July 2014
Some people do say ''if you are a civil servant, you cannot write a screenplay''. This is a lie!

Some others do ask, ''If you are a scientist, how on earth can you do an art work such as screen writing?"
The answer is; it is very possible on earth!

Many do think that once you are into something that takes your whole day, you cannot be into another thing that takes your whole mind.

It's possible to combine your normal daily office work with script writing.
All you have to do is:

-streamline your thoughts

-focus on the two; your work and script writing

-imagine and accept both as though they are in the same discipline of study

-share ideas in both

-use an idea from one to solve a problem in the other

-combine the two in one timetable and schedule

-make them of equal priorities

-write a screenplay about the work

-generate ideas and concepts for each, and from each

-determine to make money from both

-teach both to people

-include both professionally in your business profile and CV

-discard other money making ventures, and focus on both

-be determined to carry on with the both

-keep moving

-be perfect in both!

Now you can blend your career with script writing.



***Written by: Winny Greazy

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He is not just a hero, but a hero who can defend his people correct his personal flaws and fight his enemies to get what he wants.
Here is a list of the conflicts a hero faces

(A) INTERNAL CONFLICTS
At a time in a screenplay, the hero may need to go back to himself to overcome issues around him. These issues if not resolved can be a hitch for him to overcome his bitter rival, the villain. These issues range from his personal problems to the extended personal problems. These series of issues are regarded as the internal conflicts of the main character.

Different kinds of internal conflicts include

Personal flaws
This is the innermost internal conflict. It is related to the physical appearance and makeup, internal morphology and psychological makeup of the main character. It is also related to his behavioral pattern.
If the biology of any of these mentioned above is not in order, the main character feels incomplete. And once he finds out that his incomplete nature affects his fight against the opposition, he feels depressed and conquered.
Bearing in mind the responsibility vested in him, he rises to make himself complete. He faces himself to fix whatever thing wrong with him.
If he is illiterate, he tries to acquire some education.
If he doesn't have a fighting skill, he rushes to get one.
If he is sick, he quickly seeks medical attention.
If his face is deformed, he can go for a plastic surgery.
Getting himself to be normal all gears towards getting himself ready and fully equipped for the main fight.

Relationship issues
The hero may be in one personal relationship or the other. It may be with his girlfriend or his guy. Relationships often come with its problems like unfaithfulness, disobedience, lack of trust and so on. Once any of these problems come up, the main character quickly does all he can to fix them.

Family conflict
This kind of conflict arises when the family members of the hero are not at peace with one another. Family unity offers some strength to its members. The hero needs his family to be at peace so that he can have a peace of mind and enough strength to fight his enemies.

Mission conflict
This kind of conflict arises when all the other characters or the tools that are supposed to back the main character up in his fight against the enemies are not in order. The hero cannot fight alone. He needs a back up. And for him to get a back up, he first of all tries to resolve some issues surrounding those elements and tools that are supposed to back him up.

Extended conflict
This involves all the indirect problems that may affect the hero. These problems may be from his extended friends, friends of friends and friends of relatives.
He doesn't keep quiet. He fights these problems.

(B) EXTERNAL CONFLICTS
The hero, after intermediately fighting against his internal problems, he launches back his fight against his external problems.

Some of the external conflicts include

The Villain
This is the main opposing character. He is the hero's bitter rival. He is the perpetrator of all the evil against the hero and his people. He is the main enemy. All fights are channeled towards him.
The hero and his people put up a synergic fight against everything about the villain. The villain is the reason for the hero's external conflict.

The opposition
This is all the negative effects that accompany the activities of the villain.
The hero also fights them.


The definition of a hero is the character who is always in a fight against evil throughout the course of the screenplay.
There is nothing to watch in a movie if the story is all about idleness, comfort, enjoyment, peace, indolence and irresponsibility on the part of the hero. A movie is all about the repeated emergence of problems and repeated fights by the hero against the problems.
For a writer to write a good script, he must first of all design series of conflicts.


Written by Winston "Winny Greazy" Oge

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Dear script writer, theme plays a major role in adverts. The aim of an advert is to pass a message to the audience whom are the consumers. This message is embedded in the theme of the display about a product/brand being advertised.
Theme has ripples of ideas which it filters into the minds of the audience. These ideas aim at driving the theme to a point. These ideas are like different phases of plots linked together; where each phase represents various components of the product which include the name of the product, the makeup, the advantages, the side effects, the uses, the dosage, the consequences of using it, the consequences of not using it, the manufacturer, the durability, the know - how, the mechanism and so on. All these build up to the total information about the product.

In an advertisement, the height of success recorded is measured by the manner those different phases in the plot of the idea in theme of the product display is integrated; the better the integration, the higher the success.
The way the audience decodes and understands the concept used in this integration is of great importance. If your audience does not understand your advertisement, then, how is your brand going to sell?

Below are some steps you may take to make things work.

(1) No part of the script should contradict the theme.
The beginning of the script shouldn't contradict the theme neither should the middle or the end of the script do so.
Don't write one thing and start explaining another. You shouldn't write that the product is children - friendly, but yet the product is composed of strong, toxic chemicals. You shouldn't write that the product is for general usage, but yet one of its instructions says ''not for sale to consumers under 18''

(2) Don't lose track of the theme.
More often than not, some script writers, in a bid to show off their writing prowess lose track of the theme. Apart from showing off their writing skill, they sometimes mix up the ideas of the theme.
For instance, when it's time to write about the side effects of the product, they start writing about its safety measures. When it's time to write about the method of preparation, they start writing about its nutrient content.
This makes the audience get a disrupted message/information about the product.

(3) Create transition bonds to link the different ideas of the theme.
Remember that these ideas are like different phases of plots linked together, and each phase represents various components of the product being displayed or advertized. The components build up to the total information about the product.

After writing on one component, if you don't tell your audience you are going into another component, they will be confused.
Again if you don't connect one component with the next one, your audience will be lost; they will not follow.
These components are distinct, but yet they are connected. They are bonded until they expose the total information about the product.

There was an advert that was shown recently. The advert was about a product, tea. The beginning of the script reads as a voice over:
''Sometimes your body wakes up but your mind doesn't'' We see a lady wake up wearingly from her bed.
This part is trying to explain the consequences of not taking the tea; that you may always feel weak.
The next moment, we see her singing happily as she is taking the tea.
This part is trying to explain the advantages of taking the tea.

Yes, the above worked, but something is missing.
There is no transition to the next component, and there is no bond to link the two components.
For a successful transition, after the first part, the lady should first of all drink the tea while still looking weak. It's after the tea would have performed its biological function inside her that she would regain her strength.
For a successful bond, after the first part, the script should read again, thus:
''But with this tea, you've got no problems because your strength will come back to you and you will be happy again''.

