Saturday, December 25, 2010
Friday, December 10, 2010
Screenwriting Tips
I found these tips in one of my archives. I think these are from when I took Steve's pitch class many years ago. Still relevant today. The only thing that I would disagree with is #9. Never say never. Giving a free option for a short period of time for the right project could work in your benefit. Now I would agree, do not always give a free option but doing it once in your career for 6 months when you are just starting out isn't going to break the bank but it could break your career...as in be a foot in the door with the right producer for the right story. So consider all options especially when you are just starting out. Also, don't automatically agree to a free option, try to get some money. People work harder if they put down some cash even if it's $500. Plus, sometimes people will have a small amount of funds but will try to get it for free first. So always consider all options even if you will eventually say no. If they are truly interested, they may be able to scrap up something just to get the ball rolling.
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Screenwriting Tips
Steve Kaire, Pitchmaster
1. Dramas are difficult to sell because they don't pitch well.
2. Treatments should be 10-20 pages in length, double spaced, and have no dialogue.
3. To make your story original, your logline needs a hook which is a detail that makes your premise unique.
4. The order of pitching is: Title, genre, then your logline.
5. Pitch what your story is about, not what happens in the story.
6. By the end of your script, one of your characters should change, also known as the character arc.
7. The best time to call and reach a producer is 5-8 PM when the secretary has gone home.
8. High Concept scripts sell for more money than non-High Concept scripts and are easier to pitch.
9.Never give a free option on your material. Accept at least a few thousand dollars as a show of good faith.
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Screenwriting Tips
Steve Kaire, Pitchmaster
1. Dramas are difficult to sell because they don't pitch well.
2. Treatments should be 10-20 pages in length, double spaced, and have no dialogue.
3. To make your story original, your logline needs a hook which is a detail that makes your premise unique.
4. The order of pitching is: Title, genre, then your logline.
5. Pitch what your story is about, not what happens in the story.
6. By the end of your script, one of your characters should change, also known as the character arc.
7. The best time to call and reach a producer is 5-8 PM when the secretary has gone home.
8. High Concept scripts sell for more money than non-High Concept scripts and are easier to pitch.
9.Never give a free option on your material. Accept at least a few thousand dollars as a show of good faith.
Thursday, December 02, 2010
How to Start a Screenplay
I found this article in my archives. Sometimes it's difficult having a great start to a wonderful idea but this advice comes in handy every time I start a new project. It works for every genre whether for television or feature film.
FIVE WAYS TO START A SCRIPT
By Nicholas Turner
The best scripts feel both original and familiar at the same time—no easy feat. Even more challenging: being able to capture that tone within the first few pages. Your script only gets one first impression, and if it doesn’t hook a reader immediately, its next stop may be the landfill.
That doesn’t mean the beginning needs explosions and car chases—or that it even has to be particularly fast-paced. What it should do is introduce a bit of mystery. Your readers should have a thread of suspense pulling them from page to page. What’s going on here? Who are these people? Why does one of them keeping sharpening his bowie knife?
Unsure how to start? Here are five classic beginnings you may want to try. A tried-and-true formula gives you structure and helps ground your reader in something familiar. The challenge is to give your opening a twist, making it your own.
1. The how-did-we-get-here opening. With this beginning, you plunge right into the action—showing your character in an intriguing predicament. Maybe your hero is by the gallows, getting a hood placed over his head. Maybe she’s dragging a trash bag full of twenties past a policeman—and the bag slowly starts to split open. In any case, as soon as you’ve hooked your audience, you flash back to the beginning of the story. If you’ve done your job right, they’ll be itching to find out how it all happened. The ultimate version of this opening may be Memento (2000), which is told backwards.
2. The who-are-these-people opening. Mysteries don’t have to be about murder and cover-ups. Just put two characters together and have them start a conversation. Don’t tell us that they’re man and wife, or boss and secretary, or hit man and victim. Let the facts leak out gradually, through natural dialogue. The audience’s desire to figure out the relationship between characters can hold their attention. This approach often works best for stage plays (Harold Pinter is a master of the technique), where there are few clues other than dialogue.
3. The big-bang opening. There’s nothing wrong with an explosion or two. If you’re writing an action-adventure script, it’s wise to start off with a tightly paced set piece. In addition to grabbing the audience, it can help establish your character. In Speed (1994), an elevator sequence teaches us that Keanu Reeves’ Jack Traven is a quick-thinking cop on the bomb squad. In the Peruvian-temple scenes from Raiders of the Lost Ark (1981), we see Indiana Jones’ bullwhip-cracking prowess, as well as his respect for ancient artifacts. After the set piece, you should step back and slow down—showing your character in a less frenzied environment (Indiana Jones teaching college kids, for instance). Remember that your climax will have to be even more exciting than your opener, so don’t pump up the action to the max. Where will you go from there?
