Timings to specific page

Collapse

Announcement

Collapse
No announcement yet.
X
 
  • Filter
  • Time
  • Show
Clear All
new posts

  • #46
    Re: Timings to specific page

    There are one billion business books telling people how to do 10000 careers -- so don't think it's just screenwriters....

    Also it always seems the people at the top (pro screenwriters) don't like these books and the people on the bottom who think they are the best writers ever are the most likely to hate these books -- but that leaves the people like me in the middle who may just enjoy reading any books about screenwriting.

    I know one thing for sure -- those screenwriting books are a lot more helpful than 95% of the posts on this board. And yet people dismiss the books and will take off handed comment by strangers as gospel. So that's always fun.

    My friend is a doctor and he studied for 8 years. And he said first day as a doctor he knew nothing. So he learned on the job. Same for screenwriting. It's nice to have some books to guide you -- but you will only truly learn by doing. Like anything else.

    Comment


    • #47
      Re: Timings to specific page

      Originally posted by zetiago View Post
      Those books, to me, do more harm than good. They will teach you to write screenplay widgets rather than something original.

      I've always found the thriving existence of screenplay method books to be curious. I can't think of an analog in any other art form.
      I agree with you. Alas, this was published in 2018:

      Save the Cat! Writes a Novel: The Last Book on Novel Writing You'll Ever Need

      The first novel-writing guide from the best-selling Save the Cat! story-structure series, which reveals the 15 essential plot points needed to make any novel a success.


      About the Author

      JESSICA BRODY worked for MGM Studios as manager of acquisitions and business development before becoming an internationally best-selling author ...

      From Brody's website:

      Save the Cat! Writes a Novel is now available as an online writing workshop!

      From the Introduction:

      The Beginning . . .

      So, let's get this party started. We've got a big journey ahead of us, and I, for one, am antsy to get moving.

      First things first. What do you need? At the very least, you need an idea for a novel. It doesn't have to be a huge idea. It can be a seed of an idea, it can be a twinkle of an idea. It can even be a character that interests you, or a collection of inspiring thoughts that you hope to somehow string together. Perhaps you've got an idea but you don't know if it's worth writing. You don't know if it "has legs- as they say in the film industry. Can it go the distance? Can it really carry you through three hundred-plus pages of prose?

      Or you might already have a novel fully or partially written that's not working, that you know you have to revise. Or maybe you've started a book and don't know where it's going and now you're stuck and in need of some inspiration.

      Regardless of your specific situation, I'm excited to have you along for the journey. Here's a quick breakdown of what we'll be covering in the following chapters (the structure of this book on structure, if you will):

      1. THE HERO: First, in chapter 1, we'll talk about the main character or "hero- of your story, who they are, and why they are desperately in need of transformation.

      2. THE BEATS: In chapter 2, we'll explore the fifteen beats of the Save the Cat! Beat Sheet in great detail so you can begin to map out the compelling, transformative journey of your novel.

      3. THE GENRES: Then, in chapters 3-13, we'll identify the genre of your story using the ten Save the Cat! story genres. These are not your mother's genres (sci-fi, drama, comedy, and so on). Instead, the Save the Cat! story genres are broken down by type of character transformation and/or central theme. This will help you further develop your novel and make sure your story contains the necessary "genre ingredients- to make it successful. Also in these chapters, I'll give you ten beat sheets for popular blockbuster novels (one for each story genre), so you can see how the fifteen beats apply to some of today's most successful books.

      4. THE PITCH: By chapter 14, you'll have a pretty good idea of what your novel is about,
      which will help you distill the story down into a one-page description (the synopsis) and furthermore, into a one-sentence description (the logline) that you can use to pitch agents, editors, publishers, readers, and even movie producers.

      5. THE FAQ: Despite the awesomeness and thoroughness of the previous chapters, I guarantee you'll have problems along the way. Which is why, in chapter 15, I give you practical solutions to the six most common problems novelists face when implementing the Save the Cat! methodology.

      What About the Cat?

      But wait! We forgot one important thing. The question that I'm sure has been on your mind from the moment you first heard about this book or picked it up in the bookstore.

      Why on earth is it called "Save the Cat!-?

