Screenwriting

A. Jaye Williams Thanks! The beautiful part of it all is that this is for a comedy. So, the plan for the scene is that once the person says, "Just pretend that you're Han Solo.", the character breaks the fourth wall and looks right at the camera as if to say, "Seriously?". Lol

Tom Lapke is spot on - that webinar is awesome and James Pacitti is an expert on this subject.

You're good. Go for it. Think of shows like the Big Bang Theory that had dozens of references to characters like Solo.

"I am a leaf on the wind. Watch me soar" - Hoban 'Wash' Washburn, Serenity (Firefly movie), 2005.

I think that would under the "fair use doctrine," https://www.copyright.gov/fair-use/#:~:text=Fair%20use%20is%20a%20legal,....

Hey, Yair Avivi. Stage 32 has an on-demand webinar called "How To Network Effectively As A Screenwriter" (www.stage32.com/education/search?term=Networking&h=how-to-network-effect...).

Thanks Maurice i will go throgh it, but i was also looking for something like a place of exaching ideas, getting advices, feedback and so on

You're welcome, Yair Avivi. I suggest signing up for Stage 32's Writers Room and attending the live events (Coverage Reports, Executive Hour webcasts, Writers' Cafes, Pitch Tanks, and Pitch Practices). If you're not a WR member yet, you can sign up for your first month free here: www.stage32.com/writers-room/plans-vip

See a lawyer first. Mand do not charge for a consultation, ony if a suit actually happens and it goes to court. Call a local lawyer and tell them "I need to know if I can sue a movie producer." I bet they'll be happy to listen to you.

Thank you for the responses.

Hi Jeffrey Bowie Jr. - speaking with an entertainment attorney is worth doing, even if for an initial consultation (maybe try a few lawyers to learn as much as you can). Another question - did you happen to register your original work with the Writers Guild?

Hi Sam, I didn't register the work with the Writer's Guild. It's only been copyrighted under The Library of Congress.

If there's a signed contract, you need to see an attorney. And PDF all correspondences with the producer and any other person to show you created/own the script.

Hi hope you are all doing well.

Hi, Donna Tiberio. Hope you're doing well too. Are you gonna be at the AMA Wednesday?

I'm afraid I won't be at the AMS. Have a great time.

Thanks, Donna Tiberio. It's gonna be a great time. The AMA will stay in the Authoring & Playwriting Lounge, so you can read the answers anytime.

There are so many talented horror writers in the Stage 32 community. I'm excited to see the results of this contest this year!

I totally agree with you their Mike Childress and why the spec are the bones or the nuts and bolts and whoever aquires it can add whatever skin they want. Cheers!

Mark Deuce As someone primarily writing for pleasure, at this juncture, I tend to delude myself into believing that the art (well my vison at least) matters the most, ultimately, but then I remember that Mike also has a lobster/shellfish habit that could eventually bankrupt him sans some art sales!

Mike Childress yeah that's always true in the writing stage, but eventually it all becomes a collaboration and you must stay open to new ideas and visions for things. That's actually the beauty of filmmaking and one of the most fun parts. Bringing in all the additional perspectives and points of view always upgrades everything all around when everyone's bought in to your (the writer's) original vision.

Pat Alexander I suppose if I suffered delusions of grandeur I would think all my spec scripts would magically waltz through the purchase and production processes unadulterated by other hands in the cookie jar, and, admittedly, I would like that! You are absolutely right about the collaborative element (as long as the purse string holders don't sacrifice too much of the art for revenue-driven reasons), but I still tend to treat my scripts like The One Ring, and the idea of other "hands" on them is somewhat akin to someone messing with a child of mine... I will get over it, but still not comfortable feeling like I need to force stuff into the screenplays to appease the masses.

Well said Mike Childress

Sylvester Fryson Jr I have yet to see a maximum # of entries in any competition I have entered/looked at.

as many as you can afford. except for Nicholl, which limits you to ONE.

Mike Childress Okay because I have close to 30 films I want to enter overtime, I have some idea on how entering them works but I wanted to be sure from someone who’s had more experience.

Sylvester Fryson Jr Thirty...wow nice haha. I think most competition organizers want that $$$ so makes no sense in limiting # of entries unless, like Nicholl, each script is guaranteed to be read in its entirety (and the highbrow nature of it), or the competition doesn't have the reader bandwidth to handle a google of submissions...

Some say you can enter your script many times.

Join your local group with no-budget filmmakers. That is what I did. One learns a lot by filming. My 3 TV-movies cost me only about 1,000 dollars each. So I have learned how to write so it it cheap to film. And people say that I write well. And knowing how to film means a better bargaining position when discussing with those who have the money.