4. The waking-up opening. This beginning is fraught with cliché dangers, so be careful. How many movies have you seen where an alarm clock goes off and a weary hero flails around in an effort to shut it off? It’s a shopworn scene. However, there’s something to be said for showing your protagonist starting out a typical day. It helps your audience identify with the character and also establishes who this person is—before the events of your script irrevocably change his life. To see a twist on this idea, check out Half Nelson (2006). Ryan Gosling’s character is in his living room, strung-out and wide-awake, when his alarm clock goes off in his bedroom. Like all good beginnings, this reveals something about the character: You know immediately that this guy is messed up.
5. The origin opening. If you want to add a little heft to a character trait, consider this opener. Say your protagonist is deathly afraid of bees, you may want to show her as a kid, when she bumps her head on a buzzing hive. Or maybe you’re giving the origin of a superhero’s powers, as in Superman (1978). When you cut to adulthood, the audience has a deeper understanding of the character than they’d get through dialogue alone. The risk: Starting off with your main character in childhood can easily be hackneyed and cheesy. And when you show that character as an adult, the audience may not recognize that it’s supposed to be the same person. (You also may want to withhold the origin story until later in the script, to give more mystery.) For an example of this approach done well, see The Orphanage (2007). It shows the protagonist Laura as a kid, enjoying games at the orphanage. You then can understand why she would return to the same rundown place later in life, eager to restore the idyll she remembers. Again, the best openings spotlight the hero’s character.
FIVE WAYS TO START A SCRIPT
By Nicholas Turner
The best scripts feel both original and familiar at the same time—no easy feat. Even more challenging: being able to capture that tone within the first few pages. Your script only gets one first impression, and if it doesn’t hook a reader immediately, its next stop may be the landfill.
That doesn’t mean the beginning needs explosions and car chases—or that it even has to be particularly fast-paced. What it should do is introduce a bit of mystery. Your readers should have a thread of suspense pulling them from page to page. What’s going on here? Who are these people? Why does one of them keeping sharpening his bowie knife?
Unsure how to start? Here are five classic beginnings you may want to try. A tried-and-true formula gives you structure and helps ground your reader in something familiar. The challenge is to give your opening a twist, making it your own.
1. The how-did-we-get-here opening. With this beginning, you plunge right into the action—showing your character in an intriguing predicament. Maybe your hero is by the gallows, getting a hood placed over his head. Maybe she’s dragging a trash bag full of twenties past a policeman—and the bag slowly starts to split open. In any case, as soon as you’ve hooked your audience, you flash back to the beginning of the story. If you’ve done your job right, they’ll be itching to find out how it all happened. The ultimate version of this opening may be Memento (2000), which is told backwards.
2. The who-are-these-people opening. Mysteries don’t have to be about murder and cover-ups. Just put two characters together and have them start a conversation. Don’t tell us that they’re man and wife, or boss and secretary, or hit man and victim. Let the facts leak out gradually, through natural dialogue. The audience’s desire to figure out the relationship between characters can hold their attention. This approach often works best for stage plays (Harold Pinter is a master of the technique), where there are few clues other than dialogue.
3. The big-bang opening. There’s nothing wrong with an explosion or two. If you’re writing an action-adventure script, it’s wise to start off with a tightly paced set piece. In addition to grabbing the audience, it can help establish your character. In Speed (1994), an elevator sequence teaches us that Keanu Reeves’ Jack Traven is a quick-thinking cop on the bomb squad. In the Peruvian-temple scenes from Raiders of the Lost Ark (1981), we see Indiana Jones’ bullwhip-cracking prowess, as well as his respect for ancient artifacts. After the set piece, you should step back and slow down—showing your character in a less frenzied environment (Indiana Jones teaching college kids, for instance). Remember that your climax will have to be even more exciting than your opener, so don’t pump up the action to the max. Where will you go from there?
4. The waking-up opening. This beginning is fraught with cliché dangers, so be careful. How many movies have you seen where an alarm clock goes off and a weary hero flails around in an effort to shut it off? It’s a shopworn scene. However, there’s something to be said for showing your protagonist starting out a typical day. It helps your audience identify with the character and also establishes who this person is—before the events of your script irrevocably change his life. To see a twist on this idea, check out Half Nelson (2006). Ryan Gosling’s character is in his living room, strung-out and wide-awake, when his alarm clock goes off in his bedroom. Like all good beginnings, this reveals something about the character: You know immediately that this guy is messed up.
