Cyber Screenwriter

Writing Your Screenplay Without Expensive Software by Susan Hart

2009-09-14T08:23:00.001-07:00

If the idea for a screenplay has been eating away at you for a while, but you lack the money to buy an expensive software program for your computer -- do not despair. Nothing more is needed than a simple word processing program (or you can use a more complex one if you have it).

First, your screenplay has to be formatted correctly and setting that up to start with is easy. Don't forget to save the project every time you work on it, and store it where you can find it again on your computer! While all screenplays must be in Courier or Courier New 12 point type, you can always set your computer screen to "view" in a zoom mode, especially if you use reading glasses, like I do. This will not affect your type size -- just how you see it on the screen. Writing screenplays has always been done in that typeface because then producers and others looking at your screenplay, and hopefully buying it for their next great blockbuster, know that the one minute per page rule applies. Margins for screenplays are one inch all around, except for the left margin, which should be one and a half inches. This is to allow for the three holes on the left sides and brass fasteners (top and bottom only) if you need to print and send out copies. That way the text is not trapped within that left margin.

Using macros for both character names and dialog boxes is a real time saver -- if your word processing software has it. If too complicated or you don't have it, use tabs. Most tab stops are already preset for five spaces. If not, program yours for that (look under help in the menu on how to do it). Usually, character names are about 4-5 tab stops in (centered on the page), and dialog boxes start about three tabs stops in. Dialog must be even on the left margin and should be (within reason) not aligned on the right. Dialog should take up the center third of the width of usable space on your page. On the subject of dialog -- keep your parentheticals brief and to the minimum. Parentheticals are the directions placed under a character's name such as (smiling). Too many of those and reading the screenplay becomes annoying. Most emotions (or emoting) are left to the actors and the director.

Directions for the people in your story are best kept brief also. Two or three sentences in a paragraph are all that is needed. Most of the action is, again, put into the film by the actors and director. Never describe a hidden emotion. The only thing that should be written down in a screenplay is dialog, and necessary action that is seen or hear d on the screen. What good would be: He was cringing inside because someone laughed at him? That could best be described as: He stopped in his tracks and began to sweat, then straightened up. Always show rather than tell in a screenplay. This takes more work but is much better writing for this medium. And while we are on this subject, a pet peeve of mine when reading screenplays (and it made me cringe) is "we see so and so go over to the well". Be lean in your description -- say "so and so went over to the well".

One last note on spacing and capitalization, when you are writing your screenplay: There is one line space between the end of dialog and action text and one line space between each block of action text, plus a line space between scene headings and the start of either dialog or action text. The only time that two line spaces are used is after the last text and before the next scene heading. So, with tabs and macros if you have the capability, you can turn out a perfectly formatted screenplay without expensive screenplay writing software.

Susan Hart is a world traveled former literary agent. If you need help with your writing project visit her site for more information.

Screenwriting - 5 Ways to Bring Your Script to Life Without Selling it to a Producer by Melody Jackson

2009-09-07T05:31:00.000-07:00

One of the challenges of being a screenwriter is that fulfilling your goal is an all-or-nothing proposition. An actor can get small parts and work and see themselves on TV and in a movie, even if they never become a star. But as a screenwriter, your script either gets produced or it doesn't. You won't see a couple of scenes from your script in the movie theater - your only chance there is the whole thing or nothing.

With that said, here's the good news You have options. Even though there's no guarantee that you will make any money from doing these things, you actually CAN experience the creative satisfaction of seeing your work come to life. Having this experience will not only make you proud of yourself and inspire you, but will also help you develop your craft. Here are five ways to have your screenplay come to life without a producer buying it.

These will work for you whether you are in Los Angeles or you're in The Midwest or anywhere, you may just need to adapt the ideas a bit. And if you have already had some of your work produced in the past, you might adapt these ideas to help you shoot a trailer presentation of your movie to show to potential producers or investors.

Here are five ways to have your screenplay come to life without a producer buying it.

1. Take a film and video production course at a local film school or community college and shoot your own scenes.
As a screenwriter, you will benefit from understanding as much as possible about film production. Take a class to learn about production and to get yourself inspired about your writing. For your production project, use the scenes you've written.

2. Hold a table reading at your home, a small theatre, or at a community location, even invite an audience.
A "reading" is an event in which you actually cast actors to read your screenplay aloud so you can hear it come to life. You should also record it so you can review it later.

Holding a reading will help you see what works and what doesn't work as well as be very exciting to hear it acted out. You might also invite an audience so you can see what parts they have a noticeable reaction to or fall asleep on. If you've never done a table reading, I guarantee you will be surprised.

3. Find other area filmmakers and work together to shoot a demo/trailer of your script.
Because of the great accessibility of video equipment and editing software, more and more writers and producers are shooting presentations of their scripts. You could make a trailer to use to present your script to investors - although it must be very good production quality if you do that. It will also be very exciting to see even a few minutes of your story come to life.

No matter where you are in the U.S., it is very likely that someone near you is also interested in working in the film industry. You can start your own short film production company to start out. You can also check on Craig's List or post there that you're seeking other filmmakers to collaborate with. And sites like Meet Up try to connect you with other like-interested people.

4. Contact your state's film commission to find all the resources that you can about where other filmmakers are.
A great resource for connecting with professionals is your State Film Commission. Call to find out what resources they can offer you or tell you about. You can find out what productions are coming to your state and also potentially meet other filmmakers you could collaborate with.

5. Contact an acting school or acting class near you and see if you can provide scenes for them. Then go watch.
If you're feeling a bit lazy in the production arena and don't want to go to a lot of trouble, you could just contact a local acting school and tell them you have scenes you would like to provide for their classes. On-camera acting schools love to work with new material (of course, it should be pretty good). And if you go watch, you get a chance to hear your work come to life with next to no effort.

The main point of this article is that, along the way in your writing, you can and should enjoy some reward for your effort by seeing it come to life in some fashion. Although your long-term goal is to sell your script and see it on the screen in a cinema, don't discount the benefit of throwing yourself a little bone and seeing a few scenes come to life.

You might be surprised by how gratifying it is to see the characters you created suddenly alive in real people portraying them - even if only for a few scenes.

Melody Jackson, Ph.D., has critiqued over 2000 screenplays in depth and was rated a Top 5 Script Consultant in the country by Creative Screenwriting Magazine. Go to http://www.ScriptCritiques.com for more information on marketing to Hollywood. If you are ready to jump-start your career, increase your confidence, and have more fun pursuing Hollywood success, get "Plugged In" at http://www.QueryLetterMailings.com. Also get your FREE REPORT on "The Top 20 Literary Agents In Hollywood," along with the FREE REPORT "Endless Professional Screenwriting Work."

A Writer's Most Dangerous Desire - And How to Combat it When You Write Your Screenplay by Jacob Krueger

2009-08-31T12:26:00.000-07:00

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.

That's because, as much as we'd all like to, no can can control the quality of their writing.

Occasionally, magic does happen. You wake up one day inspired. You know the story you want to tell, and somehow it just pours out of you, almost like someone else was creating the story and all you have to do is type out the words.

But more often, that magic is elusive. You wake up inspired with a brilliant premise, but feel like you don't know how to execute it. Or you discover a character that intrigues you, but haven't the slightest clue what his or her story will be, or how you're going to find it.

When the words you're actually writing don't seem to match the dream of greatness you're holding in your mind, it's hard to see yourself as a writer.

You start to feel stuck, lost, or just plain blocked. You may even start to wonder if you really have what it takes to be a writer...

Nonsense.

The desire for greatness is the most dangerous desire for writers.

When you hold it too closely, you not only take all the joy out of writing, but also make it increasingly unlikely that you will ever achieve the greatness you're seeking.

It's not that writers shouldn't strive for great writing. It's that writing is a process, and to actually create something great, you must first give yourself the freedom to play.

Picasso said that he spent for years trying to paint like Raphael, and the rest of his life trying to paint like a child.

The same is true for writers. Creating something great often means letting go of your goals for your writing (and the judgment that goes with it), and simply allowing yourself to play like a child.

That's the goal of my new "Write! Write! Write!" Screenwriting Workshops.

Each workshop begins with a special in-class writing exercise, designed to set your judgment aside, unlock your creativity, and make writing fun again. These playful scenes then become the basis for inspiring lectures, designed to not only teach you the craft of screenwriting, but also help the build the skills you need to take your most creative scenes, and transform them into the kind of screenplay you've always dreamed of writing. Take your first step today.

More Information:

Web: http://www.jacobkrueger.com

Literary Agents Vs Managers - 5 Tips For Deciding Which to Go With First by Melody Jackson

2009-08-28T11:57:00.000-07:00

For most screenwriters, it can seem like the whole process of trying to sell your script is one big "Catch 22": You can't get certain producers to read your script without an agent or manager, but agents and managers don't want to represent you until you've made a sale. The first question for you as a writer is to determine whether you should try for a literary agent or a manager. Here are 5 tips to help you decide which to go with first.

1. What is the difference between an agent and a manager?

An agent is basically what the word itself describes: a person who is going to represent you as a writer and your work. An agent is your salesperson in the marketplace. When the agent feels your script is ready to "go out," they find the producers or studios who will be the best potential buyers. The agent then manages the whole process of (hopefully) selling your screenplay to them.

Managers, on the other hand, work more closely with the writer on developing their scripts and career. You may strategize closely with your manager on what story to write next, and then get feedback on your drafts. Also, managers will often arrange meetings with producers and other industry executives, either for specific writing assignments or just a general meeting to let the execs get to know you.

2. How much of my earnings do each of them take?

When you are represented, the agent or manager are compensated with commissions from your earnings. Traditionally, agents have earned 10% from the deals they make for their clients; managers' commissions range from 10% to 20%.

One thing to remember about managers is that they can also act as a producer for their client's scripts (by law, in California, agents cannot produce). So if your manager is producing your screenplay and it also sells, the manager should receive a sales commission on top of their producing fee. This is called "double dipping" and legitimate managers don't do it.

3. Should I choose one over the other?

If you are a screenwriter who is just starting out, the choice between an agent and a manager may be made for you. Representation by an agent is generally harder to get than finding a manager willing to take you on as a client.

Agents tend to want to represent writers with the potential for a long career. They prefer clients who can steadily bring in commissions over a period of time, rather than trying to chase one payday for a single script sale. Also, there are a lot more managers than agents in Hollywood and they are usually more open to developing newer writers. If only by default, for aspiring screenwriters, a manager is usually the better first step.

4. What factors should I consider when searching for representation?

The biggest red flag most writers should watch for is an agent or manager who charges upfront fees for representation or reading your script. Legitimate agents and managers do not take money from a writer in exchange for representation.

Once in a while, you'll run across some who charge $35 or $45 for a reading fee to cover their costs, but they are not real players in Hollywood. (Personally, I think it should be okay to charge a minimal fee for them to read your script, but the fact is that the big players don't do it.)

Another consideration is where the agency or company is located. Nearly all films and deals are made in Los Angeles or New York, so most agents and managers are located there as well.

That is not to say that an agent from Chicago or a manager from Atlanta can't do anything for your career, because they might have a few contacts who could be just right for your script. If you are relatively new to the industry, they could also be a good company to begin to work with to get yourself "in the game" and learn how to work with representation.

For the most part, however, your major agencies and management companies are unlikely to be located outside of Los Angeles or New York.

5. How do I go about finding an agent or manager?

You can try and land an agent or manager in a few different ways. If you have industry contacts, then it might be appropriate to ask your contacts for a referral to an agent or manager.

Alternatively, you can send a query letter to agents and/or managers, introducing yourself and offering them your script to consider for representation. The advantage of a query letter mailing is that you don't need to have industry contacts in Hollywood to send it out. If you have a great script, a strong query letter could be enough to get you noticed.

In either case, however, just make sure the script you send out is the best you can make it. They will only read it once, and if your screenplay is not your best, not only will they turn it down, but they probably won't look at any of your other scripts in the future.

Summary

Despite the differences between a literary agent and manager, when it comes down to it, the real issue is simply finding someone who can help move your career forward. Strategies and business styles vary. They each have their own taste and their own set of contacts. Any number of them could work. Most of the time you won't know what works until you work with them.

They could have made the careers of 10 major screenwriters before you, but if they aren't getting the job done for you, then it doesn't matter. What it comes down to is this: Get in the game as soon as your script is ready, and it's trial and error and learn by doing, from there.

Melody Jackson, Ph.D., is the founder of Smart Girls Productions, a Hollywood Marketing Company supporting Actors & Screenwriters in moving their careers forward. If you are ready to jump-start your career, increase your confidence, and have more fun pursuing Hollywood success, get "Plugged In" at href="http://www.querylettermailings.com/">http://www.QueryLetterMailings.com Also get your FREE REPORT on "The Top 20 Literary Agents In Hollywood," along with Hot Tips on Marketing YourselfTo Hollywood. Melody has critiqued thousands of screenplays in depth and was rated a Top 5 Script Consultant in the country by Creative Screenwriting Magazine. Go to href="http://www.scriptcritiques.com/">http://www.ScriptCritiques.com for more information on marketing to Hollywood.

How to Write a Treatment For a Hollywood Screenplay by Melody Jackson

2009-08-24T05:26:00.000-07:00

When you are preparing to write a screenplay or even preparing to do a major rewrite, it is very helpful to create a blueprint or treatment of what you are going to write prior to actually writing or rewriting it. This is what a treatment is used for. It will help you layout the direction of the entire screenplay and work out some of the kinks before jumping into the whole thing.

A treatment can be anywhere from 3 to 10 pages. Think of it as being an in-depth synopsis of your story. As you can imagine, it is much easier to edit and make changes to a story that is under 10 pages than it is to make changes on a 100+ page script.

If you work out all the story issues, character arc, and theme aspects in the treatment, it will save you an enormous amount of work when you write the screenplay itself.

A treatment for a screenplay is simply a narrative of all the major actions and characters from start to finish. It has no dialogue whatsoever. (Okay, you can put one or two great lines of dialogue in if you must, but only to show the flavor of the character.) But don't spend much time on the dialogue in the treatment as you might end up throwing out any given scene before you finalize the treatment, and then you will have wasted time on the dialogue.

Your treatment should be compelling, just as the screenplay will be. When you read it, you should connect with the story emotionally. If it doesn't affect you emotionally, then you should keep working on capturing the emotion in the treatment before you go on to writing the screenplay. If you can't capture it in the treatment, you definitely won't capture it in the screenplay itself, because it already shows that something is missing.

Once you have the whole story fleshed out with the plot, character arc, and theme all working together, and emotionally you are moved deeply when you read it, then you are ready to write your screenplay. The only caveat about that is that I recommend that you have a professional review the treatment before you go on and write it, simply because they may respond to it differently.

But for sure, you should work your story out in the treatment first. Oftentimes, when I critique a script and it needs a fair amount of work, I will recommend the writer go back to the treatment stage and rework it before rewriting the script itself. This have proven to be very beneficial.

The treatment is more of a mini-rendering of the story and must paint the mood of it.

If you likened the treatment to building a house, you could think of it as being like a full-color sketch of the interior of the house. It would be a sketch of the colors of the living room and the curtains, the couches and pillows. It would have all the mood that the final one would have, but it would nevertheless be only a sketch of it. You could also think of the treatment as a miniature or scale model of the screenplay.

As mentioned previously, a treatment can be 3-10 pages long. Single-spaced within the paragraphs with a double space between paragraphs. Use a 12-point font that is easy to read (Arial, Courier, Times New Roman).

Melody Jackson, Ph.D., is the founder of Smart Girls Productions, a Hollywood Marketing Company supporting Actors & Screenwriters in moving their careers forward. If you are ready to jump-start your career, increase your confidence, and have more fun pursuing Hollywood success, get "Plugged In" at http://www.QueryLetterMailings.com Also get your FREE REPORT on "The Top 20 Literary Agents In Hollywood," along with Hot Tips on Marketing Yourself To Hollywood. Melody has critiqued thousands of screenplays in depth and was rated a Top 5 Script Consultant in the country by Creative Screenwriting Magazine. Go to http://www.ScriptCritiques.com for more information on marketing to Hollywood.

Hollywood Contacts - 5 Steps For Screenwriters to Make Connections and Keep Them by Melody Jackson

2009-08-17T04:47:00.000-07:00

By now someone has probably told you, "You gotta know someone to have a career in Hollywood." And that is actually true. Getting Hollywood contacts on your Rolodex is critical to any and every career in Hollywood.

The thing they probably didn't tell you, though, is that you don't have to have the contacts when you start out. So, the real question is, "How do you make contacts and nurture them over the course of time?" This article contains 5 steps for screenwriters to make Hollywood contacts from an empty Rolodex and keep them once you get them.

1. Go to pitch-fests and film festivals.

One of the quickest ways to gather several contacts at once is to go where a lot of them are. There are many, many film festivals of all different sizes all over the U.S. as well as all over the world. You can go to one that is convenient for you and make it a point to meet people whom you could establish a long-term professional relationship with.

Create a goal of meeting at least 1 or 2 people a day that you will keep in touch with after the festivals. Afterward, put a good follow-up system in place and let them know when you have a new script or that you got a new agent or that you have a new pitch you want to offer them.

2. Do research and create a targeted list of contacts for your script. Then work that list by sending them a query letter. Then call them and begin developing a relationship.

The Hollywood Creative Directory is one of the best resources to find your list of targeted producers. It lists almost all the major companies, individuals, addresses, contacts, and projects in Hollywood. You can go through this book and pick out that ones that sound like good matches. Then you get on the phone and start calling.

You can also cross-reference your list with something like IMDB.com or IMDBpro to further narrow down who is most suitable for your project.

It takes a great deal of time to do this, but you can do it if you have the time. If you don't want to do it yourself, you can hire a company like Smart Girls Productions to do this selection process for you. Then you can use that list to follow up on.

3. Go through your own Rolodex and think back on everyone you've ever known and see if there is someone you might want to re-connect with. Or maybe someone on that list might be able to connect you to some of their contacts and they could help you.

Whether you are brand new or you've been skipping down the trail in Hollywood for decades, you probably have more connections that you think.

Take the time to brainstorm every single person that you have met personally and think about who they might know that they could hook you up with.

If it is someone you've lost touch with, before you call, you can create a way to connect with them to see what's happening and try to see how they might put you in touch with who they know.

4. Enter screenwriting contests to get feedback and to also get recommended to execs if you win.

Try to find screenwriting contests that have a good reputation and guarantee that they will pass you on to real Hollywood execs if you win.

The execs don't have to be Speilberg and Lucas or Bruckheimer either, as long as they are really working as a producer in Hollywood. Even if they are not big-time yet, if they read your script now and like your work, you'll already have access to them by the time they get "big."

5. Once you make a contact in Hollywood, keep them on your Rolodex, and find reasons to keep in touch with them for as long as you are pursuing a screenwriting career.

The first four steps were on making contacts. This one is on keeping them. One of the best ways to make contacts, as touched on before, is to get to know them before they are big-time.

Even if you meet someone only for 15 or 20 seconds, if you get really good at nurturing a connection, you can use that brief contact as a way to develop it into something much bigger.

Finally, treat everyone with respect in this biz, as long as they do you. Never look down on anyone in their position, as they could end up being the person who opens the door (or closes it) for you at some point in the future.

Melody Jackson, ph.D., is the founder of smart girls productions, a hollywood marketing company supporting actors & screenwriters in moving their careers forward. If you are ready to jump-start your career, increase your confidence, and have more fun pursuing Hollywood success, get "plugged in" at http://www.Querylettermailings.Com also get your free report on "the top 20 literary agents in Hollywood," along with hot tips on marketing yourself to hollywood.

Melody has critiqued thousands of screenplays in depth and was rated a top 5 script consultant in the country by creative screenwriting magazine. Go to http://www.Scriptcritiques.Com for more

Trancas International Films Signs SCRIPTXPERT Client Jeff York

2009-08-17T04:45:00.000-07:00

SCRIPTXPERT client Jeff York is now signed with Trancas International Films who will not only manage his writing career, but has also hired him to adapt one of their projects. Trancas found York through the Final Draft, Inc. SCRIPTXPERT coverage service which had recommended York's vampire-romance-with-a-twist script Incurable.

"The experience of using SCRIPTXPERT has been phenomenal," states York. "It's a great way to not only improve your writing, but also have a shot at getting your story in the hands of someone who can do something to help launch your career."

Unexpectedly, York's search for script advice lead to great things. He was impressed by the assigned SCRIPTXPERT reader's horror script knowledge that prevailed in his first critique.

The reader's critical and positive notes helped York revise his screenplay, Incurable, a love affair between a man with cancer and a female vampire. Then, after two exchanges of notes and drafts with the same reader, Incurable was finally recommended.

One advantage of SCRIPTXPERT is if a reader "recommends" a writer's screenplay it reaches the top level. Final Draft, Inc. then passes the client's information - with the writer's permission- to interested agents and producers.

Fortunately, York's Incurable got into Sammy Montana's hands, VP of Trancas International Films, who is always looking for the next "Halloween" box-office smash. "I read it and was blown away," states Montana.

Montana enjoyed York's work and signed him, allowing York to finally pursue his passion. York plans to become a full-time screenwriter in L.A. thanks to submitting his script to Final Draft, Inc.

A Call for Submissions From TV and Feature Writers

2009-08-07T05:10:00.000-07:00

Starting its sixteen year, THE GUY HANKS & MARVIN MILLER SCREENWRITING PROGRAM aka The Cosby Program, will be accepting applications from July 15 to September 15, 2010. This program was established by Drs. Bill and Camille Cosby at the University of Southern California's School of Cinematic Arts. Unaffiliated with USC, the goal of the Hanks-Miller Program is to develop the pool of qualified African-American writers in the entertainment industry.

This program meets twice a week for 15-weeks beginning February 2010. It is designed to assist writers in completing a television or feature script, while giving them the opportunity to examine African-American history, culture and iconography. Tuition is free to those selected.

For more information or to obtain an application visit our website at http://www.CosbyProgram.com

Screenwriting - 12 Rules to Get Your Screenplay Rejected Right Away by Ugur Akinci

2009-08-03T07:42:00.000-07:00

There is an art to getting your screenplays rejected right away. Do the following if you'd like to see your months and perhaps years worth of efforts go to the trash bin within 15 seconds or less.

1) Write a "feature-length" screenplay that is 30 pages long.

2) Write a "feature-length" screenplay that is 300 pages long.

3) Use a great day-glo orange cover to get noticed.

4) Paste photos generously to illustrate your scenes. Your smiling photo with your favorite pet next to you and typing away on your laptop would really enhance the aesthetic value of the front cover.

5) Provide frequent detailed camera and directorial instruction like “WIDE-ANGLE SHOT, the actors should imagine they are at a FUNERAL,” etc.

6) Use crazy font on the cover and inside the script in order to grab the attention of the studio Reader. Never use Courier.

7) Include sidebar notes for the Reader like "Dear Reader, please pay attention to the the plot reversal in this scene!"

8) Use character names that all start with the same letter and are very similar to one another like Jane, Joe, Jim, Jake, Jimmy, June, Jess, Jessie, Jesse, Jo, Jon, and Jil.

9) Make sure nothing is happening within the first 5 pages. For example, you can describe the gorgeous scenery as your protagonist takes a train ride from New York to Boston.

10) Do not use the universally-accepted paragraph style formatting for screenplays. Be original. Make all text RIGHT adjusted.

11) There are only very few themes under the sun and it's smart to imitate success. Take CASABLANCA. Change the names to Bob and Shamita. Change the city to Austin, Texas, And bingo! You've got yourself a 100% unacceptable script.

12) "Dramatic Structure" is for the pigeons. Create a Protagonist with no desire for anything in the world. After all, isn't he a Buddhist Monk?

Ugur Akinci, Ph.D. is a Creative Copywriter, Editor, an experienced and award-winning Technical Communicator specializing in fundraising packages, direct sales copy, web content, press releases, movie reviews and hi-tech documentation. He has worked as a Technical Writer for Fortune 100 companies for the last 7 years.

In addition to being an Ezine Articles Expert Author, he is also a Senior Member of the Society for Technical Communication (STC), and a Member of American Writers and Artists Institute (AWAI).

You can reach him at writer111@gmail.com for a FREE consultation on all your copywriting needs.

You are most welcomed to visit his official web site http://www.writer111.com for more information on his multidisciplinary background, writing career, and client testimonials. While at it, you might also want to check the latest book he has edited: http://www.lulu.com/content/263630

How to Avoid the ' Fatal Coincidence' When Writing a Screenplay by Melvyn Heyes

2009-07-31T05:22:00.000-07:00

There are a large number of pitfalls you can make as a screenwriter, but few are as glaring and as easy to avoid as the: 'Fatal Coincidence'. I'm not talking about the coincidences that often start a story, like Jason Bourne being found afloat by the fishing vessel at the beginning of the Bourne Identity. After all, if Mr. Bourne hadn't been picked up, there would not have been a story to tell. I'm talking about the ones where you find yourself saying - That's too improbable to happen! You've seen them at the movies or on DVD, unfortunately too many times. People showing up just at the right time, overhearing something just at the right time, or finding a miraculous clue, just at the right time. Some screenplays hide their coincidences and blend them into the story narrative so seamlessly you don't even notice. Here's one that does it really well (Spoiler alert):

In Scott Beattie's screenplay, Derailed, Charles meets his lawyer just before they go to the police to report that he is being blackmailed over his infidelity with Lucinda. But, first Charles decides he must tell Lucinda. Nice guy. Charles goes to the only places he knows where he can find her:

· At Lucinda's office, Charles is told by the receptionist that she is not there. Coincidentally, Lucinda is just walking out of the building. The problem for Charles is that, this Lucinda is not his lover. (So, who is she?).

· Charles then goes to what he thinks is Lucinda's apartment. But, a real estate agent there the apartment was rented to Lucinda and her boyfriend. (What's going on?).

· Finally, Charles desperately looks in another place he knows - the train station where Charles and Lucinda got off the train after they first met.

There, Charles finds Lucinda kissing the guy is man blackmailing Charles! This sequence constitutes an ideal end to Act II and provides the so-called 'Second Commitment to Act' or 'Plot Point B' in the Three Act Structure Model, and starts the 'Road Back' point in the Hero's Journey model.

Let's face it, the chance that Charles would arrive just at the right time to see this event is improbable, but the impact of the plot point revelation dampens our skepticism. We're ready to enter Act III and watch Charles get his revenge. This is the quality that screenwriter Beattie also incorporated into the plot of Collateral.

In contrast, here's a screenplay that isn't so seamless. In Patriot Games, Jack Ryan, now retired from the CIA, is on a working-vacation in London with his family. Just as Ryan sees his wife and daughter across the street, the IRA attack Lord William Holmes, the British Secretary of State for Northern Ireland, right in front of him! Later, when an IRA assassin tries to kill Ryan outside the Naval Academy in Annapolis, MD, Ryan just happens to get a glimpse of the same woman driving away in a Jeep as drove the getaway car after the attack in London. To cap the coincidences off, Ryan's memory of the woman is jogged when he just happens to accidentally go into the woman's restroom instead of the men's, and notice a woman with similar hair to the woman in the two vehicles.

So, how do you avoid 'Fatal Coincidences'?

· Find where they occur in your screenplay by asking yourself: 'Does this really stand a chance of happening?' If a coincidence makes things too easy for the protagonist, then your audience will likely not accept it.

· Give characters a specific reason for being in the location for the coincidence to occur. Note in Derailedhow Charles had a specific reason and rationale to be at the station (to look for Lucinda at a place he knows she visits) whereas as Ryan was there purely by coincidence.

· Have the character work to be in the situation for the coincidence to occur. The event seems more like preparedness simply meeting opportunity - it had to happen sooner or later. In Derailed, if seems like if Charles looks in enough places, he will eventually run into Lucinda.

· Foreshadow coincidences. Charles had already gone to two already familiar locations and received information that told him something was suspicious about Lucinda's story of who she was. By the third location, we were expecting to see something that answered what Lucinda was up to - and there is was! Make the coincidence seem inevitable.

· Have the coincidence explain something so large that the meaning of the coincidence overshadows the event itself.

Fatal Coincidences really reflect laziness and lack of creativity on behalf of the screenwriter. When you submit your screenplay to an agent or studies, Fatal Coincidences will do exactly that to your script. Avoid them!

Dr. Melvyn P. Heyes is a research scientist who has developed http://www.screenwritingscience.com a site dedicated to the analysis and the Sequence-Scene structure and plots of successful movie scripts to help you write your own screenplay. There you will find Screenplay Summaries of classic and contemporary Hollywood and Independent films to use as Templates and Event Roadmaps.

How to Write a Successful Screenplay by Kal Bishop

2009-07-27T05:12:00.000-07:00

First you have to get your head around the idea that there is really only one story. By that we mean this: every story you have ever seen or read is essentially an alternate situation superimposed, with individual style, over the same structure.

The Godfather (1972), Slumdog Millionaire (2008), Brokeback Mountain (2005), Gladiator (2000), Annie Hall (1977) and every other successful story you have ever seen or read are all one and the same - various situations superimposed over the same structure. Spielberg, Lucas, Scorsese, Coppola, Cameron all use this structure. Shakespeare used this structure. Stories in the Bible, the Vedas, the Torah and the Koran use this structure. You should use this structure.

Second you have to understand what is meant by structure. It is more than simple three or four acts or plot points etc..., it is a consistent, complex process through which your characters are led that results in them resolving their initial challenges. Many people are resistant to the idea that stories are processes because they are influenced by the many creativity myths.

Third, you have to understand, on a very deep level, what that structure is. It is the 510+ stages of the Hero's Journey you need to know about... and, on a macro level, involves:

...Movement through a number of Worlds.

...Transformation from various Devolved Selves to an Ultimate Self.

...Detachment from Older Worlds and Selves and Attachment to Newer Worlds and Selves.

...The Making Explicit of Deficiencies and the Gaining of Capacities.

...The Making Explicit of Challenges and the Laying Out of their Resolution.

...much, much more...

Fourth, you have to become adept with the structure, by superimposing various situations over it. The structure can be literal but it can also be highly metaphoric - it can take time to become flexible with the metaphors.

Fifth, once you have found a situation you are happy with, you develop your story by writing each sequence in your own, individual writing style. Once you have developed the competency, it is not necessarily that difficult: Sylvester Stallone wrote Rocky (1976) in three days, Joe Eszterhas wrote Basic Instinct (1992) in 13 days.

