Affordable Coverage, Edit & Critique Service

Tuesday, September 11, 2012

The Industry Insider Screenwriting Contest

About | Contact | Help

Enter the Industry Insider Screenwriting Contest Today

Break out your scriptwriting software and get to work, because the 6th Industry Insider Screenwriting Contest gives you the unique opportunity to turn this idea into a solid spec screenplay that could be your ticket to Hollywood success, just like past winner, Tyler Marcecawith The Disciple Program.

The Industry Insider Screenwriting Contest is an international competition that facilitates relationships between new writers and Industry leaders looking to help aspirants embark on writing careers, and Tyler's winning script sold to Universal Studios with Mark Wahlberg attached to star and produce.

Tyler has been enjoying the spotlight, but took a moment to talk to us about his experience with the contest:

"No other contest offers what the Industry Insider Contest does -- a chance to develop your script alongside an industry professional. Some contests are about cash and prizes. The Industry Insider Contest is about advancing your career and developing material that can be successful in the marketplace. It's about opening up doors. Not only was my Story Specialist, Mario a consummate professional but an invaluable source of critical feedback. He brought tremendous energy and insight to each of our weekly sessions. You would think he was earning a ten-percent manager's cut. Mario (expletive) rocks."

Do you have what it takes to be the next success story?

Working from this A-list logline from Susannah Grant Oscar-Nominated Screenwriter for Erin Brockovich, and Writer of Pocahontas, Ever After, 28 Days, and Writer/Director of Catch and Release, you're challenged to create up to the first 15 pages of an original script based on the given concept. Make it your own - drama, action, dark comedy... anywhere your imagination takes you!

"A New England matriarch with a week left to live pledges her fortune to whoever in her small town fulfills her dying wish."

But it doesn’t stop there. The Industry Insider Screenwriting Contest goes much further than your average competition, by providing the top 10 finalists with mentors to guide them through the entire script creation process, with the goal of completing a spec screenplay to be judged by a panel of Hollywood power players.

Here’s how it works:

Entrants write up to the first 15 pages of a script based on the logline above, provided bySusannah Grant
The top 10 finalists are chosen from the submissions, and receive a personalized letter of congratulations from Susannah Grant
Each of the 10 finalists receives a copy of Movie Magic Screenwriter to professionally format their work as they enter into a 12-week Story Specialists mentoring program, consisting of feedback for every 10 pages submitted, with the goal of completing a spec screenplay based on the given logline
After 10 weeks of mentoring, the finalists submit their rough drafts to our professional script readers for comprehensive Development Notes, and then have two weeks to work with their mentor and notes to complete the final draft of their screenplay for judging.
Susannah Grant and production company Benderspink judge the completed screenplays and choose a winner

The lucky winner receives transportation and lush accommodations at the Chateau Marmont in Hollywood, a classic Industry lunch with Susannah Grant at The Ivy, a meeting withBenderspink, and more.

Ready for your shot at the big time? Visit the Industry Insider Screenwriting Contest todayto learn more and enter.

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

Saturday, September 8, 2012

Horror Film Scripts: Free Downloads

Hello, everyone.
I have been getting a lot of email asking where to find horror film scripts to read. There are a lot of you out there interested in this genre. I will admit that I like it too. So here is a list of horror films for you. Just click on the titles.

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

Sixth Sense   by M. Night Shyamalan
  undated, unspecified draft script in text format   Host Site Sci-Fi and Fantasy Scripts Site
  genre(s): Thriller, Horror, Mystery, Suspense

The 9th Gate   by Roman Polanski, John Brownjohn and Enrique Urbizu
  undated, unspecified draft script in html format   Host Site Horror and Suspense
  genre(s): Horror, Thriller

Addicted to Murder 5: The Last Vampire   by Ron Ford and Kevin Lindenmuth
  undated, unspecified draft script in html format   Host Site Addicted to Murder
  genre(s): Horror

Alien vs. Predator   by Shane Salerno
  june 24th 2004 final shooting script in rtf format   Host Site Daily Script
  genre(s): Horror, Thriller, Action, Sci-Fi

Alone In The Dark   by Elan Mastai, Michael Roesch & Peter Scheerer
  August 19, 2003 (double cherry revision) draft script in html format   Host Site Just Another Guy In Hollywood
  genre(s): Action, Horror, Thriller

