It's never too late to learn something new and even the experienced writer is continuously improving his/her craft. I've just signed up for a brand new class, The Philosophy of a Great Screenwriter.
THAT'S RIGHT -- A SCREENWRITING SPECIFIC PHILOSOPHY.
At ScreenwritingU, we have walked more than 50 screenwriters through the dealmaking process in the last two years (See some of those deals here) and noticed early on that the writer's philosophy either helped make that deal or killed it.
We're going to explore some of the most important philosophy tips on screenwriting -- perspectives that have caused other screenwriters to break in and become some of the most successful screenwriters in the World.
•Six tips for breaking into the Biz more quickly.
•Three tips that could save you years of amateur mistakes.
•Four tips for causing people to recommend your writing.
•Four tips that empower you through tough situations.
•Three tips that help you build a solid career NOW.
Any one of these could dramatically increase your chance of success.
For more information, go to http://www.screenwritingu.com/philosophy/landing.html
Write right and write on!
Tuesday, January 25, 2011
Monday, January 24, 2011
Question of the week 1/24: Does your script have enough white space?
Question of the week: Does your script have enough white space?
White space is the screenwriter's ally.
How does the use of white space help you? First, breaking your action and description into smaller sections makes the script seems as if it reads quickly, giving the reader the effect that your story also moves quickly. A story that moves quickly is more likely to hold a reader's attention.
Smaller sections of action draw the reader's eye down the page. Screenwriters should make their best effort to limit sections of action and description to a maximum of five or six lines. Several consecutive smaller sections of action will appeal to a reader more than one large paragraph of action.
Write right and write on!
White space is the screenwriter's ally.
How does the use of white space help you? First, breaking your action and description into smaller sections makes the script seems as if it reads quickly, giving the reader the effect that your story also moves quickly. A story that moves quickly is more likely to hold a reader's attention.
Smaller sections of action draw the reader's eye down the page. Screenwriters should make their best effort to limit sections of action and description to a maximum of five or six lines. Several consecutive smaller sections of action will appeal to a reader more than one large paragraph of action.
Write right and write on!
Monday, January 17, 2011
Question of the week 1/17: Ask yourself: "What one thing I’ve been thinking about doing for a while, that I keep putting off because I’m afraid?"
Question of the week 1/17: Ask yourself: "What one thing I’ve been thinking about doing for a while, that I keep putting off because I’m afraid?"
What risk do you need to take to take your screenplay to the next level? You might want to:
• Ask someone for a referral.
• Ask someone to be a mentor.
• Set up a meeting with a potential mentor to get advice about taking your screenwriting career to the next level.
• Target a contest to enter.
• Query a producer, agent or manager.
• Set a date for a workshop you want to attend.
• Share a creative dream with others (supportive people only!).
• Start the new script you've been meaning to write.
• Finish a screenplay you have let collect dust.
Yes, you may face rejection, but what's the alternative? It's a mediocre life that comes from playing it safe.
Use this blog as a catalyst for taking action. Face your fear head on and take the risk!
Write right and write on!
What risk do you need to take to take your screenplay to the next level? You might want to:
• Ask someone for a referral.
• Ask someone to be a mentor.
• Set up a meeting with a potential mentor to get advice about taking your screenwriting career to the next level.
• Target a contest to enter.
• Query a producer, agent or manager.
• Set a date for a workshop you want to attend.
• Share a creative dream with others (supportive people only!).
• Start the new script you've been meaning to write.
• Finish a screenplay you have let collect dust.
Yes, you may face rejection, but what's the alternative? It's a mediocre life that comes from playing it safe.
Use this blog as a catalyst for taking action. Face your fear head on and take the risk!
Write right and write on!
Wednesday, January 12, 2011
What to Do With Your Spec Script in a Catch-22 Situation
Found this on Rachel Miller’s blog. Rachel Miller is a Manager at Tom Sawyer Ent.
Wow, there always seem to be some "new" catch when trying to get your script sold.
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What to Do With Your Spec Script in a Catch-22 Situation
From Rachel Miller’s blog
Rachel Miller is a Manager at Tom Sawyer Ent.
There is some good news in the Hollywood world. Studios are buying specs again — not a lot — but still it is better than nothing.
However, if you read what is selling you know that almost everything has an attachment before a studio buys it — either a big producer, director or actor.