Learn more...

WRITE THAT SCREENPLAY!

The Complete 510+ stage Hero's Journey, Monomyth and other story structure templates can be found at http://www.clickok.co.uk/index4.html/

You will receive a free sample file by entering your email address at this site: http://www.clickok.co.uk/index4.html/

Social Media Changes the Face of Television

2009-07-27T05:10:00.000-07:00

Reality Digital has indicated that the growing and ever changing world of social media and online video sharing is having a dramatic effect on modern television.

Consumption of visual materials is growing through the internet medium, with websites like Youtube and Hulu used for the mass syndication of video content. More advanced sites such as Vimeo are now providing high definition video online, proving that the constant development of video and recording technology is showing no signs of slowing down.

The possibilities that the internet has to offer broadcasters are endless. Many channels are now opting to stream their programmes over the web as well as through TV, meaning that more people are tuning into websites to view their favourite shows rather than watching the programme itself. The catch-up TV video platform is also becoming very popular, as most consumers prefer to have their programmes available, as and when they want to view them.

Social media is directly affecting television content too, with more and more programmes adopting interactive elements for audience participation, through social networks such as facebook and twitter. New programmes are beginning to be formed around the social network, rather than the opposite, showing the dominance of social media over television as a whole.

Source: www.realitydigital.com

Web Site to Become the New Industry Standard in Movie Reviews

2009-07-20T05:29:00.000-07:00

A new industry standard for measuring and understanding movie reviews, Movie Review Intelligence, Inc. announces the launch of www.MovieReviewIntelligence.com, giving moviegoers and industry professionals -- critics, filmmakers, marketers, distributors, exhibitors, and publishing editors -- the most accurate, detailed, and complete picture of movie reviews possible.

MovieReviewIntelligence.com offers commentary, charts, summaries, averages and comparisons in real-time. The company collects movie reviews on a 24-hour basis, analyzing hundreds of reviews each week in meticulous detail, with the goal of providing a new professional standard for measuring and understanding movie reviews.

MovieReviewIntelligence.com collects reviews from over 65 U.S. and Toronto newspapers, magazines, alternative weeklies, NPR and 'At the Movies.' These publications and critics have been selected because they are the most influential and representative of their kind, as measured by the size of their readership and audience, and largely comprise the body of reviews that moviegoers are seeing, reading and hearing.

Proprietary research conducted on behalf of MovieReviewIntelligence.com shows that 81 percent of moviegoers follow movie reviews. This represents 71,485,980 moviegoers who follow reviews.

The following are the key factors that MovieReviewIntelligence.com analyzes:

Positive Review Ratings: A 1 to 100 percent score that reflects the full range of reviews. The ratings are broken down by taste and geographic sub-groups so that moviegoers can understand how a movie appeals to them.

Review Mixture: This is the degree of variance among a movie's reviews.

Coverage, Volume, and Length: These show the size of the reviews.

Review Timing: This is a measure of when a movie's reviews are published.

Review Media Value: This is the estimated dollar value the reviews would be worth if their print space and airtime were bought like advertising.

Harry Potter and the Half-Blood Prince Breaks Records

2009-07-20T05:26:00.000-07:00

Warner Bros. Pictures' "Harry Potter and the Half-Blood Prince" has already shattered two box office records, first breaking the record for a midnight opening with $22.2 million, eclipsing the studio's own record set last year by "The Dark Knight." "Harry Potter and the Half-Blood Prince" then flew past the worldwide opening day box office record: with the domestic gross of $58.18 million and the international totals of $45.85 million combining for an astounding one-day global box office gross of more than $104 million.

Screenplay Writing Tips For the Novice Screenwriter Susan Hart

2009-07-13T05:42:00.000-07:00

The very first thing you must have in your head before you get started is a story. It can be about anything, but the concept must be attention getting or emotional, or action-packed. It can be fiction or non-fiction. After you have your story, write it down. Expand on it until it feels like the people in your screenplay are real. If your story is about an actual event or real people or celebrities, copyright must be cleared. For a new screenwriter, perhaps the best thing is to create an entirely fictional story. Get your title if you can. Now you will have your synopsis or small treatment. This is not set in stone and will surely evolve as you get going.

Secondly, pick a genre. This is important to producers and directors. A genre is a story that is mainly drama, or comedy, or Sci-Fi, etc. There are standard combo genres such as Romantic Comedies, known as RomComs. Decide right away what rating your screenplay will be -- G, PG, PG-13 or R. The pool of buyers for your screenplay will be the largest for a PG-13, so a first time screenwriter may choose that one. A genre and rating have to be picked before a writer puts a word onto the computer. You can change scenes as you go along put the general theme and genre cannot be changed, or else you've put yourself through a heck of a lot of work. Look up what the ratings mean and what can be included in a screenplay with a certain rating.

Thirdly, decide on your length. A drama or comedy are usually ninety pages to one hundred pages. A period piece or action/dramas can be up to one hundred and twenty pages. A screenplay by first time screenwriter should be between ninety and one hundred and twenty pages. A rule of thumb for a screenplay is one minute per page (as opposed to play scripts or musicals which are two minutes a page). If produced in Courier New 12 point type, producers can then judge the length of the screenplay, hence ninety pages is ninety minutes and one hundred and twenty pages is one hundred and twenty minutes. And the margins for a screenplay are 1.5 inches on the left and all others 1 inch. There is a very specific format for a screenplay and this is easy to find if you search around for a few minutes on the WWW.

Fourthly, you may find scenes popping into your head at the oddest moments, so keep an easy to use voice recorder handy and use it safely to record notes. It's also a good idea to carry a notebook and pen around or a small computer that you can jot down ideas on.

Lastly, when the bulk of your screenplay is done be sure and register it (you can do it online) at the Writers' Guild of America website. When you have completed it to your satisfaction, write a one page synopsis of the story, topped by a one sentence logline. If you feel that you have a wonderful story but are lacking in some areas of screenwriting such as scene structure etc., there are a lot of writers out there who may be able to help bring your "baby" to life. And after putting your heart and soul into it, you will truly feel like it's your baby.

Susan Hart is a former literary agent, born in England, with the majority of her clients being screenwriters. After many years of helping others get their work published or up on the big or small screen, she is concentrating on her own writing in the areas of articles (of many kinds), short stories, novels and screen plays plus editing and proofreading, Some samples of her work can be found on her website at: http://www.ifreelance.com/pro/49442

How to Write a Screenplay That Will Get Read by Jay Schillinger

2009-07-06T01:15:00.000-07:00

So you have an idea for a movie? You just know it would be a big hit. All you need now is a good script. You remember that your friend has a buddy who knows someone who once sold a script to Disney. You contact them only to realize that you just don't have the $15,000 necessary to pay this con-artist mid-level Hollywood writer to take on "your baby." What next? Well, if you're like most ambitious, semi-intelligent zealots, you decide to go for it and just write the thing yourself! After all, how hard can it be? If Quentin Tarantino can do it, why can't you?

Congratulations! You're on your way. As Confucius once said, "beginning is half done." And I must say the only feeling better than finishing your first script is selling your first script. I still have the voice mail saved on my phone when I got that call that a production company wanted to buy my script.

So, you Google screenplays and decide to read a few great scripts ("Good Will Hunting," "Rocky," etc.). You get the basic formatting... and you're ready to go... or so you think. And this is where the trouble begins:

FADE IN:

Most scripts never get read beyond the first ten pages. I can't tell you how many times I've seen readers stop reading a script almost before they've begun. Why? Because these readers have 1,000,000 scripts behind yours to read. If they don't understand where your story is going or what it's about by the first 10-pages, they're simply going to assume the rest of the story is just as confusing; and stop reading. Thus, it is imperative that within those first 10-pages of your script, the reader knows (1) what your story is about (2) who your lead actor(s) are and (3) the who, what, where, when and why and how's of your story. SPEND AS MUCH TIME ON THESE FIRST 10-PAGES AS NECESSARY TO ENSURE THE REST OF YOUR SCRIPT GETS READ!

Read the script out loud. To yourself. To friends. To strangers. To anyone who will listen. Then, have them tell you where they think the story's going. Have them share their thoughts. Input at this stage is crucial.

One of my favorite scripts is titled, "Big Bear." It's about a group of 20-something friends that take a trip to Big Bear, California. I loved this script and it was my first attempt at writing a comedy. Even though I would laugh every time I read it, the moment I had a group of friends read it out loud - I realized just how not-funny it was. This made me go back in and perform a major overhaul of the project. It's so important to do this. Scripts are not written - they're rewritten.

Now, before I go any further, I will admit that I do realize there is no "one-way" to write a great screenplay. I'm simply giving you the guidelines that work for 99.9% of the people out there. There are always exceptions to the rule. If that's you, great! No need to read on. If not... keep going. You're well on our way!

"A great rule of thumb is one-page per minute of script. Thus, a 90-page script translates into a 90-minute movie. And 90-minutes is the perfect length. How many times have you found yourself looking at your watch or waiting for the movie to get to the big climax? This is the fault of overly-wordy writers who tend to go on and on and on when all they should really be doing is getting to the end! We want our hero to live... we generally know they're going to anyway. We want our couple to fall in love... we generally know they're going to anyway. Stop dragging this on and let us have our satisfaction!"

You've now written 10 great pages. Your story is kicking in. At this point, everything is taking us to the end of Act 1. And where is the end of Act 1? Right about at page 30.

I was at ShoWest in Las Vegas listening to Gus Van Sant, Director of "Good Will Hunting" speak about that incredible screenplay. He said that after reading that story, he went back and circled the pages where the Act's broke. Act 1 was (literally) page 30. Midpoint was (literally) page 60. Act II was (literally) page 90. An incredible script.

Your Act I doesn't have to be at exactly page 30, but if it's not, it's generally a sign that you're dragging on a story point and beginning to bore your audience or reader. Or vice versa; you're not giving the audience enough information. Thus, if not page 30, it should be close to it.

So what happens at the end of Act I? That's up to you to decide. But whatever it is, it should throw your story into the second - and longest Act - Act II.

This could be...
- the girl gets kidnapped
- the boy realizes he loves the lowly waitress (and not the popular cheerleader)
- the code to the nuclear bombs have been stolen

It's endless. But whatever it is, we're now into the meat of our story! Fun, fun, fun!

Act II is, in my opinion, where most stories tend to drag down the entire film since it's the longest portion of the script; generally beginning at page 30 and running to page 75-90(ish). This is the meat of your story. Where the boy hunts down the killer. Where our character begins to develop and we see his/her arc unfold. EVERYTHING THAT HAPPENS IN ACT II PREPARES US FOR THE CLIMATIC ENDING (ACT III).

Act II is where it just doesn't seem like it's going to happen... yet somehow, our story continues. It's here where you really need to introduce a few solid "beats." "Beats" are those moments that people talk about once the movie's over.

Staying on "Good Will Hunting," my favorite "beat" was the scene where Sean Maguire (played by Robin Williams) is lecturing Will (Matt Damon) on the importance of life's lessons. He explains that while Will could give him a diatribe on Michelangelo, he couldn't begin to tell him what it smells like in the Sistine Chapel.

This scene is powerful in that it showed Will (and the audience) the importance of living life. Exactly what Will needed at this time in his life of denial. It's a scene that sticks with you long after the movie's over. I love good "beats."

And, coincidentally, that scene was written at exactly Page 60 (midpoint).

Every good movie has two or three "beats." The great ones have more.

And now, we're on to Act III. The conclusion. This is the action-packed chase scene where the hero finally gets the villain. Where the boy kisses the girl and finally tells her he loves her. Where the nukes are finally back in the hands of the good guys.

Act III is no fluff. EVERY WORD must pull you forward. EVERY WORD must take you to the end. Act III has them on the edge of their seats. No more beating around the bush. This is in-your-face-storytelling. At it's best.

And then...

ROLL END CREDITS... and wait for the applause.

In Summary:

Pages 1-10: Who, what, where, when, why, how
Page 30: End of Act I
Page 60: Midpoint
Page 90: End of Act II
Page 120: End of Act III

The above really is just the tip of the iceberg. But if you follow that simple structure, you'll be heads and shoulders above those other 1,000,000 writers out there just hoping to have their screenplay turned into the next summer blockbuster.

FADE OUT.

Jay Schillinger is a scriptwriter and owner of NorthCoast Productions; an HD Production and Media Marketing company based in Green Bay, Wisconsin. He can be contacted at jay@northcoastpro.com. By only taking on a few clients at a time, he can ensure he gives his full attention to each story. Having written over 13 screenplays, Jay's love for great storytelling is endless.

In addition to working for The Walt Disney Studios for eight years, Jay started the independent distribution company Bouquet Pictures Distribution.

Writing Your Screenplay - Show Don't Tell by Susan Hart

2009-07-03T10:16:00.000-07:00

As you sit down every day to work on your screenplay, the foremost thought in your mind should be -- write what is to be seen on the screen. There is no point in putting down "Her inner turmoil reminded her of a lost childhood". All that's needed is "She looks at the old photo and starts to sob".

Write your screenplay as if you are in the audience, watching the movie. Every word in a script should advance the story. There's no need to add fluff. If the storyline is not viable and complete, then the screenplay won't fly.

When I write a screenplay I usually see scenes whole, like little vignettes. They could have been inspired by things I've observed, or remembered. Once the main story is down, properly formatted as you go along (and you don't need expensive screenwriting programs to get started), then you can grab other scenes and ideas and plot points from your everyday life and add those to the people and places in your story.

It's best to have a story idea in mind before your start, or else you may get part of the way through the screenplay and get stopped. Scenes can come to you by sight or sound or photos, or even smells. When you are writing a screenplay open up your mind and let the ideas flow.

I've found that a drama or comedy screenplay is best at ninety to one hundred pages and an action or adventure or Sci-Fi screenplay turns out great at one hundred and twenty pages, or two hours of screen time. If you are great at stories but not so great at spelling or editing or grammar, then there are writers and editors out there who can help.

Remember, the play's the thing (according to Shakespeare!)

Susan Hart is a former literary agent, born in England, with the majority of her clients being screenwriters. After many years of helping others get their work published or up on the big or small screen, she is concentrating on her own writing in the areas of articles (of many kinds), short stories, novels and screenplays plus editing and proofreading, Some samples of her work can be found on her website at: http://www.ifreelance.com/pro/49442

Outline For a Screenplay - Writing an Outline For a Hollywood Screenplay by Melody Jackson

2009-06-29T06:19:00.000-07:00

Writing a screenplay is a very complex process and will end up as a 100+ page document. So before you write it, it is very helpful to create a blueprint of what you are going to write, starting first with a treatment, and then writing the outline. You should first create a treatment of your story and work that out. (See related article.) Once you have the treatment worked out, then you could write the outline.

An outline should contain heading for every scene in your script. It doesn't have to have all the establishing shots yet, but it should outline and note every major scene that will happen. You would format the scene headings properly and essentially be creating the skeleton of your script, but doesn't yet include all the details.

The outline will contain the actual scene headings and it will also have lines of description that will be in the final script.

It can also have some dialogue in it, but only in places where it is easier to write the dialogue of a character than to describe what they do and say.

The outline will lay out where things will go, more for structure purpose. You also can put in "placeholders." So, for example, you might put in a scene heading and then beneath it, write: "This is where Veronica will listen to the phone messages and discover that Blake has been seeing someone else." That would be considered a placeholder for that scene that you will come back and flesh out later.

If you likened the outline to building a house, you could think of the outline as being the architect's blueprint and the contractor's foundation with the support beams. The treatment is more like a full-color sketch of the interior of the house, while the outline is the foundation and support beams and walls and so on.

With the outline, you are getting the pieces in place that are important to the story, but it doesn't have the feel of the "house" or the screenplay yet.

An outline is more of a work in progress developing into the screenplay just like a house being built, while the treatment is a story that is whole and complete in and of itself. You could think of the treatment as a miniature or scale model of the whole thing.

An outline can be anywhere from 7 to 30 pages. Single-spaced within the paragraphs with a double space between paragraphs. Use a 12-point font that is easy to read (Arial, Courier, Times New Roman).

Melody Jackson, Ph.D., is the founder of Smart Girls Productions, a Hollywood Marketing Company supporting Screenwriters in moving their careers forward. If you are ready to jump-start your career, increase your confidence, and have more fun pursuing Hollywood success, get "Plugged In" at http://www.QueryLetterMailings.com Also get your FREE REPORT on "The Top 20 Literary Agents In Hollywood," along with Hot Tips on Marketing Yourself To Hollywood. Melody has critiqued thousands of screenplays in depth and was rated a Top 5 Script Consultant in the country by Creative Screenwriting Magazine. Go to http://www.ScriptCritiques.com for more information on marketing to Hollywood.

Using Theme to Develop Screenplay Structure - A Thematic and Structural Analysis of Drag Me to Hell by Jacob Krueger

2009-06-22T07:38:00.000-07:00

One of the most common questions that come up for screenwriting students is about how to use theme to help develop the structure of your movie. The film "Drag Me To Hell" provides a great example of masterful writers (Sam and Ivan Raimi) using theme to craft a profound journey for their protagonist, within a fun, entertaining and highly commercial aesthetic.

Spoiler alert: If you haven't watched this movie yet, this might be a good time to dash out and see it. Then come on back and read all about it...

The theme of "Drag Me To Hell" is pretty simple: selfish desire leads to the soul's destruction. The film begins with a woman who is genuinely good. And step by step, the structure of the film quite literally drags her to hell- not just through the terrible curse that she must contend with, but by causing her to make such immoral choices in her attempts to escape it that by the time it's all over, she just about deserves her fate.

When we first meet Christine Brown, she is pure heaven. She's sweet. She's kind. She loves animals, and she cares about others. The first time we see her, she's delivering good news to a nice young couple- she's made it work for them to get the mortgage they need. Everyone is so happy.

And it's just the beginning of the movie. So we know we're in trouble.

Unfortunately for Christine, there's something that she wants very badly- a promotion to be assistant manager at the bank. And her chauvinistic boss doesn't think she's tough enough to deserve it.

Uh oh.

Characters develop when we test their convictions, so the Raimis come up with a scene to do just that. "Oh, you're really so good? Let's see what happens when you have to choose between repossessing the home of a helpless old gypsy woman, and losing your only shot at that job you want so badly."

What choice do you think she makes?

Selfish desire.

So, even when the old woman prostrates herself before Christine, begging for mercy, Christine still doesn't budge. She wants that promotion. So bad she can taste it. And she's willing to do something she knows is wrong to get it.

Next thing you know, she's cursed. A demon is coming for her soul, and she's got three days to stop it.

In her attempt to escape, Christine will violate almost every ethical code she once held. She will repeatedly deny responsibility for her actions (even during the seance in which they attempt to cast out the demon), lie about her decision to repossess the old woman's home, and instead lay the blame on her boss.

She will slaughter her cute little kitten in an attempt to appease the demon's lust for her soul (so much for volunteering at animal shelters).

She will even come close to murder (or worse), as she attempts to pass the curse on to some other victim instead (by re-gifting the button which marks her as the demon's target).

Why? Because ultimately she wants to escape the curse more than she wants to uphold her values. Just like she wanted to get the promotion (and escape the "curse" of her unfair work environment) more than she wanted to show mercy to the old woman.

Of course, in a fair world, Christine wouldn't have to sin. That's what is so great about the structure of this screenplay. Her dominant trait is her KINDNESS. It's only the unfairness of the world- the unfair job, the unfair curse- the sheer horror of it all, that forces Christine to choose between her desire and her morality. That's how the writers test who she is, and force her to change.

Unfortunately, Christine repeatedly fails the test, slowly but surely letting go of what is good about her, and dragging herself to hell in the process.

And even when she decides not to re-gift the button to an innocent stranger, Christine does not fully recapture her morality. She doesn't sit at the grave of the old woman, admit her wrongdoing and beg forgiveness of her spirit. Instead, she tries to condemn the soul of the woman she wronged, by re-gifting the button to her dead corpse. In the process, she also desecrates the old woman's grave and commits the same sin her palm reader first assumed she might have committed- speaking ill of the dead in a cemetery).

Having come to this false victory by re-gifting the envelope she believes to contain the button to the old woman's corpse, Christine thinks she has solved her problem. But she hasn't. And not because of the mix up with the envelopes. Because she still cares more about herself than she does about those around her.

Selfish Desire.

So even though Christine (after she thinks she's gotten EVERYTHING she desires) ultimately confides to her boyfriend that she was the one who chose to repossess the woman's house, and that this was the wrong thing to do. When her selfish desire is tested one last time, she makes the same mistake all over again.

There is her boyfriend, standing with the button in his hand, and presumably damned to hell because of it. Does Christine try to snatch the button from him? Does she risk her life to save his?

No, she tries to escape, once again. Tumbles into the train tracks. And is carried off to hell.

Selfish desire.

It's not the curse that damns Christine, it's her decisions.

And it's not the button that determines her boyfriend's salvation. It's the choices he makes.

Time and again, his desires are tested as well. And time and again, he does what is right, even when it means not getting what he wants. He makes the selfless choice for the love of Christine- agreeing to the palm reading, refusing the demands of his parents, giving her 10,000 dollars to see a spiritual advisor he doesn't even believe in. He does all of this without even believing that Christine is haunted, and without thought of gain for himself. He does it because he loves her.

His morality remains intact, because his love is stronger than his selfish desire.

Hers does not, because her selfish desire is stronger than her love.

And the structure of the screenplay works because it tests them both, establishing their dominant traits, and then forcing both characters to grapple with the theme, by making active choices that drive the story and ultimately bring about their own salvation or their own destruction.

Have a question about screenwriting?

Ask award-winning screenwriter Jacob Krueger, and your question could be featured in an article like this one. You can email Jacob at jake@screenwritersmind.com.

For more information about screenwriting, or to find out more about Jacob's screenwriting classes in the New York City Area, please visit his website: http://www.screenwritersmind.com/

Copyright (C) Jacob Krueger 2009

Palms for Life Fund Launches Young Filmmakers' Competition to Document Hunger in the United States

2009-06-15T07:17:00.000-07:00

A new national film contest, Faces of Hunger in America, will award prizes to young filmmakers, 25 years of age and under, who document in their own communities the increasingly widespread problem of hunger in America. The top three winners will receive cash prizes of $5,000, $3,500 and $1,500; they will get exposure to a vast audience in a full-length compilation of the prize-winning works.

"Over 36 million Americans are living in food insecurity - 12.4 million being children - and we want to bring this alarming reality to the attention of the public and the nation's leaders," says Hannah Laufer-Rottman, Executive Director and founder of Palms for Life Fund (*), the main sponsor of the contest.

Laufer-Rottman, who retired from the United Nations' World Food Programme after 30 years, says the effects of domestic hunger are just as pressing as the epidemic of hunger and poverty on a global level. "Everyone knows what hunger looks like in third world countries, but the effects of hunger here are quite different. Obesity, malnutrition, physical/mental impairments...are all effects of hunger. When people are unable to access consistently sustainable amounts of food for a healthy life, society suffers as a whole."

Young filmmakers will be able to upload their entries online, where the public will partake in the first round of voting beginning October 16th, World Food Day. "By empowering the public to vote for their favorite films, we are ensuring that the films get viewed and the problem is exposed. Change begins with awareness," says Project Manager, Sandra Ciccone.

Finalists will be judged on the clear conveyance of the message, creativity, impact and overall quality of the work.

To find out more about the competition, please visit the official website: http://www.facesofhunger.org and register for the mailing list if you are interested in participating in the contest.

The Myth of Three Act Screenplay Structure (Or, Why Am I Lost in My Second Act?) Jacob Krueger

2009-06-08T04:49:00.000-07:00

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. The plot starts to feel external, manufactured, predictable or diffuse. The ideas just aren't coming anymore. Or you find yourself spinning off in all kinds of directions that take you away from your main character and the story you were telling.

This is a common malady. It's called "getting lost in the second act." And it's killed more good screenplays than any Hollywood big shot.

That's why I came up with Seven Act Structure.

Seven Act Structure is not for producers. It's not for critics, or professors, or development executives.

Seven Act Structure is for writers.

To understand Seven Act Structure, you need to start by understanding the idea of an act.

An Act Is Not Just About Plot

That's because great movies are about much more than plot. They're about interesting characters going on profound journeys that change them forever.

Think about any movie you've loved and you'll know this is true. The details of the plot get fuzzy with time, but those powerful moments stay with you forever.

So rather than thinking of an act as something you "fill" with plot, I'd like to encourage you to think of it as a way of tracking the journey your character is undertaking, and the way that journey is forever changing your character.

Each Act Is Just A Step In Your Character's Change

People don't change easily, and your character shouldn't either. Take a moment to think about what it would take to make you completely change your own life, how many fears you'd have to overcome, and how many challenges you'd have to face, and you'll have a taste of the kind of resistance your character is fighting. Structure evolves as a way of pushing your character toward a profound change-- whether he or she wants it or not.

So as you develop your structure, you can think of each act as one small step in the radical change your character is undergoing.

When you begin to think of an act in this way, one thing will jump out at you pretty quickly.

Trying to use three act structure to create a film means you are trying to take a character through the most profound journey in his or her life in only THREE STEPS.

That's 30-60 pages per step.

And that's a lot of pages!

No wonder writers tend to get lost in the second act!

Seven Act Structure is a new way of looking at structure from a character's perspective, allowing you to break down the character's change into manageable chunks, and to give yourself a structure you can actually use.

Because of the unique "engine" built into the structure, it's impossible to run out of steam. It keeps your focus where it should be, on your main character.

And best of all, it lines up perfectly with a studio's "three act" expectations, so the Hollywood big shots will never know the difference.

copyright (c) Jacob Krueger 2009

Curious About Seven Act Structure?

Take a class or workshop with Award-Winning Screenwriter Jacob Krueger, and learn the ins and outs of the seven act screenplay among a supportive community of writers just like you.

All classes are held in the New York City Area.

More Information:

Web: http://www.jacobkrueger.com
Phone: 917-464-3594

Happy Writing!

Jacob Krueger

For Screenwriters - What If My Writing Isn't Good? How to Combat the Emily Dickinson Syndrome by Jacob Krueger

2009-05-25T04:43:00.000-07:00

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:

"What if it isn't GOOD?"

I think we can all imagine his horror-- the kind of horror only a writer can feel, after pouring everything you've got into something that may not turn out to be what you dreamed it would be.

The horror of not knowing. And possibly, not wanting to know...

This is what I like to call the "Emily Dickinson Syndrome"-- the urge to hide your writing away where you can never find out what's good or bad about it.

It's the same urge that keeps writers from finishing some of their best projects, for fear of not living up to their own expectations.

It's that same little voice in your head that comes up with the excuse just when you're ready to sit down to write, sign up for a writing class, or get your script out to an agent or producer.

It's the fear of being judged as NOT GOOD ENOUGH.

Let me say this loud and clear:

In order to write well. You have to be willing to write badly. And you've got to be willing to show your work, not always knowing how people are going to respond.

Writing is a lot like mining. It's hard work. You can't always see where you're going. You've got to sort through a lot of stuff. And most of it's not gold.

But if you don't bring it up to the surface where others can see it, you'll never know what you have.

Becoming a great writer is not about having some kind of secret blessing that other people are missing. It's about generating as many pages as you can, and getting really good at noticing the flashes of brilliance within them.

As you become more skilled at excavation, you'll learn how to follow these unpolished nuggets and shimmering dust until you find the big vein of gold you're really looking for. That's the moment when your script suddenly seems to be writing itself.

You've just got to be willing to do a lot of digging to get there.

And every once in awhile, you've got to take a step back from the process, come up for air, and check out what you've got.

The question is, where will you surface?

To really know if your writing is working, you've got to show it to people who know what they're talking about.

To the untrained eye, gold doesn't look a lot like gold. In fact, it looks a lot more like rock. But when it's polished, shined, hammered, and shaped, its value is unmistakable.

Don't get your initial feedback from just anybody. Get it from someone who's at least as good an excavator as your are. Take a class. Find a professional. Or you may end up throwing out your best scenes, simply because they're not yet polished enough for a layman's eyes.

ABOUT JACOB KRUEGER: Jacob's writing includes the screenplay for "The Matthew Shepard Story," which won the Writers Guild of America Paul Selvin Award, earned Stockard Channing an Emmy for Best Actress, and was nominated a Gemini Award for Best Screenplay. He is also a critically acclaimed director and creative coach.

copyright (c) 2009 Jacob Krueger

Ready To Take The Next Step?

Ready to come up to the surface? Sign up for a Screenwriting Workshop or Master Class with Jacob Krueger today and learn the skills you need to mine for the good stuff, in a supportive community of writers just like you.

More Information:
Web: http://www.jacobkrueger.com/

Screenplay Formula, Treatment, Template - Star Trek (2009) by Kal Bishop

2009-05-24T04:33:00.000-07:00

Star Trek (2009) is a classic example of the 510+ stage Hero's Journey (Monomyth) screen and story writing pattern; this film doesn't stray far from the template at all. Examples include:

a) Hero Parent Death. Kirk's father dies at the hands of Nero's machinations and to save the lives of others. It is normal for the Hero's Parent to perish in the Original World, specifically, within a certain part of the Original World and, specifically, in a certain manner and, further, at the hands of the Greater Antagonism.

b) The Hero passes through a variety of Worlds before we encounter the Devolved Self in the Ordinary World. This film touches on some of the aspects of the Hero's passage through the Exterior and the Another Worlds, where the Hero's Superior Capacities are made explicit - in this story, we are exposed to Kirk's prowess in the car and his evasion of the robot cop.

c) Spock and Kirk play each others' Peer Brother Archetype. The normal passage is for the Hero to eclipse the Peer Brother, but here they play dual archetypal roles of Peer Brother and Supernatural Aid, and converge in ACT III rather than diverge.

d) The Romantic Challenge (Uhura) plays the Ordinary World and New World Romantic Challenge; she is polarised at the start of the story and seized (Bride Theft, Seizing the Sword) at the correct stage.

e) Pike plays the Original World Supernatural Aid as well as the Edge of the Ordinary World Supernatural Aid, both exactly to template.

Learn more...

WRITE THAT SCREENPLAY!

The Complete 510+ stage Hero's Journey, Monomyth and other story structure templates can be found at http://www.clickok.co.uk/index4.html/

Image comparisons and a free sample file also at this site: http://www.clickok.co.uk/index4.html

Kal Bishop, MBA

Kill Your Outline - A Screenwriter's Guide to Discovering Your Character by Jacob Krueger

2009-05-22T04:57:00.000-07:00

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.

