The end result will be a layered character. One that grows, that falls apart and rise again. The best characters are ones that are baked with intention. 

Need a recipe? We’ve got the ingredients and the steps:

Nature is awesome.

You said it better than us! 👏👏👏

A group of moths is called an eclipse! That also made me happy. Thought I'd share!

While switching tones isn’t “wrong,” understanding the type you’re grounding your story in helps everything feel more cohesive. Use the approach that supports the truth you’re trying to reveal.

For more on using satire: https://blog.celtx.com/what-is-satire-screenwriting-guide/

#scriptsky #filmsky

Type 3: Menippean

Targets ideas and worldviews; often surreal or ensemble-driven.

Examples include Barbie & Dr. Strangelove

Type 2: Juvenalian

Sharper, darker, confronts bigger issues head-on.

Think: Parasite and Don't Look Up

Type 1: Horatian

Warm, playful, gently pokes fun.

Think: Parks & Rec

There are three major types of satire, each shaping tone and intent in a different way: Horatian, Juvenalian, and Minippean.

Knowing which one you’re using helps keep your story focused.

3. Track Your Progress: Use a tool like Celtx to keep your pre-production notes and screenplays organized. Visually seeing your progress (from treatment to draft) is a massive motivator.

Start small, build a habit, and soon reaping won't feel quite as crushing. Stack your wins. You've got this!

2. Go Small to Win Big: Instead of "Finish the first act," try "Write two scenes," or even "Outline the next five beats." Small, completed tasks create momentum and a sense of accomplishment.

🎯 How to Set Attainable Writing Goals (A quick guide):
1. Audit Your Time: How much realistic distraction-free time do you have? Don't plan for a two-hour session if you only have a solid 30 minutes.

Listen, we've all been there. Setting massive writing goals is easy (and fun!), but the follow-through can feel like trying to run a marathon in quicksand. The secret to getting that sweet, sweet dopamine hit? Setting attainable goals.

For more on writing flashbacks that land:

Before you write one, ask yourself:
• What does this reveal that the story truly needs?
• How does it reshape the scene we’re in?
• Would the script still work without it?

If the flashback doesn’t change anything, the scene doesn’t need it.

Curious how to pull that off without overdoing it?