5 Critical Lessons About Spec Scripts

Hello, Readers.

I got this info in an email.  I found it interesting and wanted to share it with you. Please read it. You'll find the info helpful as a writer wanting to enter a script in a contest.

*****************************************************

Hi, 

 

I'm currently deep into reading the entries for our screenplay contest, and certain patterns are emerging. 

 

I thought I'd try and pass them on...

 

1. Opening your script with a black screen and a voice over really has to stop. It's not a big deal for me, and I'll ignore the fact you've done it, but trust me, it's not quite as fresh an idea as you might believe. In fact it's a MASSIVELY over-used device right now...!

 

2. Speaking of Fresh... Original story setups,  that you genuinely haven't seen before, really do stand out. I'm much more eager to read a script about a world I've never been to before than yet another dour police procedural. Good writing is good writing and will come out on top in the end, but it's worth remembering next time, that fresh, original story worlds and story angles DO initially get a slightly favourable read. 

 

3. The Standard is Really, Really GOOD! All these years of all those screenwriting books out there, all

these workshops, all these forums dedicated to spreading basic technique, they're all paying off. The average script I'm reading is far, far better than it was fifteen years ago. 

 

The downside of that for you, trying to get yourself noticed, is that the bar has been raised considerably. When most scripts have a basic story structure fairly well in place you as a new writer simply cannot afford to be unaware of all that sort of thing. Even if you reject the traditional three act paradigm in favour of

your own personal invention, comprising, I don't know, 7 and a ½ phases plus a coda, you have to do it from a position of strength. 

 

If you're into traditional three act structure you have to be really on it. You have to know what you are doing, you have to hit the beats lightly, cleverly, and preferably subversively in some way. If you're NOT going to do this then you have the even harder job of making the story form you are using shine with conviction,

precision, and the genuine knowledge of why more traditional story telling doesn't work for you.  

 

4. It's Not Enough to Have a Good Structure. I've got a number of scripts on the slate now where I love the set up, I love the structure, but the dialogue is heavy handed. Remember, I'm not looking for scripts in which I can see promise - far too many of them show promise. With just five finalist spots I'm looking for scripts that are as near dazzling as possible. So your dialogue has to simply spark along. Subtext, economy, precision, occasional humour, credibility, are all crucial. 

 

5. You Need a Voice. It's not even enough to have a good structure, good setup, good characters and good dialogue. I'm looking for scripts that have all that - but also have that rarest thing: a wild, never before heard

voice. 

 

This is the advanced stage. This is the point at which you have mastered all the elements so well that your unique way of seeing the world combines with your unique writing style and your mastery of the story telling elements to elevate your script into something that burns into the imagination, is satisfying, surprising,

entertaining - even haunting.   

 

You get to this point by reading, and reading, and watching, and breaking down, and being brave enough to cut lose and reach deep into yourself and bring whatever you've got out to be shaped by your well-developed craft. This is something that I think can never be taught, that comes with experience, with passion, with a genuinely original way of seeing the world.  

 

I'm lucky enough that I'm not looking for scripts that will play well on a particular TV channel, that will hit a specific audience demographic in the theatres - I'm simply looking for scripts that have both great craft and a strong voice, whatever the genre, whatever the ambition.  It's a tribute to you all that there are more than a few scripts like this among the entries I've read so far. 

 

To learn the elements of screenplay structure, go here.

 

To learn about great dialogue, and how best to read and break down

some scripts that do shine with inner life, go here.

 

ANOTHER WRITERS GUILD TRIUMPH

 

The Writers Guild of Great Britain has negotiated the best new digital and on-line agreement for writers anywhere in the world. All new commissions are now under these new terms, and all scripts commissioned under the previous agreement since November 2002 automatically switch over to the new terms.

 

WILL MY IDEA GET STOLEN?

