Tag: dialogue

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The Lobster Dialogue
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On the Nose Dialogue: How to Lose It or Use It in Screenwriting

On the Nose Dialogue: How to Lose It or Use It in Screenwriting Granted, writing on the nose dialogue might not be the greatest sin in screenwriting terms. But it’s often the quickest way for a screenplay reader to view your work as unprofessional and, frankly, amateur. Sometimes, what was

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Shakespeare lessons for screenwriters
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OPINION: Lessons from Shakespeare For Screenwriters

An odd trend in cinema surfaced in the 1990s and continued into the 2000s. A spate of teen films relocated the plots of William Shakespeare plays to high schools. O updated Othello to make the main character a basketball player rather than a military general. 10 THINGS I HATE ABOUT YOU found

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great dialogue subtext
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OPINION: Great Dialogue is All in the Subtext

Writing great dialogue is difficult, but one way to get a step closer is through the use of subtext. Subtext, literally what is below the text, is the deeper implication behind the surface meaning. Dialogue is not the same as real speech. Dialogue is inevitably heightened, even if it’s simply a

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room arguing laughing
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10 Cinematic Scenes of People, Arguing and/or Laughing

Cinematic Scenes of People, Arguing and/or Laughing It sounds like a dull writing exercise. Put your characters in a room and see what happens, arguing or laughing. But here are 10 great, cinematic scenes that prove being stuck in one room doesn’t have to mean being stuck in a boring

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Boogie Nights
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10 Screenwriting Lessons We Can Learn from…BOOGIE NIGHTS (1997)

Like much of Paul Thomas Anderson’s work, the BOOGIE NIGHTS screenplay has an odd structure, divergent POV and a hefty length, yet every page of it is full of worthwhile lessons for screenwriters. Here are ten: Conflict doesn’t need to be constant Conflict is often billed as screenwriting currency: you’re

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Secondary Characters in THE BIG LEBOWSKI
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10 Classic Secondary Characters in THE BIG LEBOWSKI

The Coen Brothers‘ ability to create amazing, ultra-memorable secondary characters with only a few lines of writing  is something that all screenwriters can learn from. Consider the giant sea of utterly forgettable characters you’ve seen on-screen in your lifetime. Characters that had pages and pages and pages devoted to them,

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Inception - Scene that Works Onscreen but Not on the Page
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10 Types of Scene that Work Onscreen but Not on the Page

It goes without saying that reading a script does not have the same sensory effect on a human being as watching a film or TV show. That’s because there are certain types of scene that can only be properly realised on screen. Sometimes the most memorable and visually impactful scenes

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Voice-Over Header
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OPINION: When Is It The Right Time For Voice-Over?

Using Voice-Over At the beginning of a screenwriter’s career, it is likely they will be hit by a deluge of information pertaining to offer the rules of how to write a script.  Not just that – a script that sells. It is this caveat and the hope for a not-too-distant windfall that forces

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Hitchcock decisions at screenplay stage.
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Genius Hitchcock Decisions at Screenplay Stage

What hasn’t been written about Hitchcock already? From Francois Truffaut and Raymond Durgnat, to every casual message board user on IMDb, great swathes of humankind have discussed at length the directorial techniques of The Master of Suspense; the long take, use of POV, montage with a focus on hands, off-screen

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Music Sheet - Screenwriters & Musicals
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12 Things Screenwriters Can Learn from Musicals

12 Things Screenwriters Can Learn from Musicals   I recently ventured from my comfortable world of screenwriting into completely new territory. No, I’m not acting– I’m working on a stage musical. The process has involved late nights, rewrites, and brainstorming until I think I’ll explode. Yet despite the artistic suffering, writing a musical has taught

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film genres
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The 10 Hardest Film Genres to Write

Be in no doubt about it – if you’re going to write for the screen, then you’re going to be writing genre. Thriller, sci-fi, crime, fantasy, comedy, horror and so on, everyone wants genre and these days they often want two genres, a comedy isn’t enough: it has to be

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