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	<title>Write Your Screenplay &#187; Articles</title>
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		<title>The Power of the First and Last Image</title>
		<link>http://www.writeyourscreenplay.com/2012/01/30/the-power-of-the-first-and-last-image/</link>
		<comments>http://www.writeyourscreenplay.com/2012/01/30/the-power-of-the-first-and-last-image/#comments</comments>
		<pubDate>Mon, 30 Jan 2012 22:14:41 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=5163</guid>
		<description><![CDATA[Does a chain email hold the secret to your script? A friend of mine recently sent me a chain email.  Normally, I just delete these without reading.  But because of the person who had sent it, I decided to take a look. The email went something like this: “Aoccdrnig to a rscheearch at an Enligsh [...]]]></description>
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		<title>Rule #6: You Need To Make Writing a Full Time Job</title>
		<link>http://www.writeyourscreenplay.com/2011/12/28/screenwriting-rules-and-how-to-break-them-rule-6-you-need-to-make-writing-a-full-time-job/</link>
		<comments>http://www.writeyourscreenplay.com/2011/12/28/screenwriting-rules-and-how-to-break-them-rule-6-you-need-to-make-writing-a-full-time-job/#comments</comments>
		<pubDate>Wed, 28 Dec 2011 14:45:57 +0000</pubDate>
		<dc:creator>Rachel</dc:creator>
				<category><![CDATA[100 Rules And How To Break Them]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=4455</guid>
		<description><![CDATA[100 Rules and How To Break Them Rule #6: You Need To Make Writing a Full Time Job If you&#8217;re a writer, at some point you&#8217;ve probably heard yourself say some version of the following sentence: &#8220;If I could just get (one day/one week/one month/one year) off from my (day job/kids/spouse/everyday life) to focus full [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2011/12/28/screenwriting-rules-and-how-to-break-them-rule-6-you-need-to-make-writing-a-full-time-job/feed/</wfw:commentRss>
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		</item>
		<item>
		<title>Rule #5: Showing vs. Telling</title>
		<link>http://www.writeyourscreenplay.com/2011/11/21/screenwriting-rules-and-how-to-break-them-rule-5-show-dont-tell/</link>
		<comments>http://www.writeyourscreenplay.com/2011/11/21/screenwriting-rules-and-how-to-break-them-rule-5-show-dont-tell/#comments</comments>
		<pubDate>Mon, 21 Nov 2011 19:11:24 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[100 Rules And How To Break Them]]></category>
		<category><![CDATA[Action and Image]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=3756</guid>
		<description><![CDATA[100 Rules and How To Break Them Rule #5:  Show Don&#8217;t Tell That you should &#8220;show&#8221; instead of &#8220;telling&#8221; is perhaps the most sound advice any screenwriter can follow. After all, movies are visual, and it&#8217;s almost always more interesting to see someone do something right now in the present than to hear them talk [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>NEW VIDEO: How To Avoid A Dud Ending</title>
		<link>http://www.writeyourscreenplay.com/2011/11/08/screenwriting-video-how-to-avoid-a-dud-ending-for-your-screenplay-nyc-online/</link>
		<comments>http://www.writeyourscreenplay.com/2011/11/08/screenwriting-video-how-to-avoid-a-dud-ending-for-your-screenplay-nyc-online/#comments</comments>
		<pubDate>Tue, 08 Nov 2011 18:44:56 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=3243</guid>
		<description><![CDATA[Se7en: How To Avoid A Dud Ending Check out this new video I recently recorded for Scriptmag.com and learn how to discover a great ending for your screenplay.]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2011/11/08/screenwriting-video-how-to-avoid-a-dud-ending-for-your-screenplay-nyc-online/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>The Inciting Incident</title>
		<link>http://www.writeyourscreenplay.com/2011/11/05/screenwriting-rules-and-how-to-break-them-rule-4-inciting-incident/</link>
		<comments>http://www.writeyourscreenplay.com/2011/11/05/screenwriting-rules-and-how-to-break-them-rule-4-inciting-incident/#comments</comments>
		<pubDate>Sat, 05 Nov 2011 13:35:13 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[100 Rules And How To Break Them]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=3211</guid>
		<description><![CDATA[100 Rules and How To Break Them Rule #4 THE INCITING INCIDENT This installment of the 100 Rules series grows directly out of a question from a former student: I have a question and thought I needed a fresh perspective from someone outside UCLA… I&#8217;m sort of getting in a fight with the teacher of [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2011/11/05/screenwriting-rules-and-how-to-break-them-rule-4-inciting-incident/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>What if Someone Steals Your Idea?</title>
		<link>http://www.writeyourscreenplay.com/2011/10/27/screenwriting-rules-and-how-to-break-them-rule-3-be-careful-who-you-pitch-to/</link>
		<comments>http://www.writeyourscreenplay.com/2011/10/27/screenwriting-rules-and-how-to-break-them-rule-3-be-careful-who-you-pitch-to/#comments</comments>
		<pubDate>Thu, 27 Oct 2011 13:05:00 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[100 Rules And How To Break Them]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=3098</guid>
		<description><![CDATA[100 RULES AND HOW TO BREAK THEM: Rule #3: Be Careful Who You Pitch To It’s a constant fear among young writers: finally coming up with that million dollar idea, only to have it stolen by some mustache twirling producer, some back-stabbing friend, or even worse, some untalented hack of a writer. For this reason, scores [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2011/10/27/screenwriting-rules-and-how-to-break-them-rule-3-be-careful-who-you-pitch-to/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
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		<item>
		<title>100 Rules and How To Break Them.</title>
		<link>http://www.writeyourscreenplay.com/2011/09/29/100-screenwriting-rules-and-how-to-break-them-write-what-you-know-nyc/</link>
		<comments>http://www.writeyourscreenplay.com/2011/09/29/100-screenwriting-rules-and-how-to-break-them-write-what-you-know-nyc/#comments</comments>
		<pubDate>Thu, 29 Sep 2011 14:34:42 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[100 Rules And How To Break Them]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=2846</guid>
		<description><![CDATA[100 Rules and How To Break Them Introducing my new series &#8220;100 Rules and How To Break Them!&#8221;  Each week, I&#8217;ll be analyzing one of the so called &#8220;rules&#8221; of screenwriting, and exploring both why they exist, and how to break them in interesting ways that make your writing better and your stories more powerful. RULE [...]]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>What&#8217;s Wrong With Three Act Structure?</title>
		<link>http://www.writeyourscreenplay.com/2011/08/06/whats-wrong-with-three-act-structure/</link>
		<comments>http://www.writeyourscreenplay.com/2011/08/06/whats-wrong-with-three-act-structure/#comments</comments>
		<pubDate>Sat, 06 Aug 2011 13:35:16 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<category><![CDATA[Syd Field's Screenplay]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=2510</guid>
		<description><![CDATA[A long time ago, in a galaxy far far away, a man named Syd Field wrote a book called Screenplay.   Syd took the world&#8217;s greatest screenplays, and broke them down into his now famous three-act structure, identifying the elements that made them work, and showing aspiring screenwriters a simple way to emulate those elements [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Breaking The Chain of Writer&#8217;s Block: Part 4</title>
		<link>http://www.writeyourscreenplay.com/2011/07/26/breaking-the-chain-of-writers-block-part-4/</link>
		<comments>http://www.writeyourscreenplay.com/2011/07/26/breaking-the-chain-of-writers-block-part-4/#comments</comments>
		<pubDate>Wed, 27 Jul 2011 03:00:55 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
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		<category><![CDATA[writer's block]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=2370</guid>
		<description><![CDATA[Help Your Inner Artist to Cooperate With Your Grown Up Goals Click here to read Part 1, Part 2 and Part 3 of the series If screenwriting was just about playing happily and freely, if you could simply free your creative child to play, your job would be done, and you and your inner artist [...]]]></description>
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		<item>
		<title>Breaking The Chain of Writer&#8217;s Block: Part 3</title>
		<link>http://www.writeyourscreenplay.com/2011/07/20/breaking-the-chain-of-writers-block-part-3/</link>
		<comments>http://www.writeyourscreenplay.com/2011/07/20/breaking-the-chain-of-writers-block-part-3/#comments</comments>
		<pubDate>Wed, 20 Jul 2011 13:36:38 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[writer's block]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=2367</guid>
		<description><![CDATA[Shift The Focus of Your Feedback Click here to read Part 1 &#38; Part 2 of the series. Here’s a great exercise that can get you started changing the way you relate to your inner artist. Next time you find yourself feeling blocked, listen for the words you’re saying to your inner artist. It might [...]]]></description>
