tag:blogger.com,1999:blog-19432553835570463562024-03-14T01:18:36.919-05:00Story Into ScreenplayTurning ideas, concepts and stories into screenplays.Anonymoushttp://www.blogger.com/profile/16891858114258055374noreply@blogger.comBlogger107125tag:blogger.com,1999:blog-1943255383557046356.post-45587332278269700742023-08-24T08:00:00.009-05:002023-08-24T08:00:00.134-05:00Screenwriting Advice: Protagonist vs. Main Character in “Blue Beetle”<p> SPOILERS AHEAD FOR <i>BLUE BEETLE</i></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="367" src="https://www.youtube.com/embed/vS3_72Gb-bI" width="483" youtube-src-id="vS3_72Gb-bI"></iframe></div><br /><p><br /></p><p>Aside from the questions about how it connects to the overall “DC Universe” continuity, screenwriters could benefit from watching <i>Blue Beetle</i> and looking at the difference between a <b>protagonist </b>and a <b>main character</b>.</p><p>In most stories, the protagonist and main character are one and the same. The protagonist's choices drive the story, force the antagonist to respond, and fuel the plot's central conflict. However, some stories separate the character who takes center stage from the one who keeps the plot moving. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr1uxg-9KB-k7qT0qCTLoKKmvyG_QSB0dNQcKLTSwctjkSg9UYMvjx15jshXszh_5_Aawvq_wq_BJH_c_jZ2gyLP11fOtT4o8qIiXP2gfDiLqIGYK9780u26kByUZ-7xWaagKbuR8RvV2pFkwtcPW8B2EIjzf3wBa43URSAfA790xg4YQAWwVVBCAqWCiZ/s794/BlueBeetle01.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="794" height="101" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr1uxg-9KB-k7qT0qCTLoKKmvyG_QSB0dNQcKLTSwctjkSg9UYMvjx15jshXszh_5_Aawvq_wq_BJH_c_jZ2gyLP11fOtT4o8qIiXP2gfDiLqIGYK9780u26kByUZ-7xWaagKbuR8RvV2pFkwtcPW8B2EIjzf3wBa43URSAfA790xg4YQAWwVVBCAqWCiZ/w200-h101/BlueBeetle01.jpg" width="200" /></a></div><p>In the case of <i>Blue Beetle</i>, Jaime Reyes takes on the mantle of the classic superhero when an alien artifact invades his mind and body. As a result, he gains the powers of flight, invincibility, and the ability to manipulate energy into tangible weapons and shields.</p><p>So, if he has all of these powers, why does he need his sister, his mother, his elderly grandmother, his paranoid uncle, his love interest, and an antiquated flying bug to rescue him from the bad guys? Even if he can't use his powers, why can't he use his own knowledge, intelligence, or skills to engineer his escape rather than relying on his inexperienced and unqualified family (except Nana) to come to his aid?</p><p>While this approach can deliver on vital themes, such as the importance of family, it also undercuts the central character's ability to work their way out of their own problems. This issue arises when the central character lacks the essential elements needed to make them a protagonist.</p><p><br /></p><p>As the <a href="http://www.storyintoscreenplay.com/2014/03/screenwriting-advice-how-to-write-super-powerful-characters.html" rel="nofollow" target="_blank">VOTE METHOD</a> demonstrates, characters need four vital elements to make them compelling to both actors and audiences:</p><p><b>VICTORY</b>: What does the character want?</p><p><b>OBSTACLES</b>: What stands between the character and their Victory?</p><p><b>TACTICS</b>: What does the character do to overcome the Obstacles and achieve the Victory?</p><p><b>EMOTION</b>: What emotional need drives them to pursue the Victory?</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdiqk3D87xuPkPAXWR6ksFtMLtnGKv5Fce1UHAxxOuo8A-trMn0vJAF0-a9ToAEaqLLgdf5JZ-beem669nrfZ3j222r-ANukTIdgwmsxCUt4IzQi_OXalEkTomJQ8w8h6h38pXkA_RAYnKOpYTaGIP3HgxzgqNgM_Rk05voyhI7s0BK9mGXQmgS0xiQnqC/s493/BlueBeetle02.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="493" data-original-width="351" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdiqk3D87xuPkPAXWR6ksFtMLtnGKv5Fce1UHAxxOuo8A-trMn0vJAF0-a9ToAEaqLLgdf5JZ-beem669nrfZ3j222r-ANukTIdgwmsxCUt4IzQi_OXalEkTomJQ8w8h6h38pXkA_RAYnKOpYTaGIP3HgxzgqNgM_Rk05voyhI7s0BK9mGXQmgS0xiQnqC/w143-h200/BlueBeetle02.jpg" width="143" /></a></div><p>In Jaime's case, the script defines his VOTE early in the story:</p><p><b>VICTORY</b>: He wants a fulfilling, good-paying job.</p><p><b>OBSTACLES</b>: He lacks experience, connections, and the “right” background to get a break, especially with how Victoria Kord and Kord Industries run Palmera City.</p><p><b>TACTICS</b>: He approaches Jennifer, Victoria's niece, about getting a job. </p><p><b>EMOTION</b>: He needs to live up to the expectations he feels that his family has placed on him.</p><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_8jl92YpEXTRRkdy8dNEdmDLJ4t5QijmXhv8LAMhC2PRELwt5oSv9OYq9-qs_Yv2B2DgONVZyD5K-zNSmDzhIGzS5lqmjs6rzwDQkM4q24h-Zgc9AMIAtP-J7mTxipHLjvmQ66JT776V2KGqyUhEFGDFngYrAZKnKj6NW7-FTiWm46xvwJtriYCqMjgWl/s453/BlueBeetleJenny.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="453" data-original-width="264" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_8jl92YpEXTRRkdy8dNEdmDLJ4t5QijmXhv8LAMhC2PRELwt5oSv9OYq9-qs_Yv2B2DgONVZyD5K-zNSmDzhIGzS5lqmjs6rzwDQkM4q24h-Zgc9AMIAtP-J7mTxipHLjvmQ66JT776V2KGqyUhEFGDFngYrAZKnKj6NW7-FTiWm46xvwJtriYCqMjgWl/w116-h200/BlueBeetleJenny.jpg" width="116" /></a></div>Once the alien scarab takes over his body and gives him these powers, he loses sight of achieving this or any other specific Victory. From that point on, while Jaime serves as the story's central character, the role of the protagonist falls on Jennifer.<p></p><p>Jennifer has all of the elements needed to make for a compelling protagonist:</p><p><b>VICTORY</b>: She wants to keep the Scarab away from her aunt Victoria.</p><p><b>OBSTACLES</b>: She lacks access to the modern technology at the Kord laboratories.</p><p><b>TACTICS</b>: She employs her father's outdated technology. She also enlists the help of Jaime and his family.</p><p><b>EMOTION</b>: She needs to prevent her father's legacy from becoming an instrument for Victoria's warmongering ambitions.</p><p>Jennifer's decisions move nearly all of the story's major plot points:</p><p></p><ul style="text-align: left;"><li>She stands up to Victoria when she meets Jaime.</li><li>She steals the Scarab and gives it to Jaime for safekeeping.</li><li>She goes back and steals the “Tedwatch”.</li><li>She takes Jaime and Rudy to the “Beetle Cave” to find a cure for the symbiosis between Jaime and the Scarab.</li><li>She leads the family in their rescue of Jaime from Victoria.</li></ul><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw_IGhlnETZBju5Oir9mqk9cTaPxz67LeVLibzqK1YJBccNx0Jab3GnIpzw_6_L39xi60J4sA1zhxTzpBYmxlYXUrhssl75DAitQbPimKHmM6ztMhxww6O0pEYDdVorBm_nyHbKz3E4OkECDEi_u3Tjhof1MTKyUPKu6RNmUlSwO6p5NNaloWcpmZA9boO/s513/BlueBeetleVictoria2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="513" data-original-width="265" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw_IGhlnETZBju5Oir9mqk9cTaPxz67LeVLibzqK1YJBccNx0Jab3GnIpzw_6_L39xi60J4sA1zhxTzpBYmxlYXUrhssl75DAitQbPimKHmM6ztMhxww6O0pEYDdVorBm_nyHbKz3E4OkECDEi_u3Tjhof1MTKyUPKu6RNmUlSwO6p5NNaloWcpmZA9boO/w103-h200/BlueBeetleVictoria2.jpg" width="103" /></a></div><p>As an antagonist, Victoria also has all the elements of the VOTE:</p><p><b>VICTORY</b>: She wants to regain control of the Scarab.</p><p><b>OBSTACLES</b>: Jennifer, Jaime, and his family have the Scarab and can't/won't let it go.</p><p><b>TACTICS</b>: She employs her private SWAT team, including her “One Man Army Corps”, Lt. Carapax.</p><p><b>EMOTION</b>: She needs to prove to everyone (including herself) that her father was wrong to pass the company on to her brother before his disappearance.</p><p>While the conflict between Jennifer and Victoria drives much of the plot, the action focuses on Jaime learning how to use the Scarab and how he deals with his family. Instead of developing each of them as characters with agency through the VOTE, the script uses Jaime and his family as pawns in the battle of wills between the two women. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjisODW2t9hare3hkj9wc8t-pmdDx2LvKCG_zLnhU5kfb4Aa2Vk_tKZ7ahpPfLoBatTvLb5p-OiDUu6kbp3Fo1PoWZyuJrc_fcBL_Au4DCchDLnHtJCwUjeRIUpaRWKJ6-gSXKANApUsZAyNv_xD08ZhcUQa7cFupRQ-I6AfVH4WJlsJEWTjPcM5wACCG1E/s443/BlueBeetleHeroShot.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="443" data-original-width="242" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjisODW2t9hare3hkj9wc8t-pmdDx2LvKCG_zLnhU5kfb4Aa2Vk_tKZ7ahpPfLoBatTvLb5p-OiDUu6kbp3Fo1PoWZyuJrc_fcBL_Au4DCchDLnHtJCwUjeRIUpaRWKJ6-gSXKANApUsZAyNv_xD08ZhcUQa7cFupRQ-I6AfVH4WJlsJEWTjPcM5wACCG1E/w109-h200/BlueBeetleHeroShot.jpg" width="109" /></a></div><p>The purpose behind this analysis isn't to dismiss <i>Blue Beetle</i> as a film or Jaime Reyes as a character. The film makes him out to be an earnest young man with a loving family and a desire to make a difference. </p><p>These aspects make him a likable character who can connect with an audience on a surface level. However, the script leans on these aspects after his transformation rather than allowing his choices to drive the story.</p><p><br /></p><p>So what can screenwriters learn from <i>Blue Beetle</i>? </p><p>A script that relies on a relatable central character is a nice place to start. A script that has a proactive protagonist is the key to a truly compelling story.</p><p>===================</p><p>You can learn more about the VOTE Method by working with an award-winning screenwriter. </p><p>Story Into Screenplay offers one-on-one consulting sessions that can walk you through the VOTE METHOD and take your writing to a new level.</p><p>You can schedule your <a href="http://bitly.ws/Spyp" rel="nofollow" target="_blank">FREE 30-minute session</a> today. </p><p>Also, be sure to follow the latest news from Story Into Screenplay on <a href="https://www.facebook.com/StoryIntoScreenplay" rel="nofollow" target="_blank">Facebook</a> and <a href="https://www.instagram.com/storyintoscreenplay/" rel="nofollow" target="_blank">Instagram</a>.</p><p><br /></p><p><br /></p><p><br /></p>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-2750815482645269562023-07-28T12:00:00.001-05:002023-07-28T12:00:00.142-05:00“Barbie” and Dialogue: Say Less!<p><b> SPOILERS FOR <i>BARBIE</i> AHEAD</b></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="324" src="https://www.youtube.com/embed/pBk4NYhWNMM" width="484" youtube-src-id="pBk4NYhWNMM"></iframe></div><p><br /></p><p>One of the most troublesome aspects that aspiring screenwriters encounter involves how they employ dialogue. The writer will often use their characters' dialogue to “tell” the viewer what's happening rather than using the character's choices and actions to “show” the story. </p><p>This approach to dialogue often falls into one of three categories:</p><p><u>Exposition Dumps</u>: The character tells another character (and the viewer) what's happening or how the story world works.</p><p><u>On The Nose</u>: The character tells another character (and the viewer) exactly how they feel at that moment without subtext or intent behind their words.</p><p><u>Long Speeches</u>: The character delivers what should be a rousing speech or a call to action that often goes on too long and exhausts the audience.</p><p>I encounter these problems in the scripts I'm assigned to read more frequently than I can count. I also typically downgrade scripts that I see employ these tactics. When I conduct my <a href="https://www.youtube.com/watch?v=I47jbMwRbI0" rel="nofollow" target="_blank">VOTE Method seminar</a>, I often advise my clients to check out the opening sequence to <i><a href="https://www.youtube.com/watch?v=8mzsU2O8tuU&t=28s" rel="nofollow" target="_blank">Up</a></i> to show how to convey the story of an entire relationship in an emotionally impactful way, all without delivering a single line of dialogue.</p><p><i>Barbie</i> breaks every one of these rules. Does that mean that writer/director Greta Gerwig (<i>Little Women</i>, <i>Lady Bird</i>) and co-writer Noah Baumbach (<i>Marriage Story</i>) don't know what they're doing? How did they get away with using dialogue in ways that would get a student writer a note that reads, “See me after class”?</p><p><br /></p><p>Here's how:</p><p><u>Exposition Dumps</u>: </p><p>One of the biggest examples of an “exposition dump” occurs when a story uses an off-screen narrator to inform the viewer about the status of this world.</p><p>For instance, the recent superhero film “Black Adam” included a narrator in the opening sequence to tell the viewer about this ancient world and the cruel masters who allowed a young boy to die.</p><p>In <i>Barbie</i>, Helen Mirren's regal inflections informed the viewers of the “before times”, when the only dolls available to young girls were baby dolls.</p><p>The difference between these two approaches stems from their tone. The narration in <i><a href="https://www.youtube.com/watch?v=XLnO5p5iG1Y&t=45s" rel="nofollow" target="_blank">Black Adam</a></i> took itself seriously and told the viewer nothing that they couldn't see for themselves.</p><p>The same technique in <i>Barbie</i> showed how serious narration could complement the over-the-top silliness of the opening sequence (a parody of <i><a href="https://www.youtube.com/watch?v=I6vPuIMAOlA" rel="nofollow" target="_blank">2001: A Space Odyssey</a></i>) as young girls smashed their dolls and worshiped at the feet of a 30-foot-tall Barbie doll.</p><p><br /></p><p><u>On The Nose</u>: </p><p>One of the aspects I teach in my VOTE Method workshop (LINK VIDEO) involves how each line of dialogue should serve a purpose for the character. </p><p>Each line should get them closer to their Victory or deter their “opponent” from getting theirs. </p><p>When one character tells another exactly how they feel, especially early in the story, this approach can undercut their efforts to get what they want. </p><p>This tactic resembles a poker player showing his hand before the other players have finished betting. At that point, they've given up on the game and conceded their Victory to the “enemy”.</p><p>In <i>Barbie</i>, when Barbie starts to feel anything other than happy, she expresses it outright and questions where these feelings could come from.</p><p>Much like in <i>Forrest Gump</i>, the character's naivete allows them to get away with conveying their feelings in such an open and honest manner.</p><p>While this approach could lead to healthier relationships in real life, it also leads to the death of dramatic tension and narrative momentum in your scripts.</p><p><br /></p><p><u>Long Speeches</u>:</p><p>Speaking of narrative momentum, the “long speech” stands as one of the biggest momentum-killers in any script.</p><p>When one character delivers a speech, that character has to take on the weight of the scene while everyone else stays still and remains enraptured by the speaker's words.</p><p>These speeches typically occur at the close of Act II, when the protagonist and their crew have hit their lowest point in the story.</p><p>This speech should stir the masses into taking decisive action toward overcoming the antagonist and building a groundswell of support from the viewer.</p><p>In dramas, these speeches can become overblown, over-long, and over the top.</p><p>In comedies, a brief silence followed by a sight gag or incongruous sound undercuts the speaker's efforts and renders the speech pointless.</p><p>In <i>Barbie</i>, the intent behind Gloria's speech isn't about rousing the Barbies into action against the "Ken-vasion". Instead, it shows her anger with how women in both worlds can't get ahead in a "system (that) is rigged".</p><p>As her frustrations with the Barbies, the Kens, and her daughter bubble over, she lets loose with this lengthy but effective speech as she confronts these inequities.</p><p><br /></p><p><b>So how did the <i>Barbie</i> writers do it?</b> (TL;DR version)</p><p><u>Exposition Dumps</u>: Make the exposition a tool to convey the tone more so than the information that the viewer can already see.</p><p><u>On The Nose</u>: Make the character naive so that they lack the guile to employ subtext when conveying their feelings.</p><p><u>Long Speeches</u>: Avoid these early in the story. Use them at the Act II/III break as a means to stir up the other characters and the viewer.</p><p><br /></p><p>Story Into Screenplay offers professional script evaluations and one-on-one consultations that can help you take your script to the next level. </p><p>You can schedule a FREE 30-minute consultation session by completing this <a href="https://docs.google.com/forms/d/1B91ufgmcVjGVx1N8Qz8QP-n8seNEl6Y4mio6DF5FLG4/edit?usp=drive_web" rel="nofollow" target="_blank">scheduling form</a> and selecting the date and time that works for you. You can also send any questions or comments to <b>storyintoscreenplayblog(at)gmail(dot)com</b>.</p>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-38448408691991974442023-07-17T09:40:00.001-05:002023-07-17T09:40:57.976-05:00Will AI Replace Screenwriters?<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://deadline.com/wp-content/uploads/2023/04/WGAE-Picket-Sign-WBD-Zaslav.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="800" height="150" src="https://deadline.com/wp-content/uploads/2023/04/WGAE-Picket-Sign-WBD-Zaslav.jpg" width="200" /></a></div><p>As you may have seen, the historic "double strike" of the writers' and actors' unions has launched a debate about how the studios consider the use of so-called "artificial intelligence" programs to supplement, diminish, or outright replace writers and performers.</p><p><br /></p><p>Many aspiring writers have considered the question of whether their chosen profession could go the way of the buggy-whip maker and the bowling alley pin setter and go extinct due to automation.</p><p><br /></p><p>The answer: No. </p><p><br /></p><p>Hold on! We're not done!</p><p><br /></p><p>One of the first things I teach in my <a href="https://www.youtube.com/watch?v=I47jbMwRbI0" rel="nofollow" target="_blank">VOTE Method seminar</a> is what I call the "Fundamental Theorem of Storytelling".</p><p><br /></p><p>"The purpose of a story is to evoke an emotional reaction from the audience."</p><p><br /></p><p>This axiom holds for every approach to art, from painting to sculpture; music to dance; poetry to stand-up comedy.</p><p><br /></p><p>One aspect that sets screenwriting apart involves how heavily it relies on a replicable structure upon which stories can construct their narratives.