      The answer dates back to the original Save the Cat! book, in which Blake Snyder included several cleverly titled tips on how to avoid common pitfalls of storytelling. "Save the cat!- is one of these tips. If your main character starts off somewhat unlikable, then, in the early pages of your story, they should save a cat (yes, like from a tree or a burning building or a shelter), or do something comparable that immediately makes the reader root for them, regardless of their original likability.

      We'll talk more about cats and how to save them in chapter 15, when we break down some of the most common problems writers face when implementing the Save the Cat! methodology. Additionally, throughout this book, I've included several new tips and tricks specifically for novelists to help you improve your story.

      So, let's get on with it already. Your main character is waiting, and they have a huge problem . . .
      15 Essential Plot Points? I took novel-writing courses in college. I earned a BA in creative Writing. None of the professors mentioned 15 essential plot points.
      Advice from writer, Kelly Sue DeConnick. "Try this: if you can replace your female character with a sexy lamp and the story still basically works, maybe you need another draft.-

      Comment


      • #48
        Re: Timings to specific page

        Originally posted by Jab2019 View Post
        I hear this a fair bit and imagine it can only be guidelines in a rough idea.

        What it is is the fact that people will say inciting incident should happen on page 10, act 2 should start page 25 and act three should start page 70.

        Now, I know these are rough guidelines so the structure and pacing is correct so does that mean if your script is 120 pages long then you just work out the maths of where each act start should appear on what page.

        I know this isn't offering great clarity in my question but maybe a simpler way would be to say if act 2 starts at page 25 in a 90 min script then it should start about page 35 in a 120 page script?

        Thanks
        If you're looking for a measure, you can use change to pace it.
        Story Structure 1
        Story Structure 2
        Story Structure 3

        Comment


        • #49
          Re: Timings to specific page

          Originally posted by sc111 View Post
          I agree with you. Alas, this was published in 2018:

          Save the Cat! Writes a Novel: The Last Book on Novel Writing You’ll Ever Need

          The first novel-writing guide from the best-selling Save the Cat! story-structure series, which reveals the 15 essential plot points needed to make any novel a success.


          About the Author

          JESSICA BRODY worked for MGM Studios as manager of acquisitions and business development before becoming an internationally best-selling author …

          From Brody’s website:

          Save the Cat! Writes a Novel is now available as an online writing workshop!

          From the Introduction:



          15 Essential Plot Points? I took novel-writing courses in college. I earned a BA in creative Writing. None of the professors mentioned 15 essential plot points.
          Well what did they mention? According to some here -- even going to school for creative writing is a waste of time.

          As someone who went to film school -- I tend to agree. Most of these fllm schools -- the teachers assigned their books they wrote to teach from which I found annoying myself.

          Comment


          • #50
            Re: Timings to specific page

            Originally posted by Bono View Post
            Well what did they mention? According to some here -- even going to school for creative writing is a waste of time.

            As someone who went to film school -- I tend to agree.
            To be accepted into the Creative Writing program, you had to submit samples of writing you had developed on your own. These were reviewed by a panel of professors in the Creative Writing program. (I submitted several poems and short stories.)

            Many did not get accepted which p.o.'d a lot of people who applied. The explanation was that they were looking for existing talent that could be developed further. My advisor said the goal was to develop writers who had the potential to earn a living writing.

            The classes were all workshop/discussion style: read your work aloud, get feedback from classmates and the professor who may use published novels as examples of tone, style, etc. None of them wrote instructions on the blackboard.

            There were a number of required one-on-ones with each professor reviewing your work -- they would make notes on your pages prior to the meeting then discuss their notes with you.

            At the end of each quarter, the same panel of profs who reviewed your samples to get into the program would review your latest course work. If they didn't see progress, you were bounced out of the program. (One close friend was bounced and really upset. They told her that they felt she had plateaued, skill-wise.)

            My three main courses (poetry, short stories and novels) started with 20-25 people and were eventually down to 8-10 people at the end of the first semester. They weren't fooling around.

            You could pick a fourth course as an elective outside your concentration. My advisor recommended Screenwriting because he said I was a "visual writer."

            At that point in time, I wasn't interested in screenwriting. I took a course for expository writing which covered journalism a bit (there was a separate Journalism program) and other non-fiction writing.

            I thought it would help give me an edge on writing papers for other classes because I had a double major: English Lit and Creative writing with a minor in Secondary Education.

