Screenwriting

Joe Wall i would be honoured

Look for teen film festivals and writing competitions.

Liron Vardi Thanks for the advice!

You are welcome, Charlie. Just be careful.

Hi Charlie Sheehan - as others have said, check for some teen festivals and as Bill suggested, try FilmFreeway. Having said that, I would consider getting coverage before you go the contest route. Make sure that those scripts are in the best shape possible before you go the contest route. You'll feel a lot more confident going in to a contest with your script in good shape. Also, don't agree to work for anyone on a post. Focus on YOUR work and get that in good shape. Once that happens, then you'll be ready to work for someone else and when you do, take it through official channels.

I wrote short stories in elementary school and middle school, Debbie Makima. I started writing scripts after I found part of the Office Space script online during computer class in 12th grade. I liked the way the script was written. It wasn't like the short stories I was used to reading and writing. I read one or two articles about screenwriting, then wrote my first script.

Maurice Vaughan

That's awesome, Maurice! Thanks for sharing your story, that's exactly what I was hoping for when I started this discussion. It's interesting that you began by not conforming to the norms. Did that "off the beaten path" approach continue to influence your writing afterwards?

A shopping agreement is when a producer pitches a project to companies for a limited time, Marc Ginsburg.

Stage 32 has a webinar called "Your Definitive Legal Guide to Shopping, Option and Attachment Agreements - With an In Depth 32-Page Resource Sheet." www.stage32.com/education/products/your-definitive-legal-guide-to-shoppi...

Hey, Casey Newel. I don't have actors for the show. I'm just pitching it.

that’s incredible, congrats Maurice Vaughan

Thanks, Joseph Tonaldo. I appreciate it.

I take a leap of faith everyday. About it paying off, I guess the universe is a lot slower than I am and so I have to wait for that slowpoke to catch up. But that's not stopping me. I have a great script and a great show, the latest podcasted episode of which is https://open.spotify.com/episode/0XFQbHWDy6KI5XVHwEvKio?si=428b1c0718f04c08 because I got no time for hemming and hawing.

The Man From Earth (2007)

it’s all dialogue primarily one location and leaves you thinking about it long afterward. free to watch on a Samsung tv

^^yuppp, The Man From Earth is legendary

I'll check it out. Thank you Shawn E. Cline !

One of my inspirations for great banter is "Midnight Run," especially for my character- and dialogue-driven script AN ENTIRELY IMPOSSIBLE ROLLERCOASTER. I think when the banter is good, you just know it, because every line leads to the next one, and to the next one, and the scene can go on and go on forever. My trick for writing such dialogue is to a) know my characters well and feel what they feel; and b) say the lines out loud - then I can tell exactly what the next line will be, and the next, and so on.

I'm happy to take a look at some of your dialogue and help out with it if you want.

@Patrick I’m guessing, it’s a minimal location Horror? Dialogue is key factor low budget cos few options for “Physical Action,” moving scene by scene. Or are there numerous locations & it’s a case of being a Hybrid, Drama/Horror genre? Harry Met Sally smacks comedy. Can answer fully, if know more about intention of script.

Valerie J Runyan hi Valerie, in the early days I didn’t have Final Draft, so used Word, but it looked awful on the page. I then started using Final Draft - formatting nightmare over! There is also Highland, if you have a Mac. It was developed by screenwriter, John August.

The file format readers expect is PDF. Write in any program you want, then export as PDF when you send it out. Don’t overthink it.

Valerie J Runyan I use Highland Pro, as well. It's a $65 (including tax) annual subscription. You download the app to your computer. You can try it free for 30 days.

When it comes to software, smart writers try out everything they can and stick with what works. There is no best. Only what's best for you.

^^

Yup, I’ve tried them all. I have my favorites, but generally I encourage people to go cheap until they know what they need to pay for. If you’re collaborating, it’s nice to be on the same app as your partner.

what are people doing for the 1PM conference block? Theres so many good ones to choose from I was curious what people thought?

That's a good question.

I'm a screenwriter who's in his 50s but I'm fairly new to this, and I would like to connect with other writers in a similar situation here at AFF. I'm wearing a black T-shirt with Black Philip on it. #iykyk

Join our WhatsApp! https://chat.whatsapp.com/Cs2OdAgTYzMLUdkbDK8PJh?mode=ems_copy_t

Here at AFF from Omaha, Nebraska!

thanks everyone for the feedback! As a writer, we all want to write a great story, not just for ourselves, but others as well.