5. The origin opening. If you want to add a little heft to a character trait, consider this opener. Say your protagonist is deathly afraid of bees, you may want to show her as a kid, when she bumps her head on a buzzing hive. Or maybe you’re giving the origin of a superhero’s powers, as in Superman (1978). When you cut to adulthood, the audience has a deeper understanding of the character than they’d get through dialogue alone. The risk: Starting off with your main character in childhood can easily be hackneyed and cheesy. And when you show that character as an adult, the audience may not recognize that it’s supposed to be the same person. (You also may want to withhold the origin story until later in the script, to give more mystery.) For an example of this approach done well, see The Orphanage (2007). It shows the protagonist Laura as a kid, enjoying games at the orphanage. You then can understand why she would return to the same rundown place later in life, eager to restore the idyll she remembers. Again, the best openings spotlight the hero’s character.
Friday, October 29, 2010
Earn a 7 Figure Income by Developing the Secrets of the Millionaire Mind
I found this article strictly by chance if you believe in coincidences. I don't. I believe everything happens for a reason and there are no coincidences. Hopefully, no matter what you are going through, this article will lift your spirits where they have been down and give you a renewed inspiration and motivation for your own dreams. Enjoy!
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Earn a 7 Figure Income by Developing the Secrets of the Millionaire Mind
By Ben Frank Jr.
How would you like to earn a 7 figure income? I know to most people earning millions of dollars a year sounds impossible, yet there are people all over the world who indeed earn vast incomes, many exceeding the 7 figure mark. And contrary to what many people think, most of these individuals actually work less, much less, than the rest of the world who works hard and never gets ahead financially. What is the difference between these individuals who earn thousands of dollars a day working part time (or even not working at all) and those who work all the time and still end up broke? It all comes down to the mindset of the individual. When you develop the secrets of the millionaire mind you will realize that making money can be done in a whole new light, and you will have the necessary tools to take you to any financial goal that you may have.
So just what are the secrets of the millionaire mindset that can take you from financial lack to a earn a 7 figure income? By applying the following principles in your life you will begin doing things in a way that will support your in reaching all of your financial, business, and personal goals.
Grand Thinking-Do you think that the size of your thinking relates to the size of your income? It definitely does. Small thinking and goal setting may seem safe and easy, but the results will be no larger than the goal itself. People who earn millions of dollars had set that goal for themselves. Had they only set their sites on a 6 figure income, that is where they would have ended up. If you want to earn a 7 figure income, you need to think big and set grand goals.
Laughing at Fear-Do you think that it is easy to earn millions? Well, it may not be as difficult as you think, but one thing is for sure; You Must Be Willing to Take Action. When you set a big goal for yourself, sooner or later you will be presented with the opportunity that you need to realize that goal. It may be frightening and intimidating, but don't let that stop you. Millionaires are courageous and act even when they feel fear. They simply feel it and act anyway.
Get Paid on Results-Do you think that millionaires earn an hourly wage? Most likely not. When you decide to earn a 7 figure income, you need to have the ability and potential to earn that kind of money. When you get paid based on the amount of time you work, your chances of getting rich are greatly diminished. Get into business for yourself, work on commissions, or get paid for the results you attain. Only then can your income become unlimited.
Be Persistent-If wealth came easily and quickly, there would be many more rich people that there are. Most everyone wants wealth, but not everyone is persistent enough to stick with their goals long enough to make it happen. If you truly have the desire to earn a 7 figure income, make sure that you are committed fully to the pursuit. Unless you quit you cannot fail.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ben is a young entrepreneur who has several successful businesses under his belt, and enjoys sharing information on a wide range of business, financial, and entrepreneurial topics. Visit Home Business Advantage and the Home Business Blog
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Earn a 7 Figure Income by Developing the Secrets of the Millionaire Mind
By Ben Frank Jr.
How would you like to earn a 7 figure income? I know to most people earning millions of dollars a year sounds impossible, yet there are people all over the world who indeed earn vast incomes, many exceeding the 7 figure mark. And contrary to what many people think, most of these individuals actually work less, much less, than the rest of the world who works hard and never gets ahead financially. What is the difference between these individuals who earn thousands of dollars a day working part time (or even not working at all) and those who work all the time and still end up broke? It all comes down to the mindset of the individual. When you develop the secrets of the millionaire mind you will realize that making money can be done in a whole new light, and you will have the necessary tools to take you to any financial goal that you may have.
So just what are the secrets of the millionaire mindset that can take you from financial lack to a earn a 7 figure income? By applying the following principles in your life you will begin doing things in a way that will support your in reaching all of your financial, business, and personal goals.
Grand Thinking-Do you think that the size of your thinking relates to the size of your income? It definitely does. Small thinking and goal setting may seem safe and easy, but the results will be no larger than the goal itself. People who earn millions of dollars had set that goal for themselves. Had they only set their sites on a 6 figure income, that is where they would have ended up. If you want to earn a 7 figure income, you need to think big and set grand goals.