At the beginning of the process there's only one thing that's important: the profound journey your character is undertaking and the irrevocable changes in your character's life that go along with it.

Thematic ideas are not something you impose on your script. They're something you discover as you get to know your character. Story structure is not something you plot out before you've written a single word, it's something that reveals itself to you as your character's journey unfolds.

Until you figure out your character's journey, exposition will only slow your movie down, no matter how profound, exciting, or psychologically fascinating your character's past may be.

"But what about my outline?" you may be thinking. "I already know my character's journey!"

No way. Not likely.

If you think you already know your character's journey before you even sit down to write your character, it's probably not a very profound journey. How could it be? You don't even know who your character is yet! In fact, if you can predict your character's journey before you even start writing, the chances are the audience can too.

What could be more boring? Not only for the audience, but for you as a writer.

Your outline may make you feel safe, but great writing is not about painting by numbers. It's about stepping into your character, and taking a profound journey with her.

Kill your outline. Get to know your character.

Decide out what she wants more than anything, and enjoy coming up with the most exciting, challenging, and inventive ways you can to make it hard for her to get it. Ask yourself, what's the best or the worst thing that could happen at this moment? And see how your character reacts when it does.

Forget about exposition or setting up things for the audience. You'll have plenty of time for that later. For now, just let your character be herself, say what she would say in the situation, and do what she would do.

Forget about how it all fits together or what it all means. Instead just follow your character as she strives to get what she wants against impossible odds. Notice her specific behaviors. How she talks and acts differently than anyone else in the world. How she responds to things in unexpected ways. Notice how your dialogue suddenly feels more real and your characters actions more motivated and specific.

Notice how your character's journey reveals itself to you.

Notice how a big surprise you never saw coming seems to bubble up from nowhere, and actually surprises you.

Of course, this is only the first step. There will come a time when you do need to focus on your audience. When you need to set things up and pay things off, layer in theme, and hone your structure.

But not right now. Right now is the time to keep your focus on what's really important.

Trust your character.

Kill your outline.

ABOUT JACOB KRUEGER: Jacob's writing includes the screenplay for "The Matthew Shepard Story," which won the Writers Guild of America Paul Selvin Award, earned Stockard Channing an Emmy for Best Actress, and was nominated a Gemini Award for Best Screenplay. He is also a critically acclaimed director and creative coach.
Copyright (c) 2009 Jacob Krueger
Ready To Take The Next Step?

Sign up for a Screenwriting Workshop or Master Class with Jacob Krueger today and learn a new approach to screenwriting, in a supportive community of writers just like you.

More Information:
Web: http://www.jacobkrueger.com

Orlando Hispanic Film Festival 2009 Call for Entries

2009-05-18T04:53:00.000-07:00

The Orlando Hispanic Film Festival (OHFF) announced a call for entries for their 2009 Hispanic Film Festival held September 16th-20th.

The festival is open to US and foreign films in five categories: Features, Shorts, Documentaries, Short Documentaries, and 3-D Animated Shorts. To be eligible, the film must include at least one cast or crew member of Hispanic descent or have a film with Hispanic-themed subject matter. All films submitted must be in the NTSC format, DVD-R, or VHS and meet the length duration requirements. Films submitted in Spanish are strongly recommended to have English subtitles and films in English, Spanish subtitles.

For further details about submitting your entry and deadline and fees, log onto the website at http://www.ohfilmfestival.com/. To submit your entry online go to WithoutABox at https://www.withoutabox.com/login/6177 or review the website for mailing information.

The 3rd Orlando Hispanic Film Festival is partnering with the Florida Media Market, a membership-based organization whose goal is to educate and build a platform where independent film & media makers meet with international buyers, distributors and production companies to buy, sell and network.

The Orlando Hispanic Film Festival is a competitive independent film festival and platform that recognizes Hispanic-cultured independent filmmakers from around the world.

The Future of Hollywood Success Rests in the Hands of the Writers of the Future

2009-05-17T04:23:00.000-07:00

With nine out of the top ten grossing movies of all time being speculative fiction--science fiction and fantasy--its no wonder that Hollywood's future is seen to reside with the writers of science fiction and fantasy, or more specifically the winners of the Writers of the Future Contest according to Dave Wolverton, screenwriter, NYT bestselling author and Writers of the Future Contest judge.

"The mentality is simple in Hollywood: if it makes money, you do it. And if it keeps making money, you keep doing it," says Wolverton from his home in Saint George, UT. "And for reasons that are very simple, science fiction and fantasy have proven time and again to be huge money makers." The top ten grossing movies of all time include from #10 up: Lord of the Rings - The Return of the King, Star Wars - Episode III, Spider Man, Pirates of the Caribbean - Dead Man's Chest, Star Wars - Episode I, Extra Terrestrial, Shrek 2, Star Wars, The Dark Knight and Titanic - and nine of these are science fiction or fantasy.

"All of the top-grossing movies of all time have one thing in common," Wolverton says. "They all take the viewer to another time, another place. People crave to be transported out of the mundane world into a place that is new and wondrous, and that is what speculative fiction does best."

Wolverton was the grand prize winner of the L. Ron Hubbard Presents Writers of the Future Contest in 1987 and has since gone on to publish over thirty novels, with several becoming NYT bestsellers. Due to his success, he later became a contest judge, a video game designer, and now has branched off into screenwriting.

With all this diverse experience now to his credit, Wolverton observed, "L. Ron Hubbard was a very prolific fiction writer during the 30s and 40s, and wrote several works that are classics in their field. Based on this success, he moved on to Hollywood. He worked as a writer for Columbia Pictures for the highly successful movie serial The Secret of Treasure Island and The Great Adventures of Wild Bill Hickok. And for Warner Bros., he worked with Norvell Page scripting The Spider Returns. So I find it very interesting that he created the Writers of the Future Contest, and that the legacy continues with writers like myself who are providing more material to feed Hollywood's voracious appetite for science fiction and fantasy."

Writers of the Future, now in its 25th year, is the world's largest and most recognized merit competition for writers of speculative fiction. Its over 250 winners have gone on to publish over 300 novels and 3,000 short stories. The latest edition, Writers of the Future Volume 24, showcases our latest stable of winners and can be found in Barnes & Noble, Borders, Walmart and Amazon.com.

Website: http://www.writersofthefuture.com

Second Annual Documentary Film Festival May 15-17

2009-05-15T04:52:00.000-07:00

The Embassy of Brazil in Washington, D.C., in collaboration with the Smithsonian Latino Center, will present its second annual Documentary Film Festival from Friday, May 15 through Sunday, May 17.

The festival, titled "II Reel Time Brazil", will feature three documentaries making their U.S. premier, as well as two documentaries making a D.C. premier. All documentary screenings during the festival are free and open to the public.

This year's five featured films illuminate Brazilian culture through stories of Brazilian poets, singers, songwriters and icons. The Brazilian Embassy has once again invited film directors and special guests from each film to speak with audiences about their experience in making the films.

This year's array of films includes:

Palavra (En)cantada (The Enchanted Word), a documentary that weaves together performances and interviews with singers, songwriters and poets to reflect the interplay between these art forms. Winner of the Best Documentary award at the 2008 Rio de Janeiro International Film Festival.

Pan-Cinema Permanente (Permanent Pan-Cinema), the winner of the 2008 "It's All True" Documentary Film Festival award, about the late poet Waly Salamao.
Panair do Brasil (Panair do Brasil), a film that revives the incredible story of the most important Brazilian commercial aviation company, whose history is intimately linked with Brazil's economic development and progress.

So Dez Por Cento e Mentira (Only Ten Percent is a Lie), a film that paints a revealing portrait of Manoel de Barros, one of Brazil's best-selling poets and winner of several literary awards.
Simonal - Ninguem Sabe O Duro que Dei (Simonal - No One Knows How Tough It Was), a film that provides answers to long-standing questions of the sudden disappearance of Wilson Simonal, one of the most successful popular singers in Brazil.

The opening night film will be presented at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. All other documentaries will be shown at the Greenberg Theater, on Wisconsin Avenue, NW.

This is the first year that the Embassy of Brazil in Washington, D.C. has teamed with The Smithsonian Latino Center for its annual documentary film festival. The research center is devoted to celebrating Latino culture, spirit, and achievement in America and advancing the knowledge of Latino contributions.

TO ATTEND:

Seats are on a first come, first served basis, and there is no need to purchase tickets for any of the shows in the series. The Hirshhorn Museum is located on Independence Avenue at Seventh Street SW. It is in close proximity to L'Enfant Plaza Metro station, on the Blue Line. The Greenberg Theater is located at 4200 Wisconsin Ave, NW, at the corner of Van Ness St. It is in close proximity to the Tenleytown/AU Metro station, on the Red Line.

The schedule of films is as follows:

"II Reel Time Brazil - a Documentary Film Week" Show Schedule

Friday, May 15

7:00 p.m. - 8:30p.m. The Enchanted Word (Palavra (En)cantada)

Ring Auditorium, Hirshhorn Museum lower level.

Saturday, May 16

4:00 p.m. - 5:30 p.m. Permanent Pan-Cinema (Pan-Cinema Permanente)

Greenberg Theater

6:00 p.m. - 7:15 p.m. Panair do Brasil (Panair do Brasil)

Greenberg Theater

Sunday, May 17

4:00 p.m. - 5:30 p.m. Only Ten Percent is a Lie (So Dez Por Cento e Mentira)

Greenberg Theater

6:00 p.m. - 7:30 p.m. Simonal - No One Knows How Tough It Was (Simonal - Ninguem Sabe O Duro que Dei)

Greenberg Theater

Build a Screenplay from the Ground Up by Kal Bishop

2009-05-11T04:10:00.000-07:00

Use the Hero's Journey

The Hero's Journey is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon – understanding this template is a priority for story or screenwriters.

The Hero's Journey:

* Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.

* Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.

* Interpreted metaphorically, laterally and symbolically, allows an infinite number of varied stories to be created.

The Hero's Journey is also a study of repeating patterns in successful stories and screenplays. It is compelling that screenwriters have a higher probability of producing quality work when they mirror the recurring patterns found in successful screenplays.

Use Structure

Structure in its many forms, increases the quantity and quality of creative output. The golden rule is that originality emerges from structure:

a) Short term goals (incremental productivity) produce more output than a "do your best" approach. With specific regard to creative writing, writing four pages a day completes a words-on-paper first draft screenplay in one month. A "do your best" or "waiting for inspiration" approach can take months or years. Witness the untold number of people with unfinished manuscripts under their beds.

b) Simply being prolific improves performance and quality. The single best creative product tends to appear at that point in the career when the creator is being most prolific.

c) Simply being prolific improves performance and quality. The single best creative product tends to appear at that point in the career when the creator is being most prolific.

d) Structure helps clearly identify complex problems and triggers incubation. Problems incubate until answers become apparent. Incubation tends to result in richer insights.

e) Engagement increases the incidence and frequency of problem identification and thus the incidence and frequency of insight.

Creativity and Time Pressure

There are two contrary arguments: a) time pressure stimulates creativity and b) time pressure reduces creativity. Both are true.

There are a number of forces at work:

Time pressure increases creative output. By forcing idea production, setting goals and incremental deadlines, a greater number of ideas are produced than if a “do your best” approach is taken. If a leader asks participants in an idea generating session to address a problem and think of at least 5 ideas every half an hour, then 80 ideas are produced by one individual and 1600 are produced by 20 individuals at the end of an average working day. This level of output is conscious and would not be produced normally.

Time pressure encourages prolific production and therefore the probability of generating good ideas increases. It can be said with great confidence that quality of output is closely related to quantity. The best single creative product tends to appear at that point in the career when the creator is being most prolific.

Forcing output pushes individuals along the experience curve, refines their methodology, builds competencies and knowledge and improves performance. Screenwriters know that they are likely to produce more, better quality work faster if they set themselves a schedule of a certain number of pages per day.

Motivation is critical to creativity. If a person is intrinsically motivated, time pressure may be a synergistic extrinsic motivator. If the person is not intrinsically motivated then it may turn out to be a non-synergistic extrinsic motivator, which reduces the level of engagement in the endeavour.

Short-term time pressure can be negative in that it does not allow the mind to engage in the endeavour at various cognitive levels. It does not allow rich ideas to formulate through the process of incubation. Intrinsically motivated individuals will benefit from short term time pressure and goals (sets cognitive forces in motion) and will generate richer ideas through incubation over the longer term.

Academy Award Winner Best Film uses The Hero's Journey

The following SUMMARY uses Million Dollar Baby - Academy Award Winner Best Film 2005 as an example. It should be noted that there are two heroes in this story, a) Maggie and b) Frankie:

Call to Adventure - where the hero is pushed to resolve a challenge. Maggie needs to escape her White Trash roots and Frankie needs to resolve issues concerning his daughter.

Refusal of the Call - where there is refusal, resistance, warning and foreboding. Frankie refuses to train Maggie.

The Supernatural Aid - where a mentor encourages the hero along the path. Eddie (Morgan Freeman) begins to help Maggie with her training and simultaneously guides Frankie towards her. As is usual, the supernatural aid has a challenge of his own (Danger Barch).

First Threshold - where a point of no return is crossed. Maggie persists in the gym. There is no dissuading her or going back for her.

Physical Separation (Belly of the Whale) - where the hero physically separates from his Old World and heads into the Transformation. Willie leaves Frankie, who has little else to do but train Maggie.

Transformation (Road of Trials) - where the hero significantly, but not completely, transforms. Maggie becomes a professional boxer.

The Ideal and the Seizing of the Sword - where the hero faces a difficult choice and journey to (often) the heart of the antagonism. Maggie buys her family a house and Frank takes on the role of father.

Rebirth Through Death - where the Hero is reborn. Eddie saves Danger Barch from the gym bully; Maggie doesn't know what to do about the bear.

Atonement with the Father - where the hero confronts the obstacle to the apotheosis. Maggie loses to the blue Bear.

Apotheosis - where the hero has the illumination. Maggie should have listened to Frank and protected herself.

Ultimate Boon - both hero and heroine get a family.

Refusal of the Return - where the hero is repulsed by his Old Self or, on a practical level, there is refusal on some level. Frankie refuses to go back to the gym.

Magic Flight - where the hero attempts to escape from the antagonism or, for some reason, is unable to confront it. Frankie takes Maggie away and attempts to find doctors who can reverse the situation.

Rescue for Without - where the hero is pulled back toward his or her challenges. Maggie's family return; Frankie wants to replace them and resists their arrival.

Crossing the Return Threshold - where the hero confronts the antagonism. Maggie loses her legs and asks Frankie to kill her.

Master of the Two Worlds - where the antagonism is defeated. Frankie kills Maggie.

Freedom to Live - where the hero is freed from the antagonism. Frankie does not return to the gym.

The detailed, complete deconstruction and the Complete 188 stage Hero's Journey and FREE 17 stage sample and other story structure templates can be found at http://managing-creativity.com/

You can also receive a regular, free newsletter by entering your email address at this site.

Kal Bishop is a management consultant based in London, UK. His specialities include Knowledge Management and Creativity and Innovation Management. He has consulted in the visual media and software industries and for clients such as Toshiba and Transport for London. He has led Improv, creativity and innovation workshops, exhibited artwork in San Francisco, Los Angeles and London and written a number of screenplays. He is a passionate traveller. He can be reached at http://managing-creativity.com/

Movie Outline Software Launches Hollywood Script Express

2009-05-09T06:28:00.000-07:00

Hollywood Script Express offers scriptwriters, wherever they are in the world, the ability to upload a screenplay and have it professionally printed and bound to industry standards from one of their Los Angeles Printing Partners and shipped the same day by FedEx or hand delivered by courier. This facility especially benefits out-of-state and overseas screenwriters who normally spend a great deal of money on shipping and cannot easily present their documents in Hollywood's industry-specific format.

"As a writer based in London, this always proved an obstacle for me when I needed to send a script to Hollywood" explains Dan Bronzite, CEO of Movie Outline Software. "First I had to order the US letter size paper (we use A4 in the UK) pre-three-holed-punched (we have two or four hole punches) and brass brads (we use different types) and then ship my script via an international courier which would cost a fortune. With HSX we have streamlined the entire process so that writers can submit their scripts to agents, producers, studios and contests at the click of a button."

Submission Tools & Tracking

Once you have created an account with Hollywood Script Express, you can customize your calendar, track submissions, manage contacts, log responses, view graphical statistics and collate feedback. All of your script management tools are conveniently centralized into a single online interface that allows you to focus on the creative writing process and not the technicalities of the business. Additional screenwriter specific services will soon be available to Hollywood Script Express clients including coverage and proof-reading.

Intellectual Property Registration

Hollywood Script Express' intellectual property registration service assists in establishing proof of your work's completion date by providing a digital timestamp for your uploaded script and a documented record of your claim to authorship. Your encrypted file is stored securely for five years with the option to renew and you will receive a Registration Certificate and Unique Registration number.

Sign up for Free:
http://www.hollywoodscriptexpress.com/register.aspx

Service Features:
http://www.hollywoodscriptexpress.com/releases/240409.html

Moviemakers Challenged To Make Feature Length Movie In Two Weeks

2009-05-07T08:54:00.000-07:00

An informal exchange on Twitter has turned into a legitimate international movie making challenge that will see completed movies screened all over the world. Participants have only two weeks in May to shoot and edit their movie which must be at least sixty minutes in duration. Many of the moviemakers are already posting updates to Twitter and personal blogs as they prepare for shooting.

Chuck Tryon, author and professor of film and media studies at Fayetteville State University, says that Gershbein, who has previously worked at Pixar and Dreamworks, was inspired to create the Two Week Film Collective after participating in Alejandro Adams' roundtable on self-distribution. Tryon is "intrigued by Reid's attempt to combine two indie cinema practices that I find especially appealing: creating new, often temporary sites for screening movies and encouraging conversations about the production process (and the films themselves)."

Award winning filmmaker Lucas McNelly is one of the independent moviemakers answering the challenge enthuses "You spend two weeks in hell making a film that no one expects to be any good at all. And if you can clear that hurdle and make something people actually want to see, you've got a film that you can say, ‘We made this in two weeks on a Twitter challenge'." He concludes that "there's festivals that would love to show a film like that."

Portsmouth born Mike Peter Reed is another award winning filmmaker taking part. His previous feature 'Crooked Features' was shot over two weeks in 2004 but edited over several more weeks. "You don't have to mad to work here" says Reed, "but then you'd just be a regular moviemaker wouldn't you." He says that initially "I thought they were beyond mad, that the world does not need more mumblecore. Then I got to thinking that if I could design a premise to fit the constraints of the challenge then it would be worth doing for the heck of it." After discussing an abstract musical premise with local writer Matt Smart "suddenly things clicked and we went into idea hyperspace. We have what we consider a good twist, we've really approached this like any typical narrative only with an added element of the experimental - and a ridiculous deadline."

Since the initial call for entrants went out there has been a healthy response from the global independent moviemaking community and it's still not too late to join the Two Week Film Collective. "If you are interested in reviewing these films, participating or moderating the roundtable discussions, or have ideas for topics of discussion, then please let us know via twitter @thraveboy and we will add you to this list" remains the call on Gershbein's blog.

Website: http://www.royalbaronialtheatre.com/

Write a Screenplay - Screenwriting - Watchmen (2009) by Kal Bishop

2009-05-04T05:32:00.000-07:00

Watchmen (2009), is a classic Hero's Journey (Monomyth) story. Again, this demonstrates that a successful screenplay cannot be written without a deep understanding of this structure.

Some of the 510+ stage Hero's Journey stages follow:

Call to Adventure: Kovacs tries to convince Dreiberg to help find the assassin.

Refusal of the Call: Dreiberg and the others don't believe that an assassin is after the Watchmen and they don't want to go back to that Superhero life.

Supernatural Aid: Dr Manhattan

Crossing of the First Threshold: the memories induced by the burial/

Belly of the Whale: Laurie leaves Manhattan and moves in with Dreiberg. She's left the Old World and Self and is heading for the New.

Road of Trials: the hunt for some sort of truth

Seizing the Sword: Kovacs finds his Arch Enemy and forces the truth out of him etc...; Blake came to him before he died.

Near Death Experience and Rebirth: Kovac's recollection of the time he first committed murder: the child's death and his rebirth after that.

Atonement with the Father: Dreiberg can't get it up; the inner issue needs to be resolved.

Apotheosis: Dreiberg knows that the issues are resolved when they return to fighting crime in the Owl Ship.

Ultimate Boon: Laurie and Dreiberg use the Owl Ship to help fight crime.

Refusal of the Return: Kovacs fights his old foes in prison.

Rescue from Without: Laurie and Dreiberg rescue Kovacs.

Master of the Two Worlds: Manhattan kills Kovacs for the sake of world peace; doesn't mind taking the blame.

Freedom to Live: Laurie and Dreiberg together; Mrs Jupiter and Laurie work it out; Veidt is almost forgiven, Manhatten goes to another galaxy and perhaps will create some life.

Learn more...

WRITE THAT SCREENPLAY!

The Complete 510+ stage Hero's Journey, Monomyth and other story structure templates can be found at http://www.clickok.co.uk/index4.html/

You will receive a free sample file by entering your email address at this site: http://www.clickok.co.uk/index4.html/

Screenplay Templates - Monsters Vs Aliens (2009) by Kal Bishop

2009-05-02T11:40:00.000-07:00

Monsters Vs. Aliens (2009) is a classic example of the 510+ stage Hero's Journey (Monomyth). Again, this movie indicates that you cannot write a successful story or screenplay without a deep knowledge of this template. Some of the stages of the Hero's Journey within this story follow:

a) There is the Susan's detachment from her Ordinary Self and Ordinary World, represented by her selfish fiance Derek Dietl.

b) There is the magical gift: quantonium that transforms her into Ginormica.

c) There is the unwilling nature of the transformation and then the coming round to it - initially Susan wants to return to normal and then finally accepts her New Self.

d) There is the Old World Romantic Challenge that is lost and detached from - again Derek Dietl.

e) There is the Major Threshold Guardian, who the monsters must overcome before they can move further on - which they do in the Golden Gate Brodge sequence.

f) There is the disappearance of the Old World - though still there, it disappears in that it is no longer as it once was.

g) There is the Physical Separation, where Susan is lifted into the alien UFO.

h) There is the slow dissolution of the Old Self in the spaceship.

i) There is the Seizing the Sword - when the monsters all rescue Susan from the clones.

j) There is the New Name, representing the New and Ultimate Self - Ginormica.

k) There are the Final Conflict sequences, which follow the set pattern from Initial Loss to Letting Go to Inner Resolve to Victory, including the Multiple Catharsis and more.

Learn more...

WRITE THAT SCREENPLAY!

The Complete 510+ stage Hero's Journey, Monomyth and other story structure templates can be found at http://www.clickok.co.uk/index4.html/

Image comparisons and a free sample file also at this site: http://www.clickok.co.uk/index4.html

Five Tips For Writing a Cartoon Screenplay by Chad Troftgruben

2009-05-01T04:02:00.000-07:00

Writing a script or outline is highly recommended when it comes to any form of multimedia. So even if your Flash cartoon is simple, a screenplay will greatly enhance the flow and success of your film. Coming up with ideas can be tough as well, but that's what this article is for! Here are five tips (listed in no particular order) to keep in mind when writing a script for your cartoon.

Write What You Know. If you're having a hard time coming up with ideas, try to find inspiration in everyday things. For instance, maybe you have a friend that is a bit eccentric. Turn his/her personality into a character in your cartoon. Or maybe something funny happened to you at work. Morph and tweak that encounter into an idea you can use in your script. Alternatively, take a boring situation and turn it into something fun (inject fiction into it and so on). People can relate to situations like waiting in traffic or sitting in a classroom. If there's a certain movie or story you like, take inspiration from that (but don't copy it). The world we live in is full of ideas, waiting for you to grab and use.

Length. Let's face it, people have short attention spans. Today, with sites like YouTube, people want short and funny videos. We are talking anywhere between one and three minutes. If you push that you risk losing or not grabbing an internet audience. Now, maybe the YouTube audience isn't something you want to tap. That's perfectly fine. You should always write what you want and if your script is long and you like it, then by all means go for it. After all, maybe you want to submit this film to a festival as opposed to a site like YouTube. Or maybe you don't care who views your movie. Just keep in mind the shorter the movie, the greater the success on the internet. So, how can you judge how long your cartoon will be based on the script? A good rule of thumb for a screenplay is one page equals one minute of footage.

Keep It Within Your Means. Writing an epic battle with thousands of soldiers fighting may sound cool, but will you be able to animate it? Cartoons offer more freedom compared to live action film but they require work all the same. Try new things and push your boundaries but don't let yourself get bogged down with impossible tasks.

Be Adaptable. The good thing about writing down your ideas is that you can always tweak or change them later. When you start animating you may find you can't quite follow your original script. You may discover you can't quite animate something right or a piece of dialogue could be funnier. Whatever the case, keep an open mind and your movie will benefit from it.

Write Multiple Drafts. Usually the first draft of your script is not the final draft. After writing your script it may be a good idea to show it to others or even step away from it for a day or two. After returning you may see things you can fix or make flow better. Of course this also falls in line with my adaptability tip too. The bottom line is to have fun and write something you are proud of.

Would you like to learn how to create animated ads, logos and cartoons? Then you'll want to check out IncredibleFlashTutorials.com The site features a bunch of FREE online video tutorials for you to watch and follow along with. They also have advanced lessons on drawing and other Flash techniques!

Write a Screenplay Treatment Easily by Kal Bishop

2009-04-27T04:49:00.000-07:00

The 510+ stage Hero's Journey is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon - understanding this template is a priority for story or screenwriters.

The Hero's Journey:

* Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.

* Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.

* Interpreted metaphorically, laterally and symbolically, allows an infinite number of varied stories to be created.

The Hero's Journey is also a study of repeating patterns in successful stories and screenplays. It is compelling that screenwriters have a higher probability of producing quality work when they mirror the recurring patterns found in successful screenplays.

Easy Treatments

By following the path of the 510+ stage Hero's Journey, the screenwriter can easily construct a step-outline and a treatment (a treatment is an expanded step-outline).

There is a basic outline, which includes:

Call to Adventure. Introducing the hero's status, capabilities, nature, ordinary world, inner challenge, outer challenge, romantic challenge, the antagonism and more.

Refusal of the Call. On many levels the call is refused, including the interdictor, doves and hawks, punishments and more.

Supernatural Aid. A mentor is sought to provide advice, guidance, direction, magical gifts and more.

First Threshold. Has many functions including No Return, meeting of allies, a shape shifter, back-stories and more.

Physical Separation. Also known as the Belly of the Whale. Includes resistances, obstacles, encouragements and conscious decision towards the transformation.

Transformation. Also known as The Road of Trials. Transformation can include growing, learning, maturing or similar.

Learn more...

WRITE THAT SCREENPLAY!

The Complete 510+ stage Hero's Journey, Monomyth and other story structure templates can be found at http://www.clickok.co.uk/index4.html

Image comparisons and a free sample file also at this site: http://www.clickok.co.uk/index4.html

The Canadian Short Screenplay Competition Extends Deadline

2009-04-26T04:50:00.000-07:00

The Canadian Short Screenplay Competition, the most prestigious screenwriting competition in Canada, recently crowned the winners of the 2008 celebration of the best in short screenplays and has officially opened it doors to 2009's competition hopefuls.

Last year's contest saw entries from all across the world; receiving scripts from as far away as New Zealand and India. Competition founder and producer, David Cormican, says, "We accepted screenplays right down to Auld Lang Syne 2009". Noting that the last online entry accepted for 2008 was electronically stamped on 11:58pm on New Year's Eve.

Many disappointed competition hopefuls were turned away after the deadline, which lead to the decision to incorporate the new graduated deadlines, including the appropriately named (and only available to entrants online) I-Missed-The-Deadline deadline of January 31, 2009 at 11:59PM PST.

Try and not be too late. Cormican hints, "Although we've extended the deadline, the later you leave your entry and the more you procrastinate, the more expensive your entry fee becomes". This new system is in place to try and encourage earlier and more balanced entries to the competition, which will make the review process less taxing and more efficient. Competition organizers and script readers were slammed with so many last-minute online and snail mail entries that it delayed final judging rounds and consequently, announcing the 2008 winners.

Cormican also insisted to make the 2009 deadline truly Canadian this year, pushing the official cut-off for submissions to 11:59pm PST to allow for every possible minute of 2008 Canadian time for writers to polish their scripts before ringing in the New Year.

For complete details on the 2008 Canadian Short Screenplay Competition winners (plus photos), as well as up to date deadline and fee information for entry to the 2009 competition, please visit http://www.yearoftheskunk.com/.

2009 Canadian Short Screenplay Competition NEW Deadlines and Entrance Fees

Kick-Off Deadline: September 30, 2009 at 11:59PM PST (fee: $25)
Early Bird Deadline: October 31, 2009 at 11:59PM PST (fee: $35)
Winter Deadline: November 30, 2009 at 11:59PM PST (fee: $45)
Final Deadline: December 31, 2009 at 11:59PM PST (fee: $55)
I-Missed-The-Deadline Deadline: January 31, 2010 at 11:59PM PST (fee: $75)

Great Screenplay Idea and Good Story Ideas by Kal Bishop

2009-04-24T05:17:00.000-07:00

The Hero's Journey is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. Understanding this template is a priority for story or screenwriters.

The Hero's Journey:

* Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.

* Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.

* Interpreted metaphorically, laterally and symbolically, allows an infinite number of varied stories to be created.

The Hero's Journey is also a study of repeating patterns in successful stories and screenplays. It is compelling that screenwriters have a higher probability of producing quality work when they mirror the recurring patterns found in successful screenplays.

Consider this:

* Titanic (1997) grossed over $600,000,000 - uses the Hero's Journey as a template.

* Star Wars (1977) grossed over $460,000,000 - uses the Hero's Journey as a template.

* Shrek 2 (2004) grossed over $436,000,000 - uses the Hero's Journey as a template.

* ET (1982) grossed over $434,000,000 - uses the Hero's Journey as a template.

* Spiderman (2002) grossed over $432,000,000 - uses the Hero's Journey as a template.

* Out of Africa (1985), Terms of Endearment (1983), Dances with Wolves (1990), Gladiator (2000) - All Academy Award Winners Best Film are based on the Hero's Journey.

