Genre

The world of screenwriting thrives on simple definitions. When your script is first considered, one of the first questions which will be asked is: what genre is it?

There are many different slots that stories fit into, and understanding how the studios will view your work is quite important. Now, this doesn't mean that you can't combine genres--quite the opposite. In fact, there are certain genres which exist largely in combination with others.

Mystery and romance, for instance, are often combined with each other, or with suspense, adventure, science fiction, horror, western, crime, etc., for effect.

If for no other reason that your own clarity, it is probably valuable to have definitions in mind for each of the major genres--and some examples:

MYSTERY. Something has happened, and someone must determine who, what, why. Every Sherlock Holmes movie, episodes of MURDER, SHE WROTE, Sleuth, Never Talk To Strangers, Psycho, etc.

Usually, such stories involve a murder--murder being the only crime which absolutely cannot be undone.

SUSPENSE. Similar to mystery, but the identity of the perpetrators is not so central. The question is usually whether the hero can prevent an action, or escape death. Mission: Impossible, Foreign Correspondent, etc.

ADVENTURE. Similar to Suspense and mystery, but actions are more central to the plot. The hero is confronted with physical challenges in every act. Ghost and the Darkness, Raiders of the Lost Arc, Aliens, etc.

FANTASY. This covers a wide range, but dark, disturbing fantasies are generally called "Horror"--this is a form of mystery where the death being dealt out is particularly obscene. Alien is also a horror film (as well as Science Fiction). Curse of the Demon, The Exorcist, Alien and Child's Play all fit here.

SCIENCE FICTION is a genre where a very specific game of "What If" is being played out. Star Wars is NOT science fiction--it is fantasy which incorporates S.F. image systems. Star Trek is rubbery science fiction--they've created a universe in which anything can happen, damn near. Blade Runner was very definitely science fiction, as was The Time Machine, Terminator and Day the Earth Stood Still.

ROMANCE is such a consistent element that it fits into all of these. There are others, but these are the ones that your instructor is most familiar with. Musicals, War movies, Dog movies, Slapstick comedy, and other divisions create additional slots--and in fact, there are probably as many divisions as you choose to sit down and define.

So...if you can only find 30 minutes a day, what can you do toward your goal?

1. Detail 3 scenes on three index cards?
   
2. Dictate 30 minutes of dialogue onto a tape recorder, or transcribe for 30 minutes?
   
3. Watch 30 minutes of a favorite film, and dissect dialogue or plot?
   
4. Brainstorm story problems on a legal pad?
   
5. Mindstorm with a friend on the telephone?
   
6. Re-read previous work, and take notes?
   
7. Re-write previous work?
   
8. Close your eyes and run scenes in your mind, clarifying the order of occurrence?
   
9. "Pitch" your idea to a group of friends, to read their response?
   
10. Use "mind Mapping" techniques on a chalk board or scratch paper to analyze the relationship of characters to plot?
    

Among his suggestions:

1. Have daily, monthly, and yearly goals.
   
2. Prioritize all activities into "A" (Urgent and important), "B" (Urgent or Important) and "C" (Neither Urgent or Important). Do all of the "A"s before you do any B's, and all the B's before you do any "C"'s.
   
3. Continually ask yourself: "What is the best use of my time, right now?"
   

In general, these scenes are often used when the writer can't think of anything else for his characters to do. Ugh. They should be utilized when they reveal something about the character, or further the situation.

SEX is possibly the single most revealing activity a human being can participate in. You probably learn more about someone by going to bed with them than you do through any other single means: their health, their ethics and morals, their self-concept, their intelligence, their creativity, physical condition, sensitivity, and on and on. When you add foreplay and pillow talk, it is truly amazing how much you can learn. Why not let this come out in such a scene? Give the audience an "Ah-Hah" moment, so that afterwards, they have a deeper perception of who this person, or these people, are.

ACTION SCENES usually involve life-and-death decisions. Again, the way a person behaves when death is on the line tells you a huge amount about them. Use these opportunities to the max! Do they exude fear? Confidence? Crack jokes? Display cruelty? Remorse? Do they freeze? Think on their feet? Reveal cowardice? Hidden strength?

Unless you ARE revealing character or furthering plot, you have to ask yourself why the hell you put that scene in in the first place!?