Screenwriting

Congratulations on the Consider, Daniel Reed-Tracy!

I suggest working on your script until it's an outstanding script, then build up a portfolio of outstanding scripts before looking for an agent, manager, or producer.

You could network/build industry relationships as you work on your script and build up your portfolio. Here are some blogs on networking: www.stage32.com/blog/tags/networking-41

Got it, and thanks again. :)

You're welcome, Daniel Reed-Tracy.

Keep writing, win over peers with actual jobs making stuff. "Recommend" is basically average in this pro game.

Dear friends.

Pitching would had been problematical because the idea was far from original. In order to do something, one would first need to do the idea more original.

No, nothing funny happened. But I asked myself if somebody tried to figure out if a person who is offered easy money will try to take as much as possible, or remain honest. Please feel free to include it in your radio program, but I promised not to show the synopsis or marketing plan to anybody. And even though I can send you a sound file, I speak English with a strong Swedish accent. I plan to send you an email early next week, when I have thought a little about best to use it in your radio program. I did radio myself in summer 2005, so it takes a while for me to remember what works best in radio.

"Pitching would had been problematical because the idea was far from original. In order to do something, one would first need to do the idea more original." Sometimes, Göran Johansson. Studios sometimes buy and make scripts that are similar to movies and shows from the past.

Dear Niki, I just sent you everything.

Dear Maurice, I understand what you mean, but there was a big problem with the synopsis.

Same logic applies to comic book adaptations.

Sir,: did you get permission to send client's work to strangers here for review? Cause that is just tacky to post the client's work stinks, and you think it is some sort of "candid camera" scam. Either you want the work or you dont.

Sounds good. Good luck.

We provide free notes on 10 page selections every week on my YouTube channel.

https://www.stage32.com/media/3500252380887264882?ref=search

Hey Scott Sawitz CoverflyX (free on Coverfly) may be something to consider. Exchange scripts/reviews with other writers at no cost. Cheers.

Matthew Kelcourse I use that but I always like to bounce between readers I know, CoverflyX, and finding people from all over.

What do you mean with a swap? If you mean "I send comments on your screenplay if you do the same for me", then contact me. English is not my native language so I need help with proofreading. It typically takes me a few days to send my comments on other people's scripts.

Brian Naughton thank you, your words are very informative. I think what you say about just getting the idea down on the page is something I really must do. Especially as you pretty much described my current issue perfectly in your last paragraph. if I spent as much time writing as I do re-reading and writing scenes I've already got down on the page. I'd have the thing written by now.

M LaVoie M LaVoie the script writes itself?! yes, please!

I find that the dialogue between the characters especially the two main leads is flowing easily enough it's more writing their body movements/ reactions/ emotions that I'm struggling with. it's the first time in doing it as a show not tell and not using thoughts like you would in usual story format and I think it's that what is hindering my writing.

I have the feeling from what people have advised me it's a case of splurging the idea out and dealing with the finer details later.

This is what I would do if you have trouble with getting stuck on what is best, and go into an endless loop of "what about this? but maybe THAT is better...".

Act it out! YOU be the actors reading the lines and MOVING, and using props, and go to a location similar to what you are writing about. Write down your FIRST reaction to each event, so that the flow is ORGANIC. Don't change ANYTHING from your first response each time.

Sounds like those ensemble improve shows, like the one with Drew Carey...

Then if you must revise, do it after the whole thing is done.

Personally, I never revise anything. I know that is heresy. But from the first line I just take dictation. I never plan anything. Who knows what they will say and do until they DO it?

Then afterwards, the synopsis, etc. and logline. I know this is backwards, but it works for me.

It's very fast. Full feature in 2 weeks or less.

Same with ghost written novels. I have the requesters tell me their stories in any order. I take notes and organize them.

Sorry. Improv not improve. I have covid so I am slowed down a bit.

Jon Shallit thanks I shall give it a go

Glad the pitch went well, Bill Albert. Thanks for sharing the advice/insight! Hope you get a script request and meeting request!

Thank you Maurice.

You're welcome, Bill Albert.

Such great advice! Thanks for posting.

Looking forward to the class beginning tomorrow!

Good class today! Please let me know if you have any questions.

Well done, Brian. Looking forward to the remaining sessions.

Loved the class...looking forward to the next sessions.

Hi everyone. Unfortunately due to scheduling conflicts I'm unable to attend the classes live. After watching the replay today and listening to all your amazing projects (I love the variety) I thought I should introduce myself. I'm currently working on a romance/drama/comedy feature script: An untethered stagehand and a world-weary comedian, both in the grips of midlife, spontaneously drive together through outback Australia, falling in love along the way. I'd describe it as the banter of Before Sunrise meets the vibes of Lost in Translation in the Australian outback.