</p><p><br /></p><p>Can a machine learn how to follow that structure, create scenes, and write dialogue and action that fits within that structure? At this stage, the answer appears to be a resounding and frightening, "Yes."</p><p><br /></p><p>However, writers who worry about an "AI takeover" should ask themselves a better question: </p><p>Can a machine convey the laughter, pain, joy, grief, sorrow, or any other emotion that a well-written screenplay can deliver?</p><p><br /></p><p>That answer is an equally resounding and encouraging, "Never."</p><p><br /></p><p>No amount of generative text could ever spark laughter in a crowded theater. No algorithm could ever make an audience stand up and cheer. No computer-generated actor could bring viewers to tears without an actual human (or team of humans) behind it.</p><p><br /></p><p>When the studios realize that writers are more than "creators" they can intimidate and that stories mean more than "content" they can sell, then they'll truly know the value of the power they hold over this industry. </p><p><br /></p><p>Instead of bringing in billions and kowtowing to Wall Street, these studio heads need to see that their responsibilities extend beyond the next quarterly financial report or their annual salary review.</p><p><br /></p><p>Writers don't build cars. Actors don't assemble widgets. We create art. We tell stories. We build culture. We craft a legacy that will outlive us all and leave an emotional impact on future generations.</p><p><br /></p><p>To the writers and actors on strike, we stand with you and hope that you get the fair compensation that can keep you going while preserving an industry that we all aspire to join.</p><p><br /></p><p>To the studio heads and tech companies, you have the opportunity of a lifetime to become the custodians of a new generation of creativity and passion that will last well after the money runs out and the stock price crashes.</p><p><br /></p><p>In the meantime, this "new generation" of creative dynamos will get ready to join our union colleagues and reap the benefits that will come after these "<a href="https://www.youtube.com/watch?v=9py4aMK3aIU&t=76s">Hard Time Blues</a>" have passed.</p><p><br /></p><p><br /></p><p>Story Into Screenplay offers professional script analysis and one-on-one consultations from an award-winning screenwriter and veteran contest judge.</p><p><br /></p><p>You can schedule a FREE 30-minute consultation by clicking <a href="https://docs.google.com/forms/d/1B91ufgmcVjGVx1N8Qz8QP-n8seNEl6Y4mio6DF5FLG4/edit?usp=drive_web" rel="nofollow" target="_blank">here</a> or emailing us at <b>storyintoscreenplayblog(at)gmail(dot)com</b>. </p><p><br /></p><p><br /></p>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-90042240881324561052023-06-01T08:00:00.001-05:002023-06-01T08:00:00.134-05:00Prequels, Sequels, and Intellectual Properties: What's A New Writer To Do?<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjAzPVtAJRjjDa1cOC7w_Z1l00M9uBE7gqrlQSdwGApjDDF5ZW2hmlN5sptZ_5eHSJ5QJtd60bVbaSpudMYXxyb4DrjcmI5tt8CQV7jGx8zFcxfF12P1wVrytPMoaRRbWxgX02ckR1yhprjUXBYTTrqoGXyR9IQS82PnDbPBfprmCuT_owgwePii1waw/s1280/cinema-2502213_1280.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="853" data-original-width="1280" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjAzPVtAJRjjDa1cOC7w_Z1l00M9uBE7gqrlQSdwGApjDDF5ZW2hmlN5sptZ_5eHSJ5QJtd60bVbaSpudMYXxyb4DrjcmI5tt8CQV7jGx8zFcxfF12P1wVrytPMoaRRbWxgX02ckR1yhprjUXBYTTrqoGXyR9IQS82PnDbPBfprmCuT_owgwePii1waw/s320/cinema-2502213_1280.jpg" width="320" /></a></div><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">A recent article on the industry news site</span><a href="https://www.slashfilm.com/1300290/three-new-original-movies-bombed-at-memorial-day-box-office-thats-a-problem/" style="text-decoration-line: none;"><span style="color: #1155cc; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;"> /Film</span></a><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> examined how three original movies released over Memorial Day weekend all had disappointing box office returns. </span><p></p><span id="docs-internal-guid-a92dad9d-7fff-ad2e-243e-e535edca4b58"><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">The road-trip comedy “The Machine”, the “Meet The Parents”-style comedy “About My Father”, the relationship dramedy “You Hurt My Feelings”, and the action-thriller “Kandahar” made a combined $13.1 million at the weekend box office. These numbers don't even come close to the big release of the weekend: the live-action remake of Disney's “The Little Mermaid”, which made over $95 million.</span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Even after a 66% drop-off from its first week, “Fast X” nearly doubled the box office returns of “Machine”, “Father” and “Kandahar” combined ($23 million vs. $11.7 million). After four weeks in theaters, Marvel's “Guardians of the Galaxy Volume 3” still brought in over $20 million. (Source: </span><a href="https://www.the-numbers.com/weekend-box-office-chart" style="text-decoration-line: none;"><span style="color: #1155cc; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">The Numbers</span></a><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">)</span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">When you combine these numbers with the ongoing </span><a href="https://variety.com/2023/tv/news/wga-writers-strike-media-expert-explains-1235613172/" style="text-decoration-line: none;"><span style="color: #1155cc; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">WGA strike</span></a><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, the immediate future looks bleak for writers trying to break into the business. With this dismal news, you may ask, “Should I just give up on my dreams of writing for Hollywood?”</span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Not necessarily. This news means that aspiring writers must address vital issues with their scripts if they want to make them more attractive to producers and viewers.</span></p><br /><b><br /></b><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>WRITE WITH A BUDGET IN MIND</b></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">If your first spec script is a wide-reaching historical saga with a cast of thousands (e.g. “Gone With The Wind”) or a galaxy-spanning epic sci-fi adventure (e.g. “Star Wars”), you may want to adjust your expectations. </span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Many aspiring writers fail to keep in mind that each frame of a film costs dozens of man-hours and thousands of dollars to produce. Most writers get their “big break” by writing low-budget features. These stories often involve less than a handful of actors, limited locations, and tightly-focused stories.</span></p><br /><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>WRITE IN HIGH-PROFIT GENRES</b></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Some genres have specific tropes that allow their stories to reach a wide, committed audience without the need for huge production costs.</span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">For instance, horror, crime, and suspense films often don't require high budgets but rely on a tight narrative structure and a hardcore audience willing to absorb a new story that feeds their cravings. Also, </span><a href="https://www.kairosprize.com/2020-21-winner-of-the-15th-annual-kairos-prizes/" style="text-decoration-line: none;"><span style="color: #1155cc; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">faith-based films</span></a><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> typically rely more on their positive messages than on extravagant production values to attract a built-in audience. </span></p><br /><b><br /></b><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>WRITE IN DIFFERENT MEDIA</b></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">If your story doesn't fit within these genres, you may want to consider taking a different approach. For instance, if the scope of your story doesn't fit within a minimal budget, you may want to consider expanding that story into a novel. </span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Thanks to companies such as Amazon, self-publishing has never been easier. If you can gather a fan base for the novel, you can show producers that you have a built-in customer base willing to pay to see that novel go from page to screen. </span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Another approach, especially for stories that rely heavily on dialogue and have static locations, could involve turning the story into a stage play. This approach worked for Aaron Sorkin when he wrote the stage play for “A Few Good Men” and later adapted it for the screen.</span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>WRITE PUBLIC DOMAIN ADAPTATIONS</b></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">If you want to write stories that can attract a built-in fan base but don't want to deal with the expense and legalities involved with intellectual property rights, you could adapt a story in the public domain.</span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">For instance, “Succession” has become a global TV phenomenon. When you strip it down to its core, the story is a </span><a href="https://www.theatlantic.com/culture/archive/2023/05/king-lear-shakespeare-succession-logan-roy/674205/" style="text-decoration-line: none;"><span style="color: #1155cc; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">modern-day retelling of “King Lear”</span></a><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">, as the siblings battle each other for both the crown and the affections of their patriarch.</span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">This approach can also work with low-budget horror. The 2013 horror/comedy film “</span><a href="https://www.imdb.com/title/tt1588173/" style="text-decoration-line: none;"><span style="color: #1155cc; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">Warm Bodies</span></a><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">” featured a pair of “star cross'd lovers”. Julie, a young woman from a family of zombie killers falls in love with “R”, a young man who happens to be undead. </span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>WRITE WITH A CLEAR CAREER GOAL</b></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Another approach that could help you focus your writing career involves considering your primary goal for writing the script in the first place.</span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">If your goal involves selling your ambitious first spec script to a major studio for a million dollars and signing a multi-picture deal, you may want to buy a lottery ticket instead. The process of buying a lottery ticket is faster, much less painful, and has much better odds of giving you a substantial payout.</span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">If your goal involves writing a low-budget script that gets your name out there and gets you noticed, you could use this project as a launching pad for your more expansive stories.</span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">If your goal involves using your scripts as portfolio pieces to show your skills at characterization, story structure, or dialogue, these efforts could help you land an agent or manager who can steer you toward those high-profile (and high-profit) projects. </span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"><b>WRITE ROLES THAT ATTRACT MOVIE STARS</b></span></p><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">One way in which projects can pull viewers' eyeballs away from the overwhelming amount of established properties stems from the use of old-fashioned “star power”. Many viewers, especially those interested in more mature stories, will favor watching a great performance from a big-name actor over the latest superhero pyrotechnics or “fast cars and furious drivers” adventure.</span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">Contrary to some opinions, producers are not vultures, actors are not peacocks, and viewers are not sheep. They're all people. In the end, stories are about people. If you can write a story with characters that can connect with people, you'll have a huge advantage.</span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">One of the most effective ways to gain this advantage starts with a <b>FREE</b> 30-minute consultation call with Story Into Screenplay. During this call, we can assess your project, determine where you are in your writing process, and lay out a path to get your script ready for the big time.</span></p><br /><p dir="ltr" style="line-height: 1.2; margin-bottom: 0pt; margin-top: 0pt;"><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;">You can schedule your FREE initial consultation by filling in this </span><a href="https://docs.google.com/forms/d/e/1FAIpQLSf0WX_W6ggtodJ7Ddyitgqidu1Q1qGRs4riaEyzOEQm-UjZog/viewform?usp=sharing" style="text-decoration-line: none;"><span style="color: #1155cc; font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; text-decoration-line: underline; text-decoration-skip-ink: none; vertical-align: baseline; white-space: pre-wrap;">form</span></a><span style="font-size: 12pt; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline; white-space: pre-wrap;"> or contacting us at storyintoscreenplayblog(at)gmail(dot)com. </span></p><br /><br /><br /><br /><br /><br /></span>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-37643999442027716242023-05-01T09:00:00.001-05:002023-05-01T09:00:00.131-05:00What Does a WGA Strike Mean for Aspiring Screenwriters?<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaFC2exqSKeVFyQeW8NRJyqLhspti9LRvmvkTTgZZ6i_mod0eJRwP45rG2qOqvxqvIe36U4cs1W9Z-ErSH0LCrsaj4xAXVg7sLTl-2KHQspqWT5RL_UTel-FG_XpAve4h1oLNsbciG4wjqTvFkfdk72llPwgTvIVRmcTTpuyJITfcclhr4j3xRHn6Xbw/s3872/WGA-STRIKE.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3872" data-original-width="2592" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaFC2exqSKeVFyQeW8NRJyqLhspti9LRvmvkTTgZZ6i_mod0eJRwP45rG2qOqvxqvIe36U4cs1W9Z-ErSH0LCrsaj4xAXVg7sLTl-2KHQspqWT5RL_UTel-FG_XpAve4h1oLNsbciG4wjqTvFkfdk72llPwgTvIVRmcTTpuyJITfcclhr4j3xRHn6Xbw/w134-h200/WGA-STRIKE.jpg" width="134" /></a></div><br />Screenwriters who are trying to get into the business could face different outlooks on what a strike from the Writers Guild of America could have on their career prospects.<p></p><p>On the positive side, managers and agents may have more time to read scripts from non-union prospects than they typically would. Without the workload from their union-member clients, their readers (often unpaid interns) will have more opportunities to read scripts from non-union writers.</p><p>On the other side of the coin, most agencies will not be taking those scripts to market while the strike endures. As Eric Jones with The Tobias Agency told me and his other clients, "I am going to respect my friends at the WGA and cease submissions from Studios and Production Companies until a resolution has been reached."</p><p>Without the means to sell their clients' work to producers, the scripts sit and gather dust until both sides resolve their issues. While these issues address the short term, what does a strike mean in the long term for writers at the start of their career path?</p><p>For writers who want only to sell a single feature or pilot, the answer is, "Not much." Writers who count on one script to launch their career resemble those people who rely on a single lottery ticket to win a fortune: the odds are against you ever achieving this lofty goal.</p><p>For those who want to develop multiple stories and create a lasting career, the answer is, “Plenty.” When the strike resolves, union writers will walk away with more opportunities to make more money and have better working conditions than they had under the previous agreements. </p><p>However, until a writer can sell at least one script, they lack the professional credentials (or “points”) needed to join the union and take advantage of these benefits. At the same time, these improvements for union writers could also create a new baseline for non-union writers who want to start in the industry. </p><p>So what does a writer's strike mean for non-union writers? Just as with everything else in this tumultuous industry and these turbulent times, the short answer is, “Wait and see.”</p><p>In the meantime, here are some Do's and Don'ts to follow during the strike: </p><p><b>DO: Educate yourself on the issues</b></p><p>As someone who aspires to work in this industry, it is incumbent upon you to learn why your potential peers are taking the steps toward walking off the job and, in some areas, shutting down Hollywood to stand up for their principles. </p><p>If you have representation, talk to your rep and learn what your options are. If you don't, read the <a href="https://deadline.com/2023/04/hollywood-strike-faq-writers-guild-1235337733/" rel="nofollow" target="_blank">WGA Strike Rules</a> and follow the news in industry publications such as Variety or Deadline.</p><p><br /></p><p><b>DON'T: Expect a quick resolution</b></p><p>Whenever people must face a complex problem, they want a simple solution. The problems between producers and writers have been almost 15 years in the making. Add the issues of changing technology, emerging markets, political unrest, and recovery from a global pandemic to the list and you have what could be a long, drawn-out process toward resolution.</p><p>This strike will be the <a href="https://www.wga.org/the-guild/about-us/history/a-history-of-wga-contract-negotiations-and-gains" rel="nofollow" target="_blank">eighth labor stoppage</a> since the formation of the Screen Writers Guild in 1941. These strikes have run anywhere from two weeks to twenty-two weeks. Issues ranged from residuals on TV reruns to payments for home video releases to compensation for digital downloads. The reasons that writers can take those payments for granted today stems from the gains made from previous generations who marched a picket line.