DEFINED on WIKIPEDIA: Melodramatic films tend to use plots that often deal with crises of human emotion, failed romance or friendship, strained familial situations, tragedy, illness, neuroses, or emotional and physical hardship. Also called conflict, yes? BUT, how do you know when you've gone too far? And, what do you do about it in rewrite? I'm re-working a black-comedy (some reviewers say it is too melodramatic)... But I want it over the top. Any suggestions?
Screenwriting : Let's talk melodrama... by Max Boyce
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Write it as a novel. That way you get to tell the story so clearly that even the illiterate ponytails of the Hollywood Hills get it. Screenwriting is one-dimensional, like asking Monet to do his thing with a pencil. Painting with words is much more satisfying and much more commercially viable too. In the amount of time you spend and/or waste shopping a screenplay around the Hollywood deadbeats, you can write two or three novels.
HA!... I 'm working this melodramatic short story/script that is derived from one of my novels! I've written 4+ novels... and boy do they suck... but I ain't givin up! Presently, I'm taking 10-11 of my short stories and scripting them. These short stories range from 2k-6k words and the scripts all seem to run from 1o-25 pages... relearning how to script after 20 years out of film school. I do agree that scripting is far less satisfying than writing a novel, however, every architect must learn how to draw blueprints if he wants to see his creations in a solid, living form. (Strangers On a Train, by Highsmith, is one of my favorite novel... lol) I use to think scripting was a one-dimensional wank, but recently, I've realized that when writing a script there is only one type of audience... the director. Perhaps the key to scripting is directing the works and imagination only towards a directorial type of mind ?
You have to take note of what is "acceptable" for the general audience. Some topics are too much to be used to entertain with.
The only rule is there is no rule. Surprise your audience. Bland formulaic writing is what killed Hollywood. Self imposed limitations = the era of remakes, sequels, prequels and the imploding box office.
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No thoughtful person should be surprised that even Lucas and Spielberg are calling time on a Hollywood business model that long ago lost sight of the basic art of story telling and entertaining its audience.