Laughing at Fear-Do you think that it is easy to earn millions? Well, it may not be as difficult as you think, but one thing is for sure; You Must Be Willing to Take Action. When you set a big goal for yourself, sooner or later you will be presented with the opportunity that you need to realize that goal. It may be frightening and intimidating, but don't let that stop you. Millionaires are courageous and act even when they feel fear. They simply feel it and act anyway.
Get Paid on Results-Do you think that millionaires earn an hourly wage? Most likely not. When you decide to earn a 7 figure income, you need to have the ability and potential to earn that kind of money. When you get paid based on the amount of time you work, your chances of getting rich are greatly diminished. Get into business for yourself, work on commissions, or get paid for the results you attain. Only then can your income become unlimited.
Be Persistent-If wealth came easily and quickly, there would be many more rich people that there are. Most everyone wants wealth, but not everyone is persistent enough to stick with their goals long enough to make it happen. If you truly have the desire to earn a 7 figure income, make sure that you are committed fully to the pursuit. Unless you quit you cannot fail.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ben is a young entrepreneur who has several successful businesses under his belt, and enjoys sharing information on a wide range of business, financial, and entrepreneurial topics. Visit Home Business Advantage and the Home Business Blog
Tuesday, October 19, 2010
Visiting Israel
I'm currently in Israel for work and it's such an amazing place. Last night I saw a camera crew and it reminded me of moviemaking. No matter where you are in the world, someone is making a film. Totally inspiring.
Sunday, October 10, 2010
Script Tip: Write a Screenplay in 8 weeks!
Here are some tips for writing your screenplay in 8 weeks. Note, this is just the first draft to get the movie in your head out on the page. Then the rewriting starts but you have to have something to rewrite, right? Here goes it. Give it a whirl. For more informaton on selling your script, check out my book on Amazon.com or Barnes and Noble.com, The #1 Secret to Sell Your Screenplay to Hollywood.
Week One:
Write your logline and synopsis
Write an outline of the story using paragraph or beat sheet format
Week Two:
Write the inciting incident and first 15 pages.
Week Three:
Write next 15 pages—Finishing Act I.
Your screenplay should be around 30 pages.
Week Four:
Write next 15 pages.
Be sure to include enough conflict to keep the story moving and interesting.
Your screenplay should be around 45 pages.
Week Five:
Write next 15 pages.
Consult the beat sheet regularly to make sure you are staying on track.
Your screenplay should be around 60 pages.
Week Six:
Write the next 15 pages.
You should be finishing Act II.
Your screenplay should be around 75 pages.
Week Seven:
Write the next 15 pages.
Act II should be completed and are approaching Act III.
Your screenplay should be around 90 pages.
Week Eight:
Write the final 15 pages.
Be sure to tie up all loose ends.
Congratulations! You should have approximately 105 – 110 pages. You have finished ACT III and completed your screenplay. Put the script away and celebrate.
Week Nine:
Now that you have the first draft of your screenplay, re-read the screenplay.
Use the Script Tip Rewrite Sheet as a guide. (Found in my book, The #1 Secret to Sell Your Screenplay to Hollywood".)
Week Ten:
Once you have written your script and it’s the best you can get it, give it to someone else to read. You may consider hiring a Script Consultant to provide an unbiased evaluation.
Week Eleven:
While your script is away getting a second opinion, rework the logline and synopsis. Create a dynamic one page for marketing your script to sellers. Identify potential buyers for your screenplay.
Week Twelve:
If you have received your script analysis back, incorporate the ideas to make your script better. Once the revisions have been made, reread the screenplay once more. If needed, you can usually resend the same script back to the script consultant for a new analysis based on the changes and revisions for a discounted fee. If you feel your script is as good as it gets, revised the logline, synopsis and “One Page” with any new information. Write query letters to the potential buyers previously identified. While waiting for them to come back with a read request, start outlining your next movie. Then start the process all over again. Note: If they do not ask to read it, continue to do research to find other potential buyers. Also, do not forget to search for pitch festivals where you can meet buyers face-to-face. Also, consider attending workshops and conferences that provide networking opportunities such as the Screenplay EXPO (usually held in October of every year) and any Sherwood Oaks Experimental College events (various dates throughout the year).
Follow-up Notes:
Remember, giving up is not an option. Winners never quit and quitters never sell. Keep on pressing on until something happens. Those who make it are those who continue to show up.
Good luck.
Here's to making all your endings happy ones.
Week One:
Write your logline and synopsis
Write an outline of the story using paragraph or beat sheet format
Week Two:
Write the inciting incident and first 15 pages.
Week Three:
Write next 15 pages—Finishing Act I.
Your screenplay should be around 30 pages.
Week Four:
Write next 15 pages.
Be sure to include enough conflict to keep the story moving and interesting.
Your screenplay should be around 45 pages.
Week Five:
Write next 15 pages.
Consult the beat sheet regularly to make sure you are staying on track.
