Killing a minority character isn't a problem in itself. The problem is that western media (particularly film) has a long tradition of killing of minority characters and leaving white protagonists to complete the plot. It is a habit that is rooted in racism, and not one that you want to add weight to without due consideration.
Now, if this character's ...
Screenplays are collaborative, whether you like it or not.
Actors will say the lines. Directors will alter the tone. The photographer will create their own vision. And the producers will hire other screenwriters to "fix" your screenplay because they have spent a great deal of money and will hire more experts than they need. The star will have some demands. ...
There are two simple rules when it comes to writing which trump all else:
Always write for the reader (or in this case viewer).
Never let anything get in the way of your writing.
The second rule is what we are dealing with. This rule follows the theory that you should never compromise your writing - even a little - to achieve some other goal. You write ...
Screenplays are also very difficult to sell, for a first-timer. Books are quite a bit easier. Unlike a screenplay, a book is in its final form, and relatively easy to produce, big publishers can do it cheap, in the single-digit thousands, and have the contacts to get it reviewed and advertised.
Screenplays can cost tens of millions to produce, they are a ...
It isn't science fiction, it is just Contemporary fiction, aka Realistic fiction.
A Science Fiction story must rely heavily on some non-existing tech or some reasonably plausible guess at a futuristic development; like being visited by aliens, or discovering them.
In some scenarios (about the future, or space operas, etc) there is a lot of this; in others ...
A screenplay is written primarily for the production crew, not for the audience. So you don't have to be afraid of spoiling any plot points by using the real name of the character even though the audience isn't supposed to know it yet.
Switching the name of a character mid-script would be confusing for the production crew. It would just lead to ...
Give the AIs some form of avatar. When the human characters interact with an AI, have them interact with the avatar on the screen (or a holographic projection, if that fits into your scenario). This avatar can be an actor, an anthropomorphic CGI character or even an abstract representation (like the infamous "red eye" of HAL9000).
You can then have a scene ...
Social media is no longer sci-fi
In years gone past concepts like the internet would be considered sci-fi. Many book exist which use digital communication on a global scale as part of a sci-fi setting. Oxford Living Dictionary defines science fiction as:
fiction based on imagined future scientific or technological advances and major social or environmental ...
Here's the most simple answer to your solution. Plus, I believe it will make your story better over all. More interesting and add facets that you will be able to explore that will surely make your story much better.
The simple answer is: Give your antagonist a weakness.
Design the Perfect Weakness For Antagonist
Think about Superman. A difficult ...
The main difference between usage in the terms "screenplay" and "script" is the function of the document.
The script that the actors use during filming contains primarily dialogue with minimal stage direction. This is similar to the 'spec scripts' given to agents and producers to generate interest in the work. The primary focus here is on telling the story, ...
I've seen it written on the same line in defiance of the "new speaker, new paragraph" rule:
"And is this your girlfriend?" Mom asked.
"No, I'm not — " "Absolutely not — " we both protested immediately.
INT. STARBUCKS, LOS ANGELES
People are sitting at tables and on couches, some on smartphones, many typing away on laptops. We pan to a man in his 40's, with a ponytail and reading glasses. He is concentrating fiercely, reading something on a Macbook.
JOE (looks up at camera):
Oh, hello there! I didn't see you. Welcome to Screenwriter's Corner. Today we ...
If they have lines or specific actions, it's important to give them all names. Why? Because each one will be played by a different actor. Each actor needs to know where s/he is at any given time, what s/he is saying and doing, and so forth.
The director needs to know those things as well. The casting service needs to know the number of unique henchmen....
You have several options at your disposal:
You could use a descriptive name: main character, maid, angry customer. Not all characters need names. While it's a bit unusual to refer that way to long-lived characters (often they do have a name), if you are using this approach with other characters, that could go unnoticed.
You could use the initials to refer to ...
Maybe you shouldn't be writing.
Maybe you should be collaborating. Sketch the thing out and hire a
partner, or a ghostwriter.
Short stories. Fewer words, and less need to create a world. You only
need to create as much as is necessary to make the story hold up.
Tell stories out loud instead. Find a library which needs volunteers
(a bit redundant, I know) ...
They do not quit their day job. That's true for many other writers, too.
But besides that, yes, they get paid for unused scripts if these scripts were optioned. I. e. a producer pays them money for the exclusive right to the script for a certain amount of time. During that time the producer can think about turning it into a movie without fearing that a ...
There is nothing new under the sun, my friend.
If you read TV Tropes you might be forgiven for thinking that all plots are like all other plots. However it is not the plots (there are considered to be only seven or so actual plots anyway) but the characterisations, details, names etc that make your world unique to you.
If you are worried that you have by ...
In the context you've provided, OFF Marie, left stewing now means "this is the last thing the camera sees before it moves off her to the next shot."
These are framing directions to the camera person. Look at the parentheticals:
PAMELA And it’s not an apartment, it’s a house that you live in? (off Skyler’s nod) Do you own outright, or is there a mortgage,...
I ignored their spluttered protests
This works fine when it doesn't really matter what they're saying.
2. Share a dialogue line
"I said, Do you get me?"
"Sir, yes, sir!" they shouted in unison.
3. If the meaning of each is necessary, call it out.*
Use separate dialogue lines, but indicate in the narration that they spoke at the ...
A key feature of written fiction is that we're not limited to two senses (sight and sound) the way film is. We writers can give the reader access to three additional senses, plus the internal experience of the viewpoint characters.
So practice writing all five senses, and practice writing viewpoint characters' internal experience. Thoughts, feelings, ...
A screenplay is meant to be performed.
A novel is meant to be read.
(You can have an audio recording of a novel, but that's still someone reading it aloud, not a radio drama.)
A screenplay has stage directions. A novel has chunks of prose descriptions.
The difference is whether you intend for your story to be performed by one or more actors in front of ...
A good screenplay focuses on the prose rather than the technical aspects of film production. Don't include camera direction. Read some screenplays online to get a sense for what you should and shouldn't include.
Here, describe the action, just as you did.
A solution I've seen is as follows: When the character's first introduced they use the alias.
Bob enters the library. Standing at a bookshelf is a LIBRARIAN, filing
Do you have any books?
then, later, ...
I had the same dilemma recently with one of my older stories (i.e. 6-7 years old), which is in need of redrafting. One of the supporting characters, a black woman, dies halfway through; this is a pivotal moment in the plot, as it drives the (white male) protagonist to make a decision that drives the rest of the story.
I considered swapping some of the ...
Don't forget that nobody (except perhaps students on a film-making or screenplay-writing courses) ever reads screenplays, even those of classic famous movies. Write one by all means if you feel compelled to, but most likely the only person who will ever see it is you - unless someone else makes it into a movie.
As other answers have said, movies are a ...
If you didn't create an outline — that is, if you didn't know beforehand how it was going to end — then you're suffering from impeded arborvision (you can't see the forest for the trees).
1) Put it in a drawer and don't read it for a month. Come back with fresher eyes. You'd be amazed what you catch.
2) Hand it off to someone else and ask your ...
Financial concerns aside, the differences in the day to day job of writing include:
In a screenplay structure is everything. You have two hours to tell the story. Your forebearers have refined the the structure of those two hours, through trial and error to the extent that we know, to the minute, the ideal timings for all the major plot points. ...
You're letting the perfect become the enemy of the good.
Let's be blunt: your initial efforts will suck. That's because every writer's initial efforts suck. Stephen King? Sucked. JK Rowling? Sucked. Octavia Butler? Sucked. Shakespeare? Suckethed.
Your goal is not to write something perfect. Your goal is to get it down on paper. Once it's on paper, then ...