(4) Don't take too long to get to the central idea of the theme. The central idea of the theme depends on the product being advertised. It involves the most important components which is part of the build - up of information about the product.
For a product like a detergent, its most important component should be its ability to wash off stain; followed by its usage precautions and health safety.
For a product like cough syrup, its most important components should be its ability to stop cough, its dosage, then followed by the hint on its chemical ingredients.
For a product like mattress, its most important components should be its softness or hardness, followed by its guaranty.
For a product like noodle, its most important components should be the time it takes to be prepared, the procedure for preparation, and then followed by a hint on its nutrient content.
For a product like an electric fan, its most important components should be its number of rotation per second, followed by its durability.
For a product like a mobile phone, its most important components should be its fastness in response to network connection, the operating system, convenience of usage, and then followed by its size and durability.
For a product like a car, its most important components should be its stability and control, its fastness, and then followed by its design, comfort and durability.

The earlier you let your audience know the most important components of your product, the better. These most important components contribute to a greater extent the total information about the product.
There should be no too much scenes to get to these components.
There should be no too much steps.
There should be no too much words.
There should be no too much actions.
Taking too much time will make the audience lose interest.

(5) Go straight to what you have for your audience about your product.
Make things simple for them. Don't let them spend too much of their energy trying to understand what you mean. Don't let them assume. Don't let them wonder what they are seeing or hearing. Design your work to help the feel at ease.

You can achieve the above by:
Having not more than one flashback if need be.
Having not more than one dream sequence if need be.
Not having too many actions.
Not obviously comparing your product with another similar one.
Not trying to generate a component your product doesn't have.
Understanding the fact you have a limited time for your advert to run on the airtime.

There are many more precautions to take in order to get maximum exposure and sales for your product / brand. They shall be discussed in subsequent posts. You can read more here

Written by: Winny Greazy Oge
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(1) Preciseness and conciseness
(2) Simple scenes and settings
(3) Straight and active story (no much of flashbacks and dream sequences)
(4) Definite story structure
(5) One theme exploration
(6) Straight to the point


Written by: Winny Greazy Oge
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This is a great challenge to advertisers and producers also; starting from the product name, to the product theme, to the product description, to the label, to the applications, and to the slogan. The marketing of a product depends on all of them. An advertiser may not know really that this is so.

The name of a product is what gives it a name so that it can be identified as a commodity or services. This is known as the product's specific name. This specific name registers the existence of the product in the market. It is the second identification given to the product after the general identification. The general identification is the common name for all the types of that product. For example; Specific name: Gleen water.
Common name: Water.
A good advertiser or producer should be very careful in giving a name to his product. You can't just give a name to your product arbitrarily. You should follow some tactical steps. Your mission is to market your product and nothing less.
Some of those tactical steps I suggest you should follow are;
-the name (which is the specific) should be close to the common name
-it should be easy to pronounce
-it should be easy to spell
-the sound should be pleasing to the ear
-it should not be a fowl name
-it should not be a very local native name
-it should be a contemporary name
-it should be a name that will last for very long, as long as the product exists
-it should be related to or represent one of the good qualities of the common name of the product. In the example I gave above, I used 'Gleen' water. The word 'Gleen' represents and sounds like 'Clean'. 'Clean' relates and also represents one of the good qualities of the common name which is 'Water'. Of course you should know that drinkable or usable water should be clean. The word 'Gleen' also satisfies most of these tactical steps.
Whenever a customer thinks about buying water, either bottled or sachet, the product that will always come to his mind is the one whose name satisfies all the steps above. Such a name may turn into a household name, and even the youngest kid in the family may always be singing with it.

The theme is the sub name of the product. After the common name, you get the specific name, and now here is the theme.
A theme goes ahead to designate the importance of or the reason for the specific name. It defines the specific name the more. The bottled water that has its name as 'Gleen' may have its theme as 'Gleen your thirst'. These two words in the theme, 'Gleen' and 'Thirst' are draining down more appropriateness of the specific name, 'Gleen', to the product. 'Thirst' is a sensation that needs to be satisfied by drinking water. It now seems that the theme has knitted one of the good qualities of water and one of its uses into one. A theme creates a relationship between the product and the specific name.
Theme is optional anyway, not every advertiser or producer may want to include it. But one thing is this; theme will go a long way in filtering the specific name into the minds of the customers.

Description offers more identification and exposure to the product. For the product we are following, the description name may be, ''Gleen is the right bottled water for you whenever you are thirsty''
Of course, the description is needed by the advertiser. Description is an attention winner. It wins the attention of the customers. The specific name alone or the theme may not be strong enough to draw the attention of the customers. Customers always want to hear a lot of convincing words before they can be moved.

Label is more of the description. The label to the product we are following may read, ''Gleen is the right bottled water for you whenever you are thirsty. It is ozonised, pure and hygienically packed to ensure it gets down your guts to really keep you cool''
At this point, the customers' attentions are now gradually turning to you. (Smiles)

Application is all about the importance and uses of the product. You go ahead listing all its possible uses.
This point is very important as it is the main reason why a customer would want to buy the product. After all the reason for buying a product is to make use of it.
The advertiser should be elaborate here. He should try and point out all the possible uses and applications of the product. Customers often have a particular application they have in mind and unless the advertiser mentions it, they may not be willing to buy.

Slogan is a short phrase or clause which finally drives in all of the information of the product into the customers. It takes over the whole thoughts of the customers as it turns out to be the last information they will hear about the product.
Being the last information they will hear, it will consequently be the first they will remember when they get home. Remembering the slogan first will now mean that the slogan is the tool info which will engineer them into remembering all of the info about the product. May be they forgot the theme, the label, the application, and the description; but with the slogan which is still fresh in their mind, they have no problem again.
The slogan of the product we have been following can be, ''clean and pure like no other''

Now, let's just move away from this product which has been used as an example.
Slogan is a very important asset in advertising. It can turn out to be a veritable tool for trademark. It is something that once mentioned, anybody in its hearing will quickly confess to the product that owns it.
Slogan can be very powerful if the advertiser can be very powerful too, in creating a good one.

Written by: Winston 'Winny Greazy' Oge

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(1) Scenes are like chains (they connect your screenplay structure).

(2) Scene are the rate determining steps of a screenplay (the screenplay doesn't move forward it the scenes are not moving).

(3) Plot depends on scenes (the intensity of scenes go up and down; they drive the plot along with them).

(4) Length of a screenplay is a function of the scenes (time of each scene contributes to the duration of the screenplay).

(5) Scenes measure your ideas (they show whether you are good in ideas development/generation or not).

(6) Scenes define your career (they testify whether you are a good writer or not).
Your stories are in scenes (this is a screenplay and not an ordinary prose. Scenes accumulate into a story).

(7) Scenes attract each other (the first scene welcomes the second scene).
Your theme is embedded in the scenes.

(8) Scenes calculate the number of your characters.

(9) Scenes measure the rate of actions.

