James Napoli

How Pacing, Style & Tone Shape Your Screenplay

How Pacing, Style & Tone Shape Your Screenplay

Most screenwriters should be aware of the main structural pillars of a screenplay – act breaks, inciting incidents and conclusions. Few consider the less tangible aspects of their screenplays such as style, tone and pacing to the same extent. Let’s take a look at some screenplay examples which illustrate how the interplay of these factors […]

 James Napoli

Villains And Their Functions In Stories

Villains And Their Functions In Stories

“…But when the tragic incident occurs between those who are near or dear to one another—if, for example, a brother kills, or intends to kill, a brother… or any other deed of this kind is done—these are the situations to be looked for by the poet.” Aristotle, Poetics When Aristotle wrote his seminal text on the […]

 James Napoli

What Do Typos in Your Screenplay Say About You?

What Do Typos in Your Screenplay Say About You?

Script readers or people who read screenplays professionally are quite often screenwriters themselves. They are looking for reasons to shuttle your screenplay into the pass pile. Excessive typos are a common reason for them to do so. So why do screenwriters send out screenplays with typos? Is it recklessness, restlessness, lack of attention, oversight, or […]

 James Napoli

Writing Effective Plot Twists

Writing Effective Plot Twists

Creative Screenwriting Magazine contributor, James Napoli details the different types of plot twists screenwriters can use in their screenplays. There are several different types of plot twists you can use in your screenwriting. Let’s take a look at some of them.   Miguel Rivera, the pre-adolescent hero of Disney/Pixar’s Coco gets transported to the land of […]

 James Napoli

You Will Never Run Out Of Screenwriting Ideas If You Keep Killing Them

You Will Never Run Out Of Screenwriting Ideas If You Keep Killing Them

At some point early in the creation of their screenplays, students I work with need to share their loglines with their fellow screenwriters, and very often the air of unease about this process is palpable. Not so much because these authors are nervous about having written a poor logline, but because once the idea is […]

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