The #1 Mistake Writers Make When Entering Screenplay Competitions

The #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 won a screenplay competition and had 3 other entries make it to the finals. The thing is don't beat yourself up if you don't think your idea is high concept or totally marketable. This comes with practice. Plus, the industry is very subjective! No one knows what they want until they see it.

For more information regarding how to make your concept great, check out my book, The #1 Secret to Sell Your Screenplay to Hollywood.

Write right and write on!

7 Steps to Create a Sellable TV Pilot

You know how when you're trying to find a particular file on your computer and but can't find it even when using the "search" feature but then instead of finding what you were looking for you find something even better that you don't even remember saving?  That's the story regarding this blog post. I don't know the source, probably was some notes from a class I took years ago so I can't give full credit but I hope it helps anyone out there stuck in developing a TV pilot or a screenplay.

Write right and write on!

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7 Steps to Create a Sellable TV Pilot

Step 1: Watch and Read... A Lot


If you don't like to watch television, then hopefully you have the common sense not to write for TV. Because when you're a scriptwriter, it pays to watch a lot of television. Here are some tips on what to watch and what to look for when you're watching:

1. Don't just limit yourself to one genre or format. Watch a wide variety of shows.

Watch the ones at the top of the Nielsen ratings and the ones that aren't doing so hot.

Watch shows that have won writing Emmys.

Watch 30 minute shows and 60 minute shows.

Watch reality shows and see if a story line (yes there are story lines even in "reality" shows) that you can tweak into a funny sitcom.

2. Take notes on your reactions at first. Write down what you liked and disliked as a viewer: when were you bored, when did you laugh, when did you lose interest and start flipping through a magazine. What happened right before a commercial break, and were you itching to find out what happened next.

3. Once you've got a feel for what works for you as a viewer, try to get your hands on a couple of scripts. The ideal situation is to be able to read a script and then watch the episode, so try to find a series that's out on DVD. You can get free scripts online at the following websites:

Daily Script

Simply Scripts

Drews Scriptarama

4. Read the script, and then watch the episodes with the script at your side. Learn how what is written on the page translates to the screen.

Step 2: Pick a Genre

There are some rules that are true of any television show, but each genre also has its own conventions. Once you know what genre you want to write in, it's time to study that genre in depth.

1. Do your research. If your genre requires special knowledge, start studying. For example, if you really want to write police procedurals, it's a good idea to have a passing acquaintance with police regulations.

2. You need to know what's out there if you're going to stand out from the crowd. Start a list of shows that are in the same genre as yours. Try to watch as many of them as you can.

3. Figure out how your idea stands out from the crowd. How is it different from the shows already on the market? You need to be able to express this in a succinct sentence or two at the most, which is called a logline.

Your logline needs to differentiate you from all of the other shows on the market. It should be brief, to the point, and it should stress what's special about your show.

For example, if you want to write a show about crime scene investigators, you'll need to show agents and producers that it's different from the popular CSI franchise. This difference should be completely clear in your logline.

By developing your logline first, you have a chance to hone your idea and make it as unique and compelling as possible without going completely overboard. If you can't clearly state what makes your show special, how can you expect someone to buy it?



Step 3: Outline Your Plot

Telling a satisfying story in a single television episode is a lot more difficult than it looks. Not only are you limited by time, but you're also required to write scenes in acts that allow for commercials.

1. Get some ideas about the standard act structure for your genre. If everyone on air is using a four act structure and you want to use three, why? Rules can be broken, but you ought to have a good reason for doing it.

2. Some shows such as sitcoms don't follow a rigid act structure. So again, the key is to understand what is being done.

3. Once you've settled on a structure, outline your story.

Choose a format that works best for you: index cards, spiral bound notebooks, computer, crayon, whatever.

Write down the basic actions that will happen in each act.

Determine where the commercial breaks will lie and make sure that the action leading into the commercial is compelling enough to make viewers stay tuned.



