#Screenwriting #Satire Why You Should Enjoy Script Spankings by Amy Rhinehart Bailey      You don’t have to pay leather-clad, whip-carrying women who spank people for money in order to get the thorough beating that you and your latest screenplay deserve.      But, you ask, where can I get worthwhile input and vigorous discipline?  I’m not going to lie to you, this is what we in the South call a “booger” of a problem, but I’m going to try and help you sneeze it out as best I can.      On April 1st of 2011, the Muse, who is usually doing ballet or break-dancing on my forehead, forgot to take her Prozac. Then with a sadistic giggle, she tip-toed into my ear -and in a moment of psychotic enthusiasm - whispered that I should write a screenplay.      So, naive to all that lay before me, I read about 20 how-to screenwriting books as well as between 50 and 60 awesome movie scripts (available on the Web) and decided to give it a shot.      I challenged myself to a double-pinky-dare and seeing a deadline of an upcoming script contest, I decided to crank one out over Memorial Day weekend. Just to see if I actually could.      Well I somehow stuck everything I ever read or wrote into a mental blender and in three and a half days — I whipped that baby out and sent her off to be judged.       About a week or so later, I was innocently eating a spicy tuna roll at the sushi bar when my smart phone  received an email scorecard from the contest.      I was ecstatic. Not only did I get 7s and 8s when I was hoping for 4s; after going over the fairly detailed notes, I could tell the reader had not only really really read my script, I’d be dad- gum if she didn’t understand my plot better than I did.      She also gave me constructive formatting criticism as well as ideas on pacing and character development. Yes even these little slaps on the hand were hard to accept at first. But I took them to heart none-the-less. And I was encouraged.      Sadly, my further quests for input on this script with contests and script consultants did not have happy endings. Most were little more than scanner readers (often of only the first ten pages) with hurried, shallow input and accompanied by a freakishly inaccurate synopsis.      Not to be thwarted, next I decided to take my time and I spent between two and three weeks writing the first draft of a script based on my published humor book.      Okay, this is where I have to stop and say that I am not trying to psyche out the majority of screenwriters who are spending two or three years writing a script that is beautiful, personal, and meaningful.      Thomas Harris spent ten years writing “Silence of the Lambs” and I’m not worthy to swab Tea Tree Oil on his toenail fungus.      I’m hyper (as in I don’t need caffeine, I “am” caffeine), I’m a journalist, and an advertising copywriter. Therefore I’ve been brain-washed and traumatized  into doing all my creating in a big dang hurry.      And dollars-to-donuts, compared to your scripts, mine have the depth of a very shallow mud puddle.      Anyway … I finished my Romantic Comedy and read articles and surfed the Internet. And I found that what I was calling an editor, the film industry calls a “script coach.” These are not to be confused with book doctors and you need to be very very very careful choosing one. A real script coach: 1) gives you input and editing advice but doesn’t write your script for you. 2) has at least eight years of specific (not general) industry experience - as in ten years working for Paramount in script acquisitions 3) will have you compose not just two or three story arcs, but make you grind out ten to twenty story arcs (or plot threads) 4) will write copious page by page notes on your script from everything from formatting issues to notations like “this just doesn’t work” or “this needs distilling” 5) will have minimal one hour phone sessions with you where you will feel like a freight train has been run through your brain 6) will charge anywhere from $200 to $1000 (depending on how you set up your edits and phone sessions) and will be darn well worth it     In a nutshell, these guys and gals are the real McCoy and they can save you years of banging your head against the wall.     But if you are ultra sensitive and can’t take a personal, creative script spanking- because your baby is just way too precious to you - then just chill and keep going at your own pace.     On the other hand, if you are willing to endure and embrace the pain, then you’ll end up a masochist like me - and start really, really enjoying it. —————————— Check out Amy’s script website at: www.fishgutting.com ——————————  Read more screenwriting satire on TLL 
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#Screenwriting #Satire

Why You Should Enjoy Script Spankings

by Amy Rhinehart Bailey

     You don’t have to pay leather-clad, whip-carrying women who spank people for money in order to get the thorough beating that you and your latest screenplay deserve.

