I love this list but I would add Rocky as the ultimate example of how a Hollywood outsider can write a great script and make it as a screenwriter, actor and director.
Even though I know it may be naive or foolish to be inspired by the wild successes of other people, I think that it's the only stay sane in an industry whose overall story is one of sheer mediocrity. We have to remind ourselves not of the impossible odds, but rather of the incredible work ethic and talent of the people that do rise to the top. What I love about a list like this is it's not apologizing for itself, it's not saying "these are special cases, well these people got lucky", even if maybe they did. Instead it's focusing our attention on the only things that really matters, did they write a killer screenplay? Did they create incredible characters? Did they make us feel something intangible and transcendent? If the answer to these questions is yes, then nothing else is important. If you write a great screenplay and hide it under your mattress, the right people will find you. Thanks for staying stubborn and idealistic SCREENCRAFT!
This is a great panel discussion that highlights the nuances of change within the industry and how we as filmmakers must be ready to evolve in stride. Definitely want to check out your next seminar. Thanks.
Interesting take on festivals and why they matter, particularly for indie film. Never heard any of this at film school. Maybe you should do a seminar on whether film schools matter....
Thanks for the suggestion, that would be a worthy topic. What's so interesting about the film industry is that no two career paths are alike. The people that make it all find success in singular ways, even if they share key factors with many others. In my case, I would say that no, film schools don't matter. If I had it to do over again, I would've been a lit major, but then again film school has made an immeasurable difference for many, so who knows.
I get that idea of inter-dependent film, but I wish the topic of how to get your script read had been covered more. Not everyone can go stand in line at Sundance and frankly that strikes me as pie in the sky thinking, that you'll meet someone in line who will want to read your script and has the contacts you don't have to get it to the right hands. I think you could do a whole seminar on how to get your script read.
It's really daunting that with such a plethora of independent films being made in this new climate there are only a handful of festivals that actually have the potential to get your movie distributed.
ScreenCraft may have emerged only recently but the no nonsense manner with which they approach even the most daunting of subjects, suggests the calm seasoned acumen of professionals.
i also have a tumblr website at trueblondesny.tumblr.com
i have a comedy screenplay titled UPSTATE MOURNING.
I would love to submit it to your contest.
looking forward to hearing from you, carol hollenbeck
trueblondesny.tumblr.com Facebook.com/trueblondes
Hi
It's good to know that your kind are in place. Well I'm a Screenwriter based in Nigeria. I just finished working on a spec script that I want to pass across to a company in Hollywood, that's good in animation movies.
Great article on these up and coming Korean directors! Oldboy is one of my favorite movies ever, and I'm very much looking forward to watching Good/Bad/Weird this week on Netflix!
Awesome information to know!!! I am currently writing my first screenplay, and it's always good to receive pointers on how to keep every thing in line and in order.
We connected on My Blank Page, a few days ago. I have a TV script (pilot) that I wanted to pitch to Netflix new production department. Any thoughts or pointers? What is your ability to act as a consultant and under what terms?
Thanks.
Phil Hay
I can understand your irritation regarding opening with flashbacks...is it similarly taboo to open with a flash-foward? Limitless with Bradley Cooper is the first film that comes to mind that uses this technique.
I was wondering the same thing, the best example I've seen of this (although in tv) is Episode One of Breaking Bad. As a viewer, I think this works really well; if done correctly.
Hi Cameron, and good show. I like your site and would like to use this article in a screenwriting course I'm teaching at a local college. Also, in a book I'm writing on the topic.
I have a script or two that I'd like to run by you, too.
Also, I have a client whose script really needs better connections than I have. If you're not with WME or one of the other biggies, "no unsolicited submissions..." Any ideas?
i already have two scripts i wrote, took me 10 months to do them, one is action and other is love/drama. Both of them are 98% finished. They need to be polished.
so you can really get my scripts to big companies for 250$?
Yes, that's exactly what we do. Upon receiving your script, we read it and determine which of the creative executives we know would be a good match for it. We give you two options (for example "Nate at Indian Paintbrush" or "Matt at Warner Bros." or "Mickey at Blumhouse Prods.") and you pick which executive you want to go with. These are all people that we know personally; they're the real deal.
We deliver the script to them, they then read it and give you notes and a follow-up twenty-minute phone consultation. To be clear, our contacts at these companies are not reading your script officially on behalf of the companies they work for, but if they like the script enough they can pass it up the ladder. At the very least, you're getting access to and feedback from genuine Hollywood gatekeepers.
We also offer in-house consulting that I do personally for a discounted rate. I have an extensive background in screenplay development, having done so for companies like Lionsgate, Resolution, Open Road, Fresh Voices, Attraction Entertainment, Author Solutions, etc.
If you're ready to submit, you can do so on our services page. If you have further questions or would like to view a sample set of ScreenCraft Development Notes or Studio Notes, feel free to contact me directly at cameron@screencraft.org.
This is the best advice. I'm starting to get into screenwriting, hopefully once I get out of Highschool, but at the moment, I'm waiting and building a portfolio.
I'll have to disagree on this one. I understand we need to follow a structure when writing a script, but that's where it ends.
Do we all drive the same cars or eat the same food?
As far as producers and distributors sticking with what has worked in the past. At one point the past was the present and that is where new ideas came to be.
New ideas and scripts should be exciting. We should be looking for the new idea so that way screenwriting and movies can continue to expand and become more intricate. It's like the martial arts, where we want our current students to become better than the instructor so that way the future students will become a better teacher than their predecessor. When a parent raises his child hopefully the desire is there to help the child become a better person than they are.
But I will say this in regards to sticking with what works. How about rebooting movies that we actually haven't seen in 20 plus years. Goonies, Labyrinth, etc. It'll be interesting to see how Robocop does.
I believe, nostalgia is the key component at the moment. But we still need to constantly be looking for new ideas.
Remember going to the movies when you were 10 years old and being in awe. That feeling should never fade away, no matter the age.
There's the link for the review of the Dante's Inferno game. Excited about an adaptation? Not really. While that game isn't my thing, I ripped about Demon's Souls on the PS3. Now that would be a great game to turn into a movie. Keep the talking to a minimum and let the setting tell the story.
Cool article, it's nice to see someone talk about how important a tight script is to an action movie. So many people just consider them to be mindless explosion-fests that they've actually morphed into that *cough*Fast&Furious*cough*. Action films used to have heroes with personalities, clear motivations, and real pathos that actually made you care that they were getting blown up. Nowadays, in almost all the ones I see that aren't the Marvel Cinema Universe or Nolan Batman, I'm actively rooting for the bad guy to get their heads out of their ass and kill the guy (and I do mean "guy" , but that's an argument for a different day) already.
Anyway, love to see this article become part of a series. Maybe taking a look at different genres and how the flows of the scripts differentiate from each other. And, as a commentator on the Internet, I of course want to see you rip a movie and it's script to shreds in a very biting and humorous fashion.
Your articles always blow me away with their keen insight intermingled with personal quips and observations that clearly come from a place of personal preference and humor to make your writing informative, personal, and entertaining. From the marketing aspect of the title through attention to detail when it comes to character consistency (I hadn't even considered the ethics of him teaming up with inmates to escape without getting detailed background information) your analysis here really makes me want to strive for a greater level of craft in my own scripts. Once I get through this draft I've been agonizing over, I'm definitely going to be enlisting your services to help me take it to the next level!
this review definately makes hungry for more (pardon the pun)
could you spoil one tidbit ? what's all the hoo-ha about Daryl's character Nick and a tarantula?
That's so cool! I could imagine it's a great way to hear how your dialogue flows. Kind of reminds me of the Sims with the way the animation plays. Scary to think that in a couple of years making movies might be as simple as uploading a screenplay.
Please consider adding The Narrative Breakdown to this list. The podcast is not just for screenwriters and prose writers alike, but anyone who appreciates quality story craft.
Missing from this list is The Inside Pitch. It's one of the few Facebook pages that's run by someone who actually works in the business - not only as a producer but as a story professional at one of Hollywood's biggest talent agencies. This guy knows his way around a script. Ask his clients like Denzel Washington. Unlike most of these Facebook pages, this guy has nothing to sell. He's not peddling books or consultation services. He simply offers up free practical advice on the business and story ideas to make the journey a little easier for writers. Check it out.
Great analysis. This has long been one of my favorite movies, own the poster and have listened to the commentary on the DVD. You're right about the emotional core and the epic struggle between Castor and Archer. The movie would have still worked, it's a hell of concept, but it wouldn't have the emotional power and lasting appeal without it. Really glad I took the time to read this and I will take this lessons to heart.
https://www.facebook.com/LAScreenwriter (or http://la-screenwriter.com/ ?) is missing from the list. The author collects all the best scripts under one roof, but also does a great job of collecting script advice, ideas, best practices, etc. I use it as my one-stop shop for everything script related. Anyone interested in actually learning how scripts are crafted should check it out as it offers a lot of good concrete advice for beginners as well.
WOW! Thank you, Cameron! And - a small post-script - Referencing James Cagney as the bad guy is very sharp of you - because White Heat was one of our first inspirations while hatching F/O. Thanks so much for your continued interest!
This is a fantastic analysis. Finally, someone is giving Face/Off the recognition it deserves! Face/Off is one of my favorite action movies of all time. I still remember seeing it with my brother in the theater when it first came out. Action films are often brushed off as lacking the depth and intricacy of other genres, and Face/Off is the perfect counterargument to this misconception. Thanks for illuminating that so brilliantly.
http://www.facebook.com/scriptangel - lots of tips, advice, articles. all the useful screenwriting stuff I post on Twitter (@hayleymckenzie1) goes on here.
most of kim ki duk films . spring summer fall winter fall, 3 iron, breath .. are the best films i have ever seen with little dialogues but perfect screen narrative
I have $4.89 in the bank, but it's yours if you can arrange it for me to come in third. (Not even asking for first or second...I'm not greedy!) Thanks in advance. Remember: The key word is "ABSCAM"
I'd put David O Russell, Christopher/Jonah Nolan, Alexander Payne, Richard Linklater and Woody Allen above at least half of these. And I'm missing a lot. Tina Fey only wrote one movie that was produced.
Hey, Cameron, Miles Chapman here. Writer of the movie. Cool article. I enjoyed reading it almost as much as I enjoyed writing the movie. Took less time too! keep up the great work. Very valuable examination of the differences between what's on the page and what ends up on screen.
I should not have read this article. After years of trying to get over having handwritten and a few typed manuscripts, unregistered with anyone, stolen and published, I had finally 'gotten over it' and now doing screenwriting have, with great trepidation, put a few out to contests. You can believe everything is registered with WGA and the US Copyright Office. The anxiety attacks are back. I know I have to ignore the discomfort and just keep working and just as important, keep putting some of my work out there. I hate this feeling...I just wish there were no pirates on this planet.
Intellectual property is just that - it belongs to the creator. Leaking into the public domain, for whatever reasons, and then hiding...well, 'character' applies to more than the one of the headings in a script. Sleep well, if you can, whomever.
I found it a little jarring that Ray was perfectly fine with the fact that Mannheim orchestrated the entire situation for the sole purpose of busting him out. This man intentionally sent Ray to a place that very well could have been his tomb, and at the end, Ray shakes his hand with a smile on his face. This seems more than bizarre to me.
Why would it be beneficial if he cancelled the project anyway? To sell the book... after the synopsis was already leaked? I would doubt that. But what the hell do I know. I believed the gay waitress story.
"(Movies shoot in Canada now, we all know that…right?). Paramount and Sunset Gower Studios are the two largest lots, both of which are massively landlocked by sketchy neighboring businesses. The closer you live to the freeways, the more convenient your location to local crime is."
UGH. This isn't 'in the know'... What a bunch of BS. Hollywood is on the rise, it's a giant construction zone, the mayor is very interested in seeing Hollywood succeed, and the mayor just returned from a meeting at the White House regarding additional funds for the area.
Post is a bunch of Outdated Stereotypes. First time to the site. Possibly the last.
I'm not too enthused about some of these. A lot of bs advice from wannabes. Brian Koppelman is definitely tops of this group. I'd also add Shawn Ryan (@ShawnRyanTV) and Paul Guyot (@fizzhogg).
Love this...though you are missing the fabulous Miracle Mile. We don't really consider ourselves Hollywood and we are "kind of close" to Larchmont. Most of us just want to live in Hancock Park...which as you probably know is The Hills/Malibu as far as attaining.
Would love the chance to discuss with you a way/tool/mindset that many freelancers in Entertainment have embraced to be "fiscally smart". Take a look at PerformerTrack and then reach out.
9 times out of 10, when someone comes into a room, they leave the door open behind them (even if it's to the outside!)... and the other is the magical, all-important set of keys dropped "just out of reach" (and the similar gun or knife... "just out of reach") ... sigh.
Hi there.
When I FIRST moved out there...I was freshly divorced and didn't know s**t about that area.
FORTUNATELY for me I ended up in Riverside, (yeah, I know...LOOOONG DRIVE) away from the 'action'...but I lived there 6 years and did well for myself...went back to Michigan to take care of my mom...got LOTS more education and work on films...NOW I'm ready to come back to LA...and do better for myself...
Well, this is pretty useless. A discussion of Orange County, where literally no one in young Hollywood lives, but no mention of West Hollywood, where 50% of 20-something Hollywood newbies settle? No mention of Miracle Mile, no mention of the Beverly Hills Adj/Century City environs, with its Weho-style apartments and comparatively cheap rent. As far as tips for newbies goes, this is pretty sub-par.
What are you talking about? The West Side isn't "centrally located"-- it's at the western side of everything, thus the clever moniker "the west side." And nothing about it is "walkable" and few ex-New Yorkers end up there (except maybe in Venice); they're mostly in WeHo (Manhattanites) or Los Feliz (Brooklynites).
And everybody in LA County has to pay 10 cents a bag. And Calabasas is incredibly cheap compared to what you could get for the same $$$ in LA proper.
And $1600 for a nice-ish one bedroom would be a good deal almost anywhere in Los Angeles.
And what about Beachwood and Echo Park and Miracle Mile-- all the other places recent transplants live?
I've missed many 'good' movies in the last 3 to 4 years, but when I look back at the ones I saw, there really was a trend of having something unique or 'new' in them! Trailers, actors, tv ads, marketing ploys weren't my yard stick like a couple years ago. Great article!
I can't believe I made the top 50! I spent quite a time working on my screenplay and I'm glad I've come this far. I only wish I could read the scripts by others. I think it would great to enjoy them!
There are many scammers out there that charge upfront fees and don’t deliver. I just read a report on Steven Mango and his company Talent Mailings LLC on ripoffreport dot com. Report # 1119305. Do your homework and research before handing over any money.
What about Eagle Rock, Hancock Park, Glassell Park, Elysian Valley and Highland Park? I'll be doing the move myself later this year and my friends who are already out there scream the praises of these three neighborhoods and how affordable they are....
Blue Jasmine as an ORIGINAL screenplay...!!!??? Is the Writers Guild serious about this? Get real WG-- Woody Allen rips off Tennessee Williams' classic Masterpiece, "A Streetcar Named Desire" by stealing all those wonderful characters and taking the credit for himself... Woody is wonderful, but he did not create the characters not did he write an original plot/story... This is totally absurd that WG or the Academy to overlook this fact. Shame-shame...
Excellent advice for new writers. Allow me to expand on it:
Shopping tips: Food 4 Less and 99 Cents stores where you can get all your food for less. Example: Anderson's split pea soup 99 cents. Organic salad greens 99 cents!
Networking tips: Go to all networking events that you are can. 90% of my writing income comes from networking at parties, events, awards shows. Producers are planning an 80 million dollar production of one of my scripts because I chose to go to a completely non-film related awards event at a cultural institute and wound up sitting next to an investor who hired me for $30 grand to write a screenplay.
Use your intuition, and, If you're consistent, you'll be able to blow off networking events with a room full of wannabes who don't talk to strangers and can't look you in the eye when you walk by. How do the A-listers behave when I go to their parties? They are willing to talk to you if they don't know you BECAUSE THAT'S HOW THEY GOT WHERE THEY ARE! BY TALKING TO PEOPLE AND LOOKING THEM IN THE EYE! YEAH, THEY WERE ONCE HUNGRY AND LOOKING FOR A GIG TOO. So do BUSINESS and let the wannabes talk among their cliques for security all they want.
Reps: Don't worry about getting an agent or a manager yet. Write great scripts and THEY'LL FIND YOU. Cream rises to the top.
AND KEEP WRITING!!!!! The ONLY reason for failure is giving up.
Pulp Fiction by Quentin Tarantino
A film one can instantly "see" whilst reading. Doesn't happen often, even in the greats though scripts written by directors are probably naturally more visible even before the shooting script is finalized.