I was discussing this with an executive who at least admitted that, yes, pre-attaching an element that every studio approves is nearly impossible. Especially since there are maybe five people every studio will agree to. So this is definitely a Catch-22 situation.
But the exec did have some good advice: If you can attach an element that’s sexy, sometimes that’s enough — the element doesn’t actually have to star or direct in the film — they can just be attached in some producorial capacity.
For example, if it is a producer/actor or a producer/director, if the person is a big-enough name, that is enough to get the studio interested. Or, if you can say that a big-enough name has expressed interest, that also can work as well.
In other words, try to think of some creative ways around your catch 22 to get where you need to go. After all, if you don’t find a way around your catch 22, your spec script may never be bought.
###########################################################################
Summary, when they close doors, look for a window!
Write right and write on!
Wow, there always seem to be some "new" catch when trying to get your script sold.
######################################################################
What to Do With Your Spec Script in a Catch-22 Situation
From Rachel Miller’s blog
Rachel Miller is a Manager at Tom Sawyer Ent.
There is some good news in the Hollywood world. Studios are buying specs again — not a lot — but still it is better than nothing.
However, if you read what is selling you know that almost everything has an attachment before a studio buys it — either a big producer, director or actor.
I was discussing this with an executive who at least admitted that, yes, pre-attaching an element that every studio approves is nearly impossible. Especially since there are maybe five people every studio will agree to. So this is definitely a Catch-22 situation.
But the exec did have some good advice: If you can attach an element that’s sexy, sometimes that’s enough — the element doesn’t actually have to star or direct in the film — they can just be attached in some producorial capacity.
For example, if it is a producer/actor or a producer/director, if the person is a big-enough name, that is enough to get the studio interested. Or, if you can say that a big-enough name has expressed interest, that also can work as well.
In other words, try to think of some creative ways around your catch 22 to get where you need to go. After all, if you don’t find a way around your catch 22, your spec script may never be bought.
###########################################################################
Summary, when they close doors, look for a window!
Write right and write on!
Tuesday, January 11, 2011
#1 Mistake Writers Make When Entering Screenplay Competitions
#1 Mistake Writers Make When Entering Screenplay Competitions
Most people think the #1 mistake writers make when entering screenplay competitions is poor writing. I think that is closer to #2. The #1 mistake is submitting a script that is not marketable which also means interesting. In the movie industry it’s CONCEPT, CONCEPT, CONCEPT. A great concept will beat out a better written low concept script in most cases. The thing is that all scripts are rewritten at some point so the concept has to be great before you even get to that point.
The main reason people enter contests is to get noticed. The production companies who request to read the contest winners are looking for marketable material first, good writing second. What attracts them to want to read your concept is an interesting title and logline of the concept. They won’t know if it’s written well until after they have requested to read it. If you don’t have a great title and great logline hence great concept, they probably will never find out how great a writer you are. In contests, if your writing is great but the concept is not marketable, you may final but you probably won’t win. Even to garner the attention of an agent you need a marketable concept. For the Nicholls Fellowship competition, you definitely need both. Many dramas do win but I guarantee these aren’t your average dramas, there’s something definitely special about them. Just look at the winners that have been made into movies over the years.
In order to create a win-win situation, write a very good marketable script that you are passionate about! Save the low concept passion projects for after you have an established career and have made a name for yourself. When you get to that point, you can basically write what you want.
These are just my opinions so take what you can use and disregard what you can't. This works for me and I must be doing something right if I've sold my work, been optioned and have won a screenplay competition and had 3 other entries make it to the finals. The thing is to not beat yourself up if you don't think your idea is high concept or totally marketable. This comes with practice. If you need help, let me know. I'm very good at brainstorming ideas. In the meantime, write the most interesting, well written screenplay you can. Plus, the industry is very subjective! No one knows what they want until they see it.
Good luck.
For more information regarding how to make your concept great, check out my book, "The #1 Secret to Sell Your Screenplay to Hollywood" on amazon.com or BN.com.
Write right and write on!
Most people think the #1 mistake writers make when entering screenplay competitions is poor writing. I think that is closer to #2. The #1 mistake is submitting a script that is not marketable which also means interesting. In the movie industry it’s CONCEPT, CONCEPT, CONCEPT. A great concept will beat out a better written low concept script in most cases. The thing is that all scripts are rewritten at some point so the concept has to be great before you even get to that point.