            I got hooked on screenwriting years later when a friend challenged me to adapt an unfinished novel for the screen.
            Advice from writer, Kelly Sue DeConnick. "Try this: if you can replace your female character with a sexy lamp and the story still basically works, maybe you need another draft.-

            Comment


            • #51
              Re: Timings to specific page

              Originally posted by Anagram View Post

              Most new writers don’t have that experience or confidence. And so they keep hearing people talk about how good this or that book/formula is, and end up thinking that’s what everyone in the industry is looking for.

              And they try to squeeze their (creative, original) story into a cookie cutter formula. And this is where it hurts their writing and their chances to stand out in a crowded marketplace.
              I’ve tried to avoid being drawn into this thread because I didn’t want to repeat myself from the other structure thread.

              When knocking Gurus, “Save The Cat” is the go to book to use as an example because it’s an easy target with its page numbers of “Theme Stated (5),” “Catalyst (12),” “Break into Two (25),” “Midpoint (55),” “Break into Three (85),” etc.

              Taking this at face value, it’s a formula. Exactly the same each and every time. These page numbers pertained to a 110 page screenplay, so if you believe the author meant for this to be an exact formula, then that means every script written must be no longer and no less than 110 pages.

              Sounds ridiculous, don’t you think?

              I’ve said in the past, I do not like how this page number business may give some new writers the wrong impression that to write a winning, professional screenplay, these major elements and major turning points will fall on these EXACT pages.

              I’ve stated that I’d like to see an author express that this is just a guideline, an approximate, and that there are successful screenplays where a Catalyst/Inciting Incident doesn’t happen up until the end of the first act, etc. It’s whatever works for the vision the writer wants to achieve, regardless of page numbers.

              I haven’t read the “Save The Cat” book, so I don’t know how much value it offers to new writers in gaining knowledge about the craft of screenwriting, but I have read other books and, in my opinion, these books do provide value.

              Whenever I point out films that fall in the area of what Syd Field observed and wrote about, i.e., Act 1 - 25%, Act 2 - 50%, Act 3 - 25%, members get all indignant: “Oh, you picked a film/screenplay to fit the percentages.

              This is not hard to do since the majority of the major studio films’ acts will break down into having these percentages.

              I said the “majority,” not EVERY film.

              Jeff Lowell mentioned the film “Unforgiven.” This film’s acts felled outside the usual percentages and it was a critical and commercial success.

              The “Unforgiven” screenplay that I looked at is 130 pages. This means, according to the 25% target, Act 1 will end in the area of page 32. In the screenplay, Act 1 ends on page 20 when the protagonist, Munny, leaves his children to go after the bounty put up by prostitutes to revenge one of the girls getting her face sliced up.

              This is 12 pages outside a Guru’s guideline. Will this freak a new writer out where he’ll add filler or move scenes around to meet the page 32 target?

              For some new writers this is certainly a possibility. This is why I would like a Guru to mention the stuff I suggested previously, but a new writer will learn -- if he truly has talent, where his career isn’t gonna go off the rails because “Save The Cat” mentioned that the end of Act 1 page target is 25.

              According to the guideline, “Unforgiven’s” Midpoint would happen in the area of page 65. In the screenplay, it happens on page 76 when the sheriff, Little Bill, beats Munny close to death.

              According to the guideline, its end of Act 2 would happen on page 97. In the screenplay, it happens on page 117 after Munny is told Little Bill killed his best friend Ned and he now seeks revenge.

              According to the guideline, the third act (25%) would be in the area 32 pages long. “Unforgiven’s” third act is 13 pages long. Pages 118 to 130.

              A writer having anxiety over page numbers is not what screenwriting is about.

              Syd Field said: “Story determines structure; structure doesn’t determine story. Great scripts come from stepping into a character and taking them on a profound journey. A formula never varies; certain elements are put together so they come out exactly the same each and every time. Tell your story in terms of form. There’s a definite Beginning, Middle and End. There’s a place where beginning turns into the middle, a place where middle turns into the end (not necessarily in that order).”

              I don’t like the idea of writing off the Gurus’ books just because a member may not agree with one, two, three, or whatever advice is in its hundreds of pages.

