Crafting Short Screenplays That Connect by Claudia H Johnson

By Claudia H Johnson

Crafting brief Screenplays That attach, Fourth Edition stands by myself between screenwriting books by way of emphasizing that human connection, even though usually ignored, is as necessary to writing powerful screenplays as clash. This groundbreaking publication will enable you to strengthen and deepen your screenwriting abilities, expanding your skill to jot down richer, extra resonant brief screenplays that would connect to your viewers.

With her candid, conversational variety, award-winning author and director Claudia Hunter Johnson teaches you the all-important fundamentals of dramatic approach and courses you thru the demanding craft of writing brief screenplays with rigorously targeted workouts of accelerating size and complexity. In finishing those routines and using Claudia’s strategies and insights in your personal paintings, you'll how one can imagine extra deeply in regards to the screenwriter’s function, craft potent styles of human swap, and enhance your storytelling abilities.

This re-creation has been increased and up to date to incorporate:

  • A significant other web site ( with ten award-winning brief motion pictures featured within the ebook, together with notable, all-new brief films―Intercambios and the Student-Emmy-Award-winning Underground
  • A new bankruptcy on scene and constitution that can assist you locate the proper constitution to your brief screenplay
  • A new bankruptcy on crafting powerful discussion and subtext that would educate you to utilize each notice and upload extra intensity in your script

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22 Crafting Short Screenplays That Connect Writing tools may seem like a trivial consideration, but you need to know what works best for you: Pencil and paper? Pen? A computer? A typewriter like Barton Fink? ) I need pen and paper when I start a project—or a piece of one, like this chapter. I need to noodle in longhand before I turn on the computer. I love the scratch of a good fine-point pen across paper; it gets the creative juices going for me while I brainstorm. And noodling (a similar technique is called clustering) is nonlinear, so it keeps me loose, keeps the ideas flowing, keeps the raging perfectionist in me at bay.

The surface action is the external pattern of change, the events we see happen up on the screen. Gaz is trying to retain joint custody of his son. To do this, he has to raise the money he owes his ex-wife. But he refused to work at her factory. So he tries to put together an all-male striptease act. The deep action—also known as the character arc—is the internal pattern of change that is occurring in the character in response to external events. Gaz is regaining his self-respect. Boiling your surface and your deep action down to one sentence is harder than it looks—my students are always amazed how tricky this is—so it may take a good deal of thinking and noodling to nail them.

I was basically more interested in the downside of his ability and what type of problems it would create. So Andy explored what those problems might be: I figured that the thing that Joe Wagner would dread more than anything else would be to kiss anyone. So it’s really just a simple love story. It’s your typical “Boy meets girl; girl wants to kiss boy; boy has super-sensitive tongue and doesn’t want to kiss girl” story. There were a lot of areas to explore with Joe’s tongue, but I wanted to focus it around his fear of kissing.

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