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Pretty sure non-commissioned adaptations based on intellectual property that you don't own are generally a bad idea.
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Feb 15, 2013 11:46
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Well, after reading up on creative rights, it looks like my options upon completion of this thing are: -Burn it for fuel. -Put it on a shelf and admire it. -Prop up a wobbly table leg.
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Feb 16, 2013 03:08
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Great Horny Toads! posted:Well, after reading up on creative rights, it looks like my options upon completion of this thing are: You could use it as a proof of concept if somebody is curious about your writing skills...or, if you have less scruples, you can rework what you have to the point where it seems like an original idea (see: Disturbia) fake edit: And I'm amazed to find out that Disturbia was actually sold twice before getting made.
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Feb 16, 2013 03:49
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Proof of concept, eh? That leads to another question: Could I register such a script with WGA?
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Feb 16, 2013 04:05
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Last night, I sat down, and I wrote. I said "Okay, I want to write about a kid who's moving and doesn't want to move, and down the line there's monsters." And that's it. No huge outline, no characters sheets, nothing. I just wrote. And it was amazing!!! I feel scandalous.
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Feb 17, 2013 17:35
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Do people still post in this thread? I've come to the conclusion that the more time I spend on a script's first draft, the less likely it will ever see completion. So now I'm trying to figure out the fine line between getting it done quickly and it being a slop-job. Any thoughts?
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Feb 26, 2013 00:25
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First drafts will always be bad, because you're translating an entire hour and a half into 90-odd written pages. I'm on the 10th iteration of my pilot, which started as a play I wrote a few years ago. It is almost ready; in its first version, not nearly. Not every version was a rewrite, and most of the original is in there in some way, but I had to rework the A plot and cut 35% of act two at one point. And there's more to do. Learn to love rewriting, or you're in for a hell of a painful career.
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Feb 26, 2013 00:59
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Radical Griff posted:I've come to the conclusion that the more time I spend on a script's first draft, the less likely it will ever see completion. So now I'm trying to figure out the fine line between getting it done quickly and it being a slop-job. That's a tough question. I'd say you can put dialogue quality on the back burner, if needed, in the first draft. That's one of those things that needs to be refined at a later date anyways. Everything else is pretty important unless you have a keen eye and a willingness to toss giant chunks of your work. Focus on discipline. If you have everything plotted out beforehand and you know your characters and you refuse to move on to that shiny new idea...eventually, you'll get done. Even if it's only a page a day, you'll have a finished script in a few months. Call Me Charlie fucked around with this message at 17:02 on Feb 26, 2013 |
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Feb 26, 2013 08:15
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I recently relocated to the North Hollywood/Burbank area, and I thought I might ask some questions of our television goons here, if there aren't any objections. Is that kosher in this thread?
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Mar 12, 2013 17:31
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Absolutely. For example: West of Hollywood Way is North Hollywood, but no one outside the valley cares about this distinction.
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Mar 12, 2013 18:13
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See, now that's useful advice.  This one is more of a general question. My writing partner and I are just now getting settled and apartment searching while we live in an extended stay. So, those of you who have worked in TV, how did you go about getting your first couple of jobs? We're looking at applying through some of the major employers in/around Burbank. NBC Universal has a pretty streamlined application site that I just checked out today. I have enough money saved up to basically not do anything for several months, and I'm applying to transfer to a couple of bookstores in the area, but I'd like to focus on getting some entry-level PA stuff to get my feet wet and hopefully start figuring out how things work from the ground floor. So anyone who wants to talk about their beginnings, even in general, would be appreciated. Just to be clear, I'm not asking anyone to find me a job or tell me about job openings. I'm just interested in hearing about how people got started, since there's a bunch of different avenues. We're working on our sitcom spec scripts in the downtime, but that's just a given, I'm assuming.
