Welcome to Day Three of the Tennessee Screenwriting Association’s 12 Days of Christmas Gift Ideas. Each day until Christmas we’ll feature a practical gift idea for the screenwriter in your life. Today’s gift: Red pens and highlighters. … More 12 Days of Screenwriting Gift Ideas: Day 3
Welcome to Day Two of the Tennessee Screenwriting Association’s 12 Days of Christmas Gift Ideas screenwriters actually need. Yesterday we proposed ink as our first gift, so today’s gift idea makes perfect sense: Paper! … More 12 Days of Screenwriting Gift Ideas: Day 2
TSA’s Mark Naccarato films missing link in Star Trek chronology. Meet the writer/director in this exclusive interview. … More TSA’s Mark Naccarato films missing link in Star Trek chronology
The Tennessee Screenwriting Association is overseen by a board of directors, who are elected each January. A president, vice president, treasurer and secretary are then elected from among the board. … More Meet the TSA Board of Directors
From a twist on Hansel and Gretel to a terrible clowns to were-rabbits, seven TSA members answered the call by sharing their short horror scripts on Halloween night. Presenting scripts were, from left, Jacob Burns (“The Game”), Paula Phelps-Weaver (“For the Children”), Dale McCarver (“Spooks”), Debbie Wells (“Snack Time”), Matthew Gibson (“Le Clown Terrible”), Gary Frazier (“Skin”), and Jeff Chase (“Scattered Pieces”). … More Seven TSA scribes answer call with chilling Halloween short scripts
Nashville filmmaker/screenwriter Elvis Wilson’s FOGG pits a “cold and calculating sociopath” against a neuroscientist looking to cure such behavior in a tense, psychological thriller. Wilson recently shared how the movie moved from script to screen and how the Tennessee Screenwriting Association was an integral part in its development. … More Wilson: TSA’s input invaluable in development of ‘Fogg’
Guy1: What’s the threat to the protagonist? Guy2: We don’t need a specific threat. It’s never addressed. Guy1: Is there a threat to the protagonist? Guy2: There’s a threat to all of them [the characters]. Guy1: What is it? Guy2: It’s not important. We don’t need to define that. The audience doesn’t care. Unlike the … More Conversations From Hollywood: Stakes Are High for Protagonist
Plot Point 1 and Plot Point 2 are opt-out decisions. The other 5 Decisions demonstrate a character arc. There may be more Opt-out Decisions throughout your screenplay but want to try for at least those 7.
The 7 Decisions MAY be the Plot Point 1, Plot Point 2 or Midpoint decisions but don’t have to be. Usually Plot Point 1 is a reflection of the protagonist’s decision to undertake the challenge of Act 2.
Question: Does the protagonist’s need & want exist before the movie even begins? Answer: Yes.