Your screenplay should be around 60 pages.
Week Six:
Write the next 15 pages.
You should be finishing Act II.
Your screenplay should be around 75 pages.
Week Seven:
Write the next 15 pages.
Act II should be completed and are approaching Act III.
Your screenplay should be around 90 pages.
Week Eight:
Write the final 15 pages.
Be sure to tie up all loose ends.
Congratulations! You should have approximately 105 – 110 pages. You have finished ACT III and completed your screenplay. Put the script away and celebrate.
Week Nine:
Now that you have the first draft of your screenplay, re-read the screenplay.
Use the Script Tip Rewrite Sheet as a guide. (Found in my book, The #1 Secret to Sell Your Screenplay to Hollywood".)
Week Ten:
Once you have written your script and it’s the best you can get it, give it to someone else to read. You may consider hiring a Script Consultant to provide an unbiased evaluation.
Week Eleven:
While your script is away getting a second opinion, rework the logline and synopsis. Create a dynamic one page for marketing your script to sellers. Identify potential buyers for your screenplay.
Week Twelve:
If you have received your script analysis back, incorporate the ideas to make your script better. Once the revisions have been made, reread the screenplay once more. If needed, you can usually resend the same script back to the script consultant for a new analysis based on the changes and revisions for a discounted fee. If you feel your script is as good as it gets, revised the logline, synopsis and “One Page” with any new information. Write query letters to the potential buyers previously identified. While waiting for them to come back with a read request, start outlining your next movie. Then start the process all over again. Note: If they do not ask to read it, continue to do research to find other potential buyers. Also, do not forget to search for pitch festivals where you can meet buyers face-to-face. Also, consider attending workshops and conferences that provide networking opportunities such as the Screenplay EXPO (usually held in October of every year) and any Sherwood Oaks Experimental College events (various dates throughout the year).
Follow-up Notes:
Remember, giving up is not an option. Winners never quit and quitters never sell. Keep on pressing on until something happens. Those who make it are those who continue to show up.
Good luck.
Here's to making all your endings happy ones.
Tuesday, August 31, 2010
Scriptapalooza TV win
I'm so stoked! My reality show won in Scriptapalooza TV contest and the second one was a finalist and the third one was a quarterfinalist. I think I may be on to something. The promotions have already started. Working to get all 3 sold this year. Although I never imaged writing for TV, I didn't limit myself and I'm glad I didn't.
It's funny but just this Sunday the boyfriend and I were watching the Emmy's and he was like, "Maybe you will win an Emmy before an Oscar." I was like, yeah that would happen since I never really focused on writing for TV but last year I had some ideas and I was like, I'll just see what happens since I've been trying to sell scripts to Hollywood for 10 years and finally last year I had a break through with the sale. I shifted my focus to the TV market and in less than a year I'm seeing progress.
Believe in yourself and never give up on the dream even when you encounter setbacks and it looks like nothing is happening.
http://www.amazon.com/Secret-Sell-Screenplay-Hollywood-ebook/dp/B003YUCBT6/ref=sr_1_3?ie=UTF8&m=AG56TWVU5XWC2&s=digital-text&qid=1283271872&sr=1-3
It's funny but just this Sunday the boyfriend and I were watching the Emmy's and he was like, "Maybe you will win an Emmy before an Oscar." I was like, yeah that would happen since I never really focused on writing for TV but last year I had some ideas and I was like, I'll just see what happens since I've been trying to sell scripts to Hollywood for 10 years and finally last year I had a break through with the sale. I shifted my focus to the TV market and in less than a year I'm seeing progress.
Believe in yourself and never give up on the dream even when you encounter setbacks and it looks like nothing is happening.
http://www.amazon.com/Secret-Sell-Screenplay-Hollywood-ebook/dp/B003YUCBT6/ref=sr_1_3?ie=UTF8&m=AG56TWVU5XWC2&s=digital-text&qid=1283271872&sr=1-3
Monday, August 09, 2010
The #1 Secret to Sell Your Screenplay to Hollywood - now on Amazon kindle
I'm so stoked. Just got word from Amazon that my screenwriting book will be available within 24 hours but I checked and it's there now! I guess the description will show up in 24 hours. Decided to release the book before the app since that's going to take lots more work. At any rate, cheers! Buy my book on amazon Kindle. Buy once, read everywhere. You are able to read your Kindle book on any device. Kindle works on BlackBerry, Android, iPad, iPhone, iPod Touch, PC and Mac.