The main reason people enter contests is to get noticed. The production companies who request to read the contest winners are looking for marketable material first, good writing second. What attracts them to want to read your concept is an interesting title and logline of the concept. They won’t know if it’s written well until after they have requested to read it. If you don’t have a great title and great logline hence great concept, they probably will never find out how great a writer you are. In contests, if your writing is great but the concept is not marketable, you may final but you probably won’t win. Even to garner the attention of an agent you need a marketable concept. For the Nicholls Fellowship competition, you definitely need both. Many dramas do win but I guarantee these aren’t your average dramas, there’s something definitely special about them. Just look at the winners that have been made into movies over the years.
In order to create a win-win situation, write a very good marketable script that you are passionate about! Save the low concept passion projects for after you have an established career and have made a name for yourself. When you get to that point, you can basically write what you want.
These are just my opinions so take what you can use and disregard what you can't. This works for me and I must be doing something right if I've sold my work, been optioned and have won a screenplay competition and had 3 other entries make it to the finals. The thing is to not beat yourself up if you don't think your idea is high concept or totally marketable. This comes with practice. If you need help, let me know. I'm very good at brainstorming ideas. In the meantime, write the most interesting, well written screenplay you can. Plus, the industry is very subjective! No one knows what they want until they see it.
Good luck.
For more information regarding how to make your concept great, check out my book, "The #1 Secret to Sell Your Screenplay to Hollywood" on amazon.com or BN.com.
Write right and write on!
Monday, January 10, 2011
Question of the week 1/10: Have you dust off your dreams today?
Question of the week: Have you dust off your dreams today?
There are no deadlines for dreams. Miracles happen every day and usually when you least expect it. Think of the homeless guy, Ted Williams. If you haven't heard his story, google him. He's been all over the news lately.
If you haven't thought about the possibility of your dreams coming true in a while, now is the time to dust off those dreams and take action. Even, Ted the homeless guy, took a small step and look at what happened. If it happened for him, it can happen for you.
Keep living and keep dreaming.
There are no deadlines for dreams. Miracles happen every day and usually when you least expect it. Think of the homeless guy, Ted Williams. If you haven't heard his story, google him. He's been all over the news lately.
If you haven't thought about the possibility of your dreams coming true in a while, now is the time to dust off those dreams and take action. Even, Ted the homeless guy, took a small step and look at what happened. If it happened for him, it can happen for you.
Keep living and keep dreaming.
Friday, January 07, 2011
Question of the week 1/3: Have you set your writing goals for 2011?
Question of the Week for January 3rd:
Have you set your writing goals for 2011?
Write or type them down to make them real and make them happen. Set calendar reminders so that you stay on track. This goes for everything you want to get accomplished, not just those things related to writing. If you do that, you'd be amazed how much you will get accomplished and you will use your time more wisely.
Write right and write on!
Have you set your writing goals for 2011?
Write or type them down to make them real and make them happen. Set calendar reminders so that you stay on track. This goes for everything you want to get accomplished, not just those things related to writing. If you do that, you'd be amazed how much you will get accomplished and you will use your time more wisely.
Write right and write on!
Question of the Month: Can Your Spec Screenplay Be a Television Series?
Question of the Month for January: Can Your Spec Screenplay Be a Television Series?
Have you written a script that could possibly be a television series? Follow steps 1 – 4 noted in the blog post, “5 Quick & Dirty Steps to Write a Bible 5 Quick and Dirty Steps to Write a Bible for a New Television Program in 4 days” to see. Some past and present televisions shows first débuted as television movies and were later picked up as series. For example, the show Eureka was actually planned as a TV movie on the Sci Fi Channel but after seeing the movie, executives turned the story into a series. Like wise, Babylon 5 began with the pilot film The Gathering. This would go to explain too why some feature films end the way they do without any real conclusive ending. Haven’t you seen a movie and just knew the writer ended it that way either for a potential sequel to be developed, for franchise opportunities or a television series. (More about turning your spec screenplay into a franchise opportunity in an upcoming blog post).