</p><p><br /></p><p><b>DO: Support your favorite writers</b></p><p>If you have a favorite writer, you can find ways to support them during the strike. If they have a book, buy a copy for yourself and one for a fellow writer. If they teach online classes, take the class and learn all you can from them. If you don't have the money to spend, spread the word about their work on your social media platforms. </p><p>For those writers who live in New York or Hollywood, screenwriter <a href="https://www.youtube.com/watch?v=0Bl0sgXrCU4" rel="nofollow" target="_blank">Michael Jamin</a> recommends going to the picket lines and marching with the writers. Not only does this show your solidarity with the union, according to Jamin, but it also allows you the chance to meet working writers that you may not have had until now.</p><p>“Whoever you're talking to (on the picket line) is going to be grateful that you're carrying a sign,” says Jamin. “They will talk to you because there's nothing else to do. Talk about a networking event!”</p><p><br /></p><p><b>DON'T: Take “Scab” Work</b></p><p>Although such opportunities are not expected to become available during the strike, a non-union writer could still sign a deal with a company against whom the union is striking. Since the writer isn't a member of the union, the WGA is in no position to punish them for taking the job. However, the strike rules state that "Non-members who break the rules will be prohibited from joining the WGA in the future."</p><p>This means that the non-union writer will not be able to take advantage of the benefits that come with union membership, including collective bargaining, minimum wage agreements, health insurance, and pension payments. This “scab” work also puts a black mark against the writer's reputation in the screenwriting community, especially with showrunners, as they could see the non-union writer as undercutting the union's efforts to improve conditions for their fellow writers both now and in the future.</p><p><br /></p><p><b>DO: Keep working on your craft</b></p><p>Just because you can't submit your work to producers doesn't mean your work as a writer stops. According to the WGA Strike Rules, writers can still write a spec script during a strike. You can take this time to work on a new idea, rewrite an existing script, or enter contests to get your script noticed.</p><p><br /></p><p>One of the most effective ways to hone your skills comes from working with an experienced screenwriting consultant. </p><p>Story Into Screenplay offers one-on-one live sessions with an award-winning screenwriter and veteran screenplay contest judge who can help you evaluate your project, clarify your goals, and guide you through the process of turning your ideas into a professional-level screenplay.</p><p>Get started with a FREE 30-minute session (phone or Zoom) to find out more. Fill out the <a href="https://docs.google.com/forms/d/e/1FAIpQLSf0WX_W6ggtodJ7Ddyitgqidu1Q1qGRs4riaEyzOEQm-UjZog/viewform?usp=share_link" rel="nofollow" target="_blank">Google Form</a> to schedule your session today!</p><p><br /></p><p><br /></p>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-88652947972550392302023-01-18T08:00:00.001-06:002023-01-18T08:00:00.165-06:00Screenwriting Advice: Contests vs. Coverage vs. Coaching<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQTH3rnmOqRaDvClb4zLI0kzDCKFSS-f8Sygt9nKfXCLBL8xDjHviB3zPXvo9fHH7rGWAYSSZkedvK064Wih0y1sAdAEHSRtrTRPvF1_0IyUrOsYnwco4o_dMz5MXu8m2tbDb3xEA-_0TmosTQBWqZZ1tKzoYdBDnoFL9YfAHKG8XvumliOs1w-cRunQ/s1000/personal-trainer.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1000" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQTH3rnmOqRaDvClb4zLI0kzDCKFSS-f8Sygt9nKfXCLBL8xDjHviB3zPXvo9fHH7rGWAYSSZkedvK064Wih0y1sAdAEHSRtrTRPvF1_0IyUrOsYnwco4o_dMz5MXu8m2tbDb3xEA-_0TmosTQBWqZZ1tKzoYdBDnoFL9YfAHKG8XvumliOs1w-cRunQ/w200-h126/personal-trainer.jpg" width="200" /></a></div><p>As the new year gets underway, many people resolve to eat healthier, work out more, and lose weight. They may look up fad diets, watch exercise videos, or sign up for a gym membership.</p><p>However, when it comes to losing weight, the most effective advice often comes from medical professionals or experienced trainers who have worked with clients to get the results they need.</p><p>At the same time, a writer's thoughts often turn to how they can make this year's scripts better than last year's efforts. They may have their friends, family, or writers' group look at their work and gauge their reactions to see where they can improve.</p><p>For writers who want an impartial evaluation of their projects from an industry expert, they frequently turn to one of three options:</p><p></p><ul style="text-align: left;"><li>They get coverage on their project from a professional script reader.</li><li>They enter their project into a screenwriting contest.</li><li>They work with a screenwriting coach to get their project into shape.</li></ul><p></p><p><br /></p><p><b>COVERAGE</b></p><p>A professional script evaluation rates and analyzes the various aspects of a screenplay. These reports often indicate what works and what needs work when it comes to the writer's skills with character development, plot pacing, story structure, dialogue, and more. </p><p>Studios and production companies often work with these readers to generate a "coverage report". These reports serve as a summary of the project's strengths and weaknesses and as a tool in the producer's decision-making process. They also often include a rating of "Recommend", "Consider", or "Pass".</p><p><b>Pros</b>: Most professional script readers offer coverage-style reports. Rates on these reports are often affordable and can serve as a guide during the rewrite process.</p><p><b>Cons</b>: These reports can reflect the reader's biases toward specific genres or approaches to storytelling. Since each report reflects the reader's opinion, the writer may need two or three (or more) to determine if an issue mentioned in the report reflects a flaw in the script or a bias in the reader. </p><p><b>When Should I Get A Coverage Report?</b> The most effective time to get a script evaluation is when the script is at or near a professional level. These reports often help the writers fine-tune the small details that can mean the difference in the script moving forward or staying in the slush pile. </p><p>The grammar, spelling, punctuation, and formatting should also be 100% perfect. As the old saying goes, "You never get a second chance to make a first impression." </p><p><br /></p><p><b>CONTESTS</b></p><p>Screenplay contests can serve as launching pads for a screenwriting career. A placement in a contest can add to an aspiring writer's resume, while a win could add to their bank accounts.</p><p><b>Pros</b>: With so many contests available in nearly every genre, the task of finding one that fits a specific project should be easy. Many contests also offer the option of purchasing feedback (similar to a coverage report) for an additional fee. </p><p><b>Cons</b>: With so many contests available in nearly every genre, not all of them have equal standing among industry insiders. Some may operate as nothing more than money-grabbing scams that prey on the hopes and dreams of aspiring writers. </p><p><b>When Should I Enter A Contest?</b> If the script has received at least two "Recommend" ratings from different coverage readers, it may have a strong chance to win a top-flight contest.</p><p>Another aspect involves choosing the best contest to enter. For projects in a particular genre, writers may stand a better chance at winning a smaller contest that focuses on that specific genre than competing for the top prizes in a bigger contest such as Austin or Nicholl. </p><p><br /></p><p><b>COACHING</b></p><p>While many aspiring writers rely on books, classes, and videos for their education, some projects may require an outsider's eye to spot where the project could improve.</p><p>Also, some writers may want to adapt their novel, biography, or article into a screenplay without the first idea of how to start the process. A coach can show them the differences between writing for readers and writing for the screen. </p><p><b>Pros</b>: Much like working with a personal trainer, the client can get expert advice and one-on-one training with someone who wants to see them succeed. This part of the process can also help with the client's feelings of isolation and frustration that come with taking on such a big project.</p><p><b>Cons</b>: Much like working with a personal trainer, this process can be expensive and time-consuming. Much of the success of this process stems from the level of commitment the client is willing to put in, as well as the chemistry between the coach and the client.</p><p><b>When Should I Work With A Coach?</b>: If you have a project in another medium, a screenwriting coach can guide you through the adaptation process. If you have a script and want to work with a professional who can take your project to the next level, an experienced coach can help you boost your writing skills. </p><p>Even if you just have an idea and want to know where to start, a qualified coach can show you what agents, managers, and producers look for in a script. </p><p><br /></p><p>At Story Into Screenplay, you can get coverage-style reports, contest advice, and personalized coaching all in one place.</p><p>You can contact us through the form on this page or by sending a direct message through our <a href="http://www.facebook.com/StoryIntoScreenplay" target="_blank">Facebook</a> page. Also, be sure to follow us on Facebook for updates, interviews, and more!</p><p><br /></p><p>Let us help you get your script in shape in 2023!</p><p><br /></p><p><br /></p>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-35548201829590501542022-10-10T08:00:00.001-05:002022-10-10T08:00:00.175-05:00Story Into Screenplay Interview with William Akers, Author of “Your Screenplay Sucks”<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdAHSU_M1_WmYCuk6yfyk0MXLXln9PYooJX6ePzQMmEcXR522e3wvfU6aOdPyOD1J6Z6e2UBYu-1sipi_UzHOdKVLN6oTonRr-FklKet8s-ho0dtiTYdNyn1A1oia0abjkndjXi8l8hp9BU4tvu0Z63SfyvAIvugj19Ka6VAXUUbwsGarEGmuVaYoYEg/s499/YSSCover.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="333" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdAHSU_M1_WmYCuk6yfyk0MXLXln9PYooJX6ePzQMmEcXR522e3wvfU6aOdPyOD1J6Z6e2UBYu-1sipi_UzHOdKVLN6oTonRr-FklKet8s-ho0dtiTYdNyn1A1oia0abjkndjXi8l8hp9BU4tvu0Z63SfyvAIvugj19Ka6VAXUUbwsGarEGmuVaYoYEg/w134-h200/YSSCover.jpg" width="134" /></a></div><p></p><p>William Akers has taught screenwriting for over thirty years. He is a lifetime member of the Writers Guild of America. He has written feature scripts and TV episodes for Universal, Disney, MGM, and Paramount.</p><p>I recently got the chance to talk to him about his wonderful book, <i>Your Screenplay Sucks: 100 Ways to Make It Great.</i></p><div><div><b>Story Into Screenplay (SIS): </b>Before we get started, I have to say that I thoroughly enjoyed the book. Out of the hundred mistakes you mention in the book, I've probably made about ninety-seven of them!</div><div><b>William Akers (WA)</b>: I'm sure you got the three most important ones right, so good for you! </div></div><div><br /></div><div><div><b>SIS</b>: How did you get started in screenwriting?</div><div><b>WA</b>: I originally wanted to be a cartoonist for newspaper comic strips. As the idea of a story strip vanished, I got into screenwriting because it used a similar format: a story told within a frame.</div><div>I went to USC Film School and met someone who introduced me to a producer. That introduction led to me getting an agent and landing some writing assignments from the studios.</div><div>From there, I shifted from writing to teaching. I moved back to Nashville and taught at Belmont University for a few years.</div></div><div><br /></div><div><div><b>SIS</b>: What inspired you to write the book?</div><div><b>WA</b>: The book came about because I was invited to speak at the University of Nevada-Las Vegas. I knew I needed to give the students a handout to follow the lesson.</div><div>The handout came from notes I had developed from fifteen years of teaching. It ended up being about a hundred pages long, so I thought, "This could be a book."</div><div>I remember the saying, "Write the book you need to have." I kept seeing the same mistakes over and over, so I knew it was a book my students and clients needed to have.</div></div><div><br /></div><div><br /></div><div><div><b>SIS</b>: Out of the hundred mistakes you mention in the book, which ones do you see the most often?</div><div><b>WA</b>: The mistake I see most often comes from writers who include too much detail in their descriptions. You've gotta cut stuff out!</div><div>The script has to be easy to read. When you put too many words on a page, the reader will want to quit reading. </div><div>I remember visiting a producer's office and as I was waiting, I counted the number of screenplays on the shelves.</div><div>I counted over 1,400 scripts! Each of those scripts came from a writer with representation. Only a handful could ever get made.</div></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj81AA376hBunWpOlrVsMxPLS-9UFlF28rqh6NHWhOtigVPOLRLZyIgZWJVjivOfM8wJucXS2I7RNYFNo5a2eY38Nm4ibc01o_ch8oIbi--6kiVA62IwWEhEBX-CMFVQ9b29VmA5-hBRdVTtUnEsIOwJtAySAfrBwxwWPTQWApUkcH9fdo4sq_F2Xb-ew/s1143/Akers.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="831" data-original-width="1143" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj81AA376hBunWpOlrVsMxPLS-9UFlF28rqh6NHWhOtigVPOLRLZyIgZWJVjivOfM8wJucXS2I7RNYFNo5a2eY38Nm4ibc01o_ch8oIbi--6kiVA62IwWEhEBX-CMFVQ9b29VmA5-hBRdVTtUnEsIOwJtAySAfrBwxwWPTQWApUkcH9fdo4sq_F2Xb-ew/w200-h146/Akers.jpg" width="200" /></a></div><div><b>SIS</b>: What is the smallest mistake you've seen that can cause the most damage to a script's chances?</div><div><b>WA</b>: That's a diabolical question! One small mistake I frequently see involves parentheticals. Writers often use them too much or put them in the wrong places.</div><div>For instance, writing action in parentheticals when they should go in the action lines. When you misuse something so simple, it signals to the reader that your writing lacks attention to detail.</div><div>Even the title can make or break whether a script hooks a reader. If a reader has to spend the entire weekend reading scripts, they'll go for the one with a catchy title first.</div><div><br /></div><div><div><b>SIS</b>: You also mention the mistakes that writers make when it comes to professional behavior. What's the biggest mistake you see from writers in that area?</div><div><b>WA</b>: In a word: paranoia. When a writer asks a reader to sign an NDA, this signals to the reader that the writer is going to be a problem to work with.</div><div>First off, producers and studios stealing ideas from unknown writers are practically unheard of. It's usually cheaper to pay the writer than to steal the idea and face a legal battle later.</div><div>Also, even if the writer's idea gets stolen, producers and studios have floors full of lawyers who can fight back.</div><div>A writer's best hope is to throw their scripts out to anyone willing to read them and not be afraid of someone stealing their ideas. It's okay to <b>BE </b>paranoid, but it's not okay to <b>ACT </b>paranoid.</div></div><div><br /></div><div><div><b>SIS</b>: Your book came out in 2008. What changes would you make for a 2022-23 edition?</div><div><b>WA</b>: I'm in the process of creating an updated version now. I have a massive three-ring binder I've labeled, "Your Screenplay STILL Sucks" that's still a work in progress.</div><div>The biggest changes I've noticed have come from the increased number of buyers for content. The streaming services are all looking for the next hit that can bring in subscribers.</div><div>Most of these services are looking for series rather than features. The ideal model is a limited series of three seasons with eight to twelve episodes per season that viewers can binge-watch.</div><div>However, you still need a great story. All the elements that relate to concepts, characters, plot, structure, and dialogue haven't changed.</div></div><div><br /></div><div><div><b>SIS</b>: What advice would you give to writers who are looking for a coach or mentor to guide them through the screenwriting process?</div><div><b>WA</b>: Find someone you can trust. Don't let them string you along and keep you paying for advice that doesn't help you.</div><div>Also, find someone who can give constructive notes and who knows about the business. If you can trust them enough to pay them, listen to their advice, and don't get defensive.</div><div>I remember a friend telling me about how he approached William Goldman (<i>Butch Cassidy and the Sundance Kid</i>, <i>All the President's Men</i>, <i>The Princess Bride</i>) and asked him to review his son's script.</div><div>Goldman agreed to meet the young man at a coffee shop and discuss his script. Every time Goldman had a note, the young man argued with him. When Goldman had finished with Act I, he pushed the script back to the young man and told him, "Everything else is fine."</div><div>This should serve as a lesson to young writers: don't get defensive about notes, especially when it comes from a writer with two Oscars on his shelf!</div></div><div><br /></div><div><div><b>SIS</b>: How would writers reach out to you with any questions?</div><div><b>WA</b>: You can check out my blog at <a href="http://www.YourScreenplaySucks.com">www.YourScreenplaySucks.com</a>. You can also email me at wma(at)yourscreenplaysucks(dot)com.</div><div><br /></div><div>Get your copy of <i>Your Screenplay Sucks</i> through <a href="https://www.amazon.com/Your-Screenplay-Sucks-Ways-Great/dp/1932907459/" target="_blank">Amazon</a> or directly through the publisher at<a href="https://mwp.com/product/your-screenplay-sucks/" target="_blank"> Michael Wiese Productions</a>.</div><div><br /></div><div>Schedule your <b>FREE </b>consultation with an award-winning screenwriter and experienced contest judge by contacting Story Into Screenplay.</div><div>You can fill in the form on this page or email us directly at storyintoscreenplayblog(at)gmail(dot)com. You can also send a direct message through our <a href="https://www.facebook.com/StoryIntoScreenplay/" target="_blank">Facebook</a> page.</div></div><div><br /></div><div><br /></div>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-44818281187491461892022-10-03T08:00:00.003-05:002022-10-03T08:00:00.149-05:00Screenwriting Advice: When September Ends<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="326" src="https://www.youtube.com/embed/I47jbMwRbI0" width="482" youtube-src-id="I47jbMwRbI0"></iframe></div><br /><p><br /></p><p><br /></p><p><b>"Well, nobody cares, well, nobody cares.