thanks for the ups!
Yeah, what you're saying makes sense. It just wasn't really the way I was thinking of it before. I was all, "I'm on an odd numbered page, so I need to make this the good one." Possibly not the smartest thinking I've ever done, but at least I was thinking.
And I've actually wondered about the ad thing before too, thinking that it could throw the pacing completely out of whack, not knowing where they would fall. And with more than page turns too - it could even blow the setup for reveals. I guess you would just have to hope that whoever is placing the ad pages is paying attention.
thanks for the ups!
"Living Robert Venditti's Plan B!"
Okay, I'm back and I'm rested.
I'm a little surprised Mark hasn't stopped in, but, oh well.
Okay, a question was asked about dialogue, and what needs a polish and what doesn't.
Like I said before in B&N, dialogue is HARD. You have to write a lot of it, and you have to listen a lot. You have to have an ear for it, and believe me when I tell you that not everyone does.
Dialogue, as I also said, is the most subjective part of the script.
What makes good dialogue is a natural sound, and having a cadence of flow. Here's what I want you to do: read any B&N column, and then go read any installment of Issues by our own Jeff Haas. (Any installment will do, and they're all great.) I want you to see the differences in how we approach our subject matter. And honestly, I'm betting we both find our writing styles easy. (Jeff would probably do Issues weekly if he didn't have so much to research.) But if you think of our two columns as dialogue and PFB itself as a comic, then you'll see that we pretty much stay "in character" when we write our pieces.
Dialogue needs to pop off the page as much as possible. It needs to either move the plot along, or reveal character, or both. There should not be a wasted line in a script, and it has to sound as natural as possible.
Dialogue is hard.
Go read the B&N on it. I linked to it here, but it's also Week 10.