#Screenwriting #Craft Creating An Unforgettable Screenplay, Part 3: Draft 1 Through 100 by Christine Autrand Mitchell BEGINNING WRITER (whining):…It’s a great idea. I can’t get it out of my head. But I only have, like, this one scene. I don’t know where to start… ME: There’s no rule that says that you have to start at the beginning of the story. It’s not like you’re working on a typewriter and you want your pages to line up, right?  Yes, I’ve had this discussion with client writers and those folks who know I write and accost me (kind of like meeting someone and discovering they’re a doctor to seize the opportunity to ask about some recurrent pain).  Get it down (Draft 1) Your first draft is meant to be a piece of crap - like the turd on your lawn. It’s an official rule - that’s why it’s the first draft. It is the opportunity allotted you to get your idea onto paper or a hard drive so you don’t forget it, get it organized, play with what follows or precedes, and let you decide whether typing so many words is really worth spending your time on. JUST WRITE IT DOWN. If you don’t do it, you’ll never know and your life will be a game of procrastination (read the millions of articles about procrastination - it’s its own industry). Write it down. No excuses.  You can Outline if you’re not ready to commit to formatting yet, sticky note it, write it as a paragraph, a summary or whatever you choose. Just get it down. The idea for a first draft is to get as much of your story told. Then, read how-to books and produced scripts (free on internet). Patchwork (Draft 2) The second (or early) draft(s) is all about patching. With computers (and script software like Final Draft, Movie Magic Screenwriter or free downloads from Celtx), we can add scenes, dialog and direction at any point in our screenplay.  The first draft was most likely too short, or perhaps too long (90 to 120 pages is the norm for spec), either way, it’s most likely still something you’d pick up with a shovel from your lawn. Here you can delete what doesn’t directly affect the plot or add material you may later want. You can save each draft as a new version, which I highly recommend, to not lose something a subsequent draft may require. And, back up your work! Crafting  Once you’ve got a story from beginning to end, whether 3 or 7-act structure, or even if you have no friggin clue what those are, it’s time to craft the story and format. There must be at least one solid story arc to take you from beginning to end (plot). There are struggles along the way and your protagonist(s) will either overcome or succumb to them in the end. The more, the better. A good screenplay will have multiple story arcs, though they may vary in length. Your dialog needs to sound natural - read it aloud or ask actors to read for you. Your direction should be succinct. Your formatting should be corrected.  Final Draft In order to have arrived at your final draft, your screenplay will have undergone the following: • your draft requires so few changes you feel you’re wasting your time editing. • you  have more revisions and drafts than you can catalog. • you gave up at least once but returned because the story HAD to be told! • it’s been read by several others who are not relatives or a best friend, whom you told: “This story is about…” If you can succinctly say it and the script reflects it, according to your readers, you are at the end, my friend. • (Optional) it was read by an experienced writer who charged you but has the wherewithal to do detailed coverage (see TLL article). Why are you still reading this article?  Start writing! —————————— Christine Autrand Mitchell was raised across four countries and splits her time between writing and filmmaking. She writes screenplays, fiction, non-fiction and plays, and is an editor and script analyst. She has credits as a Producer, Director and Casting Director, and heads Entandem Productions.  Catch up with Christine || twitter || facebook || blogspot || imdb —————————— Read more TLL articles on the craft of Screenwriting
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#Screenwriting #Craft

Creating An Unforgettable Screenplay, Part 3: Draft 1 Through 100

by Christine Autrand Mitchell

BEGINNING WRITER (whining):…It’s a great idea. I can’t get it out of my head. But I only have, like, this one scene. I don’t know where to start…

ME: There’s no rule that says that you have to start at the beginning of the story. It’s not like you’re working on a typewriter and you want your pages to line up, right? 

Yes, I’ve had this discussion with client writers and those folks who know I write and accost me (kind of like meeting someone and discovering they’re a doctor to seize the opportunity to ask about some recurrent pain). 

Get it down (Draft 1)

Your first draft is meant to be a piece of crap - like the turd on your lawn. It’s an official rule - that’s why it’s the first draft. It is the opportunity allotted you to get your idea onto paper or a hard drive so you don’t forget it, get it organized, play with what follows or precedes, and let you decide whether typing so many words is really worth spending your time on.

JUST WRITE IT DOWN. If you don’t do it, you’ll never know and your life will be a game of procrastination (read the millions of articles about procrastination - it’s its own industry). Write it down. No excuses. 