 

Normally I say don't worry about it, that such questions are the mark of the amateur, that ideas are your currency, and if you've only got one that you guard so jealously then you're not going to get anywhere, that ideas themselves are cheap it's the implementation of them that counts.... All those points I do still believe. 

 

But there is also this.

 

FINAL DRAFT APP

 

It's finally out, in iTunes, for a rather eye-watering $29.99.

 

My own opinion is that I need a huge heavy keyboard to write anything, so I won't be buying, but a rather less ludditical (sp?) opinion from writers I know is that if you like Final Draft, and you have an iPad, then you'll like this app. 

 

SCREENWRITING GOLDMINE WORKSHOPS

 

We're running another of our amazingly wonderful weekend workshops in three weeks at the end of  September.  You still (just) have chance to get it at the early bird discount rate, so if you have been  wondering whether or not to book, well, now's as good a time as any. 

 

Get more details and book your seat here. 

 

LONDON SCREENWRITERS FESTIVAL

 

Full ticket price is £299. I've got you a £65 discount and so you can get tickets for the whole three day event at the group rate of just £234. This can be paid in full or by easy installments from now until October. To take advantage of the £234 group rate I've negotiated for you click here and use the promotional code: SCREENGM:

 

Please direct all queries to groupsales@londonswf.com.

 

BATH UNIVERSITY NEEDS A SCRIPT EDITOR 

 

Job vacancy here - closing date 7th September.

 

TRAVERSE THEATRE NEEDS 50 NEW WRITERS. SERIOUSLY. 

 

You know how I'm always saying how very, very rewarding writing for theatre is? Let alone how getting yourself noticed for writing theatre can be a great route into writing for TV and Movies?  

 

If that suggestion has fallen on fertile ground, here's a terrific opportunity for you. The well-known Traverse Theatre is offering a year-long attachment for 50 writers. Incredible. 

 

ADVICE FROM ONE WHO KNOWS

 

Vastly experienced TV producer Yvonne Grace is giving a talk this coming Monday morning in London. 

 

It's called "How to Get Into Television and Stay There."

 

It's at the Phoenix Arts Club, on the 3rd September (ie THIS COMING MONDAY) and it starts at 8.15 am, so the effect on your Monday morning is minimised. (And besides, any chance to be late for work

on Monday morning is a good thing, isn't it?) 

 

FROM THE FORUMS

 

Here are some discussions from the Goldmine forum: 

 

How do you reveal names to the reader when they haven't been revealed in

the story so far..?

 

What can and can't you do in a spec script?

 

The legal implications of using real life characters in fiction.

 

What is a 'treatment' and what is it for?

 

Should you promote negative (in this case anti-christian) ideas in

your script?

 

The forum now has over 2,600 members and over 58,000 posts. All that knowledge, all fully searchable... don't miss out, go over there now.

 

SCRIPTS WANTED

 

And here's your free job lead. It is exclusive to you as a Screenwriting Goldmine subscriber.

 

Remember, the only other way you'd see this job lead is by paying to become an Inktip Subscriber.

 

--------------

Zero Gravity - Seeking Nicholl Fellowship Finalists

---------------

 

Literary manager Jeff Belkin of Zero Gravity Management is interested in hearing from all writers who are currently entered in this year's Nicholl's Fellowship Contest 2012 (and only 2012). Genres don't matter. He's looking for those writers who made it into this year's quarterfinals or higher and are looking for a literary manager (those already with agents or attorneys are also welcome). Please only submit the title, logline, and a little bit about yourself. 

 

Jeffrey Belkin has worked in the industry for well over a decade as a senior script analyst, consultant, contest judge, director of development, and lit rep for studios, agencies as well as A-list talent. Having worked as a lit manager for Mad Hatter Films and helped develop 'Gran Torino' for Double Nickel Entertainment, he

recently left his own company (Foremost Films) to join Zero Gravity as a manager/producer.