I LOVE this post and will be pushing it out to all my channels. This is valuable information and actually transcends screenwriting to cover any number of individuals trying to get their start in any industry in LA. Thanks for writing this - it will help so many!
Great article... Outside of the business jobs are perfect for actors. Flexible scheduling for auditions is key here. Inside the business is where you want to be if your striving to be a writer like I am. I've met a lot of professionals, producers, executives etc. I think it also helps when you are trying to gain representation. Agents/managers see that you work in the business so you have a much higher chance of not WASTING THEIR TIME. Just an insight- Cjevy
This is great, and I'd like to second your closing point. 'Story notes matter, but what really matters is what you do with them'. Handing off notes to a writer is by no means final. As a writer, what you do with those notes on the page is equally important to how you nurture that development relationship. Be sure to follow up, and keep the following points in mind;
First & foremost, say thank you: From broad strokes to page notes, properly written development notes take time. You are receiving invaluable feedback from trained eyes, that granted might not always be what you want to hear, but remember; notes are the result of considerable time and effort.
Do not take notes personally: Development notes are an analysis of screenplay and story, not you as a writer.
Notes do not have to be implemented, but should at least be addressed: One of the more frustrating elements of being a development producer is when some notes are just blank ignored. If you do not like a note and it does not make the next draft, give me even a one-line reason. Development is collaborative. If I have a clearer understanding of your logic, then that writer/producer relationship will yield greater results.
Are we talking about movies or reading screenplays? The actual script to DANCES WITH WOLVES was 130 pages. THE APARTMENT, while being my favorite movie, is nearly unreadable as a screenplay. Same with PSYCHO. These are all amazing scripts, but not necessarily great reads.
I've read a lot of articles about creativity. Some of them give a lot of complicated suggestions which leave me as the reader feeling less inclined to go out and be creative and just more tired. I liked the simplicity and also genuine voice of the author of this article. I look forward to read in whatever else she writes.
Amazing report, Chris.
Love it. The road to the promise land is hard, extremely hard.
Never give up. Keep hope alive.
Determination will get you there.
Rockerito J
Hey, guys.
The contest and the judges are amazing.
I got two precious sci-fi/action/horror scripts filled with lots of blood and guts.
Lots of gore. In the vein of The Thing (1982) The Terminator (1984/1992) and Dead Space (the video game 2008-2013) I love to see red pop on the screen.
I'm really looking forward to this contest. I'll be sending my babies soon.
Rockerito J
Well said.
While working daily on several high profile television and movie sets and seeing
the level of writing required, as well as having conversations with and seeing the personal connections everyone has to each other in this line of work, I decided
that expanding my education and understanding of the art of screenwriting was
going to be the next step in my evolution as an actor.
It has been an eye opener to say the least. It has also given me the impetus to
become a master of my own destiny. While still enrolled in a course online I am
making daily headway into the subculture and nomenclature of the people who
literally create the characters I would want to play.
Being able to look inside the creative process and understand structure, use
metaphor, comparison, surprise, tension, humor and hundreds of other types
of techniques to control the emotional response of the reader and potential
audience is absolutely mind blowing.
Walking a tightrope of literature which has to entertain while being economical,
be dramatic but believable, original but yet familiar, funny but not too obvious,
and with characters that would attract an A list actor is a tall order.
Aside from the creative aspect of writing one, getting it into the hands of the
person who can get it seen by someone who could possibly get it made is the
next hurdle. This has it's own subculture and another set of rules to learn.
And I thought being an actor was difficult...
Carry on, Chris.
I join your ranks as a rookie and know that I have a long hard road ahead of me.
Yet, I take this fight up willingly as i have been handed too many pieces of shit
and been told to turn it into performance gold. I have been that piece of a puzzle
in what is the making of a movie or weekly series. One of the cogs in a wheel
of massive proportion that is the overblown production community. Where they
overpay, undervalue, enslave and/or ignore the 'talent', (both principal and back-
ground). But that is another story altogether.
I did my part and the rest was out of my hands. Left to the Editors, Executive
Producers, Network Execs, Standards & Practices, etc.
I feel a new found sense of hope here among you.
A level playing field. One where if I use the tools available to me, give things a
twist with my mind and take things in an unusual direction, pick a subject matter
both universal and yet achingly personal, that I stand as good a chance of
having my script read as I do of getting a callback or making it to series regular.
Considering that the odds were against me then and I managed to do both
these things, I'm fairly confident that I can perform this feat in another arena.
I am proud to say that I'm a budding screenwriter and that I found your recipe
for hope to be inspiring and factual. As well as entertaining.
I look forward to meeting you in the trenches.
All the best,
GP
Dear, Jason
Thank you for taking the time to write this article.
It's was timely for us. Your article was a guiding light in a dark time.
We needed it. Write on.
Dear, Chris
Thank you for taking the time to write this article. It was timely for us.
Just like the Docudrama: TOUCHING THE VOID, we had a moment of weakness and fell into a deep chasm. Your article was a guiding light in a dark time.
We needed it. We are not giving up. Keeping our eyes on the prize. Write on.
I find getting hold of original screenplays (as opposed to a transcript written from the movie) extremely difficult. I've been trying to find the screenplay for Mississippi Burning for ages. Some of the published screenplays are not the screenplay which originally sold but are based on the finished film.
My story is true and cannot even describe the heartache, cultural differences, addiction, cancer, betrayal in 140 words but my story would make an awesome movie.
woman has near death experience meets Houdini she is the carrier of the secret message of life & death he so desperately wanted to tell his wife after his death.
Great article. One point, regarding Costner's character abandoning the bicycle. Seems to me the bicycle is A. 'plea' to his daughter for a 2nd chance and B. a bridge constructed by Costner for he and his daughter to cross or at least to meet in the middle of. After he teaches her to ride the bicycle, he finds redemption, the daughter feels loved, the audience dabs their eye's and the clumsy bridge/bicycle is immaterial. It's the past, they move forward. Thoughts?
Hi Jo, thanks for the reply. Your interpretation is an interesting one, something I hadn't even considered. Symbolically, you're spot on. Still, I just loved the inherent humor and absurdity of man's man Costner riding and staunchly defending the garishly purple girl's bike and I think him wanting to hold onto it would have fit right into the undercurrent of darkly tongue-in-cheek humor that ran throughout the picture. Glad you saw the movie...that makes what, three of us?
I always walk away from one of your reviews entertained by the sardonic zings and educated by the sheer breadth of your film knowledge. And it is good to know that a purple bike can even make you feel a tug.. Love the juxtaposition of Neeson and Costner, two underappreciated fine actors.
This movie would've been an absolute hit if it was made in the mid 90s. It was definitely solid overall and a decent and logical action flick. Should've earned more at the box office.
Lists say more about the list-maker than the films. Sorry to say but the guy needs to urgently catch up with some world cinema. Open your eyes!!! The world exists beyond American shores. 1,3,5,6,7,9 are brilliant no doubt but there are others just as brilliant. These are all examples of only one kind of screenplay structure: the classical Hollywood cinema. To make this normative would be either authoritarian or just an unconscious declaration of ignorance.
The author does state: "All of these screenplays are extraordinary, not just due to the quality of the writing but also because of their far-reaching impact on American cinema." American cinema... not world cinema. It is extremely difficult to be an expert on the typical Western three act structure of storytelling versus the various Eastern methods (not to mention the European take on things).
Using technology to disengage seems to be the mantra of too many of the facebook-twitterati. People have forgotten how to simply converse. Most writers are more comfortable with themselves than playing with others, but sometimes you have to talk the talk. I like your idea of just starting by making yourself talk to someone in a non-stressful environment.
And P.S. I didn't think anyone remembered Chatty Cathy anymore!
Great article because I think it's accurate. But where you live will not make your career a success. You can live in the "wrong" area and it will have little to do with the key determining factor: Knowing your craft. Developing your craft. Desire and hard work are the keys, followed by finding mentors and getting your foot in the door. Zip code -- not much.
Each scene should stand alone, but be intrinsically linked to another. Opening in another time ' in my opinion is fine' if done right. For example, of at some point in your movie there is a prison break, you can open on that and at least show 'part of it'. Its an opening scene and therefore , a hook. Then simply put (six months earlier) play out the movie and return to that scene later in the film and show it in its entirety. O think the problem is actually writing 'flash forward' rather than showing it as a stand alone scene then returning to reveal why and when it happens to your protagonist. Also feel it has to be quick and somehow introduce your main man/woman! You can't have 10 mins of an opening scene that viewers don't get. That's just my view.
Thanks for taking the time to write this. However, I think it would go a long way to us Unknowns to see a step-by-step 'How To' to get from 'Script Finished' to 'Script Bought'. For some, writing isn't difficult at all. What is difficult is to find realistic and explicit information, in the same article, for Writer X, who may live in BFE, to get any of their scripts in the hands of those who bring the written story to visual life, so to speak. There's a vast body of information regarding this topic scattered through the internet like pieces of a mysterious puzzle, and attempting to discern how much of it is bait for the nieve writer to buy seminar's and books and eBooks is laboriois and disheartening. . And as unrealistic as you say writers are being for not thinking like producer's, it's as plausible to suggest that a failure for teacher's, producer's, etc to think like writers is, perhaps, why so much mediocre junk gets made. Not all writers go to college nor 'network' nor will be geographically located where getting to the right bar with the right people at the right time is the REAL 'trick' of getting their script 'made'. So, why not just tell the straight-up truth, however impolite it actually reads? All the 'wear every hat but your writers hat' articles DON'T really help aspirants. Tell them the 'most likely to succeed' path. Don't just point at it either. IF you've been down the path, IF you know the payh well, THEN it follows you can create the map, explain that path in detail, and wish them well. OTHERWISE, it's all smoke and,mirrors to create content for THIS site rather than to really help scriptwriters. Most really good writers have heard, experienced, and seen an awful lot of horseshit that is passed off as apple pie. The last thing in the world they need is for someone to piss down their back and tell them that it's raining. I wouldn't be so blunt if it weren't for the fact that there are way too,many people posting articles and creating sites whose content is a mirror image of your own. If you don't care, what's this all about? If you do, be real and be specific in one article instead of piece mealing it. It's ineffectual, time consuming, and unnecessary except to you.
The Devil is in the details and he never leaves and he's perpetually unforgiving.
Advice is a lot like a story: a good writer can repeat what they've heard and tell you what they've seen. A great writer feels it and speaks of it as if it's always THEIR story and their damn life is on the line. So, iow, if you're going to dole out advice,,how about you tell it like it's your career, your work, and your dreams on the line. THAT's how you give advice. Otherwise, you not only can't redraw the map, you can't even read it.
I don't believe the whole thing in video form is online anywhere, sorry! I just meant to insinuate that he's been active in the teaching role. I've seen other notes from the same seminar that he apparently did at the Austin Film Festival, meaning he's made a bit of a circuit out of it. However, you can find some more of his wisdom on YouTube of course: https://www.youtube.com/results?search_query=michael+ardnt
(sigh) tragically until those on the other side of the velvet rope are willing to even turn their heads in your direction, you might as well be a rock.. So much of the industry is based on relationships, either blood, bed or friendships...so much. Screenwriters tend to die from Emily Dickenson syndrome...that's where you produce a decent body of work, die talented and don't (if even then) get discovered til you're gone...It's not merely 'hard.' It's almost impossible... But I'm addicted and can't stop. If (and I know that's a big 'if') you visit my site (over 800,000 words, almost 183,000 page hits and counting) please know that 'Vampire Wonderland' is only the name. Lots more than that... Oh, and LINCOLN was almost Biblical. ...Thanks for giving me this opportunity to unburden myself... Billy
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Wow Steve. This is a great article and filled with all the information I need and can use! I am totally impressed. Gotta ask! Any chance that you are also available as an agent. I have just completed an awesome comedy script all primed and ready for presentation.
Hi Irene--sorry, I'm not an agent. I WAS a talent manager for a short period of time, but believe me, I'm a better teacher and script consultant than I ever was a rep. Good luck with your script!
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I'm glad you called out the people that broadcast every time they get an email or opportunity to their social networks. I place a high value on discretion and confidentiality and it always bothers me when people broadcast business before it is even "business". Talk after EVERYTHING is complete. And you are so right. People have to learn that things usually take longer to happen than sooner when it comes to getting a foot in the door. There may be a lot of "no"s and a lot of waiting, but stay productive anyway.
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I think NOTES are great! When they come from people who KNOW what they're talking about. Based on their professional experience. But...what no one talks about on these sites, online,, in the trades...is this financially successful cottage industry dealing with notes and consults from "those" who have yet to truly show the bulk of us, any solid, professional experience-credits in what their "notes" have helped to produce successfully -- in sale of a script and then, actual successful production of said script. When a so called script doctor or "authority" offers consults and/or notes for over a grand???? I run. When a script reader charges 300.00-700.00 for their notes...and show no proof of what their so called talent has done or can do? I run. Screaming. At the end of it all...there are too many wannabe screenwriters, who DO NOT want or desire to put in the time to study and learn their craft through countless drafts of countless scripts. It's called a work ethic, sacrifice for success. I have an MFA in Screenwriting from UCLA. Have a had a few spec sales when I first got out of film school. Recently...two on-set production rewrites where I shaved off some production costs in the shooting script ( and really, if it had been my script, I wouldn't taken care of the problems in the writing stage) I am very specific on who I get notes from, because...I'm simply not desperate for instant success. But also taking my success in my own hands, I'm producing and directing projects through my own start up while working in media content creation for a state agency. I'm deseparate to be a better screenwriter and storyteller...and put in the time to do so...but paying for notes as the end of it all, like so many wannabe screenwriters fall for? Not me.
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Great stuff, dude. I've followed all your suggestions above ( and to be honest, on the only two on set rewrite gigs I was interviewed for and got...I had no problem giving the producers/directors what they wanted via their notes) and haven't had to do any of the "grimacing".
I know, I was probably in a very unique setting for these two projects, because I've heard many horror stories from my friends working in the biz down there; but
I also know the final word comes from me -- on whether I accept the job or not. No producer, director has EVER put a gun to my head forcing me to take a job; writing for free for them (which I haven't done yet).
I have sat down with producers, money people, whatever you want to call them, over coffee-lunch and some pretty cool dinners -- they paid for -- giving them suggestions for free; but it was also in the context of discussing other industry-related situations.
My big goal that I've been working on for the past few years -- with a full time job and other content media projects -- is getting some of these studio-budget, feature specs finally out to the marketplace. The idea is then, to self finance my own, low, low budget genre indie features for my start up MTS MEDIA.
I have had a few option offers for 3 different indie genre feature specs the past 2 years, but turned them down. The money just wasn't enough for the time they wanted to keep the specs. On top of this busy schedule with my full time day deal; the MTS MEDIA start up on wkds., and putting much energy into the studio spec features at writing at night -- I feel absolutely great about everything! I totally living my dream as a writer-director creating, creating and putting more time into the business-marketing-submission side of it.
I actually feel ready now to send some of my projects to you for consults, because I know it's time to get that necessary second pair of eyes; your opinions on writing, the business of it that I read a lot and the fact that you went to film school like I did -- the education side does get me ready for the business -- makes you the ONE, whose critical opinion I can totally trust to make me not only a better writer...but a more knowledgeable TEAM WORKER, all in order to make producers, directors, cast and crew successful in the same goal I'm working on: a MOVIE.
I should have a recent draft ready to send to you soon. Just tying up some loose ends.
This isn't a list of the "best" forums, but the ones with high membership. Done Deal is a good site, but the forum is dominated by 6 bullies who don't tolerate any disagreement with what they decrees as screenwriting law.
The Black List forum exists to suck people into paying for hosting on the Black List.
Reddit is pretty good when the professional writers comment and they have flairs so you know who they are. They don't comment enough, but overall, it's better than most forums.
The best forum hands down if you are serious about craft is at Wordplayer.com
I discovered it this weekend when looking for John Hughes' script for JAWS 3 (aptly titled NATIONAL LAMPOON'S JAWS 3, PEOPLE 0). Lots of rare script there and what seems to be a supportive community.
You really should ADD Where's the Drama? to your list. It is a great portal for all kinds of useful and radical resources and ideas connected with dramatic screen storytelling. It's at https://www.facebook.com/groups/wheresthedrama/
I agree with you on the BL forums, for the most part.
Done Deal is a great forum and I don't see bullies on there - definitely not more than anywhere else on the 'net. I don't know what you are seeing, but you're not looking hard enough. Solid advice and good help.
Wordplay is a GREAT site with *amazing* columns from the guys, but those forums are from like the 1990s. They are old and out of date and very few posts are made there.
Script Shadow is a blog, not a forum so not sure why it is on this list. Odd.
If anything could be added to the list it would be Zoetrope and maybe even Trigger Street.
@Brad
Write to Reel is amazing for getting hold of scripts. Nice suggestion.