Bear in mind also that episodes can also serve as backdoor pilots to different, spin-off shows, each of which can lead to a spin-off of its own. Think Cheers, which lead to Frasier, The Cosby Show which lead to A Different World, Grey’s Anatomy lead to Private Practice and CSI which lead to other CSI’s and became a major franchise at the same time.
At any rate, a smart writer is always thinking about future possibilities and the next step. If you can leverage material you have already written, even better. It’s especially nice to put the hard work in once but reap many rewards from it.
Write right and write on!
About the Author: Natasha E. Williams has optioned and sold her projects to major Hollywood Producers and has won screenplay contests. She was featured in the book, "Crashing Hollywood", and on the development team for two, Chicken Soup for the Soul® books. She is also the 2010 winner in the Scriptapalooza TV contest in the Reality Show Category and a finalist for two other Reality Show concepts. She is also the author of, “The #1 Secret to Sell Your Screenplay to Hollywood: Without an agent, even when you don’t live in LA.” For more information, visit her website at http://www.NatashaFX.comand www.thescriptwall.com.
Have you written a script that could possibly be a television series? Follow steps 1 – 4 noted in the blog post, “5 Quick & Dirty Steps to Write a Bible 5 Quick and Dirty Steps to Write a Bible for a New Television Program in 4 days” to see. Some past and present televisions shows first débuted as television movies and were later picked up as series. For example, the show Eureka was actually planned as a TV movie on the Sci Fi Channel but after seeing the movie, executives turned the story into a series. Like wise, Babylon 5 began with the pilot film The Gathering. This would go to explain too why some feature films end the way they do without any real conclusive ending. Haven’t you seen a movie and just knew the writer ended it that way either for a potential sequel to be developed, for franchise opportunities or a television series. (More about turning your spec screenplay into a franchise opportunity in an upcoming blog post).
Bear in mind also that episodes can also serve as backdoor pilots to different, spin-off shows, each of which can lead to a spin-off of its own. Think Cheers, which lead to Frasier, The Cosby Show which lead to A Different World, Grey’s Anatomy lead to Private Practice and CSI which lead to other CSI’s and became a major franchise at the same time.
At any rate, a smart writer is always thinking about future possibilities and the next step. If you can leverage material you have already written, even better. It’s especially nice to put the hard work in once but reap many rewards from it.
Write right and write on!
About the Author: Natasha E. Williams has optioned and sold her projects to major Hollywood Producers and has won screenplay contests. She was featured in the book, "Crashing Hollywood", and on the development team for two, Chicken Soup for the Soul® books. She is also the 2010 winner in the Scriptapalooza TV contest in the Reality Show Category and a finalist for two other Reality Show concepts. She is also the author of, “The #1 Secret to Sell Your Screenplay to Hollywood: Without an agent, even when you don’t live in LA.” For more information, visit her website at http://www.NatashaFX.comand www.thescriptwall.com.
New series of blog posts in 2011
I'm going to start a new series of blog posts called Question of the Month to help keep you educated, motivated, encouraged and hopefully inspired to not only keep writing but to finish what you write! A selling writer is a writer who finishes what he/she starts and take action to get it sold. If you don't finish it, you can't sell it and if you don't put action behind it after you finish it, you still won't sell it. 2011 is going to be a busy year for me, lots of projects lined up already and it's only 7 days into the new year! So I'll do my best to honestly post a new tid bit every month and maybe even a Question of the Week if I have time. Setting recurring remembers now! The Question of the Month will be more indepth than the Question of the Week which may only be a simple question and not much additional information. It's meant to get you thinking. I'm not committing to a question of the week but we'll see how it goes. This also helps me to keep the blog updated regularly which is a goal I have for 2011 and to stay on track I've set recurring reminders in my iphone! Look for the Question of the Month the 1st of every month and the Question of the Week, the Monday of each week.
Question of the Week: Have you set your writing goals for 2011?
Write or type them down to make them real and make them happen. Set calendar reminders so that you stay on track. This goes for everything you want to get accomplished, not just those things related to writing. If you do that, you'd be amazed how much you will get accomplished and you will use your time more wisely.
Please subscribe to this blog if you haven't already so that you can get the updates when new posts are published. If you have already subscribed, thank you very much!
Write right and write on!
(my new slogan for 2011)
Question of the Week: Have you set your writing goals for 2011?