Which brings me to a question for Brian which I thought I would ask here in case someone else if facing a similar problem. For the homework you asked us to write bios for 3 characters, including the antagonist. I'm having problems identifying the antagonist. There is no villain in my story and rather I think the antagonistic force is intrinsic to each character. Neither of them want to let themselves develop feelings for the other because there is a clock on their time together (although this obstacle disappears at the end) and because neither of them think they are deserving of love from their pasts. Does this seem correct? And how would you handle this in the character bios?

"Attention spans are shorter" is a lie that keeps repeating as an excuse for bad films. "Anatomy of a Fall" was 2.5 hours long, with 70% subtitles. "Oppenheimer" and "Avatar" (1&2) were 3 hours. Great plots with fabulous characters that kept the audience engaged. Over-reliance on gratuitous sex, thin characters, f-bombs, and fancy tech will not save a poor plot with thin, empty characters.

Good write is just good writing. Popular forms and structures change.

Remember when in the late 90’s it was “get to the action” nearly no first act. Then in the 1940’s massive first acts.

We need to be deliberate with our choices. We need to be sure that our choices move the story forward.

There were bad movies from the beginning of Hollywood; it is critics pointing to a small sample size of movies and using them to prove whatever point they want to prove.

There was a dry spell for a few years, but good movies are returning to the forefront. As a novice scriptwriter, I watched Field of Dreams as a scriptwriter and was truly impressed with the writer, W. P. Kinsella's efforts.

Thanks! I like this film.

This is great advice. It should not be lost that this is also a valid avenue for actors looking to take charge of their careers. There are so many examples of actors who got their break by creating their own work, often as a short!

I didn't know some of those started as short scripts, Tammy Hunt. I use short scripts to practice writing, and I use shorts as writing samples when applying for writing and ghostwriting jobs. A short script doesn't take a long time to outline, write, and rewrite (it usually takes me 1-3 days), so writers can build a portfolio of them quickly.

Excellent advice and inspiration, Tammy Hunt. I just attended a short film festival and it felt like a launching pad more than a destination. Tom also makes a great point on how potent a quality short can be for an actor's trajectory.

Even Martin Scorsese did 3 shorts before he made his breakthrough -- What's a Nice Girl like You Doing in a Place like This?, It's Not Just You Murray, and The Big Shave. And that was back in the 60s!

One of my favorite short films was Eli Roth's Restaurant Dogs (1995) a parody of Reservoir Dogs he made in grad school

Thank you for the affirmation. That’s been my approach. And thanks for the content. Illuminating.

So much fun chatting with you all! I can't wait to hear everyone's ideas

Happy Birthday weekend Alyssa Michek

Thank you Michelle Dionne Wardlaw! I also wanted to tell you I'm originally from DC, what a great city <3

Hey Everyone! loved meeting all of you in class on Saturday. Does anyone know if Colleen posted an example of a 1-pager for us to download? If so, how do I navigate to it?

Suzanne Porush Not sure where the document lives to download it, but Saturday's session is now posted. The 1-pager is about 1:48:45 into the video. :)

Lindbergh E Hollingsworth I'll have to really look into how to do a film shoot, as this will be my first one. But it won't be for a while anyway, seeing as how I need to save up funds for the budget. Thank you for the advice.

For a first time short? Your friends and family are the first people to bail on you. Do not ask them to be cast or crew. Nobody will show up on your set that isn't paid to be there. That's lesson 1.

Good news? You only really need two paid crew. The DP and sound recordist. That is, if you played it smart and wrote a one location, one day short film. If your short film lasts multiple days and has multiple locations per day, then you need a 3rd paid crew member. The 1st. A.D. (assistant director) Hire them first, give them the script and take their advice on the crew size and schedule that makes sense. Take note, this is not a "Director's assistant" position. Not at all. They are not your personal assistant. They are the onset manager of the entire production and if you pick someone good, they will know way, way more about filmmaking than you. But that's what you want. Look up the position on Youtube for good info

Do NOT hire a newbie. The 1st A.D. has to have experience. No matter how small the shoot. It's the make or break position of the entire effort. IF they're a pro, they have a phone full of contacts for both cast and crew and can help you find everyone you need and can even find you the gear you need and likely, good locations. If you pay them.

The last short I worked on, we had 11-12 total crew. Shot 4 full days. Each day was minimum 12-hours shooting. Mostly interiors in a loft but some quick nearby exterior shots. The writer-director must have spent $15,000+ in four days of production. Pro Equipment: Arri Alexa & full grip truck.

A crew "marches on its stomach". Having good, healthy meals and snacks can go a long way with a crew working under tight conditions and can keep everyone feeling appreciated.

If you are near a college or univiersity have you considered contacting them? This can be especially halpful with finding acting talent in the theater departments.