#Screenwriting #Business Debunking Screenwriting Myths, Part 4: Networking & Marketing by Geno Scala      I was recently involved in a discussion with several screenwriters regarding the importance of networking and marketing one’s projects and/or themselves. One of the screenwriters debated the effectiveness- or, in his opinion, ineffectiveness- of a networking and marketing strategy. I couldn’t develop the right words fast enough to respond, and even if I could have, I wouldn’t have been able to utter them due to my lower jaw slamming against the floor. He followed this mind-numbing point of view with the comment “I just work on my script. A great story always finds its way to the screen!”      Oh, really?      I realized then that there is yet another myth about screenwriting- the myth that all one needs is a great screenplay. Now, having an excellent screenplay is a great goal, and should be the number one goal of the screenwriter. But, it’s still only number one. There have to be goals to set and goals to reach. One of these goals has to include the development of both a networking strategy and marketing strategy. What you do AFTER writing that wonderful screenplay is EQUALLY important to writing that screenplay. Let this sink in for a second- marketing your screenplay properly, with an effective, well-conceived plan, is EQUALLY as important as writing a great screenplay. Recently, one of my student/clients reached out to me asking this very question- “Where do I go from here?” I provided her a ten-step marketing process that is really the basis of a 40-50 point, full-scale marketing and network plan. STEP #1: Understand that your script is NOT ready to be marketed.     Once you accept that, you’ll breathe a bit easier. The reason is simple- you have but one chance to make a first impression. One of the reasons there are so few “new” success stories is usually due to violating this very rule. Ninety nine percent of the hundreds of thousands of writers blow their first opportunity by rushing it. However, for the process of developing the rest of the steps, we will just ASSUME the following is true: You’ve written this screenplay the best it can possibly be, and your family and friends love it! (your cheerleaders, or “CHEERS” for short!) You’ve received a number of extremely positive feedbacks from your PEERS those other writers whom you respect and whose opinions and advice you treasure. You have entered and won, or placed well, in several screenwriting contests, including several of the most respected, highly regarded contests. You’ve received one (preferably more) “recommend” from a highly-regarded script coverage service, script doctor, consultant or mentor (your “ROCKETEERS”) STEP #2: Enhance your networking opportunities. By now, it is assumed you have hundreds of business-related connections, to include fellow screenwriters, filmmakers, script readers, executives, producers, marketers and almost anybody affiliated with the entertainment business. These connections are often made through the Internet at Facebook, LinkedIn, Twitter, and a host of different sites. Work on spending at least one hour a day at these sites, cultivating relationships through discussions, and inquiries. Avoid getting political or too personal. Comment on a photo, ask what their latest project is, and learn about their likes and dislikes before jumping in and talking about yourself.      The worst thing you can do is turn a personal, comfortable relationship into an obvious means to a stepping-stone to get introduced somewhere else or TO someone else. Btw, if you are NOT on these mediums, you are far behind the rest of us! STEP #3: Post your script. Sites like Moviebytes (www.moviebytes.com), Talentville (www.talentville.com), Triggerstreet (www.triggerstreet.com) and Ink Tip (www.inktip.com), allow you to post your script for marketing purposes, while others may give additional feedbacks, in exchange for script reads. STEP #4: Determine which movies are like yours in genre and/or subject matter, and research them. This is a great technique that many writers fail doing correctly. If your high concept movie is similar to “Star Wars”, you’ll want to research Star Wars through IMdbPro, and find all of the key players from the movie- the screenwriter, director, producer, the talent, etc. Through IMdbPro, you can then find out what other movies they’ve worked on, and create a talent tree. You will find that some of the same talent usually work with each other picture after picture; this is especially true with Clint Eastwood, Ron Howard, and Judd Apatow films. In IMdbPro, you can trace back all the way to their representatives, including managers and agents. Again, it is not unusual for an agent representing Daniel Craig (James Bond) to also rep other “action” stars. Therefore, if you have an action script, you would want to target those who are probably most interested in that genre. STEP #5: Prepare you query letter. This letter is quite different from most other business or marketing letters. Much like your logline, it is designed to develop a “taste”, some intrigue, some interest in your project. STEP #6: Create a Facebook “like” page, Twitter account and other networking pages for your projects. This keeps the name out there, and also keeps your supporters up-to-date on any happenings involving you or the script. STEP #7: Attend any and all “pitch fests” and conventions possible. Include film festivals, producer conventions, director conventions, etc. If you are not in LA schedule a future visit and center it near these important events. Through networking, you may develop an opportunity to stay with a fellow writer for a period of time, in exchange for them piggy-backing to a producer’s lunch or meeting with you. It will help defray the travel cost, and the lunch bill when it comes time to “pick up the tab”. STEP #8: Sign up for Skype. You may be able to schedule face-to-face meetings through Skype without having to make the trip. STEP #9: Have multiple projects prepared when the meeting is scheduled. Most producers will ask to see or hear additional projects that you might have, so be prepared to at least discuss the logline and/or a synopsis with them. They want to see if you are in this for the duration, and not just a one-trick pony. They’ll get an immediate feel as to the way you and your creative mind works. STEP #10: Be someone everyone would want to work with. Don’t be argumentative, picayune, difficult, demanding, overly sensitive, overly shy, embarrassed, overly humble, not humble enough, outrageous, outlandish, over-the-top, unprofessional, or boring. Be perfect- just be yourself. —————————— Geno Scala has been writing for over twenty years, and was one of the Executive Directors for the 1999-2000 Academy Awards presentation. He is an optioned screenwriter with nine screenplays to his credit, and is an alumnus of ScreenwritingU. He maintains a business in Hollywood, and resides in beautiful Huntsville, Alabama with his rocket-scientist wife, a daughter in grad school, another daughter in college in CA, and two teen-aged sons. Catch up with Geno || twitter: @Sharkeatingman & @thescriptmentor || facebook: Shark-Eating Man Productions & The Script Mentor  —————————— Read more TLL articles on the business of Screenwriting
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#Screenwriting #Business