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		<item>
		<title>Breaking The Chain of Writer&#8217;s Block: Part 2</title>
		<link>http://www.writeyourscreenplay.com/2011/07/16/breaking-the-chain-of-writers-block-part-2/</link>
		<comments>http://www.writeyourscreenplay.com/2011/07/16/breaking-the-chain-of-writers-block-part-2/#comments</comments>
		<pubDate>Sat, 16 Jul 2011 14:30:11 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=2359</guid>
		<description><![CDATA[Recognizing The Cycle of Abuse Click here to read Part 1 of the series Have you ever felt cut off from your inner artist? Do you feel like there was once a childlike spirit of creativity inside you, that now no longer wants to come out and play? Do you find yourself dragging yourself reluctantly [...]]]></description>
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		<title>THE TREE OF LIFE Part 5:  Non Linear Storytelling and The Hegelian Dialectic</title>
		<link>http://www.writeyourscreenplay.com/2011/06/28/the-tree-of-life-part-5-non-linear-storytelling-and-the-hegelian-dialectic/</link>
		<comments>http://www.writeyourscreenplay.com/2011/06/28/the-tree-of-life-part-5-non-linear-storytelling-and-the-hegelian-dialectic/#comments</comments>
		<pubDate>Tue, 28 Jun 2011 18:18:55 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=2265</guid>
		<description><![CDATA[In Parts 1, 2, 3 and 4 of this series I discussed the Hegelian dialectic between Nature and Grace represented by Jack’s father and mother, and the way that dialectic is used to give structure to the film. The Dialectic Within Jack Just as Thesis and Antithesis are embodied within the characters of father and [...]]]></description>
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		<title>THE TREE OF LIFE Part 4:  Breathe Life Into Your Structure</title>
		<link>http://www.writeyourscreenplay.com/2011/06/26/the-tree-of-life-part-4-breathe-life-into-your-structure/</link>
		<comments>http://www.writeyourscreenplay.com/2011/06/26/the-tree-of-life-part-4-breathe-life-into-your-structure/#comments</comments>
		<pubDate>Sun, 26 Jun 2011 13:55:55 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=2239</guid>
		<description><![CDATA[As discussed in Parts 1, 2 and 3 of this series, The Tree of Life is built around a dialectic between Nature, as represented by Jack’s father, and Grace, as represented by his mother. When using a Hegelian Dialectic to structure your screenplay, it’s important to remember that your characters are more than just the [...]]]></description>
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		<title>THE TREE OF LIFE Part 2:  From Questions To Structure</title>
		<link>http://www.writeyourscreenplay.com/2011/06/16/the-tree-of-life-part-2-from-questions-to-structure/</link>
		<comments>http://www.writeyourscreenplay.com/2011/06/16/the-tree-of-life-part-2-from-questions-to-structure/#comments</comments>
		<pubDate>Thu, 16 Jun 2011 13:04:22 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=2187</guid>
		<description><![CDATA[In Part 1 of this series, I discussed the question around which Jack&#8217;s journey in The Tree of Life is built: “Why Should I be Good If You&#8217;re Not?” Struggling in a world in which both God and Father can act in such contradictions of beauty and violence, Jack the son is left with a [...]]]></description>
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		<slash:comments>1</slash:comments>
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		<item>
		<title>THE TREE OF LIFE:  Great Movies Are Built Around Big Questions</title>
		<link>http://www.writeyourscreenplay.com/2011/06/10/the-tree-of-life-great-movies-are-built-around-big-questions-script-analysis/</link>
		<comments>http://www.writeyourscreenplay.com/2011/06/10/the-tree-of-life-great-movies-are-built-around-big-questions-script-analysis/#comments</comments>
		<pubDate>Fri, 10 Jun 2011 12:25:55 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=2103</guid>
		<description><![CDATA[SPOILER ALERT: You may want to come back to this article after you have seen The Tree of Life. Often as writers we get so hung up on linear, narrative structure that we forget that there are completely different forms of screenplay structure that can be equally moving and powerful. What makes Terence Malick’s The [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2011/06/10/the-tree-of-life-great-movies-are-built-around-big-questions-script-analysis/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
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		<item>
		<title>AWAY FROM HER:  Create The Rules That Amplify The Truth</title>
		<link>http://www.writeyourscreenplay.com/2011/04/14/away-from-her-create-the-rules-that-amplify-the-truth-script-analysis-nyc/</link>
		<comments>http://www.writeyourscreenplay.com/2011/04/14/away-from-her-create-the-rules-that-amplify-the-truth-script-analysis-nyc/#comments</comments>
		<pubDate>Thu, 14 Apr 2011 12:29:41 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Adaptation & Revision]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=1512</guid>
		<description><![CDATA[In parts 1 and 2 of this series, I’ve discussed how movies like The Lincoln Lawyer and Win Win take real world rules and dramatize them to create a journey for a character. But what about when you feel like you need to completely make up a rule to make your story work?  Or when [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2011/04/14/away-from-her-create-the-rules-that-amplify-the-truth-script-analysis-nyc/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>WIN WIN: Make The Truth Work For You</title>
		<link>http://www.writeyourscreenplay.com/2011/04/12/win-win-make-the-truth-work-for-you-script-analysis-screenwriting-nyc/</link>
		<comments>http://www.writeyourscreenplay.com/2011/04/12/win-win-make-the-truth-work-for-you-script-analysis-screenwriting-nyc/#comments</comments>
		<pubDate>Tue, 12 Apr 2011 16:17:24 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Adaptation & Revision]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=1490</guid>
		<description><![CDATA[Win Win: Make The Truth Work For You If you read Joe Tiboni’s blog, you may be surprised to discover that the real-life lawyer who inspired Paul Giamatti’s character in Win Win never assumed guardianship of a client (for money or otherwise), never committed a client to a nursing home against his will, and never [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>The Lincoln Lawyer And The Law</title>
		<link>http://www.writeyourscreenplay.com/2011/04/10/the-lincoln-lawyer-and-the-law-script-analysis-nyc/</link>
		<comments>http://www.writeyourscreenplay.com/2011/04/10/the-lincoln-lawyer-and-the-law-script-analysis-nyc/#comments</comments>
		<pubDate>Sun, 10 Apr 2011 13:01:08 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
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		<category><![CDATA[The Lincoln Lawyer]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=1477</guid>
		<description><![CDATA[Here&#8217;s a great question I recently received from a student Question: I&#8217;m working on a [comedy] script right now about [premise deleted]&#8230; and I&#8217;m doing a little bit of research on the laws surrounding International Marriage Brokers and Immigration. What&#8217;s your opinion on how to handle the laws, and how strictly to adhere to them?  [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Inexplicable Redemption of Agent G</title>
		<link>http://www.writeyourscreenplay.com/2011/04/01/script-analysis-the-inexplicable-redemption-of-agent-g-vampire-cowboys-nyc/</link>
		<comments>http://www.writeyourscreenplay.com/2011/04/01/script-analysis-the-inexplicable-redemption-of-agent-g-vampire-cowboys-nyc/#comments</comments>
		<pubDate>Fri, 01 Apr 2011 23:01:20 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=1460</guid>
		<description><![CDATA[The Vampire Cowboys’ new play, THE INEXPLICABLE REDEMPTION OF AGENT G, is more than just a hilarious genre bending, kick-ass-ninja-stage-fighting, comic book romp. It’s also a profound look at what it means to find and follow your voice as a writer, the inexplicable questions of identity and the challenge of telling a true story in [...]]]></description>
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		</item>
		<item>
		<title>Revolutionize Your Writing (In Three Letters Or Less)</title>
		<link>http://www.writeyourscreenplay.com/2011/03/30/revolutionize-your-writing-in-three-letters-or-less/</link>
		<comments>http://www.writeyourscreenplay.com/2011/03/30/revolutionize-your-writing-in-three-letters-or-less/#comments</comments>
		<pubDate>Wed, 30 Mar 2011 18:00:05 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Action and Image]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=1453</guid>
		<description><![CDATA[Want to revolutionize your writing in three letters or less? Do a hunt through your writing for these three letters: I-N-G. No, I&#8217;m not talking about the internet bank. I&#8217;m talking about the three letters at the ends of words that turn verbs into nouns (gerunds for you English teachers). It&#8217;s not that gerunds are [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>The Legal Hurdles of Adapting A Novel or Book</title>
		<link>http://www.writeyourscreenplay.com/2010/12/01/the-legal-hurdles-of-adapting-a-novel-or-book-into-screenplay-form/</link>