The Birds   by Daphne Du Maurier & Evan Hunter
  march 2, 1962 final draft 2nd revision script in html format   Host Site The Daily Script
  genre(s): Horror, Thriller

The Birds   by Daphne Du Maurier & Evan Hunter
  march 2, 1962 final draft 2nd revision script in html format   Host Site The Weekly Script
  genre(s): Horror, Thriller

The Birds   by Daphne Du Maurier, Evan Hunter
  march 2, 1962 final draft 2nd revision script in html format   Host Site Horror and Suspense
  genre(s): Horror, Thriller

The Cat People   by DeWitt Bodeen
  undated, unspecified draft script in html format   Host Site The Val Lewton Screenplay Collection
  genre(s): Drama, Romance, Horror, Thriller

Curse of the Cat People   by DeWitt Bodeen
  final draft script in html format   Host Site Daily Script
  genre(s): Horror

The Curse   by Jacqueline Garry
  final draft script in text format   Host Site The Curse: An Independent Romantic Comedy Thriller
  genre(s): Comedy, Horror

Dawn of the Dead 1978   by George A. Romero
  early draft script in text format   Host Site On Line Horror and Suspense Scripts
  genre(s): Horror

Dawn of the Dead 2004 by James Gunn, Rewrite by Michael Tolkin, Based on the original screenplay by George A. Romero

April 24, 2003 Full White Draft. script in pdf format Host Site On Line Horror and Suspense Scripts
genre(s): Horror

Day of the Dead   by George A. Romero
  final draft script in text format   Host Site On Line Horror and Suspense Scripts
  genre(s): Horror, Sci-Fi, Thriller

The Exorcist   by William P. Blat
  shooting script in html format   Host Site On Line Horror and Suspense Scripts
  genre(s): Horror

Fallen   by Nicholas Kazan
  may 17, 1996 4th revision script in pdf format   Host Site The Daily Script
  genre(s): Horror

Feast - early draft   by Patrick Melton and Marcus Dunston
  undated early draft script in text format   Host Site The Weekly Script
  genre(s): Horror

Feast - revised draft   by Patrick Melton and Marcus Dunston
  may 3, 2004 revised draft script in text format   Host Site The Weekly Script
  genre(s): Horror

Ghost Ship by Donald Henderson Clarke (story by Leo Mittler)
final draft (negative ship date november. 5, 1943) script in html format Host Site The Val Lewton Screenplay Collection

genre(s): Drama, Thriller, Horror

Go To Hell   by Michael J. Heagle & Raymond P. Whalen
  first draft script in pdf format   Host Site Style Commando Entertainment
  genre(s): Adventure, Comedy, Horror

Gothika   by Sebastian Gutierrez
  december 8, 2002 revised second draft script in pdf format   Host Site Daily Script
  genre(s): Horror

Gremlins   by Chris Columbus
  April 27, 1982 draft script in pdf format   Host Site Horrorlair
  genre(s): Comedy, Horror, Fantasy

The Grudge   by Stephen Susco (based on Ju-on by Takashi Shimizu
  January 26, 2004 production draft script in pdf format   Host Site Daily Script
  genre(s): Horror, Mystery, Thriller

Halloween   by John Carpenter & Debra Hill
  April 10, 1978 Shooting Draft script in html format   Host Site Daily Script
  genre(s): Horror

Halloween   by John Carpenter & Debra Hill
  shooting draft script in text format   Host Site On Line Horror and Suspense Scripts
  genre(s): Horror

House of 1000 Corpses   by Rob Zombie
  march 31, 2000 revised draft script in text format   Host Site Movie Page
  genre(s): Horror

House of the Damned   by Brendan Broderick & Victoria Muspratt
  october 18, 1995 fourth draft script in text format   Host Site On Line Horror and Suspense Scripts
  genre(s): Horror

House on Haunted Hill   by Dick Beebe
  january 13, 1999 blue revision, production draft script in html format   Host Site The Daily Script
  genre(s): Horror

The Howling   by John Sayles
  march 4, 1980, revised final draft script in html format   Host Site The Howling The Unofficial Site
  genre(s): Horror

I Still Know What You Did Last Summer   by Trey Callaway
  1998 published edition script in text format   Host Site On Line Horror and Suspense Scripts
  genre(s): Horror, Mystery

