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Dear Screenwriter:
To our new subscribers - welcome!
To our loyal subscribers: Clue us in on what we're doing right and/or wrong. Send feedback to screenwriter@breakingin.net
As the holiday season approaches, the screenplay market - buying, selling and pitching - seems to slow down to a crawl.
The film industry (unless they're in current production) uses this time to assess their current slate of projects in development and to re-examine old budgets and create new ones for 2002.
Downtime for screenwriters? No, the perfect opportunity for writers to focus on writing, not marketing.
~ Take another look at that stymied script you shoved into the drawer last August.
~ Research some of the script contests you've wanted to enter but haven't had time to investigate.
~ Consider contacting the script coaches that other screenwriters have
recommended to you. Feedback from a pro might give you the perspective you need to lift your writing to a new professional level.
Let Script Market News set the mood --
_______________________________________________________________
SCRIPT
MARKET
NEWS NOVEMBER 15, 2001
IN THE SPOTLIGHT ----> Kate Wright, Script Coach
FEATURE ARTICLE ----> Using Screenwriting Callboards
WHAT'S NEW ----> Contest Tutorial: Don't Get Burned
MARKET TIPS ----> Short Shorts, McKnight, All She Wrote
__ IMPORTANT MESSAGE __
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Find a New Career in Your Underwear <----------------
Your FREE career guide "Clothing Optional" downloads
instantly when you sign up for DREAM JOBS DIALOG -
a FREE zine exploring Media Careers from the inside out.
Just Click------> Dream
Jobs!
IN THE SPOTLIGHT ----> KATE WRIGHT
Since 1995, Kate Wright has
been a screenwriting professor at
UCLA (Insider's Tip: The #1 school for screenwriting in America!).
Hundreds of successful writers have taken her two most popular
courses: Writing the Million Dollar Screenplay and Script
Doctoring: Rewriting for Production.
Previously, Kate enjoyed a decade of experience as a film and
television executive at Interscope Communications where she
worked with some of the finest writers in the industry developing
stories for long-form television and producing them. Kate had the
extraordinary good fortune to work with the legendary Tennessee
Williams; and she collaborated (as producer) with Pulitzer Prize
winning actor-writer Jason Miller to win Interscope's first Emmy!
SCRIPT MARKET NEWS: Kate, as an executive at Interscope
Communications, how often did you read and consider material
from unproduced writers you didn't know?
KATE WRIGHT: Many times, and the best connection, by far,
is
through an established producer, executive, or friend who has
credibility and/or a distinguished track record within the
industry.
I would also read anything submitted through an agent, however, if
the material is submitted through someone I have worked with, it
goes to the top of the pile. And if it is submitted by a director
I
have worked with, it goes home with me that night!
SCRIPT MARKET NEWS: When reading scripts from aspiring or
unproduced writers (or even hearing their story pitches in person)
what contributed to your confidence that the writer could deliver
a
shootable screenplay or teleplay?
KATE WRIGHT: Four elements:
1) A great story.
2) A fascinating character with an interesting moral dilemma.
3) The ability to tell the story in a dramatic format with strong
emphasis on structure.
4) The capacity of the writer to explore the complexities of the
human heart and its unconscious desires.
SCRIPT MARKET NEWS: In your UCLA classes and as a private
script coach, you read hundreds (thousands?) of treatments and
screenplays. What common script mistakes do aspiring
screenwriters make that they can (and should) correct themselves?
KATE WRIGHT: Interestingly, aspiring writers make the same
mistakes as established writers, however, it is much easier to
identity the mistakes made by aspiring writers because they don't
know how to conceal them --- yet!
Here are a few:
1. Movies are star-driven.
You must have a movie star in order to make a movie. Even lower
budget movies require a "star" to gain distribution. So the
most
important element is to create a story that features ONE MAJOR
CHARACTER who appears in almost every scene and transforms
(internally) throughout the story.
2. The idea isn't big enough for the big screen.
When we put down $9 at the box office, we want to be transported
to a new world, go somewhere we have never been before, see
things we cannot imagine in our own lives. As writers, we must
spend plenty of time thinking about this. Don't waste time on
ideas
that are best executed as a political essay, a Letter to the
Editor,
a short story, a play, a novel, a TV movie, or an episode of a TV
series.
3. Not enough COMPLICATION.
The idea is pretty good, but there is not enough COMPLICATION to
the story. Without opposition, antagonism, and obstacles, the
story goes nowhere, and won't hold a reader's interest past page
25.
4. Eliminating (killing off) the most interesting character.
This may sound strange, but quite a few writers create an
interesting character in the first 31 pages, and then kill him/her
off
on page 32.
This is a problem because the reader/audience will follow the most
interesting character, that is, the character with the most
conflict.
If you kill him/her off, the reader/audience will be furious and
not
want to "switch horses mid-stream," and put your script
down.
5. It is essential to work out a story that challenges the main
character towards the climax.
