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I know that Slashie is a guild screenwriter in Hollywood, and is usually helpful with this sort of thing, but other input would be great if Slashie doesn't want to basically pilot the entire thread. JCaesar's (supposedly?) a TV writer, and I know we have a few other writers too. In my experience I can tell you that making connections needs to be your #1 goal. You could be a complete hack, and still be successful if you know a big shot. Talent is unfortunately very little of the process. I've made some pretty cool connections and worked with some great indie directors, but you really need to get over any shyness or social anxiety and put yourself out there. The quiet reclusive writer thing won't get you very far unless you're REALLY good at grabbing a reader on the first page, or marketing yourself really well. edit:\/\/\/Yeah, it's a great program. Bonk fucked around with this message at 04:35 on Aug 18, 2011 |
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Oct 20, 2010 23:59
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Bumping this because I'm writing a found footage screenplay, and it's hard as hell without directing on the page, because your cameraman has to do specific things. Cloverfield is the only script in the genre I've been able to find, and that's chock full of camera directions. I guess it's best to just write the whole thing the same way I would write a "CHARACTER'S POV" segment. If anyone's ever attempted this or can point me to a better example, I'd love to hear it. Also adding some advice here, hope you haven't gotten too far past this point without some fixes yet: Sporadic posted:(playground scene) 1) Get the "CUT TO:" out of there. It's out of use, and is implied by a new slugline. 2) "PARK, PLAYGROUND" is redundant and improper format. You probably just want PLAYGROUND. If you absolutely need both, it's "PARK - PLAYGROUND", and only if you're going to be setting scenes elsewhere in the same park. 3) Fix all instances of "Women", which I'm guessing is supposed to be "Woman". 4) Break up that second paragraph unless that's a reeeeally long tracking shot (which isn't your call anyway). Action text should be 3-4 lines max, and new shots can often be separated onto new lines. That paragraph is at least 5 shots, so work with that. 5) Unless "afternoon" is absolutely integral to your plot (like how "dawn" would be relevant in a vampire movie), ONLY use "DAY" or "NIGHT" in a slugline. 6) Stick to what the viewer sees. How would a person SEE "obliviousness", "carefree abandon", or "clear disconnect"? Don't leave that up to a director or actor. You can't "see" internal emotion, you have to demonstrate it by the look on a character's face, their actions, their position in relation to others, or their mannerisms. [edit]\/\/\/I've been taught specifically not to use most of those. POV is okay, but... in that genre, everything is POV. Insert doesn't really apply, and the rest I never use. Bonk fucked around with this message at 10:43 on Aug 15, 2011 |
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Aug 15, 2011 06:41
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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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