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Mar 14, 2013 05:56
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Job websites are a CYOA method; everyone on Earth hires people in this order. *Friends *Same college/Friends of Friends *Interns *Passing dogs *Online applicants (maybe). Your job is to go out there every night and MEET PEOPLE. Volunteer on stuff. Join a kickball league. Meet people, meet people, meet people, and if you seem like a good sort, you'll get started.
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Mar 14, 2013 19:26
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If someone wanted to attempt a re-telling of a past work, modernizing it for example, would the goal be to: 1) Merely refresh the work, updating the context to make it easier to grasp for the modern demographic? or 2) Add something new along with it, in an 'If it's not broken, don't fix it,' sense? (or both)
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Mar 17, 2013 03:25
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gredgie posted:If someone wanted to attempt a re-telling of a past work, modernizing it for example, would the goal be to: See: The 'Sherlock' BBC series Nothing new needs to be added if it was a successful first telling, so just a modernization can really make it new again. Option 1.
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Mar 17, 2013 09:12
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Sorry to bump the thread on this, but last night a script that I wrote was picked as a winner of a 72 hour film contest. Six different production teams choose their favorite screenplay from all of the submissions and have until Sunday to shoot, edit, and submit the finished (short) film. So yeah, this is the first screenplay of mine that'll ever be produced, and the film will be completed and screened at a film festival... the day after tomorrow. Pretty standard turn-around, right? Mike Works fucked around with this message at 05:42 on Mar 30, 2013 |
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Mar 30, 2013 05:40
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http://aerogrammestudio.com/2013/03/13/joss-whedons-top-10-writing-tips/ Joss Whedon's Top 10 screen-writing tips. Joss is an odd one for me, I'm usually very nit-picky about his stuff, but I can't argue that he's a major player in TV/Films so his advice can't be sniffed at.
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Apr 9, 2013 11:20
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gredgie posted:http://aerogrammestudio.com/2013/03/13/joss-whedons-top-10-writing-tips/ It's pretty solid advice all around. Louis CK said number 7 before but from an editor's perspective.
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Apr 9, 2013 13:27
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I guess I have a methodology question here: I'll probably spend one or two weekends shooting a music video for a local band. Since I don't really have talent or experience I think I could probably try to write a short story that would fit the duration and theme/mood of the song and shoot it. If everything goes well it will probably get a dozen hits a week on youtube. The song is a short upbeat/dreamy piece about love and longing, by two girls who mostly do acoustic covers and some original compositions. Is there something I should read/be aware of, in relation to the music video format ? Am I going completely off track thinking I should start building a story and add the visual part later ? I started writing a bunch of ideas on paper, but it ends in a mix of unrelated stuff which I can't put together in something watchable.
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Apr 10, 2013 15:51
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Listen to the song. Break it down into its various segments. Then describe what each segment makes you think visually (short, frantic, languid, steadily moving...) Get a wider idea, and see if it can do the same "act breaks" as your song.
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Apr 10, 2013 23:45
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Submission for NBC, WB, and the other channels writing fellowship programs are less than a month away. I submitted a Parks & Rec spec a few years ago. Tried writing a Happy Endings spec but I sputtered out towards the end and didn't finish it last year. I'm currently knee deep in a new Happy Endings spec for this year's application. Is anybody else familiar with writing sitcom specs? This new one is turning out better than last year's but I have a few questions. 1.) If I have a main character drifting aimlessly through the B & C plots and not really contributing anything to the story should I even bother including them? Outside of a few lines in the cold open. I feel like these programs want you to demonstrate your understanding of the show's voice, which means incorporating every main character into an A-B-C storyline. Shows like Community have characters barely appear in an episode and it works. I'm also not Dan Harmon though. 2.) I've heard that you're not supposed to introduce new characters into a spec. I understand not creating new characters where the entire episode revolves around them, but what about a minor character that serves the plot? For instance I included Penny's boss, a character never mentioned before, but fits into the show's universe. 3.)Is it ok to introduce new locations? I've only been using established sets so far. Feel like I gotta show that I can write an episode that won't go over budget with news sets being constructed, location shooting, etc. 4.) How many pages should it be? 25-30? Like my spec, I could've trimmed these questions down, and I basically gave my own answers to 'em... but any advice would be greatly appreciated.