Write or type them down to make them real and make them happen. Set calendar reminders so that you stay on track. This goes for everything you want to get accomplished, not just those things related to writing. If you do that, you'd be amazed how much you will get accomplished and you will use your time more wisely.
Please subscribe to this blog if you haven't already so that you can get the updates when new posts are published. If you have already subscribed, thank you very much!
Write right and write on!
(my new slogan for 2011)
5 Quick and Dirty Steps to Write a Bible for a New Television Program in 4 days!
5 Quick and Dirty Steps to Write a Bible for a New Television Program in 4 days
By Natasha E. Williams
What is a Television Series Bible? A series bible is essentially an overview of the proposed series. It should cover the main characters that are followed weekly, thematic issues, story and character arcs and setting. It provides the development executive with important information and gives him/her an idea of the cohesiveness of the series over a long period of time. Basically, it provides insight as to whether or not the show has legs and sustainability. If it doesn’t, it’ll probably be better off as a Television movie or Feature Film.
These steps can also be used as a brainstorming technique to develop a television series before you write the bible.
Here are the steps:
Pre-step
To have better success, ensure you have an interesting and unique concept that we haven’t seen before or that has some special twist that makes it interesting since there really are no new ideas under the sun, just your fresh and creative take on old concepts.
Remember to be creative, leave out boring details, make it interesting and have fun.
Day One
1. Think of a compelling title.
2. Write the concept of your series in two paragraphs. Make it as interesting and entertaining as possible. Leave off unimportant details. This helps you to think of the core elements of your idea and get right to the point and heart of it.
Day Two
3. Describe the story world where your series takes place.
4. Write short, descriptive bios of your continuing characters. Include who they are, what they want and define their relationships with the other characters.
Day Three
5. Create at least six sample episodic stories that will be told in the series. Include the challenges that the characters will face each week. Put only a few sentences in a paragraph. Be sure to include beginnings, middles and ends for each episode. Tip: The conflict or tension should be apparent because that’s what makes the story interesting. Note: If you have trouble coming up with at least six great ideas for future episodes, your show idea is probably better off being a television movie or feature film.
Day Four
Post-step
Reread what you wrote. Remember to do the spelling and grammar checks. Use action verbs. Make sure everything is in the present tense. Last but not least, make sure it’s interesting and unique...something we haven’t seen before.
If you follow these steps, you'll have a draft bible in as little as 4 days! If you get stuck on any step, write what you can think of at the time and then go back to it later. Don't let one bottleneck stop or slow down the process. You may spend another week or two perfecting what you've come up with. It's always good to take a couple of days off and come back to it because you may get fresh insight or see mistakes you made along the way. Take your time to get it right because you'll only have one chance to make a first impression.
Once you have a decent and interesting bible, you can move on to writing the pilot episode.
Quick notes regarding the Television Pilot
A "television pilot", also known as a pilot episode and series premiere, is the first episode of a television series. At the time of its inception, the pilot is meant to be the "testing ground" to see if a series will be possibly desired and successful and therefore a test episode of an intended television series. It is an early step in the development of a television series. Networks use pilots to discover whether an entertaining concept can be successfully realized. After seeing this sample of the proposed product, networks will then determine whether the expense of additional episodes is justified. They are best thought of as prototypes of the show that is to follow, because elements often change from pilot to series. Variety estimates that only a little over a quarter of all pilots made for American television succeed to the series stage. Don’t let that discourage you. Even if your pilot episode does not spark interest in a television series development, you still can make it a spec screenplay
Speaking of spec screenplays, have you written a script that could possibly be a television series? Follow steps 1 – 4 noted in “5 Quick & Dirty Steps to Write a Bible to see. Some past and present televisions shows first débuted as television movies and were later picked up as series. For example, the show Eureka was actually planned as a TV movie on the Sci Fi Channel but after seeing the movie, executives turned the story into a series. Like wise, Babylon 5 began with the pilot film The Gathering. This would go to explain too why some feature films end the way they do without any real conclusive ending. Haven’t you seen a movie and just knew the writer ended it that way either for a potential sequel to be developed, for franchise opportunities or a television series. (More about turning your spec screenplay into a franchise opportunity in an upcoming blog post). Bear in mind also that episodes can also serve as backdoor pilots to different, spin-off shows, each of which can lead to a spin-off of its own. Think Cheers, which lead to Frasier, The Cosby Show which lead to A Different World, Grey’s Anatomy lead to Private Practice and CSI which lead to other CSI’s and became a major franchise at the same time.
