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Slight tangent, but McKee's seminar is one of the coolest things you can do. I don't necessarily agree with a lot of his mandates (that said, they're usually good guidelines), but it's a great tool. I especially find it's good to take it if you're in the middle of a project -- as he speaks, you can't help but dissect your own project in meaningful ways. Too bad it's pretty loving expensive. I'd still try to figure out a way to take it before he dies, though. There's really nothing else like it. And this is coming from someone who had a negatively biased view of McKee prior to the seminar (mostly thanks to Adaptation).
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Jan 23, 2013 06:42
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I'm not familiar with Making Meaning. Just about every studio exec I know has read Save the Cat by Blake Snyder. Edit: \/\/\/\/ Not giving it an endorsement. Just saying that it's a popular book. Zypher fucked around with this message at 23:53 on Jan 23, 2013 |
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Jan 23, 2013 22:20
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I have yet to read a well-written script over 130 pages.
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Feb 15, 2013 01:36
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Which one do you recommend I read first? I meant by an aspiring screenwriter, but, ya know, continue on.
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Feb 15, 2013 02:21
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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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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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Yes, you can submit the same script to multiple competitions/fellowships.
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Apr 20, 2013 02:25
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Gray Ghost posted:There's so much fantastic advice in this thread and, of course, I need even more of it. 1) No. You wouldn't do that in a spec of an existing show, and you definitely don't do it on a pilot. 2) Yes-ish. It's definitely important to have as many writing samples as possible, but only if they're good. So it depends on if it's actually trash, and how much of your time it would take to salvage it. PS If you do go this route, don't date it as 8 years ago. 3) Can you move to LA at 30 and eventually sell something? Yes. I know someone who moved here at 30, started as a night PA, and just sold her first TV show to a major network in her mid-40s. I also know people who have gotten staffed within weeks of moving here. Commuting for pitches is generally a bad idea. Only established writers really can afford that luxury. You generally won't be able to secure pitches without a lot of networking, which you won't be able to do out of town.
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Jan 22, 2014 17:36
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Situation reminds me of the blog post below and the older post he links to within the blog: http://gointothestory.blcklst.com/2013/01/the-business-of-screenwriting-sometimes-you-just-have-to-say-yes-even-to-crap-projects.html
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Jan 23, 2014 09:33
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Quiet not quite
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Mar 6, 2014 04:02
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Phone posting -- I'd also consider just simplifying to "...when her jealous ex-boyfriend finds out." I prefer sleeker log lines, and him playing water polo isn't gonna make or break any's decision to read the script.
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Mar 6, 2014 04:08
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Good point Magic. You could change the structure to something like: A quiet bookworm suffers a jealous ex-boyfriend's wrath when he tries to help his cheerleader crush do better in school. But it still needs to be plus-ed a bit to make clear it's the bookworms crush not the ex-boyfriends crush.
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Mar 6, 2014 04:21
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Specific music cues are something that a number of professional screenwriters include in their scripts. I'm not a fan of it myself, but I wouldn't call it a major student move.
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Mar 18, 2014 18:27
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Don't think of it as insisting. We all know the actual music cue will probably be different if and when it goes into production. It's just a cheap trick to engage the reader while setting tone. It's on the same level as describing a character by saying "think Kristen Wiig." The writer isn't saying go get Kristen Wiig or else my vision for this script is ruined. Again, I'm not crazy about the device. But using it is really not as bad as you're making it out to be. In fact, I've probably seen it used in about 1/3 of pilot scripts I've read from this season.
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Mar 18, 2014 21:12
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Honestly, specs are becoming archaic. The only real reason to write one anymore is if you're applying for a workshop or fellowship that still requires them. No one wants to read anything but originals anymore. They're what gets you representation and they're what gets sent out for staffing. I actually worked on a show fairly recently where we specifically requested specs vs originals as writing samples, and it was like pulling teeth with agents to get a sample spec from some of their clients, if they even had one at all.
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May 11, 2014 06:18
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Don't capitalize every instance of a character's name. Capitalizing important props, sounds, etc is more of a stylistic choice, IMO. I've seen it at both ends of spectrum.