		<comments>http://www.writeyourscreenplay.com/2010/12/01/the-legal-hurdles-of-adapting-a-novel-or-book-into-screenplay-form/#comments</comments>
		<pubDate>Wed, 01 Dec 2010 14:00:19 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Adaptation & Revision]]></category>
		<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Screenwriting Business]]></category>
		<category><![CDATA[3 act structure]]></category>
		<category><![CDATA[7 act structure]]></category>
		<category><![CDATA[adapt a book]]></category>
		<category><![CDATA[adapt a novel]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=957</guid>
		<description><![CDATA[Here&#8217;s a question I recently received from a student: The Question: Given that I have very few connections to the industry, how would you best recommend moving forward if I have a novel in mind I&#8217;d like to adapt?&#8230; Is it necessary to have a literary agent? Is it best to go through the publishers [...]]]></description>
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		<item>
		<title>Why Writers Should Take ACTING Classes</title>
		<link>http://www.writeyourscreenplay.com/2010/10/24/why-writers-should-take-acting-classes/</link>
		<comments>http://www.writeyourscreenplay.com/2010/10/24/why-writers-should-take-acting-classes/#comments</comments>
		<pubDate>Sun, 24 Oct 2010 16:22:41 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Acting Concepts For Writers]]></category>
		<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Character]]></category>
		<category><![CDATA[acting and writing]]></category>
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		<category><![CDATA[acting classes nyc]]></category>
		<category><![CDATA[acting for film]]></category>
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		<category><![CDATA[isabel milenski]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/blog/?p=188</guid>
		<description><![CDATA[It&#8217;s no wonder that some of the greatest writers began their careers as actors. The art of writing and acting have always been profoundly intertwined. Great writers tend to have an instinctual understanding of the actor&#8217;s craft: the ability to create a character, to play with and against text, and to shape a journey over [...]]]></description>
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		<slash:comments>1</slash:comments>
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		<item>
		<title>INCEPTION: Part 7 Can The Words You Tell Yourself Really Change Your Life?</title>
		<link>http://www.writeyourscreenplay.com/2010/09/22/inception-part-5-can-the-words-you-tell-yourself-really-change-your-life/</link>
		<comments>http://www.writeyourscreenplay.com/2010/09/22/inception-part-5-can-the-words-you-tell-yourself-really-change-your-life/#comments</comments>
		<pubDate>Wed, 22 Sep 2010 14:46:01 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
		<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Hypnosis For Writers]]></category>
		<category><![CDATA[Inception]]></category>
		<category><![CDATA[Script Analysis]]></category>
		<category><![CDATA[3 act structure]]></category>
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		<category><![CDATA[antagonist]]></category>
		<category><![CDATA[break through writers block]]></category>
		<category><![CDATA[classical hypnosis]]></category>
		<category><![CDATA[creative blocks]]></category>
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		<category><![CDATA[Inception Dreaming]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=736</guid>
		<description><![CDATA[As discussed in As discussed in Parts 1, 2, 3, 4, 5 and 6 of this series, Christopher Nolan&#8217;s screenplay Inception is deeply rooted in the principles of hypnosis.   Learning more about these principles may not only change the way you approach your own writing, but also help you understand new ways that you can [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>INCEPTION Part 5: The Hypnotic Structure of Inception</title>
		<link>http://www.writeyourscreenplay.com/2010/09/08/inception-part-5-the-hypnotic-structure-of-inception/</link>
		<comments>http://www.writeyourscreenplay.com/2010/09/08/inception-part-5-the-hypnotic-structure-of-inception/#comments</comments>
		<pubDate>Wed, 08 Sep 2010 13:57:26 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
		<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Hypnosis For Writers]]></category>
		<category><![CDATA[Inception]]></category>
		<category><![CDATA[Script Analysis]]></category>
		<category><![CDATA[writer's block]]></category>
		<category><![CDATA[3 act structure]]></category>
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		<category><![CDATA[antagonist]]></category>
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		<category><![CDATA[inception]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=747</guid>
		<description><![CDATA[Just as the real hypnotic script discussed in Parts 1, 2, 3 and 4 of this series uses a three step structure to hypnotically bring about a change, the structure of the film Inception also takes three steps down, and then three “kicks” back up, to plant the post hypnotic suggestion of breaking up his [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>INCEPTION Part 4: The Power of Post Hypnotic Suggestion</title>
		<link>http://www.writeyourscreenplay.com/2010/09/01/inception-part-4-the-power-of-post-hypnotic-suggestion/</link>
		<comments>http://www.writeyourscreenplay.com/2010/09/01/inception-part-4-the-power-of-post-hypnotic-suggestion/#comments</comments>
		<pubDate>Wed, 01 Sep 2010 12:12:25 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
		<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Hypnosis For Writers]]></category>
		<category><![CDATA[Inception]]></category>
		<category><![CDATA[Script Analysis]]></category>
		<category><![CDATA[writer's block]]></category>
		<category><![CDATA[3 act structure]]></category>
		<category><![CDATA[7 act structure]]></category>
		<category><![CDATA[antagonist]]></category>
		<category><![CDATA[break through writers block]]></category>
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		<category><![CDATA[films]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=733</guid>
		<description><![CDATA[As discussed in parts 1, 2 and 3 of this series, Christopher Nolan&#8217;s screenplay Inception is deeply rooted in the principles of hypnosis.   Learning more about these principles may not only change the way you approach your own writing, but also help you understand new ways that you can break through writer&#8217;s block and build [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2010/09/01/inception-part-4-the-power-of-post-hypnotic-suggestion/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Inception Part 3:  How Inception Really Works</title>
		<link>http://www.writeyourscreenplay.com/2010/08/25/inception-part-3-how-inception-really-works/</link>
		<comments>http://www.writeyourscreenplay.com/2010/08/25/inception-part-3-how-inception-really-works/#comments</comments>
		<pubDate>Wed, 25 Aug 2010 14:27:04 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
		<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Hypnosis For Writers]]></category>
		<category><![CDATA[Inception]]></category>
		<category><![CDATA[Script Analysis]]></category>
		<category><![CDATA[3 act structure]]></category>
		<category><![CDATA[7 act structure]]></category>
		<category><![CDATA[antagonist]]></category>
		<category><![CDATA[break through writers block]]></category>
		<category><![CDATA[classical hypnosis]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=700</guid>
		<description><![CDATA[As described in Parts 1 and 2 of the series, the organizing principles of Inception&#8216;s &#8220;dream within a dream within a dream&#8221; structure seem to be drawn directly from a classical three-step approach to hypnosis.  This technique is used to help people create profound changes in their lives, by &#8220;incepting&#8221; suggestions for positive change into [...]]]></description>
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		<slash:comments>1</slash:comments>
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		<item>
		<title>INCEPTION Part 2: The Power of Hypnotic Images</title>
		<link>http://www.writeyourscreenplay.com/2010/08/18/inception-the-power-of-hypnotic-images-and-image-systems/</link>
		<comments>http://www.writeyourscreenplay.com/2010/08/18/inception-the-power-of-hypnotic-images-and-image-systems/#comments</comments>
		<pubDate>Wed, 18 Aug 2010 13:28:09 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Action and Image]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=696</guid>
		<description><![CDATA[As I discussed in last week’s article, the organizing principles of Inception’s dream within a dream within a dream structure almost perfectly mirror the classical hypnosis training one receives at a weekend certification class in hypnosis. To understand how a movie can be built from this kind of organizing principle, you first need to know [...]]]></description>
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		<item>
		<title>INCEPTION: A Hypnotic Script</title>
		<link>http://www.writeyourscreenplay.com/2010/08/11/inception-a-hypnotic-script/</link>
		<comments>http://www.writeyourscreenplay.com/2010/08/11/inception-a-hypnotic-script/#comments</comments>
		<pubDate>Wed, 11 Aug 2010 06:21:09 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=681</guid>
		<description><![CDATA[The Hypnotic Basis of Inception

