May 2014
Write down all your night activities; dinner, night bath, sex, dream, nightmare, bed wetting, midnight prayer , vigil in one month and see reasons why you should own a screenplay in the coming month.

Writing down all these for a whole month is even too much for one screenplay.
I have not even talked about writing down your daily activities. I'm only limiting it to just night activities.
This is just to tell you that writing a screenplay is not very hard.
Writing a screenplay is just your ability to take note of certain daily living activities.
These daily life activities form the basis of your story. It is this story you will now turn into a screenplay.
In order words, if you are able to write down a lot of stories, creating a screenplay will just be around the corner.

But how many people can actually have the patience for retrospection. Everybody is on the go. It will be hard to find anyone who will wake up in the morning, pick up his pen and start writing down the dream he had hours back, or the narration of the dinner he had. It will also be hard for someone to come back home from his daily job and then picks up his pen to narrate how his day went by. He will feel very tired to do so.

Well, everything is all about determination. If you are the type who may not be able to creatively manufacture a story for his screenplay, but very determined to write a screenplay, nothing can stop you from taking note and recording your daily activities. You have to begin from somewhere. Then, as time goes on, you may now be able to manufacture stories.

But one thing is for sure; if you can write down you daily activities for less than one month, you can have a screenplay in the coming month.


Written by: Winston 'Winny Greazy' Oge
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We are script-writers and we are known as creative writers. We live our lives upon this formula:
Imagination < idea < info < writing < character < scene < story < script < book/stage play/screenplay < video < movie < film

The rest are descriptive writers. They write on an already existing scenes, situations and events. They are not creators. They are imitators.
They spice their write-ups with wonderful diction and idiomatic expressions.
They just tune their audience up and make them feel and enjoy the pulse of 'big words' of the language used.

We are the script-writers. Our minds are full of imaginations. We do not take things that happen around us for fancy. We do not take them for granted! Every creature counts - both living and non living does. Every action, movement, behavior from these creatures counts. Every color, every signal, every sound, every shape, every size, every form of these creatures counts too. Everything around us counts. Every location, every scene, every sight, every glimpse; all these count. All these are recorded in us, in our minds. We always imagine their existence. We always use them to form interactive scenes.
With this, we conceive an idea, nurture it, reform it, refine it and then develop it. We go ahead to find out where to channel this idea.
May be we have an idea of how a creature's bad behavior can lead it into troubles.
Or, an idea about how a particular location in an area can affect whatever thing or creature that dwells in it.
We gather all the information about any of these ideas. We examine and determine how best to put it out of our minds, and down on the paper.
This leads us to writing down the imagination, plus the idea, plus all the information so gathered, on the paper.
At this point, as script writers we are, we have determined to make whatever we have written down come alive. To make it come alive, we have to make it real.

In order to make it real, the next thing we do is to introduce characters. These characters will initiate an interaction which will create a scene.
This scene will have some traits or elements exhibited by those characters. Such elements are; dialogues, actions, motions, moods and activities.
All these elements will occur in an arranged and organized way to form a story.
The type of story formed will be based on the inner and physical or outer wants, needs, moods, emotions, way of life, and modes of operations of the characters in fulfilling their desires.

With all the above in place, we would have drafted a script. It is now left for us to decide what to do with our script.
We can decide to transform it into a book. The book can be in prose form or drama form.
We can also make it a stage play. Here, in the stage play, we will now define clearly the various actions of the characters; and also a detailed organization of the scenes and settings. We will also state the various ways this settings affect the characters and their quests.
We can lastly upgrade our script to a screenplay. The screenplay will go through series of productions (spec script, shooting script, actors, crew, casts, recording, and the rest).
This process will yield a video. The video will either be a movie or an ordinary film like a documentary film.

Phew! It has been about creativity all the way.
We are creators. We make things which did not exist to truly exist.
We develop scenes and situations and write on them.
We can also extend the unknown aspects of existing situations; in the sense that we create stories that counter, support, extend, correct or condemn existing stories that occur in real life.
We use little or no 'literal spices'. We are not too semantic. We use the simplest of words to describe the actions of our characters.
We write to educate. We write to make people understand and learn without stress. We are teachers. Our audiences do not need to read our scripts or watch our movies with their dictionaries always close to them.
We write to thrill.

Descriptive writers do not do all these that we creative writers do.
Not too many people are creative writers, but almost everybody is a descriptive writer.
Descriptive writers are often in serious competitions with the other writers like themselves where in a situation they are describing a particular already existing situation or scene. This makes them rely on the use of 'big words' in order to outshine their opponents.
We the creative writers do not have competitors. We do our writings in a more relaxed manner; bearing in mind we can use simple words to create scenes that didn't exist. We adopt the easiest means of imparting a lot of knowledge in our audiences.
The audiences of descriptive writers are always battling with complicated figurative and idiomatic expressions.