At any rate, a smart writer is always thinking about future possibilities and the next step. If you can leverage material you have already written, even better. It’s especially nice to put the hard work in once but reap many rewards from it.
Write right and write on!
By Natasha E. Williams
What is a Television Series Bible? A series bible is essentially an overview of the proposed series. It should cover the main characters that are followed weekly, thematic issues, story and character arcs and setting. It provides the development executive with important information and gives him/her an idea of the cohesiveness of the series over a long period of time. Basically, it provides insight as to whether or not the show has legs and sustainability. If it doesn’t, it’ll probably be better off as a Television movie or Feature Film.
These steps can also be used as a brainstorming technique to develop a television series before you write the bible.
Here are the steps:
Pre-step
To have better success, ensure you have an interesting and unique concept that we haven’t seen before or that has some special twist that makes it interesting since there really are no new ideas under the sun, just your fresh and creative take on old concepts.
Remember to be creative, leave out boring details, make it interesting and have fun.
Day One
1. Think of a compelling title.
2. Write the concept of your series in two paragraphs. Make it as interesting and entertaining as possible. Leave off unimportant details. This helps you to think of the core elements of your idea and get right to the point and heart of it.
Day Two
3. Describe the story world where your series takes place.
4. Write short, descriptive bios of your continuing characters. Include who they are, what they want and define their relationships with the other characters.
Day Three
5. Create at least six sample episodic stories that will be told in the series. Include the challenges that the characters will face each week. Put only a few sentences in a paragraph. Be sure to include beginnings, middles and ends for each episode. Tip: The conflict or tension should be apparent because that’s what makes the story interesting. Note: If you have trouble coming up with at least six great ideas for future episodes, your show idea is probably better off being a television movie or feature film.
Day Four
Post-step
Reread what you wrote. Remember to do the spelling and grammar checks. Use action verbs. Make sure everything is in the present tense. Last but not least, make sure it’s interesting and unique...something we haven’t seen before.
If you follow these steps, you'll have a draft bible in as little as 4 days! If you get stuck on any step, write what you can think of at the time and then go back to it later. Don't let one bottleneck stop or slow down the process. You may spend another week or two perfecting what you've come up with. It's always good to take a couple of days off and come back to it because you may get fresh insight or see mistakes you made along the way. Take your time to get it right because you'll only have one chance to make a first impression.
Once you have a decent and interesting bible, you can move on to writing the pilot episode.
Quick notes regarding the Television Pilot
A "television pilot", also known as a pilot episode and series premiere, is the first episode of a television series. At the time of its inception, the pilot is meant to be the "testing ground" to see if a series will be possibly desired and successful and therefore a test episode of an intended television series. It is an early step in the development of a television series. Networks use pilots to discover whether an entertaining concept can be successfully realized. After seeing this sample of the proposed product, networks will then determine whether the expense of additional episodes is justified. They are best thought of as prototypes of the show that is to follow, because elements often change from pilot to series. Variety estimates that only a little over a quarter of all pilots made for American television succeed to the series stage. Don’t let that discourage you. Even if your pilot episode does not spark interest in a television series development, you still can make it a spec screenplay
Speaking of spec screenplays, have you written a script that could possibly be a television series? Follow steps 1 – 4 noted in “5 Quick & Dirty Steps to Write a Bible to see. Some past and present televisions shows first débuted as television movies and were later picked up as series. For example, the show Eureka was actually planned as a TV movie on the Sci Fi Channel but after seeing the movie, executives turned the story into a series. Like wise, Babylon 5 began with the pilot film The Gathering. This would go to explain too why some feature films end the way they do without any real conclusive ending. Haven’t you seen a movie and just knew the writer ended it that way either for a potential sequel to be developed, for franchise opportunities or a television series. (More about turning your spec screenplay into a franchise opportunity in an upcoming blog post). Bear in mind also that episodes can also serve as backdoor pilots to different, spin-off shows, each of which can lead to a spin-off of its own. Think Cheers, which lead to Frasier, The Cosby Show which lead to A Different World, Grey’s Anatomy lead to Private Practice and CSI which lead to other CSI’s and became a major franchise at the same time.