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Apr 18, 2013 19:26
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1) Depends on what you mean by main character. Your spec should only include series regulars. For Happy Endings, for instance, don't include Pete in your spec. But yes, you should have all of the main cast in your spec. 2) Including Penny's boss is a bad idea. If you're going to create a character, it needs to be a one-off character like a waiter. 3) New locations are fine, but don't go overboard. 4) 25-30 is fine, but feel free to go more than 30 if you need to. I've seen half hours from repped writers clock in at 38, 39 pages. Try not to fret about page count, and focus more servicing your story.
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Apr 18, 2013 19:50
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Zypher posted:1) Depends on what you mean by main character. Your spec should only include series regulars. For Happy Endings, for instance, don't include Pete in your spec. Yeah I meant series regulars. I'm having trouble with Brad in my script, so should I refocus my B or C plot to include him, or is it ok for him not be involved in any of the plots, outside the cold open and group scenes? Also, what about reoccurring characters (like Derrick?) Are they fair game for quick, short beats, or is it better to just cut them? They're not essential for the story, they only provide a quick beat that enhances the plot (and are hopefully funny). I guess another problem I'm having is jokes vs. story. I know jokes are supposed to service the story, but with a rapid-paced show like HE it becomes a high wire juggling act to balance the two. Thanks for the tips. Palmtree Panic fucked around with this message at 20:08 on Apr 18, 2013 |
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Apr 18, 2013 19:57
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Without knowing more about your storylines, one of them should involve Brad. Don't include Derrick. Story vs funny is up to you. Showcase what you're best at. Everyone reading your spec will come at it with different needs. If they're looking for setup punchline setup punchline, something that half asses it isn't going to win them over. Same thing in re: character, story, situational humor etc. Play to your strengths, and let them shine.
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Apr 18, 2013 20:31
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Maybe a fellow goon can answer this question for me: Are writers allowed to simultaneously submit the same script to competing programs during a submission season? Last year I completed all different scripts for each program and it put a real crunch on my output and time. The submission agreements don't seem to address the issue, so maybe one of you knows the answer to this while I wait for an e-mail reply from the individual programs.
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Apr 19, 2013 21:45
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Yes, you can submit the same script to multiple competitions/fellowships.
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Apr 20, 2013 02:25
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Thanks! I was stressing a bit.
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Apr 20, 2013 05:41
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For Final Draft users, what's the difference between Manuscript and Novel? The only difference I'm really seeing is that one is double-spaced and the other isn't. Is there any actual purpose to this, or is it just preference? I'm putting this here because I'm planning on writing a series of novellas that take place in the same universe as a produced web series and a separate pilot script I'm working on. I know there's stuff like Scrivener or just plain MS Word, but I'd like to keep it all in the same place so I only need one window/program open.
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Apr 21, 2013 09:01
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Is anyone here familiar with Takashi Miike's "Ichi the Killer?" My screenplay is somewhat similar, and admittedly inspired by that film, and I was hoping someone could look over the first 7 pages of the screenplay and tell me if you think it's too close. It's a first draft, so obviously it's rough, but I'd really appreciate it.
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Apr 24, 2013 18:55
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So I'm writing for a screenplay for the first time, how concerned should I be with formatting? I purchased a couple books on it and I'm trying to get things accurate as to commit the format to memory. I realize that first screenplays are seldom good and I could always fix formatting in redrafts just curious as how it went for you guys. Any other tips would be much appreciated.
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Apr 26, 2013 01:01
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Don't let it get in the way. Get your ideas and story out first. A lot of people get tripped up and eventually stop because of worry.