I agree with @Dag on BL and DD
and @writer Phil on SS and WP
Glad to see Stage 32 on here -- really great conversations on screenwriting and everything about the industry in their lounge.
Didn't Hobbs die I'm the explosion from the drums Arnie shot? I just watched it on DVD and there's a CGI bit where a burning body flops to the ground, presumably Hobbs. Or was the someone else?
I find it incredibly hard to believe that my screenplay, “American Hunger”, did make the quarter-finalists. I’d like some kind of explanation as to why it did. And it makes me question whether the piece was even read in the first place…
Ha! Your script was great! Every single screenplay is read and assessed by at least two industry judges. Rest assured, we don't let a single screenplay slip through the cracks.
Alex ~ it could possibly be that your script walked the line between horror and thriller? It seems this contest chooses scripts that solely fall into the horror category. I entered a script last year (that had been very successful in other competitions - even winning a couple) that didn't make the quarter cut here. My conclusion was that it veered too much from horror into mystery/drama. In any case, that script is in production now, so don't fret! Keep plugging away!
Thanks! That script is called Iris. I just double checked and it actually did make the quarter cut last year, so sorry about that! But, it definitely falls more into mystery than horror so I understand why it failed to climb the ladder here. Thanks for selecting Bloodflowers this year!
Just to add to the dialogue you've already started, first of all, Frank, I remember reading Iris last year rather vividly and being happy it advanced in that particular contest. Even greater news to hear about the traction it has gotten! Keep us in the loop about the project's progress.
Alex, as a writer myself I sympathize with HEXEN not making the cut this particular time out. Contests are a viable outlet for getting scripts exposed and discovered--that's why we administer them constantly--but no one contest or targeted read is going to make or break the life of a script. It speaks to the nature of screenplay competitions--or really any judged competition in any context--that a script can place in one or several venues and not place in another. It does happen, and I've been on the receiving end of it, so again I sympathize. Our readers and judges are all carefully vetted, up on the current market, and currently working in the industry. As such, there is a clear consistency in terms of recognizing craft and strong core elements, but there's always that x factor of taste, and taste is subjective.
But I assure you, our readers and judges are unsurpassed in the industry in terms of their diligence and commitment to close, full reading. No script is ever given short shrift in terms of being evaluated. Not on my watch.
And Frank, you're right--given our focus on genre-specific contests, we do actively look for and prioritize scripts that firmly fit into the particular genre. We're looking for scripts that we can actively move and pitch as such. Commercial viability is a top mandate for us in terms of our taste and selection process.
To cater to scripts that are multitiered in terms of tone and genre, we created our annual fellowship program. The 2014 fellowship will be launching this fall, and if you have a script that's full of voice and not necessarily easy to pin down in terms of genre, I would strongly recommend submitting it to the fellowship program. All three of last year's winners had scripts that adroitly blended tones and genres.
Hexen was considered by two of our judges. It's a tough call to pass on a screenplay, knowing how many long hours and immense creativity it takes to finish a script. While we don't want to pass on a good script, ultimately we have to rely on the taste of our industry judges.
Is there a way to find out from the Judges or from ScreenCraft Staff the overall impressions of a script that didn't make the cut? Was it considered awful? did it even come close to standing a chance?
Honest answers would be greatly appreciated, just so I know where to go from here.
Hi Seth, If you didn't request feedback, then the notes we keep on each screenplay are for our internal purposes only. However, we encourage you to get professional feedback (believe it or not, the reader you pick is really important because a good script needs a good reader to give you quality, relevant feedback). Feel free to shoot us an email with further questions!
Best,
John
John.
Thank you for taking the time to reply. I did pay for feedback well after submitting an early draft of my script into the contest -- I did a re-write of the script before paying for the feedback and I got great criticism from Cameron -- I was just hoping for some thoughts from the judges ... at least, did any of them even like it?
Hi Screencraft team. Well, I'm sad that my screenplay, "Obsidian" didn't make it into quarter finals. I'm just curious if you could let me know the biggest thing that kept it from advancing, as well as how I could potentially approach it differently to make it better received. Any input would be appreciated. Thank you.
Thank you for submitting and for following up. We offer a feedback option at the time of submission and also offer screenplay consultation at any time as a separate function. We cannot share our internal evaluations or provide feedback in any other informal context due to liability and administrative limitations. If you're really looking for guidance on your script, I would absolutely encourage you to avail yourself of our official feedback and notes services. I'd also recommend Script Chix' analysis, which is really on the ball and exceptional.
Hi Screencraft Team!
Thank you for selecting "The Trench" to advance, among all of the great submissions you've received. Is there a rough idea as to when finalists/ winners will be announced?
I highly recommend requesting feedback from screencraft! They are highly thoughtful and honest in ever aspect of what makes a good script. Receiving feedback from a skilled reader who doesn't know you at all is the best thing for you as a screenwriter, especially if you're a good one. Keep writing and rewriting everyone!
Please could you tell me if any screenplays from writers outside of the U.S.A made it through to the quarter finals?
I submitted my U.K set screenplay 'Lord Street' and am wondering if it is worth me entering any other U.S based competitions. I'm just trying to get an idea why my screenplay failed to make the quarter finals.
Many thanks for your time and I look forward to your response.
Absolutely! We had a number of international scripts make the cut this year, from destinations as diverse as the U.K., Poland, France, Italy and China. I can't speak for international track records in terms of other competitions, but I would posit that the only possible bias in terms of international submissions for U.S. contests would exist in regard to formatting and language barrier aberrations.
Thank you for choosing SHELTER as a quarterfinalist. Justin and I had been hard at work on that script since 2004! Man...never give up on a dream I guess! Can't wait to see if we progress any further! Fingers crossed!
I cannot understand why my screenplay, The Mourning After, did not progress to the quarterfinals. I have won another horror screenplay contest with it and my mom said it was the scariest, screenplay she had ever read... Haha. But seriously, what is the turnaround time on your coverage services?
Thanks for the comment. I'm glad you have confidence in your script because as writers we always have to sustain that passion to carry us through. The worst thing you can do is look at not placing in one particular competition as a resounding blow. The fact that you've done well with the script in another contest is fantastic. With screenplay competitions in particular, the goal isn't winning for the sake of winning, the status of winning is really a formality. What matters is using winning or placing as a launching pad for getting your script attention and targeted reads.
Feel free to email me at cameron@screencraft.org. I'd love to hear more about what competition you won and weigh in about how to move your script forward.
In terms of our coverage services, turnaround time is typically within 7 days, often sooner.
Thank you VERY much for BLOODTHIRSTY placing in the Quarter-Finalists. I am more grateful and appreciative than I can put into words, which is ironic for a screenwriter, but please know this means the world to me, and I am trying very hard to cast/finance this very special, scary, commercial, contained, elevated picture, and this can only prove to be invaluable. I will always have a special place in my heart for this competition, and the opportunities I hope it will result it.
Hey Screencraft, although I'm pretty bummed about not placing, I'm curious if my script "Bloodlines" might've got some consideration. I saw "Bloodflowers" and "Bloodthirsty" and got pumped for a second, but quickly came back down.
Thank you for considering Nether Edge for further dissection in the upcoming 'semi finals.' I'm thrilled that I have placed in the quarter finals in this prestigious competition and hopefully it will progress further. I received feedback on my script which described it as extraordinarily bleak, visually creative and willing to take chances, the person giving the evaluation however did point out several flaws, some which I dismissed, others that I'm willing to take on board regardless of whether the script inches forward or not. Congratulations to everyone that has placed in the quarter finals and good luck to everyone else - by the way Nic Antony, I'm from the U.K.
I'm intrigued by screenwriting contests, and surprised to see the feedback here (such as it is). That's very kind. Makes me wish I had asked for the feedback option.
I am reminded how subjective these competitions can be -- the script that didn't make it here just won Best Screenplay at another competition. Roll of the dice, huh?
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I learned of this through a Final Draft newsletter during the last week of the contest.
Had I learned of the contest sooner, "Snow" would have gotten a few drafts to correct some stuff. Sad it didn't place anywhere.
But, however, the contest did light a fire under my ass to get the script from partial idea to a complete first draft in one week!
On that note, it was fun. (I'm trying really hard to not beat myself up over this.)
Thanks ScreenCraft!
I love this, especially number 2! As a single mother, writer, biz owner and teacher I have realized that the only way to tap the zone (and not stay eternally frustrated that I may never sit with a cup of tea to write again) is to audio record "free-writes" every time I drop my 2 year old off elsewhere.
Thanks for considering my screenplay, "The Cursed Flesh", and for advancing it to the quarter-final stage. I made it to the top 20 last year with "The Man Who Killed Sandra Wallace", so I appreciate your continued support.
Much love to the ScreenCraft judges for moving "The Charnel House" into the quarters. Inspiring to see industry professionals out there who still appreciate a little Edgar Allen Poe/HP Lovecraft flavor. I'm excited to see the list of finalists. Good luck to everyone!
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A note to those who didn't move on, like myself- I think a lot of this comes down to luck of the draw in terms of assigned readers. I made it to the semifinals at another Screencraft competition that was open to all genres with this same horror script, and it had almost double the amount of entries. Yet I didn't make it further in this competition which is horror specific. I'm not saying this to pout, but rather to illustrate how difficult it is to know how these things will ever shake out, even if you've had success in the past. There are plenty of other contests out there, and plenty of revisions we can all do to make our stories better. Don't worry about this too much. I've already won another competition with this screenplay, and will continue to polish it and submit it until it sells. You should all do the same.Congratulations to those who are moving on, and to those who aren't, keep your heads up, and keep at it!
Thanks so much for chiming in. Keep in mind in regard to the numbers game, with the Fellowship, we did have more than double the amount of entries, but a larger number of entries also allows for a larger pool of semi-finalists. Your advice and mentality are both superb: there is an element of luck in any competition--not just screenwriting contests, I would argue--and while you can't control the outcome, what you can control is your belief in your projects and your willingness to keep honing and chipping away at them. Every produced and celebrated script got turned down or hit a snag along the way. The key is to get as many targeted reads as you can to bolster your odds of getting that one "yes" that you need. We're big fans of The Trench and hope you'll keep us posted about its progress. Our mission is to help screenwriters, plain and simple.
Thanks for the words of encouragement to your fellow writers. Stay passionate.
Your words of encouragement helped lift my spirits after i read that I did not advance to the semi-finals. I agree whole-heartedly. Best of luck to you in your writing career.
Sad to see I'm not moving on but super happy for everyone who did! Well done and congrats to the semi finalists! Now enjoy 10 days of waiting to see who won! 😛
Thanks so much for the words of encouragement! We really enjoyed reading In A Crooked Little House and hope you'll keep us posted about it and your other projects.
You have a fun and suspenseful central conflict and battle of wills between your two leads in The Survivor and we genuinely enjoyed reading it. Stay positive and keep fighting for your script! The power of persistence can never be underestimated.
Oh, so bummed that my screenplay "Dance of the Blessed Spirits" didn't get past quarter-finalist. Oh well. I'm in several other contests, including Zoetrope & the Nicholl, so we'll see how I do there!
Anyone interested in reading it, drop me a line at mande95747 AT yahoo DOT com
Making quarter-finalist was no small task, believe me. We received close to a thousand horror submissions and had to pass on scripts that had strong elements that we genuinely liked. It's clear that you have command of the craft and we wish you all the best in the other competitions. Keep us posted!
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Quarterfinals. Like ALL scripts, IT needs another rewrite!
Thank You so much Screencraft for appreciating
my script for its unique story!
Scribere Donec Moriamini - Jaime
Thanks so much for the nice comment! We genuinely enjoyed reading, and I think your mentality here is great and will serve you well throughout your career. Writing IS rewriting. Keep at it.
While sad to see that I didn't make the semi's, I was thrilled beyond measure when I made the quarters, my first time placing in a contest. Good luck to all going on.
Well done to the semi-finalists. Shame that 'They Came' didn't make it, but I have the Nicholl Fellowships, so fingers crossed. But this is the best screenwriting contest for anyone who writes horror scripts, and thank you Screamcraft staff for placing my script in the quarter-finals.
FYI it was my first ever script so for it to get to the Quarterfinals
was a bit of a shock. The feedback is excellent direction for the rewrite!
Great Fortune to all the brave souls who dared to enter!
Scribere Donec Moriamini -- Jaime
Congrats to all of the semi-finalists and thanks to ScreenCraft and the judges for reading! Keep at it, everyone. Our beloved genre needs fresh voices and new stories!
I was extremely happy to be a QF in this particular contest, esp. since I entered a thriller (that contained a pretty scary homicidial maniac). Thanks for appreciating my script A Thousand Times Goodnight, and good luck to all still in the running : >)
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Sad to see that BLOOD DRIVE did not advance but I am extremely grateful that I made it to the quarter-finalist round. This is a great little competition and I look forward to submitting something new next year. Back to writing!
I produced a horror-comedy that should be released sometime soon staring Udo Kier and Tristan Risk from AMERICAN MARY. My hope is that its success will catch the eye of some sort of representation. http://www.imdb.com/title/tt3067274/
Good luck, semifinalists and thank you Screencraft for hosting these types of competitions.
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Im going to be honest, im a little bitter about how this competition handle the judging of the scripts. Blue cat gives a free and full report about the summited script. It would be nice to know why you really didnt make it. Before you jump to the offensive, i understand its says that you have to pay for the extra value pack (the judges notes). If they wrote the notes, why not just give them? This was my first time. Next time ill choose a different comp with legitiment rules. But keep writing and expect to pay extra for feedback.
Im not bitter about not winning, i enter for the same reason everyone did. Feedback. I expected an email that said, "we have read your screenplay, and after hours of reading we have found this that, the cheareters are not speaking to us or this or that." But all i got was, "sorry you didnt make it, keep writing." Word of advice, yall would want to come up with an email to at least make the compeitors THINK yall read their script. There is no way to really know if you did, unless you pay for the premium package.
Thanks so much for reading our script and sending us to the quarter finals. Although we didn't make it to the semi-finals we appreciate the time taken to read Bridezilla. Best of luck to all of the semi-finalists.
Studies show that babies who are spoken to frequently develop better communication skills as they grow. So win-win on pitching to the baby! 🙂 Plus, verbally reiterating your pitch helps you better prepare for when there's time to write. Great list & happy writing!
For me, unlike Mr. Allen, it is not to seek and find an idea, I have too many, but to sort it out! But, overall, I suppose I've had considerably more 'life experiences' of substance than the gentleman I've just made reference to. Of course, with his massive amounts of success he's certainly had his share of more upscalish (don't grab a dictionary, it's probably not in there) adventure than myself. I think he and I could co-exist though as a couple of oddball friends, of exactly the same vintage! I'd treasure meeting the fellow! Jake
Sorry Sadsak, oops, did I say that? Anyhew, I care about what I say, and that counts to me! So, I think that makes your snide comment rather worthless!
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You write about a screenwriting contest, yet nowhere is there any information as to how one might submit their script. What are the requirements? Are there any fees involved? Who can someone contact for this information??????????
I just borrowed Robert Segarra's note. Thanks Robert.
"You write about a screenwriting contest, yet nowhere is there any information as to how one might submit their script. What are the requirements? Are there any fees involved? Who can someone contact for this information??????????"
Add to that Columbia University School of the Arts MFA in Screenwriting. Many students have won Student Academy Awards and graduates have gone on to win Oscars and Emmy's including this years Oscar for the writer and director of FROZEN.
CSU Northridge recently upgraded their MA program into a MFA, which admits 14-15 students a year. CSUN has one of the largest full time screenwriting faculties out there and great adjunct instructors as well.
Agreed, not sure how you can omit Columbia given (or our, I should say as an alum of the program) continued success at festivals and in the industry.
As for the cost of an MFA...depends which program and whether you do any directing projects. Have to think tuition alone is $30k per year and up nowadays...at Columbia everyone directs also, so few people finish with sub-$100k debt loads. Yay...
Suspense is the name of the game with any movie/video. The genre is irrelevant. Action is only as good as the suspense it creates. That does not necessarily mean bombs and bullets. Actors want/need characters who give them a chance to ACT. That means strong characterization, a driving desire to win at any cost -- "I will do this even if it kills me!" And, they mean it.
All action, special effects and no story does not a good movie make. Sorry, I gave up comic books when I became an adult. I don't care how 'good' a cartoon is, it's still a cartoon. You like Skyfall. I like The French Connection. I like special effects that really work. All of the Sean Connery 007 special effects really worked! What fun! The silliness that passes for special effects today are idiotic and slapstick. No more real than the three stooges. The Lone Ranger? Please.
What about Rebecca and Suspicion and Psycho? Not much action, but by golly, the suspense sent chills up and down one's spine because the characters were real people just like those sitting in the audience.
I agree with you that most global distribution screenplays today are crap. I don't even watch them on TV. I like House of Cards on Netflix. I liked the original 24 series -- eventually morphed into formula, but good acting, early characterization and time restriction gave them strong suspense. The last one failed.