 

Jeff has signed numerous writers from InkTip and all of the top competitions. In 2005, he discovered Nicholl's entrant Jeff Dean -- whose spec was optioned by New Regency. Presently, Jeff has dozens

of client projects with top production co's attached/packaging them. To submit to this lead, please go to:

 

http://www.inktippro.com/leads/

 

Enter your email address. Copy/Paste this code: zg4t41kqa8

 

NOTE: Please only submit your work if it fits what the lead is looking for exactly. If you aren't sure if your script fits, please ask InkTip first.

 

And that's it. 

 

To your writing!

 

Phil

How To Write a Screenplay
My own, downloadable step by step guide.


Tradejammer Ltd
Registered in England and Wales No. 5825205
Registered Office: 63 Lansdowne Place, Hove, E. Sussex, BN3 1FL

Tradejammer Ltd, 63 Lansdowne Place, Hove, E. Sussex, BN3 1FL, United Kingdom 

Go forward and win!

Logline Service

I have been getting a lot of request for loglines. I give different prices . Since I have so many requests for this service, I decided to set a single fix price.

Logline: $5.00 Flat Fee

A synopsis or summery is required. It well be used to form the logline. The logline is just one line.

Screenplays

Critique: $50.00 Flat Fee, Discount fee $42.50

 Includes evaluating the basis elements of a script

•  Introduction
•  Development
•  Climax
•  Conclusion
• Character development 
•  Mid point development

Critiques also provide suggestions for improvements and enhancement. 

Payments are made by Paypal or cashier check by mail.


Other services are at regular price.

Query Letters: $25.00 Flat Fee  

Editing: $45.00 Flat Fee

•  Evaluating formatting to industry standards
•  Spelling, grammar, punctuation, sentence structure, etc.

Turnaround time:
Editing: 2 weeks
Critique: 2 weeks

Query Letters: 2 weeks

Feel free to contact me at ahicks4298@q.com or ahicks4298@msn.com.

Feel to call me at (360) 696-4298. Ask for Frances.

Film script format, writing film scripts, screenwriting services, coverage service, screenplay formatting margins, screenplay writing, screenplay format example, Search terms: screenplays, screenwriting service, edit and critique service, writing screenplays, screenplay format, loglines, query letter, film scripts, movie scripts, screenplay format, screenplay synopsis, script synopsis, treatment, proofreading service for writers, novels, writing services, fiction writing, film script format, writing flim scripts, screenwriting service, coverage service, screenplay critique service, screenplay format margins, screenplay writing, screenplay format example, free writing tutorials,   script consultant, screenwriting jobs, film production companies

Screenwriters Sign On With Agents

Hello, everyone.

I want to take the time to give special thanks to two of my screenwriting clients.

Neil Grayson was signed on by Studio Talent Group for his screenplay “Jolly Holly”. We did a lot of work on the screenplay together. Neil wrote, rewrote, rewrote, and rewrote. I kept on him. “You’ve got a good idea,” I said. “Don’t give up.”

So congratulations, Neil. Your hard work paid off.

Patrick Wynne was signed on by SC Management for his screenplay “Winehouse”. It took him two years and 12 rewrites to get the script right.

Congratulations Pat.

To all of you aspiring writers, keep writing. When you get an idea, keep working on it. Read scripts, and write, write, write.

LEE CHILD DEBUNKS THE BIGGEST WRITING MYTHS

Like his famous protagonist, Jack Reacher, Lee Child is a bit of a rogue badass—especially when it comes to his thoughts on writing, and debunking popular writing rules.

In his ThrillerFest session “Tell, Don’t Show: Why Writing Rules are Mostly Wrong,” Child battled a few of the biggest writing myths out there, and explained what really keeps a reader reading until The End.

Show, Don’t Tell

Picture this: In a novel, a character wakes up and looks at himself in the mirror, noting his scars and other physical traits for the reader.

“It is completely and utterly divorced from real life,” Child said.