You can Outline if you’re not ready to commit to formatting yet, sticky note it, write it as a paragraph, a summary or whatever you choose. Just get it down.

The idea for a first draft is to get as much of your story told. Then, read how-to books and produced scripts (free on internet).

Patchwork (Draft 2)

The second (or early) draft(s) is all about patching. With computers (and script software like Final Draft, Movie Magic Screenwriter or free downloads from Celtx), we can add scenes, dialog and direction at any point in our screenplay. 

The first draft was most likely too short, or perhaps too long (90 to 120 pages is the norm for spec), either way, it’s most likely still something you’d pick up with a shovel from your lawn.

Here you can delete what doesn’t directly affect the plot or add material you may later want. You can save each draft as a new version, which I highly recommend, to not lose something a subsequent draft may require. And, back up your work!

Crafting 

Once you’ve got a story from beginning to end, whether 3 or 7-act structure, or even if you have no friggin clue what those are, it’s time to craft the story and format.

There must be at least one solid story arc to take you from beginning to end (plot). There are struggles along the way and your protagonist(s) will either overcome or succumb to them in the end. The more, the better.

A good screenplay will have multiple story arcs, though they may vary in length. Your dialog needs to sound natural - read it aloud or ask actors to read for you. Your direction should be succinct. Your formatting should be corrected. 

Final Draft

In order to have arrived at your final draft, your screenplay will have undergone the following:

• your draft requires so few changes you feel you’re wasting your time editing.

• you  have more revisions and drafts than you can catalog.

• you gave up at least once but returned because the story HAD to be told!

• it’s been read by several others who are not relatives or a best friend, whom you told: “This story is about…” If you can succinctly say it and the script reflects it, according to your readers, you are at the end, my friend.

• (Optional) it was read by an experienced writer who charged you but has the wherewithal to do detailed coverage (see TLL article).

Why are you still reading this article?  Start writing!

——————————

Christine Autrand Mitchell was raised across four countries and splits her time between writing and filmmaking. She writes screenplays, fiction, non-fiction and plays, and is an editor and script analyst. She has credits as a Producer, Director and Casting Director, and heads Entandem Productions. 

Catch up with Christine || twitter || facebook || blogspot || imdb

——————————

Read more TLL articles on the craft of Screenwriting

#Screenwriting #Craft Creating An Unforgettable Screenplay, Part 3: Draft 1 Through 100 by Christine Autrand Mitchell BEGINNING WRITER (whining):…It’s a great idea. I can’t get it out of my head. But I only have, like, this one scene. I don’t know where to start… ME: There’s no rule that says that you have to start at the beginning of the story. It’s not like you’re working on a typewriter and you want your pages to line up, right?  Yes, I’ve had this discussion with client writers and those folks who know I write and accost me (kind of like meeting someone and discovering they’re a doctor to seize the opportunity to ask about some recurrent pain).  Get it down (Draft 1) Your first draft is meant to be a piece of crap - like the turd on your lawn. It’s an official rule - that’s why it’s the first draft. It is the opportunity allotted you to get your idea onto paper or a hard drive so you don’t forget it, get it organized, play with what follows or precedes, and let you decide whether typing so many words is really worth spending your time on. JUST WRITE IT DOWN. If you don’t do it, you’ll never know and your life will be a game of procrastination (read the millions of articles about procrastination - it’s its own industry). Write it down. No excuses.  You can Outline if you’re not ready to commit to formatting yet, sticky note it, write it as a paragraph, a summary or whatever you choose. Just get it down. The idea for a first draft is to get as much of your story told. Then, read how-to books and produced scripts (free on internet). Patchwork (Draft 2) The second (or early) draft(s) is all about patching. With computers (and script software like Final Draft, Movie Magic Screenwriter or free downloads from Celtx), we can add scenes, dialog and direction at any point in our screenplay.  The first draft was most likely too short, or perhaps too long (90 to 120 pages is the norm for spec), either way, it’s most likely still something you’d pick up with a shovel from your lawn. Here you can delete what doesn’t directly affect the plot or add material you may later want. You can save each draft as a new version, which I highly recommend, to not lose something a subsequent draft may require. And, back up your work! Crafting  Once you’ve got a story from beginning to end, whether 3 or 7-act structure, or even if you have no friggin clue what those are, it’s time to craft the story and format. There must be at least one solid story arc to take you from beginning to end (plot). There are struggles along the way and your protagonist(s) will either overcome or succumb to them in the end. The more, the better. A good screenplay will have multiple story arcs, though they may vary in length. Your dialog needs to sound natural - read it aloud or ask actors to read for you. Your direction should be succinct. Your formatting should be corrected.  Final Draft In order to have arrived at your final draft, your screenplay will have undergone the following: • your draft requires so few changes you feel you’re wasting your time editing. • you  have more revisions and drafts than you can catalog. • you gave up at least once but returned because the story HAD to be told! • it’s been read by several others who are not relatives or a best friend, whom you told: “This story is about…” If you can succinctly say it and the script reflects it, according to your readers, you are at the end, my friend. • (Optional) it was read by an experienced writer who charged you but has the wherewithal to do detailed coverage (see TLL article). Why are you still reading this article?  Start writing! —————————— Christine Autrand Mitchell was raised across four countries and splits her time between writing and filmmaking. She writes screenplays, fiction, non-fiction and plays, and is an editor and script analyst. She has credits as a Producer, Director and Casting Director, and heads Entandem Productions.  Catch up with Christine || twitter || facebook || blogspot || imdb —————————— Read more TLL articles on the craft of Screenwriting
View Separately