One of the truly interesting things about Inception is that its structure seems to be based upon the principles of hypnosis.  In fact, the organizing principles of the dream within a dream within a dream structure of the film almost perfectly mirror the classical hypnosis training one receives at a weekend certification class in hypnosis.]]></description>
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		<item>
		<title>Do You Really Have To Write This Thing?</title>
		<link>http://www.writeyourscreenplay.com/2010/06/29/do-you-really-have-to-write-this-thing/</link>
		<comments>http://www.writeyourscreenplay.com/2010/06/29/do-you-really-have-to-write-this-thing/#comments</comments>
		<pubDate>Tue, 29 Jun 2010 15:39:15 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
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		<category><![CDATA[Screenwriting Business]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=570</guid>
		<description><![CDATA[Recently a student asked me the following question: Can I write a synopsis/storyline, complete with time era, scenery and plot for a movie, and have someone else develop the characters and dialogue? This is essentially what producers do in Hollywood.  But it&#8217;s very, very hard for young writers to sell movies this way.  And it&#8217;s [...]]]></description>
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		<item>
		<title>TOY STORY 3, Part 5:  Let Your Characters Earn Their Happy Ending</title>
		<link>http://www.writeyourscreenplay.com/2010/06/25/toy-story-3-part-5-let-your-characters-earn-their-happy-ending/</link>
		<comments>http://www.writeyourscreenplay.com/2010/06/25/toy-story-3-part-5-let-your-characters-earn-their-happy-ending/#comments</comments>
		<pubDate>Fri, 25 Jun 2010 07:10:55 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=551</guid>
		<description><![CDATA[As discussed in Part 1, Part 2, Part 3 and Part 4 of this series, the structure of Toy Story 3 is built around the theme of loyalty, and desperate desires of both its protagonists and antagonists to be loved and played with by children.  Love is the currency of Toy Story 3, the one [...]]]></description>
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		<item>
		<title>TOY STORY 3, Part 3: The Foundation Of Structure</title>
		<link>http://www.writeyourscreenplay.com/2010/06/22/toy-story-3-the-foundation-of-screenwriting-structure/</link>
		<comments>http://www.writeyourscreenplay.com/2010/06/22/toy-story-3-the-foundation-of-screenwriting-structure/#comments</comments>
		<pubDate>Tue, 22 Jun 2010 05:48:53 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=541</guid>
		<description><![CDATA[As discussed in Part 1 and Part 2 of this series, the structure of Toy Story 3 is built around a simple desire shared by its characters, and unified around a simple theme, loyalty.   As Andy grows older and heads off to college, the desperate desire of the toys to be loved and played [...]]]></description>
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		<title>TOY STORY 3, Part 2: The Beauty of Unintended Consequences</title>
		<link>http://www.writeyourscreenplay.com/2010/06/21/toy-story-3-part-2-the-beauty-of-unintended-consequences/</link>
		<comments>http://www.writeyourscreenplay.com/2010/06/21/toy-story-3-part-2-the-beauty-of-unintended-consequences/#comments</comments>
		<pubDate>Mon, 21 Jun 2010 18:09:06 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<category><![CDATA[Toy Story 3]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=538</guid>
		<description><![CDATA[As I discussed in Part 1 of this series, Toy Story 3 does a wonderful job of building its structure around the greatest wish of its main characters: to be loved and played with by children.  When the toys feel that their owner Andy no longer cares about them, this desperate desire forces them to [...]]]></description>
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		<title>Feedback Part 5: How To Talk About The Bad Stuff</title>
		<link>http://www.writeyourscreenplay.com/2010/06/03/screenwriting-feedback-part-5-screenplay-notes-how-to-talk-about-the-bad-stuff/</link>
		<comments>http://www.writeyourscreenplay.com/2010/06/03/screenwriting-feedback-part-5-screenplay-notes-how-to-talk-about-the-bad-stuff/#comments</comments>
		<pubDate>Thu, 03 Jun 2010 19:46:17 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
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		<category><![CDATA[Script Notes & Feedback]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=458</guid>
		<description><![CDATA[Read the whole Feedback series:  Part 1, Part 2, Part 3, Part 4 It&#8217;s a simple fact.  Writers don&#8217;t like most of what they write. And they don&#8217;t like most of what they read either. Writers can be like rabid bloodhounds, ready to sniff out every flaw in a screenplay at a moment&#8217;s notice. This [...]]]></description>
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		<title>Feedback Part 4: Begin With What Works</title>
		<link>http://www.writeyourscreenplay.com/2010/06/01/screenplay-feedback-part-4-begin-with-what-works/</link>
		<comments>http://www.writeyourscreenplay.com/2010/06/01/screenplay-feedback-part-4-begin-with-what-works/#comments</comments>
		<pubDate>Tue, 01 Jun 2010 20:01:34 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Script Notes & Feedback]]></category>
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		<category><![CDATA[Jacob Krueger]]></category>
		<category><![CDATA[Notes]]></category>
		<category><![CDATA[screen lay writing]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=449</guid>
		<description><![CDATA[Read the whole Feedback series:  Part 1, Part 2, Part 3 All writers give and receive notes all the time.  We give notes to our friends, our colleagues, our writing buddies, and most importantly to ourselves.  We receive notes from producers, directors, teachers, agents, friends, family, and fellow writing students. But how many of these [...]]]></description>
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		<title>Feedback Part 3:  A New Approach To Feedback</title>
		<link>http://www.writeyourscreenplay.com/2010/05/30/feedback-part-3-a-new-approach-to-screenplay-feedback-and-notes/</link>
		<comments>http://www.writeyourscreenplay.com/2010/05/30/feedback-part-3-a-new-approach-to-screenplay-feedback-and-notes/#comments</comments>
		<pubDate>Sun, 30 May 2010 17:17:41 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
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		<category><![CDATA[actor]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=446</guid>
		<description><![CDATA[As I discussed in part 1 and part 2 of this series, writing is a highly intuitive process.  When notes take us away from our organic connection to our scripts, they tend to do more harm than good, no matter how helpful they may seem. 

