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Capitalizing God, Mom and Dad Jan 22

When do you capitalize god, mom and dad? 

When to capitalize God, Mom and DadBased on the frequency with which I encounter these capitalization mistakes while proofreading scripts, there seems to be a lot of confusion surrounding this question. Luckily, there’s a really easy trick to remember when to capitalize these words:

If the word is being used like a name, then it should be capitalized.

So let’s look at the sentence:
“Are you there, Mom?”

Now let’s substitute the name Karen:
“Are you there, Karen?”

The sentence still makes perfect sense, so “Mom” should be capitalized.

Now let’s try another:
“Some people believe there’s a god that lives in the clouds.”

Substituting Karen:
“Some people believe there’s a Karen that lives in the clouds.”

That doesn’t make sense, so “god” is not capitalized.

Even if, in the context of the story, you were referencing a supernatural being named Karen, you still wouldn’t have written the sentence that way. You would have written: “Some people believe that Karen lives in the clouds/Some people believe that God lives in the clouds” — now a perfectly legitimate capitalization.

The “a” preceding the word is a big tip-off not to capitalize. Here’s a full list of articles and pronouns to watch for (i.e. If mom/dad/god is preceded by any of these words, then it doesn’t need to be capitalized):

  • a
  • an
  • the
  • my
  • your
  • his
  • her
  • its
  • our
  • their

A final note: Many atheists believe that “god” should never be capitalized, while many religious folks believe that it should always be capitalized. Both are wrong. It depends on the context. It’s a grammar thing, not a religion thing.

 

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Interruptions Revisited May 17

The Problem

In a previous post, I discussed the difference between using dashes (hyphens) and dots (ellipses) at the end of a sentence — a common source of confusion. Recently, I’ve discovered a new and erroneous trend with hyphens.

With increasing frequency, I’ll see a writer use hyphens to both indicate an interruption (at the end of a sentence) and also to start off the next speaker’s dialogue (at the beginning of the following sentence).

Let me show you what I’m talking about.

PETER

You never let me finish a single sent--

JANICE

--That’s because you never have anything good to say!

Those two hyphens in front of “That’s” in the sentence above? Completely unnecessary. The two hyphens at the end of Peter’s sentence are all we need to indicate interrupted speech.

The Exception

The only time you’d use two hyphens to begin a character’s dialogue is when the second speaker is attempting to complete the first speaker’s sentence.

For example:

PETER

You never let me finish a single sent--

JANICE

-- Sentence? Yeah, because I always know what you’re going to say.

In the above exchange, Peter’s dialogue could also have been written with the double hyphens coming after the word “single,” without the partial word “sent.”

Do you have any other hyphen-related questions or need me to proofread your script? Let me know!

Embrace The Grind Jun 23

Anyone else out there a fan of MMA (mixed martial arts)? No? Doesn’t matter, this lesson applies to any professional endeavor — including screenwriting.

So there’s this fighter named Benson Henderson. He’s got about as much genuine swagger as any human has a right to. And for a good reason — he steamrolls over most of his opponents.

Benson Henderson

This, ladies and gentlemen, is genuine swagger!

After handily winning his last bout, he was almost in tears talking about how people have no idea how hard he trains for his fights.

Here’s a guy who you can tell by looking at him, and seeing him fight, has tremendous natural gifts. He’s one of the best fighters in the world, yet he still pushes himself to the breaking point during his training camps.

Gone are the days when some fighter, who merely dabbled in mixed martial arts, could rise to prominence off of luck or talent or connections alone. If you want to be successful in MMA, you have to embrace the grind.

It got me thinking. The same rule applies to screenwriters.

We may not risk traumatic brain injury every time we write a script (hmmm, that’s debatable), but we do have to compete with other screenwriters. Professional screenwriters. Professional screenwriters with agents and managers and industry credibility and one more thing…

A strong work ethic.

The successful screenwriters are the ones embracing the grind and putting in their hours of writing, networking, and keeping tabs on the industry. Every. Single. Day.

How on earth can you expect to compete with them (or other amateurs who are similarly inclined) if you’re only writing once in a blue moon?