I Walked with a Zombie   by Curt Siodmak & Ardel Wray
  10/12/42 draft script in html format   Host Site The Daily Script
  genre(s): Horror

Interview with the Vampire   by Anne Rice, based on the novel by Anne Rice
  april 1992 second draft script in pdf format   Host Site Daily Script
  genre(s): Horror

Peeping Tom   by Leo Marks
  1959 Shooting draft script in text format   Host Site The Weekly Script
  genre(s): Drama, Horror, Thriller

Pet Sematary   by Stephen King
  1986 first draft script in html format   Host Site The Daily Script
  genre(s): Horror

Pet Sematary II   by Richard Outten (revised by David S. Goyer)
  january 6, 1991revised 3rd draft script in doc format   Host Site The Movie Page
  genre(s): Horror

The Shining   by Diane Johnson & Stanley Kubrick
  post production script in html format   Host Site The Daily Script
  genre(s): Horror

Sleepy Hollow   by Kevin Yagher and Andrew Kevin Walker
  april 10, 1995 third draft script in html format   Host Site The Daily Script
  genre(s): Horror, Thriller

Sleepy Hollow   by Andrew Kevin Walker and Tom Stoppard
  september 29, 1998 shooting draft script in html format   Host Site The Daily Script
  genre(s): Horror, Thriller

Texas Chainsaw Massacre   by Kim Henkel & Tobe Hooper
  incomplete script in text format   Host Site A Geocities Site
  genre(s): Horror, Thriller

Texas Chainsaw Massacre   by L.K. Kit Carson
  early draft script in doc format   Host Site The Texas Terror
  genre(s): Horror

They   by Brendan Hood
  spec script script in html format   Host Site Jo Blo
  genre(s): Horror

When A Stranger Calls   by Steve Feke & Fred Walton
  undated shooting draft script in text format   Host Site The Weekly Script
  genre(s): Horror, Thriller

Willard   by Glen Morgan (based on the book by Gilbert Ralston)
  undated, unspecified draft script in html format   Host Site Horror Suspense
  genre(s): Comedy, Horror

The Witches of Eastwick   by Michael Cristofer (based on the book by John Updike)
  may 1986 revised draft script in pdf format   Host Site Daily Script
  genre(s): Comedy, Fantasy, Horror

The Witching Hour   by Anne Rice
  undated, unspecified draft script in text format   Host Site Sci Fi and Fantasy Scripts Site
  genre(s): Horror

Go forward and win!

Logline Service

Screenplays

Friday, September 7, 2012

5 TIPS FOR DIALOGUE THAT MAKES STRONG MEN WEEP

With Playwright Daniel Heath

As we now know, good dialogue is the elusive dark matter of the scriptwriting galaxy. Which is why we asked Daniel Heath, winner of the 2007 Emerging Playwright Award, to share his dialogue-writing rocket science. Daniel has had short plays produced for the Playwrights' Center of San Francisco and is a member of the San Francisco Playground Writer's pool. He also sporadically maintains a blog at scratchfiction.com. Take it away, Daniel! And thank you for you contribution.

As we all know, nothing brings on the man-tears like achingly perfect dialogue. But how? I've written bales of lousy dialogue myself, so I have a few pointers:

1. Don't try to write dialogue the way people actually talk.

Listen to yourself talk for 10 seconds to hear what I mean. We use an astonishing amount of filler:

ME: Um, yeah, so, I'm, uh, like, [expletive], y'know...

Moreover, we spend most of our time not saying anything:

THEM: Hey.
US: Hi.
THEM: How are you?
US: I'm good. How are you?
AUDIENCE: Unnngh. (falls unconscious)

It may be true to life, but it's incredibly boring, and all it tells us is that neither person is paying any attention. A guideline: If the audience can guess almost exactly what the next line will be, write something better.

ZORA: I love you, Max.
MAX: I love you, too.
AUDIENCE: We hate this play! (they turn on each other and fight savagely)

Try this question: How could I write this in a way that tells the audience something about the character(s) speaking? You and your audience may learn something:

ZORA: I love you, um... it's Max, isn't it?
MAX: It's anything you want it to be if you've got 50 dollars in your pocket.

