We usually write screenplays formatted with a close approximation of the Cole & Haag style. Slugline, action, etc., but we skip the transitions unless they are absolutely necessary to the story, following the more modern method of using sluglines to break scenes. But, there is a problem with sluglines, and that is that they really can break up narrative action.

After reading some William Goldman screenplays, though, we became enamored with his simple method of getting rid of the sluglines altogether, and simply using a left-aligned CUT TO:

links for 2006-07-09

July 08, 2006 · by Burley Grymz · Permalink · Category: Links, Original Version

links for 2006-07-08

July 07, 2006 · by Burley Grymz · Permalink · Category: Links, Original Version

Re: Round 11, Part Four [Terminal Connection v. Little Black Stray]

Despite the fact at being called out as an appreciator of happy endings, I am not at all adverse to Little Black Stray ending in tragedy. Shockah knows my measurement for these things: as long as it seems like it suits the story, and isn't being imposed for the sake of it, then I'm all good with it. I know he feels the same way, so bring on the tears!

I really liked the world presented by him, too. From the lingo to the idea of Big Mama all the way down, it feels like a well thought out world. I like the idea of the prison planet as a temporary shelter instead of a permanent place, and the idea that these jukes are forced labor clean up squads are all the better.

Round 11, Part Four [Terminal Connection v. Little Black Stray]

Little Black Stray
In a world where violent male offenders are sent to labor camps on the remote prison planet, one crew of hardened men finds something impossible: a young woman in tattered clothes, mute and frightened. A small group protect and feed her, keeping her out of sight of the guards and away from those who would use her mercilessly. As she gains in strength it seems that she has an agenda--and the truth of what she was doing on a world where no women stepped before might be a big enough secret to shatter the whole planet of forced labor.

Character Sketch: Kamra Judge
Relationship to Story: Protagonist / Antagonist / the stray

Round 11, Part Three [Terminal Connection v. Little Black Stray]

Terminal Connection
In a world where telepathy is a disease, and known telepaths are imprisoned, all laws are built by consensus over the internet via double-blind anonymous computer terminals to guard against undue psychic influence. One politician is called to jury duty, also conducted over computer terminals, but doesn't realize that the accused, whom she thinks should be dealt with harshly, is actually her husband. Nor does she realize that the crime of which he's accused, but hasn't committed yet, is murdering her. And what would she do if she knew that when she's deliberating, her husband could read her mind and was plotting to kill her precisely because she's about to send him back to the living hell of forced labor known as the Prison Planet?

Character Sketch: LionEye
Relationship to Story: Facilitator of screen-to-screen communication

Stupid Things That Pop Into My Head When Doing The Dishes

Katherine Hepburn's accent + James Mason's accent = Cary Grant's accent.

Boulder's Rule!

(an explanation: I had The Flintstones on the other night, not watching it, just background noise, and there was a character named Boulder who had the worst Cary Grant accent I've ever heard. It'd just go in and out, but then I got to thinking: it's kind of a hard accent. While Hepburn is clearly American, and Mason is definitely English, Grant's hovers somewhere between the two. But still -- every time I heard this dope say "Boulder's rule!" -- every three minutes, in other words -- I winced. Oh, and if you click the link above: No, I don't know why the New York Times has a plot summary of a Flintstones' episode.)