              Comment


              • #52
                Re: Timings to specific page

                Originally posted by figment View Post
                I don't get this argument. If someone's writing a "cookie cutter script" instead of a fresh, original script, then yeah, it's gonna suck whether or not Act One ends on page 20 or page 35.
                The majority of my scorn isn't heaped on the page numbers or percentages. When we're talking about STC, it's the 15 prescribed beats happening in a certain order. That's what makes scripts feel like cookie cutter scripts to me - the mind numbing predictability of knowing exactly what plot point is coming next.

                Books on structure are really just saying Hey, people! Be AWARE that structure in scripts exists and here's what it might look like in a script. That's it. Should anyone be a slave to structure, invoking specific page numbers, well, no. But hell yes, everyone should be aware of structure.
                But that's just not what they're saying. STC is the one we're talking about, and it literally lays out the beats, in order. Have the theme raised here. Have a discussion about theme with love interest here. All is lost moment. Long night of the soul. Hero uses theme that he now embraces to defeat opponent. Etc etc.

                I think what you're talking about - studying how many films are structured - is vital to growing as a writer. But they'll sell you a damn worksheet to fill out over on STC's website.

                Originally posted by Bono View Post
                And yes if Blake was still with us, I'm sure we would have an UPDATE to the paradigm about moving faster. He was giving his advice mostly based on his 90s success, right? Things change so fast.
                He was giving out advice in the 2000s based on his 90s success. He was not a steadily working writer by the time he went into the STC stuff. He was a guy who was looking for a way to make money after his heat disappeared, and stumbled into a pot of gold.

                His scripts were all of a certain type - super high concept, down the middle plotting. That's what I see when I look at his book, to be honest. Really dated advice that is somehow still the bible for a large percentage of new writers.

                I need you Jeff or whoever to write a book called HOW TO WRITE FUNNY IN 2020.
                When you see me selling it, you'll know my career is over.

                Comment


                • #53
                  Re: Timings to specific page

                  Originally posted by JeffLowell View Post
                  The majority of my scorn isn't heaped on the page numbers or percentages. When we're talking about STC, it's the 15 prescribed beats happening in a certain order. That's what makes scripts feel like cookie cutter scripts to me - the mind numbing predictability of knowing exactly what plot point is coming next.



                  But that's just not what they're saying. STC is the one we're talking about, and it literally lays out the beats, in order. Have the theme raised here. Have a discussion about theme with love interest here. All is lost moment. Long night of the soul. Hero uses theme that he now embraces to defeat opponent. Etc etc.

                  I think what you're talking about - studying how many films are structured - is vital to growing as a writer. But they'll sell you a damn worksheet to fill out over on STC's website.



                  He was giving out advice in the 2000s based on his 90s success. He was not a steadily working writer by the time he went into the STC stuff. He was a guy who was looking for a way to make money after his heat disappeared, and stumbled into a pot of gold.

                  His scripts were all of a certain type - super high concept, down the middle plotting. That's what I see when I look at his book, to be honest. Really dated advice that is somehow still the bible for a large percentage of new writers.



                  When you see me selling it, you'll know my career is over.
                  Let's cut to the CHASE. Tell us all your secrets and friends tips on how to write because that is what we all are looking for aren't we? Scriptnotes has some good stuff, but most of it is for well writers with your success versus my up and coming group.

                  Sometimes it feels like no one is telling writers the correct info -- only saying -- that person who is telling you stuff is an idiot. That screenwriting book is crap. The way Craig Mazin went after that manager. And some of us are like -- but he's actually giving the advice we are looking for from the outside looking in.

                  So I'm writing a spec. Let's agree the idea is unique/high concept. Where do I begin using the Lowell method? If you wanted to share any specific tips. But maybe it's specific to just you.

                  I don't know -- I hear you. I get it. I think I'm passed the advice stage and book stage of my writing career -- but then again -- I don't know crap. I learn more stuff from my pro writer friends telling me their stories in the business and how they navigate. My issue is I still want to write the movies Blake is talking about, but I guess those are dead.

                  I guess none of this matters. We will all be dead soon. Is there a beat sheet for that?
                  Last edited by Bono; 08-23-2020, 03:45 PM. Reason: went to film school, can't spell so good

                  Comment


                  • #54
                    Re: Timings to specific page

                    Originally posted by JeffLowell View Post

                    He was giving out advice in the 2000s based on his 90s success. He was not a steadily working writer by the time he went into the STC stuff. He was a guy who was looking for a way to make money after his heat disappeared, and stumbled into a pot of gold.
                    It's clear to me he stumbled into Joseph Campbell's, The Hero with a Thousand Faces, written in 1949.

