Too often, writers believe that, unless a story is science fiction or fantasy, they don't need to worry about building a unique or compelling story world. In many cases, they launched careers вЂ“ which is what you guys want, right? So let's talk about two key elements that you can incorporate into your scripts that will give the industry that same 'goose bumps' feeling. They grabbed you by the scruff of your neck with their writing, and didn't let you go until they were done with you. Regardless of what happened after the script became a movie, the common theme here is that these scripts POPPED off the page. It's the same feeling they got reading THE CURIOUS CASE OF BENJAMIN BUTTON, which for a long time was at the top of many people's 'best scripts that have never been made' list. It's the same feeling they got reading Zach Helm's scripts, whose whimsical description, action lines, and plot turns POPPED off the page (unfortunately though, they didn't translate so well to the screen). It's the same feeling Hollywood had when they read JUNO, where the dialogue POPPED off the page. I thought a lot about that conversation, and after going back and reading Travis' first script, I understood both what we was saying, and what other writers could do to emulate that same 'hairs standing up on the back of the neck' feeling that reading a fantastic script can give you. Of course, because he was talking to me, he recounted the first time he read Travis Beacham's script THE GLOAMING (later to be renamed KILLING ON CARNIVAL ROW when it sold to New Line). He reminisced about past scripts, ones that 'really grabbed you by the balls вЂ“ and I'm not talking action scripts either'. After a long conversation with an agent friend of mine, he gave me the age-old lament 'all the scripts I've been reading are crap'.

Movie magic screenwriter delete v.o.