(10) A scene is the timing of your screenplay (a scene describes whether it's day or night).

(11) Scenes are steps to the climax of your screenplay.

(12) Scenes arouse the emotions of your readers.

(13) Scenes count the dialogues in the screenplay.

(14) Scenes describe your characters.

(15) Scenes are performed by the characters (a character lets his facial expression, position, body movement and countenance depict the mood of the scene)

(16) Scenes describe the actions.

(17) Scenes voice the dialogues.

(18) Scenes divide the screenplay into acts.

(19) Scenes can be painted with thrills!

Written by Winston 'Winny Greazy' Oge

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(1) Write more on the external conflict between the main character and the opposition. Write less on the internal conflict of the main character.

(2) Assemble and streamline the characters' ventures. Not all the characters should have internal conflicts. You may limit it to just the main character. Too much of internal conflicts can drag the whole story to too many pages.
Before a screenplay comes to an end, all the external and internal conflicts of all the characters must come to an end. This is only obtainable in a long feature film.
(3) You may not write many details and actions. Just let the moderate dialogues by the characters tell more.

(4) Stick to just the main theme. No need to introduce sub themes. It is a short film, it needs to end fast.

(5) No much of flashbacks and dream sequences.

(6) Do not include settings that may be costly. Remember you might be the one to produce it yourself. Just write a low budget film.

(7) Try not to include too many characters.

(8) Try and first of all read and understand the topic or the issue at stake before you start writing the screenplay on it.

(9) If it's an advert script, be sure to understand what the brand or product is all about.

(10) Write with simple words so that the audience can understand.


Written by: Winny Greazy

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Having learnt what advertising and its job means, you can write an advert script from the ideas you have gathered.
Writing an advert script is just as tasking as being the advertiser himself. They are just the same thing.
Advert scripts are written by script writers. These script writers can also be advertisers. An advert script writer should imbibe the qualities of an advertiser.
In addition, there are just two things he should be looking at when writing the script; the product and the consumer. He has to at every point in time uphold the relationship between the two.
He should write down every bit of information about the product. He should also do same about the customer.
At the end, the slogan takes its place. Then the audio productions and the video productions set it.

Advert videos are very trendy these days. With the huge rise in the number of TV stations, and the tremendous increase in the number of brand products, goods and services; you should always expect advert videos to be the order of the day.
Advert videos are short story films or visible illustrations that depict the advert script, with the aim of driving down the message about the product being advertised to the audience who may turn out to be potential customers.
Advert videos have advanced so much nowadays that they no longer only advertise the products they have in them, but also serve as a suspense, thrilling and dramatic films. With this advancement, high class ideas are put up for these adverts videos in such a way that the short stories in them or whatever visible impressions from them do have wonderful concepts that viewers would enjoy.
As a result of all the above, if you are a screenplay writer who has been given a job to write a screenplay for an advert video, you should make sure it is written with so much meticulousness that even surpasses that of a feature film screenplay.
Look for fresh and untapped ideas. These ideas as you've been informed earlier are stories, actions and impressions your audience would so much enjoy; and consequently the product being advertised would have a very good wide reach.


You can mail me for more guides on ideas on screen stories scriptsandpapers@gmail.com

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Are you an advert producer, a script writer, a content writer, or a copywriter? You can turn your advert ideas into advert scripts and in turn into quality advertisements that attract a lot of audience. It's very easy!
Please read below to know how you can get there.

Advertisement is a picture, set of words, film e.t.c. that is used to advertise brands and products or services.
It is a means of showing the advantages of whatever you have to offer to your customers.
The people who do this are known as advertisers.
WHAT AN ADVERTISER SHOULD DO

These are what an advertiser should do to a customer:
  1. An advertiser should assume customers are already going to patronize/buy from them.
  2. He should see ability in inability.
  3. He should see advantage in disadvantage.
  4. He should see willingness in unwillingness.
  5. He should see affluence in austerity.
  6. He should be already relating with the customer on the basis the customer is already buying their product. All he should now want to let the customer know is what the customer is going to gain while using the product.
  7. He should be already giving you the tips on how to use the product.
  8. He should be already listing the does and don'ts.
  9. He should be already celebrating the customer as his post customer.
  10. He should be making the customer believe he has already started using the product.
  11. He should now be teaching the customer more on the product.
  12. He should be seeing the possibility of the customer using it.
  13. All he should want to do is to eclipse the customer's mind, numb his heart, blindfold him, re-orientate his idea and then give him another power and energy to pick up the product after has has handed in your money to the advertiser/seller.
  14. He should have power in his words, looks, actions, gesticulations and intrigues.
  15. He should do it the way the customer will love it.
  16. He should make the customer long for more.
  17. He should make the customer want to keep on watching him.
  18. He should make the customer come back.
  19. He should make the customer use his products without regrets.
  20. He should make the customer buy in larger quantities.
  21. He should make the customer think about his next shopping.
  22. He should make the customer tell his friends.
  23. He should make the customer want to help him advertise the brands.
  24. He should make the customer want to beg him produce more varieties for the customer.
  25. He should make you think there is no other brand other than his.
MORE QUALITIES OF ADVERTISERS

Advertisers deface a disadvantage and make it look like an advantage. They coat it with words that will make it sound pleasing. They make customers see it from the advantage point of view so that those customers will long for it.
In an American Movie, Total recall, a prostitute who had a mysterious three breasts tried as much as possible to lure the protagonist, Douglas into herself. She informed Douglas if he went in with her, he would wish he had three hands. Here, the prostitute is demystifying the fact she has three breasts. She is steering Douglas' mind to other side of the implications of her having three breasts. She is not for a second letting Douglas think that her three breasts is a 'monster'. She is busy melting his mind with the fact he will enjoy his 'ride' on her.
That is a good quality of an advertiser. An advertiser is like a mathematician who keeps the ugly side of his product constant and then makes the beautiful side variable.

For some products, advertisers will tell the customers that they will save some money if they buy their product or demand their services. The advertisers are not even considering whether the customers want to buy the product or not, or whether the customers have the money to buy the product in the first place or not.
Example is where an advertiser has a collection of different varieties of a particular brand. He will ask the customers to buy all of the varieties put together at a specific lower price, a price lower than the price at which the customer would buy just one variety of the brand alone.
Another situation is where the advertiser will inform the customers to buy their product at a particular period of time at a particular price so as to avoid buying at an anticipated higher price in an upcoming period of time. They will encourage and persuade the customer to buy the product now so as to save the amount they would add in the upcoming year when the price would have risen as anticipated. All the advertisers are looking at is what the customer will save if he eventually buys. They are not even considering the willingness of the customer to buy the product. They are turning unwillingness into willingness.
The trick here is the word 'save'. No customer doesn't want to hear the word 'save'.
Advertisers always have a trick. They know the words and actions customers want to hear or see.

