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Here’s a selection of the best posts on Scriptwriting Tips<\/a> during the month of September:<\/p>\n 380<\/a>: Actually spell out what will happen if your ticking clock<\/a> runs out. Does it just stop ticking? Or is it attached to a metaphorical bomb that blows up everything your protagonist\u2019s worked for?<\/p>\n 381<\/a>: A protagonist who succeeds because of her wits is usually much more likeable than one who succeeds through brute force, good looks or dumb luck.<\/p>\n 386<\/a>: Don\u2019t leave your protagonist alone to think about things. Cut any scene where he looks through a file or figures out a code. BLADE RUNNER may be brilliant, but those scenes of Deckard hanging out in his apartment are pacing death.<\/p>\n 389<\/a>: If you possess some sort of special knowledge of a subject \u2014 architecture, French cooking, criminal law, whatever \u2014 by all means, work it into your script. Expertise is interesting.<\/p>\n 391<\/a>: Stop trying to write \u2018exciting\u2019 fight scenes. Throw out your adverbs and just write as clearly as you possibly can \u2014 one thing happening after another. Lucky for you, that happens to be the most exciting way to write action.<\/p>\n 402<\/a>: \u2018Mysterious\u2019 characters are usually boring as hell, especially if they only speak in vague generalities and only show up when all the work\/action is over. Remember: characters are what they do, not what they say.<\/p>\n 403<\/a>: You can cut entire useless scenes and shift their information into the start of the next scene. For example: instead of showing your protagonist working through the night, have her turn up bleary-eyed the next morning.<\/p>\n