You're welcome, Kesha Bailey.

You're welcome, Toua Her.

Hi Toua, my advice would be to:

1. Seek more feedback from other readers if you can. The more responses you get, the more certain patterns will emerge. Notes that recur are the ones you should probably pay attention to.

2. Trust your gut! take a day or two away, then come back and read them again. Which ones align with the story you want to tell? Which ones feel like creative provocations vs. roadblocks to your vision?

3. Ask for clarification. Most producers would welcome a conversation and the chance to explain themselves further. You could tell them you're conflicted over certain elements, and discuss ways in which everyone gets what they want. So long as it stays open and non-confrontational, it can be a great way of getting the most out of these relationships - and the script.

Good luck, it's an unenviable position. But you can come out the other side with a better script.

Screenwriters should always follow the (somewhat apocryphal) doctor's oath when it comes to revising their scripts: "First, do no harm." Story analysts need to remember that too. In some rare cases-- when a screenplay analyst receives a near-perfect script-- he or she must have the wisdom to say, as my mother might have, "Don't potchke with it". Sometimes ,the risks of "fixing" something, especially for an emerging writer, are greater than the risks of the imperfection. Also, if a script analyst gives you notes and you bring the rewrite back to them, don't change anything that they didn't bring up in their notes on the previous draft. If they didn't mention it before, it wasn't a problem. Also, once you get pro notes that require a rewrite, don't immediately start revising. Take the time to think and carefully work out solutions. Rewriting for a producer on assignment, though, is very different from rewriting on spec for yourself. With rare exception, you do have to do what the producers ask; you are working for them, and on a deadline. You can sometimes find a different way to address their concerns (i.e., finding "the note behind the note"). For example, it might take just a small tweak by the screenwriter to thoroughly address their note, when they believed it would require a massive plot change. Producers don't always have time to think through how making the change(s) they requested will affect the rest of the script. It's common for a screenwriter to find that making a seemingly small positive change that a producer requested can cause massive collateral damage. In those situations, your job is to make the change with a scalpel instead of a hatchet, and fix any collateral damage before delivering the revision to the producers. But if the change they requested causes so much damage that it will literally ruin the script, and you've tested all this out, it's okay to tell the producer this-- by patiently explaining everything you tried to address their note, the other problems it created, and why it won't be possible to fix all the damage it would create. If you're lucky, they will listen to you.

Sydney S Hi! THANKS! Are you jumping in too? I'm a big fan of Romantic Hijinx. Something fun. Maybe an Opposites Attract story similar to, IT HAPPENED ONE NIGHT. (one of my favorite classics.)

Hey, Bradford!

Yes! I’ll be helping the group along with Evan!

I love that you’re thinking about a fun Opposites Attract story—It Happened One Night is such a classic! Romantic hijinx are always a blast to explore, and I can’t wait to see what you come up with.

I’m signed up for this one, really looking forward to it!

Amy, so glad you're joining us! What do you plan on writing?

Make sure to get your questionnaire over to Carley!

Thanks for sharing the article, Rob Hayes. I love writing and watching dramatic irony! It works for any genre, but I mainly use it for Horror. I like to drag out the dramatic irony in scenes sometimes.

Appreciate you Maurice Vaughan

It's like that a lot of times, Aleksandr Rozhnov. Keep going too!

You're welcome, Dwayne Williams 2. Since they're just hitmen/hunting dogs/foot soldiers, you might not need to mention their backstory. If you do mention their backstory, maybe just a line of dialogue or a few lines.

Dwayne Williams 2 Check out the implied backstory of Miss Perkins in the original John Wick. Director Chad Stahelski and Adrianne Palicki discussed it quite a bit, so that in the movie there are just a few lines, but each one is a telling detail. Note that in the original script, Perkins is quite different. I prefer movie Perkins.

Michael Dzurak Maurice Vaughan Ahh, I see — I played it back a few times, and that’s a perfect example, Michael. That kind of implied depth sticks without slowing anything down. For both of you: do you think these foot soldiers would be scarier if they spoke, made guttural grunts, or let out multiple screams at once — like an echo of the stolen lives it's taken of villagers/victims?

I like the talking idea, Dwayne Williams 2. It could be scary and creepy. Grunts too. And sometimes multiple screams at once.

Maurice Vaughan Ohh that’s perfect, diabolical, eerie, and visceral. I like! :D