                    It's all there. Campbell has chapters titled: The Call to Adventure, Refusal of the Call, The Crossing of the Threshold ( StC's break into A2), The Road of Trials (StC calls it Fun and Games) and so on.

                    However, Campbell was not giving how-to write advice. He was analyzing consistent elements in heroic journey stories dating back to Beowulf.

                    Yet even Campbell conceded the elements he identified don't appear in all Heroic Journey stories.

                    As I posted earlier, now we have StC for novel writing with the same 15 beats. Sigh.
                    Advice from writer, Kelly Sue DeConnick. "Try this: if you can replace your female character with a sexy lamp and the story still basically works, maybe you need another draft.-

                    Comment


                    • #55
                      Re: Timings to specific page

                      Originally posted by Bono View Post
                      Let's cut to the case.
                      It's "chase," you moron, and it's a film term! You are beyond hope!

                      Tell us all your secrets and friends tips on how to write because that is what we all are looking for aren't we? Scriptnotes has some good stuff, but most of it is for well writers with your success versus my up and coming group.

                      Sometimes it feels like no one is telling writers the correct info -- only saying -- that person who is telling you stuff is an idiot.

                      [...]

                      So I'm writing a spec. Let's agree the idea is unique/high concept. Where do I begin using the Lowell method? If you wanted to share any specific tips. But maybe it's specific to just you.
                      I have spent literally decades - which is scary - doling out advice here. Until Q Anon took over that other thread, I spelled out exactly how I choose/research an idea. In this thread, I spelled out exactly how I start when I break a script:

                      What does you main character want? What's in his way? What does he do to solve it? What big moments does the story support? What surprises can you have along the way? (And for some of us: what's the theme?)
                      I also mentioned that I think STC is outdated because it doesn't deliver on the premise with set pieces until the movie is 25% over. I think you need almost constant set pieces through a movie now. I had one idea I really loved (sold the script, hasn't been made yet) because I knew immediately that it would give me a dozen set pieces.

                      I also mentioned what I think is a shortcoming of STC and other books: three act break/reversals (end of one, midpoint, end of two) isn't nearly enough for me. I want my story to take turns people didn't expect constantly.

                      My issue is I still want to write the movies Blake is talking about, but I guess those are dead.
                      Do you really want to make "Stop Or My Mom Will Shoot?" High concept comedies still get made. I think Apatow wants to be James L. Brooks, but Rogen and his crew make them constantly, as do a lot of other people.

                      You say the note you get on your scripts is that they're too jokey, not enough emotion. Here's the one new piece of specific advice I'll offer (and please don't take it if it doesn't make sense for you): break your script as a drama first. Make the story work without relying on one laugh to get through a scene.

                      That's it. You should be able to write a compelling beat sheet that doesn't hint at humor. If you've got conflict between characters, you can make that conflict funny. If you've got action set pieces, you can make them humorous by how they go astray and how the characters deal with it. If you've got sincere moments, someone can break the ice with a joke.

                      When I'm having writers write outlines for me on my shows, I really never need to see a joke. Honestly, I don't even really need many jokes in the first draft. If the story works, if the character's motivations make sense, if there are stakes, I know I can make it funny. If the story doesn't work, it's just joke band aids on something unsatisfying.

                      Comment


                      • #56
                        Re: Timings to specific page

                        Man I am dumb. But I make up for it with being ugly too. Honestly, I enjoy being yelled at by pro writers. It feels like I'm in a writer's room. I never felt so alive.

                        I'll need someone to dig through previous threads to find all the advice. It was buried in such insanity it was hard to keep up. Also my power went out during it so I literally maybe missed it.

                        But yes of course you do share -- I'm just saying -- how hard is it to write a 100 page book on screenwriting and PDF me a copy? Selfish.

                        You say the note you get on your scripts is that they're too jokey, not enough emotion. Here's the one new piece of specific advice I'll offer (and please don't take it if it doesn't make sense for you): break your script as a drama first. Make the story work without relying on one laugh to get through a scene.

                        That's it. You should be able to write a compelling beat sheet that doesn't hint at humor. If you've got conflict between characters, you can make that conflict funny. If you've got action set pieces, you can make them humorous by how they go astray and how the characters deal with it. If you've got sincere moments, someone can break the ice with a joke.


