew when you were starting out just how tough a business this was, and all the struggles a single project goes through, would you have still had the faith and will to write your first script and pursue screenwriting as a career?

   Just so there's no misunderstanding – I'm not asking if you have any regrets. Just curious about how you'd juxtapose your perception of the business then with the benefit of your experience now.

4. Hi scott, I have a question that I desperately need answered. What do you do with the action and dialog heading if a character changes names during the screenplay?

   One example I can think of is 17 Again, in it, the protagonist starts out as MIKE, but when he goes back to school as a teen he starts going by MIKE? What would you do here?

5. hey scott,

   does a sp absolutely need an antagonist character? is it possible to just create obstacles to what a character wants and not have them emanate from antagonists? for example, can there just be obstacles created by the circumstances of the outside world or even by the protagonist themselves. i.e. can they be their own worst enemy and cause the conflict by making poor decisions which stem from their flaws? can you think of any movies that use this scenario?

   hope that makes sense. thanks!

6. Hello Mr Scott..

   I always get stuck in the 2nd act and it sucks. I have great concept for a drama film and I write the first act successfully, then in the second the characters seem to shutdown, I just can't connect with them. Do you have any idea why and do you have any solution please?

7. Hello,

   I don't know if this is being asked too late. If so, I'll ask again in the next one!

   So, as a director, I know not to tell actors to be a little angry here, or more happy there. This leads to generic responses in the acting, rather than specific, layered emotional responses.

   When you are writing, do you also want to avoid such language?

   ie. He stared at the door, angrily.
   vs.
   He glared at the door.
   (pretty wack example, but w/e)

   I suppose its about adverbs.

   Anyways, when I write it out, it always seems pretty foolish, but the question comes back every time I think I've answered it for myself. In need of some clarification.

   Thanks a lot.
   -L

8. Sorry, I just realized read my post and realized I put the same name twice in my example. The second MIKE is supposed to be MARK