</b></p><p><b>Does anyone care if nobody cares?" - Green Day, "Homecoming" (2004)</b></p><p><br /></p><p>So you've written a screenplay. </p><p>It could be a deeply personal story about a tragic experience that shaped your outlook on life from that moment until now.</p><p>It could be a story that you've worked on for years, sweated over every page, bled over every word, until you thought it was perfect.</p><p>It could be a story that allowed you to bare your soul on the page and let out all the negative emotions you've kept inside your entire adult life.</p><p>It could be a story that delivers a vital message about the injustices in the world and how you, as a brave writer, have crafted these characters who stand up and speak truth to power.</p><p>For all of you courageous souls who have poured your heart, mind, body, and soul into your screenplays, I have two words for you.</p><p>Nobody. Cares.</p><p>Not your family. Not your friends. Not your writers' group. Not your writing teacher. Not your favorite movie star, for whom you specifically wrote the lead role. </p><p>Certainly not anyone who has to read your deeply heartfelt story as part of their job. </p><p>Not that production company intern. They're too worried about getting their own scripts on their boss's desk.</p><p>Not that contest judge. They're too busy slogging through hundreds of bad scripts as they try to find the one gem that makes their job worthwhile.</p><p>Not even that professional script consultant you admire. (HINT HINT) Sure, they care about making you a better writer. They care about helping you understand the process. But they don't care about YOUR story the way that YOU do.</p><p>The bad news is: Nobody cares.</p><p>The good news is: Nobody cares…until you MAKE them care.</p><p>How do you MAKE them care?</p><p>I'm glad you asked.</p><p><br /></p><p><b>"Eddie Felson : You're some piece of work... You're also a natural character.</b></p><p><b>"Vincent Lauria : [to Carmen] You see? I been tellin' her that. I got natural character.</b></p><p><b>"Eddie Felson : That's not what I said, kid. I said you *are* a natural character; you're an incredible flake." - "The Color of Money" (1986)</b></p><p><br /></p><p>You MAKE them care about your story by MAKING them care about your characters.</p><p>If they don't care about your characters, all the beautiful writing, all the cathartic experiences, and all the sermonizing about the world's ills won't make them care about your story.</p><p>If you can get them to care about a walking tree that says its name over and over again, then you can get them to care about anything.</p><p>If you can get them to fall in love with a green-skinned, pointy-eared, black-eyed baby that doesn't even speak, then you can get them to follow you anywhere.</p><p>If you can get them to empathize with toys, cars, robots, ghosts, and insects, then you can play with their heartstrings like Jimi Hendrix on a Stratocaster.</p><p>The biggest mistake that writers make with their characters isn't that they don't deliver stirring speeches or wring a tear from a glass eye.</p><p>Your characters can be humans, aliens, animals, or machines. They can even be (literal) sock puppets.</p><p>What they can't be is (literary) sock puppets.</p><p>You can't write them as stand-ins for your family, your beliefs, or your traumas.</p><p>You have to write your characters like roles that actors want to play. </p><p>You have to write your characters that viewers want to watch succeed or root for to fail.</p><p>You have to write characters that have unique goals and universal needs.</p><p><br /></p><p><b>"You're so vain, you probably think this song is about you." - Carly Simon, "You're So Vain" (1972)</b></p><p>As much as I hate to break this to you, your screenplay shouldn't be about you.</p><p>It can reflect your experiences, but the reader doesn't need to see those experiences in excruciating detail.</p><p>It can convey your beliefs, but the script is not your sermon, nor is the reader your congregation.</p><p>It can serve as therapy, but the reader is not your therapist.</p><p>Your screenplay isn't ABOUT you because it isn't FOR you.</p><p>It's for the intern who has to decide if their boss should give it a look.</p><p>It's for the contest judge who has to determine if it could win a cash prize.</p><p>It's for the producers who have to find investors willing to put in millions of dollars to get it made.</p><p>It's for that struggling actor looking for a breakout role to launch their career.</p><p>It's for the crew members who get up early and put in long hours on the set every day during production.</p><p>It's for the post-production team who struggles to turn raw footage into spun gold.</p><p>Your job is to get all of these people to care about your characters enough to risk their jobs to turn your written blueprint into a finished product.</p><p>Most of all, it's for the viewer who wants to go on an emotional ride for an hour or two.</p><div>Until then…nobody cares.</div><p><br /></p><p><b>"Won't you please, please help me?" - The Beatles, "Help!" (1965)</b></p><p>If you want to learn how to make these people care about your script, Story Into Screenplay can help.</p><p>If you have a script and want a professional evaluation from an experienced screenplay contest judge, Story Into Screenplay can help.</p><p>If you have a script and want one-on-one sessions to get it in the best shape possible, Story Into Screenplay can help.</p><p>If you have an idea and want guidance to turn that idea into a professional-level script, Story Into Screenplay can help.</p><p>You can book a <b>FREE</b>* 30-minute consulting session with Story Into Screenplay by filling in the form on this page or by emailing storyintoscreenplayblog[at]gmail[dot]com. You can also send a direct message through our <a href="http://www.facebook.com/storyintoscreenplay" target="_blank">Facebook</a> page.</p><p>You can also check out the Story Into Screenplay <a href="https://www.youtube.com/storyintoscreenplay" target="_blank">YouTube channel</a> to see interviews with some of the top story consultants in the business.</p><p>Gerald Hanks will also be at the <a href="https://austinfilmfestival.com/" target="_blank">Austin Film Festival and Screenwriting Conference</a> from Friday, October 28, to Sunday, October 30. Email or DM for details.</p><p><br /></p><p><br /></p>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-83487192590866251152022-08-22T08:00:00.001-05:002022-08-22T08:00:00.169-05:00"Where Have You Been?"<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOoFq9enwdbJqDbsUsqArvlFOXBcGMwgCFjgPYZtuhGEKDC6yI_Y9T0kEs7cyee7DwvX6-kBe48uImqFddRwdSSrHPjnR-1wb-Epjy2W9CX4KaScRGEXB8ca00K-01kl5317ng1cgrhRuuFuvhsPRB33Rk6SpgnUzEu-s8Ee_GiKdxnLQxwdvhp5aykw/s1914/SIS-Header.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="920" data-original-width="1914" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOoFq9enwdbJqDbsUsqArvlFOXBcGMwgCFjgPYZtuhGEKDC6yI_Y9T0kEs7cyee7DwvX6-kBe48uImqFddRwdSSrHPjnR-1wb-Epjy2W9CX4KaScRGEXB8ca00K-01kl5317ng1cgrhRuuFuvhsPRB33Rk6SpgnUzEu-s8Ee_GiKdxnLQxwdvhp5aykw/w400-h193/SIS-Header.jpg" width="400" /></a></div><br />As a way to get back to the way things were in the Before Times(™), I thought I would post a new entry into this long-neglected space.<p></p><p><br /></p><p>Just because I haven't been posting here doesn't mean I haven't been busy elsewhere. These other commitments have prevented me from giving this space the attention it deserves.</p><p><br /></p><p>As for my "day job", I have been reading scripts for <a href="http://coverfly.com/" rel="nofollow" target="_blank">Coverfly</a> and the <a href="https://austinfilmfestival.com/" rel="nofollow" target="_blank">Austin Film Festival</a>. If you plan on attending AFF, drop me a line (<u><b>storyintoscreenplayblogATgmailDOTcom</b></u>) and we can talk about your project while we watch the Astros (hopefully) win Games 1 and 2 of the World Series! </p><p><br /></p><p>I've also carved out time to develop my first half-hour comedy pilot. <i>Jobber</i> is about a young aspiring pro wrestler whose dreams of superstardom in the world's biggest promotion collide with the reality of his new position as an "enhancement talent".</p><p><br /></p><p>Since my <a href="https://www.kairosprize.com/2020-21-winner-of-the-15th-annual-kairos-prizes/" rel="nofollow" target="_blank">Kairos Prize win</a> last year, my wonderful manager has been taking my projects to some top-name producers and streamers. If I had permission to drop some names, you would likely recognize someone who had seen my work.</p><p><br /></p><p>I've also been working with a wide array of clients on their scripts. While I'm not at liberty to discuss the details of any specific project, most of them involve adaptations of true stories, a subject I covered in a previous post.</p><p><br /></p><p>I've also been expanding my VOTE Method presentation to live seminars. I've presented these quick, one-hour lessons at the Comicpalooza convention, the Houston Media Source (<a href="https://www.youtube.com/watch?v=I47jbMwRbI0" rel="nofollow" target="_blank">VIDEO LINK</a>), and the Scriptwriters Houston group meeting.</p><p><br /></p><p>While my attention in recent months has strayed away from generating words on paper (or on-screen), those efforts have gone toward my YouTube channel (<a href="https://www.youtube.com/channel/UC9KSqb-96hV1zXKwAmS37PA" rel="nofollow" target="_blank">LINK</a>). I have posted several interviews with some of the leading script consultants in which we discuss their experiences within the industry, advice for aspiring writers, and hints on what to look for in a mentor.</p><p><br /></p><p>Over the last ten years, I've been a produced screenwriter, an optioned screenwriter, a paid screenwriter, a contest-winning screenwriter, and now a "repped" screenwriter.</p><p><br /></p><p>I've also been a film critic, a screenplay contest judge, a story analyst, a public speaker, a private consultant, and (on rare occasions) a top-flight screenwriting blogger.</p><p><br /></p><p>As for the future, I am always looking for new avenues to help people turn their stories into screenplays. One of those avenues has been this blog, which I have neglected for far too long.</p><p><br /></p><p>While I enjoy the interviews and the speaking gigs, I recognize that writers need to write, regardless of whether that writing involves screenplays, blog posts, or grocery lists.</p><p><br /></p><p>My goal for the rest of this year involves putting out a new post each week (published on Friday) that reflects my thoughts on films, TV, or anything else related to the craft of screenwriting.</p><p><br /></p><p>If you have any suggestions for future posts on subjects I haven't covered, drop me a line at the address listed above or fill out the form on this page. Also, please like and follow Story Into Screenplay on <a href="https://www.facebook.com/StoryIntoScreenplay/" rel="nofollow" target="_blank">Facebook</a>. While I will post long-form articles here, I also post short remarks and event updates on the FB page. </p><p><br /></p><p>I will also work on offering my VOTE Method lessons as online classes available by subscription or by one-time purchase. While the blog posts and live seminars scratch the surface of what this process can do, the additional lessons go deeper into showing the potential of how this approach can help you attract agents, actors, and audiences to your project.</p><p><br /></p><p>As this "glorious summer" winds down, I want to ensure that it doesn't lead to a "winter of discontent" for my fellow writers. From now until the start of the Austin Film Festival, Story Into Screenplay will offer a FREE 30-minute one-on-one Zoom call for anyone in the US or Canada interested in developing their screenplay.</p><p><br /></p><p>To schedule your session, email <b><u>storyintoscreenplayblogATgmailDOTcom </u></b>or fill in the form on this page with your name, your availability, and the title and logline for your project. If you're not sure how to create a logline, check out my post on how to use the VOTE Method to craft the <a href="http://www.storyintoscreenplay.com/2020/12/one-word-your-logline-must-have.html" rel="nofollow" target="_blank">ideal logline</a>. </p><p><br /></p><p>Anyone who signs up for their FREE one-on-one call also qualifies for a discount on their script analysis reports and one-on-one consultation sessions. </p><p><br /></p><p>Don't put your dreams off until 2023. Let's get your script into shape before this year closes out. </p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-84251280838392608662022-05-23T09:34:00.000-05:002022-05-23T09:34:46.072-05:00 Story Into Screenplay Review: An Evening with Neil Gaiman<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBgzwlUDKjc7F6S3MkBhHfBkgD4UYU4SCR-wfcYx73p_qTl3QkR7eYFxSVs_CuxcVHir9Fc2pCnuZqZyWBdTCpBCFT73CJFpVI5CAPVDag-LUxLWOlcvZ_G5QgTbNgBSr8hKgA95qMaE2_tHkapZPwm7vizUFC-RmqRMqg4dkeNfTuTWVuFzyeZahZ9g/s2000/220522-Gaiman.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="401" data-original-width="2000" height="64" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBgzwlUDKjc7F6S3MkBhHfBkgD4UYU4SCR-wfcYx73p_qTl3QkR7eYFxSVs_CuxcVHir9Fc2pCnuZqZyWBdTCpBCFT73CJFpVI5CAPVDag-LUxLWOlcvZ_G5QgTbNgBSr8hKgA95qMaE2_tHkapZPwm7vizUFC-RmqRMqg4dkeNfTuTWVuFzyeZahZ9g/w320-h64/220522-Gaiman.jpg" width="320" /></a></div><br /><p><br /></p><p>Most writers consider themselves fortunate if they get to hear advice on writing from one of their idols. In my case, I've now benefitted from listening to two masters of their craft.</p><p>In the summer of 2014, I got the chance to hear from the late great <a href="https://www.youtube.com/watch?v=gw1-Q5CujZM" target="_blank">Stan Lee</a> at Houston's Comicpalooza convention. </p><p>This weekend, I got to see the still-great Neil Gaiman at Houston's Jones Hall for the Performing Arts.</p><p><br /></p><p><b>"Shadows", "Saucers", "Bananas" and an "Orange"</b></p><p>In an era where big-budget superhero blockbusters draw record numbers of eyeballs, much of the audience likely found it refreshing to hear a single person on a bare stage stand at a podium and read aloud from their novels, poetry, and short stories.</p><p>Gaiman shared several of his reading selections, including:</p><p>"Professor Bananas": An experiment involving cherries, lemonade, and grass clippings makes its subject grow so large that he can wear the universe as an overcoat.</p><p>"<a href="http://www.bitchwick.com/amacker/bean/price.html" target="_blank">The Price</a>": An injured black cat brings the family who takes him in an entirely different type of bad luck.</p><p>"Watching from the Shadows": Gaiman relates his lifelong love affair with Batman. He dedicated the reading to the late Batman artist Neal Adams.</p><p>"Orange": A teenage girl must answer a questionnaire about how an alien presence has taken over her sister's body through a unique self-tanning lotion.</p><p>"<a href="https://booksjadore.com/2014/03/20/the-day-the-saucers-came-neil-gaiman/" target="_blank">The Day the Saucers Came</a>": A young lover misses out on multiple apocalyptic events as they wait by the phone.</p><p>"<a href="https://rickmanhchs.files.wordpress.com/2017/09/click-clack-the-rattle-bag.pdf" target="_blank">Click-clack the Rattlebag</a>": A young man gets caught up in a "bedtime story" from his girlfriend's eight-year-old brother. </p><p><br /></p><p><b><i>The Ocean</i>, <i>Omens</i>, and <i>Odd</i></b></p><p>He told the story of how he struggled for years to get <i>The Sandman</i> audio drama off the ground. When the programs launched on Audible, Act I and Act II became the top two fastest-selling audio dramas in the platform's history, outperforming the "Harry Potter" series.</p><p>He related how he teared up at a rehearsal for the stage adaptation of <i>The Ocean at the End of the Lane</i>. He noted how the premiere performance brought both he and his wife to tears, along with his surprise at how it affected the <i>Daily Telegraph</i> drama critic sitting next to them.</p><p>Gaiman also talked about his collaboration with the late Sir Terry Pratchett on his novel <i>Good Omens</i>. He related that he took his inspiration for the best-selling book (and eventual <a href="https://www.youtube.com/watch?v=On0RbFjh8tI" target="_blank">hit TV series</a>) from numerous elements, including the Christopher Marlowe play <i>The Jew of Malta</i> and the 1976 supernatural horror film <i>The Omen</i>.</p><p>While many of his novels leave room for sequels, he claims that he gets "too distracted" to follow through on the subsequent stories. However, he mentioned the sequel to his 1996 best-seller <i>Neverwhere</i>, the 2021 release <i>The Seven Sisters</i>, and an eventual sequel to his children's book <i>Odd and the Frost Giants</i>.</p><p><br /></p><p><b>Fountain Pens and Vocal Care</b></p><p>As for his personal habits, he prefers using fountain pens and notebooks to typewriters or computer software. When Moleskine went to a cheaper grade of paper several years ago, he switched to Leuchtturm 1917 notebooks to ensure that the fountain pen ink wouldn't leak through to the other side of the page.</p><p>A short story collection by fellow legendary British comics writer Alan Moore (<i>V for Vendetta</i>, <i>Watchmen</i>, <i>Batman: The Killing Joke</i>) sits on his nightstand.</p><p>He doesn't have a vocal care routine, even after reading aloud for two hours a night through seventeen cities in less than thirty days. (NOTE: If anyone could give him advice on taking care of his voice, it would be his wife, singer/songwriter Amanda Palmer.)</p><p><br /></p><p><b>Writing Advice</b></p><p>As for his screenwriting career, he said that he turned in four episodes of Season One and the opening episode of Season Two for the TV adaptation of his novel <a href="https://www.youtube.com/watch?v=oyoXURn9oK0" target="_blank"><i>American Gods</i></a>. After that, the showrunners "did what they did" to his scripts.