Debunking Screenwriting Myths, Part 4: Networking & Marketing

by Geno Scala

     I was recently involved in a discussion with several screenwriters regarding the importance of networking and marketing one’s projects and/or themselves. One of the screenwriters debated the effectiveness- or, in his opinion, ineffectiveness- of a networking and marketing strategy. I couldn’t develop the right words fast enough to respond, and even if I could have, I wouldn’t have been able to utter them due to my lower jaw slamming against the floor. He followed this mind-numbing point of view with the comment “I just work on my script. A great story always finds its way to the screen!”

     Oh, really?

     I realized then that there is yet another myth about screenwriting- the myth that all one needs is a great screenplay. Now, having an excellent screenplay is a great goal, and should be the number one goal of the screenwriter. But, it’s still only number one. There have to be goals to set and goals to reach. One of these goals has to include the development of both a networking strategy and marketing strategy. What you do AFTER writing that wonderful screenplay is EQUALLY important to writing that screenplay. Let this sink in for a second- marketing your screenplay properly, with an effective, well-conceived plan, is EQUALLY as important as writing a great screenplay. Recently, one of my student/clients reached out to me asking this very question- “Where do I go from here?” I provided her a ten-step marketing process that is really the basis of a 40-50 point, full-scale marketing and network plan.

STEP #1: Understand that your script is NOT ready to be marketed.

    Once you accept that, you’ll breathe a bit easier. The reason is simple- you have but one chance to make a first impression. One of the reasons there are so few “new” success stories is usually due to violating this very rule. Ninety nine percent of the hundreds of thousands of writers blow their first opportunity by rushing it. However, for the process of developing the rest of the steps, we will just ASSUME the following is true:

  1. You’ve written this screenplay the best it can possibly be, and your family and friends love it! (your cheerleaders, or “CHEERS” for short!)

  1. You’ve received a number of extremely positive feedbacks from your PEERS those other writers whom you respect and whose opinions and advice you treasure.

  1. You have entered and won, or placed well, in several screenwriting contests, including several of the most respected, highly regarded contests.