     But, you ask, where can I get worthwhile input and vigorous discipline?  I’m not going to lie to you, this is what we in the South call a “booger” of a problem, but I’m going to try and help you sneeze it out as best I can.

     On April 1st of 2011, the Muse, who is usually doing ballet or break-dancing on my forehead, forgot to take her Prozac. Then with a sadistic giggle, she tip-toed into my ear -and in a moment of psychotic enthusiasm - whispered that I should write a screenplay.

     So, naive to all that lay before me, I read about 20 how-to screenwriting books as well as between 50 and 60 awesome movie scripts (available on the Web) and decided to give it a shot.

     I challenged myself to a double-pinky-dare and seeing a deadline of an upcoming script contest, I decided to crank one out over Memorial Day weekend. Just to see if I actually could.

     Well I somehow stuck everything I ever read or wrote into a mental blender and in three and a half days — I whipped that baby out and sent her off to be judged. 

     About a week or so later, I was innocently eating a spicy tuna roll at the sushi bar when my smart phone  received an email scorecard from the contest.

     I was ecstatic. Not only did I get 7s and 8s when I was hoping for 4s; after going over the fairly detailed notes, I could tell the reader had not only really really read my script, I’d be dad- gum if she didn’t understand my plot better than I did.

     She also gave me constructive formatting criticism as well as ideas on pacing and character development. Yes even these little slaps on the hand were hard to accept at first. But I took them to heart none-the-less. And I was encouraged.

     Sadly, my further quests for input on this script with contests and script consultants did not have happy endings. Most were little more than scanner readers (often of only the first ten pages) with hurried, shallow input and accompanied by a freakishly inaccurate synopsis.

     Not to be thwarted, next I decided to take my time and I spent between two and three weeks writing the first draft of a script based on my published humor book.

     Okay, this is where I have to stop and say that I am not trying to psyche out the majority of screenwriters who are spending two or three years writing a script that is beautiful, personal, and meaningful.

     Thomas Harris spent ten years writing “Silence of the Lambs” and I’m not worthy to swab Tea Tree Oil on his toenail fungus.

     I’m hyper (as in I don’t need caffeine, I “am” caffeine), I’m a journalist, and an advertising copywriter. Therefore I’ve been brain-washed and traumatized  into doing all my creating in a big dang hurry.

     And dollars-to-donuts, compared to your scripts, mine have the depth of a very shallow mud puddle.

     Anyway … I finished my Romantic Comedy and read articles and surfed the Internet. And I found that what I was calling an editor, the film industry calls a “script coach.” These are not to be confused with book doctors and you need to be very very very careful choosing one.

A real script coach:

1) gives you input and editing advice but doesn’t write your script for you.
2) has at least eight years of specific (not general) industry experience - as in ten years working for Paramount in script acquisitions
3) will have you compose not just two or three story arcs, but make you grind out ten to twenty story arcs (or plot threads)
4) will write copious page by page notes on your script from everything from formatting issues to notations like “this just doesn’t work” or “this needs distilling”
5) will have minimal one hour phone sessions with you where you will feel like a freight train has been run through your brain
6) will charge anywhere from $200 to $1000 (depending on how you set up your edits and phone sessions) and will be darn well worth it

     In a nutshell, these guys and gals are the real McCoy and they can save you years of banging your head against the wall.

     But if you are ultra sensitive and can’t take a personal, creative script spanking- because your baby is just way too precious to you - then just chill and keep going at your own pace.

     On the other hand, if you are willing to endure and embrace the pain, then you’ll end up a masochist like me - and start really, really enjoying it.