So why do writers do this? Child said it’s because they’ve been beaten down by the rule of Show, Don’t Tell. “They manufacture this entirely artificial thing.”

“We’re not story showers,” Child said. “We’re story tellers.”

Child said there’s nothing wrong with simply saying the character was 6 feet tall, with scars.

After all, he added—do your kids ever ask you to show them a story? They ask you to tell them a story. Do youshow a joke? No, you tell it.

“There is nothing wrong with just telling the story,” Child said. “So liberate yourself from that rule.”

Child believes the average reader doesn’t care at all about telling, showing, etc. He or she just wants something to latch onto, something to carry them through the book. By following too many “rules,” you can lose your readers.

Don’t Start With the Weather

“If the weather is what’s on your mind, start with it,” Child said.

Simply put, all-time great Alistair MacLean did it all the time. Enough said.

Suspense is Created by X, Y, or Z

For instance: Suspense is created by having sympathetic characters. More and more, Child said, this rule doesn’t add up. Case in point: In The Runaway Jury by John Grisham, Child said there isn’t a sympathetic character in the entire book—there are bad guys, and worse guys. Instead of sympathetic characters, the book is driven by what the verdict of the trial at the heart of the story will be.

“And that’s how you create suspense,” he said—it all boils down to asking a question and making people wait for the answer.

I'm pumped!

Child added that one thing he has learned throughout his career as a television writer and novelist is that humans are hard-wired to want the answer to a question. When the remote control was invented, it threw the TV business through a loop. How would you keep people around during a commercial? So TV producers started posing a question at the start of the commercial break, and answering it when the program returned. (Think sports—Who has the most career grand slams?) Even if you don’t care about the answer, Child said, you stick around because you’re intrigued.

Ultimately, he said writing rules make the craft more complicated than it really is—when it comes down to it, it’s a simple thing.

“The way to write a thriller is to ask a question a the beginning, and answer it at the end,” he said.

When he’s crafting his books, Child doesn’t know the answer to his question, and he writes scene by scene—he’s just trying to answer the question as he goes through, and he keeps throwing different complications in that he’ll figure out later. And that very well may be the key to his sharp, bestselling prose.

“For me the end of a book is just as exciting as it is for a reader,” he said.

Behind the Lines with DR: Screwed

Please read this piece by Doug Richardson.

Screenwriter, Doug Richardson, attended USC’s School of Cinema. After finishing college, Doug signed a two-year contract with Warner Brothers. In 1989 he garnered national attention when his spec screenplay was the first in Hollywood to sell for a million dollars. Doug’s first feature film, the sequel to Die Hard, Die Harder, was produced in 1990. He has since written and produced feature films including the box office smash Bad Boys and Hostage. To date, Doug’s features have grossed over 800 million dollars worldwide. Doug is crafting his fourth novel and writes a weekly blog sharing his screenwriter war stories dougrichardson.com.

Just a few months ago I was guest-speaking to young screenwriters at an L.A. film school. It was a theater stuffed with young alert faces. The future of American cinema spread out before me, all ears, hanging on my every word. Why? Because for some reason, I’m supposed to have learned a thing or two after a couple of decades of show biz success and survival. I was there to pass along some wisdom. That said, somebody asked me about “leave behinds.”

Wait. Speak up. What’s that, you ask?

A “leave behind” is something a writer might give the buyer after a pitch meeting. Usually a blurb or some kind of outline that reflects what the writer just spent the past twenty minutes drilling into the producer or executive’s ear.
The student asking the question was concerned that ending the pitch by giving away something written down was an invitation for the recipient to steal.

“Look. It probably hurts more to hear this than for me to say it,” I said. “But if you’re going to have any success as a writer in this biz, you’re going to get ripped off. That’s just a fact.”

Judging by all the gob-smacked faces, I may as well have stood up, flapped my arms, and squawked my affection for anesthesia-free colonoscopies.