A good love scene is full of suspense, not stripping and groping, but sweet kisses and soft caresses create suspense.
Oh well, if you haven't gotten the idea by now, you never will.
The job of the dramatist is to make the audience wonder what happens next, not to explain to them what just happened, or to*suggest* to them what happens next.
Well that was a lot of money well wasted. Hope the problem with my script was that it was too old fashioned with video stores and payphones, and not that it just wasn't funny. I prefer comedies from the 1980's, and I try to emulate them. 🙁
I can't say I blame you. Well, I guess I'll have to go back to be being a lesbian pill pusher. I work in a pharmacy and yes, I eat Chinese food. I think they should offer face to face feed back so we all can ask questions and learn. But next time I think about entering a contest, I might just take the money and go gambling out at the casino. I think the odds of hitting the jackpot there may be better . Then I am hitting up that buffet so I can break even there. Or you could akin entering a contest to a disfunctional relationship on the internet. No matter what I always feverishly yearn for another dissapointing result. Like not having an orgasm during sex.
Thanks for the suggestion re face-to-face feedback. That's actually something we're actively working to implement and agree that it could potentially be a great option. Our friends at WriterDuet have come up with a great video chat platform.
In the meantime, feel free to always ask us questions via phone or email. Wishing you all the best with your projects.
I'm sorry to hear that you feel like you wasted your money. We try to keep our submission fees low and deliver strong value to writers in the form of diligent, considered reads from top-level story analysts.
Please feel free to email me at cameron@screencraft.org if you'd like to discuss your concerns more specifically. Thank you again for submitting and entrusting us with your script.
I'm with you! Bring back the likes of Carol Burnett and Tim Conway. P.S. My script wouldn't have made it anyway, it didn't have the word F*** and B***** in it!
Dude, you'll just never know. The screenplay I submitted to THIS contest did NOT make their semi-finals...but it made the Nicholl Fellowship semi-finals. A script of mine which, two years ago, made the semi-finals in BlueCat and was THIS close to being optioned by Disney, I was told by a major agency "got very negative coverage...problems with formatting, plot, characters" -- things of which I've actually taught classes about. My point: Yes, sometimes it's the writing, sometimes it's simply the formatting (if you've bad formatting on your first line, it's unlikely your script will even be read beyond that, thus you're out of the running)...but sometimes? Sometimes it's just someone's own personal s--t that has nothing to do w/the work. All you can do is be sure you're doing your best and following the formatting guidelines.
Almost all of the people who spend money in theaters nowadays don't know what a video store or cell phone or vinyl record even IS, because they were almost all born after 1990 and went to school in the Internet age.
Maybe you should shop your scripts to the live stage theaters, whose audiences consist largely of people who were almost retired when cellphones and google were invented? (Because those folks are the only ones who have the money for live theater seats anymore.) For example, if your script is quirky enough, try Woolly Mammoth in DC...
Thanks for the well wishes to your fellow writers, and for submitting to our competition. Sincerely hope that you don't remain sad--we're firm believers that all scripts have potential, and that opportunities to find success in the market are always there for those that stay positive and keep honing their craft.
Folks,
Don't blame the competition because you didn't get selected or thought it was a waste of money. One, it's unprofessional but most of all welcome to the hardest genre to write for! In all reality comedy is extremely difficult in this industry. Let's face it not everyone has the same sense of humor. What might not do good in this one may do well in another. There is a lot more that goes into judging as well. Not just concept, but grammer, format, dialog, tempo all kinds of things. Each reader has a different view of the script as well. Don't give up, just get better! Good luck to all!
Thank you so much for joining the conversation. Your outlook and comments are spot on. I agree that comedy is the most difficult genre to execute and that's more true in features and teleplays than in any other medium. So much does go into judging, but at the end of the day readers are just people. Some may not "get" the script or its sensibilities, but others will. The best thing you can do is to take everything in stride and to continually try to get as many targeted reads and implement as much feedback on your script as you can while staying true to the vision and qualities that matter to you.
No one contest, read, option or even sale is going to make or break you as a screenwriter. All you can do is keep the belief in yourself and in your projects and to keep writing and hustling as prolifically as possible. Writers write, and we're firm believers that great scripts and talented, persistent writers find their way.
As writers/authors, a thick-skin, and willingness to always strive to improve one's craft, are essential. Judging is not an easy task, and is—by definition—subjective.
While I am pleased to have made the quarterfinals with my comedy short, I was hoping my feature script would wow the judges. However, my first reaction to the latter result, is to fully review my feature script, and determine how I can make sure it is the best it can be. Finally, keep writing and be your own harshest critic.
Thank you as well for jumping in and speaking the truth. I know how hard it can be to stay positive in an industry as cutthroat as this one where the script you've toiled on for countless hours and poured your heart into can be seemingly stopped in its tracks by a reader who comes in and makes a swift determination.
You are exactly right--all you can do is keep a thick skin, recognize the inherent subjectivity involved in the process and continue to keep channeling your energy into what counts: the craft. Congratulations on making the grade with FIRST DATE and we wish you all the best with your projects and writing aspirations. Keep in touch!
Thank you, Screen Craft for offering this contest! After entering and not progressing last year, and then writing, rewriting, rewriting, and rewriting more, we are very thrilled to have made it to the quarterfinals this year!
Thanks Becca! We're really excited you guys made it and hope you are celebrating. The commitment you guys have shown to honing your projects is remarkable and definitely an example to all of us writers out there.
I'm quite proud that we got two scripts up there 🙂
One suggestion I did have though. I thought it might be cool if you could have a two phase contest. I got your feedback on our two scripts and I immediately went back to one of them and started editing it based not the suggestions because they were quite good. It's a stronger script now but my old script is the one that's in the competition. What if you could do a contest where you gave your feedback, and then the writers had a chance to work with the suggestions, revise the script, and submit the revised script?
Just an idea.
Thanks for the feedback by the way! It was really valuable 🙂
Congratulations on making the grade and thanks for the suggestion. It's an intriguing idea and one we have thought about in various incarnations. If we can ever crack how to administer such a contest, we'll likely do it.
I like what Nathan said. Its something I was actually thinking about asking. My script made it but I feel like it JUST made it by a few points. I feel like if I went back and applied the changes I would have a better chance advancing to the next stage. Does placement all depend on the amount of points you have or are there other facets that you guys look at?
Our process isn't a mathematical one, though we do use scorecards to do initial diagnostics. Our determinations our made via close conversations with all of our readers and judges to make determinations.
First off, thank you for this opportunity, and to your readers and judges for advancing my script to the next stage (at least someone, besides me, thinks my writing is decent).
I'm noticing some people thanking you for the feedback on their scripts; if I'm a quarter finalist, should I have received something? My email has been finicky as of late and I very well could have missed it. Either way, thanks again!
Good luck to everyone who has advanced, and to those who haven't, keep on writing, there's nothing sadder than a great story left untold.
Of course, I am elated to have two shorts make it. It is quite the validation. As Nathan's co-writer, we had discussed that suggestion. It would be great to allow us to tweak scripts based on feedback, and it would allow you judges to review our strongest possible products. To that end, can we re-submit scripts already submitted in future years (assuming we don't make it to the Finals this year)?
Congrats to all fellow quarterfinalists. And of course, to all who submitted an entry, keep writing! We worked on our scripts submitted here for years (and they are only shorts!). More writing makes you stronger. Keep reaching for your dreams.
Don't despair folks, one of my scripts, Hybrids, never made any list, but it's now in final post production. Stars Paul Sorvino & Carolyn Hennesy and there are 4 distribution companies wanting it. I still enter competition to see what is going on, just don't slash your wrists when you don't place.
The script my writing partner and I submitted was not selected, which was unfortunate. However, we selected the submission option of having a one page script review which was very helpful and managed our expectations.
We had some formatting issues and need to build out the characters. If was obvious that the style of comedy was not the readers cup of tea yet aspects really made them laugh. The critiques were valid and we need to continue to upgrade the product.
Glad you and your partner have a strong outlook on incorporating feedback and revising. Writing is rewriting! Hope you'll keep in touch about your progress.
Just wanted to say thanks to Cameron for tirelessly knocking out all these replies, and to Screencraft for putting you on the task. If there's one thing we writers love, it's getting responses and the comfort of knowing we're not alone out here. Very nice of you guys to provide it here in a timely fashion!
Thanks Craig! I agree with you. Writing is so often such a solitary pursuit, it's great to be able to have a dialogue with fellow writers in the same boat; there IS strength in numbers. Glad to be a part of the conversation and thanks to everyone for chiming in and getting your projects out there.
I also appreciate the opportunity in this and the action/thriller side, too. I'm so honored to have made the quarters.
And to those who did not make it, Tony and Cam are right. You could place in another contest - or have your script produced as did Tony. Congrats on that, btw!
Stick to your guns and keep working! Funny story but I sent my comedy to a writer friend who's opinion I very much value. He said the humor was too "obvious" and that I should make it more subtle. I was this close to doing so - but when I spoke the dialogue out, I didn't want to change a thing. I stuck to my guns and entered STR as-is. Moral of the story: if you love it, others may very well love it too.
And Cam, thank you very-much for dealing with my nerves. As you can see since I haven't emailed you in quite the while, I'm a tad calmer now. =)~
Hey Josh, absolutely! I know it can be tough to know when to draw the line between listening to other voices and sticking to your own. There's no magic formula; in my experience you just have to take a step back and then do what feels right.
I have a quick question about those of us who pick the one page feedback. There's a rating system on the screenplay. I assume that determines the likelihood of the script being picked for the semi-finalist.
Thank you for choosing "Love Heat: Passion of the Fists" as part of the quarter finalists.
Thanks for getting in touch with us and congratulations on making the Quarter Finals! There is no magic number to get ahead, we use it as a basic tool to help us and you track what's working in the script. As a general rule we try to pick scores above 115 to advance.
Great article!
I love this list but I would add Rocky as the ultimate example of how a Hollywood outsider can write a great script and make it as a screenwriter, actor and director.
Great addition! These scripts just happen to be our favorite... Rocky is definitely a fantastic screenplay and a must-read.
I agree. In my mind, Rocky is a perfect screenplay.
Even though I know it may be naive or foolish to be inspired by the wild successes of other people, I think that it's the only stay sane in an industry whose overall story is one of sheer mediocrity. We have to remind ourselves not of the impossible odds, but rather of the incredible work ethic and talent of the people that do rise to the top. What I love about a list like this is it's not apologizing for itself, it's not saying "these are special cases, well these people got lucky", even if maybe they did. Instead it's focusing our attention on the only things that really matters, did they write a killer screenplay? Did they create incredible characters? Did they make us feel something intangible and transcendent? If the answer to these questions is yes, then nothing else is important. If you write a great screenplay and hide it under your mattress, the right people will find you. Thanks for staying stubborn and idealistic SCREENCRAFT!
Great to know we're inspiring writers out there!
Fascinating insiders' take
This is a great panel discussion that highlights the nuances of change within the industry and how we as filmmakers must be ready to evolve in stride. Definitely want to check out your next seminar. Thanks.
Thanks Talia! Check back here tomorrow (or on our Twitter page) for the next panel at LA Film School on April 23rd...
Interesting take on festivals and why they matter, particularly for indie film. Never heard any of this at film school. Maybe you should do a seminar on whether film schools matter....
ha! we'd have to have the seminar at a venue other than a film school.
Thanks for the suggestion, that would be a worthy topic. What's so interesting about the film industry is that no two career paths are alike. The people that make it all find success in singular ways, even if they share key factors with many others. In my case, I would say that no, film schools don't matter. If I had it to do over again, I would've been a lit major, but then again film school has made an immeasurable difference for many, so who knows.
I get that idea of inter-dependent film, but I wish the topic of how to get your script read had been covered more. Not everyone can go stand in line at Sundance and frankly that strikes me as pie in the sky thinking, that you'll meet someone in line who will want to read your script and has the contacts you don't have to get it to the right hands. I think you could do a whole seminar on how to get your script read.
That's a great panel idea, Harry. We'll do it!
Lots of really great advice! Can't wait to put it to use.
I love that even studios are above piriting : )
*aren't
It's really daunting that with such a plethora of independent films being made in this new climate there are only a handful of festivals that actually have the potential to get your movie distributed.
So, any links to those scripts?
Abraham, click on the title of the film in blue. The script should open as a PDF.
My list might also include Shane Black's LETHAL WEAPON script. Mainly because it's such a fun read.
Really interesting... I've been to all ScreenCraft's seminars, well worth it.
Thanks Nathan!
ScreenCraft may have emerged only recently but the no nonsense manner with which they approach even the most daunting of subjects, suggests the calm seasoned acumen of professionals.
Thanks E. That's a generous comment. We'll take it!
i also have a tumblr website at trueblondesny.tumblr.com
i have a comedy screenplay titled UPSTATE MOURNING.
I would love to submit it to your contest.
looking forward to hearing from you, carol hollenbeck
trueblondesny.tumblr.com Facebook.com/trueblondes
Thanks for the comment, Carol. We look forward to your entry!
Hi
It's good to know that your kind are in place. Well I'm a Screenwriter based in Nigeria. I just finished working on a spec script that I want to pass across to a company in Hollywood, that's good in animation movies.
2348139045518
Great article on these up and coming Korean directors! Oldboy is one of my favorite movies ever, and I'm very much looking forward to watching Good/Bad/Weird this week on Netflix!
The Good, the Bad and the Weird is fun! Definitely worth watching. The audience loved it at the US premiere in Telluride a few years ago.
Awesome information to know!!! I am currently writing my first screenplay, and it's always good to receive pointers on how to keep every thing in line and in order.
Another relevant and practical piece of advice. I never get tired of reading your posts, Mark.
Mark
We connected on My Blank Page, a few days ago. I have a TV script (pilot) that I wanted to pitch to Netflix new production department. Any thoughts or pointers? What is your ability to act as a consultant and under what terms?
Thanks.
Phil Hay
What a great discussion. Thanks for posting ScreenCraft!
cheers!
What about having your antagonist first closely followed by your protagonist
?
I can understand your irritation regarding opening with flashbacks...is it similarly taboo to open with a flash-foward? Limitless with Bradley Cooper is the first film that comes to mind that uses this technique.
I was wondering the same thing, the best example I've seen of this (although in tv) is Episode One of Breaking Bad. As a viewer, I think this works really well; if done correctly.
Hi Cameron, and good show. I like your site and would like to use this article in a screenwriting course I'm teaching at a local college. Also, in a book I'm writing on the topic.
I have a script or two that I'd like to run by you, too.
Also, I have a client whose script really needs better connections than I have. If you're not with WME or one of the other biggies, "no unsolicited submissions..." Any ideas?
Thanks -- James Peters (IMDb nm5663565)
I uploaded a script but failed to read the fine print. Storyboarding will not work with a PDF but only an RTF file.
Caveat Emptor...
Dwacon,
Thanks for the tip and thanks for reading!
I have been worrying for a long time now,about all these. This blog was a great help to get me started.
Thanks Komal! Good luck and keep writing. Are you on Twitter? We'd love to follow you! http://www.twitter.com/screencrafting
cheers,
John
ScreenCraft.org
i already have two scripts i wrote, took me 10 months to do them, one is action and other is love/drama. Both of them are 98% finished. They need to be polished.
so you can really get my scripts to big companies for 250$?
Hi Matt,
Yes, that's exactly what we do. Upon receiving your script, we read it and determine which of the creative executives we know would be a good match for it. We give you two options (for example "Nate at Indian Paintbrush" or "Matt at Warner Bros." or "Mickey at Blumhouse Prods.") and you pick which executive you want to go with. These are all people that we know personally; they're the real deal.
We deliver the script to them, they then read it and give you notes and a follow-up twenty-minute phone consultation. To be clear, our contacts at these companies are not reading your script officially on behalf of the companies they work for, but if they like the script enough they can pass it up the ladder. At the very least, you're getting access to and feedback from genuine Hollywood gatekeepers.
We also offer in-house consulting that I do personally for a discounted rate. I have an extensive background in screenplay development, having done so for companies like Lionsgate, Resolution, Open Road, Fresh Voices, Attraction Entertainment, Author Solutions, etc.
If you're ready to submit, you can do so on our services page. If you have further questions or would like to view a sample set of ScreenCraft Development Notes or Studio Notes, feel free to contact me directly at cameron@screencraft.org.
Thanks for reading and good luck!
Love this list! I have been oft burned myself lately, by my random-1:00 am-roulette-wheel-selection off Netflix. Thanks for the great post!
I am waiting on pins and needles! Share every detail!
This is the best advice. I'm starting to get into screenwriting, hopefully once I get out of Highschool, but at the moment, I'm waiting and building a portfolio.
I'll have to disagree on this one. I understand we need to follow a structure when writing a script, but that's where it ends.