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Apr 26, 2013 01:11
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Thanks, I'm definitely second guessing myself already but I'll press on. That's what it's all about right?
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Apr 26, 2013 02:45
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Just do it. Try to keep your text as short and snappy as you can. Don't get lost in description. Once you finish, use the time with your creative headache to format that puppy.
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Apr 26, 2013 06:00
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JamesWestfall posted:So I'm writing for a screenplay for the first time, how concerned should I be with formatting? I purchased a couple books on it and I'm trying to get things accurate as to commit the format to memory. I realize that first screenplays are seldom good and I could always fix formatting in redrafts just curious as how it went for you guys. Any other tips would be much appreciated. JamesWestfall posted:Thanks, I'm definitely second guessing myself already but I'll press on. That's what it's all about right? The only universal things I can think of are scene headings and CAPS when a character is first introduced. After that, there's usually numerous ways to approach something and various levels of acceptance for each approach. [besides the position of certain things on the page but a screenwriting program handles that] Produced screenplays are some of the best learning tools. You'll not only see that formatting isn't set in stone but you'll also get the gist of what's needed and what's not. When I first started, the 'how to format' book I had was very proper. CUT TO: between every scene. (into phone) during every bit of phone dialogue. RETURN TO SCENE after something mundane. And I took it as gospel. To the point where I was, embarrassingly, arguing with other people in this thread defending its use because IT CAME FROM BOOK  . But eventually I realized that unnecessary stuff like that is a drag for the reader and every other script didn't follow it. And your first script will suck. Either you'll play it too safe or you'll overreach to a concept way above your skill level or you'll micromanage everything or you'll muddled what you want to get across or you'll fall out of present tense in sections or you won't find your style or or or...Try not to get too caught up in it. Everybody makes those mistakes and it's a process we all have to go through to learn. Same thing as if you were a fighter. Despite putting your best foot forward, you're still going to take your lumps and pay your dues. Tips I found that work for me: Plot everything out before starting. Always finish. Don't get too attached to an idea. Don't be afraid to throw something out that's not working. Enter a scene late and exit early. Read my stuff outloud before showing anybody. Take some time off in between drafts if possible. Call Me Charlie fucked around with this message at 06:28 on Apr 26, 2013 |
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Apr 26, 2013 06:20
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If you're really worried about format, buy Complete Screenwriter's Manual: A Comprehensive Reference of Format and Style. But don't stop writing your draft!
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Apr 26, 2013 14:31
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If you're confused, add another script to your 'read' pile. Good writers have a lot of space-saving, clarity improving tips.
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Apr 26, 2013 21:47
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Thanks for all the advice! Any suggestions of scripts to read that you guys hold in high esteem? I've read a bunch from movies that I consider classic to myself and in general, but there's a lot of movies so any pointers to stellar work would be appreciated. The script I'm currently working on is a kind of horror movie (almost slasher) similar to Evil Dead and maybe The Thing (or Jaws in some regard) so anything like that as well would be very helpful.
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Apr 27, 2013 06:03
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Yeah, don't let formatting get in the way when you're in the discovery/writing process, but absolutely make sure your formatting is 100% up to snuff before you send it out. I can't tell you the number of times a producer has told me they've thrown out a script because the writer didn't format the title or first page correctly.
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Apr 27, 2013 06:31
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Hey guys, I like reading books on screenwriting when I'm not screenwriting. Has anyone read Vorhaus' "The Comic Toolbox"? And: should I?
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Apr 29, 2013 10:43
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Screenwriting books are a great way to avoid reading screenplays, or writing screenplays. If you read 3-4, you can sidestep a writing career entirely.
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May 1, 2013 07:43
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Golden Bee posted:Screenwriting books are a great way to avoid reading screenplays, or writing screenplays. If you read 3-4, you can sidestep a writing career entirely. Not an answer to my question. I read and write plenty of everything.
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May 1, 2013 09:01
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