Wednesday, July 28, 2010
5 Secrets to Success
5 Secrets to Success
1. Know what you don’t want. Flip switch that into a positive statement about what you do want.
2. Set your intentions on what you do want.
3. Get clear. Eliminate any contra thoughts that hinder what you do want.
4. Visualize and feel what it would be like if you had the things you want.
5. Let go of desperation and don’t get caught up in the how it will happen. Focus on your passion and take action.
1. Know what you don’t want. Flip switch that into a positive statement about what you do want.
2. Set your intentions on what you do want.
3. Get clear. Eliminate any contra thoughts that hinder what you do want.
4. Visualize and feel what it would be like if you had the things you want.
5. Let go of desperation and don’t get caught up in the how it will happen. Focus on your passion and take action.
Friday, July 16, 2010
Teleplay format
Teleplay Format
For all practical purposes, teleplays come in three formats. There's one-hour film, half-hour film, and half-hour tape.
The hour film format is used for dramas, action shows, and primetime soaps. It looks a lot like typical screenplay format. Most hour dramas run about 55 pages long but some - those incorporating a lotof fast-paced dialog - can be as long as 75 pages. Scripts in thisformat start with a three page "Teaser," which is followed by four "Acts" and, sometimes, a one page "Tag." Sometimes the teaser is actually part of the first act. And sometimes the tag is actually part of the fourth act. The first act is usually longest, with each succeeding act a little shorter than the one before it. In an actionshow the last act often is just the "chase," or climactic sequence.
The half hour film format is for sitcoms. It too looks like typical screenplay format, except that the scripts run about 40 to 45 pages. These teleplays also usually start with a three page teaser and end with a short tag, but in between those two book ends are only two acts.
The half hour tape format is also for sitcoms. It looks a lot like stageplay format, including double-spaced dialog and uppercase stage directions. Tape format shows run about 45 to 50 pages in length and also have short teasers and tags and two acts. Traditionally, half hour tape format was used for sitcoms that were taped before an audience while half hour film format was used for sitcoms that were filmed on a soundstage, but nowadays just about everything is filmed so it's merely a matter of prodco or network preference.
Well, what're you sitting there for? Now that you've got the format "Start writing!"
LARRY BRODY
If you want to learn more about "Writing for the Medium Everyone Loves to Hate" visit www.tvwriter.com.
For all practical purposes, teleplays come in three formats. There's one-hour film, half-hour film, and half-hour tape.
The hour film format is used for dramas, action shows, and primetime soaps. It looks a lot like typical screenplay format. Most hour dramas run about 55 pages long but some - those incorporating a lotof fast-paced dialog - can be as long as 75 pages. Scripts in thisformat start with a three page "Teaser," which is followed by four "Acts" and, sometimes, a one page "Tag." Sometimes the teaser is actually part of the first act. And sometimes the tag is actually part of the fourth act. The first act is usually longest, with each succeeding act a little shorter than the one before it. In an actionshow the last act often is just the "chase," or climactic sequence.
The half hour film format is for sitcoms. It too looks like typical screenplay format, except that the scripts run about 40 to 45 pages. These teleplays also usually start with a three page teaser and end with a short tag, but in between those two book ends are only two acts.
The half hour tape format is also for sitcoms. It looks a lot like stageplay format, including double-spaced dialog and uppercase stage directions. Tape format shows run about 45 to 50 pages in length and also have short teasers and tags and two acts. Traditionally, half hour tape format was used for sitcoms that were taped before an audience while half hour film format was used for sitcoms that were filmed on a soundstage, but nowadays just about everything is filmed so it's merely a matter of prodco or network preference.
Well, what're you sitting there for? Now that you've got the format "Start writing!"
LARRY BRODY
If you want to learn more about "Writing for the Medium Everyone Loves to Hate" visit www.tvwriter.com.
Thursday, July 15, 2010
From Screenwriter to App Developer?
I got a little bored with the current screenplay that I was working on and decided to venture off into another creative direction. I created my own iphone app! It was a lot of work but I totally got consumed in the creative process and it really sparked my creative juices. The app was released in the app store this week. Check it out if you get a chance. I had so much fun designing, writing and creating this app that I've decided to create one for screenwriters so I'm putting my future screenplays on hold for the summer to work on the next app. Estimated release date is September 1st. Stay tuned.
Switchword Magic app store link:
www.switchwordmagic.com
Switchword Magic app store link:
www.switchwordmagic.com
From Screenwriter to App Developer?
I got a little bored with the current screenplay that I was working on and decided to venture off into another creative direction. I created my own iphone app! It was a lot of work but I totally got consumed in the creative process and it really sparked my creative juices. The app was released in the app store this week. Check it out if you get a chance. I had so much fun designing, writing and creating this app that I've decided to create one for screenwriters so I'm putting my future screenplays on hold for the summer to work on the next app. Estimated release date is September 1st. Stay tuned.