</p><p>He also offered some helpful advice for aspiring writers. For instance, when choosing whether to write for yourself or for the audience, you should write for yourself. If the writing fulfills you as a writer, it should also connect with the audience as a listener. If the writer doesn't find fulfillment in the writing process, the audience won't get what they need out of reading it.</p><p>One of the biggest takeaways for writers occurred when he stated his belief that creators should favor consistency over perfection. </p><p>Gaiman remarked how he had admired colorist Steve Whittaker's work on Alan Moore's <i>V for Vendetta</i> and that he wanted Whittaker for <i>The Sandman</i>. However, Whittaker's relentless perfectionism prevented him from turning in the finished pages on time, so Robbie Busch handled the coloring duties for the first story arc, "Preludes and Nocturnes".</p><p>Gaiman used this example to illustrate how the pursuit of perfection can inhibit actual progress, both professionally and creatively. He stressed that artists should "keep moving forward" if they want to grow in their craft.</p><p>=====</p><p>If you're a screenwriter who wants to "keep moving forward" with your scripts, Story Into Screenplay can help.</p><p>Story Into Screenplay offers screenplay evaluations, rewriting services, and one-on-one consultations with an award-winning screenwriter and experienced screenplay contest judge.</p><p>For more information, contact us at storyintoscreenplayblog(at)gmail(dot)com or fill in the form on this page.</p><p><br /></p>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-69753767081347437432022-04-05T09:00:00.001-05:002022-04-05T09:00:00.178-05:00Interview with Pilar Alessandra, Author of "The Coffee Break Screenwriter"<p></p><div class="separator" style="clear: both; text-align: center;"><br /></div>Pilar Alessandra is the director of the instructional writing program <a href="https://www.onthepage.tv/" target="_blank">On The Page</a>,® host of the <a href="http://onthepage.libsyn.com/" rel="nofollow" target="_blank">On the Page Podcast</a> and a highly sought-after speaker and script consultant who’s trained writers at Disney, DreamWorks, ABC, the AFM and around the world. <p></p><p>She is also the author of <i><a href="https://mwp.com/?s=The+Coffee+Break+Screenwriter&post_type=product&product_cat=" rel="nofollow" target="_blank">The Coffee Break Screenwriter</a></i> and <i><a href="https://mwp.com/?s=The+Coffee+Break+Screenwriter&post_type=product&product_cat=" rel="nofollow" target="_blank">The Coffee Break Screenwriter Breaks the Rules</a></i>. </p><p>Pilar’s greatest accomplishment is the success of her students. They’ve worked on TV shows such as <i>House of the Dragon</i>, <i>Zoey’s Extraordinary Playlist</i>, <i>Homeland</i>, <i>Dear White People</i>, <i>Grey’s Anatomy</i>, <i>Silicon Valley</i>, and <i>The Chi</i> and have sold feature films and pitches to Netflix, Sony, Warner Bros. and other major studios. </p><p>For more information about Pilar, her classes, consultations, book and podcast, go to <a href="http://www.onthepage.tv">www.onthepage.tv</a></p><p>==========</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQk56Rs10ZytCtguFjIfReEUPiQf3ALWXtpVeyqp5hqWFzHlsvqTOnZP2IEo-ShjmLYUoH_JOE0NwdOuyfA_EqyNLmNJCkTIIcYymrSZK_kz4D3PZtHtH6amm6V5qECTNIycspS7J8acRbjrWRPVCuWMD_ssv34EXoQjjCqVhVCt4eH8tKJhiCLTFmCw/s500/coffeebreakcover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="500" data-original-width="334" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQk56Rs10ZytCtguFjIfReEUPiQf3ALWXtpVeyqp5hqWFzHlsvqTOnZP2IEo-ShjmLYUoH_JOE0NwdOuyfA_EqyNLmNJCkTIIcYymrSZK_kz4D3PZtHtH6amm6V5qECTNIycspS7J8acRbjrWRPVCuWMD_ssv34EXoQjjCqVhVCt4eH8tKJhiCLTFmCw/w134-h200/coffeebreakcover.jpg" width="134" /></a></div><p><b>You mention in the book that you started as a “sandwich girl” who read a friend's script and your career took off from there.</b></p><p><b>For people who may not be familiar with your work, can you tell everyone how you got started in coaching screenwriters?</b></p><p>That's a bit of "spin" on my part to show writers how to logline the more interesting parts of their life. It took a bit longer, of course! But, yes, I was overeducated and underemployed when I started reading scripts for a friend. </p><p>Those coverage samples turned into a job at Amblin, a senior story analyst position at DreamWorks, and inspired the writing tools that became the basis for my classes and books.</p><p><br /></p><p><b>Since so many aspiring writers complain that they don't have time to write, can you talk about how this issue inspired you to write your book?</b></p><p>I came to realize that, for busier writers with jobs and kids, my class was a key part of their weekly writing time. So, after teaching a writing tool, I’d tell them they have ten minutes to try it out on their own story. </p><p>I was shocked to see the high quality of work they turned out when they just had ten minutes of focused writing time. From that, the idea of “The Coffee Break Screenwriter” was born. </p><p>Sometimes it’s not about finding the time; it’s about getting rid of the distractions and doing one focused thing.</p><p><br /></p><p><b>One aspect that lets your book stand out involves how it allows the reader to sketch out the story as they read.</b></p><p><b>Most screenwriting books lecture the reader about character or structure and may have exercises at the end of each chapter, but your book lets the reader start working on vital aspects of their story almost immediately.</b></p><p><b>What led you to take this approach?</b></p><p>All of my classes are “learn while doing.” I’ve seen great results so the book is designed in the same way. I also encourage readers to skip over what isn’t working for them and keep moving on to what does. A screenplay or pilot will still be the end result. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg44WdA1JZkdyJvMnPruRmwLJ1FrPwXF--3AkTOwSsHArLr0sDP6MBuq4sz2n9wm8CfO7BxI3zTsmkmC1lVOjyYj8KV3MHKWA90Z3AjPK42X3p51y2x-k0TKYFU3s6ebPO9pqNzuftoZbI0WWjP74hDcPI-oBpfPdDqk9i4lj2Wo4hIebO13maS_X6GbQ/s640/Pilar_2018-24_WEB.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="427" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg44WdA1JZkdyJvMnPruRmwLJ1FrPwXF--3AkTOwSsHArLr0sDP6MBuq4sz2n9wm8CfO7BxI3zTsmkmC1lVOjyYj8KV3MHKWA90Z3AjPK42X3p51y2x-k0TKYFU3s6ebPO9pqNzuftoZbI0WWjP74hDcPI-oBpfPdDqk9i4lj2Wo4hIebO13maS_X6GbQ/w134-h200/Pilar_2018-24_WEB.jpeg" width="134" /></a></div><p><b>Many of the projects that your clients have worked on have topped the box office rankings and the TV ratings.</b></p><p><b>What do you feel is the biggest piece of advice that you've offered to your clients that has led to so many of them enjoying such successful careers?</b></p><p>Be open on the page and in person. Sometimes the story takes hold as you write. Sometimes a chance meeting opens doors. </p><p><br /></p><p><b>Another wonderful aspect of the book involves how you present each step of the writing process and break it down into steps that most writers can complete in ten minutes or less.</b></p><p><b>Do you see the tasks outlined here as more of a tool for writers to manage their time?</b></p><p><b>Or does it go deeper than that, such as giving writers the tools to overcome their excuses for not writing?</b></p><p>I'm hoping it's both. It also depends on the writer's needs when reading it. </p><p>Some find freedom in cracking open the book at any point and getting something done on their script whether it's an outline, rewrite, or a pitch. Others like to go step-by-step until they're finished.</p><p><br /></p><p><b>At the end of the book, you ask some of your students what they should do if they have only ten minutes to improve any aspect of their writing or their career.</b></p><p><b>If I turn these questions around on you:</b></p><p><b>What advice would you give writers on how they could use ten minutes to improve a scene?</b></p><p>What’s the key, emotional action line that shows what’s really going on in the scene? If it’s not there, write it. If there’s too much emotional noise, edit it.</p><p><br /></p><p><b>What advice would you give writers on how they could use ten minutes to improve a sequence?</b></p><p>Try a "genre pass." Your sequence of scenes may be an effectively moving story, but is there also a major scare or laugh or romantic moment in there that leans into the genre, mood, or tone?</p><p><br /></p><p><b>What advice would you give writers on how they could use ten minutes to improve their script?</b></p><p>Edit. Take ten minutes at a time to eliminate long set-ups in the scene or come in a little later into the dialogue. Try this ten minutes at a time in places where it’s needed and you’ll have a tighter, more readable script.</p><p><br /></p><p><b>What advice would you give writers on how they could use ten minutes to improve their careers?</b></p><p>Take ten minutes to tell someone how much you value their work. It’s a start to a professional relationship that doesn’t begin with an ask.</p><p><br /></p><p><b>In your career as a script consultant, you've worked with numerous writers to help them achieve some fantastic results.</b></p><p><b>For screenwriters looking for coaches or consultants, what advice would you give them on what to look for in a coach?</b></p><p>A good coach or consultant understands the intentions of your project and helps you meet them through story and execution. If they don’t seem to “get” your work, use a “comp” (a comparative project) to express the kind of show or feature you’re going for. If they still don’t understand your intention or just shoot it down, they may not be the right fit for you.</p><p>========</p><p>Special Thanks to Pilar Alessandra for her time and to Ken Lee at Michael Wiese Productions for providing a review copy of <i>The Coffee Break Screenwriter</i>.</p><p>Story Into Screenplay offers script analysis and one-on-one consultations with clients in various stages of the screenwriting process.</p><p>For more information, fill in the form on this page or email storyintoscreenplayblog(at)gmail(dot)com.</p><p>You can also follow the Story Into Screenplay <a href="http://www.facebook.com/StoryIntoScreenplay" rel="nofollow" target="_blank">Facebook page</a> to find more interviews, movie reviews, and screenwriting advice.</p>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-2811695901485334102022-02-28T08:00:00.003-06:002022-02-28T08:00:00.167-06:00Interview with Weiko Lin, author of “Crazy Screenwriting Secrets”<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjNYdYo7rN2Ybs7lywY9Tqa4VeKp3XUu4SCd8l9BzecJKrmJg_1WFO-5R2siFqq3_FuIFBr5u3aonG9opM9VbgzGEoerzYoiBdWZVSsvJCLaCLcoM07iOenTFaT6UzlAPu_bfhhUClHpHqXXFIpFfMB0bqLQZBrkdW92lgkhcbEVB369jPhidZFQoWOtw=s445" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="445" data-original-width="296" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEjNYdYo7rN2Ybs7lywY9Tqa4VeKp3XUu4SCd8l9BzecJKrmJg_1WFO-5R2siFqq3_FuIFBr5u3aonG9opM9VbgzGEoerzYoiBdWZVSsvJCLaCLcoM07iOenTFaT6UzlAPu_bfhhUClHpHqXXFIpFfMB0bqLQZBrkdW92lgkhcbEVB369jPhidZFQoWOtw=w133-h200" width="133" /></a></div><p>I recently had the opportunity to interview award-winning screenwriter and instructor Weiko Lin about his excellent book, <i>Crazy Screenwriting Secrets: How to Capture a Global Audience</i>.</p><p>Professor Lin has been a writer, director, producer, and is currently a tenured associate professor of screenwriting at Emerson College in Boston. </p><p>He has also been a Fulbright Senior Specialist, received a Samuel Goldwyn Writing Award, and placed in the finals of the Academy Nicholl Fellowship contest.</p><div>In this interview, he discusses how a young boy from Taiwan became a sought-after screenwriter, how stories once aimed at a niche audience have gained widespread acceptance, and how the best screenplays resemble a fine dining experience.</div><div><br /></div><div>=======</div><p><b>For people who may not be familiar with your work, can you tell everyone how you got started in screenwriting and what inspired you to write the book?</b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjw2i3durUTXywimmcFUhovo3SYQPcCtVYtgH9cK3ZxyOIqx0l3WQNFJfnYaKfSDEPFn2G10ygvBTBfhMnwRmpFgHWY9a6utzaRdBNqtWKqBDA3Qvq-8ihI1y15nTH1SQt734FiAbrU7c-XaAe7Xa4EfRaDlnVEQqGJQzb5iRfQXKP3WaDTo02pVBMuUA=s3000" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3000" data-original-width="2000" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEjw2i3durUTXywimmcFUhovo3SYQPcCtVYtgH9cK3ZxyOIqx0l3WQNFJfnYaKfSDEPFn2G10ygvBTBfhMnwRmpFgHWY9a6utzaRdBNqtWKqBDA3Qvq-8ihI1y15nTH1SQt734FiAbrU7c-XaAe7Xa4EfRaDlnVEQqGJQzb5iRfQXKP3WaDTo02pVBMuUA=w133-h200" width="133" /></a></div><p>I was born in Taiwan and immigrated to LA when I was 8. </p><p>I graduated with a degree in English Creative Writing from UCLA. I continued at my alma mater in the MFA screenwriting program. I also received a Samuel Goldwyn Writing Award and was a finalist in the Nicholl Fellowship. That's how I got the managers I still work with today. </p><p>Shortly after, I sold my first feature pitch and wrote projects for companies including the digital studios of Turner, Disney, Ivanhoe Pictures/SK Global (producer of "Crazy Rich Asians"), Don Mischer Productions, Wanda, and many more. </p><p>I wrote the original story for and produced a Chinese language romance film titled "100 DAYS", which is now available on Amazon Prime. That film premiered at the Hawai'i International Film Festival and was released theatrically in Taiwan. </p><p>The seed for this book came out of the accessibility of diverse content and our hunger to connect to stories that reflect the world we live in today. I hope this book can inspire more global and diverse creators. </p><p><br /></p><p><b>In the book, you compare the process of screenwriting to that of cooking. </b><b>You compare a story outline to a recipe, the characters to ingredients, and the act structure to each course of a gourmet meal.</b></p><p><b>What advice would you give to aspiring writers on how to apply this approach when they write their scripts?</b></p><p>It's just another approach of beginning, middle, and end. I believe we consume stories like how we consume food. The key is narrative construction in movies should feel organic, not chaotic or random. </p><p>Most fine dining restaurants have a specific way in which they present their food: appetizers, sides, drinks, and so on. Each one is designed to support the one main course. The desserts are often sweet and satisfying. Even the alcohol you pair with it would be a port. </p><p>The movie experience should be just as satisfying to the audience as a fine meal is to the diner.</p><p><br /></p><p><b>Speaking of approaches, another part of the book talks about the relationships between writers and agents, managers, and attorneys. One of the biggest questions that rookie writers ask is, “How do I get an agent or manager?”</b></p><p><b>For writers who don't live in LA or NY, what advice would you give these writers on how to approach getting representation?</b></p><p>Most importantly, make sure you have solid material ready to show: one strong feature sample and one strong TV sample that are similar in tone. You should also have one very personal sample that may not easily get made, but one in which the story comes from the most authentic, personal depth and perspective that only you can express. </p><p>Competitions are a good way in – but you should be selective about which ones you spend your money and time on. These contests should be reputable and prominent competitions with past winners achieving results in attaining legitimate representation. </p><p>Queries can be overwhelming, especially since managers and agents get a ton of them via emails. You should do some investigating and find assistants or newly promoted agents/managers with whom you might share a connection, such as going to the same university or coming from the same town. This common bond should ensure that the blind queries aren't so out of nowhere. </p><p><br /></p><p><b>Speaking of representation, you also mention how scripts that deal with different types of audiences have found success. You mention <i>Brokeback Mountain</i>, <i>Black Panther</i>, <i>Crazy Rich Asians</i>, <i>Slumdog Millionaire</i>, <i>Moonlight</i>, and a host of others.</b></p><p><b>How has the success of these films changed the opportunities available to aspiring writers from under-represented groups?</b></p><p>With streaming platforms and big box office success of typically underrepresented narratives and characters, there are more avenues to make movies with hyper-specific points of view. In these cases, a typical, expensive theatrical release might otherwise not be an option. These films used universal emotions to connect beyond a specific audience – they moved a mass audience. </p><p><b><br /></b></p><p><b>Since the latest edition of your book came out in 2019, a few things have changed since then. In your book, you mentioned Netflix and other streaming services. </b></p><p><b>How do you think the growth of streaming services has changed the game for aspiring screenwriters?</b></p><p>Streaming services have certainly opened more opportunities to create content. There are more avenues for specific stories to be told that might have been challenging before with limited platforms. </p><p>Even more so, if aspiring screenwriters know or are familiar with another language and culture, that might even create more mediums where your stories can live. </p><p><br /></p><p><b>Of course, one of the reasons that the streamers have found a bigger audience has been COVID-19 and the resulting lockdowns.</b></p><p><b>How do you think the COVID pandemic and the subsequent waves of openings and lockdowns have changed the market for new screenwriters?</b></p><p>I'm no expert on this, but audiences will always crave the theater-going experience. I know I do. But perhaps during this time where we had to consume content on streamers, the streamers have amassed a more accurate sense of what the audiences are watching. </p><p><br /></p><p><b>For screenwriters who are looking for coaches or consultants, what advice would you give them on what to look for in a coach?</b></p><p>The key is having the same taste. That goes a long way because then both of you are invested in bringing this story to life that you both hope to see. </p><p>========</p><div><br /></div><div>You can pick up your copy of <i>Crazy Screenwriting Secrets</i> on <a href="https://www.amazon.com/Crazy-Screenwriting-Secrets-Capture-Audience/dp/1615933018" rel="nofollow" target="_blank">Amazon</a> or at <a href="https://mwp.com/product/crazy-screenwriting-secrets-capture-global-audience/" rel="nofollow" target="_blank">Michael Wiese Productions</a>.