Do we all drive the same cars or eat the same food?
As far as producers and distributors sticking with what has worked in the past. At one point the past was the present and that is where new ideas came to be.
New ideas and scripts should be exciting. We should be looking for the new idea so that way screenwriting and movies can continue to expand and become more intricate. It's like the martial arts, where we want our current students to become better than the instructor so that way the future students will become a better teacher than their predecessor. When a parent raises his child hopefully the desire is there to help the child become a better person than they are.
But I will say this in regards to sticking with what works. How about rebooting movies that we actually haven't seen in 20 plus years. Goonies, Labyrinth, etc. It'll be interesting to see how Robocop does.
I believe, nostalgia is the key component at the moment. But we still need to constantly be looking for new ideas.
Remember going to the movies when you were 10 years old and being in awe. That feeling should never fade away, no matter the age.
http://www.gamespot.com/dantes-inferno/reviews/dantes-inferno-review-6249721/
There's the link for the review of the Dante's Inferno game. Excited about an adaptation? Not really. While that game isn't my thing, I ripped about Demon's Souls on the PS3. Now that would be a great game to turn into a movie. Keep the talking to a minimum and let the setting tell the story.
I am a gamer, a writer and a no lifer.
Thank you, Screencraft. It's an honour to be listed alongside these great screenwriting accounts. Thank you for including us.
Shaula Evans, Founder
The Black Board
Thanks Shaula! We're glad to have your tweets!
Cool article, it's nice to see someone talk about how important a tight script is to an action movie. So many people just consider them to be mindless explosion-fests that they've actually morphed into that *cough*Fast&Furious*cough*. Action films used to have heroes with personalities, clear motivations, and real pathos that actually made you care that they were getting blown up. Nowadays, in almost all the ones I see that aren't the Marvel Cinema Universe or Nolan Batman, I'm actively rooting for the bad guy to get their heads out of their ass and kill the guy (and I do mean "guy" , but that's an argument for a different day) already.
Anyway, love to see this article become part of a series. Maybe taking a look at different genres and how the flows of the scripts differentiate from each other. And, as a commentator on the Internet, I of course want to see you rip a movie and it's script to shreds in a very biting and humorous fashion.
Wow, didn't realize this movie was any good. The commercials didn't do it justice, might actually go see it now. Awesome write-up 🙂 !
Your articles always blow me away with their keen insight intermingled with personal quips and observations that clearly come from a place of personal preference and humor to make your writing informative, personal, and entertaining. From the marketing aspect of the title through attention to detail when it comes to character consistency (I hadn't even considered the ethics of him teaming up with inmates to escape without getting detailed background information) your analysis here really makes me want to strive for a greater level of craft in my own scripts. Once I get through this draft I've been agonizing over, I'm definitely going to be enlisting your services to help me take it to the next level!
this review definately makes hungry for more (pardon the pun)
could you spoil one tidbit ? what's all the hoo-ha about Daryl's character Nick and a tarantula?
Congrats to the winners. Sounds like a worthy bunch.
That's so cool! I could imagine it's a great way to hear how your dialogue flows. Kind of reminds me of the Sims with the way the animation plays. Scary to think that in a couple of years making movies might be as simple as uploading a screenplay.
Please consider adding The Narrative Breakdown to this list. The podcast is not just for screenwriters and prose writers alike, but anyone who appreciates quality story craft.
Readers of Screen Craft might want to start with this episode, on Thriller Types and Tropes:
http://www.thenarrativebreakdown.com/archives/429
We're also on iTunes.
Thanks!
We'll check it out. Thanks!
Missing from this list is The Inside Pitch. It's one of the few Facebook pages that's run by someone who actually works in the business - not only as a producer but as a story professional at one of Hollywood's biggest talent agencies. This guy knows his way around a script. Ask his clients like Denzel Washington. Unlike most of these Facebook pages, this guy has nothing to sell. He's not peddling books or consultation services. He simply offers up free practical advice on the business and story ideas to make the journey a little easier for writers. Check it out.
https://www.facebook.com/groups/theinsidepitch/
Looks like this is a "closed group" not a "page" so it's not really appropriate for this list, but thanks for the suggestion!
The Happy Writers a great resource for pitching, coverage and more. They have been extremely helpful.
Yes! The Happy Writers are a great resource. Added.
Great list! I'll definitely look into some of these. The only other one I'd add is "Good in a Room." Keep the great posts coming!
Great! We love Stephanie!
I noticed you included WGAE, but not WGAW.
Also:
On the Page
The Script-Selling Game
Script Girl
Great analysis. This has long been one of my favorite movies, own the poster and have listened to the commentary on the DVD. You're right about the emotional core and the epic struggle between Castor and Archer. The movie would have still worked, it's a hell of concept, but it wouldn't have the emotional power and lasting appeal without it. Really glad I took the time to read this and I will take this lessons to heart.
https://www.facebook.com/LAScreenwriter (or http://la-screenwriter.com/ ?) is missing from the list. The author collects all the best scripts under one roof, but also does a great job of collecting script advice, ideas, best practices, etc. I use it as my one-stop shop for everything script related. Anyone interested in actually learning how scripts are crafted should check it out as it offers a lot of good concrete advice for beginners as well.
WOW! Thank you, Cameron! And - a small post-script - Referencing James Cagney as the bad guy is very sharp of you - because White Heat was one of our first inspirations while hatching F/O. Thanks so much for your continued interest!
The PAGES International Screenwriting Awards is a great page
This is a fantastic analysis. Finally, someone is giving Face/Off the recognition it deserves! Face/Off is one of my favorite action movies of all time. I still remember seeing it with my brother in the theater when it first came out. Action films are often brushed off as lacking the depth and intricacy of other genres, and Face/Off is the perfect counterargument to this misconception. Thanks for illuminating that so brilliantly.
I'm not sure how Wizard of Oz coming in under $50 million demonstrates that big budgets aren't needed.
http://www.facebook.com/scriptangel - lots of tips, advice, articles. all the useful screenwriting stuff I post on Twitter (@hayleymckenzie1) goes on here.
In water scenes, the attractive actress ALWAYS comes out with perfect hair.
most of kim ki duk films . spring summer fall winter fall, 3 iron, breath .. are the best films i have ever seen with little dialogues but perfect screen narrative
bosto'n'moviebuff
I have $4.89 in the bank, but it's yours if you can arrange it for me to come in third. (Not even asking for first or second...I'm not greedy!) Thanks in advance. Remember: The key word is "ABSCAM"
Scott Frank, Steve Zaillian, Akiva Goldsman, Mark Boal, Woody Allen... come to mind.
We've all seen this a hundred times: The speaker on stage approaches the microphone and what happens? FEEDBACK!
My favorite line a keep seeing in action and dramas is "Don't you die on me!"
The guy sharing pictures/memories/anecdotes about loved ones before battle ALWAYS dies.
I'd put David O Russell, Christopher/Jonah Nolan, Alexander Payne, Richard Linklater and Woody Allen above at least half of these. And I'm missing a lot. Tina Fey only wrote one movie that was produced.
Heres the script for her! http://scridx.com/s/xvBhC74sC7
Thanks so much for posting the screenplays involved in 2013's Academy Awards. I don't think I've seen this done before.
Hey, Cameron, Miles Chapman here. Writer of the movie. Cool article. I enjoyed reading it almost as much as I enjoyed writing the movie. Took less time too! keep up the great work. Very valuable examination of the differences between what's on the page and what ends up on screen.
I should not have read this article. After years of trying to get over having handwritten and a few typed manuscripts, unregistered with anyone, stolen and published, I had finally 'gotten over it' and now doing screenwriting have, with great trepidation, put a few out to contests. You can believe everything is registered with WGA and the US Copyright Office. The anxiety attacks are back. I know I have to ignore the discomfort and just keep working and just as important, keep putting some of my work out there. I hate this feeling...I just wish there were no pirates on this planet.
Intellectual property is just that - it belongs to the creator. Leaking into the public domain, for whatever reasons, and then hiding...well, 'character' applies to more than the one of the headings in a script. Sleep well, if you can, whomever.
I found it a little jarring that Ray was perfectly fine with the fact that Mannheim orchestrated the entire situation for the sole purpose of busting him out. This man intentionally sent Ray to a place that very well could have been his tomb, and at the end, Ray shakes his hand with a smile on his face. This seems more than bizarre to me.
A fair point.
Why would it be beneficial if he cancelled the project anyway? To sell the book... after the synopsis was already leaked? I would doubt that. But what the hell do I know. I believed the gay waitress story.
"Tarantino says he only gave it to five people: Bruce Dern, Tim Roth, Michael Madsen, and producer Reggie Hudlin."
That's four people.
Also, two paragraphs later Tarantino is quoted as saying: "But I gave it to six motherfucking people!"
Is it four, five, or six people?
Isn't Tarantino's entire life an endless PR stunt?!
"(Movies shoot in Canada now, we all know that…right?). Paramount and Sunset Gower Studios are the two largest lots, both of which are massively landlocked by sketchy neighboring businesses. The closer you live to the freeways, the more convenient your location to local crime is."
UGH. This isn't 'in the know'... What a bunch of BS. Hollywood is on the rise, it's a giant construction zone, the mayor is very interested in seeing Hollywood succeed, and the mayor just returned from a meeting at the White House regarding additional funds for the area.
Post is a bunch of Outdated Stereotypes. First time to the site. Possibly the last.
I'm not too enthused about some of these. A lot of bs advice from wannabes. Brian Koppelman is definitely tops of this group. I'd also add Shawn Ryan (@ShawnRyanTV) and Paul Guyot (@fizzhogg).
Love this...though you are missing the fabulous Miracle Mile. We don't really consider ourselves Hollywood and we are "kind of close" to Larchmont. Most of us just want to live in Hancock Park...which as you probably know is The Hills/Malibu as far as attaining.
Would love the chance to discuss with you a way/tool/mindset that many freelancers in Entertainment have embraced to be "fiscally smart". Take a look at PerformerTrack and then reach out.
9 times out of 10, when someone comes into a room, they leave the door open behind them (even if it's to the outside!)... and the other is the magical, all-important set of keys dropped "just out of reach" (and the similar gun or knife... "just out of reach") ... sigh.
Hi there.
When I FIRST moved out there...I was freshly divorced and didn't know s**t about that area.
FORTUNATELY for me I ended up in Riverside, (yeah, I know...LOOOONG DRIVE) away from the 'action'...but I lived there 6 years and did well for myself...went back to Michigan to take care of my mom...got LOTS more education and work on films...NOW I'm ready to come back to LA...and do better for myself...
Well, this is pretty useless. A discussion of Orange County, where literally no one in young Hollywood lives, but no mention of West Hollywood, where 50% of 20-something Hollywood newbies settle? No mention of Miracle Mile, no mention of the Beverly Hills Adj/Century City environs, with its Weho-style apartments and comparatively cheap rent. As far as tips for newbies goes, this is pretty sub-par.
What are you talking about? The West Side isn't "centrally located"-- it's at the western side of everything, thus the clever moniker "the west side." And nothing about it is "walkable" and few ex-New Yorkers end up there (except maybe in Venice); they're mostly in WeHo (Manhattanites) or Los Feliz (Brooklynites).
And everybody in LA County has to pay 10 cents a bag. And Calabasas is incredibly cheap compared to what you could get for the same $$$ in LA proper.
And $1600 for a nice-ish one bedroom would be a good deal almost anywhere in Los Angeles.
And what about Beachwood and Echo Park and Miracle Mile-- all the other places recent transplants live?
I'd also add Fargo to this list. It is an immaculate screenplay in every way, plus it challenged so many set norms of that genre.
Someone dig out the script for Blue Jasmine, pleeease!
I've missed many 'good' movies in the last 3 to 4 years, but when I look back at the ones I saw, there really was a trend of having something unique or 'new' in them! Trailers, actors, tv ads, marketing ploys weren't my yard stick like a couple years ago. Great article!
Would it be possible to also see a list of the semi-finalists? Though I'm not in that group, I think they deserve to be recognized. Thanks!
I can't believe I made the top 50! I spent quite a time working on my screenplay and I'm glad I've come this far. I only wish I could read the scripts by others. I think it would great to enjoy them!
There are many scammers out there that charge upfront fees and don’t deliver. I just read a report on Steven Mango and his company Talent Mailings LLC on ripoffreport dot com. Report # 1119305. Do your homework and research before handing over any money.
American Hustle:
http://nofilmschool.com/2014/01/american-hustle-screenplay-now-available-consideration/#more-75238
What about Eagle Rock, Hancock Park, Glassell Park, Elysian Valley and Highland Park? I'll be doing the move myself later this year and my friends who are already out there scream the praises of these three neighborhoods and how affordable they are....
Are they?
Blue Jasmine as an ORIGINAL screenplay...!!!??? Is the Writers Guild serious about this? Get real WG-- Woody Allen rips off Tennessee Williams' classic Masterpiece, "A Streetcar Named Desire" by stealing all those wonderful characters and taking the credit for himself... Woody is wonderful, but he did not create the characters not did he write an original plot/story... This is totally absurd that WG or the Academy to overlook this fact. Shame-shame...
Excellent advice for new writers. Allow me to expand on it:
Shopping tips: Food 4 Less and 99 Cents stores where you can get all your food for less. Example: Anderson's split pea soup 99 cents. Organic salad greens 99 cents!
Networking tips: Go to all networking events that you are can. 90% of my writing income comes from networking at parties, events, awards shows. Producers are planning an 80 million dollar production of one of my scripts because I chose to go to a completely non-film related awards event at a cultural institute and wound up sitting next to an investor who hired me for $30 grand to write a screenplay.
Use your intuition, and, If you're consistent, you'll be able to blow off networking events with a room full of wannabes who don't talk to strangers and can't look you in the eye when you walk by. How do the A-listers behave when I go to their parties? They are willing to talk to you if they don't know you BECAUSE THAT'S HOW THEY GOT WHERE THEY ARE! BY TALKING TO PEOPLE AND LOOKING THEM IN THE EYE! YEAH, THEY WERE ONCE HUNGRY AND LOOKING FOR A GIG TOO. So do BUSINESS and let the wannabes talk among their cliques for security all they want.
Reps: Don't worry about getting an agent or a manager yet. Write great scripts and THEY'LL FIND YOU. Cream rises to the top.
AND KEEP WRITING!!!!! The ONLY reason for failure is giving up.
Pulp Fiction by Quentin Tarantino
A film one can instantly "see" whilst reading. Doesn't happen often, even in the greats though scripts written by directors are probably naturally more visible even before the shooting script is finalized.
Chris --
I LOVE this post and will be pushing it out to all my channels. This is valuable information and actually transcends screenwriting to cover any number of individuals trying to get their start in any industry in LA. Thanks for writing this - it will help so many!
-Rayanne
Great article... Outside of the business jobs are perfect for actors. Flexible scheduling for auditions is key here. Inside the business is where you want to be if your striving to be a writer like I am. I've met a lot of professionals, producers, executives etc. I think it also helps when you are trying to gain representation. Agents/managers see that you work in the business so you have a much higher chance of not WASTING THEIR TIME. Just an insight- Cjevy
This is great, and I'd like to second your closing point. 'Story notes matter, but what really matters is what you do with them'. Handing off notes to a writer is by no means final. As a writer, what you do with those notes on the page is equally important to how you nurture that development relationship. Be sure to follow up, and keep the following points in mind;
First & foremost, say thank you: From broad strokes to page notes, properly written development notes take time. You are receiving invaluable feedback from trained eyes, that granted might not always be what you want to hear, but remember; notes are the result of considerable time and effort.
Do not take notes personally: Development notes are an analysis of screenplay and story, not you as a writer.
Notes do not have to be implemented, but should at least be addressed: One of the more frustrating elements of being a development producer is when some notes are just blank ignored. If you do not like a note and it does not make the next draft, give me even a one-line reason. Development is collaborative. If I have a clearer understanding of your logic, then that writer/producer relationship will yield greater results.
Are we talking about movies or reading screenplays? The actual script to DANCES WITH WOLVES was 130 pages. THE APARTMENT, while being my favorite movie, is nearly unreadable as a screenplay. Same with PSYCHO. These are all amazing scripts, but not necessarily great reads.
Great list and your analysis of the Apartment is perfect.
One thing you fail to included was the fact that FOX offered a settlement of $10k to each of the Plaintiffs, which they rejected.
Why offer any settlement if there was no case to answer?
I've read a lot of articles about creativity. Some of them give a lot of complicated suggestions which leave me as the reader feeling less inclined to go out and be creative and just more tired. I liked the simplicity and also genuine voice of the author of this article. I look forward to read in whatever else she writes.
Amazing report, Chris.
Love it. The road to the promise land is hard, extremely hard.
Never give up. Keep hope alive.
Determination will get you there.