Step 4: Develop Your Characters

A good character can really make or break a TV show, and some of the best shows have the most memorable characters. Tony Soprano. Raymond. Carrie Bradshaw. Make the most of your characters to add depth to your show.

1. You'll need lead characters, who will appear in almost every episode; supporting characters, who appear sporadically; and guest characters who reappear rarely if at all. Obviously, it makes the most sense to spend the bulk of your time developing the leads since they'll carry the show.

2. Take the time to develop a history. Leads should have some kind of history or backstory that helps to drive their actions and shapes who they are.

3. Keep a list of mannerisms, favorite phrases, and other details. Catchphrases can be very powerful tools when developing a character.

4. Although you might spend days or even weeks working on a character background, that doesn't mean that you need to cram all of that information into the script. The idea is to let small details leak out gradually. Think about it like getting to know a person in real life. If you learned everything about them in the first day, wouldn't you get a little bored?



Step 5: Write

A lot of people talk about wanting to be writers but never put their pen to paper or fingers to the keyboard. Don't let all of your hard work go to waste. Sit down and write.   I once met a girl at a networking event who said she was a screenwriter but when I asked how many scripts she had written, she was like, "Well, I haven't really written any scripts yet!"  Huh?  To make matters worst she had been "doing" it for almost 5 years!  That's not being a screenwriter.  Even if you haven't sold anything, you still should have written something to completion before you should say you're a screenwriter.  Duh!  But I've gone off topic...back to business.

1. Decide how often you want to write and then stick to your schedule. Whether your goal is to write every day or twice a week or to finish five pages no matter how long it takes, get it done.

2. There will be days that you don't want to write. The writers who make it in big this business are the ones who write anyway.

3. Writer's block is a reality you'll have to deal with. If a scene isn't working, put in a placeholder to remind you to go back and finish it later, and move on to another scene. The goal is to keep working; don't let a problem in page two keep you from moving on indefinitely.



Step 6: Use the Right Format

Script formatting software is available and makes the process as easy as possible, but of course there's a cost associated with most programs. You can also hand-format. Whatever you do, make sure that you follow the conventions. Otherwise, you reduce your chances of success.

1. If you really plan to pursue screenwriting as a career, formatting software is worth the investment. The most popular programs include:

Celtx free software

Final Draft

Movie Magic Screenwriter

There are many other programs that use word macros but still present a professional looking script.  When I first started writing scripts more than 10 years ago, I purchased one for just $30 and used that thing for years.  Even had my first option of a script I wrote using a $30 program.  Now I use final draft but aside from the bells and whistles, it's not all that much better than the $30 program I used to use. (I don't remember the name so please don't email me asking what it is.)

2. If you're determined to format by hand, you'll need a scriptwriting format book or website. You can find a lot of resources online these days. The rules are too long to list here, but here's a sample of what you'll need to do:

Scenes are numbered and start with what's called a slugline: the location and time of day.

Scenes start with FADE IN:

Character names are capitalized.

Dialogue is capitalized and double spaced.

I say this to say DO NOT DO IT!  Please don't try to format by hand.  Give up a month's worth of Starbucks and invest in a cheap program.  They have so many these days that you shouldn't have to torture yourself like that.  Drop the coffee and buy a software program!

Step 6: Revise Until Your Head Spins

By all means, celebrate when you finish the first draft of your script. You deserve it; you've made it a lot further than most people ever do. Unfortunately, this is also where the real work of revision begins.

1. First, you'll need to focus on the big stuff.

Does the plot make logical sense?

Does tension increase as the plot moves forward?

Is there a satisfying resolution?

Are the technical details accurate? Look them up; you need to know for sure.

Is it the right length?

Do your commercial breaks hit at the right place page wise?

2. Now it's time to fine tune.

Tighten your dialogue.

Make sure every word counts. Cut out the excess.

Proofread for typos and grammatical mistakes.

3. For help with revisions, why not join a critique group or writer's group. Other writers can help point out problems and potential solutions that you're just too close to your work to see clearly.   Be sure to choose a group with positive, supporting people.  I've been apart of a group that only wanted to tear people down one verb at a time. 