——————————

Check out Amy’s script website at: www.fishgutting.com

—————————— 

Read more screenwriting satire on TLL 

#Screenwriting #Craft Creating An Unforgettable Screenplay, Part 1: Making Minor Characters Count  by Christine Autrand Mitchell      As a screenwriter, we long to see our words translated to the screen, to be that first cog in the wheel to turn an idea into something spectacular. An unforgettable screenplay is an indispensable part of that equation.      There are innumerable approaches to telling a story in script format, just remember this is for a visual medium that requires the script to be distinct and succinct - especially in action. Whether plot or characters are born first, we cannot make a film without characters. For the sake of this article, we’ll concentrate on spec scripts.      We know that the protagonist, antagonist and contagonist are important; they’re the story, especially if you write character driven scripts - where plot is moved forward by characters. But do not ignore your secondary characters.      Some write characters as archetypes (i.e. hero, sidekick, sage) while others write organically, where the story comes to life as the words are written, and others outline.  If a character doesn’t serve a purpose, however minor, do not include them. It wastes valuable space in an industry that looks at page numbers first.      You may shout, “We are rule-breakers! We don’t believe in the predictability of the three-act screenplay! We are more clever than blatantly assigning archetypes!” Be that as it may, make your minor characters count and your script will be stronger for it and more memorable for the reader who can stamp “recommend” on it and the audience who will them pay to watch it.      A simple tool to impart important information is to create a minor character to deliver it when it can’t be conveyed visually, for example. What fun is that for the audience and, moreover, for the actor portraying the role? If an actor enjoys his part, he will surely be more memorable on screen. That’s what you want.      Make your minor characters as interesting as your main characters - no matter their reason for existence. Here are some examples: • Make him as complex as any other, with flaws and goals. Even if you do this only in your mind, it will come through on paper. • Give her a quirk, whether in wardrobe or action. • Give her a minor storyline that complicates the main story arc or impedes the journey of a main character. It doesn’t have to be an entire subplot, but something minor will entertain your audience much more - and keep your director and actors happy. • Have her recur - especially in smaller budget films where the screenwriter must be miserly with additional bodies on set. • Have him parallel a major character as a way of reinforcing an important nuance.  Or, have multiple characters that play directly off the various struggles, internal or external, but limit them to those only.      It’s important to remember that screenplays are a visual medium created to entertain an audience! Make it as memorable as you can. It will not only inspire you, but it will encourage your reader, please your actors and delight your audience. I speak from experience. —————————— 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 1: Making Minor Characters Count 

by Christine Autrand Mitchell

     As a screenwriter, we long to see our words translated to the screen, to be that first cog in the wheel to turn an idea into something spectacular. An unforgettable screenplay is an indispensable part of that equation.

     There are innumerable approaches to telling a story in script format, just remember this is for a visual medium that requires the script to be distinct and succinct - especially in action. Whether plot or characters are born first, we cannot make a film without characters. For the sake of this article, we’ll concentrate on spec scripts.

     We know that the protagonist, antagonist and contagonist are important; they’re the story, especially if you write character driven scripts - where plot is moved forward by characters. But do not ignore your secondary characters.

     Some write characters as archetypes (i.e. hero, sidekick, sage) while others write organically, where the story comes to life as the words are written, and others outline.  If a character doesn’t serve a purpose, however minor, do not include them. It wastes valuable space in an industry that looks at page numbers first.

     You may shout, “We are rule-breakers! We don’t believe in the predictability of the three-act screenplay! We are more clever than blatantly assigning archetypes!” Be that as it may, make your minor characters count and your script will be stronger for it and more memorable for the reader who can stamp “recommend” on it and the audience who will them pay to watch it.

     A simple tool to impart important information is to create a minor character to deliver it when it can’t be conveyed visually, for example. What fun is that for the audience and, moreover, for the actor portraying the role? If an actor enjoys his part, he will surely be more memorable on screen. That’s what you want.

     Make your minor characters as interesting as your main characters - no matter their reason for existence. Here are some examples:

• Make him as complex as any other, with flaws and goals. Even if you do this only in your mind, it will come through on paper.

• Give her a quirk, whether in wardrobe or action.

• Give her a minor storyline that complicates the main story arc or impedes the journey of a main character. It doesn’t have to be an entire subplot, but something minor will entertain your audience much more - and keep your director and actors happy.