  1. You’ve received one (preferably more) “recommend” from a highly-regarded script coverage service, script doctor, consultant or mentor (your “ROCKETEERS”)

STEP #2: Enhance your networking opportunities. By now, it is assumed you have hundreds of business-related connections, to include fellow screenwriters, filmmakers, script readers, executives, producers, marketers and almost anybody affiliated with the entertainment business. These connections are often made through the Internet at Facebook, LinkedIn, Twitter, and a host of different sites. Work on spending at least one hour a day at these sites, cultivating relationships through discussions, and inquiries. Avoid getting political or too personal. Comment on a photo, ask what their latest project is, and learn about their likes and dislikes before jumping in and talking about yourself.

     The worst thing you can do is turn a personal, comfortable relationship into an obvious means to a stepping-stone to get introduced somewhere else or TO someone else. Btw, if you are NOT on these mediums, you are far behind the rest of us!

STEP #3: Post your script. Sites like Moviebytes (www.moviebytes.com), Talentville (www.talentville.com), Triggerstreet (www.triggerstreet.com) and Ink Tip (www.inktip.com), allow you to post your script for marketing purposes, while others may give additional feedbacks, in exchange for script reads.

STEP #4: Determine which movies are like yours in genre and/or subject matter, and research them. This is a great technique that many writers fail doing correctly. If your high concept movie is similar to “Star Wars”, you’ll want to research Star Wars through IMdbPro, and find all of the key players from the movie- the screenwriter, director, producer, the talent, etc. Through IMdbPro, you can then find out what other movies they’ve worked on, and create a talent tree. You will find that some of the same talent usually work with each other picture after picture; this is especially true with Clint Eastwood, Ron Howard, and Judd Apatow films. In IMdbPro, you can trace back all the way to their representatives, including managers and agents. Again, it is not unusual for an agent representing Daniel Craig (James Bond) to also rep other “action” stars. Therefore, if you have an action script, you would want to target those who are probably most interested in that genre.

STEP #5: Prepare you query letter. This letter is quite different from most other business or marketing letters. Much like your logline, it is designed to develop a “taste”, some intrigue, some interest in your project.

STEP #6: Create a Facebook “like” page, Twitter account and other networking pages for your projects. This keeps the name out there, and also keeps your supporters up-to-date on any happenings involving you or the script.

STEP #7: Attend any and all “pitch fests” and conventions possible. Include film festivals, producer conventions, director conventions, etc. If you are not in LA schedule a future visit and center it near these important events. Through networking, you may develop an opportunity to stay with a fellow writer for a period of time, in exchange for them piggy-backing to a producer’s lunch or meeting with you. It will help defray the travel cost, and the lunch bill when it comes time to “pick up the tab”.

STEP #8: Sign up for Skype. You may be able to schedule face-to-face meetings through Skype without having to make the trip.

STEP #9: Have multiple projects prepared when the meeting is scheduled. Most producers will ask to see or hear additional projects that you might have, so be prepared to at least discuss the logline and/or a synopsis with them. They want to see if you are in this for the duration, and not just a one-trick pony. They’ll get an immediate feel as to the way you and your creative mind works.

STEP #10: Be someone everyone would want to work with. Don’t be argumentative, picayune, difficult, demanding, overly sensitive, overly shy, embarrassed, overly humble, not humble enough, outrageous, outlandish, over-the-top, unprofessional, or boring.

Be perfect- just be yourself.

——————————

Geno Scala has been writing for over twenty years, and was one of the Executive Directors for the 1999-2000 Academy Awards presentation. He is an optioned screenwriter with nine screenplays to his credit, and is an alumnus of ScreenwritingU. He maintains a business in Hollywood, and resides in beautiful Huntsville, Alabama with his rocket-scientist wife, a daughter in grad school, another daughter in college in CA, and two teen-aged sons.

