As A Screenwriter Is It My Job To Describe An Extremely Unique Setting Within The Script

How do you write character descriptions for a TV pitch?

There are some links you can go though to get the basics for pitching TV scriptsHow To Pitch A TV Show - TV Pitch Template And TV Pitch ExamplesPitch and Sell Your TV Show IdeaAnd actually just google it with diffrent keywords, you will get a lot regarding this.NOW HOW TO WRITEThere are diffrent aspects of character developmentCHARACTER INSPIRATION/IDEA : Characters are always developed from ideas or basic sketch in mind, sometime from situation, or setting of story. sometime it just created by you with inputs of idea,situation and characterisation that you like. It is sometime inspired from real people, like of someone you met in train or travel. your father or freind. some public figure or gangster/ businessmen etc.MAKE IT uniqueMAKE IT diffrent from other characters you made or will makeGIVE HIM : MOTIVE OR PAST/ ACCIDENT OR TRAGEDY/ MISSION OR PASSION/ PERCEPTION OR SOMETHING STRANGEMAKE it believable, genuine - fictious but naturalCHARACTER PROFILINGThere are plenty of details that are necessary as inAppearenceBehaviourPsyhcologyEmotional IntelligencePersonalitySocial status, emotional status and physical statusstrengths,weakness,favourites, obsessions, habits, dislikes,prefrences etcGestures and so on..CHARACTER BACKGROUND/PASTCHARACTER ARCCharacter arc is what changes in motive, characteristic, behaviour,thinking or any ther form in diffrent timeline or turns of story.CHARACTER GRAPH /CHANGESIt is specifically changes that happen and when it happen, why it happen. what affect it make to the story.CHARACTER MOTIVECHARACTER PERSPECTIVES/VISION/OPINIONS- AS SOCIAL/POLITICAL/BEHAVIOURIAL/ EMOTIONAL/SEXUAL/ PSYCHOLOGICAL ETCGET SOME LINKS :8 Ways to Write Better Characters | WritersDigest.com11 Secrets to Writing Effective Character DescriptionHow Do You Build A Strong Character In Your Writing? - The Write PracticeTV WRITING TIPS & TRICKS: Character Development In Television Series DramaThe 10 Key Rules of Writing for TVGet some basic books and fordummies series related to writing,screenwriting etc.As well as others answers for question in http://www.quora.com also help you.

How can I avoid writing 'suddenly' in my stories?

I really don’t understand the question. I mean, you just use word search, find all the ‘suddenly’ words and either change them or delete them. I think your real question is how can you write better.Here are 10 mistakes new writers often make. Hope they help.1) The use of exclamation points. Never, never use one. It is the sign of a beginner writer and editors spot it immediately. Using an exclamation point is lazy. It is telling not showing.2) Words ending in 'ing'. Go through your ms (manuscript) and eliminate as many of these words as possible. She was singing. They were swimming. All telling.3) Same with words ending in 'ly'. She said quietly. He walked quickly. Change it up. Show us. Better: She said, her voice so soft he had to lean in to hear.4) Limit the use of 'was' and 'were'. They are shameful telling verbs. He was mad. Better: He slammed his fist on the table so hard the glasses rattled. Both sentences let us know he's mad; which sentence is more interesting?5) Limit the use of 'very' and 'just'. It was very cold. He just wanted to get in the warm cabin. Better: The cold air left frost on his mustache and cracked his lips. The smell of the wood fire at the cabin spurred him on through the snow.6) Be suspicious of the word 'it'. It rained. It was unpleasant. You can almost always find a better way. Use a deeper POV for example. Better: Although I had buried snips of my hair in an old mason jar out in the backyard like my grandma told me, rain still showed up on my wedding day.7) He and She. Try to eliminate as many as you can. He sang. Better: Charlie sang. Best: Not knowing if it would get a laugh or a boo, Charlie lifted his face into the spotlight and began to sing.8) Clichéd work. Don't ever write it was ‘as quiet as a mouse’, or ‘a tomb’, or ‘so quiet you could hear a pin drop’. We've all read that too many times. Be unique. It was as quiet as a nun's prayer. So much more interesting to read.9) Watch those misplaced antecedents. When she spoke to Mrs. Smith she smiled. Who is smiling here?10) Changing POVs in the middle of a scene.The way the girl's long hair shone in the sunlight got John's immediate attention. Fascinated, he moved closer with the intent to feel the softness without her being aware. She wondered if he was going to get the nerve.Whose head are we in? John's. So the last sentence has to be changed. He can't know what she might be wondering.