“I know. Getting stolen from is supposed to be a form of flattery,” I continued. “But that’s a buncha crap. It sucks. It’s never fun. But it happens all the time.”

Okay blogfans. Here’s a SPOILER ALERT: If you’re planning to make a splash in show biz but imagine that it’s populated by characters from the kinder parts of Mary Poppins, please turn back now, don’t read on, and politely exit while whistling the opening bars to Supercalifragilisticexpialidocious.

To find success in the Land of Milk and Movies, writers must write, pitch, and sell. And if the writer is any good at his craft, there are wolves in sheeps’ clothing waiting to take a bite of your good work and sell it as their own. Like this one:
I was at lunch with a producer I’d come to know through one of my movies. Sometime between the entree and my third refill of Diet Coke, he began talking to me about an idea he had for a movie. Now, this “idea” was more like snippet of information about a special unit of cops serving in the NYPD. There were no characters and zero story. Just a thirty-second recitation of this particular cop detail and their dirty assignment.

Usually, I nod and say something like, “That’s a good start. Lemme simmer on it for awhile.”
Instead, during this particular slice of my day, I’d already grown bored with the lunch conversation and this guy’s nonstop tales of scamming sloppy supermodel seconds off his former boss’s conquests.

So keying off the producer’s faint description, I deftly spun a tale. Why? Because I’m a writer and that’s what I do. Making up stories has become second nature. In twenty minutes hence, I created two dynamic characters, three solid acts, and even a surprise ending.

Not that it’s always that easy. I’ll sometimes toil for years over half-assed ideas in search of a getaway car. And other times, stories arrive almost instantly like gifts from heaven, fully formed and barely in need of tweaking.

This was one of those days. From idea to characters to story to a perfectly pitchable movie before the check even arrived. The producer dropped his Platinum card, shook my hand goodbye, and promised to follow up with me the next day.

True to his word, the producer called me the following afternoon.

“So here’s what I did,” said the producer. “After our lunch yesterday, I drove over to Fox and sold that story I told you.”

“You what?” I asked, wondering if there was some kind of infection that had flooded my ear canals with crazy talk.

“Sold the story. Set it up as a development deal at Fox.”

“Without informing me?” I asked, incredulity raising my voice.

“No worries,” he said. “You’re on top of my list of writers for it.”

“Top of your list?” I’d quickly moved from incredulous to steaming. “Are you kidding me? I’m the only writer you can possibly do this with.”

“I believe you. And you’re obviously my first choice. But the studio’s gonna want to hear more than one take. That means a bunch of writers.”

“How dare you!” I shouted. “It’s my story! You had no right to sell it without me in the room!”

“Hey. It was my idea and I paid for lunch,” was all the asshole producer pretended he needed to say to settle the issue.

“And if I knew you were gonna f**k me over I woulda ordered more than the lousy Cobb salad.”

His logic was tortured and numbing. As if anyone with a willingness to flash an American Express card coupled with describing to a writer the distinctive features of a DeLorean awarded him the intellectual property rights toBack to the Future.

I was incensed then and, as I beat these words into a blog, I remain pretty peeved. But because I hadn’t had time to register the story with the WGA, I didn’t have a legal leg to stand on. The S.O.B. beat me to a defense by rushing from our lunch to the gilded gates of a movie studio with an open wallet. My only remedy was to gin my agent and lawyer into gang-calling the studio and, in all likelihood, the action would quickly devolve into such a who-came-up-with-what twist that the primary byproduct would be gallons of bad blood spilled between myself and the innocent movie studio. It was either that or lick my wounds, write off the unscrupulous bastard, and learn to keep my mouth shut.

It wasn’t first time I’d been stolen from. It wouldn’t be the last. Because the truth is that the job demands a certain measure of creative risk. These dangers must be accepted as potential job hazards. And no insurance policy or writers’ collective can totally insulate an ambitious word merchant from every cunning shark in the Show Biz Sea.

