Writing the Stunt Spec Script. The Art of Really Standing Out
The core conceit of the “spec script” has changed drastically over the last few years. In its original incarnation, a “speculative script,” was uncommissioned material written either for sale or staffing in the film and television marketplace. In the feature film world, this could be a script that explored a high-concept original premise, or a […]
Emotional Manipulation, A Powerful But Complex Storytelling Tool (Part 3)
Emotional Manipulation, Defining Theme As we’ve discussed previously, crafting emotionally manipulative characters drives character development and character arcs in fantastically singular ways. Oftentimes, creating characters who rely on emotional manipulation can create a shorthand for character design that’s impactful and resonant. But, what’s perhaps most interesting about weaving emotional manipulation tactics into the beats […]
Emotional Manipulation, A Powerful But Complex Storytelling Tool (Part 2)
Emotional Manipulation, Shaping a Character’s Journey Previously, we discussed how one of the most imperative building blocks for crafting great stories is the development of character. By extension, emotional manipulation, when utilized by fantastically developed protagonists and antagonists, is an equally imperative tool that a writer can wield to help define and shape character. […]
Emotional Manipulation, A Powerful But Complex Storytelling Tool (Part 1)
Emotional manipulation is a complex reality of the human experience. It’s also an incredibly impactful device that can be wielded by writers to tell nuanced, complex stories. This is because motivation (often nefarious motivation) lies at the root of all emotional manipulation. And since want and character motivation are such powerful factors in storytelling, emotional […]
How to Write Authentic LGBTQ+ Characters That Everyone Relates To
Writing for other identities and demographics can be a challenging undertaking when a writer does not belong to that identity group themselves. In the instance of writing for marginalized groups, it’s easy and valid to question if it’s ever okay to write for a character if the writer does not also identify with said group. […]