* Anti-hero stories (Raging Bull (1980), Goodfellas (1990) etc) are all based on the Hero's Journey.

* Heroine's Journey stories (Million Dollar Baby (2004), Out of Africa (1980) etc) are all based on the Hero's Journey.

Good Screenplay or Story Ideas

The essence of the good story is the Apotheosis - the illumination or insight that the hero undergoes.

The apotheosis follows the atonement with the father - where the hero confronts that which limits his apotheosis.

Once you know what the apotheosis is and what blocks the hero attaining it, you can (relatively) easily build up to and beyond that point.

Learn more...

WRITE THAT SCREENPLAY!

The Complete 510+ stage Hero's Journey, Monomyth and other story structure templates can be found at http://www.clickok.co.uk/index4.html

Image comparisons and a free sample file also at this site: http://www.clickok.co.uk/index4.html

AwesomeStories.com Releases the Story Behind the Soloist

2009-04-23T09:07:00.000-07:00

AwesomeStories.com today released "The Soloist - Story Behind the Movie," a primary source reference library providing current and historic context for the upcoming film.

Visitors to awesomestories.com/flicks/the-soloist can see pictures and videos of the actual people featured in the film, hear the music which Nathaniel Ayers (played by Jamie Foxx) performs on the streets of LA, watch Steve Lopez (played by Robert Downey, Jr.) describe his relationship with Ayers and take a virtual visit to the skid-row section of Los Angeles where Ayers lived.

Over 80 links strung through ten cohesive, easy-to-read chapters bring visitors directly to primary source materials and allow them to go as deeply as they want into related subject areas. Designed for both casual and academic exploration, the site links primary source material on everything from the place where Nathaniel Ayers was born and studied as a young man to the reasons why music has a calming effect on people who have schizophrenia.

Access to Awesomestories.com is free.

Don't Get Burned: Evaluating Script Writing Contests by Lenore Wright

2009-04-19T04:59:00.000-07:00

Hundreds of writing contests tempt screenwriters with the lure of prize money, instant film industry contacts and personal feedback from film professionals. But contests can be costly, screenwriters should choose intelligently.

Before you write that check, research and evaluate the contests that interest you. Narrow down your choices to the best contests for you personally and the best ones for your scripts. These guidelines might help:

TIPS FOR RESEARCHING CONTESTS

Check out their website

Nearly all contests have an online page with guidelines and other vital details. I know it's tempting to salivate over the prize list and ignore the other features available on the site. Don't let the promised goodies distract you -- $10,000 and a trip to Hollywood to meet the film industry movers and shakers you dream of impressing. You're on a mission. You need to find out if the contest has preferences regarding the subject matter of the script, the ethnicity/gender of the author or the area where the writer resides.

Shortcut: At the very least read the FAQ page and note the submission deadline.

Rely on peer reports

If you belong to any online screenwriting discussion lists (and you should!), post a query about the contests you're considering. Learn from the experiences of others. Movie Bytes offers a very useful feature to help you: Contest Report Card. Writers evaluate contests they've entered and post their comments. Take advantage of this wonderful resource:

Feedback, feedback, feedback

Unproduced writers need professional feedback. Some contests offer feedback on your script as part of the package. Even if you don't win, you've received some extra value for your money. If the source of the 'professional feedback' is not listed on the site, send an email requesting this information. It's important -- pin them down!

Script readings

Some contests offer a staged reading of the winning script (or the scripts of all the finalists) as part of the prize. Script readings can be a great tool to help you polish your script as well as good industry exposure. Insider tip: Film festival script competitions in particular seem to offer script-reading opportunities to their finalists.

TIPS FOR EVALUATING CONTESTS

Sponsors

The people or companies sponsoring the contest should identify themselves and they should have film industry credentials. Some contests feature a well-known director, actor or producer as a nominal sponsor, implying that this person will read the final scripts or at least the winning one. If that is so, it should be stated in their guidelines or on their website - don't just assume it's true.

Judges

Some contests post their judges' names and credentials. I find this reassuring; however many legitimate contests don't make this information available for various reasons, not necessarily because they're hiding something shady. A general guideline: The less information the contest makes available, the more aggressively you should query the contest contacts before your write them a check.

Press releases

You want to win a contest that makes an effort to publicize their winners. When you come across the press releases of contests that tout their finalists or winners, resist pitching a rant at your agent; instead swallow your envy and jot down the contest details so you can enter the next time around.

Paid ads announcing winners

The most helpful form of publicity for contest winners are paid ads in the film industry trade papers. This species is rare; but when you come across it, make a note to at least research the contests that promote their winners in Variety, Hollywood Reporter and the major film magazines.

Industry contact

Many contests promise the winners and/or finalists will be exposed to important film industry contacts. Vague promises or inuendoes don't count. The legitimate contests get specific about what they mean by exposure. Exposure could mean a phone conversation with an agent, a script submission to a studio slushpile, a professional pitching session or an all-expense-paid trip to Hollywood or New York City. Find out.

Production promises

Some contests promise that the winning script or scripts will be produced. Yipee! But do they back up this promise with results? Find out - call their bluff. Tip for cynics: Request a contact email for a previous winner or finalist.

IN SHORT: BE CHOOSY!

I hope these guidelines help you find a contest that works for you and your script. Be choosy - it's your money, your script, and your career.

FEEDBACK: screenwriter@breakingin.net

About The Author

Lenore Wright has 15 years experience selling spec scripts and movie pitches in Hollywood and New York. For a free tutorial on script formats log onto her site = http://www.breakingin.net/format_tutorial.htm

For FREE insider tips on marketing scripts SUBSCRIBE to SCRIPT MARKET NEWS mailto:newsletter@breakingin.net

Screenwriting, Screenplays, Screenwriters - Good Ideas For Stories by Kal Bishop

2009-04-17T11:11:00.001-07:00

The principle for writing good screenplays begins with good idea generation and then the use of structure to extrapolate that idea into a coherent story.

Structural Templates

All stories are simply alternative situations superimposed over the same complex structure. You want to be looking at the 510+ stage Hero's Journey for a complete understanding of this structure.

Sources of Good Ideas

a) Ideas that push cultural boundaries work well. Guess Who's Coming to Dinner, In the Heat of the Night, The Defiant Ones, On the Watefront and so on were all controversial in their time and still very watchable movies.

b) Ideas that tug at the emotions and arouse passions. Imagine the worst thing you would want to happen to you. What are you most embarrassing moments? What causes the most pain?

c) Cathartic events. Protagonists engage in conflict and challenge but the final act is always cathartic.

d) Aspirational and self-actualising events. Make the audience move toward their ideal selves.

e) Fantasy and escapism. Take the audience to a new place, we're tired of this world today.

f) Humour. What are the funniest, most ridiculous, most hypocritical, incongruous, bizarre, irrational moments of life.

g) Education and morality. Teach them something or show them how we should be.

h) Special people. Take us into the world of people we fear or admire. Show us the lives of people who have travelled to places we dare not or cannot go.

i) Romance and love. How sweet it is when we can get it.

j) Different people. Show us how different people live. Compare and contrast.

k) The power of the group. Show us how we are more intelligent, able and greater together than alone.

l) Ambition. Is it pleasure or poison. Does it fulfill or corrupt.

m) Friendship. How real are our friendships. Do we know who our real friends are. What happens when they betray us.

n) Intellectual cross pollination - search the media, information sources...

o) Simply choose a story and write a screenplay. Good ideas will come to you during the project - make sure you capture them.

Learn more...

WRITE THAT SCREENPLAY!

The Complete 510+ stage Hero's Journey, Monomyth and other story structure templates can be found at http://www.clickok.co.uk/index4.html

Image comparisons and a free sample file also at this site: http://www.clickok.co.uk/index4.html

What is Screenwriting? by Mark Gonney

2009-04-16T09:40:00.000-07:00

Simply put, it is the art of writing scripts for a visual medium. Unlike a play where the action is "talked out," the action within a screenplay is "acted out" visually. The old saying, "a picture is worth a thousand words" was never more appropriate in relation to screenwriting. Having had the benefit of reading many screenplays as a reader, one of the most annoying, teeth grinding, nails against a chalkboard, signal of bad screenwriting is when the reader is told something instead of shown something. For example, I can't put a number on the amount of screenplays I've read with descriptions like this:

"JOHN enters the room. He is Frank's best friend and the life of the party."

OK. We, the readers, are supposed to know this because the writer said it? What makes matters worse is when, right after making this statement, the character of John engages in an activity or line of dialogue not even remotely associated with his "life of the party" description. In a movie script, the writer should introduce every action and/or character the same way the moviegoers will be introduced to them on the screen. Now compare the above introduction of John to this one:

"As Frank makes his way through the crowd of people at the house party, his attention turns to where the loudest commotion is coming from. As he enters into the living room we see his friend JOHN surrounded by hoops and hollers, dancing on a table while a beautiful topless blond sits on a chair receiving a lap dance from him."

Get it? Now doesn't this get the point across visually that John is not an introvert? In screenwriting you must always check to see if what you are trying to get across is being transmitted visually at all times. Not to downplay or trivialize dialogue, but no matter if the movie you are watching is good or bad, you can watch a movie on cable, turn down the volume, watch the movie from beginning to end with no sound, and know exactly what the movie is about. Why? Because a screenplay has to be VISUAL or else the movie will not be made. To show you just how important visual writing is, some writers do not write a line of dialogue until the structure and flow of the action is completed from beginning to end. They write the dialogue last because when they go to each scene, know what the scene is for, and what will happen in the next scene, they will be able to write the dialogue within a context.

"How NOT to write a screenplay: 101 Common Mistakes Most Screenwriters Make," by Denny Martin Flinn, is probably the first book you need to read if you want to know not only how a good screenplay is NOT written, but also the mindset of the Hollywood script reader. This is important because if you don't impress the script reader, the person the people with the money use to filter out the good from the bad screenplays, no one else will see it. You may not write a great script after reading and applying the wisdom within its pages, but you will not write a bad one.

On the flip side if you want to know HOW to write a screenplay, look no further than "Screenplay: The Foundations of Screenwriting," by Syd Feld. I personally recommend this book because not only is Mr. Feld known as "the father of structure," but also he deals specifically with the art of screenwriting and less with the business of the movie industry. No need to rush. That part will come later. "The Screenwriter's Workbook" is another book by Syd Feld and the companion book to Screenplay: The Foundations of Screenwriting.

"500 Ways To Beat The Hollywood Script Reader: Writing the Screenplay the Reader Will Recommend," by Jennifer M. Lerch concentrates on how to make your screenplay enjoyable to the Hollywood reader and literally gives you 500 ways to avoid having your script scrapped by the reader and passed on to the people who can bring your idea to life.

"The Screenwriter Within: How to Turn the Movie in Your Head Into a Salable Screenplay," by D. B. Gilles and "How To Write A Movie in 21 Days: The Inner Movie Method," by Viki King are two other books I personally recommend. Both books deal strictly with the screenplay itself and less with the movie industry. Trust me, you will have plenty of time to deal with that hurdle once your final draft is completed.

Mr. Mark S. Gonney is a former script reader for The Urbanworld Film Festival and an article writer for screenwriting-resources.com.

Screenwriting - Story Plot Asks a Question and Characters Answer It by Ugur Akinci

2009-04-13T04:40:00.000-07:00

For over ten years I've thought about the fascinating question of the relationship between a story plot and characters in a screenplay. At long last I believe I solved the puzzle to my own satisfaction. I'm sharing my answer here with the hopes that it will help all my fellow screenwriters struggling with the pseudo problem of whether the "story" or the "characters" is more important in writing a screenplay.

A plot "limits" but fails to "predetermine" what a character will do the way a Question limits but does not predetermine what the Answer will be.

For example, the set of possible answers to the question "What day is today?" includes all seven days of the week but not "yellow," or "six hundred twelve," or "eggplants and strawberries."

In that sense the Question limits what answers we can give to it without, however, reducing it down to a single possible answer.

The same conceptual "limiting" relationship holds true in screenwriting as well.

Imagine this plot point: a guy traveling by plane finds a fat wallet sitting on the empty seat next to him.

Now what should he do? We know that he probably will not write an opera about it or perhaps cook it and eat it. In that sense, his responses can not be infinite and will be limited to a number of "possible actions" that "make sense."

He can call the stewardess and turn the wallet over to her, for example, or… he can pocket the wallet and keep it for himself. Or perhaps, he'll do nothing and continue to read his paper.

Which one of these actions our character will follow depends on the kind of character he is. Thus a brilliant story plot is not enough to write a good screenplay because in itself it is not sufficient to tell us how the people in our story will "answer" the "questions" put to them by our plot line.

Authentic responses to plot questions require not random but appropriate answers by characters. Otherwise you'll hear your viewers complain out loud with that familiar "no way!"

Decide on who your characters are while building up your story line. Otherwise your "answers" to plot "questions" will be pretty random, like the case with most "bad movies" out there. If you keep this Question-Paradigm in mind, it'll be easier for you to weave through the complex web of Character-Plot interactions.

ABOUT THE AUTHOR
Ugur Akinci, Ph.D. is a Creative Copywriter, Editor, an experienced and award-winning Senior Technical Communicator specializing in fundraising packages, direct sales copy, web content, press releases, movie reviews and hi-tech documentation. He has worked as a Technical Writer for Fortune 500 corporations since 1999.

You are most welcomed to visit his COPYWRITING WEB SITE http://www.writer111.com/ for more information on his multidisciplinary background, writing career, and client testimonials.

Register at his web site to get your FREE Writing and Marketing Tips & Ideas.

He is the editor of PRIVATE TUTOR FOR SAT MATH SUCCESS web site http://www.privatetutor.us/

In addition to being an Ezine Articles Expert Author, he is also a Senior Member of the Society for Technical Communication (STC), Member of Bethesda / Chevy Chase Chamber of Commerce of Maryland, and a Member of the American Writers and Artists Institute (AWAI) .

Breaking Into Hollywood - How Do I Sell My New Screenplay? by Donna Michelle Anderson

2009-04-10T11:31:00.000-07:00

When new screenwriters finish their scripts, they often begin the search for a rep to submit the work around town. But is that the best way to do it? Well, sure! But it's not the ONLY way to do it.

As you prep to get your script sold, incorporate this info into your marketing strategy:

SEEK REPRESENTATION

But only if you have a bona fide "in" to their direct office line! It's very difficult to get a lit agent to read a script for representation without a personal introduction by a repped client of theirs. If you know a screenwriter or other industry member with an agent who actually is getting scripts read by real studios and funders, and you have TWO solid scripts (more on that later), ask for an introduction. Give your contact a substantial gift whether you are signed or not!

Of course, it's not necessary to have a lit agent to shop a script. Make getting an agent only one part of a broader shopping strategy.

EXPLORE LEGITIMATE SUBMISSION OUTLETS

The main places you're trying to get your script to, production companies, studios and even top-five actors' shingles, are sometimes more accessible than lit agents. If you're not already, make sure you join professional writers' groups like ScreenplayLab and Scriptwriters' Network, and attend every possible event to make those contacts. There's a list of organizations to get you started at Movie in a Box - Links.

Again, the way to shop a script in our industry is to know someone. It's tough to open a new professional relationship by asking for the considerable favor of an agent referral, so try a strategy where you're offering something they could use in exchange for the introduction. And expect them to request to read your script first - and listen to their notes without argument.

Another credible outlet for getting your script noticed is via some of the online sites. If you're not already, make sure you're active at Inktip, for example. And be sure to explore the hundreds of screenplay competitions, like Scriptapalooza - but check first to see what success stories you can verify from their sites.

WRITE AND QC MORE THAN ONE SCRIPT

"QC" stands for "Quality Control." Do not ever submit a script that is not structurally sound, no matter how ready you are to stop looking at it! This is neither a judgment, an assumption, an insult or a joke. It truly is a requirement. I was a reader at one of the biggest prod cos in Los Angeles, I've had scripts optioned, I run a filmmaking seminar, I've taught at UCLA Ext, I've written a very popular screenwriting book. Please trust me on this. There are no second chances for first impressions in our industry. And it's not just your rep on the line, but also the rep of whoever opens that door for your submission.

Why "more than one script"? That is because if someone reads work of yours and thinks you have promise, their next request (to confirm the initial impression) is very often, "Can you send me another spec?" If you can't, that is by no means a dealbreaker. But if you CAN, and the second script is equally hot, that could be a dealmaker! The second script needs to be structurally sound, as well.

Be sure that your screenplays are structurally solid (on a first submission, nothing else will do! Trust me!). Be sure that an experienced Hollywood reader has read the script and you've addressed the notes. As I always say, "if the story does not fit, you must not submit!" If you submit a flawless first spec, you will never have to live up these standards again, but you should. If you submit a flawed first spec, you will not get the chance to live up to higher standards at that company; you will be blocked from future submissions.

CONSIDER PRODUCING YOUR WORK YOURSELF

If you find you are getting great feedback on your work, but it's never quite the right fit, consider producing the film yourself. This is a great approach when you have a lower-budget indie project (think "Open Water") versus an effects-laden thriller! It is an enormous undertaking to produce a film, but there are many resources out there for people who have compelling scripts to develop. And just as you studied and trained to write well, be sure to research and train extensively before taking on a massive project like producing a movie. Your first stop should be a professional organization like Film Independent (FIND), which can connect with you with terrific partners and/or mentors, as well as vital resources.

However, you decide to get your screenplay sold, it should be clear by now that you don't do it alone - you need community support and resources - and no one else does it for you - even an agent! It is no one's responsibility to open a door for you to sell a screenplay. It is your responsibility to create a tight script, research appropriate buyers, and relentlessly seek submission opportunities until someone buys - or you decide to produce your work yourself!

DMA is a former film story analyst, international runway model and stage performer who is now the executive producer of Tidal Wave TV, a new media and reality TV production company in Los Angeles. Learn more about how to sell a screenplay from her book, "The 1-3-5 Story Structure Made Simple System: The Nine Essential Elements of a Sellable Screenplay."

For DMA's national speaking schedule and more insider resources for breaking into Hollywood, please visit Planet DMA. It is our goal to mentor you through your career in the entertainment industry!

Aspiring Filmmakers Can Win $12,000 Cash in Casino Video Contest

2009-04-09T07:28:00.000-07:00

In a marketing first for a California casino, Barona Resort & Casino is launching an exciting new social networking campaign encouraging people from across the country to create a video that captures the magic of gambling. Called the Barona Video Contest, Hollywood hopefuls have between now and May 29, 2009, to share stories about what they love about casinos -- the sights, the sounds, the games and the thrill of winning. The creator of the highest rated video will win a total cash prize of $5,000 while the finalists and even online voters will share a total of $17,000 in additional cash prizes.

"Barona's Video Contest is intended to open new doors of awareness for our property through a combination of online, social, viral, traditional and in-house media," said Troy Simpson, senior vice president of innovation at Barona Resort & Casino. "While we have been integrating social media into our marketing for quite a while, this is our first major foray into the space. We are excited to tap new audiences and gain insight into the mind of our customers."

The premise of the contest is easy: demonstrate, in up to two minutes, what you love most about casinos. Is it poker, blackjack, slot games, casino movies, gambling as a sport? Is it the thrill of winning? A casino promotion? The atmosphere? The food? The entertainment? Do you have a winning moment at Barona to share? Or, what do you love most about Barona Resort & Casino?

"In recent focus groups and research, we've discovered that our guests just love to share their experiences and opinions about Barona," continued Simpson. "We thought this would be a great way for them to visually express what they love best and share their favorite gaming moments with the world. We expect that we'll get some very creative entries!"

Videos can be uploaded at www.baronavideocontest.com and submissions will be accepted through May, 29, 2009. The top five finalists, selected by Barona judges, will be voted online from June 5 through June 25. The finalist to receive the most online votes will be announced live at Barona on June 26, 2009.

Official rules, conditions and the prize chart are available at www.baronavideocontest.com.

You are the Box Office Smash: The Personal Screenplay by Gordy Hoffman

2009-04-05T05:13:00.000-07:00

Right this very second, in the heart of every struggling, undiscovered screenwriter, in the dark, hidden corner deep within, there is a voice, a clear whisper, saying one thing:

You're never gonna figure this out.

And this is not referring to the story with its gaping hole, the finale missing a payoff, the hit and miss humor, the flat title.

I'm talking about freedom. The freedom to work as a screenwriter. Compensation for a home for family and a life. The resources to wake up and ply your craft and pay the freight, without obstacle. The chance to see your writing made into pictures, to work with the industry's best, to fulfill this goal of professional screenwriter. Hollywood success.

Behind this voice is the idea that somehow, some way, you'll find the hero, or the hook, logline or pitch that will punch your golden ticket. If you could only figure out what the studio wants, if you can only get a solid bead to this game, you know you can write and execute. What is the script I should write to get an agent? What is the one that will sell? It's not that I don't know how to write, I know how to write screenplays, I just need to know what they want, even though I think I know what they want, but I don't think I have the idea that they want. Yeah.

I'm not gonna figure this out, whispers the voice.

Why this uneasiness? Does it originate within ourselves? I don't think so. But where does it come from? The daily obsession with box office grosses? The news of the seven figure deals to newbies? The endless procession of boneheadedly conceived franchises-in-waiting arriving in the theatres every Friday? People winning Academy Awards for movies you would not be caught dead writing? Recognizing an idea you came up with years ago on your couch, produced with a $130 million budget drowning in CGI?

All these things are but a few of the possible reasons why this seeds unhealthy doubt and confusion in the modern screenwriter. Tracking these forces outside us and beyond our control in an effort to trudge the path to a successful screenwriting career will prove to most to be unproductive and corrosive. Basically, trying to figure out what Hollywood wants will land us in a resentment that makes "giving up" a sane response to the very challenge which used to inspire us. In short, we cannot chase a perceived trend and remember our dreams.

You cannot look at the marketplace and find your voice. You can find ideas, trends, and inspiration there, perhaps, but you can find these things driving in traffic as well. But listening to your voice is the key to creating original, compelling stories.

Your life is your own story. You have a completely unique thread of experience. By allowing yourself to express these emotional experiences, your screenplay, your story, will be different from any other and powerful, as original as your fingerprint.

Why is it powerful? When we have the courage to be specific about what we know about living, we create an authentic world an audience recognizes as the life they are living on planet Earth. This connects your audience to your story. This connection is the foundation of the phenomena of story.

Why does story mean so much to us? We recognize the triumphs and tragedies of our lives, with all the hilarity and tears. By seeing it, we are validated and it underscores meaning and purpose to living.

If we don't use what we've collected in life in our hearts and spirits, then our story loses its authenticity and the connection the audience should make fails. They do not see themselves, and when they leave the theater, they do not call their friends. When people do not call their friends after seeing a movie, the movie bombs.

When a writer opens their person to their work, when they allow themselves to be vulnerable, to risk exposure of the secrets of their life story, they take a huge step towards creating a screenplay of substantial value, a screenplay with a greater potential of a large number of tickets sold.

This is precisely why art and commerce have remained bedfellows for thousands of years. To look at the relationship between art and commerce as adversarial or incompatible is just plain foolish. Art happens when people invest their spirits in their work without fear, and story is artful when the writing is truthful and the writer is authentic.

And what do we have to be honest about? We can only lie about what we know, and we can only tell the truth about what we know. And that is what has happened to us, our life story. This is what we share.

This is not a pitch to write "what you know." This is not about writing stories about where you work or where you live. This is about writing about what you felt. You can imagine characters and worlds and actions and speech you've never personally experienced, but if you remember to infuse your choices with your emotional and spiritual struggles and victories as a human being, your screenplay will be different in the very best sense of the word.

The question you have to answer is not what does Hollywood want today. The question is how honest of a writer do you want to be. I guarantee you can write a blockbuster, you can write a box office hit. This will happen when you find an audience. And the correct path to this crowd of people is listening to yourself. If you practice, you will develop an inner ear for who you are and what you know and you will become masterful in loading your work with your fingerprints. Writing is personal work. You are the guitar. You are the box of paint. Give of that and your audience will remember why life is good and they will talk of you.

About the Author
Winner of the Waldo Salt Screenwriting Award at the Sundance Film Festival for LOVE LIZA, Gordy Hoffman has written and directed three digital shorts for Fox Searchlight. He made his feature directorial debut with his script, A COAT OF SNOW, which world premiered at the 2005 Locarno Intl Film Festival. A COAT OF SNOW made its North American Premiere at the Arclight in Hollywood, going on to screen at the Milan Film Festival and the historic George Eastman House. Recently, the movie won the 2006 Domani Vision Award at VisionFest, held at the Tribeca Cinemas in NY. A professor at the USC School of Cinematic Arts, Gordy is the founder and judge of BlueCat Screenplay Competition. Dedicated to develop and celebrate the undiscovered screenwriter, BlueCat provides written script analysis on every script entered. In addition, Gordy acts as a script consultant for screenwriters, offering personalized feedback on their scripts through his consultation service, http://www.screenplaynotes.com/. For more articles by Gordy on screenwriting, visit http://www.bluecatscreenplay.com/.

College Student Possessed When Writing Movie Script

2009-04-03T07:41:00.000-07:00

SPIN OF FABRICATIONS, a new independent film about a young girl who went horseback riding, fell asleep in the woods, and dreamed about meeting four different fantasy figures in her dreams! In her dreams, she was looking for, and found, the meaning of truth! See http://www.veradonir.com/, click on FILMS.

The script was written by an 18-year-old junior college student named Pete Baumann, whose professor gave the class instructions to write a three to five page paper about the meaning of truth. Here is young Mr. Baumann's story about writing his movie script:

Just like everybody, throughout my life I've been curious about the world. As a child, questions would keep me awake at night: questions like where did existence come from? Did the universe always exist? How do I know that what I see and hear is really true reality? What if it's all illusions? Is there such a thing as absolute truth, or is everything relative to experience and perspective? What is the purpose of life? Are we just supposed to live out our lives doing whatever we need to do to survive and function, then ultimately just die? Or is there some other purpose – some goal? And, of course – the big one that scares us all – is death an end? These questions, to me, as I suspect they are to many children, were not just a curiosity, nor did they seem like some spiritual quest. I just wanted to understand. And the more I thought about it, the more confused and even saddened I felt. Religion seemed to offer a convenient system of ideas, which tended to make me feel better. Yet, it all seemed so foreign, so odd. I wasn't satisfied with answers other people tried to give me. It seemed that these were the types of questions people have to answer for themselves.

Later, when I went to college, I started studying philosophy. It was a breath of fresh air, because it didn't claim to offer answers to these big questions. Instead, it offered tools, tools to help me ask them differently, to rephrase them in ways that seemed more plausible. In short, I felt for the first time in my life like I was armed with some knowledge that could help me in my undying need to answer these questions.

My philosophy professor gave our class an assignment – to write down our thoughts about philosophy, about the big questions. The assignment was to be a three to five page paper! I've never been so inspired by an assignment. I locked myself in a room and began typing. I hardly ate or slept for two days, barely spoke to anyone. My friends and family joked that I was possessed. It didn't feel like I was possessed, but I do remember not thinking about what I was typing. It never occurred to me what the meaning of the words I was typing could be.

I was aware that I was writing a screenplay with characters and situations, etc. – but they all seemed abstract. There's no doubt that this screenplay emerged almost entirely from my subconscious. In hind sight, this seemed like an odd way to respond to the assignment, but I didn't care. I had a profound feeling that these words would matter to other people, not only me. So, I turned it in. ALL 52 PAGES OF IT! Needless to say, my professor was surprised. He said that the poetry and metaphors seemed to him to express sophisticated philosophical ideas that I couldn't have learned from Philosophy 101. I told him how I had written it, and a ghostly look of confusion came over his face. Finally, he set the script down and said, "well, you've written something very cool here. I suspect people will read all kinds of different meanings into these words, yet it seems to me you must have been intentionally expressing certain concepts that I didn't learn until graduate school." He began to explain what he thought the words meant, and it was so weird – it was like he was explaining something written by somebody else – some other text. He suggested I actually make the movie, saying people would find it interesting. So, I asked my dad to produce the movie for me, and he agreed.

Now, six years later, every time I read the script I find new meanings in it. And hearing the lines said by the actors, new meanings emerge still. I hope that what we've made is more than a movie; I hope it's a tool, another tool people can use to inspire their own thinking, maybe even help them answer some of those big questions for themselves, such as, "What is the meaning of truth?" I know it has helped me.

Pete Baumann attended Rogue Community College in Grants Pass, OR, when he wrote SPIN OF FABRICATIONS. He then attended SOU in Ashland, OR.

The Substance of the Story: What Fiction Writers Can Learn from Screenwriters by Joy Cagil

2009-04-01T11:24:00.000-07:00

As we know, Hollywood is all about storytelling, and storytelling in Hollywood means screenwriters. People in the movie business know very well that if you can't keep the viewers interest focused on the screen, the movie is a flop. Thus, it may be a good idea for any fiction writer to pay attention to the basic principles of screenwriting so his story turns out to be energetic and successful.

Screenwriters work according to established six story telling phases. All phases are important and not one phase should be set aside as unimportant.

First, a writer has to create a main character who will drive the story, after the writer has an idea what his story will be about. Before a writer starts putting the first word down, he needs to know at least a few things about his character. Some fiction writers go ahead and describe the visual assets of the character. Although a visual may help a writer to see the character in front of him, a character's psychological traits will be the ones to drive the plot.

All characters have inborn dispositions that are controlled by their genes, life experiences that shape or misshape who they are, what their state of mind is--or in other words, how they see themselves-- and where their maturity or immaturity levels rest. If the main character is a passive one and stays passive throughout the story, the story runs the risk of being a flop. The active or agitated characters make the plot more interesting and easier to develop.

Second, is the conflict. Creating a conflict inside the story begins with setting up a motivation. The question to ask here is what does the character want the most? Motivation is important because it makes the audience identify with the character. This doesn't mean that the character has to be goody two shoes, but what he wants the most--be it to blow off the planet--has to be of interest to the reader or the viewer. When the viewer's curiosity is aroused, he'll stay with the story to see if the character will succeed in his quest.

The screenwriter likes to “create a platform” so he can push forward the motivation of the character. This means creating a scene or a sequence of scenes that state the point of the story clearly, so the audience or readers can penetrate inside the character. At this stage, the character's touch-up characteristics or his shades may be developed that were left out in the initial planning of the story.