Rockerito J
Hey, guys.
The contest and the judges are amazing.
I got two precious sci-fi/action/horror scripts filled with lots of blood and guts.
Lots of gore. In the vein of The Thing (1982) The Terminator (1984/1992) and Dead Space (the video game 2008-2013) I love to see red pop on the screen.
I'm really looking forward to this contest. I'll be sending my babies soon.
Rockerito J
Well said.
While working daily on several high profile television and movie sets and seeing
the level of writing required, as well as having conversations with and seeing the personal connections everyone has to each other in this line of work, I decided
that expanding my education and understanding of the art of screenwriting was
going to be the next step in my evolution as an actor.
It has been an eye opener to say the least. It has also given me the impetus to
become a master of my own destiny. While still enrolled in a course online I am
making daily headway into the subculture and nomenclature of the people who
literally create the characters I would want to play.
Being able to look inside the creative process and understand structure, use
metaphor, comparison, surprise, tension, humor and hundreds of other types
of techniques to control the emotional response of the reader and potential
audience is absolutely mind blowing.
Walking a tightrope of literature which has to entertain while being economical,
be dramatic but believable, original but yet familiar, funny but not too obvious,
and with characters that would attract an A list actor is a tall order.
Aside from the creative aspect of writing one, getting it into the hands of the
person who can get it seen by someone who could possibly get it made is the
next hurdle. This has it's own subculture and another set of rules to learn.
And I thought being an actor was difficult...
Carry on, Chris.
I join your ranks as a rookie and know that I have a long hard road ahead of me.
Yet, I take this fight up willingly as i have been handed too many pieces of shit
and been told to turn it into performance gold. I have been that piece of a puzzle
in what is the making of a movie or weekly series. One of the cogs in a wheel
of massive proportion that is the overblown production community. Where they
overpay, undervalue, enslave and/or ignore the 'talent', (both principal and back-
ground). But that is another story altogether.
I did my part and the rest was out of my hands. Left to the Editors, Executive
Producers, Network Execs, Standards & Practices, etc.
I feel a new found sense of hope here among you.
A level playing field. One where if I use the tools available to me, give things a
twist with my mind and take things in an unusual direction, pick a subject matter
both universal and yet achingly personal, that I stand as good a chance of
having my script read as I do of getting a callback or making it to series regular.
Considering that the odds were against me then and I managed to do both
these things, I'm fairly confident that I can perform this feat in another arena.
I am proud to say that I'm a budding screenwriter and that I found your recipe
for hope to be inspiring and factual. As well as entertaining.
I look forward to meeting you in the trenches.
All the best,
GP
Dear, Jason
Thank you for taking the time to write this article.
It's was timely for us. Your article was a guiding light in a dark time.
We needed it. Write on.
Dear, Chris
Thank you for taking the time to write this article. It was timely for us.
Just like the Docudrama: TOUCHING THE VOID, we had a moment of weakness and fell into a deep chasm. Your article was a guiding light in a dark time.
We needed it. We are not giving up. Keeping our eyes on the prize. Write on.
I find getting hold of original screenplays (as opposed to a transcript written from the movie) extremely difficult. I've been trying to find the screenplay for Mississippi Burning for ages. Some of the published screenplays are not the screenplay which originally sold but are based on the finished film.
Succinct and completely correct.
Thanks for the important reminders.
Thank you for the kind words! I'm glad you enjoyed the article. Good luck with your writing!
Woman is deceived by her Pakistani husband who died a horrible death and left behind a deep secret.
My story is true and cannot even describe the heartache, cultural differences, addiction, cancer, betrayal in 140 words but my story would make an awesome movie.
A woman from a small town in Indiana gets chosen to pitch her movie at the Tribeca Film Festival~
After a near death experience a man finds the true meaning of life and death and is running from people who don't want him to expose the truth.
woman has near death experience meets Houdini she is the carrier of the secret message of life & death he so desperately wanted to tell his wife after his death.
Ehh not that creepy but imagining it happen to you ilwpukd be creepy as fuck
The Last of Us: Left Behind has already been released.
Jokes
Great article. One point, regarding Costner's character abandoning the bicycle. Seems to me the bicycle is A. 'plea' to his daughter for a 2nd chance and B. a bridge constructed by Costner for he and his daughter to cross or at least to meet in the middle of. After he teaches her to ride the bicycle, he finds redemption, the daughter feels loved, the audience dabs their eye's and the clumsy bridge/bicycle is immaterial. It's the past, they move forward. Thoughts?
Hi Jo, thanks for the reply. Your interpretation is an interesting one, something I hadn't even considered. Symbolically, you're spot on. Still, I just loved the inherent humor and absurdity of man's man Costner riding and staunchly defending the garishly purple girl's bike and I think him wanting to hold onto it would have fit right into the undercurrent of darkly tongue-in-cheek humor that ran throughout the picture. Glad you saw the movie...that makes what, three of us?
I always walk away from one of your reviews entertained by the sardonic zings and educated by the sheer breadth of your film knowledge. And it is good to know that a purple bike can even make you feel a tug.. Love the juxtaposition of Neeson and Costner, two underappreciated fine actors.
Avatar wouldn't be there without Pocahontas 😉
Hey the long movie ! Fiddler on the roof
Great job! I was looking for something like this!
This movie would've been an absolute hit if it was made in the mid 90s. It was definitely solid overall and a decent and logical action flick. Should've earned more at the box office.
Useful list.
Good list and useful for film students
Lists say more about the list-maker than the films. Sorry to say but the guy needs to urgently catch up with some world cinema. Open your eyes!!! The world exists beyond American shores. 1,3,5,6,7,9 are brilliant no doubt but there are others just as brilliant. These are all examples of only one kind of screenplay structure: the classical Hollywood cinema. To make this normative would be either authoritarian or just an unconscious declaration of ignorance.
Agree. Absolutely.
The author does state: "All of these screenplays are extraordinary, not just due to the quality of the writing but also because of their far-reaching impact on American cinema." American cinema... not world cinema. It is extremely difficult to be an expert on the typical Western three act structure of storytelling versus the various Eastern methods (not to mention the European take on things).
Using technology to disengage seems to be the mantra of too many of the facebook-twitterati. People have forgotten how to simply converse. Most writers are more comfortable with themselves than playing with others, but sometimes you have to talk the talk. I like your idea of just starting by making yourself talk to someone in a non-stressful environment.
And P.S. I didn't think anyone remembered Chatty Cathy anymore!
Great article because I think it's accurate. But where you live will not make your career a success. You can live in the "wrong" area and it will have little to do with the key determining factor: Knowing your craft. Developing your craft. Desire and hard work are the keys, followed by finding mentors and getting your foot in the door. Zip code -- not much.
Great article Chris, one of the best I have read in years!
Sad but true: After going into debt slavery to study screenwriting, we then have to go out and sell ourselves (our scripts).
Excellent counsel.
Vry nice
Each scene should stand alone, but be intrinsically linked to another. Opening in another time ' in my opinion is fine' if done right. For example, of at some point in your movie there is a prison break, you can open on that and at least show 'part of it'. Its an opening scene and therefore , a hook. Then simply put (six months earlier) play out the movie and return to that scene later in the film and show it in its entirety. O think the problem is actually writing 'flash forward' rather than showing it as a stand alone scene then returning to reveal why and when it happens to your protagonist. Also feel it has to be quick and somehow introduce your main man/woman! You can't have 10 mins of an opening scene that viewers don't get. That's just my view.
Thanks for taking the time to write this. However, I think it would go a long way to us Unknowns to see a step-by-step 'How To' to get from 'Script Finished' to 'Script Bought'. For some, writing isn't difficult at all. What is difficult is to find realistic and explicit information, in the same article, for Writer X, who may live in BFE, to get any of their scripts in the hands of those who bring the written story to visual life, so to speak. There's a vast body of information regarding this topic scattered through the internet like pieces of a mysterious puzzle, and attempting to discern how much of it is bait for the nieve writer to buy seminar's and books and eBooks is laboriois and disheartening. . And as unrealistic as you say writers are being for not thinking like producer's, it's as plausible to suggest that a failure for teacher's, producer's, etc to think like writers is, perhaps, why so much mediocre junk gets made. Not all writers go to college nor 'network' nor will be geographically located where getting to the right bar with the right people at the right time is the REAL 'trick' of getting their script 'made'. So, why not just tell the straight-up truth, however impolite it actually reads? All the 'wear every hat but your writers hat' articles DON'T really help aspirants. Tell them the 'most likely to succeed' path. Don't just point at it either. IF you've been down the path, IF you know the payh well, THEN it follows you can create the map, explain that path in detail, and wish them well. OTHERWISE, it's all smoke and,mirrors to create content for THIS site rather than to really help scriptwriters. Most really good writers have heard, experienced, and seen an awful lot of horseshit that is passed off as apple pie. The last thing in the world they need is for someone to piss down their back and tell them that it's raining. I wouldn't be so blunt if it weren't for the fact that there are way too,many people posting articles and creating sites whose content is a mirror image of your own. If you don't care, what's this all about? If you do, be real and be specific in one article instead of piece mealing it. It's ineffectual, time consuming, and unnecessary except to you.
The Devil is in the details and he never leaves and he's perpetually unforgiving.
Advice is a lot like a story: a good writer can repeat what they've heard and tell you what they've seen. A great writer feels it and speaks of it as if it's always THEIR story and their damn life is on the line. So, iow, if you're going to dole out advice,,how about you tell it like it's your career, your work, and your dreams on the line. THAT's how you give advice. Otherwise, you not only can't redraw the map, you can't even read it.
Where have you found “Toy Story 3: Mistakes Made, Lessons Learned” seminar online? I haven't found it anywhere!
I don't believe the whole thing in video form is online anywhere, sorry! I just meant to insinuate that he's been active in the teaching role. I've seen other notes from the same seminar that he apparently did at the Austin Film Festival, meaning he's made a bit of a circuit out of it. However, you can find some more of his wisdom on YouTube of course: https://www.youtube.com/results?search_query=michael+ardnt
(sigh) tragically until those on the other side of the velvet rope are willing to even turn their heads in your direction, you might as well be a rock.. So much of the industry is based on relationships, either blood, bed or friendships...so much. Screenwriters tend to die from Emily Dickenson syndrome...that's where you produce a decent body of work, die talented and don't (if even then) get discovered til you're gone...It's not merely 'hard.' It's almost impossible... But I'm addicted and can't stop. If (and I know that's a big 'if') you visit my site (over 800,000 words, almost 183,000 page hits and counting) please know that 'Vampire Wonderland' is only the name. Lots more than that... Oh, and LINCOLN was almost Biblical. ...Thanks for giving me this opportunity to unburden myself... Billy
Wow, what exceptional speakers. Their motivational approach is inspiring. Thank you.
Das Label Peter Pilotto existiert seit 2007 und zeigte bisher vierzehn Kollektionen, die mittlerweile in 50 Ländern bei 220 Händlern erhältlich sind, darunter Saks Fifth Avenue und Bergdorf Goodman in New York oder Lane Crawford in Hong Kong. Charakteristisch für die Handschrift der Designer sind auffällige Prints, die nach eigenen Angaben immer an ein "Kuriositätenkabinett" angelehnt sind, das Naturphänomene und verschiedene Kulturen widerspiegelt.VOGUE Geschenke
A lawsuit is in progress after a Romanian scriptwriter is suing (or at least is in progress of suing) Chapman and Keller for allegedly stealing ideas from his script. What will happen remains to be seen.
I would add Collateral as a very great example of a good script.
Hahaaa, that's a joke, right? 🙂 COLLATERAL is a great example of a terrible script.
Wow Steve. This is a great article and filled with all the information I need and can use! I am totally impressed. Gotta ask! Any chance that you are also available as an agent. I have just completed an awesome comedy script all primed and ready for presentation.
Irene Hamilton
Hi Irene--sorry, I'm not an agent. I WAS a talent manager for a short period of time, but believe me, I'm a better teacher and script consultant than I ever was a rep. Good luck with your script!
All my best,
Steve
Characters waving their cigarette smoke away. Idiotic. You smell it for hours afterwards.
There are several health advantages linked to capsaicin and you may read about them in a
variety of sites regarding natural cures. He truly emphasizes to educate people about best health insurance policies available in the market to support
the medical expenses. Why else would all these businesses
be scrambling to hire outside consulting firms to figure
out how to comply with this "law".
I am extremely happy I got to read this before I continued with my piece. There are certain tones and phrases that my characters say that move the plot itself and give meaning to their character. Me, constantly second-guessing myself, thought that too much dialogue would be ridiculous, but how else can a character show his/her feelings with other characters in front of the audience? Body language and descriptions in screenplays only do so much, I feel.
I most humbly agree. It is the individual and distinctive voices of my characters flowing through me that tells me I am "in the zone".
enjoyed reading navigating Cannes. Keep us up to date, you sound busy.love you!
I'm glad you called out the people that broadcast every time they get an email or opportunity to their social networks. I place a high value on discretion and confidentiality and it always bothers me when people broadcast business before it is even "business". Talk after EVERYTHING is complete. And you are so right. People have to learn that things usually take longer to happen than sooner when it comes to getting a foot in the door. There may be a lot of "no"s and a lot of waiting, but stay productive anyway.
I'm amazed, I have to admit. Rarely do I come across a blog that's both educative and
amusing, and without a doubt, you have hit the nail on the head.
The problem is something that too few people are
speaking intelligently about. Now i'm very happy I stumbled across this during my search for something concerning this.
I hear that Hugh Dillon will be staring in this. You have made a great choice he is a great actor and singer. Can hardly wait to see it. Can you tell me about when it will be on? Thank you.
Mary T
Thank you
To add one for Peter Dinklage, The Station Agent. A must watch.
Outside Satan by Bruno Dumont.
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I think NOTES are great! When they come from people who KNOW what they're talking about. Based on their professional experience. But...what no one talks about on these sites, online,, in the trades...is this financially successful cottage industry dealing with notes and consults from "those" who have yet to truly show the bulk of us, any solid, professional experience-credits in what their "notes" have helped to produce successfully -- in sale of a script and then, actual successful production of said script. When a so called script doctor or "authority" offers consults and/or notes for over a grand???? I run. When a script reader charges 300.00-700.00 for their notes...and show no proof of what their so called talent has done or can do? I run. Screaming. At the end of it all...there are too many wannabe screenwriters, who DO NOT want or desire to put in the time to study and learn their craft through countless drafts of countless scripts. It's called a work ethic, sacrifice for success. I have an MFA in Screenwriting from UCLA. Have a had a few spec sales when I first got out of film school. Recently...two on-set production rewrites where I shaved off some production costs in the shooting script ( and really, if it had been my script, I wouldn't taken care of the problems in the writing stage) I am very specific on who I get notes from, because...I'm simply not desperate for instant success. But also taking my success in my own hands, I'm producing and directing projects through my own start up while working in media content creation for a state agency. I'm deseparate to be a better screenwriter and storyteller...and put in the time to do so...but paying for notes as the end of it all, like so many wannabe screenwriters fall for? Not me.
Right away I amm ready to do my breakfast, once having my breakfast coming over aain to
read further news.
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Brother Mark!
Great stuff, dude. I've followed all your suggestions above ( and to be honest, on the only two on set rewrite gigs I was interviewed for and got...I had no problem giving the producers/directors what they wanted via their notes) and haven't had to do any of the "grimacing".
I know, I was probably in a very unique setting for these two projects, because I've heard many horror stories from my friends working in the biz down there; but
I also know the final word comes from me -- on whether I accept the job or not. No producer, director has EVER put a gun to my head forcing me to take a job; writing for free for them (which I haven't done yet).
I have sat down with producers, money people, whatever you want to call them, over coffee-lunch and some pretty cool dinners -- they paid for -- giving them suggestions for free; but it was also in the context of discussing other industry-related situations.
My big goal that I've been working on for the past few years -- with a full time job and other content media projects -- is getting some of these studio-budget, feature specs finally out to the marketplace. The idea is then, to self finance my own, low, low budget genre indie features for my start up MTS MEDIA.
I have had a few option offers for 3 different indie genre feature specs the past 2 years, but turned them down. The money just wasn't enough for the time they wanted to keep the specs. On top of this busy schedule with my full time day deal; the MTS MEDIA start up on wkds., and putting much energy into the studio spec features at writing at night -- I feel absolutely great about everything! I totally living my dream as a writer-director creating, creating and putting more time into the business-marketing-submission side of it.
I actually feel ready now to send some of my projects to you for consults, because I know it's time to get that necessary second pair of eyes; your opinions on writing, the business of it that I read a lot and the fact that you went to film school like I did -- the education side does get me ready for the business -- makes you the ONE, whose critical opinion I can totally trust to make me not only a better writer...but a more knowledgeable TEAM WORKER, all in order to make producers, directors, cast and crew successful in the same goal I'm working on: a MOVIE.