Catch up with Geno || twitter: @Sharkeatingman & @thescriptmentor || facebook: Shark-Eating Man Productions & The Script Mentor 

——————————

Read more TLL articles on the business of Screenwriting

#Screenwriting #Business Debunking Screenwriting Myths, Part I by Geno Scala      Each week, I hope to introduce a different “myth” that many of us screenwriters have heard, and try to present the real facts behind these claims.      As an avid networker, I can tell you that there are many charlatans posing as script consultants or call themselves “former agents” or some other non-descript title, and many of them share their advice- for a price- on some of the more active social media networking sites such as LinkedIn, Facebook, Twitter, etc.  Unfortunately, I find much of the advice to be common misconceptions, deceit, and even arrogant, self-serving mistruths.       One of the more common myths is the necessity of a screenwriter to live in Los Angeles in order to be successful. Many of these quacks make no bones about it; they flat out tell you that you HAVE to move there in order to have a screenwriting career.      The fact is this is pure nonsense.      Not only is it not necessary, but many producers are somewhat envious of the fact that you can produce great work and remain active within the filmmaking community and not have to deal with the traffic, State budget cuts, and the occasional earthquake.      With networking tools such as the Internet, Skype, emails and such, many companies are not only accepting pitches via these methods, but conduct pitches by these methods exclusively. There are countless of websites dedicated to the posting and promoting one of one’s screenplay (Ink Tip, Triggerstreet, Talentville, Amazon Studios, and many others), despite claims that “studio executives worthy of their title do not check these sites”; just another fallacious statement. The number of screenplays sold or optioned over the Internet, over Skype, and over the phone is countless; anyone who says otherwise is simply lying, and anyone who believes otherwise is ignorant of the world around them.     This is not to say there aren’t valid advantages to living in Los Angeles- or New York, or Japan, or Brazil, or Toronto, or anyone of the thousands of locations around the world where movies are bought, sold, pitched and made (funny, it always seem to be imperative to these frauds that you have to live ONLY in CA, as if movies aren’t made elsewhere). It would be just as advantageous to be seven feet tall if you are want to play in the NBA, but many others have made it standing considerable less than six feet tall.      It all depends on what YOU are looking for in YOUR career. Some write to sell spec scripts, others want writing assignments. Others still want to be hired as staff writers or work on a production staff. As a spec script writer, there is nothing prohibiting one from doing well and selling scripts whether you reside in Alaska, Maine or Florida or in any other country on any other continent.      Don’t be fooled by some of these “professional consultants”. They are not interested in helping you in YOUR career. They are only interested in taking your money to subsidize their own career. —————————— Geno Scala has been writing for over twenty years, and was one of the Executive Directors for the 1999-2000 Academy Awards presentation. He is an optioned screenwriter with nine screenplays to his credit, and is an alumnus of ScreenwritingU. He maintains a business in Hollywood, and resides in beautiful Huntsville, Alabama with his rocket-scientist wife, a daughter in grad school, another daughter in college in CA, and two teen-aged sons. Catch up with Geno || twitter: @Sharkeatingman & @thescriptmentor || facebook: Shark-Eating Man Productions & The Script Mentor  —————————— Read more TLL articles on the business of Screenwriting
View Separately

#Screenwriting #Business

Debunking Screenwriting Myths, Part I

by Geno Scala

     Each week, I hope to introduce a different “myth” that many of us screenwriters have heard, and try to present the real facts behind these claims.

     As an avid networker, I can tell you that there are many charlatans posing as script consultants or call themselves “former agents” or some other non-descript title, and many of them share their advice- for a price- on some of the more active social media networking sites such as LinkedIn, Facebook, Twitter, etc.  Unfortunately, I find much of the advice to be common misconceptions, deceit, and even arrogant, self-serving mistruths. 

     One of the more common myths is the necessity of a screenwriter to live in Los Angeles in order to be successful. Many of these quacks make no bones about it; they flat out tell you that you HAVE to move there in order to have a screenwriting career. 

     The fact is this is pure nonsense.

     Not only is it not necessary, but many producers are somewhat envious of the fact that you can produce great work and remain active within the filmmaking community and not have to deal with the traffic, State budget cuts, and the occasional earthquake.

