The Blog, aka —
The sometimes suspect musings of screenwriter Max Adams
So you know I’ve been working on these video classes since, well maybe since before Jesus was born I do not know I am losing track of time here at this point but a long long long long time. Ahh! But! I think I have nailed sound and lighting (light a candle for me) and...
I was talking to a writer in a lab, it was The Logline Lab and that's a lab very much focused on what is driving story, for whom, and putting the pieces together for reps and a development executives and talent who, One, need to know there is a movie in play, and Two,...
I was talking to a writer I was doing a consult with and he said that, talking to someone else industry, the thing that stood out to him in the conversation was they said, "This is a movie." And I said, "They are exactly right. This is a movie." The reason that...
December 15 through December 31 2023 book a 2024 AFW 6 week master course and take $75 off. Yay! Use coupon code DEC2023 December 15 through December 31 2023 book a 2023 | 2024 consult with Max Adams and take $100 off. Yay! No coupon codes for consult dates. You have...
Congratulations to the five winners of The Great AFW Logline Competition!
Genre is an odd animal that throws a lot of newer writers. It's a classification that really is for all intents and purposes a marketing term. It's how businesses tell a prospective customer who is looking for a story for entertainment and escape what sort of story is...
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"...
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.”