Good luck and never stop believing in the dream.

Write right and write on!

May Featured Screenwriter: Michael Elliot

Featured Screenwriter: Michael Elliot

Produced Movies: MTV’s Hip Hopera Carmen, Like Mike, Brown Sugar, Just Wright

Michael Elliot, CEO of Michael Eliot Media, has spent a lifetime beating the odds. Twenty-seven years ago, he was a high school dropout and homeless. Today, having written films that have generated over $115 million in box office revenue and having won the 2011 NAACP Image Award for Outstanding Writing in a Motion Picture, Michael Elliot is one of the most accomplished African-American screenwriters in Hollywood.

Michael’s career began in 1988 when he published Krush Magazine – the first publication ever devoted to covering the burgeoning world of hip-hop music exclusively. Month’s later, other hip-hop publications would follow his lead, including The Source magazine.

Shortly thereafter, Michael set his sights on television. With just $300, Michael launched “Krush Rap” – a locally aired music video program that was eventually syndicated in 21 markets. The weekly television series aired for two years, and generated over $500,000 in advertising dollars.

Next, Michael turned his attention to the book-publishing world. He authored, designed and self-published the hip-hop guidebook, The Unsigned Rappers’ Guide to Getting a Record Deal. Within one year, the book yielded twelve times his investment.

Impressed with his track record in 1992, Michael caught the interest of the owners of The Source Magazine. Recognizing his ability to “make things happen,” the owners offered Michael a position as Director of Special Projects.

While at The Source, Michael continued to explore unchartered waters. Radio was next. Michael was offered his own 2-hour weekly hip-hop show on one of Philadelphia’s top-rated radio stations, and thus began a weekly commute from New York back to his hometown, where he moonlighted as an on-air radio personality. However, the commute would be a short one. Impressed with Michael’s radio performance, New York’s famed hip-hop station, Hot 97, wanted in. Michael quickly made the transition from the country’s number four market to the country’s number one. And his voice was now being heard by millions of New Yorkers. As such, Michael was simultaneously succeeding and ascending at the goals of his day job — taking The Source magazine to new heights, and at DJing. But before long, not even Hot 97 could contain him…

Sony Worldwide Networks had just partnered with hip-hop impresario Russell Simmons to launch a 2-hour nationally syndicated hip-hop countdown show. Michael was chosen to host and co-produce the weekly radio show, “Street Heat”. For the next two years, Michael would work for The Source and Sony Worldwide Networks, hosting and co-producing what would become the most successful radio show of its kind, expanding its listeners into 42 markets, including Guam and St. Martin.

In 1995, Michael resigned from The Source and returned to Philadelphia. There, he would make plans to make his wildest dreams come true. Michael wanted to make movies, and where else would he do that? Hollywood.

Michael became aware of Sean “Diddy” Combs’ interest to establish a film and television arm of his highly successful hip-hop label, Bad Boy Records. After meeting with Diddy about the future mogul’s plans, Michael relocated to Southern California in the fall of 1996, and was appointed President of Bad Boy Films.

Unfortunately, Michael’s tenure with Bad Boy Films would be short-lived. Four months into the job, Diddy’s friend and biggest star, The Notorious B.I.G., was murdered. Forty-eight hours later, Bad Boy Films was dissolved, and Michael was unemployed. But failure was not an option. Neither was returning to the East Coast without succeeding in this new arena.

Armed with a computer, a book on screenwriting, and a Blockbuster Card, Michael began teaching himself to write screenplays. Approximately 13 months later – without the help of an agent or manager – Michael sold his first screenplay Seven Days to 20th Century Fox.