• Have her recur - especially in smaller budget films where the screenwriter must be miserly with additional bodies on set.

• Have him parallel a major character as a way of reinforcing an important nuance.  Or, have multiple characters that play directly off the various struggles, internal or external, but limit them to those only.

     It’s important to remember that screenplays are a visual medium created to entertain an audience! Make it as memorable as you can. It will not only inspire you, but it will encourage your reader, please your actors and delight your audience. I speak from experience.

——————————

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

Creating Dynamic Scenes Source: @Talentville & @paulchitlik #screenwriting #film #scene “BLUEPRINT FOR A MOVIE When a developer decides to build a skyscraper, one of the first things he does, after researching and selecting the site, is to hire an architect to design the structure. He knows that a builder, no matter how experienced or educated, can’t construct a high rise without blueprints. The blueprints will detail the entire project from the depth of the foundation to the size and color of the tiles in the men’s room. The plans enable the hundreds of people working to realize the project to have the same vision, to be in agreement on process and result. Not that there isn’t opportunity for change (if you’ve ever remodeled your house you know about change orders) or creative collaboration. But everyone works from a common plan.In film and television, that common plan is the script. Everyone from the props person to the lead actor relies on that document for guidance, so it is a technical document as well as a literary one. And, just as with blueprints, there are certain conventions that everyone relies on. One of the most consistent is the three act structure. Most, but not all, modern American films employ this structure. In short, there’s a beginning, a middle, and an end. Sounds easy. And that part is. Keep it in mind when we look at scenes. But, of course, there is more to it. The beginningconsists of a segment of ordinary life to set up the characters, milieu, and genre.This is followed by an incident that incites the action of the story–the first plot point. As the character confronts the issue created by the inciting incident,he/she develops a plan to reach a goal, a course of action, which he/she decideson by the end of act one.  Act two is the process of going after the goal and overcoming the obstacles thatthe antagonist and the forces of life throw against him/her. The middle of acttwo generally has a turning point in which the action spins off in…..”
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Creating Dynamic Scenes

Source: @Talentville & @paulchitlik

#screenwriting #film #scene

“BLUEPRINT FOR A MOVIE

When a developer decides to build a skyscraper, one of the first things he does, after researching and selecting the site, is to hire an architect to design the structure. He knows that a builder, no matter how experienced or educated, can’t construct a high rise without blueprints. The blueprints will detail the entire project from the depth of the foundation to the size and color of the tiles in the men’s room. The plans enable the hundreds of people working to realize the project to have the same vision, to be in agreement on process and result. Not that there isn’t opportunity for change (if you’ve ever remodeled your house you know about change orders) or creative collaboration. But everyone works from a common plan.In film and television, that common plan is the script. Everyone from the props person to the lead actor relies on that document for guidance, so it is a technical document as well as a literary one. And, just as with blueprints, there are certain conventions that everyone relies on. One of the most consistent is the three act structure.

Most, but not all, modern American films employ this structure. In short, there’s a beginning, a middle, and an end. Sounds easy. And that part is. Keep it in mind when we look at scenes. But, of course, there is more to it. The beginningconsists of a segment of ordinary life to set up the characters, milieu, and genre.This is followed by an incident that incites the action of the story–the first plot point. As the character confronts the issue created by the inciting incident,he/she develops a plan to reach a goal, a course of action, which he/she decideson by the end of act one. 

Act two is the process of going after the goal and overcoming the obstacles thatthe antagonist and the forces of life throw against him/her. The middle of acttwo generally has a turning point in which the action spins off in…..”

