Screenwriting

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.

Formatting. I use Trelby because it is freeware and trivial to learn.

How people speak. Borrow a few plays. Imagine that you are turning them into screenplay. I mean, write one or a few pages with dialog for each. That would give you some idea about how to write dialog.

You're welcome, Connor Griffiths.

Any piece of screenwriting software will solve most of your formatting issues. You don't need something as expensive as Final Draft at all. You can use something free like WriterDuet or Trelby.

I DON’T GET ANY MONEY FROM THIS.

CRAIG20 gets you 20% of Writerduet.

I like to have things look good on the page. But I don’t worry about it. The context and the message is super important. I’ll perhaps play with a surrounding action line to pretty up a page.

Connor - I agree with CJ Walley. Final Draft is the industry standard and when you write professionally you will need to use it, but alternatives like Writer Duet are a good place to start.

"If they were successul they wouldn't have the time to read your screenplay." That's not true at all, Dan Guardino.

Dan Guardino But they might have time to read a comic book. :)

Breaking down a script isn't hard... first thing is figure out locations, see what their real world equivalents would cost, and do a page an hour as a default for how long you need (wrapping up to a day for anything over 4).Everything after that is match (days by rate) for every position, which you can research.

You can give a script to two different producers and they could come back with wildly different budgets because what one may feel is an acceptable in terms of production value might not be shared with the other, plus each will have their own capital vs returns strategy going into the market.

This is why a good pitch has both a min-budget and an ideal budget.

Then you throw in what one producer can get things done for against another, and it confuses things even further.

On Script Revolution, I allow only Shoestring, Independent, and Blockbuster definitions of budgets. The reason for that is because everyone has a different idea when it comes to what actual numbers mean and it's too easy for a screenwriter to misrepresent what they have through naivety.

Personally, unless someone had quite a bit of experience actually funding, shooting, and completing films to distributor standards, all while working with union talent in some capacity, I wouldn't trust any monetary estimate at all. There's just too many moving parts. I've been a producing partner from soup to nuts on two films and I still wouldn't be able to come up with an accurate number, even if I went through previous costings.

Screenwriters shouldn't be doing this and they shouldn't be encouraged to do this.

hi John Metzner I am a line producer and can help with breakdown, basic schedule and budget. please inbox me, I am also able to negotiate on price for it or guide you as well through Gemini crown tech’s services as well if you would like to speak about it and navigating on your own.

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

Looking forward to this tomorrow!

Thanks for sharing!

You're welcome, Sydney Summers. This is a great blog series! Looking forward to part three!

Likewise!

Thanks for sharing! Looks like great content.

You're welcome, Evelyn Sandoval Garza. It really is.

I feel partially vindicated after reading this.

You're welcome, Foster West Foster West. I suggest adding a profile picture and a detailed bio when you get a chance. People will feel more comfortable networking and collaborating with you if they know what you look like. And if you have a picture, your profile will show up when someone searches for you. A detailed bio will help you build relationships/network on here. You could add things to your bio like why you became a writer, your accomplishments, your goals, and what movies and shows you like.

How so, Stefano Pavone?

Because I have a tendency to write loquaciously, coming from a novel background, and I am somewhat reluctant to reduce or condense my writing too much when it comes to writing screenplays, fearing that simple, stale language will deprive the story of any kind of atmosphere or personality.

Glad the blog helped, Stefano Pavone. You ("you" as in any screenwriter) don't wanna put too much description, but you also don't wanna put too little description. You gotta find a balance.