4 Things To Know Before Writing Your Short Film Script
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4 Things To Know Before Writing Your Short Film Script

4 Things To Know Before Writing Your Short Film Script
4 Things To Know Before Writing Your Short Film Script

In my previous article, I talked about making short film on a mobile phone (You can read it by clicking here). Now, that you are set on making a short film, the next most important thing is to have a short film script ready for shoot. Aspiring writers often ask me about the most effective method to compose a short film script. I just have one answer – From the beginning!

Writing a short film script

In the event that you’ve chosen to compose a short film script, here are a few things to ask yourself. What sort of script will you compose?

Consider your most loved short films. Do you prefer a specific type: lighthearted comedies, sci-fi or stories set in a post-apocalyptic world? Your most logical option is to align towards a short film script which excites you most.

So, what are the things that you should keep in mind while writing your short film script?

Defining the Protagonist

Perhaps you have an unmistakable thought for a short film and know precisely who is going to lead the story- The Protagonist. Else, you may get thoughts for characters in a great deal of spots – individuals you know, individuals you read about in the daily papers or who get your attention in the market or the bank. Whatever your circumstance, it can be useful to round out a character profile to become acquainted with your short film script’s character better.

The points of interest you write in the character profile won’t all have a place in your film script. In any case, knowing however much as could be expected about your character will help you consider him or her as a genuine individual. At that point, as you’re written work the script, you will have the capacity to ask yourself at each minute, “What might he or she do now? What might he or she say? How might he or she react to that?” This will permit you to settle on the correct choices for your screenplay. A few authors even report that their characters appear to assume control and do the written work for them.

The Elementary Conflict

Motion pictures are about clashes, issues. On the off chance that there’s no contention, if everybody’s upbeat and there’s tranquility and love on Earth, then there’s no story. Nothing’s going on. A group of people has no motivation to sit through two hours of nothing occurrence. They’d rather backpedal to their own particular hopeless, however differed, lives.

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How would you make a contention? Consider something your saint urgently needs and place barricades in his way. Then again give your legend an issue he needs to explain direly, and place barriers in the method for comprehending it. The film will be about your saint’s battle to move beyond these detours and achieve his objective or take care of his issue.

This implies the barriers must be sufficiently huge to keep him occupied. In the event that your legend takes care of his issue in 5 minutes, you don’t have much motion picture left (this is expecting you’re composing a full length film). Then again, your legend needs to have a to a great degree justifiable reason motivation to go to this inconvenience. In the event that he just surrenders and leaves (or if the group of onlookers supposes he ought to), then you don’t have quite a bit of a film there either.

Require thoughts for clashes? Download our fun Story Machine.

Clearing the Motive

Something occurs in a film that strengths the saint demonstration. Something yanks him off of his couch, pries the lager out of his hand, and gives him no decision but to pursue his objective right at this point. This occasion called the actuating occurrence, and it ordinarily happens in the vicinity of ten and fifteen pages into your screenplay.

Suppose your legend is cheerfully watching a rerun of “Companions,” when a spaceship crashes through his rooftop. On the other hand he gets a telephone call educating him his little girl has been kidnaped. On the other hand the telephone call is from his supervisor disclosing to him he’s let go. On the other hand his excellent new neighbor taps on his lounge window, and he understands that he’s enamored.

Any of these occasions is certainly going to get your legend off the love seat. He can’t simply disregard the spaceship or the payment call and continue watching his show to check whether Ross and Rachel at long last take care of business. He needs to respond.

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Films regularly open with the present state of affairs, nothing new, the saint’s day by day life before the inducing episode blasts into it like a destroying ball. At that point the spaceship arrives in his front room, and its absolutely impossible it will be nothing new after that. Be that as it may, what is the same old thing for your saint? What sort of life does your inducing episode interfere? Your character profile can help you make sense of this.

The Climax

The story peak is the high purpose of your motion picture. It’s the last standoff. It’s the point at which the legend discovers his little girl’s hijackers in their den. Presently’s it is possible that him or them. It is possible that he recovers his little girl, or the kidnapers will murder both him and his little girl. On the other hand it’s the point at which the legend of a lighthearted comedy races to the congregation to prevent the champion from wedding the wrong man (how frequently have you seen this scene in motion pictures? What’s more, to the extent I can tell this never occurs, all things considered. Not once have I been welcome to a wedding where the lady wound up with somebody not quite the same as the person on the solicitations).

On the off chance that your motion picture is a progression of fights between the saint and the barricades in his way, the peak is the unequivocal fight that wins or loses the war.

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The peak happens close to the finish of the motion picture. Everything that occurs before it is working to that point. Thereafter, the story sinks into place, and we perceive how things have wound up. The protagonist brings his kidnapped girl home as the kidnapper is hauled away to imprison. The legend and champion ride off together into the dusk. Just like we reach the climax of this article, we follow it with a resolution before ending the article.

In the upcoming articles, I will be talking more about the types of characters involved in a story. Short films although limited by space, time and even budget, are still driven by characters. So, I will be telling all you aspiring short filmmakers about the different characters that are needed in a short film script.

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Hari Kumar K
Harikumar Krishnamoorthy (born 3 January 1989), better known as K. Hari Kumar, is an Indian novelist born in Cochin and brought up in the suburbs of Gurgaon. He is the author of bestselling books- When Strangers Meet (2013), That Frequent Visitor (2015) and A Game of Gods (2016). He has been featured as one of the most influential authors on social media. He is a screenwriter and content marketing strategist based out of Mumbai, India.
http://www.theharikumar.com

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