#Screenwriting #Craft Creating An Unforgettable Screenplay, Part 1: Making Minor Characters Count  by Christine Autrand Mitchell      As a screenwriter, we long to see our words translated to the screen, to be that first cog in the wheel to turn an idea into something spectacular. An unforgettable screenplay is an indispensable part of that equation.      There are innumerable approaches to telling a story in script format, just remember this is for a visual medium that requires the script to be distinct and succinct - especially in action. Whether plot or characters are born first, we cannot make a film without characters. For the sake of this article, we’ll concentrate on spec scripts.      We know that the protagonist, antagonist and contagonist are important; they’re the story, especially if you write character driven scripts - where plot is moved forward by characters. But do not ignore your secondary characters.      Some write characters as archetypes (i.e. hero, sidekick, sage) while others write organically, where the story comes to life as the words are written, and others outline.  If a character doesn’t serve a purpose, however minor, do not include them. It wastes valuable space in an industry that looks at page numbers first.      You may shout, “We are rule-breakers! We don’t believe in the predictability of the three-act screenplay! We are more clever than blatantly assigning archetypes!” Be that as it may, make your minor characters count and your script will be stronger for it and more memorable for the reader who can stamp “recommend” on it and the audience who will them pay to watch it.      A simple tool to impart important information is to create a minor character to deliver it when it can’t be conveyed visually, for example. What fun is that for the audience and, moreover, for the actor portraying the role? If an actor enjoys his part, he will surely be more memorable on screen. That’s what you want.      Make your minor characters as interesting as your main characters - no matter their reason for existence. Here are some examples: • Make him as complex as any other, with flaws and goals. Even if you do this only in your mind, it will come through on paper. • Give her a quirk, whether in wardrobe or action. • Give her a minor storyline that complicates the main story arc or impedes the journey of a main character. It doesn’t have to be an entire subplot, but something minor will entertain your audience much more - and keep your director and actors happy. • Have her recur - especially in smaller budget films where the screenwriter must be miserly with additional bodies on set. • Have him parallel a major character as a way of reinforcing an important nuance.  Or, have multiple characters that play directly off the various struggles, internal or external, but limit them to those only.      It’s important to remember that screenplays are a visual medium created to entertain an audience! Make it as memorable as you can. It will not only inspire you, but it will encourage your reader, please your actors and delight your audience. I speak from experience. —————————— 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 1: Making Minor Characters Count 

by Christine Autrand Mitchell

     As a screenwriter, we long to see our words translated to the screen, to be that first cog in the wheel to turn an idea into something spectacular. An unforgettable screenplay is an indispensable part of that equation.

     There are innumerable approaches to telling a story in script format, just remember this is for a visual medium that requires the script to be distinct and succinct - especially in action. Whether plot or characters are born first, we cannot make a film without characters. For the sake of this article, we’ll concentrate on spec scripts.

     We know that the protagonist, antagonist and contagonist are important; they’re the story, especially if you write character driven scripts - where plot is moved forward by characters. But do not ignore your secondary characters.

     Some write characters as archetypes (i.e. hero, sidekick, sage) while others write organically, where the story comes to life as the words are written, and others outline.  If a character doesn’t serve a purpose, however minor, do not include them. It wastes valuable space in an industry that looks at page numbers first.

     You may shout, “We are rule-breakers! We don’t believe in the predictability of the three-act screenplay! We are more clever than blatantly assigning archetypes!” Be that as it may, make your minor characters count and your script will be stronger for it and more memorable for the reader who can stamp “recommend” on it and the audience who will them pay to watch it.

     A simple tool to impart important information is to create a minor character to deliver it when it can’t be conveyed visually, for example. What fun is that for the audience and, moreover, for the actor portraying the role? If an actor enjoys his part, he will surely be more memorable on screen. That’s what you want.

     Make your minor characters as interesting as your main characters - no matter their reason for existence. Here are some examples:

• Make him as complex as any other, with flaws and goals. Even if you do this only in your mind, it will come through on paper.

• Give her a quirk, whether in wardrobe or action.

• Give her a minor storyline that complicates the main story arc or impedes the journey of a main character. It doesn’t have to be an entire subplot, but something minor will entertain your audience much more - and keep your director and actors happy.

• Have her recur - especially in smaller budget films where the screenwriter must be miserly with additional bodies on set.

• Have him parallel a major character as a way of reinforcing an important nuance.  Or, have multiple characters that play directly off the various struggles, internal or external, but limit them to those only.