</div><div><br /></div><div><div>Story Into Screenplay offers script evaluations and one-on-one consulting sessions from professional screenplay analyst and <a href="https://www.kairosprize.com/2020-21-winner-of-the-15th-annual-kairos-prizes/" rel="nofollow" target="_blank">award-winning screenwriter</a> Gerald Hanks.</div><div><br /></div><div>For more information, contact Story Into Screenplay at storyintoscreenplayblog(at)gmail(dot)com or send a direct message through the SIS <a href="https://www.facebook.com/StoryIntoScreenplay/" rel="nofollow" target="_blank">Facebook</a> page.</div></div><div><br /></div><div><br /></div>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-33591834823267490052022-01-03T08:00:00.010-06:002022-01-05T11:23:20.069-06:00Screenwriting with the VOTE Method: National Champion$<div class="separator" style="clear: both; text-align: left;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/EAbWcSGK5hc" width="320" youtube-src-id="EAbWcSGK5hc"></iframe></div><p>With the college football bowl season winding down and the CFP National Championship on the horizon, the new film <i>National Champion$</i> examines the issues surrounding the "student-athlete" model and how it impacts the big-money world of college football.</p><p>NOTE: The purpose of this review does not involve evaluating the story, direction, or performances in the film.</p><p>Instead, the purpose involves illustrating how a screenplay by Adam Mervis (<i>21 Bridges,</i> <i>The Last Days of Capitalism</i>) could apply the <a href="http://www.storyintoscreenplay.com/2014/03/screenwriting-advice-how-to-write-super-powerful-characters.html" target="_blank">VOTE Method</a> as a tool for character development.</p><p>This post contains some MILD SPOILERS for the film.</p><p><b><u>PROTAGONISTS</u></b></p><p><b>LEMARCUS JAMES</b></p><p>LeMarcus James (Stephan James) must choose between playing in the college football national championship game or fighting for the rights of his fellow players.</p><p><u><b>Victory</b>: What does he want?</u></p><p>LeMarcus wants to lead a player boycott of the College Football Championship Game to protest their unfair working conditions.</p><p><u><b>Obstacles</b>: What stands between him and his Victory?</u></p><p></p><ul style="text-align: left;"><li>He could lose his final opportunity to win a national championship.</li><li>He risks his status as the #1 overall pick in the NFL Draft, which could net him millions of dollars.</li><li>The billion-dollar machinery of the NCAA and their member conferences come down on him.</li><li>A ruthless private investigator threatens to reveal dirt about his past.</li></ul><p></p><p><u><b>Tactics</b>: What actions does he take to overcome the Obstacles and gain his Victory?</u></p><p style="text-align: left;"></p><ul style="text-align: left;"><li>He gives speeches to win over his teammates and his opponents.</li><li>He goes to the media and illustrates the inequities between the rich coaches and the poor players.</li><li>He hides from his coaches and moves to different hotels.</li><li>He confronts the investigator and his coach over their hypocrisy.</li></ul><p></p><p><u><b>Emotion</b>: What emotional need drives him to pursue his Victory?</u></p><p>LeMarcus needs to find a way to support Emmett Sunday, his best friend and teammate, who suffered a life-changing injury and will never make the pros.</p><p><br /></p><p><b>EMMETT SUNDAY</b></p><p>LeMarcus's teammate and best friend Emmett Sunday (Alexander Ludwig) faces the end of his football career without any hopes of making it into the NFL.</p><p><u><b>Victory</b>: What does he want?</u></p><p>Emmett wants to support his family after his college football career ends.</p><p><u><b>Obstacles</b>: What stands between him and his Victory?</u></p><p></p><ul style="text-align: left;"><li>His numerous injuries prevent him from starting an NFL career.</li><li>His time spent in games and practices prevented him from getting a quality education.</li><li>His stand with LeMarcus could get him blacklisted for any future football jobs.</li></ul><p></p><p><u><b>Tactics</b>: What actions does he take to overcome the Obstacles and gain his Victory?</u></p><p></p><ul style="text-align: left;"><li>He supports LeMarcus in his efforts to improve the standing of college football players.</li><li>He helps LeMarcus develop his media strategies.</li><li>He hides LeMarcus's movements from their coaches.</li></ul><p></p><p><u><b>Emotion</b>: What emotional need drives him to pursue his Victory?</u></p><p>He needs to make a difference for the players who will come after him and experience the same hardships.</p><p><br /></p><p><b><u>ANTAGONISTS</u></b></p><p><b>COACH JAMES LAZOR</b></p><p>Missouri Wolves head coach James Lazor (J.K. Simmons) has the opportunity to win his first National Championship – but only if his star QB shows up for the game.</p><p><u><b>Victory</b>: What does he want?</u></p><p>Coach Lazor wants to find his star player and win the National Championship game.</p><p><u><b>Obstacles</b>: What stands between him and his Victory?</u></p><p></p><ul style="text-align: left;"><li>LeMarcus keeps changing his location.</li><li>Several players join LeMarcus's strike.</li><li>His wife leaves him for a professor.</li><li>College football executives breathe down his neck to get LeMarcus on the field.</li></ul><p></p><p><u><b>Tactics</b>: What actions does he take to overcome the Obstacles and gain his Victory?</u></p><p></p><ul style="text-align: left;"><li>He sends his coaches on a manhunt to find his QB.</li><li>He gives an inspirational speech to his remaining players.</li><li>He gives a press conference to address LeMarcus's terms.</li></ul><p></p><p><u><b>Emotion</b>: What emotional need drives him to pursue his Victory?</u></p><p>He needs to win the championship to justify the long hours spent coaching and the loss of his marriage.</p><p><br /></p><p><b>KATHERINE POE</b></p><p>Private investigator Katherine Poe (Uzo Aduba) works with the NCAA as a "fixer" to solve issues that the white male establishment wants to keep out of the public eye.</p><p><u><b>Victory</b>: What does she want?</u></p><p>Katherine wants to find LeMarcus and save her job with the NCAA.</p><p><u><b>Obstacles</b>: What stands between her and her Victory?</u></p><p></p><ul style="text-align: left;"><li>LeMarcus's public statements interfere with her subtle approach.</li><li>His frequent movements send her on a wild goose chase.</li><li>Her bosses underestimate her capabilities.</li></ul><p></p><p><u><b>Tactics</b>: What actions does she take to overcome the Obstacles and gain her Victory?</u></p><p></p><ul style="text-align: left;"><li>She exposes LeMarcus's drunken actions at a college party that led to a COVID outbreak on campus.</li><li>She threatens to expose his part in a bar fight that led to a man's death.</li><li>She tries to find his half-brother, who could expose more secrets about LeMarcus's past.</li></ul><p></p><p><u><b>Emotion</b>: What emotional need drives her to pursue the Victory?</u></p><p>She needs to prevent the threat that LeMarcus's strike presents to the non-revenue college sports that allowed her to get an education.</p><p><i>National Champion$</i> is now available on Prime Video, Google Play, the iTunes store, and most major on-demand platforms. </p><p>===============</p><p>If you want to start the new year with a new (or improved) screenplay, Story Into Screenplay can help.</p><p>Story Into Screenplay offers script evaluations and one-on-one consulting sessions from professional screenplay analyst and <a href="https://www.kairosprize.com/2020-21-winner-of-the-15th-annual-kairos-prizes/" target="_blank">award-winning screenwriter</a> Gerald Hanks.</p><p>To start the new year off right, you can keep your resolution to write your best screenplay by getting an evaluation on your first ten pages for only $10. </p><p>For more information, contact Story Into Screenplay at <b>storyintoscreenplayblog(at)gmail(dot)com</b> or send a direct message through the SIS <a href="http://www.facebook.com/StoryIntoScreenplay" target="_blank">Facebook</a> page.</p><p>Let's make 2022 the year your script launches your career!</p><p> </p>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-66883364039295621042021-12-20T08:00:00.004-06:002021-12-20T08:00:00.180-06:00Screenwriting Advice: Interview with Pamela Douglas – Author of “Writing the TV Drama Series”<p> </p><div class="separator" style="clear: both; text-align: center;"><br /></div>For any aspiring screenwriters who want to write for TV, Story Into Screenplay has posted an interview with Pamela Douglas, author of <i><a href="https://mwp.com/product/writing-the-tv-drama-series-how-to-succeed-as-a-professional-writer-in-tv-4th-edition/" rel="nofollow" target="_blank">Writing the TV Drama Series</a></i> and professor of television writing at the University of Southern California's School of Cinematic Arts.<p></p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ZkDCT8tmnYM" width="320" youtube-src-id="ZkDCT8tmnYM"></iframe></div><br /><p><br /></p><p>To see the complete interview with Professor Douglas, check out this <a href="https://www.youtube.com/playlist?list=PLtm5kilj-hpgpBXfW0ix5XYnBXgoGT9hg" rel="nofollow" target="_blank">YouTube playlist</a>.</p><p>If you would like to discuss how Story Into Screenplay can help you with your script, please drop an email to storyintoscreenplayblog(at)gmail(dot)com with the subject line “Writing the TV Drama Series”.</p><p><br /></p><p><br /></p><p><br /></p>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-30596630627155469052021-10-26T12:00:00.010-05:002021-10-27T16:29:34.636-05:00What I Learned At My First Austin Film Festival<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEizbpckpl_vIXKw7CfmYcb7UlBD9mmx8eDCvK6EezxOuY18uOLpPdD6j2PmHVWrQ6cRuX2xa6DY6B6H_tKVS4myy9wi1Q6W72QlL7n8mYiuvyAMnuzLCvZXGc-cs-1LnsTmxaVb7Qix2sLaNCcfxnl-Pklc6teuD6XxIowNskZ--mXXYhPc8X0ZyDkdDQ=s1440" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1440" data-original-width="800" height="193" src="https://blogger.googleusercontent.com/img/a/AVvXsEizbpckpl_vIXKw7CfmYcb7UlBD9mmx8eDCvK6EezxOuY18uOLpPdD6j2PmHVWrQ6cRuX2xa6DY6B6H_tKVS4myy9wi1Q6W72QlL7n8mYiuvyAMnuzLCvZXGc-cs-1LnsTmxaVb7Qix2sLaNCcfxnl-Pklc6teuD6XxIowNskZ--mXXYhPc8X0ZyDkdDQ=w111-h193" width="111" /></a></div><p>For those of you who want to attend a major networking event for screenwriters, but you don't have the money or time to spend a week in L.A., I highly recommend spending an October weekend at the Austin Film Festival.</p><p>I just returned from my first AFF and found the experience both extremely exhausting and highly rewarding.</p><p>Here are some DO-s and DON'Ts I learned at AFF:</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi6NjLMuDU3Jt_sL9650eIKmNyKNKqrhYIK9vM_dk_CDlCj8lj6q0FnyTyvFRrSm5chDm3GH6aWjzFobxQ_G0NYYaCrSNuhaXFbBgs8-jZ36FtaosOdHSm47NFLa7avRBVyr1ptPxw3a7jimJIPtHXpNU0XSxOG0hwjh3LV3OTFuS8DLZF3oYTXaZA8ig=s1440" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1440" data-original-width="800" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEi6NjLMuDU3Jt_sL9650eIKmNyKNKqrhYIK9vM_dk_CDlCj8lj6q0FnyTyvFRrSm5chDm3GH6aWjzFobxQ_G0NYYaCrSNuhaXFbBgs8-jZ36FtaosOdHSm47NFLa7avRBVyr1ptPxw3a7jimJIPtHXpNU0XSxOG0hwjh3LV3OTFuS8DLZF3oYTXaZA8ig=w111-h200" width="111" /></a></div><b>DO </b>talk to everyone you can. Some rookie writers only focus on wanting to talk to the “important” people (agents, managers, producers, big-name writers). If you're only focused on who you think could help your career, you could miss out on connecting with someone who can give you some valuable insights. <p></p><p>For example, you could stand in line at a panel on animation and meet a Finalist in the Pilot Script category who coordinates post-production for Marvel. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg2aZmi-Ie8wsk0zlm4XNSGZ79fhHaeMjIiMosfS5B3L4OpEZJk-ax3XA6iJjLJ1Qc_L-7XUgibWO9lbGbn_7nygPlXn-LR46OPkT4mNOoTxv4AL9o9D1IucRyTZhQi464Z4HvjDaQESzy-BW85Xul40hJ75VsijjbH9fneT6h71rAIRJ4Ge4-QlnVldQ=s960" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="960" data-original-width="528" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEg2aZmi-Ie8wsk0zlm4XNSGZ79fhHaeMjIiMosfS5B3L4OpEZJk-ax3XA6iJjLJ1Qc_L-7XUgibWO9lbGbn_7nygPlXn-LR46OPkT4mNOoTxv4AL9o9D1IucRyTZhQi464Z4HvjDaQESzy-BW85Xul40hJ75VsijjbH9fneT6h71rAIRJ4Ge4-QlnVldQ=w110-h200" width="110" /></a></div><p><b>DON'T</b> miss out on the parties. Most people who attend business conferences know that the real business doesn't get done on the conference floor, but at the after-party. While writers tend to favor solitude and shun social interactions, these parties tend to deliver some of the best networking opportunities.</p><p>For example, don't get so hungry, exhausted, or dehydrated from attending so many panels and discussions that you miss out on the chance to make a vital connection.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhybDaOCqEQb5rannGXMMHvCCAvrTURPfWJ5Uh8dyyYiK-_JrnJwe5Ay9WBqoys4mMOWB3od_sVoBk8j-12lq0nkOHty4Cut4SI-sUR7bGHJ77lG1s9HuvZcPDMDVylReLC1qA2Hld80Hy1PctSYmxVuqN_1iWpsamf_tct8kUG_qRa_uZU2l034CmZKw=s960" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="528" data-original-width="960" height="110" src="https://blogger.googleusercontent.com/img/a/AVvXsEhybDaOCqEQb5rannGXMMHvCCAvrTURPfWJ5Uh8dyyYiK-_JrnJwe5Ay9WBqoys4mMOWB3od_sVoBk8j-12lq0nkOHty4Cut4SI-sUR7bGHJ77lG1s9HuvZcPDMDVylReLC1qA2Hld80Hy1PctSYmxVuqN_1iWpsamf_tct8kUG_qRa_uZU2l034CmZKw=w200-h110" width="200" /></a></div><p><b>DO </b>hang out at the Driskill Hotel bar. While the conference rooms and ballroom host the major panels that make up the conference, the real connections get made at the bar. Even if you don't drink, just get some water or a soft drink, say hello to other writers, and share horror stories about your industry experiences. </p><p>For example, you could be watching a baseball game on the bar TV and swap baseball memories with a fan of the opposing team.</p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiDRoTRb0e8Epn0wALSzWmj9OqyW0ECkrHB6WSJdpS6SSY_D3JlA5QSeNZyTbGuhmf4yH3bEfdE-75DJtSgr3F2lM3EHcl7KlQpzkRycHLYxOSv9LLAnUJpJY6rDPvZdUlgrvrFK1C6TXPhn7DdcOLkLOlavSBiF5yej2P8jxdNRJ75j8qPozv4AtbM2g=s960" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="541" data-original-width="960" height="113" src="https://blogger.googleusercontent.com/img/a/AVvXsEiDRoTRb0e8Epn0wALSzWmj9OqyW0ECkrHB6WSJdpS6SSY_D3JlA5QSeNZyTbGuhmf4yH3bEfdE-75DJtSgr3F2lM3EHcl7KlQpzkRycHLYxOSv9LLAnUJpJY6rDPvZdUlgrvrFK1C6TXPhn7DdcOLkLOlavSBiF5yej2P8jxdNRJ75j8qPozv4AtbM2g=w200-h113" width="200" /></a></div><b>DON'T </b>feel like you don't belong. While some writers may feel that they don't measure up in an image-obsessed town like L.A, Austin prides itself on defying conventional standards. (The unofficial city motto is “Keep Austin Weird”.) This attitude can help you when approaching writers you feel have “made it”.<p></p><p>For example, you could learn that you have a “six degrees of Kevin Bacon” connection with a major writer or that you and a panelist share a love of a specific obscure film that only seven other people have seen.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiYPW7jDgl-JiyCZ9mJ7aWfGoC54f7_7i2Xw-Ua544qHkM_cIbF9L1m7nfs-L2n44eSmys4ldo2uxECe57SGz_HJI2Y1TFpUQX8Ee5T5n5Wd8LXyTjdngKpdlHDmKUDBjWcfNsdhB52NjE6DhicdI8aY-TG5EeLXVa5Uu12Dlb7DsFn3sVH5jXPaIU-xA=s960" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="528" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEiYPW7jDgl-JiyCZ9mJ7aWfGoC54f7_7i2Xw-Ua544qHkM_cIbF9L1m7nfs-L2n44eSmys4ldo2uxECe57SGz_HJI2Y1TFpUQX8Ee5T5n5Wd8LXyTjdngKpdlHDmKUDBjWcfNsdhB52NjE6DhicdI8aY-TG5EeLXVa5Uu12Dlb7DsFn3sVH5jXPaIU-xA=w110-h200" width="110" /></a></div><p><b>DO </b>explore Austin. The city is more than just Sixth Street, Longhorns football, or Matthew McConaughey. It's also not a “hick town” that doesn't measure up to the glitz and glamour of Hollywood. While you're there, take the time to check out some local attractions.</p><p>For example, while Sixth Street claims to be the “Capital of Live Music”, you can find the true birthplace of Austin's live music scene on South Congress at a little place called The Continental Club. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjVQKtVzbge88X9x488A8JxUYUBSX2VQfy1Hd4rJ0j4ioC5hsVFX1xQdJe0eeKZaFmMDNZCywXzILFAPfvZ6iDfHXUdkfDa1Aw0wYpFCplAx680v-d-ozmra-oG6wvUsB6Mr7RYPm5hUxOiwg7KjL9fg2crngPEW01_4S3SS0uKxv-mTqTuiCs6HMSVuQ=s960" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="528" data-original-width="960" height="110" src="https://blogger.googleusercontent.com/img/a/AVvXsEjVQKtVzbge88X9x488A8JxUYUBSX2VQfy1Hd4rJ0j4ioC5hsVFX1xQdJe0eeKZaFmMDNZCywXzILFAPfvZ6iDfHXUdkfDa1Aw0wYpFCplAx680v-d-ozmra-oG6wvUsB6Mr7RYPm5hUxOiwg7KjL9fg2crngPEW01_4S3SS0uKxv-mTqTuiCs6HMSVuQ=w200-h110" width="200" /></a></div><p><b>DON'T </b>put too much pressure on yourself. Odds are, you're not going to land an agent, a manager, or a writing assignment from just a single conversation with an industry insider. Networking is about planting seeds. Not all of those seeds will grow into a fruitful relationship, so lighten up and enjoy the process.</p><p>For example, if you get the chance to talk an influential producer, an A-list writer, or a top-level manager, try to treat it more as a casual conversation and less as a high-stakes pitch meeting. Let them like you first, then give them a chance to like your writing. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh1CylJ6eTsO5mTIUbMEq7S3AiGoSijqc71SOPj1g8XOflThf2n26o1GPiuOZTnfLn3e5dvYG8Ar0CIQDqvr_z6ziqjxKJm4AjmB_4k1tqgYX4NHcJfJzNG9hq8hy_opxt9m9FePqhIXnoBgJFN9EpSaQ9DDfZepE7Zcs0UskslJou8MtkeuwLhhKp7bw=s960" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="528" data-original-width="960" height="110" src="https://blogger.googleusercontent.com/img/a/AVvXsEh1CylJ6eTsO5mTIUbMEq7S3AiGoSijqc71SOPj1g8XOflThf2n26o1GPiuOZTnfLn3e5dvYG8Ar0CIQDqvr_z6ziqjxKJm4AjmB_4k1tqgYX4NHcJfJzNG9hq8hy_opxt9m9FePqhIXnoBgJFN9EpSaQ9DDfZepE7Zcs0UskslJou8MtkeuwLhhKp7bw=w200-h110" width="200" /></a></div><p>Many rookie writers complain about the barriers to breaking in. They say, “It's not what you know, it's who you know.”