Advertisers have a very explicit way of turning a negative feature into a positive one.
Normally, a man who has been rooted for over twenty years in knowledge or an experience in a course of study will use it as an advantage; he will call himself a professional. Everyone else will also regard him as a professional.
Now, here is another man who has known that same course of study for just less than ten years. Actually, people judge the level of experience gained by the number of years spent in it. But, guess what an advertiser will say about this second man. An advertiser will say: ''it's not easy to spend less than ten years in this course and gain enough experience and knowledge. He is a genius. He will teach you how he did that. Forget about those who have spent over twenty years. He spent only nine years and now he has all the knowledge. Is he not a genius indeed? Come on let him teach you how it's possible. Come on and sign him on, he is highly good for this job'' That's the advertiser speaking. He is promoting his client.
Advertisers use every situation, no matter how bad, as an edge in advantage over his opponents who may really be better than whatever or whoever they, the advertisers are advertising.

Advertisers find out a particular feature or quality of a general product common with theirs and the others. They now try to capitalize on that common feature, and then eke out an edge of their own product over the others.
For example, if the common and most important feature of a hair clipper is the sharpness of the blade, and if it is all well known and understood by everybody that the blade needs to be sharpened every one month; the advertiser can decide to inform his customers that the blade to his own brand of the hair clipper can last for the next two months after sharpening it for two consecutive previous months.
He can also inform them that the blade doesn't take time to sharpen ''just four strokes of the sharpening stone on it! No energy involved! No much cost involved!''

WARNING TO ADVERTISERS

Yes, you can turn a disadvantage into an advantage, but do not do it in such a way it will turn out to be a permanent disadvantage to you. If you would inform a man he would wish he had three hands if he took a 'ride' on your mysterious three breasts, be sure the man is in a good social mood; lest he condemns you the more. Do you know what it means to have three hands?
One important thing an advertiser should do is to study his customers' mood. You can gauge your customers' mood from the way they will react at the first look at whatever you are advertising. You can also try to put up a very brief joke to measure their level of liveliness.
There are many ways to examine your customers. If you need more, then be sure to include your question in the comment box at the end of this article.
Another important warning is that; you are not the only advertiser, there are many others who are also looking for whatever fault that may arise from your advertising tactics, and then they will use it against you. "How can a normal human being make you wish you had three hands?" "Run for your life dear!" said by those other advertisers, secretly to your customers.

If you are informing your customer about saving, make sure you are doing your calculations well. Some of your customers may be smarter than you are. Some of them may be statisticians and mathematicians who can counter your advertising gimmicks and then render you incompetent.
Try and do the computations absolutely before storming the market.

If you know the client you are advertising has spent just nine years in a study, don't be too fast to pen down a deal to work with him. You have to sincerely test him. Demand for the whole truth about him. In this kind of business, the end justifies the means. The so claimed professor will still have to show the stuff he is made of. There is no shortcut to it. Try and find out his lapses. Try and know the areas he may perform wonderfully. With this knowledge, you will now know how to arrange your gambit to win customers for him. Any deviation from this may lead to lack of trust from the customers after the so called professor would have messed up. Every of your present job will be such that your future job will always be guaranteed. Do not mess up too.

A common feature to a product is common indeed. Every customer knows everything about it. Be sure to choose a common feature which you can truly eke out an edge which your product will now use over the others.

WAYS OF GETTING ADVERT IDEAS

This is a great challenge to advertisers and producers also; starting from the product name, to the product theme, to the product description, to the label, to the applications, and to the slogan. The marketing of a product depends on all of them. An advertiser may not know really that this is so.
The name of a product is what gives it a name so that it can be identified as a commodity or services. This is known as the product's specific name. This specific name registers the existence of the product in the market. It is the second identification given to the product after the general identification. The general identification is the common name for all the types of that product. For example; Specific name: Gleen water.
Common name: Water.
A good advertiser or producer should be very careful in giving a name to his product. You can't just give a name to your product arbitrarily. You should follow some tactical steps. Your mission is to market your product and nothing less.
Some of those tactical steps I suggest you should follow are;
-the name (which is the specific) should be close to the common name
-it should be easy to pronounce
-it should be easy to spell
-the sound should be pleasing to the ear
-it should not be a fowl name
-it should not be a very local native name
-it should be a contemporary name
-it should be a name that will last for very long, as long as the product exists
-it should be related to or represent one of the good qualities of the common name of the product. In the example I gave above, I used 'Gleen' water. The word 'Gleen' represents and sounds like 'Clean'. 'Clean' relates and also represents one of the good qualities of the common name which is 'Water'. Of course you should know that drinkable or usable water should be clean. The word 'Gleen' also satisfies most of these tactical steps.
Whenever a customer thinks about buying water, either bottled or sachet, the product that will always come to his mind is the one whose name satisfies all the steps above. Such a name may turn into a household name, and even the youngest kid in the family may always be singing with it.

The theme is the sub name of the product. After the common name, you get the specific name, and now here is the theme.
A theme goes ahead to designate the importance of or the reason for the specific name. It defines the specific name the more. The bottled water that has its name as 'Gleen' may have its theme as 'Gleen your thirst'. These two words in the theme, 'Gleen' and 'Thirst' are draining down more appropriateness of the specific name, 'Gleen', to the product. 'Thirst' is a sensation that needs to be satisfied by drinking water. It now seems that the theme has knitted one of the good qualities of water and one of its uses into one. A theme creates a relationship between the product and the specific name.
Theme is optional anyway, not every advertiser or producer may want to include it. But one thing is this; theme will go a long way in filtering the specific name into the minds of the customers.

Description offers more identification and exposure to the product. For the product we are following, the description name may be, ''Gleen is the right bottled water for you whenever you are thirsty''
Of course, the description is needed by the advertiser. Description is an attention winner. It wins the attention of the customers. The specific name alone or the theme may not be strong enough to draw the attention of the customers. Customers always want to hear a lot of convincing words before they can be moved.

Label is more of the description. The label to the product we are following may read, ''Gleen is the right bottled water for you whenever you are thirsty. It is ozonised, pure and hygienically packed to ensure it gets down your guts to really keep you cool''
At this point, the customers' attentions are now gradually turning to you. (Smiles)

Application is all about the importance and uses of the product. You go ahead listing all its possible uses.
This point is very important as it is the main reason why a customer would want to buy the product. After all the reason for buying a product is to make use of it.
The advertiser should be elaborate here. He should try and point out all the possible uses and applications of the product. Customers often have a particular application they have in mind and unless the advertiser mentions it, they may not be willing to buy.