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May 28, 2014 20:56
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Smerdyakov posted:Can you say more about this? My own experience is pretty limited, but other than marginal festivals and contests which seem more like PR stunts than actual attempts to find new writers, I haven't seen many places asking for original scripts. Again, this could be based on my own relative ignorance, so I'm genuinely curious. I don't have representation so it's likely I'm totally out of the loop, but I recently convinced myself that I need to start writing spec scripts for shows in order to get anywhere without actually filming things myself. I'd really appreciate any insight you have about what the modern portfolio of working screenwriters actually looks like. Sure. The working screenwriters I know all have portfolios that are almost exclusively originals. And the agents, managers, and showrunners I know prefer reading originals because they're busy, have a lot of reading to do, and would rather be entertained by something new and original than read about the same characters over and over again. Also most entry level writing positions are on new shows, not long running series (usually very little turnover, and if something opens up, they promote from within). On a new show, you're helping create the voice of the characters -- therefore, the people hiring are more interested in your ability to create characters than your ability to take a preexisting show's characters and mimic their voice. The ideal portfolio, IMO, is to have a handful of polished original pilots and a long document of show ideas. The finished pilots serve to show competency, and your list of show ideas is your bread and butter. You would never show anyone your list (except maybe manager or agent) but it's something you mentally bring with you to every meeting you ever get. If MTV wants to do a show about mermaids, they're not going to buy your pilot you already wrote about mermaids because one small thing you wrote doesn't quite jive with the version they have in mind. But if you have an idea for a mermaid show, they sure would love to buy your idea and develop it with you.
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Jun 2, 2014 18:59
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hotsoupdinner posted:I have two pilot scripts that I've been polishing lately until they shine. And I have a couple "elevator pitches" for other series. Would you suggest I crack a third pilot or just cultivate more concepts? Depends. How similar are your pilots? Are you writing half hour comedies or hour long dramas? With dramas it helps to diversify. For example, it might be nice to have a straight drama, a fantasy/genre, and a procedural so that you can go up for a multitude of shows. If you're writing half hour comedies, two might be enough if you're confident in them. Your time might be better spent cultivating ideas, or differentiating yourself in another way. It's tough getting staffed on comedies -- your competition is John Lutz from 30 Rock. He got hired as an entry level staff writer on a new show this fall. How stale are your scripts? Has your entire network read them? Finishing a new script is a great excuse to reach out to your contacts (within a reasonable timeframe). Slim Killington posted:How do you go about getting your meetings? Mostly through your agent/manager. They'll get information straight from the studios during staffing and pitching season that will help influence where you might meet. They'll also hear which production companies are looking to setup generals (first dates where nothing is really pitched other than yourself as a likeable person). You might scrounge up a general through your own network, but your agent/manager will have to reach out on your behalf to set it up anyway. As for getting an agent or manager in the first place, that's the
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Jun 2, 2014 23:17
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Lucubrations posted:Any tips on how to FIND writers? I work at a video game company and we're having a hard time finding experienced writers who play video games and can produce the kind of writing we want. Some of our best writers come from a TV background but we grabbed them from our personal networks and now that well is dry Send me a PM or email me at username @gmail.com edit: I should clarify that I'm not advertising for myself, but rather can steer you towards professional writers that might be a good fit. If you reach out, it'd help to have some details about the project and its scope. Zypher fucked around with this message at 18:55 on Aug 28, 2014 |
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Aug 28, 2014 15:12
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Directly is a little strong. Reader only gets half the fee.
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Oct 5, 2015 01:22
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Mid-December, on a Monday e: here are the release dates for the last five years 12/13/10 12/12/11 12/17/12 12/16/13 12/15/14 Zypher fucked around with this message at 04:58 on Nov 23, 2015 |
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Nov 23, 2015 04:49
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Yes, they do movies. Their first release is actually in a week and a half (Chi-raq) but it was an acquisition and not fully homegrown.
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Nov 24, 2015 01:46
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I guess it's possible but very, very improbable.
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Jun 27, 2016 11:22
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Race Realists posted:I ask: Are there ANY goons out there working (or have worked) professionally in the film industry? Yes. But I'm not going to post stories, and I don't think many others will either. It's a tough, stubborn business. Takes a lot of sacrifices to stay in it. Entertaining people in a thread is not worth jeopardizing the small thing I've carved out. But I'm always happy to answer questions about the industry in the Film Business thread (or screenwriting in this particular one). Or PMs.
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Oct 23, 2016 01:06
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I'd include something in the scene heading EXT. SCHOOL YARD - YEARS LATER - DAY
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Mar 9, 2017 20:33
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