                        More seriously this is great advice and what I've been hearing from my rep (not as clear or direct btw just me having to learn as I go) and one of my better pro writer friends said the same. That it's less about jokes and more about emotion.

                        I also keep hearing execs hate random jokes -like the ones I love. Many Family Guy jokes would fall into the category. I guess I do that more than most. Maybe my mind is more geared toward TV sitcoms. It probably is.

                        The weird part is I hate jokes in real life. I like saying funny things, but I don't like joke jokes. All the stand ups I love are telling stories and it's not jokes, but funny things based real life drama of their lives and bits that can last 10 minutes (like a movie set piece might). George Carlin vs the guy doing one liners non stop. Or crowd work. The worst. So you think I'd realize I should apply the same to my specs.

                        I rest my case.

                        Comment


                        • #57
                          Re: Timings to specific page

                          Originally posted by JeffLowell View Post
                          The majority of my scorn isn't heaped on the page numbers or percentages. When we're talking about STC, it's the 15 prescribed beats happening in a certain order. That's what makes scripts feel like cookie cutter scripts to me - the mind numbing predictability of knowing exactly what plot point is coming next.

                          ... it literally lays out the beats, in order. Have the theme raised here. Have a discussion about theme with love interest here. All is lost moment. Long night of the soul. Hero uses theme that he now embraces to defeat opponent.
                          Okay, I understand what you're saying. I don't even know what some of those terms mean, so I'm not doing that, either. I do a very simple set of beats to organize a script in my own head before I begin.

                          But I also feel that with pros, by the very nature of their success, they've confidently settled the rhythm of story into their subconscious, and are willing to trust themselves more. Where others, who struggle to even get read (like me, if I'm honest) have a tendency to trust themselves less, even if their writing is good, and that's where doing a quick check to see if your midpoint is actually in the middle of your script, or making sure your inciting incident isn't on page 25 can offer peace of mind.

                          Comment


                          • #58
                            Re: Timings to specific page

                            This is priceless for comedy writers:

                            ...break your script as a drama first. Make the story work without relying on one laugh to get through a scene.
                            It almost makes me want to give comedy another shot. Frankly, I think comedy is the hardest genre to write well.
                            Advice from writer, Kelly Sue DeConnick. "Try this: if you can replace your female character with a sexy lamp and the story still basically works, maybe you need another draft.-

                            Comment


                            • #59
                              Re: Timings to specific page

                              Originally posted by JeffLowell View Post
                              Do you really want to make "Stop Or My Mom Will Shoot?"
                              I want to have the option to write something like this yes in 2020. It's stupid fun! I think stupid fun comedies are some of the best.

                              I'm one of ten people in the world that loves HOWARD THE DUCK.

                              Comment


                              • #60
                                Re: Timings to specific page

                                Originally posted by Bono View Post
                                I also keep hearing execs hate random jokes -like the ones I love. Many Family Guy jokes would fall into the category. I guess I do that more than most. Maybe my mind is more geared toward TV sitcoms. It probably is.
                                My current show is a multi-cam sitcom (the ones with the audience laughs) and it's a rhythm unlike anything else. In movies and single cam comedies, no one tells jokes anymore. And as you point out, they've fallen out of favor in standup as well.

                                It's okay to have a character that tells jokes, but if everyone's doing it in a movie... That's a tough road. Character comedy and physical comedy are your friends in a comedy screenplay.

                                Originally posted by figment View Post
                                But I also feel that with pros, by the very nature of their success, they've confidently settled the rhythm of story into their subconscious, and are willing to trust themselves more.
                                Honestly, rhythm or pace is literally the one absolute guidepost I think that all good writers have. They know when to get into and out of a scene. They know when it's been too long between action or comedy. They just feel when the script stagnates and change it up.

                                I don't know how teachable it is, but it is literally the key. Ferris Bueller works even without an antagonist because it never drags, not for one second. I think all the writing systems are trying to force people to write with rhythm. Supposedly Spielberg said that a movie is like a symphony - rising and falling while all still of a piece.

                                Originally posted by sc111 View Post
                                It almost makes me want to give comedy another shot. Frankly, I think comedy is the hardest genre to write well.
                                Agree. A great comedy has to work as a drama, and then be funny on top of it. A great drama just has to do the first part.

                                Comment

                                Working...
                                X