Slogan is a short phrase or clause which finally drives in all of the information of the product into the customers. It takes over the whole thoughts of the customers as it turns out to be the last information they will hear about the product.
Being the last information they will hear, it will consequently be the first they will remember when they get home. Remembering the slogan first will now mean that the slogan is the tool info which will engineer them into remembering all of the info about the product. May be they forgot the theme, the label, the application, and the description; but with the slogan which is still fresh in their mind, they have no problem again.
The slogan of the product we have been following can be, ''clean and pure like no other''

Now, let's just move away from this product which has been used as an example.
Slogan is a very important asset in advertising. It can turn out to be a veritable tool for trademark. It is something that once mentioned, anybody in its hearing will quickly confess to the product that owns it.
Slogan can be very powerful if the advertiser can be very powerful too, in creating a good one.

Here are some tips on how to create a good slogan for your products.
-Complete or answer a question about the common name of your product.
For example:
Question: Can I eat noodles three times a day?
Answer: Yes, anytime you are hungry. No matter the time of the day. No matter how often.
From the above example, you can create your slogan from the question thus; ''three times a day'' or ''many times a day''
From the answer, thus; ''anytime you are hungry'' or ''No matter the time of the day'' or ''No matter how often''.
This is just a tip. You can do better than this. You know yourself as an advertiser, you know what you can do, you know your product, and you know how best you can make it sell. Do it now! But you can still ask questions in the comment box, though.

-Lift phrases and clauses from a normal verbal or written discussion about the common name of your product.
These phrases or clauses can be further re-written to create the desired slogan for your product.

-Knowledgeable verbal or written debate and argument about the common name of your product can contain therein, good phrases and clauses for your product.

-A comprehensive note on the uses and applications of the common name of your product can also help you create good slogan. As usual, you will have to carefully point out the appropriate phrases and clauses.

-A proper examination about the feelings, approaches and daily perceptions from people about the common name of your product can go a long way in helping you.
What you have to do is to write them down and pick out favorite and appropriate clauses and phrases.

-Comparison between the common name of your product and a common name of another different commodity all together can precipitate some phrases and clauses which you can use to create your slogan.
For example:
This specific name 'Lucozade boost' whose common name is 'Energy drink', compares its usefulness with another commodity whose common name is 'Water'.
Here, the precipitated slogan which Locozade boost now uses is ''better than water''
Anytime anyone mentions ''better than water'', people's mind will be directed to 'Locozade boost'.
One thing you should note here is that, this particular tip is used when your product has some similarities in uses and applications with that of the different commodity.
Mind you, you must not mention the specific name of any product; else you may be in real legal problems. Specific names are names created by other advertisers like you. They are otherwise known as brand names. Common names are more like natural names. They are the generally accepted names for a commodity.

-You can create your slogan using clue from the specific name, theme, label, description and application of your product.

-You can also use figurative expressions.
Figurative expressions are very literal, but yet they give to the mind a picture of the real thing being talked about your product.

HOW TO TURN ADVERT IDEAS INTO ADVERT SCRIPTS

Having learnt what advertising and its job means, you can write an advert script from the ideas you have gathered.
Writing an advert script is just as tasking as being the advertiser himself. They are just the same thing.
Advert scripts are written by script writers. These script writers can also be advertisers. An advert script writer should imbibe the qualities of an advertiser.
In addition, there are just two things he should be looking at when writing the script; the product and the consumer. He has to at every point in time uphold the relationship between the two.
He should write down every bit of information about the product. He should also do same about the customer.
At the end, the slogan takes its place. Then the audio productions and the video productions set it.

Advert videos are very trendy these days. With the huge rise in the number of TV stations, and the tremendous increase in the number of brand products, goods and services; you should always expect advert videos to be the order of the day.
Advert videos are short story films or visible illustrations that depict the advert script, with the aim of driving down the message about the product being advertised to the audience who may turn out to be potential customers.
Advert videos have advanced so much nowadays that they no longer only advertise the products they have in them, but also serve as a suspense, thrilling and dramatic films. With this advancement, high class ideas are put up for these adverts videos in such a way that the short stories in them or whatever visible impressions from them do have wonderful concepts that viewers would enjoy.
As a result of all the above, if you are a screenplay writer who has been given a job to write a screenplay for an advert video, you should make sure it is written with so much meticulousness that even surpasses that of a feature film screenplay.
Look for fresh and untapped ideas. These ideas as you've been informed earlier are stories, actions and impressions your audience would so much enjoy; and consequently the product being advertised would have a very good wide reach.
You can mail me for more guides on ideas on screen stories. You can also checkout other updates on this blog.


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

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How to date a girl without spending so much money

(1) Date a girl who leaves within.
Proximity helps you reduce the cost of keeping up your relationship with your girl friend.
The main aim of having a girl friend is to have a partner who will always be there whenever you need her. If she doesn't live within, you may have no other option than to always invite her specially to keep you company. And consequent to this, you will always have to spend much money on her transport fares, grand reception and hospitality.

(2) The family should be an average family.
A girl from a poor family will love to be your girl friend basically to earn money from you. Her family is poor, and her dad or mum, or the elder brother will not be financially disposed to endow her with the materials she needs to keep up to her fellow female peers, and the stylish moments in vogue.
An average family is a family that is not very rich, it's just moderate.
A girl from an average family is more often than not in a relationship to have a full experience of it, rather than for money solely. Her family can equip her with the material things she needs so she will not desperately depend on you.

(3) Do not meet her during a shopping spree.
You already know the girl you want to date and the next action is to meet her and ask her to be your friend. Now, If you must take this next action, be sure not do it during a shopping excitement; else she may believe and even be convinced that you are the type that always go on shopping.
Again, do not meet her during an extravaganza.
Meet her during plain occasions or in ordinary events like wedding ceremonies, church service, football match, lecture free period, snack bar, at the hostel e.t.c.

(4) Do not be in a hurry to have her phone number.
Ask for her address instead. Asking for her phone number in a hurry may confirm to her you are too desperate to get her. She may 'open an office' on you, and sending her S.I.M recharge vouchers will now be frequent.
But if you ask for her address, she will note you as a more responsible person who can go extra step for family acquaintances, and consequently marriage. Hence, there may be no need for her to start demanding her own material finances.

(5) Visit her house.
Just like in number four (4) above, if you visit her house whenever you want to see or hear from her, you will not spend. Rather she will be the one to spend. She will have to present kola nut to you.

(6) Let her people know you.
Still like in (4) and (5) above, her parents might eventually turn to be the ones spending and caring for you. They now see you as a responsible man who is brave enough to bring to limelight what he craves for; their daughter.

(7) Have an apartment of your own.
If you do not have at least a room of your own, you may end up with no privacy whenever your girl visits. Or worse still, you may end up paying money to secure a hotel accommodation to obtain the desired privacy.

(8) Let your first date be casual.
Do not go to big restaurants. Do not go shopping. Do not place very pleasant and extraordinary orders. Just take a walk with her, stroll around, watch club football match, walk into a soft drinking spot and have a chilled bottle of her favorite soft drink. Let her hear what you have got to tell her. Let her know what's on your mind about her. Just make everything about this casual. It will help you save some money.

