The Blog, aka —
The sometimes suspect musings of screenwriter Max Adams
5150 is a private online international screenwriting workshop run by screenwriter Max Adams. The 5150 Workshop provides screenwriters a place in which to give and receive feedback on works in progress, finished scripts, concepts in development, and marketing strategies — within a private, safe, pro writer online community.
Author and award winning screenwriter Max Adams talks about screenwriting — and about some of the more than bad advice you are going to get out there on the internet. [video width="800" height="800"...
Elevator will be showing at the Sept 27 2023 red carpet student film showcase (6-9 PM) in San Antonio Texas — hosted by Alamo City Studios showcasing 10 students’ short films from the 2023 Eastside Youth Content Creators Program (EYCCP) at the Jo Long Theatre at the Carver Community Cultural Center: 226 North Hackberry Street San Antonio, TX 78202.
Online Zoom screenwriting labs with yours truly, author and award winning screenwriter Max Adams, are back. Yay! These are Saturday Zoom labs.
Dialogue prompts in back and forth non-conflict exchanges between characters in screenplays are a fast road to flat, wooden ping pong exchanges between characters.
The key word in “lookbook” is “look.” For an artist (“artist” means you, writers) that means something someone may look at that conveys a sense of the film. Imagery, tone, big story moments that will be powerful on a screen — the entire purpose of a lookbook is to...
Studios might be more inclined to take a look at a Thanksgiving script if something about the story concept stood out. Like, location and genre —
I get into trouble sometimes with students. I will tell a student something doesn’t work. The student will say, “Gotcha.” I will think all is well —
If there is one writer who regularly nailed high concept [and did it over and over again] it was Michael Crichton.
In every pitch, the short pitch, the medium pitch, the long pitch, the phone pitch, the lunch pitch, the elevator pitch, the wow nice to see you in line at the store pitch — in every pitch — you have to be able to —
One of my most consistent comments on scripts is, I have difficulty differentiating between characters because characters have similar names.
ONE SCRIPT is your break in script, your calling card script, your sample script, possibly your get signed and get sold and get produced and get a screen credit script.
Talking heads is a term that, as I was told in the film school trenches, relates back to the early days of television when news was delivered by a solitary news announcer sitting behind a desk reading news reports to the camera off a sheet of paper.
I enjoy Mark Wildman’s clips and I’ve always believed this particular clip, about becoming comfortable with being uncomfortable, has a lot of carry over into writing.
One thing to keep in mind plotting a story is that there is a difference between a primary story goal and tasks protagonists undertake to achieve the primary story goal.
There is a real problem out there with female character introductions. Well, with character introductions in general — but especially female characters. Take a look at how a few of the masters did it right —
This is a great presentation from South Park creators Matt Stone and Trey Parker on plotting using the key words “but” and “therefore.” It’s brilliant. Watch it.
The original screenwriter’s uniform blog post is lost in the interwebs somewhere (how does this happen?) but it keeps coming up in conversation.
Screenwriting books you should have on your shelf according to author and award winning screenwriter Max Adams.
There’s a great anecdote in the book “Your Screenplay Sucks: 100 Ways to Make It Great.”It’s the year 2000 and William Akers, the author, is standing in line at a movie theater to see Finding Forrester. Two guys are in front of him and one says, “What’s it about?” And the other says, “Sean Connery.”