I should have a recent draft ready to send to you soon. Just tying up some loose ends.
Thanks again.
MARK
(MARK11)
Thank you for including The Black Board on your list. Writers deserve a world of support and we're glad to be part of it.
Shaula
Love you guys! Thanks for the comment Shaula!
Carson Reeves has a great site...it should definitely be on the list here.
Great suggestion!
This isn't a list of the "best" forums, but the ones with high membership. Done Deal is a good site, but the forum is dominated by 6 bullies who don't tolerate any disagreement with what they decrees as screenwriting law.
The Black List forum exists to suck people into paying for hosting on the Black List.
Reddit is pretty good when the professional writers comment and they have flairs so you know who they are. They don't comment enough, but overall, it's better than most forums.
The best forum hands down if you are serious about craft is at Wordplayer.com
This is a great suggestion! Wordplayer.com is really great. Will update list soon.
Thanks! Great list.
I would also add: http://writetoreel.com/forum/forum.php.
I discovered it this weekend when looking for John Hughes' script for JAWS 3 (aptly titled NATIONAL LAMPOON'S JAWS 3, PEOPLE 0). Lots of rare script there and what seems to be a supportive community.
Brad
@jbwilke
Thanks for the suggestion Brad! We'll check it out.
You really should ADD Where's the Drama? to your list. It is a great portal for all kinds of useful and radical resources and ideas connected with dramatic screen storytelling. It's at https://www.facebook.com/groups/wheresthedrama/
@Dag
I agree with you on the BL forums, for the most part.
Done Deal is a great forum and I don't see bullies on there - definitely not more than anywhere else on the 'net. I don't know what you are seeing, but you're not looking hard enough. Solid advice and good help.
Wordplay is a GREAT site with *amazing* columns from the guys, but those forums are from like the 1990s. They are old and out of date and very few posts are made there.
Script Shadow is a blog, not a forum so not sure why it is on this list. Odd.
If anything could be added to the list it would be Zoetrope and maybe even Trigger Street.
@Brad
Write to Reel is amazing for getting hold of scripts. Nice suggestion.
I agree with @Dag on BL and DD
and @writer Phil on SS and WP
Glad to see Stage 32 on here -- really great conversations on screenwriting and everything about the industry in their lounge.
Didn't Hobbs die I'm the explosion from the drums Arnie shot? I just watched it on DVD and there's a CGI bit where a burning body flops to the ground, presumably Hobbs. Or was the someone else?
add WRATERS.com ... free platform for marketing a script
I find it incredibly hard to believe that my screenplay, “American Hunger”, did make the quarter-finalists. I’d like some kind of explanation as to why it did. And it makes me question whether the piece was even read in the first place…
Ha! Your script was great! Every single screenplay is read and assessed by at least two industry judges. Rest assured, we don't let a single screenplay slip through the cracks.
Your script made it. Right there on the list.
Alex ~ it could possibly be that your script walked the line between horror and thriller? It seems this contest chooses scripts that solely fall into the horror category. I entered a script last year (that had been very successful in other competitions - even winning a couple) that didn't make the quarter cut here. My conclusion was that it veered too much from horror into mystery/drama. In any case, that script is in production now, so don't fret! Keep plugging away!
Congrats Frank! Which script is in production?
Thanks! That script is called Iris. I just double checked and it actually did make the quarter cut last year, so sorry about that! But, it definitely falls more into mystery than horror so I understand why it failed to climb the ladder here. Thanks for selecting Bloodflowers this year!
Hi Alex, Frank,
Just to add to the dialogue you've already started, first of all, Frank, I remember reading Iris last year rather vividly and being happy it advanced in that particular contest. Even greater news to hear about the traction it has gotten! Keep us in the loop about the project's progress.
Alex, as a writer myself I sympathize with HEXEN not making the cut this particular time out. Contests are a viable outlet for getting scripts exposed and discovered--that's why we administer them constantly--but no one contest or targeted read is going to make or break the life of a script. It speaks to the nature of screenplay competitions--or really any judged competition in any context--that a script can place in one or several venues and not place in another. It does happen, and I've been on the receiving end of it, so again I sympathize. Our readers and judges are all carefully vetted, up on the current market, and currently working in the industry. As such, there is a clear consistency in terms of recognizing craft and strong core elements, but there's always that x factor of taste, and taste is subjective.
But I assure you, our readers and judges are unsurpassed in the industry in terms of their diligence and commitment to close, full reading. No script is ever given short shrift in terms of being evaluated. Not on my watch.
And Frank, you're right--given our focus on genre-specific contests, we do actively look for and prioritize scripts that firmly fit into the particular genre. We're looking for scripts that we can actively move and pitch as such. Commercial viability is a top mandate for us in terms of our taste and selection process.
To cater to scripts that are multitiered in terms of tone and genre, we created our annual fellowship program. The 2014 fellowship will be launching this fall, and if you have a script that's full of voice and not necessarily easy to pin down in terms of genre, I would strongly recommend submitting it to the fellowship program. All three of last year's winners had scripts that adroitly blended tones and genres.
Thanks, Cameron, I will keep you posted on the film's progress!
Hexen was considered by two of our judges. It's a tough call to pass on a screenplay, knowing how many long hours and immense creativity it takes to finish a script. While we don't want to pass on a good script, ultimately we have to rely on the taste of our industry judges.
Is there a way to find out from the Judges or from ScreenCraft Staff the overall impressions of a script that didn't make the cut? Was it considered awful? did it even come close to standing a chance?
Honest answers would be greatly appreciated, just so I know where to go from here.
Thank you very much,
Seth
Hi Seth, If you didn't request feedback, then the notes we keep on each screenplay are for our internal purposes only. However, we encourage you to get professional feedback (believe it or not, the reader you pick is really important because a good script needs a good reader to give you quality, relevant feedback). Feel free to shoot us an email with further questions!
Best,
John
John.
Thank you for taking the time to reply. I did pay for feedback well after submitting an early draft of my script into the contest -- I did a re-write of the script before paying for the feedback and I got great criticism from Cameron -- I was just hoping for some thoughts from the judges ... at least, did any of them even like it?
Thanks,
Seth
Hi Screencraft team. Well, I'm sad that my screenplay, "Obsidian" didn't make it into quarter finals. I'm just curious if you could let me know the biggest thing that kept it from advancing, as well as how I could potentially approach it differently to make it better received. Any input would be appreciated. Thank you.
Hi Jason,
Thank you for submitting and for following up. We offer a feedback option at the time of submission and also offer screenplay consultation at any time as a separate function. We cannot share our internal evaluations or provide feedback in any other informal context due to liability and administrative limitations. If you're really looking for guidance on your script, I would absolutely encourage you to avail yourself of our official feedback and notes services. I'd also recommend Script Chix' analysis, which is really on the ball and exceptional.
Hi Screencraft Team!
Thank you for selecting "The Trench" to advance, among all of the great submissions you've received. Is there a rough idea as to when finalists/ winners will be announced?
Cheers,
Zac
Finalists will be announced within the next 2 weeks!
Our judges are hard at work deliberating between these excellent horror scripts!
Fantastic, thank you!
I highly recommend requesting feedback from screencraft! They are highly thoughtful and honest in ever aspect of what makes a good script. Receiving feedback from a skilled reader who doesn't know you at all is the best thing for you as a screenwriter, especially if you're a good one. Keep writing and rewriting everyone!
Thanks Jeremy!! We try to go above and beyond with every single request for notes or feedback. http://www.screencraft.org/consulting
Hello,
Please could you tell me if any screenplays from writers outside of the U.S.A made it through to the quarter finals?
I submitted my U.K set screenplay 'Lord Street' and am wondering if it is worth me entering any other U.S based competitions. I'm just trying to get an idea why my screenplay failed to make the quarter finals.
Many thanks for your time and I look forward to your response.
Nic
Hi Nic,
Absolutely! We had a number of international scripts make the cut this year, from destinations as diverse as the U.K., Poland, France, Italy and China. I can't speak for international track records in terms of other competitions, but I would posit that the only possible bias in terms of international submissions for U.S. contests would exist in regard to formatting and language barrier aberrations.
Many thanks for your prompt reply...back to the drawing board for me!
Thank you for choosing SHELTER as a quarterfinalist. Justin and I had been hard at work on that script since 2004! Man...never give up on a dream I guess! Can't wait to see if we progress any further! Fingers crossed!
I cannot understand why my screenplay, The Mourning After, did not progress to the quarterfinals. I have won another horror screenplay contest with it and my mom said it was the scariest, screenplay she had ever read... Haha. But seriously, what is the turnaround time on your coverage services?
Hi Glenn,
Thanks for the comment. I'm glad you have confidence in your script because as writers we always have to sustain that passion to carry us through. The worst thing you can do is look at not placing in one particular competition as a resounding blow. The fact that you've done well with the script in another contest is fantastic. With screenplay competitions in particular, the goal isn't winning for the sake of winning, the status of winning is really a formality. What matters is using winning or placing as a launching pad for getting your script attention and targeted reads.
Feel free to email me at cameron@screencraft.org. I'd love to hear more about what competition you won and weigh in about how to move your script forward.
In terms of our coverage services, turnaround time is typically within 7 days, often sooner.
Thank you so much for They Came, now in the quarterfinals.
Thanks for moving The Between Place and Hag to the quarter finals! Excited and nervous to see what happens in the next round. Good luck to all!
Thank you VERY much for BLOODTHIRSTY placing in the Quarter-Finalists. I am more grateful and appreciative than I can put into words, which is ironic for a screenwriter, but please know this means the world to me, and I am trying very hard to cast/finance this very special, scary, commercial, contained, elevated picture, and this can only prove to be invaluable. I will always have a special place in my heart for this competition, and the opportunities I hope it will result it.
okay, whatever. quite a disheartening response system;
Cheers to all the other writers
Thanks for selecting THE HARVESTER for the qf round, Screencraft. Vey exciting!
Hey Screencraft, although I'm pretty bummed about not placing, I'm curious if my script "Bloodlines" might've got some consideration. I saw "Bloodflowers" and "Bloodthirsty" and got pumped for a second, but quickly came back down.
Thank you for considering Nether Edge for further dissection in the upcoming 'semi finals.' I'm thrilled that I have placed in the quarter finals in this prestigious competition and hopefully it will progress further. I received feedback on my script which described it as extraordinarily bleak, visually creative and willing to take chances, the person giving the evaluation however did point out several flaws, some which I dismissed, others that I'm willing to take on board regardless of whether the script inches forward or not. Congratulations to everyone that has placed in the quarter finals and good luck to everyone else - by the way Nic Antony, I'm from the U.K.
Congratulations Richard, all the best for the next round.
Ah well...
I'm intrigued by screenwriting contests, and surprised to see the feedback here (such as it is). That's very kind. Makes me wish I had asked for the feedback option.
I am reminded how subjective these competitions can be -- the script that didn't make it here just won Best Screenplay at another competition. Roll of the dice, huh?
Keep up the good work!
Thanks for the note Edward. We take pride in the careful feedback we offer. We love what we do!
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I learned of this through a Final Draft newsletter during the last week of the contest.
Had I learned of the contest sooner, "Snow" would have gotten a few drafts to correct some stuff. Sad it didn't place anywhere.
But, however, the contest did light a fire under my ass to get the script from partial idea to a complete first draft in one week!
On that note, it was fun. (I'm trying really hard to not beat myself up over this.)
Thanks ScreenCraft!
Very good article. Basicly, we need to write a good script and mostly, a great first ten pages.
I love this, especially number 2! As a single mother, writer, biz owner and teacher I have realized that the only way to tap the zone (and not stay eternally frustrated that I may never sit with a cup of tea to write again) is to audio record "free-writes" every time I drop my 2 year old off elsewhere.
Live. Record. Live.
Thanks for considering my screenplay, "The Cursed Flesh", and for advancing it to the quarter-final stage. I made it to the top 20 last year with "The Man Who Killed Sandra Wallace", so I appreciate your continued support.
Citizen Kane and Lawrence of Arabia are missing.
When are the finalists going to be announced?
Much love to the ScreenCraft judges for moving "The Charnel House" into the quarters. Inspiring to see industry professionals out there who still appreciate a little Edgar Allen Poe/HP Lovecraft flavor. I'm excited to see the list of finalists. Good luck to everyone!
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A note to those who didn't move on, like myself- I think a lot of this comes down to luck of the draw in terms of assigned readers. I made it to the semifinals at another Screencraft competition that was open to all genres with this same horror script, and it had almost double the amount of entries. Yet I didn't make it further in this competition which is horror specific. I'm not saying this to pout, but rather to illustrate how difficult it is to know how these things will ever shake out, even if you've had success in the past. There are plenty of other contests out there, and plenty of revisions we can all do to make our stories better. Don't worry about this too much. I've already won another competition with this screenplay, and will continue to polish it and submit it until it sells. You should all do the same.Congratulations to those who are moving on, and to those who aren't, keep your heads up, and keep at it!
Hi Zac,
Thanks so much for chiming in. Keep in mind in regard to the numbers game, with the Fellowship, we did have more than double the amount of entries, but a larger number of entries also allows for a larger pool of semi-finalists. Your advice and mentality are both superb: there is an element of luck in any competition--not just screenwriting contests, I would argue--and while you can't control the outcome, what you can control is your belief in your projects and your willingness to keep honing and chipping away at them. Every produced and celebrated script got turned down or hit a snag along the way. The key is to get as many targeted reads as you can to bolster your odds of getting that one "yes" that you need. We're big fans of The Trench and hope you'll keep us posted about its progress. Our mission is to help screenwriters, plain and simple.
Thanks for the words of encouragement to your fellow writers. Stay passionate.
Zac,
Your words of encouragement helped lift my spirits after i read that I did not advance to the semi-finals. I agree whole-heartedly. Best of luck to you in your writing career.
Sad to see I'm not moving on but super happy for everyone who did! Well done and congrats to the semi finalists! Now enjoy 10 days of waiting to see who won! 😛
Hi Garon,
Thanks so much for the words of encouragement! We really enjoyed reading In A Crooked Little House and hope you'll keep us posted about it and your other projects.
Sad to not see my script "The Survivor" move forward. I was hoping for AT LEAST a semi-finals placement.
Congrats to those who did and good luck.
Hi Matt,
You have a fun and suspenseful central conflict and battle of wills between your two leads in The Survivor and we genuinely enjoyed reading it. Stay positive and keep fighting for your script! The power of persistence can never be underestimated.
Oh, so bummed that my screenplay "Dance of the Blessed Spirits" didn't get past quarter-finalist. Oh well. I'm in several other contests, including Zoetrope & the Nicholl, so we'll see how I do there!
Anyone interested in reading it, drop me a line at mande95747 AT yahoo DOT com
Hi Matt,
Making quarter-finalist was no small task, believe me. We received close to a thousand horror submissions and had to pass on scripts that had strong elements that we genuinely liked. It's clear that you have command of the craft and we wish you all the best in the other competitions. Keep us posted!
I was pleasantly shocked "The Purple Armadillo" made the
Quarterfinals. Like ALL scripts, IT needs another rewrite!
Thank You so much Screencraft for appreciating
my script for its unique story!
Scribere Donec Moriamini - Jaime
James,
Thanks so much for the nice comment! We genuinely enjoyed reading, and I think your mentality here is great and will serve you well throughout your career. Writing IS rewriting. Keep at it.
While sad to see that I didn't make the semi's, I was thrilled beyond measure when I made the quarters, my first time placing in a contest. Good luck to all going on.
Hi Charles,
Thanks for the nice note, and congratulations again on placing with Espirit De Corpse--no small feat. Keep writing!
Excited to see the semi-finalists! How long before the finals are announced?
Hi Ambrile,
Our judges are busy conferring as we speak; finalists will be announced next week! Stay tuned.
Well done to the semi-finalists. Shame that 'They Came' didn't make it, but I have the Nicholl Fellowships, so fingers crossed. But this is the best screenwriting contest for anyone who writes horror scripts, and thank you Screamcraft staff for placing my script in the quarter-finals.
Jason,
Thanks for the kind words and best of luck with Nicholl! Hope you'll keep us posted.
FYI it was my first ever script so for it to get to the Quarterfinals
was a bit of a shock. The feedback is excellent direction for the rewrite!
Great Fortune to all the brave souls who dared to enter!
Scribere Donec Moriamini -- Jaime
Thanks so much for entering James, and glad we could provide a fresh pair of eyes. Keep honing and keep writing!
Congrats to all of the semi-finalists and thanks to ScreenCraft and the judges for reading! Keep at it, everyone. Our beloved genre needs fresh voices and new stories!
I was extremely happy to be a QF in this particular contest, esp. since I entered a thriller (that contained a pretty scary homicidial maniac). Thanks for appreciating my script A Thousand Times Goodnight, and good luck to all still in the running : >)
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Sad to see that BLOOD DRIVE did not advance but I am extremely grateful that I made it to the quarter-finalist round. This is a great little competition and I look forward to submitting something new next year. Back to writing!