How do you show, not tell, in writing?

Adjectives tell. It might be true that “Sally is sad” but that will not make readers empathize with Sally. Instead, focus on Sally’s physical responses to events.If Sally is sad, being sad is the event. How she handles her sadness is going to show up in her next actions, such as moping around and overthinking past events. If you show Sally to be much different from her usual self, the reader will catch on and realize that Sally is sad.Pretend you are a photographer. Your job is to use the surroundings you are given and find an interesting subject to capture. (However, this doesn’t have to and shouldn’t be limited to the sense of sight.) It’s good to give a general outline of a setting or character’s descriptions, but that won’t make the description memorable. Dive in deep and focus on just one or two things.Ex: A rubber bracelet lay forgotten next to the trash can, its letters long gone.Compare things. You know when your elementary teachers told you to use similes and metaphors? That stuff actually works. People hold a clearer image in their mind when they can compare to something they’re already familiar with.Ex: A swoop of hair that looks like the crest of a wave. Spiderlike fingers that dance across a piano.Clear verbs are your new best friend. “Sally walked through a forest path.” Pay attention to walked. It can be improved to portray how Sally is feeling. Is Sally trudging through the forest? Or is she skipping? Verbs carry distinct connotations to them and set the tone and mood of your writing.Get rid of phrases like “he/she saw…” or “they heard…”. All this does is alienate the reader from your characters. When an action such as a loud noise startles you, you don’t think “I heard a large boom.” The sound is the event, so describe how the event affects your character and their actions. They might wonder what cause the sound. They might automatically assume whatever caused the sound hurt somebody and then rush to help them. Whatever you choose your character’s actions to be shows so much about their personality and circumstances.There are so many more tips, but here are some of the ones that have helped me most :)

What are some tips for writing dialogue in a novel?

I’m more a playwright than I am a writer of prose fiction. But then your average play is more dialogue-based than just about anything you’re likely to read. Here are a few things I’ve learned.Real people don’t always say the right thing. Ironically, one sign of poor dialogue (if you’re trying to be realistic, at least) is a certain excess of cleverness. Even the most charismatic speakers are imperfect if you listen critically. The most confident people get tongue-tied. The most talkative people can be stunned into silence. Implausibly witty banter is a symptom of implausibly perfect characters. It’s not that your characters can’t be smart or articulate. But they should sound human.Real people don’t always say what they mean. Another sign of poor dialogue is the absence of subtext — characters who only seem to speak to tell us what they’re thinking and feeling. It’s not that every line needs to drip with subtext, but think about it: how often do people tell you what’s really going on in their heads? What they really want? Your co-worker might desperately confess his love for you in a fit of pique, but if he’s sane he already tried telling you a hundred different ways before actually telling you.Real people only speak when they want something. Even if they just want to hear the sound of their own voice. If you know what your character wants, you’ll know what she needs to say — or not say — to get it. If your character is talking but she doesn’t seem to want anything then why the fuck is she talking?Real people play many roles. Do you speak to your uncle the same way you speak to your lover? Unless you’re fucking your uncle, probably not. We all play many roles as we navigate the world, and we all try to adapt ourselves to thrive in those roles. A generally nasty, arrogant person may suddenly become a saint when her grandmother shows up. Remember: your character is also an actor.Don’t be too real. Human speech is a lot less fluent and coherent than we like to imagine. We make little detours, we trail off, we cough, we mumble, we stumble, we misuse words, we repeat ourselves. We’re a mess.But writing dialogue is an art: it entails creating a stylized version of the truth. So go easy on um and er and ... There’s a fine line between realism and real life.

What is so good about Quentin Tarantino movies?

Make up a list of great directors. Scorsese, Stanley Kubrick, Hitchcock, Nolan ...... Everyone's screenplay style will merge at a point. But Tarantino's screenplay is very distinctive from other's screenplays. E.g., Pulp Fiction - When I finished watching the film for the first time (I didn't know about Tarantino and his style then), I was like 'What the fuck did I just see?'. We were sticking to the three layered linear screenplay before Tarantino arrived. I mean:First 10-15 minutes : Establish the plot & charactersNext 50 minutes : Course of the storyLast 15 or 20 minutes : Conclude the storyBut here comes a film like a puzzle. If the film was presented in a linear fashion, it would have been not a great film. The non-linear screenplay made the audiences think, think and think about the plot, and when you finally picturize the whole plot, it's fucking awesome.And another reason that makes Tarantino great is his use of words. He is naturally gifted to write such awesome dialogue.

