Screenwriting

Stage 32 OWA are not really OWA- more like spec submissions that meet exec/company's agenda.

What's plan B, Plan C, Plan D... if you choose to use other script services?

I believe that all script services require scripts meet expectations as described in listing Dan MaxXx.

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.

When the weather is really hot, I l go to write at hotel lobbies. free wifi, AC, and sometimes the staff puts out free snacks.

Dan MaxXx I love that idea! Might try it so I can listen for dialogue inspiration

Our gazebo :-)

My favorite writing place is in my writing shell, just a desk. Values up when my fluffy felidae writing guard tenderly comes close. Together getting the flow is priceless.

Rachel, my bedroom's my one writing spot...it's where I've placed my Power Mac G5 computer (the one with Final Draft 6).

Dan, I admire your guts when it coms to walking into hotel lobbies to write!

You're right, Anthony McBride. Life goes on. That's how I look at pitches and opportunities. Hope the meeting leads to a great opportunity for you!

Congratulations on "Horror-Fest" being a Finalist, Bill Brock! I think the longest it took me to finish a script was a few months. I probably worked on other projects while I wrote that script since that's something I usually do, unless I'm on a deadline.

Turn your screenplays into plays. Tell the nearest amateaur theatre to produce. When the play version becomes a success, you can tell that to those who buy screenplays.

Tack, Göran Johansson , For the short movie I just finished the other day, I might just do that, as that one could work well, I think.

However, this script, and the second feature I wrote are not really suited for that, I think.

A horror drama thing which needs some effects for it to reach its full potential, and a post-apocalyptic sci-fi thriller are not really the first types of genres I would guess works well on stage ;)

Congratulations on the awards, Micke Askernäs! Stage 32 has free and low-cost pitching resources.

Free webinar: "Pitching Tips from the Pros: Your Blueprint to a Successful Pitch" www.stage32.com/education?p=8944895721779

Pitch advice post #1: www.stage32.com/lounge/screenwriting/Pitch-Advice

Pitch advice post #2: www.stage32.com/lounge/screenwriting/Pitching-44

You could email success@stage32.com and ask for the most recent written pitch examples. One example is for a feature and the other is for a show.

If you're a member of the Writers' Room, I suggest checking out the weekly Pitch Practices. It's every Thursday at 8:30 P.M. EDT. You can sit in and listen to other members pitch. The hosts (Noel Thompson & John Mezes) give feedback on the pitches. You can also sign up to pitch, but you have to attend a certain number of Pitch Practices (sit in and listen to other members pitch) before you can sign up to pitch. The Pitch Practices are the best pitching resource in my opinion. If you’re not already a Writers’ Room member, you can sign up for your first month of membership FREE here: www.stage32.com/writers-room/plans-vip

Well done, maties! I'm sure it is well-deserved.

Pat Alexander Congrats to everyone involved

Congratulations to the ten Period Piece finalists! Way to go...and here's to added success!

Very exciting news for these writers, congratulations!

Congrats to all!

A screenwriter's main goal is to be produced. The option will usually state how many expected rewrites are to be done. Rewrites are not polishes. A rewrite is a substantial updating of the script. Options usually assume a minimum number of rewrites an the original writer should get first crack at rewrites.

Obviously, no one wants to be taken advantage of and have "unlimited" free rewrites beyond the initial option specifications. However, if the original writer doesn't do it, other writers will be hired, which will dilute the % of work attributable to the original writer for screen credit.

Options usually have time limits on them. The payment structure will usually depend on the project starting production. So, if the changes aren't done at all before the time runs out, then no payout. Eventually, the option will expire and revert back to the writer. But that means starting all over again trying to get it optioned and produced.

Occasionally, a writer will have to walk away from the rewrites because the expected changes aren't in the writer's wheelhouse like an action story gets turned into a rom-com and that's not something the writer can do. That's understandable.

But, right now, the producer has the rights to the story. So, it's important to try and make it make work within reason.

Thank you for your input: the option agreement is a WGGB template. It has time limits, and something I hadn't noticed until I read the comments - there's a reference to WGGB rates for first and second drafts, which, when you dig into them, provide for funding, albeit not very generous. Anyway - the tension here is about how far the director's vision can be from the writer's original idea and still be workable. You might say that, as a new writer, I can't afford to be fussy: that's certainly what I'm thinking. But there are limits to everything. My purpose in posting was to establish how common this is and how you deal with it.

Steve Mallinson Well, if you're getting paid guild rates to do the re-write...

If the producer is keen on a director who is also a writer as you said, what difference would it make what you offer for a rewrite? The odds are high that the director will take a stab and render it unrecognizeable. Especially after cast get involved and start asking for monologues, snappier dialogue, etc.

There is the issue of "A Film By" credit and very often directors who write may do a full on rewrite of the script to ensure they get not only that possessory credit but also the bulk of the writing credit. This is why on my first script option I negotiated a directing agreement contingent on the option. I knew if there was a director involved, the film would turn out wildly different than what I wrote and all I'd have to show for it would be the check.

I'm learning so much from this discussion, thank you for sharing Steve Mallinson . The screenwriting space has a lot of aspects to it that don't come to the forefront enough. The options agreement, the dynamics of the business side of things are really important for writers to know. I wouldn't worry about the changing of the story if this is your "get my foot in the door" script. It might be more valuable to go through the process of getting produced. If not that then I can't see you staying on the project without losing your mind.

Nick Phillips What an amazing experience, thanks for providing us with this opportunity!! Pleasure to e-meet you, Nick

My best tip is to network with producers, directors, DPs, actors, writers, editors, etc., Göran Johansson. Here are blogs on networking: www.stage32.com/blog/tags/networking-41

You could also post your loglines, synopses, and scripts in the logline section of your Stage 32 profile. Producers, directors, etc. search profiles for projects.

And you could search for producers, directors, etc. on IMDbPro (https://pro.imdb.com/signup/index.html?u=http%3A%2F%2Fpro.imdb.com%2F).

Dear Maurice, many thanks for your advice. Any more comments?

You're welcome, Göran Johansson.

I meant to put this in my first comment, Göran Johansson: You could search for producers, directors, etc. in the Browse Members Section (www.stage32.com/people).

I am looking forward to working with all the writers in the class. Let me know if you have any questions.

Great topic to discuss! Especially looking into subtext. Using dialogue with this kind of purpose can really give a script added depth without over complicating things.