We, the creative writers are just creative!


Written by: Winston 'Winny Greazy' Oge 

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The first ten pages of your screenplay must give these information;

  1. what the antagonism is
  2. who is being antagonized
  3. a hint on who the villain is
  4. a hint on who may eliminate the villain


All you need is your reader to continue reading your script.
These first ten pages are what the chemists call "the rate determining step". They determine whether a reader can go on reading your script or not.
They tell the reader if it is the particular script he longs to read or not. They determine how good you are when it comes to the art of screen writing.
They tell if the other pages, down to the last will be wonderful or not.

These first ten pages are very important because they inform the reader what he should expect if he continues to read. They inform him the genre of the screenplay.
The reader will quickly know the pace at which he will read the rest of the pages. He may need to calm his nerves and read it gently or not.

The first ten pages of your screenplay are very crucial. There is need to spell out every information in it clearly, without mixing them up.
Your first ten pages must give these information;

  1. what the antagonism is
  2. who is being antagonized
  3. a hint on who the villain is
  4. a hint on who may eliminate the villain


(1) what the antagonism is:
This is the conflict, the dispute, the issue at stake, the debate, the problem, the abnormality, the contention, the insurgence, the contest, the competition, the test and the disturbance which needs to be put in place. It is the trouble the people, whom are the characters, are facing. It is that which needs to be solved by these people. It is the reason why these people are disturbed. It is the reason they are not living the way they should. It is what gives them fears. It is their terror, worry, and discomfort. It is their nightmare. It is what they fight to put an end to. It is what they pray they conquer. It is what makes them weep, cry, mourn or die. It is their pain. It is the danger they face. It is the reason they gnash their teeth. It is the reason they curse their existence.
You have to describe the antagonism. You will state clearly what it's all about. You will also show the method by which it exerts its effect on the people.
You may not point out the real cause of the antagonism (as this is usually reserved for the last part of the story). All you have to do is to show its existence and mechanism.

(2) who is being antagonized
The people being antagonized are the characters who are directly or indirectly affected by the operations of the antagonism.
You must describe the various undesirable conditions these people are passing through. You have to show their pains, their tears, and their little efforts to find comfort and solace. You may also hint on their usual state of living before the antagonism struck.

(3) a hint on who the villain is
This gives the reader a very faint picture of the conspirator of the antagonism.
This is just a hint. You may not bother telling who he is actually (it is usually reserved for later part of the screenplay).
You can give the hint through your character's dialogues.

(4) a hint on who may eliminate the villain;
This also like the third information.
You may also show who he is. But sometimes it is reserved to allow for suspense.

Well, I'm not sure you would want your reader to lose his patience in reading your script. You have to be very careful in writing your first ten pages.


Written by: Winny Greazy 

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As an upcoming or professional screenwriter, if any one tells you that you have to watch a movie like ten times before you can assimilate it, and then write a screenplay which is as good as that of the movie, you would rebuke him. But, I don't care how you may react if I tell you this is absolutely true.
There are different components of a movie and until you master those components, you may end up not having a wonderful script.

The components are;

  1. Number of scenes
  2. Kinds of characters
  3. Dialogues
  4. Scene settings
  5. Story structure
  6. Plot
  7. Genre
  8. Actions
  9. Movie

Almost everybody emulates good work. Script-writers do too.
Nobody is born a screenwriter; they only develop themselves to be one. Developing oneself means learning the art of screenwriting. Learning this art can be through direct lectures or through personal exposures.
Personal exposures can be through reading already made scripts, attending drama shows and watching movies.
Watching movies is one of the best personal exposures one can use to develop and truly learn the art of screenwriting. Movies are of course from screenplays. Movies, not only adding to more knowledge about screenplays through its mobile, visual and non audio interpretive actions (Computer generated actions); they also go a long way in interpreting thoroughly, the elements of a screenplay. These elements of a screenplay which make up the components of a movie are the key ingredients needed in a typical screenplay.
A movie is the end product of a screenplay. Watching a movie is like reading, studying and learning how to write a screenplay.
As mentioned earlier, a screenplay has many elements which are well interpreted and represented in the components of the movie.
The quest by a screenwriter to write a screenplay which is as good as that of the movie should be backed up by a determination to study the components of that movie.
The components of a movie are many and it may not be possible to learn them just by watching the movie once. An avid screenwriter should watch the movie as many times as the number of its components.