</p><p>In an industry that requires so much collaboration and contains so many moving parts, this sentiment isn't an injustice, it's a necessity. This fact of life also shows why networking events such as AFF are so vital to screenwriters who lack access to the L.A. scene.</p><p>In my experience, who you know gets you in the door, but it's what you know that keeps you in the room.</p><p><br /></p><p>=========</p><p>For writers who are looking to improve their chances in contests such as AFF, Final Draft, or Screencraft, Story Into Screenplay offers script analysis and one-on-one consultations.</p><p>For the month of October, Story Into Screenplay is offering a professional analysis of the first ten pages of any screenplay (TV pilot, short film or feature film) for only $10.</p><p>For more information about this offer, email storyintoscreenplayblog(at)gmail(dot)com with the subject “10 Pages for $10” or fill in the form on this page.</p><p><br /></p><p><br /></p><p><br /></p><p><br /></p>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-24845074578505814302021-10-18T12:00:00.001-05:002021-10-18T12:00:00.256-05:00 Interview with Christopher Vogler - Author of "The Writer's Journey".<p>Author and script consultant Christopher Vogler recently celebrated the release of the 25th Anniversary Edition of his seminal book, <a href="https://mwp.com/product/writers-journey-25th-anniversary-edition-mythic-structure-writers/" rel="nofollow" target="_blank"><i>The Writer's Journey</i></a>.</p><p>Here's a sneak peek with Chris's story on how he got started:</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Y3Ls-o_Og_o" width="320" youtube-src-id="Y3Ls-o_Og_o"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /><br /></div><p>To see my complete interview with Chris, check out this <a href="https://www.youtube.com/playlist?list=PLtm5kilj-hphz5aqLVdChye1cMjckX7p2" rel="nofollow" target="_blank">YouTube Playlist</a>.</p><p>I will also be attending the <a href="https://austinfilmfestival.com/" rel="nofollow" target="_blank">Austin Film Festival</a> from Friday evening (22 October) to Sunday afternoon (24 October).</p><p>If you're going to be at AFF and would like to discuss how Story Into Screenplay can help you with your script, please drop an email to storyintoscreenplayblog(at)gmail(dot)com with the subject line “Austin Film Festival”.</p><div><br /></div><br />Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-82942092002695441372021-10-09T12:00:00.001-05:002021-10-09T12:00:00.240-05:00Baseball, Screenwriting, and "The Writer's Journey": Home Plate<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/commons/thumb/c/c0/Sliding_Into_Home.jpg/320px-Sliding_Into_Home.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="213" data-original-width="320" height="133" src="https://upload.wikimedia.org/wikipedia/commons/thumb/c/c0/Sliding_Into_Home.jpg/320px-Sliding_Into_Home.jpg" width="200" /></a></div>The final stop for the baserunner sits just ninety feet away: home plate. However, he has to get past the catcher, the only player on the field covered in body armor. The catcher stands ready to take out any runner who tries to score.<p></p><p>The final stop for the screenwriter sits a lot farther than ninety feet away: getting your project made, distributed, and in front of an audience. The screenwriter may have to overcome numerous obstacles before they can slide into home.</p><p>Scheduling conflicts, legal entanglements, contractual obligations, logistical issues, and so many other problems can delay a script's production or halt it in its tracks (see: March 2020-present). </p><p>Just as a baserunner can take a lead from third base to improve their chances of scoring, the option represents a lead toward getting the script made into a feature film or TV pilot.</p><p>Finally, with some beneficial timing and some guidance from the coaching staff, the baserunner can make a break for home, score the winning run, and celebrate with a Gatorade shower from his teammates.</p><p>This process also holds for the screenwriter, as they rely on guidance from their script coach, their manager, their agent, and their producer to slide into home and get the cameras rolling.</p><p>Let Story Into Screenplay get you ready to play in the Big Leagues and coach you into creating the best possible version of your script.</p><p>This week, Story Into Screenplay is offering a professional analysis of the first ten pages of any screenplay (TV pilot, short film, or feature film) for only $10.</p><p>For more information about this offer, email <b>storyintoscreenplayblog(at)gmail(dot)com</b> with the subject "<b>10 Pages for $10</b>" or fill in the form on this page.</p><div><br /></div>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-64418784377979612892021-10-08T12:00:00.001-05:002021-10-08T12:00:00.223-05:00Baseball, Screenwriting, and "The Writer's Journey": Third Base<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/commons/thumb/b/ba/St._Louis_Cardinals_third_baseman_David_Freese_(23)_(5883489176).jpg/220px-St._Louis_Cardinals_third_baseman_David_Freese_(23)_(5883489176).jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="220" height="200" src="https://upload.wikimedia.org/wikipedia/commons/thumb/b/ba/St._Louis_Cardinals_third_baseman_David_Freese_(23)_(5883489176).jpg/220px-St._Louis_Cardinals_third_baseman_David_Freese_(23)_(5883489176).jpg" width="183" /></a></div>Once a runner reaches second base, that doesn't mean that his mission is halfway to completion. The process of getting from second to third often entails more luck and patience than any other part of the game. <p></p><p>As a writer, once you get to second base and get representation, that agent or manager will work with you like a teammate ready to help you advance to third base: getting your script to a producer.</p><p>In baseball, a poor decision by a baserunner between second and third can kill a team's chances to score, despite the best efforts of the teammates hitting behind him. The runner can also encounter bad luck, such as the shortstop snatching a line drive and tagging him out on the way to third. </p><p>In screenwriting, a poor decision can run you right out of the game and kill your chances of selling your script or working with a producer. Current events, poor timing, or just plain bad luck can also send you back to the dugout.</p><p>In baseball, when a runner reaches third base, they have another helper in the form of a third-base coach. That coach can advise the runner whether to stay on base or make a mad dash for home plate to score.</p><p>In screenwriting, if you're lucky enough to reach third base, the producer could act as your third-base coach and help you put together a deal to get your script made into a movie or TV series.</p><p>Check back tomorrow to see how to "score" a deal and take your project from the page to the set to the screen.</p><p>This week, Story Into Screenplay is offering a professional analysis of the first ten pages of any screenplay (TV pilot, short film, or feature film) for only $10.</p><p>For more information about this offer, email <b>storyintoscreenplayblog(at)gmail(dot)com</b> with the subject "<b>10 Pages for $10</b>" or fill in the form on this page.</p><div><br /></div>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-8746124746279888852021-10-07T12:00:00.001-05:002021-10-07T12:00:00.211-05:00Baseball, Screenwriting, and "The Writer's Journey": Second Base<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/commons/thumb/8/81/Josh_Harrison_playing_second_base_in_2017_(34985853622).jpg/196px-Josh_Harrison_playing_second_base_in_2017_(34985853622).jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="196" height="240" src="https://upload.wikimedia.org/wikipedia/commons/thumb/8/81/Josh_Harrison_playing_second_base_in_2017_(34985853622).jpg/196px-Josh_Harrison_playing_second_base_in_2017_(34985853622).jpg" width="196" /></a></div><p></p><p>In baseball, a runner can reach second base either by waiting for his teammate to hit behind him or by creating an opportunity for himself to steal second.</p><p>In either case, he'll have to get past the second baseman, either by outrunning the throw or avoiding the tag. If he makes it to second, he's said to be in “scoring position”, which means that he's likely to score on any base hit from a teammate.</p><p>If script evaluators are the industry's first basemen, the gatekeepers at the various agencies and management companies are the second basemen. These assistants, interns, and office staff get paid to keep a newbie writer from getting into scoring position with their bosses.</p><p>If you have worked with your first base coach to create the best possible version of your script, you can reach second base by getting a manager to help you navigate your career. While an agent can help you negotiate a deal when you land one, a manager can help you find opportunities either to sell your specs or to land a writing assignment.</p><p>Query letters, networking events, screenwriting contests, and professional conferences such as the <a href="https://austinfilmfestival.com/" rel="nofollow" target="_blank">Austin Film Festival</a> (which I will be attending later this month) all provide highly skilled writers with opportunities to make contacts and reach "second base" in their careers.</p><p>Check in tomorrow to see how to reach third base: getting connected with a producer. </p><p>This week, Story Into Screenplay is offering a professional analysis of the first ten pages of any screenplay (TV pilot, short film, or feature film) for only $10.</p><p>For more information about this offer, email <b>storyintoscreenplayblog(at)gmail(dot)com</b> with the subject “<b>10 Pages for $10</b>” or fill in the form on this page.</p><div><br /></div>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-68263585559029258872021-10-06T12:00:00.001-05:002021-10-06T12:00:00.353-05:00Baseball, Screenwriting, and "The Writer's Journey": First Base<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/commons/thumb/0/09/Force_out.jpg/201px-Force_out.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="201" height="200" src="https://upload.wikimedia.org/wikipedia/commons/thumb/0/09/Force_out.jpg/201px-Force_out.jpg" width="168" /></a></div><p></p><p>Just as baseball rules allow the runner to reach first base in several ways, the rules of the screenwriting industry allow for numerous ways to get past the initial gatekeepers.</p><p>In baseball, if the batter connects with the pitch, the first baseman serves as the initial "threshold guardian". When the batter runs to first base, he has to outrun the ball before the first baseman catches it.</p><p>In screenwriting, if the writer "connects" with a compelling premise, the writer's skills represent their likelihood of getting to "first base". If a writer doesn't understand character development, story structure, or basic grammar, spelling, punctuation, and formatting, they'll never get out of the batter's box.</p><p>As a script analyst, contest judge, and coverage writer, my job resembles that of the first baseman. My tasks involve making sure that substandard scripts don't advance to the next base.</p><p>As a script consultant, I also act as a first-base coach. My job involves advising writers on how to develop their scripts, execute their timing, and improve their chances of getting the script to the next stage.</p><p>Tomorrow, we'll look at how to reach "second base": getting a manager or agent. </p><p>This week, Story Into Screenplay is offering a professional analysis of the first ten pages of any screenplay (TV pilot, short film, or feature film) for only $10.</p><p>For more information about this offer, email <b>storyintoscreenplayblog(at)gmail(dot)com</b> with the subject “<b>10 Pages for $10</b>” or fill in the form on this page.</p><div><br /></div>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-80741077247876073812021-10-05T12:00:00.001-05:002021-10-05T12:00:00.180-05:00Baseball, Screenwriting, and "The Writer's Journey": The Pitch<div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/commons/thumb/c/cd/Noah_Syndergaard_(20697486276).jpg/320px-Noah_Syndergaard_(20697486276).jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="227" data-original-width="320" height="142" src="https://upload.wikimedia.org/wikipedia/commons/thumb/c/cd/Noah_Syndergaard_(20697486276).jpg/320px-Noah_Syndergaard_(20697486276).jpg" width="200" /></a></div><p>In baseball, the pitcher stands at the center of the diamond. He strides atop a mound of dirt and hurls the ball toward the plate to start the action. The batter has a fraction of a second to determine if the pitch is a fastball or curveball, if it's close to the plate or further away, and if he should swing.</p><p>In screenwriting, coming up with the main idea starts the action. Those ideas can involve plot, characters, setting, or theme. Those concepts can cover the whole story, a vital sequence, a pivotal scene, or even a single line of dialogue.</p><p>Just as a batter waits for the best pitch to get them on base, the writer needs to determine which ideas will make for an effective story that an entire team (managers, agents, producers, directors, actors, crew members, etc.) can turn into a movie or TV pilot.</p><p>Ideas form the center of any story. Why else do you think they call the process of selling your concept "pitching"?</p><p>Unfortunately, at least in this analogy, there's no such thing as a "home run" in screenwriting. No writer can knock the ball over the fence, trot around the bases unopposed, and get the project in front of an audience on their own.</p><p>In the screenwriting game, writers have to take it one base at a time. You can't score until you make it to first base. </p><p>That's where Story Into Screenplay comes in. We offer script analysis, one-on-one consulting, scriptwriting, and rewriting services.</p><p>Check in with us tomorrow when we'll look at how to reach first base: getting your script in the best possible shape. </p><p>This week, Story Into Screenplay is offering a professional analysis of the first ten pages of any screenplay (TV pilot, short film, or feature film) for only $10.</p><p>To take advantage of this offer, email <b>storyintoscreenplayblog(at)gmail(dot)com</b> with the subject "<b>10 Pages for $10"</b>.</p><div><br /></div>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-83621027239515429352021-10-04T11:42:00.001-05:002021-10-04T18:07:58.053-05:00 Baseball, Screenwriting, and “The Writer's Journey”: Introduction<div class="separator" style="clear: both; text-align: center;"><a href="https://upload.wikimedia.org/wikipedia/commons/thumb/e/ea/Baseball-2.jpg/320px-Baseball-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="213" data-original-width="320" height="133" src="https://upload.wikimedia.org/wikipedia/commons/thumb/e/ea/Baseball-2.jpg/320px-Baseball-2.jpg" width="200" /></a></div><p>I recently received an e-mail from Ken Lee at Michael Wiese Productions, the publisher of such indispensable screenwriting books as Michael Hauge's <i>Selling Your Story in 60 Seconds</i>, Penny Penniston's <i>Talk The Talk</i>, and Blake Snyder's “<i>Save The Cat</i>” series.</p><p>The e-mail regarded the 25th Anniversary of Christopher Vogler's seminal work, <i><a href="https://mwp.com/product/writers-journey-25th-anniversary-edition-mythic-structure-writers/" rel="nofollow" target="_blank">The Writer's Journey</a></i>. Later this week, I look forward to the opportunity to interview Mr. Vogler and get his thoughts on how his approach to story development has changed in the last quarter-century.</p><p>In the meantime, I'm re-reading my copy of the Second Edition of <i>The Writer's Journey</i>. One of the more timely aspects that I noticed involved how he illustrated the standard “hero's journey” character arc as a baseball diamond. </p><p>With the end of the regular season and the start of the playoffs on the horizon, I thought I'd look at how to extend his illustration into a full-blown analysis of how the struggle that a screenwriter endures can parallel that of a batter rounding the bases.</p><p>As a lifelong baseball fan, seeing both my childhood team (St. Louis Cardinals) and my hometown team (Houston Astros) headed into the post-season reminds me of the incredible skill levels that baseball players possess. </p><p>For instance, if a hitter gets a base hit three times out of every ten at-bats, the media and the fans consider that player as a star. These players spend hours in batting practice, working on their stance, and studying video of both their swing and the pitchers that they'll face.</p><p>This aspect should serve as a lesson for those aspiring writers who think that their scripts will guarantee them success. Even the best hitters analyze every aspect of their swing, so every writer should scrutinize every facet of their writing skills. If a writer develops their skills enough (or gets lucky enough) to take a swing with their script and makes contact, then the real fun begins</p><p>In <i>The Writer's Journey</i>, Mr. Vogler discusses the concept of "Threshold Guardians". In baseball, the pitcher, catcher, and fielders serve as the "guardians" who prevent the runner from reaching each base. In writing, the various gatekeepers guard each threshold of the process to prevent newbie writers from "scoring" a deal. </p><p>For this week, we'll break down the process of going from a newbie writer to a produced professional by touching each “base” until we look at how to “score” in the industry with a finished feature film or TV pilot.</p><p>Visit us tomorrow, when we'll look at how to use your "batter's eye" to find a "pitch" that can help you write a "hit" script.</p><p>During this week, Story Into Screenplay is offering a professional analysis of the first ten pages of any screenplay (TV pilot, short film, or feature film) for only $10.</p><p>For more information about this offer, email <b>storyintoscreenplayblog(at)gmail(dot)com</b> with the subject “<b>10 Pages for $10</b>” or fill in the form on this page.