2. Avoid writing dialogue that no one would ever say.

Yeah, I know, I just told you not to write dialogue like people talk. Now I'm telling you to make sure you write dialogue that we can imagine a human saying. Yes, it's contradictory, but this is art—paradox is the vodka-and-Red-Bull of human creativity.

The first trick is to read your dialogue out loud. Characters should use each others' names very sparingly. Watch out for really big or archaic words, especially if you're not 100% sure what they mean. Try not to use awkward, formal phrasing unless you're doing it on purpose. And watch out for how long you let your characters speak—most of the time humans don't let each other go more than a clause or two before interrupting.

CLEO: Lupe, you look positively evanescent in that dress. And one more thing, Lupe, insofar as I consider myself to be your friend for all these long years, and find myself therefore beholden to the necessity to say to you that actually there is a fleck of some green matter, some parsley, I think right-- (points) There.

Instead try:

CLEO: Girl, you've got--
LUPE: I know. I put it there.

Yes, you can write stylized dialogue. Your characters can speak better or worse, more elliptically or more directly, than normal humans do. But on the one hand don't make it too flat and obvious, and on the other don't make it too outlandish and artificial.

3. When you use dialogue to convey factual information, make sure we don't notice.

The kids call this "As You Know, Bob," dialogue, and it goes something like this:

ZEKE: As you know, Bob, we're stuck in this here fuel-tanker rig heading down a mountainside and our brakes are shot. It's only a matter of time until we hit a turn we can't make and eight thousand gallons of unleaded go up like the Lord himself in all His glory.

When you thudding-ly inform us of things that the characters already know, you break the illusion of your script and bust us out of the an otherwise poignant moment. Be sneakier:

ZEKE: Wife and kids?
BOB: Naw.
ZEKE: Ain't missing nothing.
BOB: You try them brakes again?
ZEKE: Been tryin'. No metal left to grind.
BOB: You reckon you're going to heaven?
ZEKE: Reckon if I am they'll have me driving a tanker truck there, too.
BOB: Don't need no gas in heaven. Everything runs on angel piss and sunshine.
ZEKE: Find out in a second here.
BOB: I told you to take it easy on them brakes.

4. If it's obvious, you don't have to spell it out. But if it's not obvious, you do.

When you're doing your job, your audience should usually understand how your characters are feeling at any given moment.

(IVAN slaps ANGELIQUE)
ANGELIQUE: Ouch! That hurt! You [expletive]! Why did you do that?

Give us credit; don't tell us what's obvious. We like that—it makes us feel smart. Instead, tell us something we didn't know about your character:

(IVAN slaps ANGELIQUE.)
ANGELIQUE: The last guy who did that is still scratching his stumps.

On the other hand, if you've got a character with a strange, hard-to-get psyche, then go ahead and lay it all out, precisely, in detail. You've heard the advice, "Show don't tell." It's very good advice most of the time, but sometimes you need to do both:

(IVAN slaps ANGELIQUE.)
ANGELIQUE: I kind of want to cut your hand off, but then I also kind of want to teach you to play Bach. I want to show you how to use your hands to bring joy into the world—joy for yourself. Joy for others. And then I'll probably cut if off anyway, but I feel like the Bach would be a really nice touch.

The same rule applies to stage directions—give the actors space, don't nag or micromanage (they'll just ignore you anyway). Take it easy on the exclamation marks. Take it easy on physical instructions. Try to make your dialogue strong enough to show them how to play the part the way you see it. But if you want something strange or counterintuitive, then lay it out clearly.

5. Your dialogue is meant to make your audience feel something.

Whatever the goal of your script, remember that you are trying to make people feel something. Keep in mind that emotions take time. Your characters are going to change during your story; give us space on the page to feel along with them. If you try to pack seven emotional reversals in a short speech, you're likely to shake us off. Let new emotions sink in, and once we're with you, take that seriously. If you're drowning cute animals and you get us all bummed out, don't expect us to be laughing at your jokes two lines later.

Your dialogue and your story are just tools to make your audience feel something—that's why the audience is sitting still for you. Given that, my final rule is more of an anti-rule: You can break every scriptwriting rule, every plot rule, every rule of basic human decency and hygiene, if it serves the emotional point you are trying to convey. Depending on the situation, sometimes dialogue that's absolutely wrong is absolutely right.

Go forward and win!

Logline Service

Screenplays