Switchword Magic app store link:
http://itunes.apple.com/us/app/switchword-magic/id380868546?mt=8
www.switchwordmagic.com
Switchword Magic app store link:
http://itunes.apple.com/us/app/switchword-magic/id380868546?mt=8
www.switchwordmagic.com
Tuesday, May 04, 2010
Teleplay Format
Found this article that gives the skinny on the teleplay format. It's quick, easy and simple to incorporate.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The TV Writer On--What Else?--TV Writing
Teleplay Format
For all practical purposes, teleplays come in three formats. There's one-hour film, half-hour film, and half-hour tape.
The hour film format is used for dramas, action shows, and primetime soaps. It looks a lot like typical screenplay format. Most hour dramas run about 55 pages long but some - those incorporating a lotof fast-paced dialog - can be as long as 75 pages. Scripts in thisformat start with a three page "Teaser," which is followed by four "Acts" and, sometimes, a one page "Tag." Sometimes the teaser is actually part of the first act. And sometimes the tag is actually part of the fourth act. The first act is usually longest, with each succeeding act a little shorter than the one before it. In an actionshow the last act often is just the "chase," or climactic sequence.
The half hour film format is for sitcoms. It too looks like typical screenplay format, except that the scripts run about 40 to 45 pages. These teleplays also usually start with a three page teaser and end with a short tag, but in between those two book ends are only two acts.
The half hour tape format is also for sitcoms. It looks a lot like stageplay format, including double-spaced dialog and uppercase stage directions. Tape format shows run about 45 to 50 pages in length and also have short teasers and tags and two acts. Traditionally, half hour tape format was used for sitcoms that were taped before an audience while half hour film format was used for sitcoms that were filmed on a soundstage, but nowadays just about everything is filmed so it's merely a matter of prodco or network preference.
Well, what're you sitting there for? Now that you've got the format "Start writing!"
LARRY BRODY
If you want to learn more about "Writing for the Medium Everyone Loves to Hate" visit www.tvwriter.com.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The TV Writer On--What Else?--TV Writing
Teleplay Format
For all practical purposes, teleplays come in three formats. There's one-hour film, half-hour film, and half-hour tape.
The hour film format is used for dramas, action shows, and primetime soaps. It looks a lot like typical screenplay format. Most hour dramas run about 55 pages long but some - those incorporating a lotof fast-paced dialog - can be as long as 75 pages. Scripts in thisformat start with a three page "Teaser," which is followed by four "Acts" and, sometimes, a one page "Tag." Sometimes the teaser is actually part of the first act. And sometimes the tag is actually part of the fourth act. The first act is usually longest, with each succeeding act a little shorter than the one before it. In an actionshow the last act often is just the "chase," or climactic sequence.
The half hour film format is for sitcoms. It too looks like typical screenplay format, except that the scripts run about 40 to 45 pages. These teleplays also usually start with a three page teaser and end with a short tag, but in between those two book ends are only two acts.
The half hour tape format is also for sitcoms. It looks a lot like stageplay format, including double-spaced dialog and uppercase stage directions. Tape format shows run about 45 to 50 pages in length and also have short teasers and tags and two acts. Traditionally, half hour tape format was used for sitcoms that were taped before an audience while half hour film format was used for sitcoms that were filmed on a soundstage, but nowadays just about everything is filmed so it's merely a matter of prodco or network preference.
Well, what're you sitting there for? Now that you've got the format "Start writing!"
LARRY BRODY
If you want to learn more about "Writing for the Medium Everyone Loves to Hate" visit www.tvwriter.com.
Tuesday, April 27, 2010
Setting up a script with 3 Post-It Notes?
The Entirety of Scriptwriting Technique in 3 Post-It Notes
by Bill Grundfest
Here it comes, aspiring screenwriters! Are you sitting down? If not, then sit down. If so, then lie down.
Here is everything you need to know to write like the pros, in three Post-It-Note Principles:
1. LOGLINE. You must create a compelling logline for your script (that's the TV Guide-sized description)
that says WHO — WANTS — WHAT. If your WHO is relatable/likeable/hateful/scary, what they WANT and
are ACTIVELY trying to get is something we emotionally care about, and a powerful WHAT stands in their
way, all in one sentence, you have a possibility of creating a script that works. Without all this, you have
zero chance and you may not move on.
2. CAUSALITY. The events in your story mustn't simply follow previous events, they must be CAUSED by
previous events. In turn, they must CAUSE future events. This is what makes a page-turner, or causes us as
viewers to lose track of time when we watch a movie or television show.
3. TOPS & BOTTOMS. What does everyone want at the top of your story and where do they end up
regarding that specific issue at the bottom of your story? What do they want at the beginning of an act and
where are they regarding that specific issue by the end of the act? The same question should be applied at
the top and bottom of each scene.
BONUS POST-IT NOTE! How to Take a Notion and Turn It into a Script.
There are five levels of development for each script. You may only go to the next level upon succeeding at
the previous one, and you must adhere to the three Post-It-Note Principles throughout.