One possibility is to write a 100 pages long screenplay. But also write a 2 pages long screenplay which one films oneself, and shows to potential producers. This will give the investors useful information. And also show that it will be difficult to steal the longer screenplay.

In addition, I am also a playwright. I gladly write a story both as a screenplay and as a play. If somebody tries to steal a screenplay from me, they have to show that what they have done does not infringe on my copyright for any of my plays.

I might even suggest putting out on the socials a few 3 page scripts that are a polished example of your skill, technique and voice. They won't get made, but at least you wouldn't care about them getting stolen cos they are nothing. Then you can show people, instead of pitching a gigantic idea and script, to see if those producers are even right for you.

I dunno, page-turning portfolio stuff (?)

The Real honest answer is, "No, you dont. Because you haven't even written the scripts, they're clearly not FULLY fleshed out and well structured ideas for films yet, and even if they were, that's not how any of this works. Plus, you don't know what Studios want or what their mandates are right now. So, stop being delusional and start learning how to write. Because you're 3-10 years away from being able to pitch a studio, if you're lucky."

Great advice, Paul. Thanks.

You can register them also with the WGAE Paul Zeidman

D A Stenard Rats! very disappointing for sure. BUT (And nearly the same thing happened to me last month) I re-pitched to the same person with another script and am developing a nice connection. Good things: you pitched well and can do it again, they liked the script which means someone else will too, and I guess there was a life lesson on there somewhere (like we need to keep having these lol). I think being a stage director for so long has made me understand the multiple variables of casting and there are so many times where I wished I could cast someone and let them know how well they did but could not in the end. And it still hurts just the same. "Just keep writing" (in the essence of Dory). I hope you can stay focused on the dream, let go of the outcomes, and enjoy the process, even with these clunky setbacks.

Believe nothing until you have a signature on the contract. And don't spend the money you haven't got yet.

True dat

A big mojo comforter to you D A Stenard. My way of dealing with similar situations is to submit requested script, daydream for a day or two, and then expect to never hear from them again. To hear they contacted you with a pass tells me they hold respect for you and your writing, so there's the silver lining :-)

Its always a disappointment to get a no. Even if you receive good feedback the project may not fit what that producer or their company are working on at that time. Just remember: Executives don't want to say no to everything they see, and it sometimes only takes one person to say yes to your project to get it made. Getting a pass from a company sucks, but they're not the only company out there.

Göran Johansson That's interesting. Also raises a valid question re: transnational copyright protections given so many screenwriting competitions (and script hosting sites) are international, and IP laws tend to differ from country-to-country... Guessing EU member nations likely have protection across the EU? I know some foreign works are eligible for US Copyright applications. I wonder how many non-US Person writers apply for them...

Göran Johansson That wouldn’t work in the USA. The only thing that works here is the words that are on the pages.

These are always accounts to keep track on!

Hi Maurice Vaughan , are there any webinars or blogs on here from legal professionals in the industry about protecting your work you'd suggest?

Great question, Ewan Dunbar.

Blog - "How to Protect Your Script from Theft" www.stage32.com/blog/how-to-protect-your-script-from-theft-3210

Webinar - "Avoid Theft: How To Legally Protect Your Script, Idea or Project" www.stage32.com/education/search?term=protect&h=avoid-theft-how-to-legal...

Webinar - "Screenwriters, Producers, Filmmakers - Get Smart, Get Legal, Get Protected - With 40-Page Downloadable Workbook!" www.stage32.com/education/search?term=protect&h=screenwriters-producers-...

They cost from $7000 to $9000 per person. Do you really need to stay in a castle for a week to write?

I had never heard of these particular workshops, had to look them up, and they definitely seem very cool; however, I think me in a castle in Europe for a week leads to everything BUT writing! Seems like they could potentially be valuable for those writers who are less-disciplined in general, or just need a ridiculously nice place/environment to write, away from the chaos of their normal lives...

Retreats are becoming popular. They're another way for trust fund babies to buy access to industry professionals.

Definitely for the passion.

Ultimately, I enjoy the idea that we can write anything into existence with the possibility of moving or inspiring people.

-ART

-fame/not really fame, but credibility/value

-to see whats in my head on a screen

It`s interesting! These informations are simply mesmerizing! It's incredible to see how education has evolved over the years. By the way, I recently found myself overwhelmed with assignments and discovered a fantastic resource that can do my assignment for me and help manage my workload. They really saved me a lot of stress. Either way, seeing these historical images makes me realize how far we have come in both education and technology. It's a reminder of the progress we've made and the tools now available to help us succeed.

Escape