     With networking tools such as the Internet, Skype, emails and such, many companies are not only accepting pitches via these methods, but conduct pitches by these methods exclusively. There are countless of websites dedicated to the posting and promoting one of one’s screenplay (Ink Tip, Triggerstreet, Talentville, Amazon Studios, and many others), despite claims that “studio executives worthy of their title do not check these sites”; just another fallacious statement. The number of screenplays sold or optioned over the Internet, over Skype, and over the phone is countless; anyone who says otherwise is simply lying, and anyone who believes otherwise is ignorant of the world around them.

     This is not to say there aren’t valid advantages to living in Los Angeles- or New York, or Japan, or Brazil, or Toronto, or anyone of the thousands of locations around the world where movies are bought, sold, pitched and made (funny, it always seem to be imperative to these frauds that you have to live ONLY in CA, as if movies aren’t made elsewhere). It would be just as advantageous to be seven feet tall if you are want to play in the NBA, but many others have made it standing considerable less than six feet tall. 

     It all depends on what YOU are looking for in YOUR career. Some write to sell spec scripts, others want writing assignments. Others still want to be hired as staff writers or work on a production staff. As a spec script writer, there is nothing prohibiting one from doing well and selling scripts whether you reside in Alaska, Maine or Florida or in any other country on any other continent. 

     Don’t be fooled by some of these “professional consultants”. They are not interested in helping you in YOUR career. They are only interested in taking your money to subsidize their own career.

——————————

Geno Scala has been writing for over twenty years, and was one of the Executive Directors for the 1999-2000 Academy Awards presentation. He is an optioned screenwriter with nine screenplays to his credit, and is an alumnus of ScreenwritingU. He maintains a business in Hollywood, and resides in beautiful Huntsville, Alabama with his rocket-scientist wife, a daughter in grad school, another daughter in college in CA, and two teen-aged sons.

Catch up with Geno || twitter: @Sharkeatingman & @thescriptmentor || facebook: Shark-Eating Man Productions & The Script Mentor 

——————————

Read more TLL articles on the business of Screenwriting

Bret Easton Ellis Will Read Your Novel If You Pony Up $5,000 For His New Film (Probably) Starring Porn Star James Deen Source: LAist.com #screenplay #film #screenwriter “If you follow Bret Easton Ellis on his prolific (and sometimes maligned) Twitter account, you’d have read endless tweets about his latest screenplay written with porn star James Deen in mind. Now producer Braxton Pope has launched a Kickstarter account for the film “The Canyons.” Here’s the pitch: “The Canyons documents five twenty-something’s quest for power, love, sex and success in 2012 Hollywood.” Ellis wrote the script with Deen in mind, which doesn’t seem so farfetched since the porn star who has been getting more attention in the mainstream ever since he was profiled in GOOD magazine and then for the pearl-clutching set on “Nightline.” The filmmakers want to cast leads who will have real—not simulated—sex on-screen. One of the most interesting parts of the Kickstarter campaign is that it appeals to fans who would like to rub shoulders with the people behind the film or get notes on their own creative projects. Here are a couple of the more entertaining deals for contributing to the film, which is already halfway to its goal of $100,000. For $500: TWEET YOUR SHORT FILM! Bret Easton Ellis and Braxton Pope will watch your short film, tweet their honest thoughts AND the link to their combined 390,000 followers/fans! (Facebook too) — Special Thanks in the closing credits — Plus everything from “The Canyons” script package and above! For $501: PRODUCER’S COFFEE: We’re not gonna call it a pitch meeting, but…Braxton Pope will meet you in LA and bring you an exclusive autographed script with a 1 of 1 cover created from an on set photograph nobody else in the world will have. — Special Thanks in the closing credits — You and a guest get to attend the cast and crew wrap party! (transportation and lodging not provided) — Plus everything else in “The Canyons” script package. For $1,500 (but this one is almost maxed out so act now!): LIVE TWEET YOUR FEATURE FILM: Festival or TV premiere? — Bret Easton Ellis and Braxton Pope will Livetweet (approx 20 tweets) their honest thoughts on your film at the time of your choosing to their 390,000 followers/fans, hopefully helping you trend worldwide! They will also post about your film on their Facebook pages. — And everything in “The Canyons” script package. — Special Thanks in the closing credits For $5,000: Bret Easton Ellis will read and review your novel and have that review appear on an international blog or website. (TBD) — Associate Producer credit on the film — You will also receive an autographed hardcover of every novel in Bret’s canon. — Two tickets to Wrap party — Handwritten thank you letter and on set photo from Bret and Paul, along with a shout out in the Making of the Canyons video. For $5,001: Have your script covered by Paul Schrader: — Notes to be delivered in person (NY or LA) or skype — Associate Producer credit on the film — You will also receive 5 autographed copies of any script Paul has written plus everything in “The Canyons” script package. — Handwritten thank you letter and on set photo from Bret and Paul, along with a shout out in the Making of the Canyons video. — Two tickets to Wrap party Any takers?
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Bret Easton Ellis Will Read Your Novel If You Pony Up $5,000 For His New Film (Probably) Starring Porn Star James Deen