(9) Do not let your first impression at her be a gift or a present.
First impression lasts longer. And if you shower her with presents, you may be forced to keep on doing it. It was your first impression, and again, first impression lasts longer. The girl will now be expecting presents every time.

(10) Do not discuss about material things.
Do not talk about rich and fancy people, events and things.
Such discussion will make her think you belong to the 'A' list category, or that you are connected to them. It will make her too hopeful of your becoming rich in no distant time. She will eventually be forced to start asking you for big money.

(11) Talk about 'you and her', and 'the very good possibilities of being together without troubles'.
Let your discussions be an intimate one. Let it be filled with heart and soul.
This will help her develop cold feet in asking you for 'big money'.

(12) Do not discuss your lofty dreams.
Do not tell her you are awaiting something big. If you do, she will also be awaiting huge spending on her.

(13) Do not discuss your past rich exposures.
She will think the fortunes you acquired still remains. She will start asking for it.

(14) Handle your costly belongings adorably.
Guard them jealously, though not offensively. This will make her believe you worked so hard to get them. She will not think you are the type that has so much money to spend easily on costly materials.

(15) Do not crack expensive jokes.
An expensive joke is usually connected to affluence. If you want to save yourself some money, then stick to mild heart-felt jokes.

(16) Value whatever thing she has; whether valuable or not.
If you do otherwise, then you must provide her with things you feel that are valuable.
Just accept her simple nature else, you will need to pay for her upgrade.

(17) Do not always forbid non colorful things or events that happen around you.
If she finds out you are a lover of colorful events, she will always expect you to make your own events colorful too.

(18) Bargain for prices maturely.
Don't be shy. Just try and bargain for prices of commodities and services whenever you are demanding for them together with her. A girl is likely to note a man that does such as a prudent person. If she believes you are prudent, then you are safe to always save some money for yourself.
Example: As you are going out with her, if you stop a taxi cab, bargain the fare maturely.
Note: Do not over do this, lest she calls you stingy.

(19) Always look just and responsible.
Always dress smartly, talk mildly, be modest, be truthful, be faithful, have an understanding. Most importantly, work hard to earn good money.


Note: This article is originally written by Winny Greazy.
And it's published exclusively on this website: scriptsandpapers.blogspot.com.

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Some times while writing your screenplay, you find out that there are some other themes that are needed to drive the proposed theme to its end. Sometimes you find out that you really have to explore those themes so as to get the proposed one executed.
In such a situation all you have to do is to:

(1) Get those various themes

(2) Explore them a bit

(3) Highlight the points through which they link with the proposed theme

(4) Explore the points a bit

(5) Explore the proposed theme a bit

(6) Align the points into the proposed theme

(7) Explore both the points and the proposed theme

(8) Now, concentrate on the proposed theme

(9) Finally, create an end that will tie back to all of the themes.

Many notable movies used this method to achieve success. Their writers condensed the various themes they had into one, and then fusing them with the main theme.

Examining these other various themes, we may find out they came into existence as a result of some of the characters' internal conflicts. *anyway we shall talk about that later; in some other posts.*


Written by: Winston 'Winny Greazy' Oge 

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Argument is a situation in which two or more people disagree, often angrily.
One of them supports a subject or an idea, while the other opposes it. This leads to a disagreement between the two.

In a screenplay, two people are involved in an argument; the Hero and the Villain. They argue over a subject; the theme.

The theme of a story is the main subject or idea of the story. It is the main reason for the story.
The theme of a story is the message the story sends to its audience. This massage is contained in the topic of the theme.
The theme has a motive which can be opposed or supported. This motive is the main driver of the message.
A theme in a screenplay often has a motive that preaches goodness; although, rarely, a theme can have a motive for evil.

For the theme with a good motive;
The Villain always strives to oppose the theme. He supports the negative motive of the theme.
The Hero on his own part proposes the theme. He does not support a negative motive. All he does is to maintain the positive motive.

The Hero and the Villain are two bitter rivals. The two want something; something that is limited in supply; something that has just one source; something like a coin that has two faces; something that will make or mar a people's existence; something that will favor the Hero and not the Villain, or something that will favor the Villain and not the Hero.
The Hero and the Villain are in a grievous fight. The winner of this fight takes it all.
This fight can come in various forms. All these forms equal the argument over the theme.

At some points, the Villain may appear to be wining. At some other points, the Hero may also appear to be wining. This builds the plot.
Towards the end, the Villain may finally appear to have upheld the negative motive of the theme. But just a moment before the end, the Hero will unexpectedly outclass the Villain to uphold the positive motive of the theme.

Let's take for example, where a theme of your screenplay is:

''It pays to honor the king"

The Villain will argue thus:

''It does not pay to honor the king"

The Villain has supported the negative motive of the theme; ''It does not pay to honor the king"

But the Hero will surely support the positive motive; ''It pays to honor the king"


Application of theme debate
The debate or argumate between the Hero and the Villain can help a writer to complete a very thrilling story or screenplay.


  • Story structure: The argument proceedings help to sharpen the story and then bare its main structure.



  • Plot: The series of rise and fall of both the Villain and the Hero goes a long way in building the plot.



  • Conflict: The argument is the conflict. The more the argument gets heated, the more the conflict rises.



  • Character: The processes involved in the arguments describe the characters the more. These processes inform the audience who the main characters in the argument are. It also measures and tells the audience the amount of energy each of them is putting in to achieve their desires. It describes precisely how these two characters live their lives.



  • The end: The end will be well defined. At last, it's either the Villain or the Hero would win.



Procedure for theme debate
Here is how to handle the theme debate for better result

  1. Let your theme generate a lot of argument.
  2. Create very ambitious characters.
  3. Let the strengths and energies of the two opponents to be almost equal.
  4. Let the chances of both in getting their desires to be limited and tough.
  5. Let the conflict between them be very contentious.
  6. Let the central message filter out from the argument.
  7. Let the path to the end be very narrow and unpredictable.


Written by Winston 'Winny Greazy' Oge 

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A fight against any impediments that withhold your hero from conquering his oppositions can be regarded as your hero's internal conflicts.
A fight against these oppositions is regarded as your hero's external conflicts.

These impediments are a stumbling block to your hero. They disturb him and make him weak to face his enemies.
These impediments are not friendly to him. They need to be checked! And Your hero needs to fight his oppositions!

Below are some of the internal conflicts;
  1. A fight against weakness
  2. A fight against illiteracy
  3. A fight against poverty
  4. A fight against lack of skill
  5. A fight against deformity
  6. A fight against physical & psychological Incompleteness
  7. A fight against infidelity
  8. A fight against drunkenness
  9. A fight against laziness
  10. A fight against waywardness
  11. A fight against unsupportive family, and so on.
Those above can also be regarded as personal or internal problems of the main character. He needs to conquer them before going against the external ones.