How can I tastefully describe the Asian shaped eyes of a fictional character without sounding racist, and, related to this, how would I describe Asian toned skin and avoid the same concerns?

Is there a dramatic reason to describe the person’s eyes? Will giving them a recognizably Japanese or Chinese name be enough to put the right image in the reader’s head? You may not need to describe the eyes at all.You describe a character’s eyes, or any other feature, if there is reason to do so. Does eye shape or color come into play in the story otherwise?You may recall that in the movie “Memoirs of a Geisha,” the main character’s eyes were notable because they were not brown. Otherwise, they would not be a part of the story at all.Is your goal to make the image something that will also indicate the kind of visual impression the person makes, or to give your reader an accurate image of the character? If you are trying for either of those, eyes may not be the way to go. Something like four-fifths of the people in the world have brown eyes. Describing a character’s eye color is mostly a way to distinguish white people. (Though some writers asking questions on Quora seem to think that it is a necessary part of introducing a character.) For your fiction, you need to use features that will make that person an individual, especially within his or her ethnic group (since ethnicity seems to be important to your story). Hairstyle might be more important, or shape of chin or nose.Perhaps the character is an Asian woman who uses makeup to accentuate her eyes. That might be worth describing. Or people find a man’s eyes especially piercing. Write about eyes that way. Otherwise, focus on something else.Same with skin tone. Do you have a reason to describe it? If so, the fact that the person is Asian is irrelevant. You can find a wide variety of skin tones among people in Asia. Simply describe it when it becomes important to the story.

What should our response be when an interviewer asks, “Why should we choose you over others?”

The interviewer could most probably be looking for your strengths, your confidence level and your want for the job itselfI find it to be a weird question because there will always be pros and cons of a particular candidate over others. I’m being unrealistic if I think that I am better than the whole set of students/candidates outside. Mostly because I don’t have data on their skills and generalisation on mere assumptions would be unfairHowever, if this question is being asked, it is best to first mention your positives. You don’t know the candidates outside but you know yourself. Mention your strengths and how it aligns to the job profile. Mention a few personal strengths like quick learning (shows growth), hardwork/persistence etc.It sometimes helps to say that you’re their better bet. However, it sounds unrealistic and more of an ego boost. I don’t suggest using such lines unless you have a minor concept of derivation. That would add to your chances of going through. Like if you made a pie chart and showed them the chances of their failure if they rejected you. You’ll have to think how to make it meaningful though

What are good ways to write good monologues?

From a screenwriting perspective I have a different, more abstract approach that's focused more on creating believable prose:Say the words out loud! I've written some monologues that I thought were beautiful and so very real…however when I read them aloud in the tone of my character's emotion, they sounded 'off' or just plain ridiculous. As writers we spend so much time silent in our heads that it's vital to *hear* the monologue out loud. If you have any actor/poet or even a kindly friend, give them the tone and character info and have them read it back to you.  Don't "waffle." My period action piece was covered once by a reader at CAA who gave me this useful advice. He aptly noticed that sometimes my characters spoke a more archaic language and other times it was modern. I had to take a strong stance and choose only one way. Keep this in mind when you're writing. So even if you're character is a rough and tumble New York thief who is caught off guard by an intense moment of spiritual enlightenment - he probably won't ever use the phrase "spiritual enlightenment" to describe it. Read & watch other pertinent pieces. Just as an actor gets into character, so should a writer. If your writing a biopic on Picasso don't just watch or read documentaries about the artist himself, but also immerse yourself in the books and films of his time. Think of works of art, songs and places that would have inspired your character - devour them - and you'll create a more accurate and believable monologue. The rule is: there are no rules. When Stephen Colbert interviewed screenwriter Aaron Sorkin, he (jokingly) called the writer out for his long winded "Sorkin-ese" prose. Sorkin's characters are known for saying beautifully eloquent speeches that most 'humans' probably could never come up with in a normal off the cuff situation. Youtube "Newsroom's America Isn't the Greatest Country" and you'll see Jeff Daniel's spouting some of Sorkin's finest work. Point is: a great monologue can break many rules. Sometimes if it's that good it doesn't matter!