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When an aspiring young rap artist, her Zoologist father, and a couple of Japanese tourists are stranded on a remote mountain by a sudden wildfire, they must escape the expanding inferno whilest avoiding a giant mountain lion
What?makes this particular mountain lion so dangerous? A] Normally, mountain lions don't attack people. ?B] Isn't the lion also scared by and fleeing the fire?
What?makes this particular mountain lion so dangerous? A] Normally, mountain lions don’t attack people. ?B] Isn’t the lion also scared by and fleeing the fire?
See lessA girl obsessed with UFO’s builds a small device to alert us, when the device goes off during a storm she encounters a strange figure.
Re the spoiler:Now, ?the logline reads like a bait and switch. ?It promises one event, an encounter with an alien, but delivers something else. ? Bummer.Frankly, the promise of an encounter with an alien is more interesting than the relationship with her father.It's a short script so you don't haveRead more
Re the spoiler:
Now, ?the logline reads like a bait and switch. ?It promises one event, an encounter with an alien, but delivers something else. ? Bummer.
Frankly, the promise of an encounter with an alien is more interesting than the relationship with her father.
It’s a short script so you don’t have (space ?or time) to fry multiple fish (issues)??What is the one — and only one — issue you want to “fry”? ?What is the meaning of the encounter? ?The encounter with alien shouldn’t be merely a coincidence, a random event. ?Nothing should be random in a script, particularly in a short script — unless randomness, mere chance, is the point.?
What is your script really, really, really about?
See lessWhen a young ward of the state is fostered to a crazy family planning a heist, he sets out to find his real father before being forced to engage in criminal activities that will see him back in juvenile prison.
As I understand it, then, the dramatic question of the plot -- and the should be only one dramatic question, not 2 or 3 -- the dramatic question is: ?will the kid successfully fulfill his role in the heist? ?(The dramatic question pertains to the main action of the 2nd Act. ?The answer to that questRead more
As I understand it, then, the dramatic question of the plot — and the should be only one dramatic question, not 2 or 3 — the dramatic question is: ?will the kid successfully fulfill his role in the heist? ?(The dramatic question pertains to the main action of the 2nd Act. ?The answer to that question is finally given in the 3rd Act.) ?That is the principle story you wish to tell.
Now within that story, the boy’s expectation is that if he does as he’s told, his foster parent will tell him where he can find his father. ?That’s the “carrot” being used to motivate compliance. ?The “stick” is the threat of a return to juvenile incarceration. ?And it’s beyond his control as to whether the foster parent will live up to his end of the bargain. ?So it’s an important 3rd Act element but it’s not part of the dramatic question because the dramatic question is about the protagonist’s role in the plot, what is within his power to do.
>>>I guess I always thought writing about indigenous issues when being non indigenous is risky due to the sensitivity of the subject and current issues.
Yep. ?It’s a not so leisurely stroll through a mine field. ?But the upside is that, imho, it affords an opportunity for a more dramatically interesting story.
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