Western culture dictates that a story is a series of events, told in order, with a beginning, middle and end (Linear).  There’s typically a lone protagonist at odds with an antagonist.   What has dictated this reliance on linear structure is a conception that audiences would be lost if the writer violated what was called the unity of time and place. 

It's hard to believe that just 40 years ago  a modern screenwriting manual didn't exist until really Syd Field came along.  Since then we've seen a proliferation of manuals and experts present their take on proper screenwriting structure and form.  Even if you do not believe in the idea of consciously thinking about story structure as you write, having structure in mind as you conceptualize your story and frankly when you outline (if you outline) is probably something you do subconsciously if not with intention. 

Creating conflict is a crucial element in storytelling as it keeps readers engaged and invested in the narrative. Here are five ways writers can introduce and escalate conflict in their stories:

Twenty-three years ago SU made it big and appeared in the Hollywood Reporter when its founder Chris Wehner was interviewed by them.

John Milius made a name for himself as a writer and director of violent action fare that stresses issues of honor, anarchism, nonconformity and the therapeutic aspects of warfare. Milius first made an impact as a screenwriter and uncredited script doctor on such memorable 70s genre films as Francis Ford Coppola's "Apocalypse Now" (1979), Don Siegel's "Dirty Harry" (1971), "Jeremiah Johnson" and John Huston's "The Life & Times of Judge Roy Bean" (both 1972), "Magnum Force" (1973) and Steven Spielberg's "Jaws" (1975).

Dr. Linda Seger is the original script consultant having literally inventing the job in 1981; before her it didn't exist.  Since then she has consulted on over 2000 scripts and presented screenwriting seminars in over thirty countries around the world. Seger has written nine books on screenwriting making her the most prolific screenwriting author we have.   Seger consulted for Peter Jackson’s break-through film, BRAIN DEAD and Roland Emmerich’s breakthrough film, UNIVERSAL SOLDIER. She also has given seminars for studios, networks including ABC, NBC, CBS, production companies, television series (MacGyver, The Mary Show), film commissions, universities and film schools. 

This is an interview I was really happy to get back in 2004, it was a pleasure to interview such a screenwriting legend as John Michael Hayes.  We have also added a neat short interview with him where he discusses characters and Hitchcock.

Rear Window is considered to be Hitchcock's most "cinematic" picture. At times it had to communicate a lot to the audience without a word ever being spoken. This isn't surprising as Hitchcock started directing in 1922, during the silent era, making several silent films. By 1954, the year Rear Window was released he had clearly mastered the art of directing. However, before he could unleash his visual brilliance there had to be a great script from which to allow such a great movie to be made.

First let me stop writing the script I am currently working on so I can pound out this short editorial. Though I should say allow me to stop bleeding at the keyboard as I struggle with the current scene I am writing. I have to admit that I am my own worst enemy as a writer.  I procrastinate, often, and it can sometimes be so debilitating that I never finish some screenplays. Why?

The Oscar nominated movie NEBRASKA, with an award winning screenplay by Bob Nelson, is in my opinion one of the better scripts recently produced for screenwriters to learn a little something about the craft. Why? It’s the epitome of efficient and dramatic storytelling. The script is pithy, direct, yet it has depth and emotion (theme) that is so subtle in its presentation.