As listed above, the least number of the components of a movie is nine.

  • Number of scenes
The number of scenes in a movie evaluates the length of the screenplay. This relates directly to the time the film from the screenplay will take up.
This can help a screenwriter in writing seasonal movies as there is an average number of scenes that will feature in a single episode. It's usually thirty five scenes. The writer should equally monitor the time it will take for the average number of scenes to feature in the single episode. This is necessary because there are long scenes, and there are short scenes as well.

  • Kinds of characters
The thorough mastering of the kind of characters in a movie is very important as it helps a screenwriter in casting for his screenplay. It helps him give roles to the characters he has created. It helps to place the characters appropriately in every bit of the plot of his story.

  • Dialogues
Dialogue is the life of a movie. It is the interaction between and among the characters which drives the movie successfully. It is just the exact dialogue in the writer's screenplay.
There are many things about dialogue. It is not just the words said by the characters. It is the words that precede, compliment, follow and describe actions of the characters. It is interactive and engaging.
The dialogue from the movie the writer is watching is the insight which he needs to create quality and mature dialogue for his screenplay. He should study the manner, pace, pulse and rate at which the characters voice the dialogues. The dialogue is the heart of his screenplay which pumps the 'blood' to the rest of the elements of the screenplay in order to give it the life it needs.

  • Scene settings
The several scenes of a movie are painted with 'colors' that describe the activities and actions that will take place in it.
These 'colors' include the arrangement of the objects found in the scene, the lightening system, the costumes, the houses and the environment.
A screenwriter who takes note of all of the above mentioned can create a good scene in his screenplay.
Knowing fully the distances in the setting of the scene characters have to move in order to perform an action, the type of costumes they will use, the kind of environment they are in and the kinds of objects they will use in performing the actions will help the writer to create very dramatic scenes for his screenplay. It will help him to know when to write short or long dialogues, bearing in mind the distance between the characters' original position and the position at which they will exert their actions.
Timing and spacing in the distance between one point of the scene to the other matter so much. The scene setting from a movie will help the writer a great deal.

  • Story structure
This is another important aspect when it comes to writing screenplays. Story structure is the organized story ideas which convey the overall message of the story. The story structure of a movie is the entire message about and from that movie.
The careful study of the story structure of a movie will go a long way in giving the screen writer the required initiative to knit his ideas together to form a good story for his screenplay.

  • Plot
Plot is the arrangement of the story. It is related to the story structure. The study of the plot of a movie will aid the screenwriter to wonderfully organize his story for his screenplay.

  • Genre
A screen writer should study the genre of the movie.
We have these genres: Action, Adventure, Comedy, Rom-Com, Drama, Family, Animated, Period, Historical, War, Sci-Fi, Fantasy, Thriller, Horror.
This study will help him in taking note of the characters, dialogues, scenes, story, action and other elements that fit a particular genre of the screenplay he is writing.

  • Actions
Learning the processes taken by the characters in the movie to perform an action will help the writer to write thrilling actions that will entice his audience.
Actions are the 'backbone' of a screenplay. Without actions, what is then a screenplay? Action makes a screenplay readable. Action is the mobility of the screenplay. Action is the visuals of the screenplay. Action is the reason it is called a screenplay.
A writer should be able to write the actions in his screenplay in such a way it will be pulsing with waves of excitement to the reader, not to talk of the audience who will be seeing it after it may have been produced into a movie.

  • Movie
This is the whole of the produced movie. It includes the features of the production credits. It is the summary of everything about the movie.
If the writer can study this, then he is good to go in picking up his pen and start writing a screenplay.

There is an important thing a screenwriter should know. It is in line with the fact that a screenwriter should watch a movie at least nine times.
The human body system is designed in such a way that the brain functions with one particular organ at a time.
The mind centers on one thing at a time. If it's moving in one direction, it would not want to be interfered by another direction.
If the mind is focused on counting the number of scenes in a movie, it wouldn't want to be disturbed by the dialogues.
If you are busy studying the characters, it will be hard for you to also study the plot.
If you are busy studying the actions, it will be hard for you to also study the scene settings.
If you are studying the story structure, you will not be able to also study the dialogues.
What you are made to understand is that biology supports you watching a movie at least nine times in order to learn everything about it.


Consult the author of this update,  Winston Oge 'Winny Greazy' to teach you more on every topic or sub topic herein.