Whether you are a professional writer, or just picking up the pen for the first time, you're going to have to deal with notes all the time.  From producers, from actors, from directors, from other writers, from family, from friends, and even from yourself.

And guess what.  You're going to need them.]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Script Feedback Part 2: The Danger Of Other People’s Ideas</title>
		<link>http://www.writeyourscreenplay.com/2010/05/28/script-feedback-part-2-the-danger-of-other-peoples-ideas/</link>
		<comments>http://www.writeyourscreenplay.com/2010/05/28/script-feedback-part-2-the-danger-of-other-peoples-ideas/#comments</comments>
		<pubDate>Fri, 28 May 2010 15:27:17 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=441</guid>
		<description><![CDATA[It's easy for most writers to identify a obviously terrible note.  The real danger occurs with the ones that often seem to be the most intelligent...]]></description>
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		<slash:comments>1</slash:comments>
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		<title>Is Feedback Destroying Your Work?</title>
		<link>http://www.writeyourscreenplay.com/2010/05/27/is-feedback-destroying-your-work/</link>
		<comments>http://www.writeyourscreenplay.com/2010/05/27/is-feedback-destroying-your-work/#comments</comments>
		<pubDate>Thu, 27 May 2010 15:00:51 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/?p=437</guid>
		<description><![CDATA[When I finished my first screenplay, I did what any self-respecting screenwriter does.  I sent it to my mom.  She read the script, and called me gushing with pride.