In the third phase, the supporting characters are developed. In a story, each character functions in tandem with the main character and key characters have to be given their place in the story. For example, without Hamlet's uncle and mother, there wouldn't be a play. The more different the characteristics of the supporting characters from the main character, the more interesting will be the story.

The story's progression occurs when the characters one by one or all together negate, support, or contrast the main character. At this phase, the inference factor comes into play. This means the interchange between the characters, and also, what the reader or the viewer infers from the tone, point of view, and symbolisms. What the reader or viewer infers--consciously or without knowing--is significant because it will provide the story with originality.

Phase four or the backbone or the process of the story is the toughest part for most writers, because here, the writer will originate the characters and behavior to reflect the ideas behind the story. Backbone develops as the writes continues writing the story. The backbone is the dramatic arguing of the characters in support of or against what the story is about. The backbone of the story binds together the main character, key characters and the conflict, through scenes and sequences. This is where mini climaxes start to surface to illustrate the main character's transformation through a dynamic central idea.

The writer has to establish a theme or, in other words, a basis for the story's premise in order to create the backbone. Backbone arises from the moral or immoral dilemma of the story. In other words, the theme asks the question of “what if”; the characters and their behavior become the backbone. For example: The question ‘What if jealousy turns a good man into a murderer?' finds its backbone in the story of Othello.

The fifth phase is the further developing of the backbone--usually called the spine--toward the main climax. The fifth phase is successful only when the writer begins to understand and sense more profoundly the internal conflict of the main character.

At phase six, the depth of the story is disclosed to the readers and viewers. The depth of the story is how we emotionally and intellectually experience the story in our hearts and minds. If the writer has established a good workable foundation for the story up to this point, this last phase should be a successful one. Otherwise, the writer needs to go back to rewrite, alter, and fix the story's construction.

It is said that to tell a story effectively, a writer has to become vigilant of its mysteries from the start as he gains insight into the character and the situations the character finds himself in. Most of the time, infinite layers of meaning are created as sequences or scenes are piled one on top of another, which means the story within the story emerges as it is being written.

It is true that most of the storytelling depends on intuition and right brain thinking; however, knowing how to persevere with the ideas and putting them into an acceptable and comprehensible shape gives a writer his license to write.

Joy Cagil is an author on http://www.Writing.Com/ which is a site for Fiction Writing. Joy Cagil's education is in linguistics. In her background are women's issues, mental health, and visual arts.

Screenwriting - How to Write A Copper Bottom Real Life Work of Shattering Genius in Ten Easy Steps by John Smithery

2009-03-29T05:05:00.000-07:00

I once got really angry with my agent. Real, bile seeping, coffee cup flinging, head pounding on wall angry. He had dared to suggest some rewrites for a screenplay that had sold twice, but hadn't got made either time. Feet on desk, hands behind his head, beatific smile across his smarmy agent's face, he had dared to utter one highly loaded phrase. He had dared to say: 'it's not rocket science, is it?'

Bombshell. Things between us crash landed. I shed him, like a hand grenade sheds its shell, there and then. How dare he...?!?

But, now I've several years perspective on the row, I am big enough, I have the heart enough, to be able to admit: He was right. Reworking a script isn't rocket science. If you know what you are doing.

That's a very important If.

"If you know what you are doing..."

If you've spent any time trying to write, and you've got any kind of internet connection at all, you will have realised there are a million other guys out there hacking away at screenplays, all apparently convinced they know what they are up to, and shouting like wild animals at anyone who dares disagree. They sound so authoritative, so compelling, so right - and yet so few of their screenplays ever get past the first hurdle of the initial slushpile reader, let alone to the desk of anyone with any commissioning power.

Meanwhile the people who do sell scripts seem to go on selling, and selling. Common sense would tell you they are obviously doing something different. Common sense would tell you that what they are submitting to the production companies is quantitatively different to what you are submitting.

How hard can it be to work out what the differences are?

As you are probably aware, its very, very hard.

In fact it's so hard it took me about ten years before I cracked it.

Here's the ten headlines. Ten rules of thumb. Ten stepping stones I follow religiously. Follow them conscientiously in order and you WILL see results. I promise.

1. Make your audience care. Get a person at the heart of your story who is deeply loved. Make terrible, awful things happen to them.

2. Make sure you are writing in a genre.

3. Happy Ending. You need one.

4. Love your hero, and force them to choose between two equally powerful alternatives at the end.

5. Design your villain so they can attack your hero in the most personal, damaging, agonising way. Love your villain as much as your hero.

6. Get your story right before you write a word of dialogue. Write a ten page treatment of this story, describing what happens to your beloved lead character.

7. Get a gang of your friends to read the treatment. If three or more of them pick up on a point independently, you might have a problem there. If enough people say something it is probably true.

8. Pick the first paragraph in your treatment. Think about it over and over again, visualise it in the bath, when you wake up, when you are walking along the street. Visualise what happens until you can run it through like a little movie in your mind, seeing what happens, almost hearing the dialogue. This will be your first sequence.

9. Get out your word processor, or your script writing software, whatever, doesn't matter. You can format it later. Get that sequence down now. Write the scenes. Make the characters move, and talk, and feel.

10. Repeat steps 8 and 9 over and over again, until you have got to the end of your treatment.

You have just finished your first draft.

Format it. Print it. Weigh it in your hand. Admire it. You should be proud. Few people get this far. And if you followed these steps, it's going to be far more readable than anything else you have written.

I hope you are intrigued by my stepping stones. Most writers take years and years of trial and error before they discover how to write in a way that people want to read. Many of them never ever get there, and give up, having wasted years of their life. Click here if you want a shortcut. (Oh, and John Smithery is a pen name. I'm still in the business, and there's no way I want the producers I work for so see how easy it is. I like the way they pay for my time...)

Writing a Screenplay Using Structure by Kal Bishop

2009-03-15T05:45:00.000-07:00

Effective screenwriting relies on the good understanding and use of structure.

Inexperienced screenwriters may believe that structure inhibits creativity, but experienced writers know that following a template helps them to problem identify, generate ideas, select good ideas and develop them to reach that all important words-on-paper first draft – structure is not a hindrance but an enhancer of creative output.

If doubts about structure still exist, then they are soon eliminated – when screenplays are presented to decision makers for evaluation, writers soon learn that structure becomes an important part of the evaluation process.

A writer, through an individual and tortuous process of trial and error, may develop templates, or he or she may use one of the classic templates such as the Hero’s Journey. But a writer will rarely admit to the use of templates (it reduces the perception of originality) or he or she may be only mildly aware that they are following a process.

The Classic Hero’s Journey story structure template contains 106 sequences and more than 30 in the final act alone. It is an evolution of Campbells’ original model, containing only 17,18 or 19 sequences, depending on who the interpreter is.

There is a theory that there are only five jokes in the world. Similarly there is a theory that there is only one story in the world. An analyses of nearly all the stories produced by Hollywood bears this out from a certain perspective and the Hero’s Journey would be this universal template.

But from the one universal template are derived many descendants, and one of those is the NO WAY BUT DOWN story structure. In it, the anti-hero heads for self-destruction as a result of his own misdeeds and the betrayal of a shape shifter, allies and goddess et al. It is more exploratory of the darker side of human nature and behaviour and there are no happy endings…but it still makes for a fascinating story.

The Classic Hero’s Journey and the No Way But Down story structure templates can be found at http://www.managing-creativity.com.

You can also receive a regular, free newsletter by entering your email address at this site.

Kal Bishop is a management consultant based in London, UK. He has consulted in the visual media and software industries and for clients such as Toshiba and Transport for London. He has led Improv, creativity and innovation workshops, exhibited artwork in San Francisco, Los Angeles and London and written a number of screenplays. He is a passionate traveller. He can be reached on http://www.managing-creativity.com

Careers In The Entertainment Industry by Tony Jacowski

2009-03-01T06:52:00.000-08:00

Actors start as an extra in a movie. There are opportunities for "extras" in every kind of movie and the role of an extra does not require any special talent. Like you, there are thousands of extras who are hoping to make it big, so while the role may not call for any special talent, you have to distinguish yourself from the rest and hope to catch the director's eye. The experience will get you used to the atmosphere of a shooting site, the idiosyncrasies of the actors and other specialists involved - above all, it will open your eyes to all the grunt work that goes into making a film.

In the making of a film there are also more specialized jobs, like those of acting, directing, and even writing roles. These require some amount of professional training. A professional internship in the line will definitely give your career a boost. Then there are the slightly less important but no less crucial jobs, like the grips and assistants to the editors, of both writing and film.

Transition To Television

Move to the smaller screen of television and you have reality shows like Survivor and The Amazing Race. You have talent shows like American Idol, umpteen sports shows, chat shows, nature programs, fitness and development programs - limitless options that all find an audience somewhere. This really opens up the spectrum of opportunities to suit every inclination and talent - cheerleaders, announcers, newscasters, cameramen, and special effects professionals. Then come the oft-forgotten execs, the emcees, the paper-pushers, the makeup artists, the go-cart mechanics and caterers.

At the bottom of the chain of entertainment industry jobs lie jobs for amusement park attendants and entertainers and hotel and museum workers.

As tempting as all these options are, most careers start at the bottom of the ladder. They slowly, very slowly, build themselves up. There are millions of opportunities and tens of millions of people vying for those jobs, but at the top there are just a few names in lights. To make a successful career in the entertainment industry you need to focus clearly on your goal. More importantly, you need the grit and determination to get you there. Many strive for greatness, but only a few are chosen and only a few make it to the top

How does one get started?

* The entertainment industry job boards are a good source. Many have a database of information and resources to help you define, determine, and decide what to go for. Some will require a couple of dollars, while others may offer a free trial period.

* Union websites like screenwriters' guilds, is another place where you might get help to get your step on the first rung of the ladder of success in the entertainment industry. You will certainly end up finding a huge or tiny - but important - position!

As tempting as a career in the entertainment industry may sound, you need to focus clearly on your goal. You need to develop a thick hide to protect yourself against rejection. You need to be prepared to put in innumerable hours of hard work. You should have an innate curiosity and always keep your eyes and ears open for any opportunity that may come. Most importantly, you need to hope that lady luck will shine down on you.

ABOUT THE AUTHOR
Tony Jacowski is a quality analyst for The MBA Journal. Aveta Solution's Six Sigma Online offers online six sigma training and certification classes for lean six sigma, black belts, green belts, and yellow belts.

Breaking Into Hollywood - How Much Should I Ask People to Pay Me? by Donna Michelle Anderson

2009-02-22T05:24:00.000-08:00

If you're starting out or moving up in the entertainment industry, knowing what pay rate to ask for is particularly hard, so here are some guidelines to go by.

In general, it's very important not to sell yourself too short OR price yourself too high. What determines this is not just the "market rate" for the services you're delivering. When you're setting your fee for a job, take the following into consideration - every time:

RATE "CALCULATOR"

1) What the market rate range is for the gig;

2) What experience you'll gain;

3) What contacts you bring;

4) What contacts you'll gain;

5) What relationship(s) you'll form with whom;

6) What credit you'll receive;

7) Who is issuing that credit (it matters!);

8) What experience you bring to the table;

9) When you will be paid.

Seems like a lot! Believe it or not, ALL of these are monetized in the entertainment industry. So do that 9-point checklist on every offer and adjust accordingly. Let me quickly break down how to use the list:

1) Market Rate. This is your opening number. You can always start with Guild tables; for screenwriting and teleplays, for example, the Writers Guild posts a Schedule of Minimums for payments. If you AND your potential employers are novices, this quote will probably be too high for you, for the reasons on the rest of the list. So beyond the various guilds and unions for your industry, a great way to research the market rate is to ask someone who recently was promoted past the position you're considering. They'll be happier to quote their former rate than reveal their current one! How to find them? Get online on the industry forums and boards! Join a Yahoo! Group in your field and post away.

2) Potential Experience ("-"). If you'll get important professional experience from the gig, this is worth lowering a quote in negotiations with someone who cannot pay much. The new work experience will help you get better jobs (and pay) as you rise. If the employer is a complete newcomer, however, be realistic about what kind of training you'll actually receive. The key question to ask is, "What are the credits and background of the most experienced person I'll actually be working with?" That will let you know how much you'll learn in the process of doing the job.

3) Your Contacts ("+"). If you are bringing key industry names to the project, and that is part of what you are expected to contribute, that's a bump for your fee.

4) Potential Contacts ("-"). There's nothing worth more money in this business than personal contacts. If you'll walk away with a great database of vendors, staff, crew and other industry contacts you connected with, take that into consideration as you set your price.

5) Potential Relationships ("-"). Beyond contacts, if the gig has you working closely with major players in your field, it's worth flexibility on your fee. This isn't just who will be on set with you. Which legitimate agents, managers, designers, network execs, bookers, casting agents, etc. will be part of the project and seeing you shine? Relationships are worth MORE than money in Hollywood.

6) Your Credit ("-"). If you have to choose between money and a better credit, in the beginning, go for the credit - as long as it is an accurate one! In other words, don't trade a writing credit for a "co-producer" (meaningless) or "producer" credit if you only wrote the script. Your producer credit will be vetted and tossed out in any credit dispute if the project goes anywhere. But if you're working on a TV pilot and they can't pay well, but you can get an Associate Producer rather than a Production Assistant title, that is worth money in the bank on your next job. So work with them on your fee.

7) The Credit Source ("-"). A credit only means as much as the person who gives it to you. If a major company offers you a lesser credit, don't dismiss it outright. That company's good reputation and position in the industry might give you more heat when you go to your next gig - and it certainly can open that next door a lot faster.

8) Your Experience ("-"). If you're new in the game, this is where you'll potentially shave quite a bit off of your quote, and that's a wide open range. If you'll be working for an established company, there still are minimum expectations for rates (again, check with outside people at the level above where you're being hired). Established companies are offsetting the lower rate with a list of career and future financial benefits. Newcomers are not. So if you are providing a real product or service to a fellow industry newbie, you must be paid for it. And not on the "back-end" (where unicorns and Bigfoot and other myths live)!

A producer who can't shoot a film without your script...can't shoot a film WITH your script - because they don't have money. It costs money to make a movie, and part of that should go to compensating the writer, especially since, unlike the crew, you are getting no other tangible experience in the process, and your writing credit will be skeptically received on an indie film that never saw the light of day. But if you've never had a script produced or done a modeling shoot or been in a play, and a newcomer wants to hire you, don't even think about holding fast to union minimums. Work with them on a fee or some tradeoffs, per the list above and the tip that follows.

9) The Pay Date ("+"). The later someone is going to pay you for your work, the more you can bump (slightly increase) your fee. Almost everyone reading this has been approached by someone who wants them to do work for free (on "spec"), with promises of payment "on the back end." That's meaningless because you're pretty much never going to see a back-end payment (it's possible; just not likely!). So here's a rule. If you are doing physical work for someone (writing a script, walking a runway, doing a photo shoot), you must arrange to get physical "payment," of some sort, when you do the work.

If the employer is an established company and you are a working professional, do not do spec work for them. Once you do it for free, you will always be expected to do it for free - or at least for too little. Thank them for the offer of employment, let them know you don't work for spec but are excited to work with them, then work out a deal memo through your lawyer, offering them an introductory fee for this first project and establishing a minimum "floor" for any projects that follow. Established companies are never shocked to talk to lawyers (that's how we do things in Hollywood), and they are more than used to paying for people's work.

Newbie employers can offer you "deferred payment" - but also request a guaranteed in-kind benefit you can leave that gig with (and sign that in a deal memo, too). If you're doing a fashion show for someone, ask them if they will at least hire a professional digital photographer (or let you bring one) so you can get shots (free clothes aren't enough - those won't get you your next gig!). Ask the designer to alert the photographer that you'll be bringing a laptop or memory stick to download your images before you leave, and bring a thank you note and truffle for the photographer. If you're writing the script for someone's film, ask them to buy a copy of professional screenwriting software and turn over one of their access codes to you. Work with strapped newbie employers to see what they can offer you in exchange for your labor - since they're not offering you entrée to the contacts, relationships and respected credits that would otherwise make a lower rate worth it.

ONE LAST WORD. As you work more steadily in this industry, your "rate" transforms into your "quote." Your ""quote" is what you were paid on your most recent gig(s), and it's the magic number everyone expects to pay you on your next gig. So once you begin working more steadily, you must be very protective of your quote, regardless of the additional benefits a certain gig would offer. Be particularly wary of being asked to accept a lower rate in exchange for a higher credit because that sets a ridiculously low quote for your new credit level. Sounds pretty sticky and uncomfortable? That's why people have agents.

ABOUT THE AUTHOR
DMA is a former film story analyst, international runway model and stage performer who is now the executive producer of Tidal Wave TV, a new media and reality TV production company in Los Angeles. Learn how to sell a screenplay or sell a reality show from DMA's industry guides: "The 1-3-5 Story Structure Made Simple System: The Nine Essential Elements of a Sellable Screenplay" and "The Show Starter Reality TV Made Simple System: Ten Steps to Creating and Pitching a Sellable Reality Show."

For DMA's national speaking schedule and more insider resources for breaking into Hollywood, please visit Planet DMA. It is our goal to mentor you through your career in the entertainment industry!

The Inciting Incident and Plot Point I: Understand the Difference by M.d. Tabish Faraz

2009-02-08T05:27:00.000-08:00

As many of you know, a screenplay is broadly divided into three acts:

1. The beginning (Setup) that is 22 to 30 pages long,
2. Middle (confrontation or conflict) that is about 60 pages long, and
3. End (Resolution) that is about 25 to 30 pages long.

But what most fresh screenwriters don't seem to understand correctly and make a technical mistake in is the first act (the beginning or the setup) where their writing indicates their misunderstanding of the difference between the inciting incident and plot point I, the two major highs in the first act.

Let's have a look at the definitions in order to make it easy for us to properly differentiate between the two screenplay elements and consequently be able to write Act I of our screenplays in the most effective way possible:

What is the Inciting Incident?

An inciting incident is the event that throws the everyday life of the protagonist out of balance. The event;

* must NOT has to do anything with the will of the protagonist,

* doesn't necessarily have to be the reaction of something the protagonist did at the start of the screenplay, and

* must NOT be the reaction of something the protagonist did in his life that existed before the start of the screenplay.

What is the Plot Point I?

Plot point I or the first turning point in a screenplay is the event that takes place either by the will of the protagonist himself or without his will and forces his circumstances to a whole new direction. The plot point I is the result of the inciting incident.

The above definitions of the two elements of Act I may make you think that the inciting incident is the biggest thing that occurs in Act I. If it is indeed the case, you are actually disagreeing with the screenwriting coaches who teach in screenwriting academic programs and those screenwriting experts who have written and published books on screenwriting as those screenwriting courses and books which talk about plot point I in details maintain that the plot point I is the most biggest thing that happens in Act I. And you know what? They are absolutely right.

Let me explain it to you.

Regardless of which one of the two appears to be the biggest event in Act I, it will remain the fact that plot point I is the biggest one of the two because it is the plot point I that turns the story into a whole new, more conflicting and progressive direction. Moreover, the inciting incident complements the plot point I and the case is not the opposite. In this regard plot point I is taken into consideration as the biggest event of Act I among Hollywood professionals.

Now that you are aware of the difference between the inciting incident and plot point I, it's time now to start writing. So do it!

M.d Tabish Faraz is a freelance screenwriter, creative web content writer, article writer, and copywriter
http://writertabish.blogspot.com/
http://writers.net/writers/35682/

Why you Should Learn to Love the Logline by Jeff Bollow

2009-02-06T09:16:00.000-08:00

When I was a frustrated, struggling writer, I used to believe there was something wrong with the system. How was anyone with talent supposed to break in, if the people within the system made it virtually impossible to get noticed?

Take this ridiculous idea of LOGLINES.

Am I really supposed to be able to encapsulate my entire kick-ass, finely-detailed, one-hundred-page screenplay in TWO SENTENCES?! That's got to be the most ridiculous thing I'd ever heard. Impossible. Stupid. Narrow-minded. No matter WHAT I came up with, it could never truly reflect the richness of my words. Those producers are closing their minds to the more complex and valuable material, I assumed.

And then I started looking for screenplays to produce.

Being the enlightened one, I accepted any and all unsolicited screenplays through the Embryo films website. But a funny thing happened.

We got inundated.

And when I say inundated, I don't mean we were swamped with hundreds of thousands of screenplays. No. There just aren't that many people in Australia writing screenplays. We were inundated with about a hundred and fifty.

But, being a writer myself (and knowing how much effort you put into it), I didn't want to just reject screenplays out of hand. So I made a policy of reading everything that came in -- or at least of giving it a genuinely "fair go".

After about a month, I was so hopelessly behind, that I would never catch up. They were coming in faster than I could keep up. Within six months, I was sure I was being voodoo cursed by a couple hundred writers out there.

See, it takes about an hour and a half to properly read a correctly-formatted screenplay. And even if you've got a lot of time on your hands (which I didn't), you still can't read more than, say, 10 or 20 scripts in a week. Not if you're trying to seriously consider them for production. And as soon as you have ANYTHING going on in your life, you're lucky to get through 5 or 6 of them.

Eventually, I was consumed with guilt. Not getting back to writers who had submitted their screenplays made me just as wicked and evil as every other producer that had never gotten back to me. Skimming scripts to "get a feel for it" was going against what I claimed made me different. The mountain of scripts (okay, call it a "stack", but emotionally, it was a mountain) became overwhelming.

There had to be a better way.

Ironically, I found it. It's called a LOGLINE.

Turns out, there's a reason things are done the way they've been done for decades. (Funny that.)

A compelling logline does several things at the same time, and as a writer, you need to understand these points:

1) IT SAVES THE PRODUCER'S TIME.
And let's face it, if I spend all my time reading screenplays, I don't spend much time producing. If I make the decision about what to READ merely by looking at the logline, I can spend the time reading only those projects that fit the parameters of what I'm looking for. If you've written an amazing fantasy drama, and I'm really looking for a comedy, I helps us quickly determine we're not a match on this particular project. (It's a time-management thing, not a judgment on your writing.)

2) IT DEMONSTRATES THE MARKETING ANGLE.
A perpetual problem producers face is that they need to find money in order to make their films. If I can't imagine how I would sell the film, I'm not going to be very confident when approaching investors or distributors. By sending me a compelling logline, you're helping make my life easier, which in turns makes me want to work with you.

3) IT PULLS THEM IN.
Let's face it, which script would YOU rather read -- one whose concept is vague, generic, and run-of-the-mill (something you've seen a thousand times)? Or one that, upon reading it for the very first time, gets your mind racing, imagining possibilities, and excited about what that film could become? Well, I'm no different. I want life to be as exciting as possible, too.

4) IT LETS THEM KNOW YOU'RE A PROFESSIONAL.
Now this one I didn't realize until I'd seen enough proof of it. But I discovered something a few years ago -- that a professional screenwriter (or at least someone capable of writing professional caliber material) is GOOD WITH WORDS. Seems obvious, doesn't it? Well, it's not. As anyone who's read more than 30 or 40 unproduced screenplays can tell you, you pretty much know by the end of page 5 whether or not the writer knows what they're doing. What I've discovered is that you REALLY know after just the logline. If you can't grab me in two sentences, why should I believe you'll grab me in a few thousand?

So, in short, loglines are NOT the enemy.

In fact, crafting a powerful logline will help you exercise the very same skills that will help you craft a powerful screenplay.

And when you send off that logline, you should KNOW what reaction I'm going to have when I read it. When you can do that, you won't find every producer requesting your screenplay. But you WILL find the right ones.

Keep on writing!

Jeff Bollow is an award-winning filmmaker, acclaimed screenwriting teacher, founder of Screenplay.com.au, and best-selling author of Writing FAST: How to Write Anything with Lightning Speed, available through writingFAST.com and Amazon.com.

How to Write a Film Review by Jonathan Mason

2009-01-30T08:56:00.000-08:00

Writing a film review can be fun and a way of giving your opinion about a film you have seen. It will also broaden your appreciation of films and help people from wasting money on a bad film. If you are lucky you might even get the chance to have your reviews published and get paid for it.

The stepping stones for writing a film review

Step One

Watch a film. Even if you think it will be bad. You don’t just want to see movies that you know you are going to like. How will you be able to compare the good and bad movies then?

Step Two

Write down some things to remember during the film or do some online research – www.imdb.com has a lot of information about most films. Write down the names of the stars, director, screenwriter and the year it was made. Note how long the film is and give it a rating.

Step Three

Take time to let the film soak into your brain. Think about it for a few hours and then begin writing. Let your appreciation or distaste wear off a bit so you don’t write too emotionally. At this time you should think about the set. Were the costumes well made? Were the characters believable?

Step Four

Who do you think this film is aimed at? Will this be enjoyed by children, university grads or is it a date movie? It is the general public who will be reading a newspaper review, not a group of film freaks wanting you to dissect every inch of a film.

Step Five

Start with the introduction. Most film review readers like to be entertained by the review, so think up a good line to hook the reader or a theme for your review.

Step Six

Start writing the review. Include the basic plot of the movie and cover the major events but do not give away the surprise ending. People want to know about the film but not told everything. You almost want to entice people to go if it is good and keep them away if it is bad. Movie reviews are typically 250 to 500 words.

Step Seven

Discuss relevant parts of the film. Include your opinion of the direction, script, actors and photography.

Step Eight

Writing a movie review is perfect for blogging

For more tips visit http://www.happymotivator.com/ for free writing advice

How To Market Your New Film by Nicholl McGuire

2009-01-25T06:38:00.000-08:00

Whether you are a new screenwriter, producer and/or director, you may be looking for that one chance to make a difference in your life and the lives of other people, but Hollywood has said no to you.

That's okay, because more and more companies are coming out to support new filmmakers and you may be looking for them while they are looking for you.

The average Joe isn't interested in many of the movies that come out on the big screen like you assume. Instead, he is more interested in what is happening in his own neighborhood and his wife is just as interested. Why is it your family movie hasn't been shown at the local high school gymnasium, church or your R rated movie at the neighborhood bar? What about working with the owner of the neighborhood video store to get it in his or her store? Why don't we see fliers promoting your movie? How come you haven't bothered to employ your local college students to help you get the word out about your movie?

Some filmmakers have no professional affiliations and that causes many obstacles for them as well. How do filmmakers know how to successfully market their movies when they don't bother to put into action what they observe others are doing?

Twelve marketing strategies filmmakers are presently using in their marketing campaigns include:

1) Creating a website about their film.

Filmmakers provide a simple teaser that draws the viewer into the film wanting more than they cut it, leaving you wanting for more. Every site has contact information which is easily found and all links are fully functional.

2) Maintaining blogs about their film.

Everyday someone is posting something on the site related to the synopsis of the film, photographs, the company or individuals involved with the production, or some other related information.

3) Registering with social networking websites.

Whether they are adding friends, keeping the "about me" section current or discussing related topics to the film in the chat rooms, they are keeping communication live about their film.

4) Sending press releases to Internet and local media outlets.

Every local media outlet that bothers to print a press release has received something about the film whether it is a short, a poster, or something else that promotes their new film.

5) Distributing fliers to local movie, book and music stores.

The information is professionally designed and easily accessible in the store. Sometimes it is located next to those free neighborhood newspapers.

6) Purchasing email lists.

The filmmaker has an idea of who his or her target market is such as what gender, age group, background and general film interest of the person who may be watching the film. With this information he or she knows what kind of email list to buy.

7) Professional memberships related to the film industry.

He or she is networking with other people who may be able to assist him or her with the film. The bigger the circle the more opportunities to meet the right person or group.

8) Getting listed in internet movie databases.

The average Joe should be able to get online and find your movie in someone's database, if he or she can't find you somewhere, then you know you have a lot of work to do. Try this, type the name of your film in the search engine window, if it doesn't show up on the first page, this is a good indication that you haven't been doing a good job marketing it. Find someone who can write an article about you, your company and the film. Then have an article distribution service distribute it to other article websites (this tactic is called article marketing.) Once you get this done, watch how easy it will be to locate information about your film online when someone searches for you.

9) Hosting screening parties.

No more partying for the pure joy of it, filmmakers use every opportunity to party as a way to get their film out there. Change the typical way you host parties.

10) Uploading movie stills to photography sites.

Look at what other filmmakers have done with this, just type in an independent film you really like and see what kind of presence they have on the photography site.

11) Uploading trailers to video sites.

Once again, see what your competitors have done with this, then go to a site that offers books on the subject rather than visiting someone's freebie site. You will want to get the instructions on doing this right the first time. Wasted time is money lost, learn from professionals.

12) Offering freebies such as t-shirts and posters advertising their film.

People love free stuff, so if you can give things away related to your movie, do it, in time you will get something in return for your efforts, fans!

All of these tactics take time to implement. Take a task each day from this list and work on it until you have completed all twelve. Once you have finished these duties, start looking for other ideas you can accomplish within a certain deadline you have set for yourself. Without a deadline, you won't get anything done. To your success!

Nicholl McGuire, Freelance Writer & Blogger, for more information visit http://audiovideobooks.blogspot.com/

Writing Straight to DVD Movies by Zinn Jeremiah

2009-01-23T08:41:00.000-08:00

Screenplay is a reference to a script for full-length movie. In times past, full-length movies were always distributed to and shown in movie theaters. There's a new strategy, however, for any number of produced full-length movies, and that strategy is bypassing movie theaters completely, and instead being distributed as a home rental DVD.

One of the benefits of straight-to-DVD releases is a reduction in marketing costs. Marketing costs for a theater release film are not at all insignificant. A marketing budget for a film being shown in theaters can reach thirty million dollars without much difficulty, and can go far higher than that.

Consider that virtually every theater release film is advertised in some form of print media, and often on television as well -- mostly at so-called prime time hours, where the greatest reach occurs but where costs are also highest. And costs for television advertising can be astronomical. The cost for a Super Bowl ad is at the million dollar level. Given such a scenario, it's easy to see how a prime-time television show with good market reach could mean an ad spot cost of three hundred thousand dollars or more.

The straight-to-DVD film can spend on advertising, but it's not especially typical. In most cases the main form of advertising for a straight-to-DVD movie is its box cover. The DVD box cover sits on a shelf in a video franchise store, customers walk past, see the DVD box, make some form of a choice about the film, and make a purchase or not. This is why having a name actor can be critical to a straight-to-DVD's commercial success: the name actor serves as a selling point, and will be always featured prominently on the DVD box cover. This sort of leverage makes for potential profit points in addition to a salary.