Before beginning the screenplay, you must understand:
~ what the story is about
~ how to create complication
~ how to build towards the climax
~ who the main character confronts at the climax
~ how the climax reflects the opening situation/ inciting incident
But by now, at the end of the story, the main character has a new
insight as to what he/she has overcome, and appreciation as to
what LIFE IS ABOUT.
This is what I mean by Life Values: ideals and feelings that
reflect
our basic moral values that are imbedded into the human condition
SCRIPT MARKET NEWS: Established screenwriters have a
community of industry peers they depend upon for feedback:
agents, producers, directors, studio readers, writer pals and
personal script coaches.
At what stage of the writing process would an aspiring
screenwriter
most benefit from professional feedback from a writing professor
or script coach? Should they rely on one person or solicit second
opinions?
KATE WRIGHT: Good question. In the early stages of
developing
a screenplay, it's best to work with an experienced coach who can
literally stop you from making errors that land you in a dead end.
Remember, all coaches have been there, done that, and their value
is their multitude of experiences, either with their own work, or
with other writers.
Also, don't be embarrassed that your work is not perfect! Most
people have trouble thinking through the story and defining what
the
story is about. It is crucial to spend your time wisely rather
than
launching into the screenwriting phase and ending up with
something nobody will read.
SCRIPT MARKET NEWS: Do some specific script problems or storytelling challenges particularly benefit from the professional feedback of a script coach or writing professor?
KATE WRIGHT: All genres can be helped by a script coach or writing professor; however, the more complex the subject matter
(historical epic, psychological thriller, character drama) the greater the challenge, and therefore, the greater reward from working with a script coach or writing professor.
Creating the story is job one, but other areas which benefit from coaching are: tone, point-of-view, theme, spine, anything that is complex in execution.
SCRIPT
MARKET NEWS: Any suggestions how unproduced screenwriters can somehow test the idea for their next screenplay to determine if it really is a movie? Are some script ideas doomed from the start - no matter how well-written they are? In short, how can aspiring screenwriters avoid wasting their time on anemic or inappropriate stories and themes?
KATE WRIGHT: Some script ideas are doomed from the start, especially those that do not transport us into a new world, or those that are better handled on NYPD or LAW AND ORDER or FRASIER.
The best way to test them is to write one-page summaries of each one and run them by someone who is experienced, such as a coach. The next best way is to run them by somebody who goes to the movies at least once a week, who is likely to go to the genre you are writing.
A word about ideas that seem familiar: sometimes they can be resuscitated by creating a fascinating moral conflict or dilemma, but for the most part, it's your job to take us on a journey, to fly on the magic carpet, or to take us to the moon!
SCRIPT MARKET NEWS: For those readers not in the Los
Angeles area, do you provide long-distance script coaching? How
does distance script-coaching work? And how do writers get in
touch with you if they want more details?
KATE WRIGHT: Of course. I work by tutorial. In the early stages, I
work in story, which requires some telephone conversations to
see that the writer is off to a good start. Then, we would move to
step outline which lays out the basic structure and sequences.
Rewriting is another matter, sometimes more difficult, because it
requires a certain humility to be able to unravel your screenplay
and put it back together again. It also involves a dose of
perfectionism and perseverance to stay with a project until it
speaks universally to the hearts and minds of all who read it!
Rates and guidelines available upon request. Contact:
katywrite@aol.com
The COMPLETE interview RESIDES ONLINE ---->
http://breakingin.net/kwright.htm
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FEATURE
ARTICLE
How to Use Screenwriting Boards ~ Post
and Profit
by Lenore Wright
When I meet working screenwriters, I often ask them how they
landed their first paid writing gig. The answer usually involves a
convoluted tale of the brother of a friend who introduced them to
a
reader who worked for a producer whose sister was an agent who
represented the director whose ex-wife was the producer who
eventually optioned their script.
In short, most first writing opportunities develop through
networking.
Working screenwriters typically spend part of each day networking.
So should you.
Even if you don't live in a major film center like LA, London New
York or Toronto, you can network on the Web. Dozens of
screenwriting callboards exist online just for this purpose.
Once you find them and teach yourself how to recognize genuine
networking opportunities, you'll see the benefit.
Let's get started.
THE BEST SCREENWRITING
BOARDS:
Nyscreenwriter.com is the online
version of New York Screenwriter
Magazine, a great monthly for writers. Their site offers much more
than the magazine's archives, a community of screenwriters and
filmmakers hang out there.
The link above will take you directly to the Scripts Wanted page
where producers and filmmakers post classified ads for the types
of scripts they seek. The publishers charge for some classified
ads, but this section is FREE for writers.
Also FREE: ads for the Collaborators Wanted page and for the
Writing Groups page. Check these boards regularly, post your
writing group or advertise for a collaborator if you need one.