For about half an hour, my mom waxed poetic about every nuance of the script: the story, the imagery, the profound metaphorical qualities.

She only had one question.  Even though it all "worked", she was a little bit confused about why the characters were saying certain dialogue to each other...

"EXT. STREET - DAY" for example.

That was when I realized I was in trouble.]]></description>
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		<slash:comments>1</slash:comments>
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		<title>David Mamet’s Rules For Screenwriting.  What do you think?</title>
		<link>http://www.writeyourscreenplay.com/2010/04/07/david-mamets-rules-for-screenwriting-what-do-you-think/</link>
		<comments>http://www.writeyourscreenplay.com/2010/04/07/david-mamets-rules-for-screenwriting-what-do-you-think/#comments</comments>
		<pubDate>Wed, 07 Apr 2010 15:45:51 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
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		<category><![CDATA[David Mamet's Memo To The Writers of The Unit]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/blog/?p=181</guid>
		<description><![CDATA[Thanks to Chaweon Koo for forwarding this great memo from David Mamet to the writers of his Emmy-nominated series The Unit. It&#8217;s amazing how even professional writers still need to be reminded of the fundamental principles of writing. I particularly appreciate the way Mamet differentiates between the producer&#8217;s (often misguided) desire to make things clear [...]]]></description>
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		<slash:comments>4</slash:comments>
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		<title>What’s Wrong With SAVE THE CAT?</title>
		<link>http://www.writeyourscreenplay.com/2010/04/05/whats-wrong-with-save-the-cat/</link>
		<comments>http://www.writeyourscreenplay.com/2010/04/05/whats-wrong-with-save-the-cat/#comments</comments>
		<pubDate>Mon, 05 Apr 2010 14:35:09 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Adaptation & Revision]]></category>
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		<category><![CDATA[Blake Snyder's Save The Cat]]></category>
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		<guid isPermaLink="false">http://www.writeyourscreenplay.com/blog/?p=175</guid>
		<description><![CDATA[Blake Snyder's Save The Cat! just might be the most dangerous book out there for writers.

And you should read it.

But first, you need to recognize how to harness what's valuable in Save The Cat!, while understanding the principles that make it so potentially destructive.

Blake Snyder isn't dangerous because he is wrong.  He's not.  He's not dangerous because his ideas about how to build a script around a great premise aren't brilliant.   They are.

Blake Snyder is dangerous because he doesn't teach you how to be a writer.  He teaches you how to be a salesperson.]]></description>
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		<slash:comments>1</slash:comments>
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		<title>To Lawyer Or Not To Lawyer?</title>
		<link>http://www.writeyourscreenplay.com/2010/01/22/to-lawyer-or-not-to-lawyer/</link>
		<comments>http://www.writeyourscreenplay.com/2010/01/22/to-lawyer-or-not-to-lawyer/#comments</comments>
		<pubDate>Fri, 22 Jan 2010 07:58:53 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
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		<category><![CDATA[Screenwriting Business]]></category>
		<category><![CDATA[Contracts for Writers]]></category>
		<category><![CDATA[Jacob Krueger]]></category>
		<category><![CDATA[Legal Issues]]></category>
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		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=157</guid>
		<description><![CDATA[A question from a student: Question for you: I wrote a short script that this guy wants to film and possibly enter into some festivals. I just want the writing credit, no money- do you think a contract is necessary in a case like this? Or is a gentleman&#8217;s agreement usually good? Luke S. Jake&#8217;s [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Power Your Plot: With These Vital Structural Elements</title>
		<link>http://www.writeyourscreenplay.com/2010/01/06/power-your-plot-with-these-vital-structural-elements/</link>
		<comments>http://www.writeyourscreenplay.com/2010/01/06/power-your-plot-with-these-vital-structural-elements/#comments</comments>
		<pubDate>Wed, 06 Jan 2010 19:41:06 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
		<category><![CDATA[Action and Image]]></category>
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		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Plot]]></category>
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		<category><![CDATA[Completions]]></category>
		<category><![CDATA[Ewan McGregor]]></category>
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		<category><![CDATA[Trainspotting]]></category>
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		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=143</guid>
		<description><![CDATA[POWER YOUR PLOT With These Vital Structural Elements Today seems like a good day to talk about completions. Not just the kind of completions you make in your life.  The kinds of completions you make in your scenes. Completions are the single most important element in distinguishing a successful scene from an unsuccessful one. No [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2010/01/06/power-your-plot-with-these-vital-structural-elements/feed/</wfw:commentRss>
		<slash:comments>4</slash:comments>
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		<item>
		<title>Is Your Character An Adjective or a Verb?</title>
		<link>http://www.writeyourscreenplay.com/2009/12/10/is-your-character-an-adjective-or-a-verb/</link>
		<comments>http://www.writeyourscreenplay.com/2009/12/10/is-your-character-an-adjective-or-a-verb/#comments</comments>
		<pubDate>Thu, 10 Dec 2009 18:49:22 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Acting Concepts For Writers]]></category>
		<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Character]]></category>
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		<category><![CDATA[acting classes]]></category>
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		<category><![CDATA[dialogue]]></category>
		<category><![CDATA[film structure]]></category>
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		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=125</guid>
		<description><![CDATA[It's no wonder that some of the greatest writers began their careers as actors.