     It’s important to remember that screenplays are a visual medium created to entertain an audience! Make it as memorable as you can. It will not only inspire you, but it will encourage your reader, please your actors and delight your audience. I speak from experience.

——————————

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

Approaching distributors with your screenplay Source: @ashleymeyers at SellYourScreenplay.com #screenwriting #film #screenplay “I got this question recently: “I am taking a hard look at the “100% guaranteed sure fire way to get your screenplay made into a movie” school of thought for my film. I have decided to go the reverse route to finding funding. Because my film is niche, I plan to approach distributors with my query letter, synopsis and a sneak peek promo I shot to see if I can secure distribution to entice production companies and possible investors. My question is: Could I pretty much use the same letter and synopsis that I would approach production companies with? I’m thinking it might be that simple. What do you think? Any and all responses are greatly appreciated.” I have worked with a few distributors on some of my own projects but I’m not a distributor, so take my advice with at least one grain of sale. To answer your question, yes, I think you could use the same basic query letter. Which to me, points out the potential problem with your plan. You’re trading one very hard task (approaching producers) with what I think is probably an even harder task (trying to get a distributor to give you funding or some sort of distribution commitment). There really isn’t a big difference in approaching distributors vs producers, which is why the same query letter would work. But there’s also not a big difference in their willingness to take on new projects, in fact I think it would be harder to get a distributor to respond to your query letter than it would a producer. What you’re doing here is producing. Which I think is a great way to move your project forward. Specifically what you’re trying to do is pre-sell your film. Pre-selling a film in certain territories (usually overseas) is a fairly standard way of raising financing. However, what I’ve found, especially in today’s market, is that in order for a distributor to get involved in a project, especially in the early stages, is that they’re going to want some major elements attached to the project, namely star talent. If you have that you might be able to line up some distribution. I would say if you just pitch your script as if you were pitching a producer you’re chances of success are far less than if you just pitched directly to a producer. Producers are usually looking for material to develop and many of them will read material from new writers. But distributors are NOT set up to develop material, so unless your product is significantly developed, I can’t see a distributor wanting to get involved……….”
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Approaching distributors with your screenplay

Source: @ashleymeyers at SellYourScreenplay.com

#screenwriting #film #screenplay

“I got this question recently:

“I am taking a hard look at the “100% guaranteed sure fire way to get your screenplay made into a movie” school of thought for my film.

I have decided to go the reverse route to finding funding. Because my film is niche, I plan to approach distributors with my query letter, synopsis and a sneak peek promo I shot to see if I can secure distribution to entice production companies and possible investors.

My question is: Could I pretty much use the same letter and synopsis that I would approach production companies with? I’m thinking it might be that simple. What do you think? Any and all responses are greatly appreciated.”

I have worked with a few distributors on some of my own projects but I’m not a distributor, so take my advice with at least one grain of sale.

To answer your question, yes, I think you could use the same basic query letter. Which to me, points out the potential problem with your plan. You’re trading one very hard task (approaching producers) with what I think is probably an even harder task (trying to get a distributor to give you funding or some sort of distribution commitment). There really isn’t a big difference in approaching distributors vs producers, which is why the same query letter would work. But there’s also not a big difference in their willingness to take on new projects, in fact I think it would be harder to get a distributor to respond to your query letter than it would a producer.

What you’re doing here is producing. Which I think is a great way to move your project forward. Specifically what you’re trying to do is pre-sell your film. Pre-selling a film in certain territories (usually overseas) is a fairly standard way of raising financing. However, what I’ve found, especially in today’s market, is that in order for a distributor to get involved in a project, especially in the early stages, is that they’re going to want some major elements attached to the project, namely star talent. If you have that you might be able to line up some distribution.

I would say if you just pitch your script as if you were pitching a producer you’re chances of success are far less than if you just pitched directly to a producer. Producers are usually looking for material to develop and many of them will read material from new writers. But distributors are NOT set up to develop material, so unless your product is significantly developed, I can’t see a distributor wanting to get involved……….”