This isn’t meant to depress you. It’s meant to explain the reality of the modern screenwriting business. It’s not an industry where dilettantes do well. You have to really want it. And you have to be really good at it. And you have to put the time in. Lots of time. That means lots of scripts.

If not, the screenwriting equivalent of Benson Henderson, or Ronda Rousey, or some up and coming amateur, is going to kick your ass. Because right now there are only a few coveted jobs or spec sales for screenwriters.

Bottom line is, if you you want to succeed — hell, if you just want make the fight competitive — you have to embrace the grind.

10 Page Torture Test – Open To Submissions Jun 11

10 Page Torture TestThere are many writing achievements that I’m proud to have accomplished: placing in/winning script competitions… having my first script optioned… getting my first paid writing gig…

And now I’ve been asked to be the first guest script reviewer for the 10 Page Torture Test!

While my previous achievements were grand, I can say without hyperbole that this one is at least a billion times better than the others. 😉

What is the 10 Page Torture Test?

It’s a site where a mysterious and talented guy, who goes by “Pitchpatch,” takes the first 10 pages of mostly amateur scripts, and digs deep into their nooks and crannies. In doing so, he offers fantastic (and hilarious) insight into what works, and what doesn’t, complete with suggestions for improvement.

And what’s more, he does it for free! All for the love of screenwriting, and the recognition of the importance of the first 10 pages of a script. As you should know, if your first 10 pages don’t impress, the reader will likely have permanently checked out by page 11.

How good is this guy, Pitchpatch? Here’s a hint: Guess who I beg for notes when I need one of my scripts critiqued?

Send me your scripts!

For the next edition of the 10 Page Torture test, I’m going to take the reins and provide the feedback.

But I only get to choose one script. So if you’d like the first 10 pages of your script critiqued publicly, FOR FREE, send it to me, with its associated logline, by Friday, June 20th at Midnight.

I’ll be choosing the script based on two things:

  1. The intrigue of the logline. (Is the concept compelling? Is the movie marketable?)
  2. The potential for readers to learn from my notes. (Are there things the writer has done really well? Are there common mistakes to point out?)

It should hopefully go without saying by now, but any constructive criticism will be provided with an aim to enlighten — not embarrass.

So send me your script (and logline) for consideration!!!

Pop Quiz: What’s wrong with this dialogue? Jun 06

Are you a sloppy writer?

Of all the common, lazy mistakes I encounter when reading scripts, the one that possibly irks me the most can be found in the following dialogue exchange.

Have a look:

TOOKY

Look, I ain’t playin’ with you. Give me the money, or you gonna get got!

JOSH

I really should of stayed at a nicer motel.

Pop QuizDo you see it?

“ain’t”? — No, that’s a legitimate word. Merriam-Webster tells me so.

“playin'”? — Nah, that’s simply eliding a letter to give a better sense of the how the character speaks.

“you gonna get got”? — Nope. As grammatically offending as that slang is, it’s appropriate for the character.

So what is it?

Take a closer look at Josh’s line.

Do you see it?

No? Then you may be a sloppy writer.

There’s no such thing as “should of”!!!

The phrasing is either “should have” or “should’ve.” It may sound like “should of,” but sounding like something doesn’t count.

It’s like that time I wanted to tell someone off in my yearbook graduating entry, but didn’t want to have it flagged. So I wrote “FUH Q” instead of, well, you know. (True story. Yeah, real classy.)

Sounding like something, and being the equivalent of something, are two totally different things.

But what about intentional misspellings to give characters a certain affected manner of speech?

Intentional misspellings and grammar faux pas are permitted in screenplay dialogue blocks, as long as it’s clear to the reader that the mistakes are indeed intentional (e.g., slang, speech impediment).

It’s like how I wrote, “real classy” above, instead of the grammatically correct, “really classy.” In a casual blog post, or a script dialogue block, that’s just fine. It’s being cheeky and using the common phrasing.

However, spelling it: “reel classy” would be a mistake. The audience can’t see or hear the misspelling, so it can’t be justified by saying, “But that’s how my character would have spelled it!”

Bottom line is, if you’re one of those who missed the mistake above, you may be making others in your script that you’re not even aware are mistakes.

So if you need proofreading or script notes, I’m here for you.

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