Source: LAist.com

#screenplay #film #screenwriter

“If you follow Bret Easton Ellis on his prolific (and sometimes maligned) Twitter account, you’d have read endless tweets about his latest screenplay written with porn star James Deen in mind.

Now producer Braxton Pope has launched a Kickstarter account for the film “The Canyons.” Here’s the pitch: “The Canyons documents five twenty-something’s quest for power, love, sex and success in 2012 Hollywood.” Ellis wrote the script with Deen in mind, which doesn’t seem so farfetched since the porn star who has been getting more attention in the mainstream ever since he was profiled in GOOD magazine and then for the pearl-clutching set on “Nightline.” The filmmakers want to cast leads who will have real—not simulated—sex on-screen.

One of the most interesting parts of the Kickstarter campaign is that it appeals to fans who would like to rub shoulders with the people behind the film or get notes on their own creative projects. Here are a couple of the more entertaining deals for contributing to the film, which is already halfway to its goal of $100,000.

For $500:

TWEET YOUR SHORT FILM! Bret Easton Ellis and Braxton Pope will watch your short film, tweet their honest thoughts AND the link to their combined 390,000 followers/fans! (Facebook too) — Special Thanks in the closing credits — Plus everything from “The Canyons” script package and above!

For $501:

PRODUCER’S COFFEE: We’re not gonna call it a pitch meeting, but…Braxton Pope will meet you in LA and bring you an exclusive autographed script with a 1 of 1 cover created from an on set photograph nobody else in the world will have. — Special Thanks in the closing credits — You and a guest get to attend the cast and crew wrap party! (transportation and lodging not provided) — Plus everything else in “The Canyons” script package.

For $1,500 (but this one is almost maxed out so act now!):

LIVE TWEET YOUR FEATURE FILM: Festival or TV premiere? — Bret Easton Ellis and Braxton Pope will Livetweet (approx 20 tweets) their honest thoughts on your film at the time of your choosing to their 390,000 followers/fans, hopefully helping you trend worldwide! They will also post about your film on their Facebook pages. — And everything in “The Canyons” script package. — Special Thanks in the closing credits

For $5,000:

Bret Easton Ellis will read and review your novel and have that review appear on an international blog or website. (TBD) — Associate Producer credit on the film — You will also receive an autographed hardcover of every novel in Bret’s canon. — Two tickets to Wrap party — Handwritten thank you letter and on set photo from Bret and Paul, along with a shout out in the Making of the Canyons video.

For $5,001:

Have your script covered by Paul Schrader: — Notes to be delivered in person (NY or LA) or skype — Associate Producer credit on the film — You will also receive 5 autographed copies of any script Paul has written plus everything in “The Canyons” script package. — Handwritten thank you letter and on set photo from Bret and Paul, along with a shout out in the Making of the Canyons video. — Two tickets to Wrap party

Any takers?