The art of writing and acting have always been profoundly intertwined.  That's because structurally, movies grow out of character.  And character is the thing that actors understand best.

So what is character from an actor's perspective?  And how can that help you as a writer?]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2009/12/10/is-your-character-an-adjective-or-a-verb/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
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		<item>
		<title>Got an issue with Robert McKee?  Me too.</title>
		<link>http://www.writeyourscreenplay.com/2009/11/13/got-an-issue-with-robert-mckee/</link>
		<comments>http://www.writeyourscreenplay.com/2009/11/13/got-an-issue-with-robert-mckee/#comments</comments>
		<pubDate>Fri, 13 Nov 2009 19:20:34 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Robert McKee's Story]]></category>
		<category><![CDATA[Screenwriting Books]]></category>
		<category><![CDATA[film structure]]></category>
		<category><![CDATA[genre]]></category>
		<category><![CDATA[horror movies]]></category>
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		<category><![CDATA[robert mcKee]]></category>
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		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=119</guid>
		<description><![CDATA[Don't throw away the baby with the bath-water.  As with any screenwriting book, there are some good things to be discovered in Robert McKee's "Story".  But there's also a lot that can be misleading, confusing or even just plain wrong. And for young writers who take his words as gospel, McKee can pose a real danger to finding your voice, truly understanding your character, and discovering the organic structure of your screenplay.

I believe that a big part of that is because McKee teaches screenwriting from a critic's perspective, rather than that of a writer...]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2009/11/13/got-an-issue-with-robert-mckee/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
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		<item>
		<title>Where The Wild Things Are – Interesting Article</title>
		<link>http://www.writeyourscreenplay.com/2009/10/21/where-the-wild-things-are-interesting-article/</link>
		<comments>http://www.writeyourscreenplay.com/2009/10/21/where-the-wild-things-are-interesting-article/#comments</comments>
		<pubDate>Thu, 22 Oct 2009 00:33:40 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Script Analysis]]></category>
		<category><![CDATA[Where The Wild Things Are]]></category>

		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=104</guid>
		<description><![CDATA[I haven&#8217;t seen the movie yet, but thought this David Brooks NY Times Article about the film was an interesting discussion of character. I&#8217;ll weigh in with my thoughts after I&#8217;ve seen the film.]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2009/10/21/where-the-wild-things-are-interesting-article/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>Finding the RIGHT Time To Write</title>
		<link>http://www.writeyourscreenplay.com/2009/09/09/finding-the-right-time-to-write/</link>
		<comments>http://www.writeyourscreenplay.com/2009/09/09/finding-the-right-time-to-write/#comments</comments>
		<pubDate>Thu, 10 Sep 2009 01:28:36 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[writer's block]]></category>
		<category><![CDATA[Writing Lifestyle]]></category>

		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=81</guid>
		<description><![CDATA[This article comes in response to a question I was recently asked by a screenwriting student. I think it describes a challenge almost all screenwriters face: finding balance. Balance between the planning phases and the writing phases of creating your screenplay. Balance between the demands of your life and the demands of your writing passion. [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2009/09/09/finding-the-right-time-to-write/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>The Writer’s Most Dangerous Desire</title>
		<link>http://www.writeyourscreenplay.com/2009/08/07/the-writers-most-dangerous-desire/</link>
		<comments>http://www.writeyourscreenplay.com/2009/08/07/the-writers-most-dangerous-desire/#comments</comments>
		<pubDate>Fri, 07 Aug 2009 16:29:11 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
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		<category><![CDATA[writer's block]]></category>
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		<category><![CDATA[films]]></category>
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		<category><![CDATA[procrastination]]></category>
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		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/2009/08/the-writers-most-dangerous-desire/</guid>
		<description><![CDATA[It may be hard to tell from some of the stuff you see coming out of Hollywood, but believe it or not, no one sets out to be a mediocre writer.

No writer dreams of writing that crappy screenplay with the unintelligible plot.  No writer fantasizes about creating paper thin characters, canned dialogue, or predictable plot points.

As writers, we share a common desire: we want to write great scripts, fascinating characters, brilliant dialogue, and breathtaking stories that catch people and won't let them go.  We want to say something that matters to us, have our voices heard, and create the kind of movies we grew up loving.

All writers want to be great writers.

Unfortunately, for many writers this need to create something great is actually the biggest obstacle to their writing...]]></description>
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		<slash:comments>1</slash:comments>
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		<title>What Happens Next?  Getting Un-Stuck When You Are Lost In Your Story</title>
		<link>http://www.writeyourscreenplay.com/2009/07/08/what-happens-next-getting-un-stuck-when-you-are-lost-in-your-story/</link>
		<comments>http://www.writeyourscreenplay.com/2009/07/08/what-happens-next-getting-un-stuck-when-you-are-lost-in-your-story/#comments</comments>
		<pubDate>Wed, 08 Jul 2009 19:57:51 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=48</guid>
		<description><![CDATA[I was recently giving a lecture on using hypnosis to combat writer's block, and was asked a profound question by one of the students.

She explained that her block had nothing to do with fear of writing, procrastination, the desire to get every scene "right" or any of the other common causes of writer's block that students were describing.

Her problem that she simply didn't know what happened next in her story.  She was just plain stuck.  And she felt like until she figured it out, she couldn't write another word.

How many writers have felt EXACTLY like that?

More than you think.

It's easy to convince ourselves that if we don't know what is going to happen, that there's no way to move forward in our writing.