Written by: Winston 'Winny Greazy' Oge

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"it shall be well", "in my next world", "till we meet again", "in the end, all will be fine; if it's not fine now then it's not the end"
All these expressions we use every day may indicate reincarnation.
Well, we all strongly believe all will be well indeed. We believe every unpleasant situation will change for good. We believe hardship and poverty will one day change to happiness. And we also believe one day we shall all just live without dying.
So when are all these changes going to take place?
Things are still going wrong, poverty is in the increase and people are still dying.

Away from this for now, you need to understand first of all what life is all about.

THE HUMAN LIFE:

TWO (2) things make up the human life

(1) PHYSICAL BODY
The physical body is the physical and genetic makeup of the human life.
It's just the way a human appears physically.
The parents are responsible for this. The parents create this physical body. These parents mate; and then through series of transformations, the female parent reproduces to create the body which looks like the male parent, female parent, or both; in appearance.
But certain features must obviously make it the either of the sexes; that is being male or female.
Those features include the type of reproductive organ, hormonal secretion pattern e.t.c.

(2) SPIRITUAL SOUL
The spiritual soul is the 'life' of the physical body.
The physical body doesn't function unless this spiritual soul enters into it and becomes part of it.
The soul takes up this physical body's organs, makes them perform the functions for which they are created; the nose for smell, the eyes for sight, the tongue for taste, brain for reasoning, e.t.c.
The soul makes its creation complete by diffusing into it and transforming it into a human life just seconds after it has been produced; else it will remain lifeless and decompose after some hours.
The creator of this soul is the God almighty himself.
Body and Soul interaction:

The soul makes its way into the physical body just as the body comes forth into existence through the female parent; i.e. at birth of the body, which will be either male or female.
If the soul doesn't do its job, the body will have no life. Humans call this 'still birth'.
When the body was in its female parent's enclosure, it shared its female parent's soul. This sharing is through some connections between it and the female parent. Humans call one of these connections, 'placenta'.
At this interaction with it and the female parent, it had a little life that allowed it to form its full body. On living the parent's enclosure, it awaits a soul for its own life. If a soul helps it, it lives. But if a soul doesn't help, it becomes lifeless.

Souls which can be feminine or masculine are indestructible. They belong to the almighty God.
The aim of creation of these souls by God almighty is for the souls to interact with the physical bodies created by existing human life (parents), to produce a human life.
Now, God wants this human life produced to always reverence and worship him. But then, he doesn't want it to be corrupt.

The body is always obeying its parents who created it physically, thus tending to mundaneness. This brings about materialism and committing sins.
The soul is always obeying the almighty God who created it spiritually, thus tending to good morals.
It's the duty of the soul to keep the body in the good track. If the body sins, the soul has sinned automatically.

Now that the soul belongs to the almighty God, its creator; it must return to him in purity. If anything is short of this, it must remain and keep on interacting with different bodies until it's able to control a body, make the body righteous and itself be transformed into purity; and then it may be worthy to return to its creator.

This series of changes in the relationship of a soul and a body in which the soul interacts with a body and then from that body to another (with the aim of the soul being transformed), after which these different bodies may have died successively, is the bases of reincarnation.

The soul and the body are always in an interaction provided they are together to bring about a human life.
For them to be in interaction, it means there will always be an inequality.
The soul merges its functionality with that of the body.
The functionality of the soul is controlled by its activities from the past human life it reincarnated from.
Its aim is always about transformation; and because of this, it will tend to avoid certain mistakes it made from its last interaction with the body which made up that human life.
It will also tend to initiate some changes that will help it take control of the body it's currently in interaction with, in order to attain its desire; transformation.

Meanwhile, the functionality of the body is controlled by the physical and genetic combination from its parents.
The both parents have different body existences that they combine through mating to produce the body which will now posses its own unique type of existence.
The body is more of physical; so all it does is to enjoy physical pleasures, and then detests pains.

The differences in all these aims and functions of both the soul and the body bring about struggles between them.
The struggle is all about: 'who gets what it wants?'

The soul gets into the body upon the body's birth, and all the soul knows is that it has gotten into a physical body, therefore let human life begins.
Now, not every soul knows exactly the kind or model of the physical body it's entering into.

A feminine soul can enter into a male body. In this case, the human life here will be that of a man who behaves like or has the characteristics a woman. Humans may call him a 'gay' or whatever.
So also, a male soul can enter into a female body. In this case, the human life here will be that of a woman who behaves like or has the characteristics a man.

There is a case where the love or hate of a soul towards the body it's in interaction with grows.
Its love can grow when the physical appearance of that body is beautiful.
This beauty in appearance may include: handsomeness of the male body, beauty and slenderness of the female body, good height, dexterity, fitness e.t.c
Its love can also grow when the background or environment in which the body situates is interesting.
This may include; intelligence, affluence, neatness, probity, honesty, good health e.t.c.
All these qualities are brought about by the parents who produced the body.
But in the absence of all these good qualities, the hate of the soul towards the body may be higher.

The soul may think about leaving the body if almost everything about the body is no longer favourable.
The background or environment and physical appearance of the body has to be pleasing, or else the soul despises it more.

A prolonged presence of this situation may lead to a resolution by the soul to abandon the body and look for a better one. This is where 'one thinks of committing suicide'.

On the other hand, a soul may work very hard to ensure it retains its stay in the body it's in interaction with.
This situation arises if most things about the body; ranging from its physical appearance, to its background is beautiful.
Here, the human life takes absolute care of itself to make sure its life continues.
It avoids accidents that may dismantle its beauty and goodness.
It enjoys most things about it and thus loves its living.

Still on this, there are ways the soul can leave the body. It can do so deliberately or mistakenly.

For deliberate, it can be through suicide.
For mistake, it can be through accident, illness and carelessness.

This carelessness can be brought about by another human life where for instance the human who is a driver of a bus well loaded with passengers loses control and crashes everybody to death.

But the most important thing is that when the soul leaves the physical body, it reincarnates into another body to form another human life.

Another important thing is that the soul belongs to the Almighty God.
Its successive reincarnation is to attain a transformation into righteousness in order to go back to its owner.
That is to say, it must be transformed; and therefore, it must reincarnate.

An important issue for the Christians is that Jesus Christ's soul entered into the physical body made by Mary through the Holy Spirit.
After Jesus' death; through the Holy Spirit again, that physical body was destroyed.
Then Jesus' soul ascended into heaven.
Jesus lived a good life while on earth, so his soul went back to God.
If he had lived a bad life, he would have reincarnated.



Written by: Winston 'Winny Greazy' Oge

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Many stories have been told but not many stories have been learnt. Many stories have been written but not many stories have left indelible marks on the minds of their readers. Many stories have made their way to people's hearts but not many stories have lingered in their memories. These many stories are simply not award winning stories. They are just ordinary stories.

