Can someone direct me to any discussions already active on this? If not, let me start a new thread:
I've received mostly positive feedback on my screenplay from a writer/producer, but the main tasks I have to make it marketable are conforming my murder mystery to the classic story structure and making each character's dialogue unique.
I have a clear definition of the characters' personalities and their roles in the story, but I'm having trouble making their voices unique. I also might have to rearrange a few scenes and reduce exposition from the investigations that happen throughout, but I would rather tackle the dialogue first.
If anyone wants to read the screenplay and give any advice, I'm all ears
3 people like this
When it comes to structure, I'd recommend reading books on the subject. There's a lot to take in. It's pretty much the crux of the craft, and you have to find your own take on how to implement it.
A good trick for dialogue is to pick someone you know well. It can be a friend, an actor, a character, someone on reality TV, it doesn't matter, and write in their voice. It works remarkably well. That handles the sound of the dialogue, but the motivation behind the dialogue again comes from good storytelling craft, where the character is multidimensional and has views/motivations of their own.
1 person likes this
I suggest checking out CJ's book for dialogue, structure, and more, Jonathan Millett (https://cjwalley.com/turn-burn-screenwriting-book/).
I also suggest checking out some of these resources for dialogue (www.stage32.com/education/search?term=Dialogue) and structure (www.stage32.com/education/search?term=Screenplay%20structure).
I make each character's dialogue unique by basing their dialogue off their personalities. If they're unique characters (their traits, their little habits, their hobbies, etc.), the uniqueness will show through their dialogue. Figuring out their speech patterns helps me write unique dialogue too.
1 person likes this
You can think in terms of 8 fifteen page sequences for a 120 page script. Each sequence has its own goal that adds up to (as Elia Kazan put it) "unity to climax." It's worked for me even if the sequences don't go to 15 pages, in fact shorter is better, more concise.
My 2 cents.
1 person likes this
I can help with that. I sent contact info and asked for an add.