Upon reading of his successes in Hollywood, Michael’s former employer, The Source magazine contacted him with a handsome offer to return. The hip-hop publication had been working unsuccessfully with the William Morris Agency to get their awards show to appear on network television. After every network in Hollywood (including UPN), had passed on a proposal to do a special with The Source, Source owners turned to the one person they knew had the ability to “make things happen.” Michael accepted the challenge, and as President of Source Entertainment struck an unprecedented deal for a special on UPN, within a month of taking his position. As also the show’s Executive Producer, Michael’s “Source Hip-Hop Music Awards” (1999 and 2000) set new rating records for the struggling network and generated more than $15 million in revenue. However, after violence broke out during the ‘2000’ airing of the show, Michael resigned to focus on his screenwriting and producing career. That decision proved to be a good one.

In less than one year of returning to the film business, Michael had 3 consecutive films ‘green lit’. These included the critically-acclaimed MTV’s Hip-Hopera: Carmen, which Michael scripted and executive produced, launching feature film careers for Mos Def, Bow Wow, Joy Bryant and of course, Beyonce Knowles.

In addition, Michael wrote the film Brown Sugar, a hip-hop love story that was made for $8 million. The film earned $11 million during its’ first weekend of release. On less than 1,000 screens, Brown Sugar grossed nearly four times its’ cost to produce at the domestic box office.

Michael also wrote the family film Like Mike, which starred Bow Wow. Like Mike earned over $62 million at the box office. The film’s success on the home market prompted the making of Like Mike 2, four years after the original’s theatrical run, in July 2006.

In 2009, Michael’s screenplay Just Wright was filmed in New York, marking Michael’s fifth produced credit in 12 years. The romantic comedy stars Queen Latifah, Paula Patton and Common, and was released in theaters May 14, 2010 by Fox Searchlight Pictures. Made for just $12 million, Just Wright earned the total amount spent to produce it within 8 days of its initial release. And it did so from just 1,800 theaters – a mere 40% of the average theater count of a typical ‘wide’ release film. In 2011, Just Wright was nominated for four NAACP Image Awards, including Outstanding Writing in a Motion Picture, which was presented to Michael on the stage of The Shrine Auditorium.

Over his 14-year screenwriting career, Michael has developed projects for some of Hollywood’s most important movie studios and television networks including Warner Bros. Pictures, 20th Century Fox, HBO, Walt Disney Pictures, Fox 2000 Pictures, BET, Universal Pictures, Fox Searchlight Pictures, VH1, Paramount Pictures, Showtime, and New Line Cinema.

As CEO of Michael Elliot Media, Michael continues to create motion pictures, mentor, and inspire others as a motivational speaker. In addition, Michael is committed to help tomorrow’s breakthrough screenwriters, break-in, with his seminars, webinars, script consulting services, eNewsletter, and his downloadable directory of industry contacts – all available on michaelelliotmedia.com.

Putting Your Protagonist in Conflict

10 Ways to Put Your Protagonist/Hero into Conflict


You must put the protagonist(s) in conflict with either his or her own environment or the environment of others to keep the story moving and interesting.  A story without conflict is flat and boring and won't sell.

Do this by creating one or a combination of the following situations:

1. Something changes in the environment.

2. Moving the protagonist from one environment to another.

3. Put the protagonist in an environment that is in conflict with other environments.

4. Put the protagonist in an environment he or she wants to change.

5. Give the protagonist an environment to conquer.

6. Put him or her in an environment he or she wants to escape.

7. Put the protagonist in an environment where he or she is not wanted.

8. Put the protagonist in an environment for which he or she is unsuited.

9. Change the protagonist's status quo in his or her environment.

10. Change the status quo of the environment.

Give the protagonist a chief motivating force with a tangible object. His or her response to the environment yields a determination to do something about it (the chief motivating force) to achieve some tangible objective. It helps if you exaggerate the protagonist's reaction to the environment.

Write right and write on.

Million Dollar Script sold by first timer

29-Year-Old Former Assistant Sells Million Dollar Script About Internet Datestalking


Emma Stone is reportedly in talks to star in a movie based on a screenplay about cyber datestalking written by a woman who, until last week, was Adam McKay's personal assistant. The script's called He's Fuckin' Perfect, and the writer is currently accepting applications for people interested in officially living vicariously through her.