Script Seeker offers an online script
registry service where you pay
to post your scripts or loglines so producers and agents can
access your material; but you don't have to use their registry
service to access the Callboard. You'll find calls for scripts and
plays posted by producers, agents, directors and filmmakers.
Shooting
People is a unique filmmaking service, a dynamic community of over
17,000 members connected online to enable them to get their films
developed, created and distributed.
On
the homepage, choose the UK Screenwriters Network and join – it’s
free. Members receive a daily (Mon-Fri) email digest of messages from
other members -- an eclectic mix of job opportunities, courses,
contests, collaborating jobs and other helpful information. Most members
reside in the UK, but some opportunities are Web-related so location is
less relevant.
Wednesday posts are restricted to movie script pitches.
The
Writers Script Network is well known for their popular script registry
service, but they also publish a timely newsletter that lets writers
know exactly what type of stories specific producers seek. Subscribe
online from the link above. This report offers detailed descriptions of
the scripts wanted, along with accurate, updated contact information for
the production company. WSN is based on Hollywood, so their film beat is
the US marketplace.
The
classified posts on this site for independent filmmakers range from
requests for scripts to offers of directing and producing services from
aspiring (and sometimes experienced) filmmakers. You can also search for
screenwriter and filmmaker networking groups by location – a helpful
feature.
Writers
Only, the classified ads section of Pif Magazine online, offers a
special posting category - Calls for Manuscripts. Publishers, producers,
agents and other writers post the ads calling for manuscripts or
screenplays. Some posts promote contests or announce writing
opportunities that can help you get your scripts read and recommended to
the right people.
THERE'S MORE...
This article CONTINUES ONLINE where you'll find a list of suggestions for making the most of your posting efforts!
Click here for the rest of the article --->
http://breakingin.net/tswboards.htm
WHAT'S NEW AT BREAK INTO SCREENWRITING
Contest
Tutorial - Don't Get Burned
Each year hundreds of writing
contests tempt screenwriters with
the lure of prize money, instant film industry contacts and
personal
feedback from film professionals.
Contests can be costly, screenwriters should choose intelligently
after researching and evaluating the contests.
RESEARCHING CONTESTS:
First Step: CHECK OUT THE CONTEST WEBSITE
Nearly all script contests have an online page with guidelines,
deadlines and other vital details.
I know it's tempting to salivate over the prize list and ignore
the
other features available on the site. Yeah, it is great to know
that
the winner gets $10,000 and a trip to Hollywood to meet the film
industry hotshots that you dream of impressing. Isn't it just as
important to find out if the contest has preferences regarding the
subject matter the script? Or the ethnicity of the author? Or the
state or country where the writer resides?
At the very least read the FAQ page for the contests of interest!
Second Step: RELY ON PEER REPORTS
If you belong to any online screenwriting discussion lists (and
you
should!), post a query about the contests that interest you. Learn
from the experiences of others.
Third Step: CONTEST REPORT CARDS
Movie Bytes offers the most comprehensive contest list online; but
the feature that I use most often on that site is their Contest
Report Card. Writers evaluate contests they've entered and post
their comments in the Report Card section of Movie Bytes. Take
advantage of this wonderful resource. ---->
http://moviebytes.com/ReportCard.cfm
This mini-tutorial CONTINUES ONLINE.
Here's the link --->
http://breakingin.net/choosey.htm
HOME
SCRIPT
MARKETING TIPS
----> British Short Screenplay Competition
This competition is open to writers of any nationality, residing
in
any country. The short screenplay must be no less than five
minutes and no more than fifteen minutes duration.
~ The winning script will be produced by Kaos Films, located at
the legendary Pinewood Studios, UK.
~ Celebrity Judges: Nik Powell (Crying Game), actor Charles
Dance and award-winning producer Stephen Woolley.
Details ONLINE --> http://www.kaosfilms.co.uk
----> McKnight Fellowship
If you reside in Minnesota, you should be feeling lucky!
This prestigious honor from the McKnight Foundation and the
Independent Feature Project (North) awards the winning writer
$25,000 (US dollars) and provides a staged reading of their
script.
NO ENTRY FEE...but pack your woolies!
McKnight details --> http://www.ifpnorth.org/
----> All She Wrote Screenplay Contest
All She Wrote is a website devoted to the creative works of
women.
Their contest has two aims:
1) To discover talented but unrecognized female writers.
2) To promote female stories. MALE WRITERS are welcome to
enter scripts that have a female lead or strong female characters.
Contest details --> http://www.allshewrote.com/
----> Donard Publishing: Short Story Competition
This contest is open to all nationalities and covers all genres
of
short story. Top money prizes. NOTE: December 1st deadline.
Donard details->
http://www.donardpublishing.com/competition.html
_______________________________________
Need BACK ISSUES of Script Market News? Find them
ONLINE -> Back
Issues
Finish that script!
Lenore Wright, Editor
Script Market News
The Screenwriters Web:
Script Marketing Advice
http://breakingin.net/
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