Screenwriting

Contests and working for tv & film business is two different worlds. Not sure what you want to hear but every pro occupation where the field is crowded, the best of the best will always get jobs, rise above average talent.

Two successful screenwriters with a huge podcast following, Mazin & August, don't believe in contests. But they're over 60 and established careers before internet script service boom.

My writer-friend from Baltimore is making huge moves as a tv staff writer. Back during covid 2020 when everyone was home, her spec pilot landed in the hands of tv showrunner who was bored at home. Showrunner loved her spec, passed to manager, manager signed her after one phonecall. She got staffed within a year to a streamer tv show 12-eps. Now she is staffed on network primetime tv, 18-22 episodes. Double the work, stress but double the salary.

Two good reasons to participate in a singing contest. 1. If you sing like Elvis. 2. If you think you sing like Elvis and truly don't.

48! Congratulations, everyone!

Congratulations!

Congratulations to all the writers who nailed script requests! Great job all around!

Congratulations on the meeting requests, everyone!

Congratulations! Best of luck to you all!

Amanda, that's great news! Congratulations to all the writers who got meeting requests!

It is interesting how much a screenplay can change with time, Hugh Potter. I wrote a feature script wayyy back, then like two years ago I rewrote it. I changed some things, and the script was better. The script still needs some rewrites. Some of the tech in the script is outdated, but I could update them easily.

Side effect of this biz...projects known to be pending for 20-30+ years, still got made eventually...nothing's over until the lights go out in a movie theater...

Actor Kevin Costner told Writer-Director John Hancock he would do his movie but he wanted to age naturally for the character role. He told Hancock to wait 12-15 years. And costner kept his promise, did the movie.

Best way to learn is watch movies & read stack of pro scripts similar your ideas and study how writers did it on the page with an ensemble intro.

Reservior Dogs, Saving Private Ryan (beach invasion), The Warriors..

also watch & read scripts of ensemble intro movies that you think sucked, and ask yourself why they failed. GL

I would say there are a dozen people in the room and introduce them as they speak or move around. Anyway, that is how I do it. As far as character descriptions go I only briefly describe them and I never describe extras,

Dan, Max and Jessica hit solid points there. And totally agree with Maurice's thoughts. Make them memorable. And keep each one as tight and punchy as hell.

Always handy, to keep the flow, knitting their intro descripts into the scene's actions/reactions, pacing, reveals etc. -- even if they have no dialogue yet. Guiding the eye.

Page real estate is precious ;-)

An ensemble introduction is where the character's names are extra important. You don't want any character name to start with the same letter, sound the same as another etc. Don't introduce a Jack and a Jake in the same scene for example. They shouldn't even be in the same script for that matter. Too confusing.

Also each name should be unique and call up an image of that character just on it's own. Tuco will obviously look totally different than Takashi. So that's another easy way to differentiate quickly. Nicknames are another great way to give characters immediate "looks".

Check out this indie flick "Circle"...interesting approach...

I agree strongly with the principal of starting from the bottom. I focused heavily on the world of short films before my first feature assignment, which was a low budget indie.

Most people I see trying to break in aim exclusively for Hollywood studio level stuff, get nowhere, waste a lot of cash on competitions, still get nowhere, and then burn out. In twelve years, I've never seen that strategy work - yet it's the one most encouraged.

Göran Johansson Build relationships/network online, and in person if the writer is able. Especially network with indie producers, directors, actors, etc.

Being young is an advantage, so is good health, debt free. Nothing sexy living a broke artist life. Maybe learn a skill that pays money like grip, gaffer, sound, postproduction. Never know what opportunities open 'cause you're around. Not qualify. Just around. I was doing wedding video editing from home when I got a call from a post facility. Days later and Im reviewing dailies of tv shows & movies, working side by side with pros, staff engineers on call 24/7, colorists making $200K and still complaining about hourly rate. Basically I am saying if you surround yourself with working ppl, someone is gonna give you a chance.

Dear friends, I understand what you mean.

Dear CJ. The screenplay I try to sell is written for only 5 actors. Can be filmed in "100 hours" on a shoestring budget.

Dear Maurice. One member who has English as his native language has received a copy of my latest screenplay, helping me with proofreading after I translated. And I became a member because I had already connected with a member.

Dear Dan. It was in this way I become responsible for a TV-mini series. Even though I hardly even knew how to use the editing program.

Dear friends, nice that you liked what I wrote. So please tell the big studio execs to hire me to create similar movies for them, when they need to find errors before they start to spend megabucks. :-I)

Pat, yes, I know that readings are often used. I have sometimes seen it recommended in screenwriting manuals.

Sorry, I hit the button too fast.

Preston, yes, I have myself created some comics, but I am no good at drawings, so I am the wrong person to do that.

Göran Johansson I can't draw either, that's why I hire artists.

I use a text-to-speech program and have it read my script back to me. I read along with a printed copy of the the script, marked up anything that sounded wrong, and went back and fixed these errors when done. When I started using this technique my writing improved immediately.

This is especially helpful for finding small, easily missed errors in grammar and punctuation. It also helps with hearing how your characters sound and letting their personalities shine. Because characters should not sound alike. Some have speech quirks or phrases that only they would use that would easily identify them. It's how "catch phrases" are born.

I review scripts every week on my YouTube channel for free. :)

https://www.stage32.com/media/3500252380887264882

Don't overwhelm yourself, Greg. I'm not on Stage 32 much, but when I logged in your comment was right up in the feed :D

I saw a hip hop version of 'Othello' by the Q Brothers (they are based in Chicago) at Shakespeare's Globe many years ago. While that may not necessarily help with your question, it was brilliant, possibly music genre choice.

The creatives behind 'Anna and the Apocalypse' might have some content kicking about on the internet.

Thanks, I'll look into in.

I've yet to hear of any great success from OWAs. "And just like that... Brock stopped talking."

As long as your spec is tight-tight-tight before sending to OWAs, it's a good route for a possible in. More eyes, yadda yadda... but it's also a chance to burn a bridge if the spec isn't quite there yet. Just be sure :-)

You have to see script marketing like dating with the intent to fall in love; that magic alignment can happen in a million different ways, and the route it finally happens through will always seem a bargain in retrospect. Due to that dynamic, it's impossible for people to say what works and what doesn't.

There are many threads about the “OWAs”

They are mini contests and judged as such, so go into them with the expectation of a contest.

It is about as cost-effective as buying lottery tickets. I don't waste my time doing either one.

If they can be identified by the description of events, conduct, appearance, etc... you really need that release. If you fictionalize them beyond recognition, then you don't need the release.

If they can be identified they can sue you and the court will probably hear the case. If I wrote your life and just called the character Mick Vine, would you be pissed off? Perhaps.

At a minimum you have caused them a financial loss because you have made selling their life story less valuable. They could ask to be made whole. So they could just take your work, or ask for payment for what the rights may be worth.

At a minimum you are going to pay legal fees.

If they won't give you legal release they'd probably sue you.

I’m sorry!!! Head up you got this!

A three month agreement to rep you is beyond ridiculous. I wouldn't be hurt because the manager was not very serious. Good luck with the next one.

How long should a contract be Dan Guardino ? 6 months, 1 year?

I'm sorry you had to go through that. I'm happy things worked out.

Vikki Harris I can only go by what my agent has done in the past. I usually get one year with a right for them to renew for more time with more money to extend the agreement. However ever deal is different.