The screenwriter for a straight-to-DVD production will likely see no profit points, and will receive a lesser salary than the screenwriter writing for a major theater release film. This should not be seen in a pessimistic light. Writing a script for a straight-to-DVD release that has a good amount of push behind it will generate a pay of tens of thousands of dollars, at least. It will also count as project experience, and having project experience counts for a great deal in Hollywood.

Writing a screenplay for a straight-to-DVD release is also an introduction to the straight-to-DVD industry. Straight-to-DVD movie production is a profitable industry, and the only proof one needs of this is that straight-to-DVD movies continue to be made. The bottom line in the entertainment industry is profit, and if there's no profit to be made, no product will be made. The writer who writes the script for a straight-to-DVD film is a member of a profit industry, and gets access to all the perks that go along with that.

Zinn Jeremiah is a freelance writer. Read more of Zinn's work at article exchange. Find resources about screenwriting at screenplay writing.

How Do I Sell My New Screenplay? by DMA/Donna Michelle Anderson

2009-01-18T04:47:00.000-08:00

When new screenwriters finish their scripts, they often begin the search for a rep to submit the work around town. But is that the best way to do it? Well, sure! But it's not the ONLY way to do it.

As you prep to get your script sold, incorporate this info into your marketing strategy:

SEEK REPRESENTATION

But only if you have a bona fide "in" to their direct office line! It's very difficult to get a lit agent to read a script for representation without a personal introduction by a repped client of theirs. If you know a screenwriter or other industry member with an agent who actually is getting scripts read by real studios and funders, and you have TWO solid scripts (more on that later), ask for an introduction. Give your contact a substantial gift whether you are signed or not!

Of course, it's not necessary to have a lit agent to shop a script. Make getting an agent only one part of a broader shopping strategy.

EXPLORE LEGITIMATE SUBMISSION OUTLETS

The main places you're trying to get your script to, production companies, studios and even top-five actors' shingles, are sometimes more accessible than lit agents. If you're not already, make sure you join professional writers' groups like ScreenplayLab and Scriptwriters' Network, and attend every possible event to make those contacts. There's a list of organizations to get you started at Movie in a Box - Links.

Again, the way to shop a script in our industry is to know someone. It's tough to open a new professional relationship by asking for the considerable favor of an agent referral, so try a strategy where you're offering something they could use in exchange for the introduction (like Web site design, database entry, etc.). And expect them to request to read your script first - and listen to their notes without argument.

Another credible outlet for getting your script noticed is via some of the online sites. If you're not already, make sure you're active at Inktip, for example. And be sure to explore the hundreds of screenplay competitions, like Scriptapalooza - but check first to see what success stories you can verify from their sites.

WRITE AND QC MORE THAN ONE SCRIPT

"QC" stands for "Quality Control." Do not ever submit a script that is not structurally sound, no matter how ready you are to stop looking at it! This is neither a judgment, an assumption, an insult or a joke. It truly is a requirement. I was a reader at one of the biggest prod cos in Los Angeles, I've had scripts optioned, I run a filmmaking seminar, I've taught at UCLA Ext, I've written a very popular screenwriting book. Please trust me on this. There are no second chances for first impressions in our industry. And it's not just your rep on the line, but also the rep of whoever opens that door for your submission.

Why "more than one script"? That is because if someone reads work of yours and thinks you have promise, their next request (to confirm the initial impression) is very often, "Can you send me another spec?" If you can't, that is by no means a dealbreaker. But if you CAN, and the second script is equally hot, that could be a dealmaker! The second script needs to be structurally sound, as well.

Be sure that your screenplays are structurally solid (on a first submission, nothing else will do! Trust me!). Be sure that an experienced Hollywood reader has read the script and you've addressed the notes. As I always say, "if the story does not fit, you must not submit!" If you submit a flawless first spec, you will never have to live up these standards again, but you should. If you submit a flawed first spec, you will not get the chance to live up to higher standards at that company; you will be blocked from future submissions.

CONSIDER PRODUCING YOUR WORK YOURSELF

If you find you are getting great feedback on your work, but it's never quite the right fit, consider producing the film yourself. This is a great approach when you have a lower-budget indie project (think "Open Water") versus an effects-laden thriller! It is an enormous undertaking to produce a film, but there are many resources out there for people who have compelling scripts to develop. And just as you studied and trained to write well, be sure to research and train extensively before taking on a massive project like producing a movie. Your first stop should be a professional organization like Film Independent (FIND), which can connect with you with terrific partners and/or mentors, as well as vital resources. Look into comprehensive seminars like Movie in a Box, as well.

However you decide to get your screenplay sold, it should be clear by now that you don't do it alone - you need community support and resources - and no one else does it for you - even an agent! It is no one's responsibility to open a door for you to sell a screenplay. It is your responsibility to create a tight script, research appropriate buyers, and relentlessly seek submission opportunities until someone buys - or you decide to produce your work yourself!About the Author:

Learn more about how to sell a screenplay from DMA's industry guide "The 1-3-5 Story Structure Made Simple System: The Nine Essential Elements of a Sellable Screenplay," or attend her one-day, comprehensive filmmaking seminar, "Movie In a Box." DMA is a former film story analyst who is now the executive producer of Tidal Wave TV, a new media and reality TV production company in Los Angeles.

For DMA's national speaking schedule and more insider resources for breaking into Hollywood, please visit Planet DMA. It is our goal to mentor you through your career in entertainment!

Scriptwriting - Generating a Winning Idea

2009-01-16T06:26:00.000-08:00

Every year thousands of screenplays are written and only a handful are bought. If you are an aspiring screenwriter who has not yet been able to sell material to Hollywood then your problem may be your screenplay’s storyline. A marketable story needs to offer the audience strong characters, a unique storyline, a format that fits the requirements of a particular genre, and it needs to be developed fully.

Generating a Winning Idea Step 1: Select a Genre

Most of the screenwriting literature available on the market today recommends that novice screenwriters focus their writing on a single genre. This does not mean that you have to only write screenplays in a single genre. What it does mean, however, is that each screenplay that you write should easily fit into one genre category. As your writing gains acceptance in Hollywood, you will be able to mix things up and create multi-genre scripts, but for your first sell, try to keep your story focused on a single genre.

Generating a Winning Idea Step 2: Watch Recent Releases

Staying on top of what is being produced is important to your story’s development. You want to incorporate popular story trends into your screenplay without duplicating what has already been produced or optioned. The Hollywood Reporter and Variety are two trade publications that can help you stay in touch with what is selling.

Generating a Winning Idea Step 3: Gather Ideas

There are a lot of places that you can get story ideas from. Newspaper headlines, listening to people talk, your dreams, and your personal experiences are all great sources. To find a story idea that can be developed you may need to play around with notes that you have made about your observations. When you look at a possible story idea think about how that story idea can be developed to create a completely unique story that will attract people to the movie theaters.

Generating a Winning Idea Step 4: Organize Your Ideas

Now that you have several story leads your next step is to start developing a single storyline. To do this you may have to develop several storylines before you find one that will work for your screenplay. Brainstorm possible connections the story idea could have to current events, to potential characters, or to other story ideas. If you hit a stumbling block during the story’s development then you may want to put it aside and work on another storyline.

Generating a Winning Idea Step 5: Develop the Main Characters

Once you have a story idea you next need to develop your main characters. These characters should be memorable, they should have a specific function in the story, and they should be tied to the main theme of the story. The characters that you will need to develop during this stage of your screenplay’s design include the protagonist, the antagonist, and a couple of the supporting characters.

Generating a Winning Idea Step 6: Outline Your Idea

In this step you will want to start outlining the key events of your story idea. This will help you determine if your story idea has legs to stand on its own or if you need to scrap it and try a different angle. During this step you will want to make sure that you plan for the key components of your selected genre. If you don’t know what those components are then you will want to read up on that genre, watch films in that genre, and develop your understanding of your genre’s story expectations before you proceed any further.

Generating a Winning Idea Step 7: Have a Conversation With Yourself

The final step is to talk to yourself about your story idea. Ask yourself questions about the structure and flow of the story. For example ask yourself if there is a better way to set up the action in the story, and ask yourself about the set up and execution of the plot points in the story. By talking your way through your story line you will be able to engage your mind into actively participating in the development of your story. This is also a great way to identify story weaknesses.

The Intellectual Property Association (http://www.intellectualpropertyassociation.com/) is dedicated to assisting our members protect and promote their creative works.

The Path to Getting Your Screenplay Sold by Hal Croasmun

2009-01-11T06:26:00.000-08:00

One of the most asked questions in screenwriting is "How do I sell a screenplay?"

Over the last 10 years, I've interviewed many produced screenwriters and they all went through their own version of the following steps as they made their first sale.

Those steps are:

1. A well-written script that is marketable.
2. A pitch.
3. A market.
4. An "in" into the market.
5. A negotiation that leads to a sale.

Of course, each of those steps can be fulfilled in many ways. My purpose in presenting this article is to help you easily recognize opportunities when they arrive and quickly surmise what might be stopping you from succeeding.

Let's look at some details on those five steps.

1. A well-written script that is marketable.

To write a great script, you need a great story and a fresh voice that is entertaining to read. It takes a combination of passion, skill and creativity. But there is another side that needs to be there...

Basically, you are bringing a product to a market. If you want the market to pay you for it, you need to make sure the product meets their needs. In this business, that translates into a marketable concept, castable parts, and great writing.

If you really want to be successful as a screenwriter, you need high marks in both the artistic side and the business side. The more of a master you are at both "arts," the better your chance of having a true breakout career.

KEY: If you want to sell, design your script to be as attractive as possible to the decision makers in the movie biz.

Amazing lead characters will attract top actors. High concepts will attract producers. Great writing will satisfy readers. Do all three and you have a winner.

Remember, the script is your product. If that script is amazing, then people will want to do business with you. This is a choice that you have 100% control over -- WRITE TO ATTRACT.

2. A pitch.

What is a great script without a great pitch? A writing sample.

You've spent six months writing your script. You've agonized over the characters and their story. You've rewritten some lines of dialogue twenty times. Now, it is worth it to create a great pitch.

The whole purpose of a pitch is to get your script read. Usually, your marketing materials consist of a logline, synopsis, and One Page, but there is an important distinction you need to make.

Your pitch needs to present your story in the most compelling way possible. They need to create a strong desire in your reader or listener, and ultimately cause them to demand the right to read your script.

Believe it or not, your pitch can cause agents, managers, and producers to pursue you...if it is a great pitch.

KEY: Find the hook in your story.

The hook is the most interesting, unique, amazing, intriguing, or fresh part of the big idea for your story. It is the thing that will intrigue potential buyers and cause them to demand the script. The right one or two-sentence hook will have more impact than a five minute pitch.

If you find the right hook, it will give you enormous power when you need it most -- when you are face to face with a producer.

3. A market.

There are many different markets in this business and each of them has their own needs. In general, there are markets based on budget -- extreme low budget, low budget, mid-range budget, and high budget. There are markets based upon venue -- TV, Cable, straight-to-DVD, Theater, etc. There are markets based upon funding source -- government funding, private funding, grants, etc.

Also, there are new markets opening up -- Web movies, cell phones, and others we haven't even discovered, yet.

Now, here's the key. Look at your script, determine the best market for it, and get to know that market. What do they already make? What size budgets? What level of special effects? What limitations are on them? Etc.

Understanding your market will help you present your script in a way that makes sense to them. It will also make it easier for you to become an "insider."

KEY: The "right market" will match your script.

You are looking for the perfect market for your script. This is where a lot of writers mess up. They are looking for glory or status or to win the lottery, but they've written a script that is perfect for a low budget market. Rather than beat your head against the Studio's gate, go find the market that will love and honor your script.

Then write another script that matches the market you want to be in.

4. An "in" into the market.

Somehow, you need to get in the door of your market. The traditional route is to get a low-level job and work their way up, looking for opportunities as they go.

Another way is to find an "in." That person could be an agent, manager, producer, director, actor, assistant, or anyone else who has contacts. Getting that "in" is just a matter of finding people, pitching the script, having them read it, and most important, having them fall in love with the work.

In reality, you may find the one contact that will champion your work and get you a deal...or you may have to find twenty champions. You want to keep building fans of your writing until you are safely inside the business.

KEY: If you've done the first three steps well, you will be welcomed by people who have connections in your market.

Why? Because you are bringing them a great script, a great pitch, and both fit their market well. What more could they ask for?

Of course, the better your writing and pitch, the easier it is going to be to establish yourself with the players in your market.

5. A negotiation that leads to a deal.

There are two kinds of writers -- those who have representation and those who negotiate their own deals. Obviously, it is much easier to have an agent negotiate on your behalf. But there are other alternatives. You can hire an Entertainment Attorney. Or you can negotiate on your own.

If you are working with a small production company, there may not be funds up front, which means you'll likely be doing the negotiation on your own. Don't worry. Just keep focused on making the deal.

That may sound obvious, but newcomers to this business are often trying to score the "million dollar sale" when the market only gives that in about 2% of the cases. Of course, those make the news and then everyone jumps in demanding "their right" to the big money.

More important than money is the credibility a sale will bring you. It puts you in the clubhouse. It says you belong in this business. It opens doors. It gets you meetings, where you pitch your next project that will make you even more money.

KEY: Make sure you keep both parts of this step in mind...

1) A negotiation... 2) that leads to a deal.

When you negotiate, make sure you get the sale. All other items are in a lower category. I've seen writers demand all kinds of crazy things -- Associate Producer title, million dollars, be on the set, meet with the star, final edit approval on the movie, back end points, etc. and most of them lost out on their chance at success because of a little greed. Don't do it.

REMEMBER, you need to get that first sale in order to get on the inside of this business. That is your ticket into the show. Once you have your ticket, you will get many perks. But you don't get any of them without a ticket.

For most people, selling a screenplay is a dream come true. It takes you behind the scenes, gives you the opportunity to do what you love -- and get paid very well for it. It gets you on the Red Carpet at the premier of your movie. And for some, it catapults you into the spotlight to enjoy a little fame.

You know the path, now. Follow it.

Hal Croasmun is a writer/producer who has helped screenwriters break into Hollywood. He's the author of "33 Ways to Break into Hollywood" and runs http://www.scriptforsale.com/ which has articles, interviews, and online videos to speed up the process of becoming successful as a screenwriter.

Filmmakers Academy to Explore Science Fiction Movie Phenomenon

2009-01-04T05:09:00.000-08:00

Christian filmographers will take a detailed look at the widespread cultural impact that Science Fiction has had through film during the Fourth Annual Christian Filmmakers Academy (CFA) to be held January 5-7 in San Antonio, Texas. Following a year that saw Science Fiction movies account for 2.5 billion dollars of the 3.7 billion grossed by the top twenty films in the US, the CFA faculty will break down the great science fiction films of the past, even as they cast a vision for how Christians can rightfully employ this genre in the future.

"In 2008, Sci-Fi rocketed out of the basement to become a sci-cult phenomenon that is significant to the cultural history of the United States," noted Doug Phillips, founder of the Christian Filmmakers Academy. "And movies are just the tip of the rocket. Fictional science in the billion-dollar video gaming, computer gaming, comic book and cable TV world is changing the thinking of an entire generation."

The "Symposium on Science Fiction and Christian Filmmaking" will focus on the theology of Science Fiction, analyzing how the worldview conveyed through Sci-Fi films has shaped cultural priorities.

"Sci-Fi movies of the last fifty years have provided America with more than Hollywood entertainment," Phillips remarked. "The popular genre has been responsible for persuading American thrill-and-chill-seekers that fictional speculation is reality -- especially in regard to the creation of the universe, life on earth, and the 'certainty' of extraterrestrial life."

The Symposium will examine this remarkable transformation of fiction into perceived "fact" and explore ways Christian filmmakers can reestablish responsibility in the genre and more carefully and truthfully examine the topics of Creation, time and eternity, the human soul, and the grand potential of science and technology.

"A filmmaker's worldview may be more clearly seen in this genre than any other," observed Geoff Botkin, senior faculty member at the Academy. "When he addresses the future, we know exactly what he thinks about man, God, philosophy, and time. When he addresses the moral challenges of technology, we know what he thinks about right and wrong. Some creators of Science Fiction find it a great vehicle to articulate their most serious ideas about politics, God, and social theory."

The Symposium will trace the history of the genre and the literary sources of its influence and then analyze its impact on American life, thought and culture. Filmmakers will learn ways to approach and use the genre sensibly and maturely.

The Christian Filmmakers Academy, a project of Vision Forum Ministries, is a technical bootcamp for aspiring culture-changers to be held January 5-7 in San Antonio, Texas. Students will learn principles of scripting, casting, writing, directing, and marketing a Christian film -- along with intense Christian worldview instruction. Each year, Vision Forum also hosts the San Antonio Independent Christian Film Festival and Jubilee Awards which showcases the best in Christian films. This year's festival, to be held January 8-10, will award a $101,000 grand prize -- the single largest cash award given by any film festival in the US.

Website: Christian Filmmaker's Academy, visit www.independentchristianfilms.com.

You are the Box Office Smash: the Personal Screenplay by Gordy Hoffman

2008-12-21T05:36:00.000-08:00

Right this very second, in the heart of every struggling, undiscovered screenwriter, in the dark, hidden corner deep within, there is a voice, a clear whisper, saying one thing:

You're never gonna figure this out.

And this is not referring to the story with its gaping hole, the finale missing a payoff, the hit and miss humor, the flat title.

I'm talking about freedom. The freedom to work as a screenwriter. Compensation for a home for family and a life. The resources to wake up and ply your craft and pay the freight, without obstacle. The chance to see your writing made into pictures, to work with the industry's best, to fulfill this goal of professional screenwriter. Hollywood success.

Behind this voice is the idea that somehow, some way, you'll find the hero, or the hook, logline or pitch that will punch your golden ticket. If you could only figure out what the studio wants, if you can only get a solid bead to this game, you know you can write and execute. What is the script I should write to get an agent? What is the one that will sell? It's not that I don't know how to write, I know how to write screenplays, I just need to know what they want, even though I think I know what they want, but I don't think I have the idea that they want. Yeah.

I'm not gonna figure this out, whispers the voice.

Why this uneasiness? Does it originate within ourselves? I don't think so. But where does it come from? The daily obsession with box office grosses? The news of the seven figure deals to newbies? The endless procession of boneheadedly conceived franchises-in-waiting arriving in the theatres every Friday? People winning Academy Awards for movies you would not be caught dead writing? Recognizing an idea you came up with years ago on your couch, produced with a $130 million budget drowning in CGI?

All these things are but a few of the possible reasons why this seeds unhealthy doubt and confusion in the modern screenwriter. Tracking these forces outside us and beyond our control in an effort to trudge the path to a successful screenwriting career will prove to most to be unproductive and corrosive. Basically, trying to figure out what Hollywood wants will land us in a resentment that makes “giving up” a sane response to the very challenge which used to inspire us. In short, we cannot chase a perceived trend and remember our dreams.

You cannot look at the marketplace and find your voice. You can find ideas, trends, and inspiration there, perhaps, but you can find these things driving in traffic as well. But listening to your voice is the key to creating original, compelling stories.

Your life is your own story. You have a completely unique thread of experience. By allowing yourself to express these emotional experiences, your screenplay, your story, will be different from any other and powerful, as original as your fingerprint.
Why is it powerful? When we have the courage to be specific about what we know about living, we create an authentic world an audience recognizes as the life they are living on planet Earth. This connects your audience to your story. This connection is the foundation of the phenomena o

Why does story mean so much to us? We recognize the triumphs and tragedies of our lives, with all the hilarity and tears. By seeing it, we are validated and it underscores meaning and purpose to living.

If we don't use what we've collected in life in our hearts and spirits, then our story loses its authenticity and the connection the audience should make fails. They do not see themselves, and when they leave the theater, they do not call their friends. When people do not call their friends after seeing a movie, the movie bombs.

When a writer opens their person to their work, when they allow themselves to be vulnerable, to risk exposure of the secrets of their life story, they take a huge step towards creating a screenplay of substantial value, a screenplay with a greater potential of a large number of tickets sold.

This is precisely why art and commerce have remained bedfellows for thousands of years. To look at the relationship between art and commerce as adversarial or incompatible is just plain foolish. Art happens when people invest their spirits in their work without fear, and story is artful when the writing is truthful and the writer is authentic.
And what do we have to be honest about? We can only lie about what we know, and we can only tell the truth about what we know. And that is what has happened to us, our life story. This is what we share.

This is not a pitch to write "what you know." This is not about writing stories about where you work or where you live. This is about writing about what you felt. You can imagine characters and worlds and actions and speech you've never personally experienced, but if you remember to infuse your choices with your emotional and spiritual struggles and victories as a human being, your screenplay will be different in the very best sense of the word.

The question you have to answer is not what does Hollywood want today. The question is how honest of a writer do you want to be. I guarantee you can write a blockbuster, you can write a box office hit. This will happen when you find an audience. And the correct path to this crowd of people is listening to yourself. If you practice, you will develop an inner ear for who you are and what you know and you will become masterful in loading your work with your fingerprints. Writing is personal work. You are the guitar. You are the box of paint. Give of that and your audience will remember why life is good and they will talk of you.

About the Author
Winner of the Waldo Salt Screenwriting Award at the Sundance Film Festival for LOVE LIZA, Gordy Hoffman wrote and directed three short films for Fox Searchlight in 2002. He made his feature directorial debut with his script, A COAT OF SNOW, which world premiered at the 2005 Locarno Intl Film Festival. A COAT OF SNOW made its North American Premiere at the Arclight in Hollywood, going on to screen at the Milan Film Festival and the historic George Eastman House. Recently, the movie won the 2006 Domani Vision Award at VisionFest, held at the Tribeca Cinemas in NY. A professor at the USC School of Cinematic Arts, Gordy is the founder and judge of the BlueCat Screenplay Competition. In addition, Gordy acts as a script consultant for screenwriters, offering personalized feedback on their scripts through his consultation service, www.screenplaynotes.com.

Website Dedicated To Science Fiction Movies Launched

2008-12-19T12:51:00.000-08:00

A website called SciFiSoup.com (http://www.SciFiSoup.com) has been launched to provide people with a science fiction movie resource unlike others on the web. The website is purely concerned with science fiction movies released over the last fifty years, and gives movie reviews from the perspective of its 25 year-old founder Julian Card, who has just recently watched the films.

"I just realized how much I enjoy science fiction movies," said Julian Card, founder of scifisoup.com. "There are so many great scifi films out there, as well as some outstandingly terrible movies that are just as fun to watch."

The website features science fiction movie reviews, upcoming scifi films, and an extensive science fiction movie database including movies released over the last 50 years. The movie reviews, written from the perspective of the 25 year-old founder Julian Card, feature a fresh perspective of the movie genre.

"A lot of people get caught up with the fact that the movie is a classic, or are nostalgic because the movie was released when they were 10 years old," stated Julian Card. "I think this skews the fact that some of the films are not very good and can be downright boring and unentertaining. In addition, some great scifi films lacked the advertising budget to be seen by many people that would enjoy them. I'd like to identify these movies to true scifi movie lovers so they could discover them just like I did.

An Advocate for Your Screenplay by Michael C. Murphy

2008-12-14T04:51:00.000-08:00

I think a lot of struggling screenwriters believe if they could just get an agent they would sell a script, get a bunch of writing assignments, and life would be beautiful, but I'm not sure that's the case.

What follows is information taken from my conversations with agents, talking to other screenwriters who have agents, panel discussions I've watched with agents, interviews with agents I've read or witnessed, or other bits of information I've stumbled over through the years.

First of all, most agents don't read query letters. I get the feeling that even those who say they do - don't. Agents much prefer to get their clients by referral from producers, other known screenwriters, managers, or some other person they trust. Of course, there are agents who read every query letter, but I'm not sure those are people you would actually want as an agent.

This is a complicated problem for screenwriters trying to break in, because often the advice I hear from top agents is that we should look for a hot agent just starting out, someone who is hungry for clients. That would be those agents reading all the query letters, but how do you know which one is "hot"?

The "Fade In" directory is probably the best source to look for agents, since it gives a little information along with the phone number and address. And there is the old standard WGA list of guild signatory agents, which is an important consideration, because it means they abide by the WGA guidelines that protect writers.

But you still have that problem of knowing which one is honest and capable of actually helping you get where you want to go. Personally, I want to be with one of the major players:

Creative Artists Agency William Morris Agency International Creative Management United Talent Agency Endeavor Agency The Gersh Agency Innovative Artists Paradigm Agency for the Performing Arts Broder-Webb-Chervin-Silbermann Agency

Now, agents leave these companies and form their own agencies, and those agents probably have some good contacts. And it may be better to be with a smaller company, since you are less likely to get lost and forgotten about, but you will miss out on those inside agency connections. In a big agency, agents communicate with each other about who is looking for what, and packaging deals are made that could make it easier for your agent to find you work. The most important reason to have an agent is to gain access to all the assignment work available. When studios are developing projects, they often put out a call for screenwriters to adapt a book, or rewrite someone else's screenplay. Often, that spec script that you think is going to be your first big sale, actually becomes your writing sample, which your agent will use to get you writing assignments.

Remember, when you go looking for an agent, that agents are generally not looking for screenplays as much as they are looking for clients. In other words, they generally don't want someone with just one script. They usually look for someone with several solid scripts, who has the ability to be marketed in several different directions at once. They play the odds, and if you only have one good script the odds aren't that good.

Also, agents don't like scripts that have already been shopped around. A good agent wants a fresh script that has never been seen anywhere, so he/she can build some buzz, before sending it out to a large group of production companies all at once, in an effort to start a bidding war.

Finally, keep in mind an agent works for you, not the other way around. Don't just grab the first agent that shows interest. Get face-to-face with anyone you are considering and look in their eyes for sincerity. Ask probing questions. Don't sign a contract without legal advice, and don't expect your agent to do all the work - they won't.

Michael C. Murphy is the founder and president of The Writers' Building, a nonprofit organization and online screenwriting workshop, dedicated to helping aspiring screenwriters succeed. Join the workshop at The Writers' Building.

Writing Scripts Takes Commitment by Zinn Jeremiah

2008-12-11T11:24:00.000-08:00

When considering the more popular forms of fiction writing, the screenplay form must be near the top of the list, and perhaps stands alone at the top. Interest in screenwriting and in developing a screenwriting career has exploded over the last few decades. The evidence for this is easy to find. There are several books on screenwriting some of which have gone on to become best sellers and become printed in multiple editions. Screenwriting competitions are now commonplace, and are regularly used as a method for trying to establish a screenwriting career. There are also now even screenwriting programs at several universities, and some of these programs are so competitive that they're nearly impossible to get into. Screenwriting today is as popular a form as it's ever been.

People write screenplays for various reasons. Some people simply enjoy the process, and have no real intentions on pursuing a career. Some who write screenplays will only write one or two of them, then never another. There are those who consistently write screenplays, hoping in many cases to establish a screenwriting career. The lure of a screenwriting career holds different things for different people, obviously: there are those who hope for the opportunity to work in Hollywood's glamorous setting; others hope to become rich; and then some just have a burning desire to create drama.

A commitment to writing scripts is a trait nearly all screenwriters share. It's vital to have this sort of commitment for at least a couple of reasons. Firstly, it takes time to learn to write screenplays at what's considered a professionally acceptable level. There is not set length of time for learning to write screenplays, but in most instances it takes years. The notion of a person taking up screenwriting and having a screenwriting career several months later is essentially unheard of. There are people who move to screenwriting from other writing forms, but typically they're established writers who've been writing for years.

The other reason for needing a sense of commitment is gaining entry. Within the entertainment industry, screenwriters who aren't established don't get much consideration. To ultimately launch a screenwriting career typically takes significant perseverance: doors don't open easily for the unknown. There's also typically a lot of rejection to endure along the way. Becoming a professional screenwriter certainly isn't impossible, because people do it. The best policy with respect to a screenwriting career however is to go into the situation understanding it won't be easy. Those who have the desire as well as the ability have the best chance to succeed.

Zinn Jeremiah is a freelance writer. To learn screenwriting, visit screenplay writing.

Screenwriting Tips from a Screenplay Contest Judge

2008-12-07T05:41:00.000-08:00

Do you realize what you're saying??

In the theatre, they read plays aloud over and over in the process of script development, and one of the reasons they do this is to hear the dialogue. When I hear dialogue in my head, it might sound very good, but then when I hear a person actually speak it, I often have an impulse to jump in front of a bus. And over and over and over and over, when I read screenplay entries to BlueCat, I am immediately dismayed when the characters start speaking. Excellent everything else, awful dialogue. And I often wonder if the writer has actually heard the lines they have written for their characters out loud. Either read the whole thing aloud to yourself, or even better, get a group of your friends to read it. You do not need professional actors to evaluate dialogue. Just people excited to help. Videotape it. I have videotaped readings, and then sat down and worked out an entire rewrite off the tape, addressing every single line that bothered me. Which leads me to another thing.

Ha.

It's hard to pass a screenplay on to industry contacts if an unfunny joke is sitting in the middle of page two. It's highly difficult if there's twelve by page five. You might have a payoff in your third act that would break my heart, but if your jokes are poor, the heart of your audience will be shot, probably resentful, and your work will be recycled. Please try your humor out. If your beats aren't funny to some people, rewrite. Trust a truly hilarious bit is coming. Think of the patience you need to muster through this writing process as courage, because it is.If you find you are not funny, write a script that is not funny. Many, many great scripts are not funny, as we all know.

Mispellings.

Do you think the development people in Los Angeles, basically the smartest people in the film industry, will not be annoyed and continue to read your script when you have misspelled three words in the first five pages? Perhaps. How do you feel when you're reading something and you find misspelled words? How does your attitude shift towards the author? Exactly. If you don't think many scripts have this problem, start a screenwriting competition.

OKAY, WE GOT IT!

Try to limit your scene description. When a person opens your script, how many INCHES of action slug are they looking at on page one? Is there anyway you can convey what you want us to SEE with less words? I always go back and CUT CUT CUT to prevent my screenplay from fatiguing my reader with excess words as they try to listen for my story. Do we need to know what necklace someone is wearing? We all understand making motion pictures is collaborative. I strive to let the art department and the costumer and the prop master and so on DO THEIR JOB by not making their decisions in the screenplay, because I have little passion for it and don't do it well. They will make their own choices, and most likely better ones, so why bother? Always use fewer words to say the same thing.