Does Structure Change with Changing Platforms? Source: blakesnyder.com #screenwriting #film #screenplay “Naomi Beaty is a script reader/consultant based in Los Angeles. One of the original Cats, Naomi worked in development at Maverick Films and contributed her wisdom and insights during the writing of STC!books 2 & 3. Naomi can be reached at naomibeaty@gmail.com. In Gladwellian terms, I am a late adopter. I don’t use Spotify or even Twitter. I still prefer to read books in book form, rather than on a Kindle or an iPad. I kept my last phone, an old Blackberry, for six years and only acquired my first smartphone as a gift. And yet, even I can’t deny that entertainment is changing. It seems like every time I check the trades I see another project that alters the shape of the entertainment landscape: * Last fall, the Sundance Institute announced six transmedia projects were accepted into its first-ever New Frontier Lab. * Just last week, Carnivale creator Daniel Knauf was in the trades with his new transmedia projectHaunted, a story about paranormal investigators. Described in an article on the PBS website: “The storytelling format features multimedia elements such as research documentation and investigators’ blogs. Shot with multiple cameras, the project’s navigational timeline allows viewers to manipulate how they view the story.” * All over the news lately, Fourth Wall Studios and Dirty Work, the first project for their very own “Rides” platform. It’s an episodic dark comedy about a Los Angeles crime scene clean-up crew and it uses phonecalls, texts, emails, and multiple browser windows to build a more immersive story world. (Check it out, it’s already live at www.dirtywork.com) * And most recently, the announcement of Skip Brittenham’s graphic novel and the associated multi-media aspect, which has a planned tablet app and an augmented reality app that involves interactive 3D tech. To me this is all crazy, futuristic, where’s-my-hovercar kind of stuff. But it does make for an exciting time for writers. The stories you create are no longer limited to one screen. One drawback of movies and TV has always been how hard it is to show what’s going on inside a character’s head. Well, guess what? Now there’s an app for that. Okay, not exactly. But with the available technology, you could conceivably write a script in which the audience could choose to hear a character’s inner monologue while they’re watching……”
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Does Structure Change with Changing Platforms?

Source: blakesnyder.com

#screenwriting #film #screenplay

“Naomi Beaty is a script reader/consultant based in Los Angeles. One of the original Cats, Naomi worked in development at Maverick Films and contributed her wisdom and insights during the writing of STC!books 2 & 3. Naomi can be reached at naomibeaty@gmail.com.

In Gladwellian terms, I am a late adopter. I don’t use Spotify or even Twitter. I still prefer to read books in book form, rather than on a Kindle or an iPad. I kept my last phone, an old Blackberry, for six years and only acquired my first smartphone as a gift.

And yet, even I can’t deny that entertainment is changing. It seems like every time I check the trades I see another project that alters the shape of the entertainment landscape:

* Last fall, the Sundance Institute announced six transmedia projects were accepted into its first-ever New Frontier Lab.

* Just last week, Carnivale creator Daniel Knauf was in the trades with his new transmedia projectHaunted, a story about paranormal investigators. Described in an article on the PBS website: “The storytelling format features multimedia elements such as research documentation and investigators’ blogs. Shot with multiple cameras, the project’s navigational timeline allows viewers to manipulate how they view the story.”

* All over the news lately, Fourth Wall Studios and Dirty Work, the first project for their very own “Rides” platform. It’s an episodic dark comedy about a Los Angeles crime scene clean-up crew and it uses phonecalls, texts, emails, and multiple browser windows to build a more immersive story world. (Check it out, it’s already live at www.dirtywork.com)

* And most recently, the announcement of Skip Brittenham’s graphic novel and the associated multi-media aspect, which has a planned tablet app and an augmented reality app that involves interactive 3D tech.

To me this is all crazy, futuristic, where’s-my-hovercar kind of stuff. But it does make for an exciting time for writers. The stories you create are no longer limited to one screen.

One drawback of movies and TV has always been how hard it is to show what’s going on inside a character’s head. Well, guess what? Now there’s an app for that. Okay, not exactly. But with the available technology, you could conceivably write a script in which the audience could choose to hear a character’s inner monologue while they’re watching……”