Thursday, November 3, 2011

Screenwriting 101

Chapter 1
What Exactly Is a Script?
A script is a document that outlines every aural, visual, behavioral, and lingual element required to tell a story. Why "outlines"? Because film is a highly collaborative medium and the director, cast, editor, and production crew will, based on your "outline", interpret your story their way when it is filmed. They may consult you, or they may not. Other writers may be brought in or you may be asked to re-write the entire thing. That's life, in the world of screenwriting. But because so many people are involved in the making of a film, a script must conform to standards that all involved parties understand and thus has a specific format or layout, margins, notation, and other conventions. This document is intended to overview the typical elements used screenplay writing.
It is crucial to remember that film is a VISUAL medium. You don't tell your audience your story, you SHOW them. You must learn to write a screenplay VISUALLY. Write what they will SEE and what they will HEAR. You might love your characters and know what they are thinking, but the discipline of screenplay writing is how to show it on a screen. When it happens, it may be just done with a look, often improvised on the movie set. So just write the pictures, sounds, and speeches, and leave the rest for the filmmakers.
What Makes Good Story?
Let's hazard a guess. The movies you loved most featured characters that swept you up, who captivated your emotions, got you involved. The audience viewing a movie not only wants to be interested in and care about the people they see on the screen, they want to be PASSIONATE about them, whether they like them or not. Great heroes and heroines inspire us; great villains make us want to jump into the screen!
There is always something at stake in a good movie. Not just something someone wants, something that must be acquired, no matter what the risk, as in Indiana Jones and the Raiders of the Lost Ark. Or something highly desired by as many main characters as possible, like the small black statue in The Maltese Falcon. Some times it can be an intangible thing, like the freedom of a people in Lawrence of Arabia or Gandhi. All these things drive the character's quest, even gives the hero superhuman strength. It can be something personal (romance) or for the good of all (saving the world from aliens) but it must be powerful and grow more desperate as the story unfolds.
There are always obstacles, which provide that catchword that actors love so much -- CONFLICT. This is the heart of drama. Someone wants something and people and things keep getting in the way of them achieving the goal. At times, the obstacles can be common to both the hero and villain, and the ultimate goal a laudable one for both parties, as in Jingle All The Way. In that film, Arnold Schwarzenegger and Sinbad battle to achieve the same goal--the acquisition of the last popular action figure for sale that Christmas season. Both of them have promised their son, and they must not fail. Conflict and obstacles can be physical or emotional. But they have to be in your story or you don't really have a story. In most good stories, the protagonist will also have an inner obstacle, some mental or even spiritual problem, that will be resolved by the time s/he reaches the outward, physical goal of the story. Some people call this inner demon a "ghost," while others call in a "wound."
You need a hook. That's a songwriting term that describes that thing that catches the public's attention. A popular Hollywood term is a "high concept." A better idea might be a simple "What if?" In Galaxy Quest, for example, the concept is "What if the washed-up actors from the crew of a cancelled but still popular sci-fi TV show are pressed into a real war in space by aliens who think the TV show broadcasts they received were documentaries?" A good enough "what if?" will set your script apart from the pack. It is why people will leave the comfort of their homes and plunk down their hard-earned bucks at the local cineplex.
Hollywood buys genres. Agents, managers, and producers are drawn to and specialize in specific genres so approaching them with something they can recognize is a good idea. Successful stories have a fresh face but are identifiable. You know what makes your idea unique, but can you describe it quickly to others? Is it a fast-paced thriller, romantic comedy, action adventure?
Scripts have to look a certain way. I can't stress this point enough. You must present your work like an insider. The sheer volume of submissions makes it so that if ANYTHING about your script looks strange it's headed for the circular file. If you don't know the game they won't play. The scriptwriter has to adhere to conventions covering everything from how many pages to what font (Courier 12 pitch in the U.S.), and that's just the beginning. I recommend you follow those rules, unless you're independently wealthy and plan to finance, produce, and direct your movie. Even then, however, the people you'll need to work with will be accustomed to standard formats.

http://www.screenwriting.info/01.php

Gods Gift to Women Cold reading

A screenplay I wrote about.... 3 or more years ago is being heard in public for the 2nd time. A cold reading series called Broken Barriers for African American writers is in full swing and it sounds promising!

