Stereotypes are played out. It's time to get REAL and write people the way they actually are.
How to avoid writing purple prose.
Among the lessons you will learn: Karma's a bitch, don't piss off serial killers, and never under any circumstances enter a basement.
The guilty butler trope appears to damn servants by their employment status alone. After all, they know everything about the victim’s daily routine, and they’re always suspiciously nearby.
In an era where every story is recycled, how do we as writers strive for originality?
Since it’s the season of generosity, I figured I would give the internet a present: Puritan sex.
Everything you need to know about firearms, the physics of bullets, and SCIENCE!
In this month's Dystropia, we look at Mr. Vice Guy, a character with obvious flaws, addictions and weaknesses. Mr. Vice guy is more dimensional, sure, but as you'll learn, it's not always that easy.
Everything you need to know about memory loss, amnesia, and SCIENCE!
From ancient Greek myths to Snow White to today, Dystropia looks at the trope of the Damsel in Distress.
What you need to know about the dissociative identity disorder, multiple personalities, and SCIENCE.
What you need to know about the speed of light, faster-than-light travel, and SCIENCE.
In this episode of Dystropia, we look at the Magnificent Bastard, who is cunning, charming and crafty. What makes him tick and why are we all of a sudden so attracted to him?
A column in which we explore the various misgivings and strengths of girls that are Manic, Pixie and Dreamy.
By Rob Hart
There are certain storytelling clichés writers go back to again and again. And they shouldn't. Because they are terrible, and they need to be destroyed.
Where are all the female characters in your screenplay? Why should you care about adding some? Where can you put them?
In: Character, Cliche, Dialogue, Grammar, INT/EXT, List, Plot, screenwriting, Syd Field, Top 10, Voice
What makes a reader hate a screenplay on sight? Here are 10 pet peeves - and fixes.
Stories start from a default position of cliché: readers go into stories with expectations, and if too many are fulfilled the spell is broken. So, how do writers engage when the odds are against them?
To achieve excellence, a writer must learn to identify and eliminate clichés. Chuck demonstrates the use of placeholders where more inventive language is needed, while counter-intuitively recommending style mimicry as a positive stage of learning.