1. Logline (see above)
2. Fat Paragraph that tells your overall story with beginning, middle and end
3. Three Fat Paragraphs, one for each act of the script
4. Beat Sheet with a logline for each scene that crystallizes it into one sentence
5. Script
That's it. The rest is DOING IT. Check what you've done against the three fundamentals. Re-do. Lather.
Rinse. Repeat.
It may be hard, but it's not complicated. Keep writing!
Bill Grundfest is a TV writer and producer who has won a Golden Globe Award® and received three Emmy®
nominations. He writes for major award shows including the Oscars®, Grammys® and Emmys, including the most
recent Emmy telecast. For more, visit his website at www.workshopforwriters.com.
by Bill Grundfest
Here it comes, aspiring screenwriters! Are you sitting down? If not, then sit down. If so, then lie down.
Here is everything you need to know to write like the pros, in three Post-It-Note Principles:
1. LOGLINE. You must create a compelling logline for your script (that's the TV Guide-sized description)
that says WHO — WANTS — WHAT. If your WHO is relatable/likeable/hateful/scary, what they WANT and
are ACTIVELY trying to get is something we emotionally care about, and a powerful WHAT stands in their
way, all in one sentence, you have a possibility of creating a script that works. Without all this, you have
zero chance and you may not move on.
2. CAUSALITY. The events in your story mustn't simply follow previous events, they must be CAUSED by
previous events. In turn, they must CAUSE future events. This is what makes a page-turner, or causes us as
viewers to lose track of time when we watch a movie or television show.
3. TOPS & BOTTOMS. What does everyone want at the top of your story and where do they end up
regarding that specific issue at the bottom of your story? What do they want at the beginning of an act and
where are they regarding that specific issue by the end of the act? The same question should be applied at
the top and bottom of each scene.
BONUS POST-IT NOTE! How to Take a Notion and Turn It into a Script.
There are five levels of development for each script. You may only go to the next level upon succeeding at
the previous one, and you must adhere to the three Post-It-Note Principles throughout.
1. Logline (see above)
2. Fat Paragraph that tells your overall story with beginning, middle and end
3. Three Fat Paragraphs, one for each act of the script
4. Beat Sheet with a logline for each scene that crystallizes it into one sentence
5. Script
That's it. The rest is DOING IT. Check what you've done against the three fundamentals. Re-do. Lather.
Rinse. Repeat.
It may be hard, but it's not complicated. Keep writing!
Bill Grundfest is a TV writer and producer who has won a Golden Globe Award® and received three Emmy®
nominations. He writes for major award shows including the Oscars®, Grammys® and Emmys, including the most
recent Emmy telecast. For more, visit his website at www.workshopforwriters.com.
Monday, February 08, 2010
Writing in 2010, IMDB credit and Sundance update!
It's 2010, we're into a new year. A new year means new goals. Setting goals is a good way to keep on track and to ward off procrastination. Plus, it can be rewarding at the end of the year to see that all your hard work paid off, even if your goal was to complete one screenplay.
I returned from Sundance a couple of weeks ago and it was a very good experience. I came back with a lot of enthusiasm and motivation to get more scripts sold.
Also, I have received my first IMDB credit for the short film I worked on last October. It's a small credit but it's a credit that starts the ball rolling. Also, the director and the producer has requested that I be the Script Supervisor on the next film as well that will begin production in the bay area in the next month or so. I thought that was a great honor considering it was the first time I had acted in that role. So, credit #2 is already in the works. And if my sold project goes into production this year...fingers crossed...I will have another credit or two.
If you get anything from this post it would be to set goals, even small measurable attainable goals for 2010, continue to write and perfect your craft, have patience (much is required in this industry) and never give up. Persistence does pay off, eventually.
Write on!
Natasha
www.NatashaFX.com
Link to my credit on IMDB... Yeah!!!
http://www.imdb.com/name/nm3785577/
I returned from Sundance a couple of weeks ago and it was a very good experience. I came back with a lot of enthusiasm and motivation to get more scripts sold.
Also, I have received my first IMDB credit for the short film I worked on last October. It's a small credit but it's a credit that starts the ball rolling. Also, the director and the producer has requested that I be the Script Supervisor on the next film as well that will begin production in the bay area in the next month or so. I thought that was a great honor considering it was the first time I had acted in that role. So, credit #2 is already in the works. And if my sold project goes into production this year...fingers crossed...I will have another credit or two.
If you get anything from this post it would be to set goals, even small measurable attainable goals for 2010, continue to write and perfect your craft, have patience (much is required in this industry) and never give up. Persistence does pay off, eventually.
Write on!
Natasha
www.NatashaFX.com
Link to my credit on IMDB... Yeah!!!
http://www.imdb.com/name/nm3785577/
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