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If you can be decisive in creating a good story for your screenplay or stage play, you can very well adapt yourself in understanding the simple but constructive approach for achieving your aim.
A good story structure is the soul of a screenplay. It is the template which is filled by the other elements of a screenplay.
The other elements are slug line, action, dialogue, characters and the rest.
These elements will not be rooted if there is no story.
Before any writer can think of writing a screenplay, he will first of all develop a story structure.
There is a sequence for a story structure. It is not like it's a conventional sequence which everyone must stick to. It is a sequence flexible enough to allow it to be bent; but then it's still the same pattern. At the end, it will still be like a conventional sequence.
There is a model which is a sequence for story structures. It is like a guideline that will help a writer to develop his own story.
Like I mentioned earlier, you can somehow bend it or rearrange it, but one thing is sure; there is a common convergence point.
All you can do is vary it to help you create something unique.

Here is the story structure model:

  • Manufacture a problematic situation (antagonism)
  • Create the characters behind these problems (villains)
  • Create the characters these problems affect (common people & protagonists)
  • Create the characters that will fight these problems (protagonists & common people)
  • Develop the procedures the antagonism use to drive these problems to affect the common people & the protagonists.
  • Develop the procedures the protagonists & the common people fight these problems and the villains behind them.
  • Produce the final state of each of the groups at the end of the whole events.
The villain must be defeated. The forces of the antagonism must be quelled. The normalcy of the common people & the protagonists must be achieved.


Written by: Winston 'Winny Greazy' Oge 

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Imagine where people are sitting and their attention glued to the television screen. Imagine what they are seeing. Imagine what's on that screen that has taken over their consciousness.
Imagine the images, motions, plot, actions, characters, speech sounds, scenes, emotions, competitions, feelings, contentions, romance, drama, discovery, thrills and the tremendous displays that are ever changing these audiences' countenances and moods. That's what your screenplay should be.

A lot of things can help one write a good screenplay and this is one of them.
If you can imagine what happens in the first scene on a television in relation to the audience's changing facial expressions; and then down to the last scene (say, 20th scene; as long as you can imagine), you can create a screenplay. Not just a screenplay, but a good screenplay with a well defined plot.
A lot of active, physical, colorful and emotional changes that radiate from the screen of a television trigger the psychological and biological changes in the audiences.
Even if you are not imagining it; maybe you are in the theatre and you are backing the screen and facing the audience, you can dictate the genre, the plot, the story structure and other characteristics of the movie from the faces of those audience.

At any scene on the television screen you check the faces of the audience and see tears trickling down their cheek; you can assume maltreatment from the villain or antagonist on the common people or the protagonist.
At another scene you see them laughing, you can assume a comedic display, or a retaliation from the protagonist against the antagonist.
At another scene you see them tensed up, you can assume thriller, action, suspense, deceit.
At another scene you see them just normal, you can assume drama or romance.
If you can follow this sequentially from the first scene to the last scene, you will learn the sequence you can use to write your script.
The sounds of the dialogues can help you define the characters there in. The theme sounds in every scene will also go a long way in helping you have an idea of what the movie is all about, and it will as a result help you in writing your own script.

This approach could be another way of easing yourself of a tough time trying to create a screenplay. Like I told you earlier, a lot of things can help one write a good screenplay and this is one of them.


Written by: Winston 'Winny Greazy' Oge

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From Story to Screenplay

Yes, you have done your best by working and building your story; well done!
Now what's the next thing?
The next thing is to start writing your screenplay.
One thing you should bear in mind is that a screenplay has some elements. These elements make up a template upon which your story should be fixed.
The elements are scene heading, action, character name, dialogue and others.

So as you transform your story to a screenplay, you should take some certain steps.

(1) Try to visualize the story. Make it a live-story in your mind

(2) Write it as if you are watching it happen

(3) Every scene has a location. So right in your mind, you have to imagine and create locations for the scenes; and then try to keep them consistent.
This point is important because two or more scenes can be in one location. Imagining and keeping this location consistent will help you know the space it has, the directions an action can go, movements the characters can make, and how you can make your descriptions.
With this, any time you want to write a scene in the location, you already know what it looks like.

(4) You have to sometimes go the extra mile of rehearsing the actions you plan to write yourself.
Some actions can be easily performed by the real actors, why some other actions are not. You must try and write what an actor can act.

(5) Say the dialogues you plan to write. Hear how they sound. Check how interactive they are.
Your siblings or friends can also help you. You and they will rehearse it.

(6) You have to again imagine certain names your characters will bear.
Gone are the times when script writers arbitrarily assign names to their characters.
There are 'sweet names' that beautify your screenplay. These names are the names your audience will always remember fast whenever they are telling your screenplay or the movie from your screenplay.


Written by: Winston Oge "Winny Greazy" 

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