#Screenwriting #Craft

Creating An Unforgettable Screenplay, Part 3: Draft 1 Through 100

by Christine Autrand Mitchell

BEGINNING WRITER (whining):…It’s a great idea. I can’t get it out of my head. But I only have, like, this one scene. I don’t know where to start…

ME: There’s no rule that says that you have to start at the beginning of the story. It’s not like you’re working on a typewriter and you want your pages to line up, right? 

Yes, I’ve had this discussion with client writers and those folks who know I write and accost me (kind of like meeting someone and discovering they’re a doctor to seize the opportunity to ask about some recurrent pain). 

Get it down (Draft 1)

Your first draft is meant to be a piece of crap - like the turd on your lawn. It’s an official rule - that’s why it’s the first draft. It is the opportunity allotted you to get your idea onto paper or a hard drive so you don’t forget it, get it organized, play with what follows or precedes, and let you decide whether typing so many words is really worth spending your time on.

JUST WRITE IT DOWN. If you don’t do it, you’ll never know and your life will be a game of procrastination (read the millions of articles about procrastination - it’s its own industry). Write it down. No excuses. 

You can Outline if you’re not ready to commit to formatting yet, sticky note it, write it as a paragraph, a summary or whatever you choose. Just get it down.

The idea for a first draft is to get as much of your story told. Then, read how-to books and produced scripts (free on internet).

Patchwork (Draft 2)

The second (or early) draft(s) is all about patching. With computers (and script software like Final Draft, Movie Magic Screenwriter or free downloads from Celtx), we can add scenes, dialog and direction at any point in our screenplay. 

The first draft was most likely too short, or perhaps too long (90 to 120 pages is the norm for spec), either way, it’s most likely still something you’d pick up with a shovel from your lawn.

Here you can delete what doesn’t directly affect the plot or add material you may later want. You can save each draft as a new version, which I highly recommend, to not lose something a subsequent draft may require. And, back up your work!

Crafting 

Once you’ve got a story from beginning to end, whether 3 or 7-act structure, or even if you have no friggin clue what those are, it’s time to craft the story and format.

There must be at least one solid story arc to take you from beginning to end (plot). There are struggles along the way and your protagonist(s) will either overcome or succumb to them in the end. The more, the better.

A good screenplay will have multiple story arcs, though they may vary in length. Your dialog needs to sound natural - read it aloud or ask actors to read for you. Your direction should be succinct. Your formatting should be corrected. 

Final Draft

In order to have arrived at your final draft, your screenplay will have undergone the following:

• your draft requires so few changes you feel you’re wasting your time editing.

• you  have more revisions and drafts than you can catalog.

• you gave up at least once but returned because the story HAD to be told!

• it’s been read by several others who are not relatives or a best friend, whom you told: “This story is about…” If you can succinctly say it and the script reflects it, according to your readers, you are at the end, my friend.

• (Optional) it was read by an experienced writer who charged you but has the wherewithal to do detailed coverage (see TLL article).

Why are you still reading this article?  Start writing!

——————————

Christine Autrand Mitchell was raised across four countries and splits her time between writing and filmmaking. She writes screenplays, fiction, non-fiction and plays, and is an editor and script analyst. She has credits as a Producer, Director and Casting Director, and heads Entandem Productions. 