I have the first 10 pages sent over and ready to be read, they establish the story of Derrick and his playboy ways and even have come comedic elements. I'm excited to see what people laugh at, what they get and don't get, and how the script is received. And of course the networking! I've had this project on the backburner for some years now, it's time for it to come to the front and be made!


Gods Gift to Women Logline: Playboy Derrick Waters has it made, succes, wealth, and of course all the women he can handle. He's about to learn the lesson of his life when his playboy ways are tested by the promise of true love.

Tuesday, November 1, 2011

Upcoming contest deadlines

Deadline
Contest
11/3/2011
Fresh Voices Screenplay Competition

Sponsored by some of the leading names in the industry, the Fresh Voices Screenplay Competition is committed to providing winning screenwriters with the tools, guidance and opportunity to develop a great screenplay and pursue a successful career. Win a management contract and have your material considered by top Hollywood production companies. Over $15,000 cash & prizes including career consultation, development notes, screenwriting software, and exclusive memberships to the industry’s premiere websites, tracking-boards and databases.

11/15/2011
BlueCat Screenplay Competition

This year we will be offering two written analyses for each submission. Two different readers will read each script, with each reader providing written feedback.

12/1/2011
All Access Screenwriting Competition

The All Access Screenwriting Competition is geared towards getting the winning writers into the Hollywood door with unprecedented levels of industry access.

12/1/2011
Script Showcase

The Script Showcase semi-annual screenwriting competition offers writers a chance to receive valuable experience, as well as exposure, in the film industry. Winning and/or placing in our competition can help you showcase your screenplay! Screenplay entries are judged on creativity, originality and formatting. All genres are considered equal in our competition. We are simply looking for the best screenplays in our entry pool.

12/1/2011
Emerging Screenwriters Screenplay Competition

MEET 20 HOLLYWOOD PRODUCERS and Change Your Career Forever!

12/1/2011
Table Read My Screenplay

2 GRAND PRIZE WINNERS to be flown to the Sundance Film Festival to have their screenplays Table Read by professional actors.

12/20/2011
L.A. Comedy Scripts Screenplay Competition

In our first three years, we were voted one of the “Top Ten Film Festivals in the U.S.” by the Brooks Institute and twice voted “25 Festivals Worth the Fee” by Moviemaker magazine. Why? Because LACS is a one of a kind experience for comedy short films and comedy scripts. It's our top priority to get you seen by the right people and make sure you have an awesome experience!

Smash Month








It's November time for my second smash month of the year. Just recently named smash month out of the blue, but basically its a time for me to become a shut in and let everything out. Concepts, pre-production work, nad most of all script writing.


During the month of November I will be either completing a new draft of a script each week, or revisiting an unfinished script and bringing it home. I'm excited about pushing myself and sticking to the tight schedule I have going.



I'm also reading for the First Glance Screenplay competition, theres alot of good new talent out there waiting to break through and reading their scripts encourages me much simply because they have the confidence to not only write and finish a screenplay, but they also have the confidence to put it out there to the world. Even when I'm writing a bad review, telling them to go back to the proverbial drawing board, I'm proud of their tenacity.



My new goal is to submit to 1 contest monthly, having the resources to do so has finally come about and who knows... perhaps I will be posting about a win soon!


My smash month plan

Revisit and complete the thriller/suspense script TWIN - the script is 70 pages in but I hit a wall. With the help of my roomate I've finally got the story rolling and can clearly see a blockbuster ending.


1ST DRAFT for the thriller CASUAL ENCOUNTER



1st DRAFT for the horror/thriller ISLAND X



1st DRAFT for the horror INSECTA



Add 100 pages to the novel ROOTED




WOW thats alot of writing. I'd better get to work.