</p><div><br /></div>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-9523600374325748742021-08-12T11:38:00.000-05:002021-08-12T11:38:45.454-05:00One Villainous Scene – Killmonger's Museum Heist<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/PyY_tjhFNBg" width="320" youtube-src-id="PyY_tjhFNBg"></iframe></div><br /><p>From the people who brought you "<a href="https://www.youtube.com/playlist?list=PLd7v7nQLQGwKQxfPtUPz6i1h3-JVxBx0D" target="_blank">One Marvelous Scene</a>" and "<a href="https://www.youtube.com/playlist?list=PLd7v7nQLQGwLFOPGk1QPEBJr6D9F2yUnq" target="_blank">One X-Cellent Scene</a>" comes a new playlist just in time for the release of James Gunn's <i>The Suicide Squad</i>.</p><p>This joint effort, titled "<a href="https://www.youtube.com/playlist?list=PLd7v7nQLQGwJBoBF_5A1oGIbVh125hkaW" target="_blank">One Villainous Scene</a>", examines the best scenes with the worst villains.</p><p>Unlike previous lists, this list doesn't just limit itself to the Marvel Cinematic Universe, the X-Men franchise, or even superhero movies as a genre.</p><p>However, in sticking with the theme of my <a href="http://www.storyintoscreenplay.com/2019/04/one-marvelous-scene-black-panther.html" target="_blank">previous</a> <a href="http://www.storyintoscreenplay.com/2019/05/one-more-marvelous-scene-black-panther.html" target="_blank">entries</a> in the "One Marvelous Scene" list, I'm going back to the well to examine a scene from the most compelling film in the decade-plus history of the MCU: <i>Black Panther</i>.</p><p>This entry will examine the museum heist scene by using everyone's favorite tool: the <a href="http://www.storyintoscreenplay.com/2014/03/screenwriting-advice-how-to-write-super-powerful-characters.html" target="_blank">VOTE Method</a>. </p><p>First, let's look at <b>Killmonger's VOTE</b>:</p><p><br /></p><p><b>Victory – What does he want?</b></p><p>He wants to steal the vibranium ax.</p><p><br /></p><p><b>Obstacles – What stands between him and his Victory?</b></p><p>The armed guards, the security systems, and the snooty white "expert" hover over his every move.</p><p><br /></p><p><b>Tactics – What does he do to overcome the Obstacles?</b></p><p>He tells the expert that she's wrong about the ax's origins.</p><p>He bribes the coffee server to poison the expert and reprogram the security cameras.</p><p>He brings in Klaue to kill the guards and shatter the glass.</p><p><br /></p><p><b>Energy – What emotional need gives him the Energy to pursue his Victory?</b></p><p>He needs to rectify the injustice of how the ax got there.</p><p>He needs to use it as an instrument to rectify the greater injustice of what happened to his father in Oakland.</p><p><br /></p><p>Next, let's look at the <b>museum director's VOTE</b>:</p><p><br /></p><p><b>Victory – What does she want?</b></p><p>She wants to show off her knowledge of the history of each relic.</p><p><br /></p><p><b>Obstacles – What stands between her and her Victory?</b></p><p>Killmonger challenges her assumptions about the ax's origins. </p><p>He confronts her about how the museum didn't "pay a fair price" for the artifacts.</p><p><br /></p><p><b>Tactics – What does she do to overcome the Obstacles?</b></p><p>She summons the armed guards to throw Killmonger out of the exhibit.</p><p><br /></p><p><b>Energy – What emotional need gives her the Energy to pursue her Victory?</b></p><p>She needs to show that her privileged education gives her more insight into these artifacts.</p><p>She needs to show that she knows more than someone who speaks and dresses the way Killmonger does.</p><p><br /></p><p>Even in what some audiences may consider a less important scene, the <b>VOTE Method</b> can ensure that each character has a clear motivation.</p><p>The <b>VOTE Method</b> also ensures that each scene delivers a compelling conflict that keeps the audience engaged in the story.</p><p><br /></p><p>If you want your scenes to deliver the highest possible levels of dramatic tension, then you need <b>Story Into Screenplay</b>.</p><p>We offer one-on-one consultations and professional script reviews from an experienced script analyst and screenplay contest judge.</p><p>We also offer full screenplay writing and rewriting services, where you get to work with an award-winning screenwriter.</p><p><br /></p><p>Since most studio readers decide on a script within the first ten pages, Story Into Screenplay offers a special deal.</p><p>Get a professional evaluation of the first ten pages of your screenplay for only $10.</p><p><br /></p><p>Contact Story Into Screenplay by filling out the form on this page or by emailing <b>storyintoscreenplayblog(at)gmail(dot)com</b> with the subject line "10 Pages for $10".</p><p>You can also send a direct message through our <a href="https://www.facebook.com/StoryIntoScreenplay" target="_blank">Facebook</a> page.</p><p><br /></p><p>Good luck and keep writing!</p><div><br /></div>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-35977200390304359792021-07-02T11:42:00.000-05:002021-07-02T11:42:05.203-05:00Screenwriting Advice: How Do You Want To Do This?<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji4XUHrntAAzbG64opOArc2JA7HtqYXqSnnvHyCMyZZ_qHfsw76DxLCbvisqpC6kMmx2Jb4mlpDVTxUNlHXzTdgSe0bGsEk6-BkOSVXMMLpTJChXHwdFEX1LAhhgTeyRsLfGGXgDC0Y1Fo/s812/CR-HDYWTDT.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="682" data-original-width="812" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji4XUHrntAAzbG64opOArc2JA7HtqYXqSnnvHyCMyZZ_qHfsw76DxLCbvisqpC6kMmx2Jb4mlpDVTxUNlHXzTdgSe0bGsEk6-BkOSVXMMLpTJChXHwdFEX1LAhhgTeyRsLfGGXgDC0Y1Fo/w200-h168/CR-HDYWTDT.png" width="200" /></a></div>“The cobbler's children have no shoes.”<p></p><p>Have you ever been so caught up in helping other people that you've neglected your own needs?</p><p>If you have, then you know why I haven't posted anything in the last two months.</p><p>If you haven't, then let me tell you how it feels.</p><p>In recent months, I have been working with both a major film festival and a leading script service in evaluating screenplays.</p><p>For almost the last year, I've read nearly 50 scripts a month.</p><p>The educational experience of reading hundreds of scripts over the last year has served me well as a student of the craft.</p><p>However, it doesn't leave me much time to perfect my own work in that craft.</p><p>It also hasn't left me much time to focus on creating blog posts, building a client base, or helping other writers.</p><p>This dilemma brings me to the reason I come to you today, Dearest Reader.</p><p>One of main reasons I started this blog was to share my experiences as a screenwriter with other aspiring writers.</p><p>I don't claim to be a Hollywood-level writer. Like many of you, I don't have representation, I've never written for a major studio, and I'm not hanging out with movie stars or power players.</p><p>However, I've written a few good scripts, been paid for some of them, and I've received some <a href="https://www.kairosprize.com/2020-21-winner-of-the-15th-annual-kairos-prizes/" rel="nofollow" target="_blank">recognition</a> for my work.</p><p>I might not have an Oscar on my shelf, but I know enough where I believe that I can help aspiring writers turn their stories into screenplays.</p><p><b>Playing A Critical Role</b></p><p>During the pandemic and the subsequent lockdown, I discovered a YouTube show called <a href="http://www.critrole.com" rel="nofollow" target="_blank">Critical Role</a>.</p><p>The show recently wrapped up its second “season”, a storytelling campaign that lasted for over 140 episodes stretched over 3 years.</p><p>The host and “Dungeon Master”, Matthew Mercer, describes the show as “a bunch of nerdy-ass voice actors (who) sit around and play 'Dungeons and Dragons'”.</p><p>When one of his players lands the killing blow on a fierce dragon or an evil sorcerer, he asks them a simple question:</p><p>“How do you want to do this?”</p><p>The player then improvises an account of how they envision their fatal strike landing on their formidable foes.</p><p>Mercer then acts out the scenario, much to the delight of the players and the thousands of viewers on the game's Twitch stream.</p><p>So what does a bunch of grown adults sitting around a table playing make-believe with crazy-looking dice have to do with screenwriting?</p><p>As I mentioned, my mission with this blog was to help writers turn their stories into screenplays.</p><p>Since I've read so many scripts and seen so many writers who need help, a burning question arises with the ferocity of a dragon:</p><p>“How do I want to do this?”</p><p>Here are some options:</p><p></p><ul style="text-align: left;"><li><b>Blog Posts</b>: Posting about screenwriting tips, dealing with writing issues, and breaking down current movies.</li><li><b>Instructional Books</b>: Compiling blog posts and my experiences as both a writer and a script evaluator into a concise and helpful book.</li><li><b>Live or Online Workshops</b>: Presenting the VOTE Method to a group of students in a classroom or workshop setting. </li><li><b>Video Courses</b>: Filming, editing, and posting instructional videos. </li><li><b>One-On-One Consultations</b>: Working with writers one-on-one to help them develop strong characters.</li><li><b>Script Evaluations</b>: Evaluating screenplays and providing advice on how to improve the writer's chances of getting noticed.</li></ul><p></p><p>When it comes to slaying the monsters that keep you from writing your best screenplay, the question remains:</p><p>“How do you want to do this?”</p><p>Please send your answers to storyintoscreenplayblog(at)gmail(dot)com or in a direct message through the Story Into Screenplay <a href="http://www.facebook.com/StoryIntoScreenplay" rel="nofollow" target="_blank">Facebook</a> page.</p><p>Enjoy your holiday weekend!</p><p><br /></p><p><br /></p>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0tag:blogger.com,1999:blog-1943255383557046356.post-18547627305422411942021-04-19T08:00:00.001-05:002021-04-21T10:15:39.646-05:00Screenwriting Advice: The Value of Leftovers<p> "Our older brother took all the cool toys, and then we got left with ... peg-warmers."</p><p>- Dave Filoni, Co-Executive Producer, <i>The Mandalorian</i></p><p>In my "day jobs" as a script analyst and screenplay contest judge, one of the mistakes I see writers make most often with their characterization occurs when they put all their story "eggs" in the protagonist's "basket".</p><p>These writers invest all of their efforts into developing every aspect of the protagonist, from their motivations, to their ancestry, to their favorite pizza toppings.</p><p>However, when they spend all of that energy on the protagonist, they often don't have any left to develop the script's supporting characters.</p><p>This lack of focus leads to these supporting roles functioning solely as part of the protagonist's journey rather than as fully-developed characters.</p><p>In these scripts, the supporting characters often serve as simply the "best friend", the "love interest", the "evil boss", or the "nagging mother", and often fail to attract the audience's interest.</p><p>In some cases, enterprising writers have taken lesser-known characters from another story and turned them into compelling protagonists in their own stories.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHKARNkj9aeQ_9HNIxOsU-Kn7YF8EN9XbINgoaktxboi9TOzShdQz3_8ybdkpbFjmglrwHCLRL4iHfAw-lup8UgdzDgmHAB-XwJMdyT8xgEirLhJqiuRPKjUQtD5jbDUbqWLOVQpx_lGmV/s500/rncrded.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="354" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHKARNkj9aeQ_9HNIxOsU-Kn7YF8EN9XbINgoaktxboi9TOzShdQz3_8ybdkpbFjmglrwHCLRL4iHfAw-lup8UgdzDgmHAB-XwJMdyT8xgEirLhJqiuRPKjUQtD5jbDUbqWLOVQpx_lGmV/w142-h200/rncrded.jpg" width="142" /></a></div><p>One of the best-known examples of this approach to characterization appears in the Tom Stoppard play <a href="https://youtu.be/0B0m7LAY0ns?t=1191" target="_blank"><i>Rosencrantz and Guildenstern Are Dead</i></a>. </p><p>It only took about 300 years, but these supporting characters from <i>Hamlet</i> finally got their due as protagonists in their own story. </p><p>Instead of getting trapped into their Prince's tragedy, these Danish dimwits get sucked into an absurdist world where "all the world's a stage" and they are merely players.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNFywCbshX4Aq1CQtJxnZpxfT3WeciYFBTC0CBQ99uMppBubeZhfSSiRcRVCmZjDwA3JPh0VP-pyOLL_-YeV6QcuDqWW4YHVBTZ0nd1f6a5sgIIe1jzI-YRCq_g5WKQ-7VPbygySfjmCi2/s800/800px-The_Mandalorian_black_background.svg.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="366" data-original-width="800" height="91" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNFywCbshX4Aq1CQtJxnZpxfT3WeciYFBTC0CBQ99uMppBubeZhfSSiRcRVCmZjDwA3JPh0VP-pyOLL_-YeV6QcuDqWW4YHVBTZ0nd1f6a5sgIIe1jzI-YRCq_g5WKQ-7VPbygySfjmCi2/w200-h91/800px-The_Mandalorian_black_background.svg.png" width="200" /></a></div><p>The same idea applies to the hit Disney+ series <i>The Mandalorian</i>.</p><p>While much of the world lost their minds over "Baby Yoda", the producers had the idea to place lesser-known characters at the center of the action.</p><p>As Co-Executive Producer Dave Filoni said in an interview, “Our older brother took all the cool toys, and then we got left with Ugnaughts and Jawas and peg-warmers, but somehow we got a Boba Fett figure, and then we painted him silver and made him cooler, <b>‘cause sometimes you make it your own</b>.” (emphasis mine)</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2_gAfhvi5oKIO-bGAW9s-9Ftjp2__kRdyuEnN-E8zaLd-s-aFuTA_hpZpBfv57nF2L6pGeZcKLTA2Vz3XF5nKJo5zBXVq9PtTy3VliuwnzGR2mtzMT9_Al4RZYWs4trz1vAfJ1Ws7OHmB/s626/Marvel_logo_2019.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="158" data-original-width="626" height="51" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2_gAfhvi5oKIO-bGAW9s-9Ftjp2__kRdyuEnN-E8zaLd-s-aFuTA_hpZpBfv57nF2L6pGeZcKLTA2Vz3XF5nKJo5zBXVq9PtTy3VliuwnzGR2mtzMT9_Al4RZYWs4trz1vAfJ1Ws7OHmB/w200-h51/Marvel_logo_2019.png" width="200" /></a></div><p>The most prevalent example of the power of "leftovers", in terms of both box-office receipts and wider cultural impact, is the Marvel Cinematic Universe.</p><p>By the early 2000s, Marvel Comics was emerging from near-bankruptcy. A major source of revenue that the company used to get back on its feet came from selling off the film rights to many of their iconic characters, including Spider-Man, the X-Men, and the Fantastic Four.</p><p>When they tried to launch their own movie studio, they didn't have the rights to their most famous names, so they had to start with a "leftover" character: an alcoholic, Cold-War-relic, Howard Hughes-style munitions manufacturer who was "not the hero type."</p><p>From there, they added more "leftovers" to the recipe:</p><p></p><ul style="text-align: left;"><li>An idealistic World War II soldier wakes up after a 70-year nap.</li><li>An over-muscled spoiled brat gets kicked out of his dad's house.</li><li>A nerdy scientist develops severe anger management issues.</li><li>A Russian spy must face the "red in her ledger".</li><li>An assassin still uses a bow and arrow in the 21st Century.</li><li>A three-foot-tall talking raccoon has a gun fetish.</li><li>An eight-foot-tall walking tree says the same three words over and over again.</li><li>A desperate thief steals a suit that can make him shrink to the size of an ant.</li><li>A grief-stricken woman creates an entire town based on classic TV sitcoms.</li></ul><p></p><p>You don't even need to dig through a Shakespeare collection or visit a comic book store to find another "leftover" character who took the world by storm. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijyqiILedDWIow5-JNGgJwC6dAC4UeR8Humgp1voghMXCvYNA_D2cqlm2V8EePSvvqDs9IoRfESwnVXxvA0dSoAqaIgQ6NQ7TjPyjAr_eqmP17VDVqQArQZSbO5JSt_0maAlgRRZef3Bwf/s1000/HamiltonPoster.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="666" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijyqiILedDWIow5-JNGgJwC6dAC4UeR8Humgp1voghMXCvYNA_D2cqlm2V8EePSvvqDs9IoRfESwnVXxvA0dSoAqaIgQ6NQ7TjPyjAr_eqmP17VDVqQArQZSbO5JSt_0maAlgRRZef3Bwf/w133-h200/HamiltonPoster.jpg" width="133" /></a></div><p>Just open your wallet and find a $10 bill.</p><p>How does a "bastard, orphan, son of a whore and a Scotsman" become the source of the biggest sensation on Broadway in the last 20 years? </p><p>Because a writer saw potential in a "leftover" character and made him a compelling protagonist. </p><p>Writers should give their supporting characters a <a href="http://www.storyintoscreenplay.com/2014/03/screenwriting-advice-how-to-write-super-powerful-characters.html" target="_blank">VOTE</a>, just like their lead characters.</p><p>Because if <b>you don't</b> develop your supporting characters …</p><p>… <b>someone else will</b>.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6tJuuvmNY9aaH8k7Z_eZ4FX9NwOZZaeuy7xWDZvxPUYLwbzo10OsqKvBdanioxAVZmle6PTU65m85KxWUOVsNi_x1ozSAWCqe4QRp7SxEa_ccVy8-suEM7oH6FQ9IB2Ql-mF6ghvtnfpK/s819/businesscard-back-big.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="819" height="118" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6tJuuvmNY9aaH8k7Z_eZ4FX9NwOZZaeuy7xWDZvxPUYLwbzo10OsqKvBdanioxAVZmle6PTU65m85KxWUOVsNi_x1ozSAWCqe4QRp7SxEa_ccVy8-suEM7oH6FQ9IB2Ql-mF6ghvtnfpK/w200-h118/businesscard-back-big.jpg" width="200" /></a></div><p>Speaking of a $10 bill, Story Into Screenplay will evaluate the first ten pages of your feature screenplay or TV pilot script for just $10.</p><p>Story Into Screenplay will grade your pages based on criteria such as </p><p></p><ul style="text-align: left;"><li>Formatting</li><li>Structure</li><li>Concept</li><li>Character Development</li><li>Plot</li><li>Dialogue</li><li>Entertainment Value</li><li>Logic</li><li>Action/Pacing</li><li>Spelling/Grammar</li><li>Research</li></ul><p></p><p>Most studio readers and contest judges evaluate a script based on the first three to five pages. </p><p>If your first few pages can captivate a reader, then your chances of success go up astronomically.</p><p>Story Into Screenplay also offers a <b>FREE </b>one-on-one consultation for writers who take advantage of this special offer.</p><p>To find out more about the "10 Pages for $10" special, as well as the other services Story Into Screenplay offers, fill in the form on the side of this page, or send a direct email to storyintoscreenplayblog[at]gmail[dot]com.</p><p>You can also send a direct message to the <a href="http://www.facebook.com/StoryIntoScreenplay" target="_blank">Story Into Screenplay Facebook</a> page.</p><p>Good luck! </p><p>Keep writing!</p><p><br /></p><p><br /></p>Story Into Screenplayhttp://www.blogger.com/profile/10026433319770534895noreply@blogger.com0