Catch up with Christine || twitter || facebook || blogspot || imdb

——————————

Read more TLL articles on the craft of Screenwriting

Burbank company Write Brothers re-wrote screenplay business with software Source: @ladailynews #screenwriting #film #software “Waiters, personal trainers and, more significantly, thousands of people whose scripts actually get produced owe a lot to the Write Brothers. Celebrating its 30th anniversary recently, the Burbank software publisher created Scriptor, the first word processor specifically designed to format screenplays. Scriptor transformed that highly technical writing from an agonizing manual typing process to a few-clicks process. “You had this 120-page document, and if you made changes, you’d end up retyping or, literally, cutting and pasting,” explained Stephen Greenfield, who founded Write Brothers (then called Screenplay Systems) in 1982 with his USC film school buddy Chris Huntley. “So word processing was a natural for screenwriters. But systems back then couldn’t deal with all of the peculiarities of screenplay format: the weird page breaks, the odd margins, specialized formatting and numbering.” Scriptor did all of that maddening busywork, caught on, inspired imitators (the main competitor remaining is Calabasas-based Final Draft), and in 1994 earned Greenfield and Huntley the first-ever technical Academy Technical Achievement Award for an all-software engineering feat. By then, the company had branched out into movie budgeting and scheduling programs. Then it licensed superior technology to replace the iconic Scriptor with the Movie Magic Screenwriter system “ironically, just after we got the award,” according to Huntley…..”
View Separately

Burbank company Write Brothers re-wrote screenplay business with software

Source: @ladailynews

#screenwriting #film #software

“Waiters, personal trainers and, more significantly, thousands of people whose scripts actually get produced owe a lot to the Write Brothers.

Celebrating its 30th anniversary recently, the Burbank software publisher created Scriptor, the first word processor specifically designed to format screenplays.

Scriptor transformed that highly technical writing from an agonizing manual typing process to a few-clicks process.

“You had this 120-page document, and if you made changes, you’d end up retyping or, literally, cutting and pasting,” explained Stephen Greenfield, who founded Write Brothers (then called Screenplay Systems) in 1982 with his USC film school buddy Chris Huntley.

“So word processing was a natural for screenwriters. But systems back then couldn’t deal with all of the peculiarities of screenplay format: the weird page breaks, the odd margins, specialized formatting and numbering.”

Scriptor did all of that maddening busywork, caught on, inspired imitators (the main competitor remaining is Calabasas-based Final Draft), and in 1994 earned Greenfield and Huntley the first-ever technical Academy Technical Achievement Award for an all-software engineering feat.

By then, the company had branched out into movie budgeting and scheduling programs. Then it licensed superior technology to replace the iconic Scriptor with the Movie Magic Screenwriter system “ironically, just after we got the award,” according to Huntley…..”

Rough Draft – My most recent feelings on Final Draft, Inc. and their mobile software Source: @hdilla #screenwriting #film #screenplay “Final Draft, Inc. is a software developer that takes pride in being the industry standard for screenwriting software. I have considered myself a fan of the program and the company ever since my exuberant scriptwriting teacher in art school recommended Final Draft (version 2damnLongAgo.0) to me. I have used it for every script I’ve conceived; that includes short films, television commercials, corporate videos, and comic book pages. Naturally, I was extremely excited in March of 2010 when Final Draft announced that their software team was in the lab mixing up an iPad app for screenwriters. It only made sense that such an app would be built by the leading developer of scriptwriting software, and that it would work on this shiny new tablet that enables us to…..” 
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Rough Draft – My most recent feelings on Final Draft, Inc. and their mobile software

Source: @hdilla

#screenwriting #film #screenplay

“Final Draft, Inc. is a software developer that takes pride in being the industry standard for screenwriting software. I have considered myself a fan of the program and the company ever since my exuberant scriptwriting teacher in art school recommended Final Draft (version 2damnLongAgo.0) to me. I have used it for every script I’ve conceived; that includes short films, television commercials, corporate videos, and comic book pages. Naturally, I was extremely excited in March of 2010 when Final Draft announced that their software team was in the lab mixing up an iPad app for screenwriters. It only made sense that such an app would be built by the leading developer of scriptwriting software, and that it would work on this shiny new tablet that enables us to…..” 

Balls of Steel: Unblock the Block article by @jeannevb & @scriptmag #screenwriting #film #screenplay “Writer’s block is a writer’s impotency. We’ve all experienced it at some point in our careers. Sadly, there’s no magic pill to cure it…..”
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Balls of Steel: Unblock the Block

article by @jeannevb & @scriptmag

#screenwriting #film #screenplay

“Writer’s block is a writer’s impotency. We’ve all experienced it at some point in our careers. Sadly, there’s no magic pill to cure it…..”