An award winning story is a story with a beginning that creates tension in the mind of the reader.
It's a story which its picture coincides with the imagination of the reader.
It's a story which the first few pages hypnotizes the reader.
It's a story that lures the reader to turn unto more pages.
It is a story the reader has never read before.
It's a story he has been longing to read.
It's a story which its plot bares his soul. It unlocks his emotional feelings.
It's a story which its characters are just like he imagines.
It's a story which its characters speak his mind.
It's a story which the characters perform the actions he loves.
It's a story which its scenes are just like he thinks they are.

An award winning story is a story with an unbeatable theme.
It's a story that has a great conflict between the villain and the protagonist.
It's a story with a strong contention.
It's a story which is earnestly driven by the internal and external desires of both the villain and the protagonist.
It's a story which its settings and props corresponds to the themes being explored.
It's a story that represents an identity of the characters showcased.
It's a story that has a great concept.
It's a story that has a unique background.

An award winning story is a story which is replete with a lot of useful information to the reader.
It's a story which teaches good lessons.
It's a story which has its end tied back to the themes the reader has been exploring.
It's a story that leaves indelible mark on the mind of its reader.
It's a story that lingers in the memories of the reader.
It's a story that finally wins an award.
It's the story that makes both the protagonist and the reader a hero.

Dear script writer, why don't you get this kind of story for your screenplay, book or stage play. Why don't you help your readers?


Written by: Winny Greazy.

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Close your eyes and think about what it means for a character you have created to be a replica of a real human.
Unless a character is to be deaf and dumb in the screenplay, you should understand that the power it has to express itself is through its ability to speak.

The character doesn't only speak to itself. It speaks to its fellow characters.
It tells who and what it is through its speech.
It expresses its life by speaking out to its fellows.

Think about what your story would look like if your characters do not have anything to say about it.

The speeches made by the characters create a way for a screenplay to arrive at its theme.

Their speech is the skeleton of the screenplay.
Apart from seeing the locations, the time, the actions and the motions on the screen, the audience hears them from the characters. The characters' speeches do give a better description.

You have to understand you are the one to direct these speeches by your characters to their appropriate recipients.

You have to again understand that your screenplay comes alive when the dialogue is driven by the natural internal motive of your characters.

Dialogue is not written to complete a part of a scene or a part of a screenplay. It is an integral of a screenplay. Whenever a moment in the screenplay needs it, it shows up.

Dialogue is not aimed at painting a screenplay. It is aimed at cementing the communication gap between moments in the screenplay; and between the screenplay and the audience.

What of the real dialogues that ensued in the life story that inspired you to write a screenplay? Did you throw them away?
Writing a screenplay is like creating a natural world, and the dialogues therein should be natural and original.

Be focused. Just be focused. Great dialogues shape a screenplay.

Written by: Winston 'Winny Greazy' Oge


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A successful script writer is one who has an audience. A product must reach, and also be enjoyed by its final consumers before it can be regarded useful. The usefulness of this product makes its producer successful.
A useful script is a script which is read and enjoyed by an audience. A successful script writer is one who writes this useful script.

The script writer and the audience are the two important people in the world of script writing. The former depends on the later for an accomplishment in his job, while the later depends on the former for a superb entertainment and excitement.
There is a constant relationship between the two.
Relationship is the way in which two people or two groups behave towards each other. It is the way in which two or more things are connected and affect each other.
A script writer must build an audience. He must also maintain a good relationship with them.
Now, how can a script writer build an audience?
Building an audience may take some processes which will all be discussed under three subtopics; A, B and C

(A) Understanding your audience
The audiences include the readers of your scripts, and the others who watch the movies from your screenplay.
All of these audiences want the best. They want a thrilling piece.
The readers do not want any hitch or distraction as the read on.They want an original story outline with a good creativity and concept. They want a kind of plot that will vehemently move them.
The audience in the theatre neither has all the time to spend nor have all the money to pay, to sit for almost two hours watching a movie that doesn't in any way worth all they've invested. They will love the time and money spent to be worth the movie watched. Try and make them happy. Let your screenplay suit them.
Your audiences are humans and there are certain moods they often find themselves in. At any point in time, in a particular mood, they may want to watch a particular type of movie. Just be there to satisfy their wants. These moods may coincide with the type of genres we have in script writing. As you write your scripts, be sure to often write on those genres that can fit into those regular moods these audiences find themselves in.
Try and always find out those questions your audience may ask about your script or the movie. Answer them while writing the script.
Avoid those mistakes they may frown at. Put yourself in them and let them drive you. Make your relationship with them very firm.

(B) Understanding your job
The urge your audiences have for something entertaining is the force that drives you to write something truly entertaining.
The way your audience feel is the way you should write your script.
For crying out loud, you are writing for your audience. What you have written is not for your consumption. Why should you write a script your audience would not enjoy reading, or watching its movie?
You should understand that writing for your audiences is your job. Do not joke with it.

(C) Building your audience
Now you have almost satisfied your audience with your job. Why not continue the relationship?
Create communication channels like facebook page, twitter handler, weblog and website. Invite your audiences and share some things with them. Share some of your experiences. Write them some success tips and motivation. You can even write some good stories and scripts and allow them read.
Let them contact you. Off course you know this is very important as you may through it get other clients.
Give out your office address. You can even try and give out your personal mobile phone numbers. Just try and make it somehow personal.
Make your audiences your friends.
Be in a relationship with them and write a better script.


Written by: Winston 'Winny Greazy' Oge

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Follow on twitter: @winny_greazy
Everybody loves to get an award for doing something good. Screenplay writers are not left out of the group of people that are doing something good.
If you are a screenplay writer, and you want to get an award for the good thing you are doing; screen writing, then you must keep on doing that good thing in the right way.

An award winning screenplay is a screenplay which


  • has a well defined structure and lay out



  • is not more than 120 pages (for spec script)



  • the reader is inspired to continue reading after the very first page



  •  the antagonism in the story is established by page five



  • the protagonist or a hint on who the protagonist is, is known by page five



  •  something entertaining happens in the first five pages



  • the first ten pages contain plenty of actions



  •  the premise is established by page ten



  •  the plot of the story is changing the emotions of the reader



  • the characters are introduced in a descriptive manner



  • the actions are very active, precise and well outlined



  •  the dialogue is mature, short and to the point



  • has no camera instructions, shot descriptions, and editing instructions (for spec script)


Other points include;


  • the beginning of the screenplay is not with a flash back



  • the locations look real and not fake



  • the characters names are familiar and easy to be pronounced



  • has scenes which can be possible in real life, and which the actors can perform their actions



  •  has good themes which can connect with the original theme of the screenplay



  •  has a unique concept



  •  is replete with a lot of useful information



  •  must teach good lessons



  •  must eliminate the antagonism



  •  must have a wonderful ending



Written by: Winny Greazy

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