But the truth is exactly the opposite.  And if you want proof, all you have to do is think about your life...]]></description>
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		<slash:comments>4</slash:comments>
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		<item>
		<title>Five Steps to a Writing Lifestyle</title>
		<link>http://www.writeyourscreenplay.com/2009/06/17/five-steps-to-a-writing-lifestyle/</link>
		<comments>http://www.writeyourscreenplay.com/2009/06/17/five-steps-to-a-writing-lifestyle/#comments</comments>
		<pubDate>Wed, 17 Jun 2009 07:00:03 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[writer's block]]></category>
		<category><![CDATA[Writing Lifestyle]]></category>
		<category><![CDATA[becoming a writer]]></category>
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		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=42</guid>
		<description><![CDATA[The following is a challenge I created for my Write! Write! Write! students.  Use it in your own work and notice how quickly and effortlessly writing becomes a natural part of your lifestyle...]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2009/06/17/five-steps-to-a-writing-lifestyle/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<item>
		<title>Ready to TRASH your whole Script?  Not Until You Read This Article.</title>
		<link>http://www.writeyourscreenplay.com/2009/06/01/fed-up-with-your-script/</link>
		<comments>http://www.writeyourscreenplay.com/2009/06/01/fed-up-with-your-script/#comments</comments>
		<pubDate>Mon, 01 Jun 2009 19:47:59 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Adaptation & Revision]]></category>
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		<category><![CDATA[writer's block]]></category>
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		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=28</guid>
		<description><![CDATA[The other day, a student asked me a profound question.  It's a problem faced by so many writers that I decided to include it and my answer in this month's newsletter.

What do you do when you're so fed up with your writing, you're ready to scrap your whole project?

Whoa!  Pull those pages out of the trash can-- at least until you try these simple tricks to re-energize your writing and get your project rocking again...]]></description>
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		<slash:comments>2</slash:comments>
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		<item>
		<title>The Myth of Three Act Screenplay Structure (or, “Why Am I Lost In My Second Act?”)</title>
		<link>http://www.writeyourscreenplay.com/2009/05/29/myth-of-the-three-act-screenplay-structure/</link>
		<comments>http://www.writeyourscreenplay.com/2009/05/29/myth-of-the-three-act-screenplay-structure/#comments</comments>
		<pubDate>Fri, 29 May 2009 19:21:22 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
		<category><![CDATA[Articles]]></category>
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		<category><![CDATA[3 act structure]]></category>
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		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=22</guid>
		<description><![CDATA[For about as long as there have been screenwriting books, young writers have been taught that movies have a three act structure.  Each act is viewed as 30 to 60 page chunk of the plot and when they're all assembled together, they provide a beginning, middle, and an end for your story.

Countless script doctors, critics, teachers, and producers have used this structure to break down great movies, and analyze how they are put together.

But while this may be a great way of looking at a finished script from a critical perspective, it's not particularly useful to screenwriters.  When you're beginning a new project, it's not exactly groundbreaking news that your story is going to need a beginning, middle and an end.  The real challenge is figuring out how to structure your story in a way that captures the essence of your character's journey.

Trying to use three act structure to create the story of your movie is like trying to sprint through a marathon.  You may start off strong, but by the time you hit the middle of the story, you'll most likely be running out of steam...]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2009/05/29/myth-of-the-three-act-screenplay-structure/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
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		<title>Kill Your Outline: A Screenwriter’s Guide To Discovering Your Character</title>
		<link>http://www.writeyourscreenplay.com/2009/05/06/kill-your-outline-a-screenwriters-guide-to-discovering-your-character/</link>
		<comments>http://www.writeyourscreenplay.com/2009/05/06/kill-your-outline-a-screenwriters-guide-to-discovering-your-character/#comments</comments>
		<pubDate>Thu, 07 May 2009 03:07:33 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[7 Act Structure]]></category>
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		<category><![CDATA[how to write a screenplay]]></category>
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		<category><![CDATA[Jacob Krueger]]></category>
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		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=14</guid>
		<description><![CDATA[Young writers often get obsessed with writing for the audience. Even in the earliest drafts, their focus is on sneaking in tons of exposition about their characters, layering themes or symbolic motifs, or carefully outlining the mechanics for a surprise ending they think will be the key to selling their script.

It's no wonder that this happens. After all, these are the things that film scholars rave about and film studies classes teach-- complex psychological portraits and deep thematic importance, screenplay structures, beat sheets and outlines.

So why do movies written this way so often come out flat? Why does it seem like nothing is happening, when the writer has put so much effort into building the psychological life of the character? Why do all the themes and motifs just feel like smoke and mirrors? Why is no one reacting to the surprise ending you've worked so hard to craft?

It's not because these things aren't important. They are. It's because you're focusing on them TOO EARLY.]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2009/05/06/kill-your-outline-a-screenwriters-guide-to-discovering-your-character/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>What If Your Screenplay Isn’t Good?</title>
		<link>http://www.writeyourscreenplay.com/2009/04/09/screenwriting-newsletter-6-what-if-my-screenplay-isnt-good/</link>
		<comments>http://www.writeyourscreenplay.com/2009/04/09/screenwriting-newsletter-6-what-if-my-screenplay-isnt-good/#comments</comments>
		<pubDate>Fri, 10 Apr 2009 03:30:34 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Adaptation & Revision]]></category>
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		<category><![CDATA[writer's block]]></category>
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		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=1</guid>
		<description><![CDATA[I recently had a student ask me a profound question. After chugging along excitedly for a month on a first draft of a new screenplay, he had found himself paralyzed by a terrifying question: &#8220;What if it isn&#8217;t GOOD?&#8221; I think we can all imagine his horror&#8211; the kind of horror only a writer can [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2009/04/09/screenwriting-newsletter-6-what-if-my-screenplay-isnt-good/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<title>The Six Most Destructive Words For Writers</title>
		<link>http://www.writeyourscreenplay.com/2009/03/06/the-six-most-destructive-words-for-writers/</link>
		<comments>http://www.writeyourscreenplay.com/2009/03/06/the-six-most-destructive-words-for-writers/#comments</comments>
		<pubDate>Fri, 06 Mar 2009 19:43:27 +0000</pubDate>
		<dc:creator>Jacob Krueger</dc:creator>
				<category><![CDATA[Articles]]></category>
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		<category><![CDATA[writer's block]]></category>
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		<guid isPermaLink="false">http://www.jacobkrueger.com/blog/?p=7</guid>
		<description><![CDATA[The following are six of the most destructive words writers can say to themselves: &#8220;Maybe I Don&#8217;t Really Want This&#8230;&#8221; If you&#8217;re a writer, you&#8217;ve probably uttered these words more times than you&#8217;d like to admit. A day spent procrastinating. &#8220;Maybe I don&#8217;t really want this&#8230;&#8221; A missed deadline. &#8220;Maybe I don&#8217;t really want this&#8230;&#8221; [...]]]></description>
		<wfw:commentRss>http://www.writeyourscreenplay.com/2009/03/06/the-six-most-destructive-words-for-writers/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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