At any rate, a smart writer is always thinking about future possibilities and the next step. If you can leverage material you have already written, even better. It’s especially nice to put the hard work in once but reap many rewards from it.
Write right and write on!
About the Author: Natasha E. Williams has optioned and sold her projects to major Hollywood Producers and has won screenplay contests. She was featured in the book, "Crashing Hollywood", and on the development team for two, Chicken Soup for the Soul® books. She is also the 2010 winner in the Scriptapalooza TV contest in the Reality Show Category and a finalist for two other Reality Show concepts. She is also the author of, The #1 Secret to Sell Your Screenplay to Hollywood
Tuesday, January 04, 2011
Trying to sell a Television Series?
TRYING TO SELL A TV SERIES?
Look what I found on The Pitch Bible Blog! Thought it would be helpful to Millon Dollar Screenwriters in the making...if television is a goal for you.
What are they looking for? As in Development Exec's.
Know that a pitch bible and a writer's bible are two different beasts. The latter is a much broader document created after a show's picked up, the former is designed to give a brief but clear overview of what you want to do with your cartoon.
Everyone looks for something different in a pitch bible. I like to see a very brief overview, a few character descriptions, a bit about the world in which the characters live, and a handful of storylines. Make sure your storylines are brief but that they contain a beginning, middle, and end (i.e. no "Ben and Jerry get jobs at a car wash and hilarity ensues" or "Lucy has to cook dinner for Ricky's new boss - will she be able to pull it off?"). Three or four sentences should be enough.
Be as brief as possible overall. A total of twelve to fifteen pages should suffice. A paragraph or two, using the right language, should be more than enough to give an exec the information they need to decide if they want to see more of that character. Put yourself in the exec's position - what would you like to see? Remember, most development executives see an awful lot of bibles, many drastically similar. Be short, sweet, and distinctive.
Include a mix of artwork. Not everything should be finished or finalized, although I always like to see one piece of art showcasing how the creator envisions how the show will ultimately look. However, remember every project goes through a lot of development and will look different than what you initially present. One more note: I, personally, dislike character art in which your characters are more or less standing there, as in the standard model sheet pose. I see it all too often, when I'd rather see the characters doing something that reflects their personality.
Keep in mind the purpose of a pitch bible is to get a network interested in seeing more, kind of like a movie trailer. It's a first impression and should grab attention.
Good luck and happy creating!
Look what I found on The Pitch Bible Blog! Thought it would be helpful to Millon Dollar Screenwriters in the making...if television is a goal for you.
What are they looking for? As in Development Exec's.
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This is from Eric Homan - V.P. Developement at Frederator Studios from the Channel Frederator site: http://raw.channelfrederator.com This is what they want to see...Know that a pitch bible and a writer's bible are two different beasts. The latter is a much broader document created after a show's picked up, the former is designed to give a brief but clear overview of what you want to do with your cartoon.
Everyone looks for something different in a pitch bible. I like to see a very brief overview, a few character descriptions, a bit about the world in which the characters live, and a handful of storylines. Make sure your storylines are brief but that they contain a beginning, middle, and end (i.e. no "Ben and Jerry get jobs at a car wash and hilarity ensues" or "Lucy has to cook dinner for Ricky's new boss - will she be able to pull it off?"). Three or four sentences should be enough.
Be as brief as possible overall. A total of twelve to fifteen pages should suffice. A paragraph or two, using the right language, should be more than enough to give an exec the information they need to decide if they want to see more of that character. Put yourself in the exec's position - what would you like to see? Remember, most development executives see an awful lot of bibles, many drastically similar. Be short, sweet, and distinctive.
Include a mix of artwork. Not everything should be finished or finalized, although I always like to see one piece of art showcasing how the creator envisions how the show will ultimately look. However, remember every project goes through a lot of development and will look different than what you initially present. One more note: I, personally, dislike character art in which your characters are more or less standing there, as in the standard model sheet pose. I see it all too often, when I'd rather see the characters doing something that reflects their personality.
Keep in mind the purpose of a pitch bible is to get a network interested in seeing more, kind of like a movie trailer. It's a first impression and should grab attention.
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Good luck and happy creating!
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