Etiqueta: Blake Snyder
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Screenwriting Fundamentals (by Blake Snyder, now left in low fire, notes by me) p4
We’re in three. The innocent snowball from the beginning must fall on is at a speed we can’t or not want to help watching. EVEN IF WE KNOW WHAT’S COMING ON. There are opening images, there have to be ending images. Hence fore the ruling idea has been fulfilled and that has to be shown.…
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Screenwriting Fundamentals (by Blake Snyder, now with salty notes by me) p3
Our character is enjoying or disenjoying life the way we humans do. And since life is something as riding a plane… It is kinda safe but there’s always the perk of fail and crash thus our job, as writers, is to push our character and get them off their life plane without a parachute. It…
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Screenwriting Fundamentals (by Blake Snyder, peppered with nonsensical notes by me) p1
The advice is for screenwriting. Nonetheless, some of the stuff might apply to comics, novels and plays. If understanding the strengths of other media helps you to better your own game. The opening image will set the tone. This is convenient to avoid or to use clichés to OUR ADVANTAGE. This opening image is the…
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Screenwriting Fundamentals Blake Snyder’s Beat Sheet: Fundamentales de Blake Snyder para escritura de guión con la hoja de ritmo p2
De acuerdo, pues…pasamos a dos con aventarle un problemón tremendo al personaje de tal forma que no puede seguir eludiendo por más tiempo actuar. Si el debate sirve para preguntarse si aventarse del avión, el paso a dos es otro personaje que se acerca y lo empuja del avión. Metafórica o literalmente hablando y no…
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Screenwriting Fundamentals Blake Snyder’s Beat Sheet: Fundamentales de Blake Snyder para escritura de guión con la hoja de ritmo p1
Lo valioso aquí está en el número uno. La imagen de apertura nos sirve para sentar el tono o ritmo en un cómic, un cuento, una película o una serie. ¿Es algo alegre y divertido o una tragedia? Si se tratara de una tragedia habría que maginar tonos grises y rojos de advertencia o colillas…