Lois, that's so often the case: major changes from script to screen.

Lois, that's so often the case: major changes from script to screen. It's one of the reasons I run that series. Not just to note differences, but try to reverse engineer *why* those changes were made. Did they improve the final story ... or not?

As far as Page One is concerned, I have several motivations for running that series, chief among them to get writers to think about how they begin a script. Critical. Absolutely essential to get the reader connected with the story straightaway. And that connection almost always happens with two elements: (1) Character. (2) Situation. A compelling character in a compelling situation.

Thanks, Lois, for taking the time to check out the script and film versions of Carrie's opening scenes. Good lesson: Make sure to convey the Protagonist in such a way to grab the reader's emotional connection to the Protagonist.