I produced a horror-comedy that should be released sometime soon staring Udo Kier and Tristan Risk from AMERICAN MARY. My hope is that its success will catch the eye of some sort of representation. http://www.imdb.com/title/tt3067274/
Good luck, semifinalists and thank you Screencraft for hosting these types of competitions.
Keep writing!
Hi,
This is one of my favorite action thrillers and I am working hard to remake it in India.
Thank you, very much for supporting BLOODTHIRSTY. It's the best script I've ever read and I am very grateful for it being a Semifinalist. 🙂
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Im going to be honest, im a little bitter about how this competition handle the judging of the scripts. Blue cat gives a free and full report about the summited script. It would be nice to know why you really didnt make it. Before you jump to the offensive, i understand its says that you have to pay for the extra value pack (the judges notes). If they wrote the notes, why not just give them? This was my first time. Next time ill choose a different comp with legitiment rules. But keep writing and expect to pay extra for feedback.
Im not bitter about not winning, i enter for the same reason everyone did. Feedback. I expected an email that said, "we have read your screenplay, and after hours of reading we have found this that, the cheareters are not speaking to us or this or that." But all i got was, "sorry you didnt make it, keep writing." Word of advice, yall would want to come up with an email to at least make the compeitors THINK yall read their script. There is no way to really know if you did, unless you pay for the premium package.
Thanks so much for reading our script and sending us to the quarter finals. Although we didn't make it to the semi-finals we appreciate the time taken to read Bridezilla. Best of luck to all of the semi-finalists.
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Studies show that babies who are spoken to frequently develop better communication skills as they grow. So win-win on pitching to the baby! 🙂 Plus, verbally reiterating your pitch helps you better prepare for when there's time to write. Great list & happy writing!
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For me, unlike Mr. Allen, it is not to seek and find an idea, I have too many, but to sort it out! But, overall, I suppose I've had considerably more 'life experiences' of substance than the gentleman I've just made reference to. Of course, with his massive amounts of success he's certainly had his share of more upscalish (don't grab a dictionary, it's probably not in there) adventure than myself. I think he and I could co-exist though as a couple of oddball friends, of exactly the same vintage! I'd treasure meeting the fellow! Jake
Glenn, newsflash: nobody cares what you think.
Sorry Sadsak, oops, did I say that? Anyhew, I care about what I say, and that counts to me! So, I think that makes your snide comment rather worthless!
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Well done to the winner, runner up and finalists.
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THANKS! Corrected! How embarrassing!
When can we read 'em? No links to share?
Congrats everyone.
Proud to have made it to the final 63!
You write about a screenwriting contest, yet nowhere is there any information as to how one might submit their script. What are the requirements? Are there any fees involved? Who can someone contact for this information??????????
I just borrowed Robert Segarra's note. Thanks Robert.
"You write about a screenwriting contest, yet nowhere is there any information as to how one might submit their script. What are the requirements? Are there any fees involved? Who can someone contact for this information??????????"
There is a link in the body of the text.
One sentencers are hard, but doable! 🙂
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So long in this business. Must say, this is some gospel tips on screenwriting.
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Glenn, don't mind Issak! Some of us actually enjoy your bloviating.
Add to that Columbia University School of the Arts MFA in Screenwriting. Many students have won Student Academy Awards and graduates have gone on to win Oscars and Emmy's including this years Oscar for the writer and director of FROZEN.
CSU Northridge recently upgraded their MA program into a MFA, which admits 14-15 students a year. CSUN has one of the largest full time screenwriting faculties out there and great adjunct instructors as well.
I'm currently in the program.
See how observant you are! Go to marsparadisio.net and see how many lines have been lifted from Woody's volumes!
Please, could anyone make an aproximation of the medium cost of a MFA? I'm not from the US, so just to know.
Agreed, not sure how you can omit Columbia given (or our, I should say as an alum of the program) continued success at festivals and in the industry.
As for the cost of an MFA...depends which program and whether you do any directing projects. Have to think tuition alone is $30k per year and up nowadays...at Columbia everyone directs also, so few people finish with sub-$100k debt loads. Yay...
How much did New York Film Academy have to pay this website to be above NYU and Chapman...
That's a sad joke.
Sincerely,
a New York Film Academy student
I don't think there's a particular order on this list, beyond the first two I suppose.
Suspense is the name of the game with any movie/video. The genre is irrelevant. Action is only as good as the suspense it creates. That does not necessarily mean bombs and bullets. Actors want/need characters who give them a chance to ACT. That means strong characterization, a driving desire to win at any cost -- "I will do this even if it kills me!" And, they mean it.
All action, special effects and no story does not a good movie make. Sorry, I gave up comic books when I became an adult. I don't care how 'good' a cartoon is, it's still a cartoon. You like Skyfall. I like The French Connection. I like special effects that really work. All of the Sean Connery 007 special effects really worked! What fun! The silliness that passes for special effects today are idiotic and slapstick. No more real than the three stooges. The Lone Ranger? Please.
What about Rebecca and Suspicion and Psycho? Not much action, but by golly, the suspense sent chills up and down one's spine because the characters were real people just like those sitting in the audience.
I agree with you that most global distribution screenplays today are crap. I don't even watch them on TV. I like House of Cards on Netflix. I liked the original 24 series -- eventually morphed into formula, but good acting, early characterization and time restriction gave them strong suspense. The last one failed.
A good love scene is full of suspense, not stripping and groping, but sweet kisses and soft caresses create suspense.
Oh well, if you haven't gotten the idea by now, you never will.
Another one to be on the look out for: Hollins University MFA in screenwriting. http://www.hollins.edu/grad/film/index.shtml
I like David Mamet's tips. Here's just one:
The job of the dramatist is to make the audience wonder what happens next, not to explain to them what just happened, or to*suggest* to them what happens next.
“There is no terror in the bang, only in the anticipation of it.” - Hitchcock
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Well that was a lot of money well wasted. Hope the problem with my script was that it was too old fashioned with video stores and payphones, and not that it just wasn't funny. I prefer comedies from the 1980's, and I try to emulate them. 🙁
I can't say I blame you. Well, I guess I'll have to go back to be being a lesbian pill pusher. I work in a pharmacy and yes, I eat Chinese food. I think they should offer face to face feed back so we all can ask questions and learn. But next time I think about entering a contest, I might just take the money and go gambling out at the casino. I think the odds of hitting the jackpot there may be better . Then I am hitting up that buffet so I can break even there. Or you could akin entering a contest to a disfunctional relationship on the internet. No matter what I always feverishly yearn for another dissapointing result. Like not having an orgasm during sex.
Hi Sonjah,
Thanks for the suggestion re face-to-face feedback. That's actually something we're actively working to implement and agree that it could potentially be a great option. Our friends at WriterDuet have come up with a great video chat platform.
In the meantime, feel free to always ask us questions via phone or email. Wishing you all the best with your projects.
I'm sorry to hear that you feel like you wasted your money. We try to keep our submission fees low and deliver strong value to writers in the form of diligent, considered reads from top-level story analysts.
Please feel free to email me at cameron@screencraft.org if you'd like to discuss your concerns more specifically. Thank you again for submitting and entrusting us with your script.
I'm with you! Bring back the likes of Carol Burnett and Tim Conway. P.S. My script wouldn't have made it anyway, it didn't have the word F*** and B***** in it!
Dude, you'll just never know. The screenplay I submitted to THIS contest did NOT make their semi-finals...but it made the Nicholl Fellowship semi-finals. A script of mine which, two years ago, made the semi-finals in BlueCat and was THIS close to being optioned by Disney, I was told by a major agency "got very negative coverage...problems with formatting, plot, characters" -- things of which I've actually taught classes about. My point: Yes, sometimes it's the writing, sometimes it's simply the formatting (if you've bad formatting on your first line, it's unlikely your script will even be read beyond that, thus you're out of the running)...but sometimes? Sometimes it's just someone's own personal s--t that has nothing to do w/the work. All you can do is be sure you're doing your best and following the formatting guidelines.
Gotta follow the money!
Almost all of the people who spend money in theaters nowadays don't know what a video store or cell phone or vinyl record even IS, because they were almost all born after 1990 and went to school in the Internet age.
Maybe you should shop your scripts to the live stage theaters, whose audiences consist largely of people who were almost retired when cellphones and google were invented? (Because those folks are the only ones who have the money for live theater seats anymore.) For example, if your script is quirky enough, try Woolly Mammoth in DC...
Just a thought--good luck!
Hi, I'm sad that muy script, "dave me", didn't make it into quarter-finalists. Sometime will be. Good luck to all in the next round.
Hi José,
Thanks for the well wishes to your fellow writers, and for submitting to our competition. Sincerely hope that you don't remain sad--we're firm believers that all scripts have potential, and that opportunities to find success in the market are always there for those that stay positive and keep honing their craft.
Folks,
Don't blame the competition because you didn't get selected or thought it was a waste of money. One, it's unprofessional but most of all welcome to the hardest genre to write for! In all reality comedy is extremely difficult in this industry. Let's face it not everyone has the same sense of humor. What might not do good in this one may do well in another. There is a lot more that goes into judging as well. Not just concept, but grammer, format, dialog, tempo all kinds of things. Each reader has a different view of the script as well. Don't give up, just get better! Good luck to all!
Mark,
Thank you so much for joining the conversation. Your outlook and comments are spot on. I agree that comedy is the most difficult genre to execute and that's more true in features and teleplays than in any other medium. So much does go into judging, but at the end of the day readers are just people. Some may not "get" the script or its sensibilities, but others will. The best thing you can do is to take everything in stride and to continually try to get as many targeted reads and implement as much feedback on your script as you can while staying true to the vision and qualities that matter to you.
No one contest, read, option or even sale is going to make or break you as a screenwriter. All you can do is keep the belief in yourself and in your projects and to keep writing and hustling as prolifically as possible. Writers write, and we're firm believers that great scripts and talented, persistent writers find their way.
As writers/authors, a thick-skin, and willingness to always strive to improve one's craft, are essential. Judging is not an easy task, and is—by definition—subjective.
While I am pleased to have made the quarterfinals with my comedy short, I was hoping my feature script would wow the judges. However, my first reaction to the latter result, is to fully review my feature script, and determine how I can make sure it is the best it can be. Finally, keep writing and be your own harshest critic.
Gene,
Thank you as well for jumping in and speaking the truth. I know how hard it can be to stay positive in an industry as cutthroat as this one where the script you've toiled on for countless hours and poured your heart into can be seemingly stopped in its tracks by a reader who comes in and makes a swift determination.
You are exactly right--all you can do is keep a thick skin, recognize the inherent subjectivity involved in the process and continue to keep channeling your energy into what counts: the craft. Congratulations on making the grade with FIRST DATE and we wish you all the best with your projects and writing aspirations. Keep in touch!
Hey guys,
Good job to everyone that made the quarters. Is there an opportunity to still get feedback if you didn't get through?
Hi Sam,
Absolutely! If you're interested in getting feedback on your project, email me at cameron@screencraft.org to discuss. Thanks!
Thank you, Screen Craft for offering this contest! After entering and not progressing last year, and then writing, rewriting, rewriting, and rewriting more, we are very thrilled to have made it to the quarterfinals this year!
Thanks Becca! We're really excited you guys made it and hope you are celebrating. The commitment you guys have shown to honing your projects is remarkable and definitely an example to all of us writers out there.
We give God the credit for helping us stay at it. 🙂
I'm quite proud that we got two scripts up there 🙂
One suggestion I did have though. I thought it might be cool if you could have a two phase contest. I got your feedback on our two scripts and I immediately went back to one of them and started editing it based not the suggestions because they were quite good. It's a stronger script now but my old script is the one that's in the competition. What if you could do a contest where you gave your feedback, and then the writers had a chance to work with the suggestions, revise the script, and submit the revised script?
Just an idea.
Thanks for the feedback by the way! It was really valuable 🙂
Hi Nathan,
Congratulations on making the grade and thanks for the suggestion. It's an intriguing idea and one we have thought about in various incarnations. If we can ever crack how to administer such a contest, we'll likely do it.
I like what Nathan said. Its something I was actually thinking about asking. My script made it but I feel like it JUST made it by a few points. I feel like if I went back and applied the changes I would have a better chance advancing to the next stage. Does placement all depend on the amount of points you have or are there other facets that you guys look at?
Hi Tiyan,
Our process isn't a mathematical one, though we do use scorecards to do initial diagnostics. Our determinations our made via close conversations with all of our readers and judges to make determinations.
First off, thank you for this opportunity, and to your readers and judges for advancing my script to the next stage (at least someone, besides me, thinks my writing is decent).
I'm noticing some people thanking you for the feedback on their scripts; if I'm a quarter finalist, should I have received something? My email has been finicky as of late and I very well could have missed it. Either way, thanks again!
Good luck to everyone who has advanced, and to those who haven't, keep on writing, there's nothing sadder than a great story left untold.
Cheers!
Just remembered I didn't opt for coverage/feedback…
Ooops.
Of course, I am elated to have two shorts make it. It is quite the validation. As Nathan's co-writer, we had discussed that suggestion. It would be great to allow us to tweak scripts based on feedback, and it would allow you judges to review our strongest possible products. To that end, can we re-submit scripts already submitted in future years (assuming we don't make it to the Finals this year)?
Congrats to all fellow quarterfinalists. And of course, to all who submitted an entry, keep writing! We worked on our scripts submitted here for years (and they are only shorts!). More writing makes you stronger. Keep reaching for your dreams.
Hi Evan,
Congratulations! And yes, absolutely, we are always interested in reading new drafts. Resubmission in future cycles is always encouraged.
Don't despair folks, one of my scripts, Hybrids, never made any list, but it's now in final post production. Stars Paul Sorvino & Carolyn Hennesy and there are 4 distribution companies wanting it. I still enter competition to see what is going on, just don't slash your wrists when you don't place.
Tony, that's great news! Congratulations.
The script my writing partner and I submitted was not selected, which was unfortunate. However, we selected the submission option of having a one page script review which was very helpful and managed our expectations.
We had some formatting issues and need to build out the characters. If was obvious that the style of comedy was not the readers cup of tea yet aspects really made them laugh. The critiques were valid and we need to continue to upgrade the product.
Thanks for the opportunity and consideration.
Mark
Thanks Mark,
Glad you and your partner have a strong outlook on incorporating feedback and revising. Writing is rewriting! Hope you'll keep in touch about your progress.
congrats to everyone that made the cut
and to everyone that wasnt selected, I was in the exact same boat the last comedy contest they held.
keep writing keep working
keep telling your story
Great advice, thanks for the words of encouragement!
Just wanted to say thanks to Cameron for tirelessly knocking out all these replies, and to Screencraft for putting you on the task. If there's one thing we writers love, it's getting responses and the comfort of knowing we're not alone out here. Very nice of you guys to provide it here in a timely fashion!
Thanks Craig! I agree with you. Writing is so often such a solitary pursuit, it's great to be able to have a dialogue with fellow writers in the same boat; there IS strength in numbers. Glad to be a part of the conversation and thanks to everyone for chiming in and getting your projects out there.
Sit your butt down and just do it.
I also appreciate the opportunity in this and the action/thriller side, too. I'm so honored to have made the quarters.
And to those who did not make it, Tony and Cam are right. You could place in another contest - or have your script produced as did Tony. Congrats on that, btw!
Stick to your guns and keep working! Funny story but I sent my comedy to a writer friend who's opinion I very much value. He said the humor was too "obvious" and that I should make it more subtle. I was this close to doing so - but when I spoke the dialogue out, I didn't want to change a thing. I stuck to my guns and entered STR as-is. Moral of the story: if you love it, others may very well love it too.
And Cam, thank you very-much for dealing with my nerves. As you can see since I haven't emailed you in quite the while, I'm a tad calmer now. =)~
Hey Josh, absolutely! I know it can be tough to know when to draw the line between listening to other voices and sticking to your own. There's no magic formula; in my experience you just have to take a step back and then do what feels right.
Congratulations again on making the grade!
Thank you Screen Craft for taking our script into the quarter finals! Pumped!
I have a quick question about those of us who pick the one page feedback. There's a rating system on the screenplay. I assume that determines the likelihood of the script being picked for the semi-finalist.
Thank you for choosing "Love Heat: Passion of the Fists" as part of the quarter finalists.
Hey Jeremy,
Thanks for getting in touch with us and congratulations on making the Quarter Finals! There is no magic number to get ahead, we use it as a basic tool to help us and you track what's working in the script. As a general rule we try to pick scores above 115 to advance.
Thanks again for applying and good luck!
Jason
Glad you liked it.
Well, this was a hard read for sure! 🙁
Thanks so much!