The movie, like all movies, is about a good intentioned but overly neurotic young woman who just wants what's best for her friends. She diligently researches men online for others until she finds a guy who would be just right for her. There's one problem: she's all neurotic and doesn't think she's good enough for him! To fix this, she creates a fake internet persona that totally doesn't backfire. Things ensue!

The script's writer, 29-year-old Lauryn Kahn, reportedly sold her script to Fox 2000 pictures for between $1 million and $1.5 million. After finding out that she could finally afford to buy all of the happiness she's ever wanted, she quit her $40,000 per year assistant job to write scripts full time and be fanned by tan musclebound men who use only the finest palm fronds. In my imagination, Adam McKay is watching her wistfully as she waves goodbye. Goodbye, my love.

Anyway, the moral of the story is: never let go of your idiotic dreams. A million other people might have the same dream, but maybe one day you'll get lucky and the wheel of fortune will stop on you. Or you'll get unlucky and be the first person in your state to die of dysentery since the 1940's because of some expired cottage cheese you ate.

Emma Stone in talks to star in Lauryn Kahn Fox 2000 Spec [Deadline]

*****

Excerpted from the Jezebel.com blog post written by Erin Gloria Ryan

Genres that sell - April 2012

What types of scripts sold in April 2012?


Here’s a break down of the genres sold in April 2012 per the Scoggins Report:

Genres Sold

2 Action/Adventure
3 Comedy
0 Drama
1 Horror
0 Sci-Fi
3 Thriller

Write from your heart, continue to show up on the page and know that good writing will eventually sell. If you keep at it and believe that quitting is not an option, your time will come.

Write right and write on!

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

For more industry information, check out http://www.itsonthegrid.com/.

Write the Million Dollar Screenplay...oh and sell it too!

Writing the Million Dollar Screenplay

L.A. based producer, Victoria Wisdom who sold “The Usual Suspects” and got it produced, spoke to The Scriptwriters Network about selling screenplays.

Many writers still work in an industry bubble and don’t realize that agents make up to ten time the commission from A-list movie stars than A-list writers. There are fewer movies being made, budgets are polarized as mid-range budgets are being eliminated and there are fewer distribution channels than ever before. The pool of high-risk equity finance is dwindling, making life tougher for writers. Now that you have the brutal truth, use it to set you free to write smarter.

You need an aggressive (and sometimes obnoxious) personality to leave an indelible mark in this industry. Learn to recognize your obstacles and maneuver around them. Accept them as a part of life rather than complaining about them. As the Dalai Lama said “learn to flourish in a hostile universe through self-reliance, determination and persistence”. Perhaps he was a film mogul prior to living in exile in Tibert. Expect the worst to make the good taste even sweeter.

The average movie costs around $140 million including an around 15% P&A budget. Shockingly, studio films need to earn 2 to 3 times their production budgets in box office revenue to break even.

Writers must understand their role in the film making process. We are architects, writing blueprints for the 2D (or 3D) interpretation of our ideas. Hollywood is driven by fear of executives being fired rather than a desire to tell a good story. Ironically, a good story, sensibly priced and well positioned in the market place will sell tickets.

Be savvy. Be marketable and realistic about how much your film costs. There is no formula to success other than to keep writing. Consider 10000 hours of writing to be your apprenticeship. Don’t try to imitate other writers. Let them inspire you. Allow yourself to inspire others.

Read the tacking boards, rotten tomatoes, Variety and Box Office Mojo for opening box office figures. Each Monday morning, box office trends are either radically altered or affirmed. “Per screen average” figures are more meaningful for smaller indie films with a limited release. Know your audience and understand whether counter-programming is targeting the same or another demographic.