In the end, I probably could have fought my way into the studio and demanded my screenwriting services be attached the story. Yet something about beginning a movie project forged with an already malignant distrust for the producer made me too ill to put up a fight.

Smart businesses write off their mistakes, failed partnerships, and affronts of chicanery every damned day. Then they get up, dust themselves off, and move on to Plans B or C or whatever. Writers need to follow that example.

I have similar stories with happier endings that I will soon make blogworthy. But more often than not, stories about intellectual thievery usually end in more sting than bling.

Go forward and win!

Logline Service

I have been getting a lot of request for loglines. I give different prices . Since I have so many requests for this service, I decided to set a single fix price.

Logline: $5.00 Flat Fee

A synopsis or summery is required. It well be used to form the logline. The logline is just one line.

Screenplays

Critique: $50.00 Flat Fee, Discount fee $42.50

 Includes evaluating the basis elements of a script

•  Introduction
•  Development
•  Climax
•  Conclusion
• Character development 
•  Mid point development

Critiques also provide suggestions for improvements and enhancement. 

Payments are made by Paypal or cashier check by mail.


Other services are at regular price.

Query Letters: $25.00 Flat Fee  

Editing: $45.00 Flat Fee

•  Evaluating formatting to industry standards
•  Spelling, grammar, punctuation, sentence structure, etc.

Turnaround time:
Editing: 2 weeks
Critique: 2 weeks

Query Letters: 2 weeks

Feel free to contact me at ahicks4298@q.com or ahicks4298@msn.com.

Feel to call me at (360) 696-4298. Ask for Frances.

Film script format, writing film scripts, screenwriting services, coverage service, screenplay formatting margins, screenplay writing, screenplay format example, Search terms: screenplays, screenwriting service, edit and critique service, writing screenplays, screenplay format, loglines, query letter, film scripts, movie scripts, screenplay format, screenplay synopsis, script synopsis, treatment, proofreading service for writers, novels, writing services, fiction writing, film script format, writing flim scripts, screenwriting service, coverage service, screenplay critique service, screenplay format margins, screenplay writing, screenplay format example, free writing tutorials,   script consultant, screenwriting jobs, film production companies

Aug. 29, 2012 Free Chance To Submit Your Screenplay To Producers & Agents

Go forward and win!

Logline Service

I have been getting a lot of request for loglines. I give different prices . Since I have so many requests for this service, I decided to set a single fix price.

Logline: $5.00 Flat Fee

A synopsis or summery is required. It well be used to form the logline. The logline is just one line.

Screenplays

Critique: $50.00 Flat Fee, Discount fee $42.50

 Includes evaluating the basis elements of a script

•  Introduction
•  Development
•  Climax
•  Conclusion
• Character development 
•  Mid point development

Critiques also provide suggestions for improvements and enhancement. 

Payments are made by Paypal or cashier check by mail.


Other services are at regular price.

Query Letters: $25.00 Flat Fee  

Editing: $45.00 Flat Fee

•  Evaluating formatting to industry standards
•  Spelling, grammar, punctuation, sentence structure, etc.

Turnaround time:
Editing: 2 weeks
Critique: 2 weeks

Query Letters: 2 weeks

Feel free to contact me at ahicks4298@q.com or ahicks4298@msn.com.

Feel to call me at (360) 696-4298. Ask for Frances.

Film script format, writing film scripts, screenwriting services, coverage service, screenplay formatting margins, screenplay writing, screenplay format example, Search terms: screenplays, screenwriting service, edit and critique service, writing screenplays, screenplay format, loglines, query letter, film scripts, movie scripts, screenplay format, screenplay synopsis, script synopsis, treatment, proofreading service for writers, novels, writing services, fiction writing, film script format, writing flim scripts, screenwriting service, coverage service, screenplay critique service, screenplay format margins, screenplay writing, screenplay format example, free writing tutorials,   script consultant, screenwriting jobs, film production companies