It's not show and tell, it's show not tell.

I constantly find myself being told something by the screenplay the viewer of the film will not be aware of. Screenplays are not literature. They are words assembled to describe what motion pictures will play out on the screen. Telling us a character is a jealous person is passive and dull. Showing a character in an act of jealousy is more effective and essentially cinematic. Let the words and actions of your characters carry your story. This is not easy. You want the actor or director to understand what you want and what you mean. Allow the description of physical actions and the recording of spoken words reveal the narrative to the filmmakers. The script will read faster and offers the reader a richer opportunity to imagine and discover.

The Joy of Making Things Up.

I really cherish the idea, that as a writer, I can make things up. If I want the guy to say something, all I have to do is type it. But I have to fight against creating characters and interactions amongst characters derived from movies I have watched and television I have seen. I often find myself writing a scene only to realize I'm not drawing from my imagination or my own life experience or my observations of people, I'm drawing from the millions of hours of observing actors play human beings on television and in movie theaters. And because I'm writing a â€œMOVIE,â€ it is even more difficult, because I'm fighting against a subconscious or unconscious observation that this is "how people act in movies." Stop yourself and ask, would this happen on planet Earth? Do I know how people from Miami really speak? What would a person actually say if they had a gun in their face? Can you possibly imagine what could happen? This is your opportunity to be truly imaginative. Answer your own expectations of original work. A mature writer develops a strong capacity to recognize and reject the false.

Ouch.

Forced exposition. This is when a brother tells a sister on page two that he will be attending a school which dad wouldn't pay for because he bought a farm that the whole family will be moving to tomorrow because he found that the city was a really bad place to live in after mom was really scared because of that mugging thing that happened after they came back from the sister's graduation from high school. When characters engage in an unbelievable conversation about matters in which they would be familiar with, or when they proclaim something completely out of nowhere simply to inform the audience of key facts crucial to their understanding of the movie, you have a problem. This awkward exposition will not be seen as genuine human behavior and will detach your audience from the emotional current of your story. Exposition is necessary and difficult to execute. Be careful how you offer information crucial to your story at the start of your screenplay. This is a common problem in early drafts. Exposition needs to be seamless and graceful.

Format.

You know what? Go get a script and copy what you think it looks like and you'll be fine. Trust me. Spec scripts are sitting on desks all over Hollywood and their format is not consistent at all. Getting crazy about format sells screenwriting software. I use two tab settings and copied stuff from a book and not one person in the film industry has ever said a thing to me in ten years. But if your script looks like a book, or a poem, or a magazine article, your screenplay format is wrong. Just make it look a little like a movie script, and if it kicks ass, guess what.

So do you.

Gordy Hoffman

Article URL address: www.bluecatscreenplay.com/About/advice.php

Interview With Twilight Screenwriter Melissa Rosenberg

2008-11-30T06:23:00.000-08:00

A few days ago The Movie Blog had a chance to sit down and chat with Twilight Screenwriter Melissa Rosenberg about the film, the challenges that come along with adapting such a popular novel and how she approached it.

The Movie Blog: You were given the daunting task of condensing Twilight, a 600+ page book, into a 110 page screenplay, while at the same time trying to handle the expectations of the huge fan base that Twilight has gathered. Was it intimidating? What principles did you use in deciding what to cut out?

Melissa: In terms of "was it intimidating," I was not all that aware of the fan base. The minute I became aware of it, I stopped looking because I knew that it would become intimidating. So I purposefully kept myself in the dark because I wanted to be in a place of being able to tell the story and translate the story without the outside influences of the fans. And just to be able to tell the best story possible.

The most important thing [principle] was to stay true to the characters' emotional arts. There are going to be scenes that are either compilations of a couple of different scenes of the book or missing scenes, but the important thing is if the soul of the book is there and if you go away feeling the same way you feel when you read the book. That's what my objective was - to keep the soul of the project.

The Movie Blog: Besides introducing the villains early on in the screenplay version, there were virtually no differences I was able to catch. and I guess that's a good thing. Were there any significant changes you included in the script?

Melissa: That was my absolute objective, if you felt the same. There were actually a lot of adjustments, but again, it's really about "Did you have the same experience? Am I taking you along for the same emotional ride that Stephenie did?" That was the objective for both Catherine [Hardwicke] and I - to make sure that nothing fell out.

In the middle of the book, there are several chapters that have got question and answer dialogue, which is all very compelling when you are reading, but to see two people sitting and talking for long periods of time is not very entertaining. One of the biggest challenges of condensing the book is that you want to be able to hear that mythology. It was a matter of picking and choosing the specific parts of dialogue and dispersing it through several scenes. As well as having other scenes where that information can come across that isn't just two people sitting at a table talking.

The other thing that was different was, for example, with Bella's discovery that Edward is a vampire. In the book, the way he is revealed as a vampire is through a conversation that rolls out over the course of several chapters. It's the conversation Bella has with him [Edward] in the car that she approaches the idea. What we did was to condense all that and have that a real turning point in the movie, making it more of a confrontation. It was really about hyping up certain moments in the book, condensing long passages, while keeping it true to the book because you are still getting that emotional moment.

The Movie Blog: I did notice a lot of instances in the film where much of the conversation that occurs between characters, such as those between Bella and Edward, were illustrated not by dialogue, but through musical montages. Is that how you wanted to portray a lot of the lengthy dialogue from the book?

Melissa: As a writer, you have to recreate scenes to leave space for the actors to act and the director to direct. You always try to let something be portrayed visually as opposed to verbally.

The Movie Blog: What was the hardest scene(s) for you to cut?

Melissa: There were a few things, but ultimately when I saw the film it was hard to remember what those were. I have to say that I didn't miss any of those scenes on screen.

The Movie Blog: Did you consult with Stephenie Meyer when writing the screenplay?

Melissa: Yes. Initially, I was very protective of my creative process. I was intimidated by her celebrity and sort of afraid, on some level that I would be overshadowed and my own creative voice would get drowned out. When I met her I realized that was completely unfounded. She is a very down to Earth, grounded and kind person, who was open to collaboration. She ended up being really valuable in terms of giving me insight into the development of the characters.

I approached Twilight the point of view of a reader and I really wanted to adapt the book without any outside influences and to have it be, in some ways, pure. So, when I say "Yeah, I collaborated with Stephenie," I'm talking everyday, every line. It was like having a writing partner.

The Movie Blog: Was there a character in the book that you could not get a grasp of?

Melissa: Bella's character was quite interesting. Initially, when I read the book, my first thought was that we should just shoot the entire film in Forks and forget about the parts of the book that are set in Arizona. It was Catherine who expressed how important it was to keep the scenes that were set to shoot in Arizona because it was such a significant part of the book. We then met with Stephenie and she spoke to us about being a normal girl in Phoenix, a land where there was a great deal of money and artificial beauty. She discussed how even an attractive girl would feel out of place in such an environment. Stephenie also touched on Bella's relationship with her mother, Rene. She illustrated the idea that Rene is the only person that Bella would risk her life for because Rene can't even take care of herself. Therefore, going back to Arizona to save her and risk her life for her made much more sense to me after Stephenie emphasized that point.

The Movie Blog: The Movie Blog is developing a post on the top 100 film adaptations of a novel. What would be your favorite film adaptation of a novel?

Melissa: I thought The World According to Garth was really well done. I'm also a big John Irving fan, so I would add Cider House Rules. The most recent one I saw was Brokeback Mountain, which is probably one of the best adaptations I've ever seen. If you've ever read the short story, it's just so beautiful and spare. They had the opposite challenge that I did, turning 30 pages into a screenplay. It was a true lesson in how to adapt a book into a screenplay.

The Movie Blog: What's next for you? Will you be involved with the next film, New Moon?

Melissa: We're talking about it, but nothing has been decided in regard to me being involved in the Twilight saga. I can't really say much more than that.

Source: RushPRNews.com Reprinted with permission.

You're an Idiot: Making Value From Reaction to your Screenwriting

2008-11-23T04:23:00.000-08:00

If you're like me, if someone doesn't like something about my screenplay, my very first reaction is always the same.

You're not as smart as me. If you knew what I knew, you would understand what I wrote. And you don't understand what I wrote, because you don't know as much as I do. About everything, in general. In short, life. You know, people. Planet Earth.

If you really don't understand what I'm doing in my script, my first feeling is I don't respect you. I have contempt for you. I feel attacked personally, and with my feelings hurt, I want to denigrate your position, and while I won't call you an idiot, basically the foundation of my exchange with you in the wake of you reading my script is you are, in fact, some kind of idiot.

Someone once told me I can be right or I can be happy. Or you can be right, or you can get your screenplay produced into a motion picture. I have had this happen twice, and I can tell you if I had committed myself to being right about everything during the development of the screenplay, they would still be living as files in my hard drive. Any produced screenwriter will attest to this.

Whenever a reader doesn't get information from my screenplay, facts crucial to the function of the story, stuff I feel is so obvious that the only reason they could've missed it all is carelessness, I know I am responsible for the breakdown. Writers over and over complain about this, appalled that someone could miss something so blatant in the script. Two ways you can take this note. One, reader read poorly. Two, you have clarity problems. What is the constructive reaction? You have a clarity problem.

You might get a note saying they don't believe a character would do or say something, particularly dialogue or actions of a certain time period or profession, such as a cop, or a farmer from the 18th century in Russia. The writer defends the charge by citing historical facts, or stating they have seven relatives in law enforcement, or they grew up in Canada, and they do, indeed, talk like that. Well, it doesn't matter. If your audience is distracted by your authenticity rubbing them as cliché or improbable, you need to revise. Screenwriting is compression and art. It's truth, not a transcription. Where do clichés come from anyway?

I recently got a reaction from an audience member to a movie I wrote that I had never heard from anyone EVER. My first instinct was to say to myself, well, um, that's stupid, because EVERYBODY else thinks differently. This is another reaction I've run into quite a bit with writers. "Everybody else thinks it's funny or realistic or a perfect movie or…"
Who is your "everybody else"? Consider your sources, and keep your mind open. In the end, "everybody else" doesn't exist.

Notes on your screenplay are not a personal attack. They might feel like that. You have made an investment of self, and you love what you have created. It is you. But someone's reaction to your writing is not a reaction to you. It is a reaction of the person who read your screenplay. Same screenplay, different people, different reactions. So the reactions are personal to the readers. Detach from the notes to the degree to which you can improve your screenplay. Their reactions are formed primarily from their lives, not your words. Which leads me to this.

Do not embrace the extremes. Listen to the ends of the spectrum of opinions, but do not wallow there. If someone thinks your script is the worst attempt at screenwriting on record, take what you can, but do not stay with this, toss it off as something off and wild. If someone thinks your script is so awesomely perfect and beautiful that there's really nothing to be changed, take what you can, but do not stay with this, toss it off as something off and wild.

Let's say you've offended someone. They think your choices about language or characterization or action are patently offensive, maybe immoral, bigoted, racist, or sexist, disturbing to the point of quit. Do you need to change something? Perhaps. It's up to you. Know that you've offended someone. I have written disturbing material and I didn't change it. But I've learned to sincerely respect that reaction and allow it to help strengthen my creative positions.

Do not listen to hysterical advice about formatting, but if people say they found typos, that means you don't respect your movie and you need look at your attitude to your work on story.

Don't ever question the credentials of your reader. We can seek the experienced and the professional, but in the end, to discredit notes because the reader is "not a screenwriter" or "some punk in a mailroom" or "the assistant fresh out of blah blah", I put this to you. Where exactly do you think the studios come from? Do you know where the executives started? Do you know how Hollywood began? Who is sitting in the movie seats every Friday night across the planet? Screenplay consultants? No. Your audience.

Seek their reaction. They are the flashlight that works. You can gleam the most incredible insights from any one who reads your screenplay, if you put aside your fight and remember the goal of production. We can't wait for the "qualified" to tell us what's wrong. We don't have to.

I don't remember what the newspapers wrote about the movies I've written, but I do remember what the audiences said. The hell with right. I want to make movies, and I strive for that direction.

About the Author
Winner of the Waldo Salt Screenwriting Award at the Sundance Film Festival for LOVE LIZA, Gordy Hoffman has written and directed three digital shorts for Fox Searchlight. He made his feature directorial debut with his script, A COAT OF SNOW, which world premiered at the 2005 Locarno Intl Film Festival. A COAT OF SNOW made its North American Premiere at the Arclight in Hollywood, going on to screen at the Milan Film Festival and the historic George Eastman House. Recently, the movie won the 2006 Domani Vision Award at VisionFest, held at the Tribeca Cinemas in NY. A professor at the USC School of Cinematic Arts, Gordy is the founder and judge of BlueCat Screenplay Competition. Dedicated to develop and celebrate the undiscovered screenwriter, BlueCat provides written script analysis on every script entered. In addition, Gordy acts as a script consultant for screenwriters, offering personalized feedback on their scripts through his consultation service, http://www.screenplaynotes.com/.

Breaking Into Hollywood - Do I Really Need a Screenwriting Seminar?

2008-11-20T06:15:00.000-08:00

I'm a producer who has enjoyed both sides of the writing seminar experience. As a writing fellow years ago, I attended many diverse seminars. Then, as a story analyst for a major production company, I developed my own system for understanding and applying story structure which I now teach in a seminar of my own. There are three things I explain to people who question or resist "learning how to write" through professional seminars.

First, writers often (mistakenly) interchange "story" and "structure." These are two separate elements of the writing process. Story is the creative experience that only you can uniquely express from your vision. Structure is the foundation for that story, and the rules of structure have been accepted for thousands of years. The easiest way to grasp the distinction is to think of a dinner party. What you cook is entirely up to you (story). But you must serve your guests the appetizer first, then the entrée, then the dessert, in that order, and those dishes have to complement each other (structure). If not, no matter how great the food is, your guests are going to think you have no idea how to make dinner. And they won't come back to dine with you again. Writing seminars tend to focus on teaching structure, NOT story, so that creative genius has a chance of being understood and enjoyed by buyers and audiences who innately expect a certain foundation to a script. And story instincts can be honed and expanded with professional guidance, as well.

Second, virtually all professions have rules for writing. Just as lawyers must learn proper structure and format for legal briefs and programmers do the same with software code, screenwriters must learn and apply rules of structure and format to screenplays. Most professions have training expectations, too. Just as no one is going to give you $100,000 to perform open heart surgery on a patient just because you've always dreamed of being a doctor, no one is going to give you $100,000 to write a script just because it's your lifelong fantasy. Doctors, lawyers and other professionals get degrees and regularly attend seminars to maintain their chops and their edge, and so do writers. No matter how strongly emerging writers believe that Hollywood is a get-rich-quick-with-no-effort industry, in order to succeed, you will have to replace that belief with the simple acceptance of show business as a business.

There simply is no benefit to railing against the industry's insistence that writers get some training before they attempt to get paid for their work. Any time you are asking someone to pay you, you must anticipate their establishing rules for that income. If you don't want to have to learn the insider rules, the simplest solution is to write for free. But if you want to sell your work, just as in any other business, you have to respect the guidelines. The good news is that the rules of writing get far more flexible after a first sale!

Third, it's common for people to mistrust writing teachers as unnecessary snake oil salespeople who are not personally successful themselves. Yes, the rules of story structure that Hollywood subscribes to are fairly standard. The laws of physics are standard, too, but not many people easily grasp and apply them! Training helps writers master the rules so they can craft solid scripts that can actually be sold. And just as you learned better from some teachers than others in high school, you will find in the variety of books and workshops at least one approach to structure that will help you effectively integrate it into your work.

Remember, selling a script is neither a requirement for nor a guarantee of being able to teach screenwriting. I've produced many writing panels and seminars, and many successful screenwriters lack the communications skills and the clarity of process to adequately guide another writer to a successful script. For my part, I teach from the point-of-view of the buyer instead because that was my background and because my personal business strategy is to always understand what the person who writes the check is looking for. Believe this - whatever an individual teacher's approach, the ability to teach a subject well enough for students to grasp it is its own gift.

Finally, let me be a bit frank just to give you a glimpse into the perspective of your potential buyers. From the industry's point-of-view, writing exactly what comes out of your head, spirit and heart, with no structure or training, is not screenwriting...it's "typing." For a parallel, dancing around a living room on your toes is not professional ballet, and it does not warrant the expectation that you should be equally respected as trained ballet dancers in the world of classical dance. Next, I can think of few industries that offer as accessible an education in the basics as screenwriting's swath of books and seminars. Please compare those demands on your time and wallet to what dentists, accountants, attorneys and other professionals must do before they can earn a professional paycheck. If attending a well-respected course for a few hundred bucks helps buyers have confidence in you, do whatever helps you crack those barriers to entry! Last, try very hard to name any industry where training destroys natural talent rather than enhances or develops it. Still a skeptic? Buy a couple of writing books and take some classes just to prove everyone wrong. What I know you will discover, instead, is that training can take what's good and makes it great.

Happy screenselling.

About the Author:

DMA is a former film story analyst who is now the executive producer of Tidal Wave TV, a new media and reality TV production company in Los Angeles, and the director of Hollywood's one-day, comprehsenive filmmaking seminar,Movie in a Box. Learn how to sell a screenplay from DMA's industry guide "The 1-3-5 Story Structure Made Simple System: The Nine Essential Elements of a Sellable Screenplay."

For DMA's national speaking schedule and more insider resources for breaking into Hollywood, please visit Planet DMA. It is our goal to mentor you through your career in the entertainment industry!

22 Ways to Improve Your Screenwriting

2008-11-16T05:01:00.001-08:00

Whether you are trying to win contests or sell your script, it is important that you take advantage of every opportunity you can to increase your chances of success.

Some people have estimated the odds of a good screenwriter selling a script to be in the neighborhood of 1 in 5,000.

What if you could cut that in half just by one action? Now, you're at 1 in 2,500.

Then, what if you could cut that by 1/5th by taking a series of actions. Now, you're at 1 in 500. And if you continue on that path, sooner or later, you'll get to 1 in 10 or even 1 in 2.

If you don't believe that, let me ask you this: What are the chances of Charlie Kaufman selling another screenplay?

He wrote BEING JOHN MALKOVICH, ADAPTATION, and other screenplays. Would you say that his chances of selling another screenplay are pretty high? Would you be shocked to hear that he sold another script in the next six months? I doubt it.

But if you'd met Charlie Kaufman when he first began writing, wouldn't you say he was right in there with the 1 in 5,000 odds against him?

My point is this: Everyone starts at 1 in 5,000 odds and it is up to us to shift the odds until they are in our favor. Shifting those odds is just a matter of constantly improving and taking advantage of the opportunities that come to us.

Below is 22 ways to improve your screenwriting. I've started with the most obvious and built to some ideas that are out of the ordinary.

I present this list so you will always have a way to improve your screenwriting, even if you are trapped in your room by yourself with no money and no contacts.

1. Write every day.

2. Read produced screenplays and search for what they did well. Read for a contest and see the difference between the winners and the ones that didn't make it.

3. Take a screenwriting class. I can easily recommend a few.

4. Get feedback on your writing.

5. Critique another writer's scripts.

6. Join a screenwriting group.

7. Take your favorite screenplay and transcribe it, noticing the choices the writer made.

8. Select a technique to improve and use it in one or more scenes.

9. Write the same scene a completely different way.
- Reverse a scene or character
- Increase the stakes
- Change who prevails in the scene
- Use a twist to change the end of the scene
- Put the characters in a worse position

10. Have another writer write one of your scenes in a completely different way.

11. Take a character to an extreme to see what other possibilities are available.

12. Take a line of dialogue or description and rewrite it 10 different ways or more.

13. Stretch yourself: Give your character an unsolvable problem and then solve it.

14. Pick a scene in a movie you like and write it. Once you have completed it, read the writer's script for that scene and see how he or she wrote it differently.

15. Watch a movie, stopping it at the end of each scene. Write down what happened in the scene, how the characters changed, what was the in and out points, and what was the most interesting part of the scene.

16. Take your best idea and top it in some way! Sometimes, it is not about the writing. It is about the thinking and the breakthroughs and getting used to coming up with fresh ideas. Force yourself to top your best ideas on a regular basis and soon, you'll have the best ideas in Hollywood.

17. Find out what a producer or reader wants in a script. This can shift your chances dramatically. It may save you from writing something that has no chance of success.

18. Take an acting class.

19. Do a read-through with actors.

20. Shoot a short on DV. For anyone who has done this, you've had the experience of seeing actors bring your script to life. Until you do, you can't imagine the amount of pride and embarrassment you'll experience. But directing even one scene will change how you write.

21. Give yourself permission to write from your heart with no holding back.

22. Decide that you will constantly improve your writing until you are one of the best screenwriters there is.

There you are. 22 ways to shift the odds of your success. Many of which do not even require that you leave your computer. If you're serious about writing, I wouldn't let a day go by without doing at least one of the above.

A 1% improvement every day is a 365% improvement over the next year. Keep doing that and sooner or later, you'll be in Charlie Kaufman's league -- making those 7-figure deals.

About the Author:

Hal Croasmun is a writer/producer and the author of "33 Ways to Break into Hollywood." He publishes the ScriptForSale newsletter with articles about screenwriting and interviews with A-List screenwriters at http://www.scriptforsale.com/

Scott Stuber to Produce Film With EA; Scott Z. Burns to Write Screenplay

2008-11-16T04:56:00.000-08:00

Electronic Arts Inc. has closed a deal with Universal Pictures to bring EA's new franchise and top-selling videogame, ARMY OF TWO, to the big screen.

Scott Stuber, through his Stuber Productions shingle, will produce the film along with EA, and screenwriter Scott Z. Burns, who recently co-wrote the blockbuster THE BOURNE ULTIMATUM, has signed on to adapt the game for the screen. Universal Pictures, Stuber Productions and EA are planning to begin production of the film in 2009.

ARMY OF TWO, which has grossed over $100 million(a) in sales since its release in March 2008, is the second film project that EA has set in motion as part of an aggressive strategy to move its IP across more entertainment platforms. The company is also currently developing THE SIMS at 20th Century Fox with producer John Davis.

The Weinstein Company Acquires Worldwide Rights to Feature Film

2008-11-13T06:14:00.000-08:00

The Weinstein Company (TWC) has acquired the worldwide rights to produce and distribute the feature film adaptation of the multiple Tony Award-winning play August: Osage County. Harvey Weinstein, co-chairman of TWC, will serve as one of the producers on the film. Weinstein will join Jean Doumanian Productions and Steve Traxler, president and co-founder of Jam Theatricals, who had previously signed on to produce.

Weinstein is a co-producer of the Broadway production of August: Osage County; Doumanian and Traxler are lead producers as are Jeffrey Richards and Jerry Frankel who are on board to executive produce the feature film adaptation.

The film is currently in development, with playwright Tracy Letts, who won the 2008 Pulitzer Prize for August: Osage County, writing the script. The winner of five 2008 Tony Awards, including Best Play, and the 2008 Pulitzer Prize, the critically acclaimed August: Osage County premiered in summer of 2007 at Chicago's Steppenwolf Theatre and debuted on Broadway in December 2007.

Ben Famiglietti, vice president of production and development, originally brought the play to Weinstein, who immediately signed on as a co-producer of the Broadway production. Famiglietti also brought the movie rights to TWC. Famiglietti and Rob Scheidlinger, executive vice president of production and business affairs, will oversee the production on behalf of TWC. Patrick Daly, Vice President of Production and Development at Jean Doumanian Productions, will liaise with TWC on August: Osage County.

Scheidlinger negotiated on behalf of TWC, George Sheanshang negotiated on behalf of Doumanian, Traxler, Richards and Frankel.

August begins an eight week engagement at London's National Theatre on November 21, 2008. The national tour of August launches in Summer 2009.

How Can I Get My Screenplay Read?

2008-11-09T04:43:00.000-08:00

"How can I get a producer to read my screenplay?"

That's one of the most common questions aspiring screenwriters ask, says Phil Gladwin, the established TV writer behind the Screenwriting Goldmine website.

Phil, who has written a number of dramas for the BBC and ITV, knows how hard it is to get that lucky first break.

So in a series of exclusive audio interviews, Phil has asked his friends and colleagues who have worked on award-winning shows to share their ideas on how you can get your big writing break.

For example:

Bryan McDonald explains how, within 48 hours of writing 25 pages of a spec script for the TV Western show 'Deadwood', he had been flown to Hollywood and hired by series creator David Milch, who also created 'NYPD Blue'

Vanessa Haynes is head of development at Steve Coogan's Baby Cow production company - she describes what she looks for in new comedy - and gives a very clear idea of what she wants to see in a spec script.

Toby Whithouse talks about how he submitted an idea for 'Doctor Who' and ended up writing the episode where the Doctor and his former assistant Sarah Jane Smith are reunited. Toby also explains how his own show, 'No Angels', was commissioned.

Silvia Manning shows how her experience as an actress, the contacts she had made (and a large helping of steely determination) meant she was been able to create and write her own sitcom, 'City Girls' - ending up as executive producer.

The interviews are being released as part of the countdown to the launch of the new-look ScreenwritingGoldmine.com.

The site builds on the success of Phil's popular learning package, 'Screenwriting Goldmine: How to Write a Screenplay People are Desperate to Read'. People who use the package, follow Phil's blog, or contribute to the ScreenwritingGoldmine.com forum, can tell you how much they appreciate the advice and input that Phil gives.

Call for Natural History Film Entries

2008-11-06T13:20:00.000-08:00

With the deadline fast approaching there is still time to enter the ROSCAR (Rhino sculpture) Awards, which forms part of the Durban Wild Talk Africa Film Festival and Conference.

Entries will be judged by well-known industry professionals and talented filmmakers, and include representation from Animal Planet, National Geographic Television, National Geographic Channel International, France 5, Parthenon Entertainment, NHHZ, ORF, NHK (Japan Broadcasting Corporation), New Delhi TV, Off the Fence and others. To read the biographies of all the ROSCAR Judges visit http://www.wildtalkafrica.com/

The ROSCAR Awards categories for 2009 are; Editing; Cinematography; Natural History Production with a Limited Budget; Children’s Natural History Production (to be judged by schoolchildren); Environmental Production with a Conservation Message; Eco-Tourism, Travel and/or Culture Production; Use of Music in a Natural History Production; Script for a Natural History Production; Series for a Natural History Production; Sound Design for a Natural History Production; Newcomer and an Outstanding Achievement for African Wildlife Filmmaker Award. Any production which noticeably impresses the judges will automatically be put forward for the Judge’s choice Award.

The winners of the ROSCAR Awards will be announced at a spectacular gala event which takes place on the finale evening during the Durban Wild Talk Africa Film Festival and Conference, which runs from 19 – 23 April 2009 at the ICC Durban. The prestigious evening event promises to be a highlight as tribute is paid to filmmakers for the outstanding contributions that they are making to the natural history industry.

To enter your production, visit http://www.wildtalkafrica.com/ for the entry form and rules, the entry fee is R350 per entry and the deadline for entries is 28 November 2008.

Camelot to Launch New Program for Struggling Filmmakers

2008-11-02T04:16:00.000-08:00

Camelot Production Services Group is planning to launch a new program designed to assist struggling filmmakers attempting to gain market acceptance.

Under the new program, Camelot will work with filmmakers to explore various methods and ways to bring their projects to market from various aspects of the production process, from inception to completed films ready for distribution.

Camelot envisions bringing together experts from different filmmaking disciplines to assist in the process, along with assets from its film and distribution operations in Camelot Film Group. Specific details of the new program are expected to be released later this quarter. Additional information concerning this program can be obtained by emailing pwinn@camelotfilms.com .

Website: http://www.camelotfilms.com.

Tax Incentive Insurance for Filmmakers

2008-11-02T04:14:00.000-08:00

Tax Incentives have become a significant part of film budgets with many states and countries offering generous tax incentives of up to 40% of production costs for productions filmed in their state or country. Producers can now protect themselves and purchase insurance coverage in the event they suffer a loss and fail to qualify or receive the tax incentive/rebate.

Bob Jellen has played a leading role in Hollywood for many years providing insurance for the major studios and independent film and television production companies. Bob Jellen, President of Entertainment Insurance Consultants, Inc. recently developed Tax Incentive Insurance so producers can now insure the tax incentive/rebate that they expect to earn on their film or television production.

Filmmakers can be covered in the event of damage to sets, property, locations, or facilities, hurricane, flood, earthquake, epidemic, or death or disability of cast or crew which prevents them from completing their required filming in a state or country. They can also be covered in the event of bankruptcy, insolvency or repudiation of a state or countries financial obligation with respect to the tax incentive/credit.

For additional information: http://www.filmtaxincentives.biz

Independent and Freelance Filmmakers: Grow Your Portfolio

2008-10-26T05:21:00.000-07:00

Today, XLNTads has launched Poptent.net, the first social platform for the video creator community.

Poptent offers an unprecedented array of tools for video project management and collaboration. In addition, Poptent enables independent and freelance videographers to showcase their work both to their peers in the video community and to brand advertisers. They can develop working relationships with brands that need quality, affordable media solutions and earn money for their creative work.

Poptent will host rotating brand assignments and also its own ongoing Reel of the Month assignment. With Reel of the Month, creators will have a unique opportunity to gain recognition and visibility. A judging panel comprised of ad executives and Hollywood luminaries will select one creator to highlight each month based on their demo reels. The recipient of this honor will also earn $500 from Poptent.

The judging panel for Reel of the Month includes thought leaders such as Lance Weiler, founder of the Workbook Project, the leading resource for content creators on the Web. Mr. Weiler was recently named one of BusinessWeek Magazine's "18 People Who Changed Hollywood." Another judge is Dreamworks Senior Animator David Schoneveld who has worked on such films as "Pirates of the Caribbean" and "Kung Fu Panda."

To join Poptent sign up for a free membership at http://www.poptent.net/. Members can upload their work, build their profiles and begin working on special assignments from Anheuser-Busch around a designated drivers campaign and from Brand Affinity Technologies for three top professional athletes (including star quarterback Carson Palmer, baseball great Brooks Robinson, and basketball star Robert Horry).

Big Screen Entertainment Group Acquires Feature Film, "Sodium Babies"

2008-10-26T05:18:00.000-07:00

Big Screen Entertainment Group (OTC:BSEG) is very excited about the attention its newly acquired feature film, "Sodium Babies," has been receiving both internationally and domestically.

