Affordable Coverage, Edit & Critique Service: 08/09/12

Thursday, August 9, 2012

Writers Groups: NYCscreenwriter

Screenwriter and filmmaker Steven Arvanites was looking for support in NYC. He suspected other screenwriters were looking for the same thing. So, he formed NYCscreenwriter, a Manhattan-based network that, today, serves as home base for over 1,000 city scribes.

Name and location of writers group:

NYCscreenwriter, New York City

URL:
http://nycscreenwriter.org/

What’s the mission of your writers group?:
NYCscreenwriter is about education, networking, and access for emerging screenwriters. Screenwriting is often a solitary act. There is you and your Final Draft software program. When Final Draft starts talking back, it’s time to find a like-minded human community. That is what I’ve created with my organization. I wanted a safe, egalitarian, and creative place where screenwriters can gather for vital information and networking, and a place to provide opportunities for strategic career building.

I’m proud to say that the organization has given birth to three short films and an award-winning narrative feature. Also, innumerable collaborations and professional friendships have been forged. The atmosphere is never intimidating, always informative and best of all — membership is free. There is no obligation and your information is 100% private.

Membership stats:
Currently there are 1,387 members — not that I’m counting. The group’s diverse membership has really exploded in the last eight months. New York based screenwriters are really responding to the monthly workshops taught by film professionals and university professors and my website content. There is nothing else like it in New York City.

Please provide a brief history of the group:
I founded NYCscreenwriter in March 2009 out of sheer necessity. There were no resources or “hubs” for New York screenwriters. I was determined to change that. The first meeting was in the obligatory Starbucks – four screenwriters attended. Through chutzpah and perseverance, the organization has grown to its present size to include monthly workshops, podcasts, legal advice, multimedia (videos and blogs), and finally, our first-ever NYCscreenwriter PitchFest coming October 12.

What successes have your writers seen?:
When you provide a platform for ambitious screenwriters the results are remarkable. There are Nicholl semi-finalists, Sundance Screen Lab finalists, and a Disney Fellowship winner in the organization. Of course, I’m not claiming credit for their accomplishments, but I share their feedback on how brainstorming, learning the screenwriting craft, and constructive criticism within the organization, have improved both their confidence and skill set; it’s made them better writers.

What other perks does membership to your group provide?:
Free membership is a great perk in itself. Through strategic alliances, I offer members discounts to various screenwriting services and events in New York City. I have a productive relationship with the WGA East. They kindly offer seats to their comprehensive WGA members-only workshops. The last “Adaptation Panel” had four guests who had won two Oscars® collectively. Also, members get first crack at limited capacity events such as NYCscreenwriter Pitchfest on October 12. I’ve procured three A-List industry executives who will consider pitches from writers on a one-on-one basis. Think of it as speed-dating for screenwriters.

Finally, there is the intangible perk of being a member of an organization with like-minded and driven individuals who are looking for collaborators on scripts, treatments, or crewing-up for films. This business is all about relationships and collaboration. Don’t be left behind!

Do you think collaboration in the writing or revision process is essential? Why?:
Collaboration is subjective. Some of the greatest scripts have been written by a single writer. However, the entire medium is collaborative. We are blessed as screenwriters in that we do not need permission to create, only a laptop (pen and paper if you are ‘old skool’) and “BIC TIME” (butt-in-chair time). But, to see your work produced, creative collaboration is essential. It takes thousands of people to create a film — good or bad.

That is one of the main reasons why I founded NYCscreenwriter — because people are your greatest resource. My first professional writing job came from another writer. I’m always emphasizing that we are not competitors but supporters. When one succeeds, then all will follow. That is my credo.

What are your goals for NYCscreenwriter?:
My goal is to keep expanding the organization, but at the same time keep it personable. I pride myself on knowing nearly everyone on a first-name basis who attends the workshop. I think the camaraderie at the attitude-free events are very much appreciated by the culturally diverse membership. Also, free podcasts featuring award-winning professors are on the horizon.

Go forward and win!

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Ask the Expert: The Do’s and Don’ts of Screenwriting

Question: What are the industry standard do’s and don’ts of screenwriting?

As a producer, script consultant, and former VP Development for production companies at Sony, Universal and Disney — I have read thousands of scripts over the years and have had to make the distinction between those that exhibit a high quality of writing and those that don’t. Often I have heard pitches that sounded absolutely fantastic, and I was certain I would want to option the project based on the concept. But then after reading the screenplay, the execution fell short and what initially sounded like a definite sale became a definite pass.Execution has to do with whether or not the concept is successfully executed on the page in terms of character development, structure, set up and dialogue. There are tell-tale signs a writer is a novice who has not yet mastered his or her craft and lacks the skills Hollywood decision-makers seek. The following are tips on how to avoid certain red flags so you can become a better writer and establish yourself as a pro!

DO stay within standard script length — 108 – 114 pages ideally. A 122 page screenplay is long but still acceptable.

DON’T turn in a script that is 139 pages! Unless it’s an epic such as Dancing with Wolves, Bravehart or Seven Samurai and you are one of Hollywood’s A-listers at the top of your game, scripts should never be this long.

A well written script is a treasure.

DON’T write scripts with 20 characters. If you write a script with 20 characters, you dissipate focus away from your central character, the protagonist with whom we need to connect and engage.

DO write a central character with a strong point of view who will take us on a journey, seeing the world and experiences through their eyes, emotions, actions and reactions.

DON’T write character monologues that take up a whole page. In fact, avoid writing a character monologue that takes up even half of a page. This is a tell-tale sign you’re an amateur. If you feel absolutely compelled to write a long monologue, break it up with visuals such as image motifs that correlate to what is being said and/or other character’s reactions.

DO write compelling, vivid, emotionally engaging, endearing, flawed characters when you first introduce them. If you don’t care enough about your character to create an interesting portrait of who they are to hook your reader, chances are the person reading your screenplay (an agent, actor, producer, director, executive) won’t care about them either. Introducing a character and only including their age and the color of their hair is another tell-tale sign of an amateur.

DO take pride in your work, making sure there are no typos or grammatical errors and that your script is formatted properly. How you present your work is a reflection of you. Always present yourself as a professional and be meticulous. If you are sloppy and do not care about your work’s professional appearance, neither will your reader and it will wind up in the trash.

DON’T write endless camera angles in your descriptive passages or stage directions with respect to dialogue and the manner in which your character should read a specific line. Let the director decide how to shoot a scene and let the actor decide how to read the line.

DON’T write expositional dialogue where your characters state exactly what they are thinking and feeling. Human beings in real-life do not speak this way. Often they are afraid to express how they really feel. Sometimes they might be passive- aggressive or say the opposite of how they’re feeling. Writing expositional dialogue or dialogue that is “on the nose” limits characters’ dimensionality and depth.

DO write subtext where characters do not state exactly how they feel. Examples of great subtext can be found in Harold Pinter’s Old Times and the Humphrey Bogart, Lauren Bacall classic To Have and Have Not.

DO use image motifs, awkward moments and even silent moments to convey mood and emotions. For example, a lead character sitting in the middle of an empty square surrounded by tall buildings tells us about the character’s isolation, without the character having to actually state that he or she is lonely. A picture paints a thousand words. Movies are visual mediums. Don’t be afraid to use pictures and images to help tell your story.

Go forward and win!

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