The script 1600 PARANORMAL AVE presents with a creative and imaginative premise. The idea of the US President getting guidance from other former “ghost” Presidents is definitely an idea that is a good set up for comedy, conflict, and character transformation. The story’s goal is clear. The stakes are strong. The script is driven by solid themes about priorities, trust, family, and believing. With that said, the overall script would benefit from more development. The areas to review are the structure, tension, and tone, as well as character development. In addition, there are some credibility issues. The opening sets up the paranormal tone and the ordinary world of the protagonist, Michael. It’s clear that he takes his job seriously and has neglected his family. He has clear expectations for his kids, motivated by his own backstory. There’s a solid inciting events when he has a near death experience and begins hearing and seeing the ghosts. He’s faced with a strong moral decision about war. The second act is driven by the idea that the public thinks he’s not mentally stable to be President and he must prove them wrong. His plan goes horribly wrong and eventually his role as President is at stake. In the third act, he outwits his foe, but more importantly he learns that family comes first. One of the concerns about the presentation is story type. It’s not a true comedy and it’s not a serious drama. The setup or premise is fitting for a comedy. To make this type of
In Act 3 you see that he is doing his best to fulfill his promise to
Witches' Brew and Fairy Dreams: A Genre Study of Shakespeare's Use of the Supernatural (Penn State University, English 444.2: Spring 1998) by Fred Coppersmith Near the end of the opening scene of Macbeth, Shakespeare's three Weird Sisters proclaim in unison that "fair is foul, and foul is fair," providing us, as readers, with perhaps the best understanding of the play's theme and the tragic downfall of its central character. That this revelation -- this pronouncement that all is not well in Scotland -- comes from a supernatural or otherworldly source is very telling and gives us, I believe, ample cause to further explore the function of the supernatural within the drama. A genuine understanding of Shakespeare's reliance on the spirit
In Act 3 scene I, we see dramatic irony right from the start when the
Act III, Scene I is seen to be the ‘turning point’ from comedy to tragedy in the play. Tragedy is used furthermore to expand on true human experience as Shakespeare uses family rivalry and warfare as well as fate and fortune to contribute to the effect.
Will the story has the potential to be a compelling drama, the script would benefit from more development, especially in the area of structure, pace, and tension.
Next, the comedic aspect will appeal to many. This production is to be entertaining, and what better way to achieve this then
In also Act Three Scene One, Shakespeare uses the element of tragedy to create more suspense.
While there’s definitely a lot to like about the plot, the overall script would benefit from some revisions. The main concerns are the structure, pace, and clarity.
READER COMMENTS: The script is 12 pages too long. The format is amateurish. It has strange breaks at the bottom of the page and it has too many DISSOLVE TO: Professional writers don’t use DISSOLVE TO: in their scripts. If the DISSOLVE TO: are cut out, two or three pages will disappear from the script. This script is a dicey pickup because it has a registration number. Who knows if it's been picked up by a another production company. There could be legal issues if you option this script. There are two plot lines that don’t fit within the structure of the story. There is no distinct inciting incident, midpoint or climax. There is no single character that dominates as the protagonist or antagonist. They are all one dimensional characters. The audience would not be able to cheer for a character because they all have bad traits. The description need be shorter and more visual. Blocks of description needs to be cut down to help the story move faster. Scenes go on and on, and repeat moments from previous scenes. The dialogue does not help move the story forward. Unnecessary violence has no purpose in the film or moves the film forward. Scenes are too long and boring. There is no conflict among characters, and their goals are weak. There are no obstacles or enough conflict to get in any of the characters way. The FBI or the CIA should be hot on their trail to stop them, but nobody gets
The script currently offers both strengths and weaknesses. The areas that are worth discussing include the structure, tension, pace, as well as some further character development. The ending is another area that will be reviewed.
The premise is a great set up for conflict, drama, humor, and character transformation. The script conveys strong themes about never giving up on one’s dream. The tone is dramatic, but with a wonderful blend of humor. There's also a strong, inspiring pitch to the story.
out with Titania he wants to make a fool out of her. He does this by
The actor must connect quickly with the audience since he has such a short part, so showing devotion to his sons and wife is a key part in the play. A man who has never given up, no matter the diversions placed in his way, Egeon keeps rolling with the punches. With such a strong story in scene one, the actor automatically connects with his audience and even becomes a sort of hero to all of us that are aware of his situation.
Most people have their own perspective on supernatural, but questionable with the play Macbeth by William Shakespeare. In Shakespeare time the people wanted the unreal in a play. His perspective of supernatural was witches, ghost, magic, unnatural, and evil which clearly he interoperated in the play “Macbeth,” as for an example he uses some unusual looking women with the power to control the weather, and to be able to predict the future. The three witches are Shakespeare’s perspective of supernatural. Shakespeare people strongly saw the world as if there was supernatural all around us and most people were afraid of it, so frighten even the king of that time, King James l of England.
reason, and by the light of his intelligence. . .” Also in Act II Scene II, the