MOST LUCRATIVE FILM GENRES

ACTION This is the most profitable genre since it traditionally attracts the 14-24 year old male demographic which repeatedly attends the cinema. The 25-36 year age group is next and anyone older doesn’t go to the cinema. Tentpole, franchise films are almost all action films and play well in international markets. Overseas distributors like them, because they have less dialog than dramas and comedies and consequently less subtitles are required. Be aware that studios are increasingly reliant upon foreign box office (around 68%) to make their films profitable.

Superhero films are box office tonic today, possibly due to the widespread economic malaise. Superheroes offer an escape and sense of comfort and protection. The flawed hero also humanizes them and makes them more accessible to audiences.

COMEDY Is often counter-programmed against action films. They are substantially cheaper to make (around 50 to 90%) compared to their action counterparts. The above the line costs (key creatives: producer, director, writer and actors) are similar in both genres. The cost base becomes insignificant for below the line roles in comedies which are traditionally use cheaper CGI and visual effects. Romantic comedies are date films targeting the 14-24 male and female demographics. The key issue with comedies are that they are often culturally and socially specific and don’t always travel well.

THRILLER Once again this genre targets the 14-24 year old demographic and includes horror films. The costs can be a tiny fraction of the cost of action films (sometimes as low as $50000). The box office fate of these films tend to be critic proof. Audiences will attend regardless. However, thrillers target a more film savvy and educated audience. Their plots are more complex and more engaging. Studios love action thrillers because they straddle two profitable genres.

Horror films are hugely profitable. The classic horror films such as “The Exorcist” play side by side with splatter horror films such as “Halloween”.

DRAMA These films have largely migrated to the TV market. They are based on hugely best-selling books and are championed by influential actors, directors and producers. Actors’ pulling power is referred to as their “category”. These films target older, urban, more sophisticated audiences. Historical and period dramas are virtually impossible to sell because they’re expensive and have a limited audience. Newer writers are ill advised to enter the marketplace with a drama.

WHAT DOES THE MARKET WANT?

A script which guarantees a profitable film. Since guarantees cannot be made, studio heads track the profitability of similar films from the previous week. In essence, they want “the same, but different” to recreate recent box office coin. Therefore, you should create a template of successful films similar to your own. If you want to write something too different, make it provocative, relevant and current. It needs to be born from the contemporary zeitgeist. The birth of modern Hollywood cinema is mooted to be around the mid-seventies when blockbusters such as “Jaws” and “Star Wars” were produced. The core rules still remain until we figure out what comes next.

Play with structure. Consider the backward execution of “Memento” or the scattergun time line of “500 Days Of Summer”. Be aware that females are going to the movies in groups more than ever before. It is unclear if they repeatedly see the same film like 14-24 year old males.

Create your own destiny. Make Hollywood executive stampede towards you rather than you towards them. Don’t be afraid of the light. Don’t be afraid of the dark. Don’t be afraid of not being liked. Be afraid of inactivity and ill-considered moves.

*****

I actually met Victoria Wisdom several years ago when she spoke at a Dallas Screenwriter's Association meeting when I lived in Dallas, Texas.  She is a woman with a wealth of knowledge and industry experience.

For more screenwriting tips, visit http://gideonsway.wordpress.com/.

Write right and write on!

Write a Romantic Comedy That Sells!

You Can Write a Romantic Comedy That Sells.

Here are six insider-tips that will increase your romantic comedy’s chances of getting read, getting purchased, and getting on the Big Screen.

Tip #1: The Chemical Equation

You saw the posters and trailers for ‘The Proposal’, ‘Jump The Broom’, ‘Brown Sugar” and ‘Pretty Woman’ BEFORE you saw the actual films. You went to see these romantic comedies already knowing that the leads were going to end up together. So creating two unique characters an audience will fall in love with and NEED to see united is the most important key to a romantic comedy's success. Your characters must each be emotionally incomplete people who get completed by their mate-to-be. One (if not both) of your protagonists should have an inner conflict that the story's romantic relationship confronts and ultimately resolves.