Big Screen Entertainment Group is selling worldwide rights for the film as well as planning a big campaign for this year's American Film Market. So far, the following top websites have picked up on the trailer and new poster just released:

http://www.dreadcentral.com/story/sodium-hell-twilight-posters

http://www.bloody-disgusting.com/news/13871

"'Sodium Babies' was made over a five (5) year period of time by the extremely talented filmmakers, Julien and Benoit Decallion, using state of the art special effects. Due to the numerous requests for screenings and the buzz from international buyers and horror fans alike, we are expecting very good results from the movie. We have already received requests from several major studios after viewing the trailer," said Kimberley Kates, BSEG's CEO.

"A cross between 'Sin City' and the new HBO vampire series 'True Blood,' 'Sodium Babies' is a very original, extremely visual, and powerful story with an intense theme," said Kates.

For more on the film, please visit the following:

http://www.myspace.com/sodiumbabies

The Five Paths for Australian Screenwriters

2008-10-24T09:37:00.000-07:00

Australia is not Hollywood. Australia is not Hollywood. Australia is not Hollywood.

Sometimes, I have to remind myself. It's the only way to preserve my sanity.

See, I'm an independent film producer who's been involved in the film industry since before I was a teenager (over 20 years now, eeesh!). And because I grew up in Los Angeles, the film industry was all around me.

It never even occurred to me that people might consider a career in film "impossible".

So when I got to Australia and started looking for screenplays, I was genuinely surprised by how few people were doing it. At first, I saw it as a tremendous opportunity. Over time, I began to realize it was a tremendous obstacle.

Without many screenwriters in Australia, the screenwriting community remains small, which makes it a very lonely profession. (Writing's always a lonely profession, but when no one around you even understands what you do, it gets downright desolate.)

As it turns out, many Australians who WOULD turn their ideas into screenplays DON'T... simply because they don't think it's feasible.

Well, I disagree.

If you can excel at screenwriting in Australia, you can get noticed. The local industry is continually crying out for quality material. Why shouldn't it be you that writes it?

But Australia is not Hollywood. So the career path of a screenwriter here is not quite so obvious.

That's why I've identified five different and clearly-marked paths that would-be Australian screenwriters can take. I don't know if these are the ONLY paths, but they're the five that I could identify without much thought.

If you're looking to write a screenplay, pick a path and write FOR it, and your chances of seeing something in return for your efforts will multiply exponentially.

1) Write for the Government
It's no secret that government funding dominates the Australian film industry. And many would-be screenwriters see government money as the only source of income. It's not, but it's the most obvious. To attract government funding, you'll need to understand what those funding sources need to see in a screenplay (specifically, cultural relevance). In Australia, most of the competition is writing for this market, but it remains alive and well).

2) Write for local producers
Australian producers exist in a difficult environment. They typically have very little script development money, and can't claim development expenses against their taxes unless the project goes into production. The result? Films get pushed into production prematurely. Australian producers aspire to make brilliant films just like everyone else does. To write for this market, research who's who, who does what, and what they're looking for. Craft something powerful that's specifically designed for them, and you'll get noticed very quickly.

3) Write to self-produce
Partly from a do-it-yourself attitude, and partly from the necessity of surviving in a small market, many writers aim to self-produce their work. If this includes you, you'll need to learn the myriad other skills involved, which will necessarily limit the time and energy you can put into perfecting the screenwriting craft. Be sure to get objective feedback on your project before racing into production. Most writers misunderstand self-producing, assuming it's the easiest (or at least most direct) route to a completed film. In fact, it's about twenty times the work for half the reward. But it's a viable avenue that can be legitimately considered.

4) Write for me (or someone like me)
Although I'm technically just one of the many producers who fall under category 2, I'm a little unique down here, in that I believe in applying "Hollywood" techniques to local stories. My philosophy is simple: If you make movies that make money, you get to make more movies -- so let's start making mainstream entertainment that can keep the quality industry alive. Many in the local industry reject that kind of American influence, arguing that Australian film should be pure and free of commercial considerations. It's a valid point of view, and I absolutely respect it. But I want to reach out to the cineplexes, so I seek "High Concept" stories that can be easily marketed to a wide audience. There are several Australian producers with this philosophy, and we all fit into this category.

5) Write for Hollywood
Yes, believe it or not Aussie screenwriters, despite being this far away, writing for the Hollywood market is a legitimate and viable path. Ironically, many Australian writers have found it easier to "break in" to the Hollywood market than Americans. Largely the result of very few Australian films getting released in the US (and then, it's only the good ones), Hollywood has a distorted perception of Australia, and makes assumptions in your favour. The challenge to this path is that, in the end, you're competing with about 100 times as many writers, including the best in the world. Your skills had better be world-class, if you hope to compete.

So. Which path is best?

The simple answer is that there's no answer to that question. It's whichever is right for you, your project, your personality, and your goals. Don't rule out -- and don't settle for -- ANY of these, simply because they look easier or harder than the others.

The point is not which path to take.

The point is that there are at least five real, potential, viable career paths for Australian screenwriters.

So if you've got an idea for a screenplay, or you have any inkling that screenwriting might be something you'd like to do, I strongly encourage you to consider it seriously.

Australia needs quality screenwriters. We make 30-odd films per year, on average. If every one of them was amazing and powerful, or far-reaching and entertaining, the local culture would flourish.

Keep on writing!

About the Author:
Jeff Bollow is an award-winning filmmaker, acclaimed screenwriting teacher, founder of Screenplay.com.au, and best-selling author of Writing FAST: How to Write Anything with Lightning Speed, available through writingFAST.com and Amazon.com.

Hollywood Movies Still Thrive During Tough Times

2008-10-19T06:44:00.001-07:00

According to SNL Kagan's recent study, "Economics of Motion Pictures," theatrical box office revenues hit a gross record of $9.67 billion domestically in 2007, besting the previous mark of $9.29 billion set in 2002.

SNL Kagan's "Economics of Motion Pictures" analyzes all films released on 1,000 or more screens from 2003 to 2007, providing 10-year pro forma models based on genre and budget range, with varying distribution structures. Included are detailed costs for action, animation, comedy, drama, family, horror, romance, sci-fi/fantasy and thriller films.

Overall, SNL Kagan found the most expensive films posted the largest revenues and average net profit. The nine films in the $90 million-$100 million range for negative costs posted an average net profit of $374.7 million under a major-studio distribution fee structure. The 80 films that cost more than $100 million to make generated an average net profit of $282.3 million. The 741 films in the study averaged $66.4 million in net profit.

Within each negative cost range, results varied by genre. The SNL Kagan study reveals that animated films performed best, with an average net profit of $230.6 million under a major studio deal. Horror films had the best results in the $0-$10 million range with an average net profit of $40.3 million, compared to $21.9 million across all negative cost ranges.

2003-2007 Average Film Profits by Genre for Major Studios
Film Genre.....Avg. Domestic Gross ($000)…..Avg. Net Profit ($000)
Animated.....106,521…..230,631
Sci-Fi/Fantasy..…115,652.....195,260
Family.....78,967.….120,563
Action.….79,288.....97,270
Drama.....42,715…..38,615
Comedy…..49,773.....35,905
Romance.....35,443.….22,164
Horror.….34,494.....21,862
Thriller.....38,644…..18,553
Tot./Wtd. Avg…..58,106.....66,353

© 2008 SNL Kagan, a division of SNL Financial LC, est. and analysis of industry data. All rights rsvd.

"When the going gets tough, consumers go to the movies," said Derek Baine, senior analyst at SNL Kagan. "Historically, theaters have been fairly recession proof, and this year looks to be no exception."

Website: http://www.snlkagan.com/

Training for Screenwriters by Zinn Jeremiah

2008-10-17T06:09:00.000-07:00

Screenwriting is a bit of an invisible profession. Most people who watch movies or television give very little thought to how the actors come to say what they say; but the fact of the matter is, aside from the occasional ad lib, everything film and television actors say is written for them by someone else. And the someone else who writes what film and television actors say is typically known as a screenwriter.

The rare person who does have some form of interest in screenwriting often hopes to be a screenwriter him or herself, presuming they aren't one already. The fact of the matter is, there are a variety of ways for one to become a paid screenwriter. Notice the mention of the word paid. Virtually anyone has the capacity to write a screenplay. A small number of people have the ability to write a legitimately good screenplay. And some few literally earn money by writing screenplays.

All things considered, the number of people who are paid to write screenplays or television scripts is small. Screenwriting is a competitive industry in the sense that more people would like to get in than are needed, and that it's often difficult to connect with people who pay for scripts: the path to established entertainment industry professionals who regularly pay for some form of screenwriting is blocked by any number of gatekeepers. This isn't to infer that becoming a paid screenwriter is an impossibility as it's clearly not, but there are challenges involved.

One of the forms people take to establishing screenwriting careers is to get screenwriting training at a university. There are a number of universities that offer screenwriting programs, and those programs with established ties to the entertainment industry are very competitive to gain entrance into. The southern California schools UCLA and USC both have established and competitive screenwriting programs. Since these schools are located in what is essentially the capital of the entertainment industry, the immediate area around Los Angeles, they have an inside access schools located elsewhere don't have. This geographic advantage adds greatly to the prestige of these schools' screenwriting programs.

It is absolutely not mandatory to attend university screenwriting training. Many screenwriters have established careers, some quite successful, without any formal screenwriting training at all. At the end of the day, all that's required to become a professional screenwriter is to have a screenplay that the industry wants to buy. No one in the entertainment industry cares much if at all about how a screenwriter learned their trade. The only concern is for the finished product, and that's the script, which in screenwriting is the most important thing of all.

About the Author:
Zinn Jeremiah is a freelance writer. To read more of Zinn's writings, visit article exchange. For screenwriting resources, go to screenplay writing.

The Screenwriting Instinct: How to Know if You Have It?

2008-10-16T09:00:00.000-07:00

Although it seems obvious that one would love to do their hobby, the work that interests them most or the work they feel is pretty natural to them, it is a fact that some people are unable to do so because of quite an unbelievable, basic reason:

They simply haven't explored themselves enough to find something that they are naturally talented or gifted ones in.

Yes, it is indeed the case with some people. This is also what the command "Know Thy Self" was for. Moreover, a lot of people have written 'still discovering' in the about me area of their online profiles.

If you are one of those people, I would like to bring your attention to what some would say 'the solution from an unexpected place while the place is not at all strange' - thoughts... in terms of movies.

If you have noted it at some point in your life that your mind sometimes, often, or all the time thinks of a fictional event (or fictional events) or an imaginary person (or imaginary persons) as you see or after seeing any object, person or scenery such as the royalty-free photo from GettyImages.com above, you have a good reason to think that you have the ability to think in terms of movies or you do possess the screenwriting instinct.

Screenwriting is really all about stories and characters (and their telling, of course). It takes inspiration and creativity to create them, and screenwriting and inspiration & creativity go hand in hand. That means, if you are a creative person, you have fulfilled the most primitive requirement of being a screenwriter.

If by having a look at the above still scene-picture of the movie Thelma and Louise for example, your mind pops up the memories of the film as to what was the story and who were the characters, and you could tell that your mind, after or as you watched the movie, thought about the incidents other than those happened to the characters in the movie happening to the characters and/or your mind thought of the characters other than the actual characters of the movie going through the exact same incidents as depicted in the movie, then you, for sure, have the instinct to write movies.

That goes without saying that even Now, if, as you see or after seeing the photo of the movie for example, your mind imagines (or wishes) different, more interesting events happening to the characters of the movie Thelma and Louise or different, more interesting characters going through the exact same events of the movie, or simply if your mind can imagine, or better, often imagines out of nowhere any interesting incidents or people with interesting characteristics, then there is no doubt that you have what it takes to take screenwriting on as your hobby, the work that interests you most or the work you are naturally talented in. And you can know that you have the screenwriting instinct.

The best part is, as with all types of hobbies, with little or some efforts, you can use this natural talent of yours to reach a stage where you get paid to do what you love doing and are naturally talented in.

About the Author:
M.d. Tabish Faraz is a screenwriting teacher, screenwriter, creative web content writer, article writer, and copywriter.
http://writertabish.blogspot.com

ION Television Inks Multi-Year Film Acquisition Deal

2008-10-16T08:54:00.000-07:00

ION Television, the "Positively Entertaining" general entertainment network reaching over 94 million homes, has inked a multi-year film acquisition deal with Warner Bros. Domestic Television Distribution. Extending from fall 2008 through summer 2010, this multi-year deal brings 27 critically acclaimed and Academy Award-winning films to the network's film slate.

TV and Film Characters Influence Reckless Driving

2008-10-12T05:22:00.000-07:00

1.3 million UK motorists claim to have picked up their bad driving habits from TV and film characters, according to the latest research from Confused.com - the UK's leading car insurance price comparison site.

A shocking 1 in 4 (23%) of 17-24 year olds, claim that they have picked up bad driving habits from films, such as Casino Royale and the Italian Job - an admission which is supported by the fact that 3 in 4 young drivers claim to drive with one hand on the wheel, and more than 1 in 2 (55%) frequently drive over the speed limit.

Londoners are the worst in the country for trying to emulate their TV and film heroes, with nearly 1 in 5 (18%) claiming that watching films has a direct impact on their driving styles. This becomes even more significant when taking into consideration the fact that only 2% of drivers from other regions in the UK claim to be influenced by film and TV characters.

Will Thomas, head of car insurance at Confused.com, says: "It is very concerning that so many drivers admit to being influenced by film and television stars. While some motorists dream about emulating the driving styles of James Bond and Knightrider, the reality is that driving erratically and dangerously is far from astute - especially for people who live in regions which are as built-up as London.

Website: http://www.confused.com/

Seven Arts Pictures Delivers Drunkboat Starring John Malkovich

2008-10-12T05:20:00.000-07:00

Seven Arts Pictures plc (Seven Arts) announced the delivery of Drunkboat directed by Bob Meyer, and starring John Malkovich and John Goodman. Initial revenues on the movie will be realized in this fiscal year 2009.

Drunkboat is produced by Golden Globe and Academy Award nominee John Malkovich, and directed by Bob Meyer. It is the touching story of a man making a difficult and tenuous return to family life in Chicago after many years of lonely self destruction. His nephew has teenage dreams of leaving home and sailing to distant horizons and purchases a beaten-up wooden sailboat and a journey with his uncle unfolds.

2008 Indie Short Film Competition

2008-10-10T13:38:00.000-07:00

The launch of the 2nd annual international short film and video competition for independent filmmakers has been announced by The Indie Short Film Competition.

The Indie Short Film Competition is the most innovative international short film and video competition for independent filmmakers worldwide. It’s not your usual brick and mortar film festival, it’s a unique online competition whose focus is on creating opportunities for aspiring filmmakers from around the world by bringing support and recognition to excellence in the art of filmmaking. The Indie Short Film Competition is a great opportunity for indie filmmakers to advance their career, gain recognition in the filmmaking industry, and receive international exposure. Winning filmmakers will also receive awards, cash prizes, and merchandise & services from industry sponsors that can help further your career in filmmaking.

Entrants stand a chance to win over $25,000 in cash and prizes. Short films and videos may be entered in 10 different categories (Comedy, Horror / Thriller, Documentary, Music Videos, etc.). Filmmakers may enter as many short films as they wish. Submissions accepted now through November 29, 2008. Enter today at http://www.indieshortfilms.net/

Winners will be selected by a judging panel of industry professionals who are looking for the next generation of creatively talented filmmakers out there. Entering this short film friendly competition gives you a shot at being discovered by the right people and opening the right doors to get your short films seen by top industry professionals in the filmmaking business.

The 10 Most Popular Movies of All Time

2008-10-09T08:59:00.000-07:00

Are you a movie dunce? Do you not know your Corleone from your Kurosawa? Would you recognise a lightsaber if it hit you in the face? Well, don't panic. To help you catch up on your movie knowledge here's the first instalment in your 2-part crash course in the top 10 movies of all time, as voted by the readers of the Internet Movie Database. Careful, though… here be spoilers.

10. Star Wars IV: A New Hope

A long time ago, in a galaxy far, far, away . . .

Luke Skywalker, farmhand and son of Darth Vader, is torn from his home when his aunt and uncle are murdered by Imperial Storm Troopers searching for the stolen plans to the Death Star, a space station with weaponry capable of destroying planets. Luke escapes with his two droids, Jedi Knight Obi Wan Kenobi, smuggler Han Solo and first mate Chewbacca.

After escaping Tatooine, the ragtag crew stumble upon the Death Star shortly after it has destroyed the planet Alderaan. Caught by its tractor beam, their ship is dragged in. While attempting to escape the Death Star the team rescue Princess Leia, held prisoner in the ships bowels. During the rescue Obi Wan sacrifices himself to allow the others to escape.

In a grand finale, Luke destroys the Death Star by firing a missile into a weak spot in the structure of the ship and Darth Vader, is cannoned off into the depths of space.

Quote: I felt a great disturbance in the Force, as if millions of voices suddenly cried out in terror and were suddenly silenced.

Trivia: Al Pacino, Burt Reynolds and James Caan reportedly turned down the role of Han Solo.

9. Pulp Fiction

A movie whose various plotlines are far too intertwined to summarise in a paragraph or two, Pulp Fiction simply tells the story of a day in the life of a group of unusual people -- two hitmen, the wife of a gangster, and a boxer who killed in the ring among others.

Edited to tie each story together, the movie often plays out of sequence -- to the point where the final scene and the opening scene take place at the same time. Full of pop culture references and quotable lines, Pulp Fiction stays true to form as a Tarantino movie.

Quote: Zed's dead, baby. Zed's dead.

Trivia: Vincent Vega (John Travolta) is the brother of Vic Vega, also known as Mr Blonde, in Reservoir Dogs.

8. The Good, the Bad and the Ugly

Set during the US Civil War, the movie follows the three protagonists Blondie (The Good), Snake Eyes (The Bad) and Tuco (The Ugly) in their search of a hoard of gold stolen by bank robber Bill Carson. All three want 50% of the gold -- resulting in a good old-fashioned standoff. Snake Eyes is shot dead, and the honorable Blondie allows Tuco his share of the booty.

Quote: You see, in this world there's two kinds of people, my friend: Those with loaded guns and those who dig. You dig.

Trivia: Clint Eastwood wore the same poncho for all three ‘Man With No Name' movies -- without washing it once.

7. Schindler's List

Schindler's List tells the true story of Oscar Schindler, a Nazi industrialist who becomes so moved by the plight of the Jewish people during World War II that he devotes himself to saving as many as he can. Even after rescuing over 1,100 Jews from the gas chamber, Schindler bemoans the fact that he could have saved more had he sacrificed everything he had.

Quote: I could have got more out. I could have got more. I don't know. If I'd just... I could have got more.

Trivia: Steven Spielberg refused to take any pay for the film, claiming that it would feel like he was taking ‘blood money'.

6. The Seven Samurai

Regarded as Akira Kurosawa's greatest film, the Seven Samurai tells the story of a terrorised village in war-torn 16th Century Japan. Constantly attacked by gangs of bandits, the residents enlist the services of seven ronin, or samurai without masters, to protect them.

Despite initial tensions between the villagers and the samurai, they together successfully defend the village against the bandits. However, their success comes at the cost of the lives of four samurai.

Quote: What's the use of worrying about your beard when your head's about to be taken?

Trivia: The three samurai whose characters survived the film were the first three to die in real life.

So, you're up to date on five of the top ten most popular movies of all time - but that's not good enough! To complete your movie knowledge, why not read up on the top five movies in the final instalment of your crash course?

About The Author
James Shenton is a freelance writer and cinema buff whose work can often be found gracing the pages of industry journals and entertainment portals.

You can find more of his work at the Internet's best movie downloads site, http://www.elitemoviedownloads.com/

Vanuatu Very Short Film Festival Seeking Submissions

2008-10-05T05:39:00.000-07:00

Vanuatu Very Short Film Festival is accepting entries for the 2008 festival.

"In only its second year the festival has already grown to be one of the top 18 film festivals in the South Pacific" claimed festival board member Aaliya Ahmed.

The Festival is an initiative of local NGO Oxfam International Vanuatu and aims to showcase the rising talent in local film making. This year's theme is 'black and white' which you can be interpreted anyway you like.

"I want to encourage lots of ni-Vanuatu entries" said Oxfam Youth Officer, Nelly Willy. "We don't care about the quality, if you have an interesting story that you can tell in less than 3 minutes we want to see your film."

Last year's 'Best Film' winner Ross Fraser used the recognition from the short film festival to launch his short film career. "It was frustrating being almost famous for so long. I can't thank the organiser enough for this break."

After sell out success of last year and the growing level of international interest this year, the festival has put Vanuatu on the film festival map."A lot of people have been calling this the 'Cannes of the Pacific' and I'd say they are right on the mark" said the intense fast-talking organiser, Torrey McDonnell.

Monies raised from the event will go to supporting projects by the Oxfam Youth Action Partners.

Get your entries in by 24th November 2008.

Vanuatu Very Short Film Festival
Tim Hewatt
+678 7755657
Vanuatu.Very.Short.Film.Festival@gmail.com

U.S. Sports Film Festival - Oct. 23-26, 2008

2008-10-05T05:37:00.000-07:00

The inaugural U.S. Sports Film Festival, the most comprehensive sports film festival in United States history, today announced the first series of films selected to be screened during the four-day run from October 23-26, 2008.

The festival also will debut the Mixed Martial Arts documentary "Renzo Gracie: Legacy," the life story of the Brazilian jiu-jitsu master and the American patriarch of one of the world’s fastest rising sports, as well as the debut of "Basketball in the Barrio," the story of two former University of Texas El Paso basketball players who started a program teaching basketball to the impoverished immigrant children of South El Paso, and the stories of those who used basketball as a tool for fulfillment.

Other critically-acclaimed films slated to run at the USSFF include "Kicking It," the Ted Leonsis-produced film about a team of homeless soccer players and their life stories and successes on the pitch; "Run For Your Life," the true-life story of the man who created the New York City Marathon, Fred Lebow; and "Kassim The Dream," the story of Ugandan-born boxing world champion Kassim Ouma, a kidnapped child soldier and his struggles to break free and regain his life as a professional athlete.

Each film will include a series of events involving the stars and makers of the films, who will be on hand to discuss all the elements that went into making these landmarks. Already, nearly 100 films have been submitted for review ranging from the traditional sports to Mixed Martial Arts, Extreme Endurance Racing and even Pin Trading. The remaining list of films, many to be seen on a big screen for the first time, will be released in the coming weeks.

Additionally, the first films also include a series of classic films by producer Mark Ciardi, including "Invincible," "Miracle," and "The Rookie."

To obtain tickets to the U.S. Sports Film Festival go to www.ussportsfilmfestival.com or call (646) 233-2033.

Techniques of the Film Masters

2008-10-02T12:39:00.000-07:00

If student filmmakers want to learn how to direct great films, then they should study great film directors. Studying a director close-up will encourage and motivate students of film and provide a role model for them to follow as they continue to mature their own creative artistic elements in filmmaking. In learning about a film director, it is important to analyze their personality, vision of cinema, directing style, creative artistic elements in film, as well as any other aspect of motion picture production that communicates their talents.

"Techniques of the Film Masters" (ISBN: 978-1-4357-4347-2) is a new book recently released by Infinity Films of Williamsburg, Virginia. Tailoring the book to the needs of student filmmakers, Adrian Robbe (author and founder of Infinity Films) gives student filmmakers a unique look at four outstanding masters of film directing -- Steven Spielberg, Martin Scorsese, M. Night Shyamalan, as well as Orson Welles. With the goal of serving as a source of encouragement and valuable reference for beginning as well as seasoned film directors, "Techniques of the Film Masters" was written with that aim in mind.

The introductory chapter of "Techniques of the Film Masters" focuses on the Media Equation Theory popularized by Byron Reeves and Clifford Nass as a valid model and concept of communication. Represented by the expression that Media = Real Life, the author (Adrian Robbe) describes how the Media Equation can be applied to the communication medium of motion picture film; and, in particular, the craft of directing a film. In the remaining chapters of the book, the author explores the directing style of the following masters of film: Orson Welles, M. Night Shyamalan, Martin Scorsese, and Steven Spielberg. After presenting a short biography of each film director, he describes their independent directing styles. Each of the major techniques they utilize as a form of artistic presentation in their role as a motion picture director is examined through several of their landmark films.

In Chapter 2, Mr. Robbe discusses Orson Welles and his movie Citizen Kane (1941) and the various tools of narrative cinema that he implemented in this great Hollywood classic.

Chapter 3 is dedicated to analyzing the directorial style of M. Night Shyamalan in his motion pictures Signs (2002), Unbreakable (2000), and The Sixth Sense (1999).

In Chapter 4, the author examines the artistic style and cinematic techniques of Martin Scorsese in his films Mean Streets (1973), Taxi Driver (1976), Goodfellas (1990), and Gangs of New York (2002).

Chapter 5 is devoted to the Hollywood film industry leader, Steven Spielberg. This final chapter of the book explores a multitude of Steven Spielberg's films from an analytical perspective and reveals foundations of his human compassion and artistic cinematic techniques.

Website: www.lulu.com/infinityfilms

Film Makers Invited to Compete in FilmFrenzy for Cash and Prizes

2008-09-28T06:21:00.000-07:00

It's 75% creativity, 20% challenging, 10% cool and 5% circus. That adds up to 110% fun at the First Annual Renton FilmFrenzy, a filmmaking competition taking place in Renton over a three-day period in mid-October. The top ten films produced during the competition will be screened in front of a live audience at the Renton IKEA Performing Arts Center on October 28.

Competing filmmakers will have from 5 p.m., Friday, October 17, through 7 p.m., Sunday, October 19, to write, shoot, edit and submit a completed short film for judging. At the beginning of the competition, participating filmmakers will be provided with other challenges, which may include incorporating a line of dialogue, a task and/or filming at a specific location in Renton.

Films can be up to four minutes in length and must be shot completely in Renton. All genres are welcome, although films must be appropriate for all audiences.

Renton FilmFrenzy filmmakers may enter their films in one of two categories: a Student Division (high school and below) and an Open Division. There is a $50 entry fee for the Open Division, while entry fees for student competitors will be waived to encourage student participation. There is no limit to the number of films that may be entered.

The films will be judged by local filmmakers, film critics, and a representative from the Renton Municipal Arts Commission.

The deadline to apply to participate in the FilmFrenzy is 5 p.m., Monday, October 13.

Gala Awards Ceremony? Cash prizes? Coveted Curvees? You bet!

Celebrating the slogan "Renton, Ahead of the Curve," special "Curvee" awards have been crafted by local artisans for presentation to selected filmmakers, along with cash prizes. The specially designed Curvees and cash prizes will be awarded during the awards screening on October 28. Prizes include:

Best Picture $500
Open Division
First Prize $250
Second Prize $200
Third Prize $150
Student Division
First Prize $250
Second Prize $200
Third Prize $150
Other Curvees will be presented for:
Best Actor
Best Use of Renton
Special Judges Award

But Wait, There's More!

The First Annual Renton FilmWalk will take place from 7 to 8 p.m. on Wednesday, October 29, and Thursday, October 30. During the FilmWalk there will be a special screening of all the films entered in the Renton FilmFrenzy at Downtown participating Renton theatres, restaurants and other businesses

The Renton FilmFrenzy is sponsored by the Renton Community Marketing Campaign, which includes the Renton Chamber of Commerce, Renton School District, Valley Medical Center, Renton Technical College, Renton Visitors Connection and City of Renton.

Visit www.RentonFilmFrenzy.com for application forms, rules and other information.

Video Contest to Award $10,000

2008-09-27T10:35:00.000-07:00

SanDisk Corporation has debuted its first SanDisk Point & Shoot Film Festival1, an online video contest on YouTube to find and display the most compelling user-generated videos taken on consumer point-and-shoot digital cameras. Beginning today, entrants may upload their videos to YouTube by visiting www.youtube.com/sandisk.

Film festival contest entries will be considered in the following five categories:

Kid Moves
Pet Moves
Dance Moves
Action Moves
Comedy Moves

The top 200 entrants to the contest will receive a SanDisk Ultra II 4GB2 SDHC card, allowing them to easily capture more video using their digital point-and-shoot camera. The best video entrant in each category will be awarded $1,000, and the overall grand prize for the best video will receive $10,000 (including the $1,000 category prize) and a trip to Las Vegas.

Oscar® Entries for Foreign Language and Short Films Due October 1

2008-09-26T10:34:00.000-07:00

Wednesday, October 1, is the deadline to submit entries in the Live Action Short Film, Animated Short Film and Foreign Language Film categories to be considered for the 81st Academy Awards. Complete entries must arrive at the Academy of Motion Picture Arts and Sciences by 5 p.m. PT that day.

In the short film categories, filmmakers must submit an entry form, one film print or copy in an approved digital format, and all other required materials by the deadline.

In the Foreign Language Film category, filmmakers must submit entry forms, one English-subtitled film print and all other required materials by the deadline. Only one motion picture will be accepted from each country.

Complete 81st Academy Awards rules are available at http://www.oscars.org/81academyawards/rules/index.html.

Additional information may be obtained by contacting Awards Coordinator Torene Svitil via phone at (310) 247-3000, ext. 190, by fax at (310) 247-2600, or by e-mail at tsvitil@oscars.org.

Red Bull's challenge - Join Reel Life 2008 - $10,000 Grant for Filmmakers

2008-09-21T09:48:00.000-07:00

Red Bull New Zealand would like to announce that entries are open now for Red Bull Reel Life, their very own online film project that will see one lucky creative take home a $10,000 grant.

The creative brief for Red Bull Reel Life is as broad as you choose make it, with organisers stating only that "you will have five weeks to harness your creativity and produce a short film up to 10 minutes long, about absolutely anything you like…"

Red Bull Reel Life is open to any aspiring or established filmmakers who think they can put their ideas into action for the world to see, and be judged.

Entrants are encouraged to spend time creating their masterpiece from now until 28th September, with the final cut for all submissions being the 29th September.

All entries will be uploaded to the Red Bull Reel Life website ready for viewing and judging, and the initiative is a great opportunity to showcase some of New Zealand's most innovative and ingenious individuals.

The winners will be chosen by respected industry judges from the 6th - 12th October, and the public will also vote on a people's choice award. The overall winner will receive a creative grant of $10,000 towards their next film, whilst the top ten entries will be screened on television and receive a year's supply of Red Bull in their very own personal Red Bull fridge!