Tip #311: Contrast & readers compare

In my story, I want to highlight how exceptional a particular relationship is, so I’m making sure to include horrible relationships in my plot as well.

http://kamimcarthur.blogspot.co.uk/2012/12/playing-with-foils.html

Great articles: The basics of beats

Too much good stuff in David Farland's Daily Kick in the Pants today to distill: Putting Emotional Twists in Your Tales (explaining emotional and genre beats).

Added link to the great articles webpage.

Tip #310: Consistent character voice

One technique that I find helpful is at the end of each story, I go through in editing and make a “dialog pass.” If I have a character, Bron, I will search for instances of “Bron said” so that I can pinpoint his scenes and make sure that his dialog sounds like it is coming from him.

http://www.davidfarland.net/writing_tips/?a=170

Tip #309: Why showing is essential for scripts

"WRITE ONLY WHAT WE CAN SEE."

...IF YOU'RE WRITING "HE GREW UP IN A SMALL TOWN BACK..." IN YOUR ACTION LINES YOU ARE DOING IT WRONG... ANY GOOD DIRECTOR WILL SIT DOWN AND LOOK AT A PARAGRAPH THAT HAS NOTHING BUT CHARACTER HISTORY AND SAY "HOW THE FUCK CAN I SHOW THAT?"

Given Example:

MERYL STREEP'S CHARACTER IS ON A PLANE AND SHE'S ABOUT TO BE HANDED FOOD. SHE GOES TO GRAB HER WALLET TO PAY, BUT ATTENDANT INFORMS HER THEY'RE FREE. THE MEANING IS CLEAR: SHE'S NEVER BEEN ON A PLANE BEFORE...

IF YOU WRITE SOMETHING WE CAN'T SEE, IS NOT JUST MERE FAUX PAS, NOT JUST A COMPLETELY WASTED OPPORTUNITY, BUT A WRITING HABIT THAT WILL ACTIVELY MAKE THE MOVIE WORSE. YOU'RE PUTTING AN IDEA INTO THE FILMMAKERS HEAD THAT WILL MAKE TOTAL SENSE FOR YOUR STORY, HELP THEM GET IT, BUT IT WON'T HELP THE AUDIENCE GET IT.

http://badassdigest.com/2012/01/12/screenwriting-101-2-of-2/

Another advantage is that descriptions are far more nuanced and therefore intriguing.