I merely went through an interesting and informative exercising ; composing one-page outlines of three of my screenplays for a manufacturer.

Here’s what I learned: if you can’t compose a absorbing one-page outline of a screenplay. your secret plan points aren’t really dramatic.

Two of the books proved reasonably easy to sum up and do dramatic ( good. every bit dramatic as you can do something when depicting it in one page ) . But with one of the narratives I kept composing out the dramatic minutes and so holding to depict why they were turning points when. on the face of it. they didn’t sound really dramatic. And after a spot of caput rubing I realized that I had merely failed to dramatise the minute adequately.

I merely bought and re-watched “Get Shorty” . and there’s this minute where Gene Hackman’s character is seeking to explicate to Chili Palmer why he had blown a wad of borrowed money in Vegas. and Chili cuts him off with something like. “Harry. you did something stupe and you’re seeking to do it sound like it wasn’t stupid. and that’s hard to make. ” It’s a great summing up. and it’s precisely what I felt while I was seeking to sum up my ain narrative. What I ended up making was composing the best single-page version of the narrative I could. so changing the book to fit the better description. Interestingly. this was a book I’ve ne’er pitched verbally and I wonder if I wouldn’t have fixed the jobs after I’d failed to flip it good. I besides think the single-page version was even better than making a verbal pitch because the one-page bound force per unit areas you into showing merely the skeleton. and if a narrative isn’t interesting in that signifier. no sum of window-dressing is traveling to assist.

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