Tip #2: The Hybrid

Some of the most successful romantic comedies are hybrids -- movies that have expanded their audience by cross-breeding with other genres. Romantic comedies can be action-adventures (Knight & Day), gender-benders ('Tootsie'), sports comedies ('Just Wright'), political ('The American President'), period pieces ('Shakespeare In Love'), crime stories ('The Mexican'), teen movies ('Clueless') and more. This kind of cross-genre inter-breeding has kept our genre healthy for decades, and it's something to think about as you shape your romantic comedy with an eye towards the marketplace. You may already be edging into another genre's territory in your story. If so, maximize that element. Producers and studios are more likely to be intrigued by a romantic comedy that also promises the kind of big screen action that a crime, adventure, sports, etc. movie provides.

Tip #3: Don't Talk Too Much

Great movies MOVE. Too much talk, too much dialogue, can result in a pass (because what you've written is more like a play or a TV show) than a MOVIE. So ask yourself, how active is your script? How visually exciting? While you may not have the mudslides, wild chases and fireworks 'Romancing the Stone' delivered, you may have a set, a setting, world or a physical comedy opportunity that will open up and enliven your movie. Even the verbal-witty 'Four Weddings and a Funeral' featured a Scottish reel in colorful kilts. 'Annie Hall' is packed with sight gags, from the cocaine sneeze to the errant lobsters. Make sure your script makes use of all the cinematic storytelling techniques a good movie- movie uses.

Tip #4: The Formula Flip

Since most plots of successful romantic comedies follow a fairly predictable paradigm, your romantic comedy spec could stand out from the others in the marketplace if your concept, story and/or execution is exceptionally clever, imaginative or even better, ingenious. Four romantic comedies from the past that were truly memorable made their mark by putting a spin on the standard plot structure. There was 'boy doesn't meet girl until the last five minutes of the movie' ('Sleepless in Seattle'), 'boy meets girl after they're both dead' ('Defending Your Life'), 'boy only meets girl in and around weddings (and a funeral)' ('Four Weddings') and 'boy meets girl, boy loses girl, boy loses girl, boy loses girl, ad infinitum, until he finally gets it right' ('Groundhog Day'). Try to come up with a concept that will enable your rom-com to stand out from the crowd. Failing that, a hook in the execution can make the difference. 'Bridget Jones's Diary' has the diary to hang its story on; ‘Two Can Play That Game’ uses breaking-the-fourth-wall conversations with the audience. Take a bold leap and find your tweak. It may make all the difference.

Tip #5: The Sexy Funny

Everybody remembers the 'fake orgasm in the deli' scene from 'When Harry Met Sally.' Romantic comedies that have pushed the erotic envelope have often scored with their audiences. The zipper scene from 'There's Something About Mary,' the dress straps 'Jerry Maguire' breaks, 'American Pie's pie -- successes like these show that the humor to be found in sexual situations is well worth pursuing. At the same time, don't forget that any comedy should provide at least a couple of truly funny set- pieces. Has your romantic conflict gotten so serious that the script is light on laughs? Find the humor in it and maximize. Steep your characters in painful, truth-baring situations, and look for gags to build bigger gags on. Smiles and chuckles don't sell a script. 'Ha- ha!' laughs-out-loud do.

Tip #6: The Meaning

At the core of any great romantic comedy is some kind of thematic idea grounded in the writer's personal point of view. Why are you writing this particular story about this specific couple? What about their story reflects some insight you have about the relations between men and women or the human condition? What question are you asking that your screenplay's story answers? The romantic comedies that endure -- and strike a real chord with their audiences -- are the ones that explore universal issues. 'When Harry Met Sally...' is about whether men and women can overcome gender differences. 'Tootsie' is about how no man (especially when he becomes a woman) is an island. Your romantic comedy should be posing a question, or poking at a truth, that you, the writer, are passionately invested in exploring. That's the real key to involving an audience, and no amount of cute one-liners can take its place. So have your movie MEAN something. It will help it to get made -- and to matter.

*****

This article was created by Michael Elliot, http://www.michaelelliotmedia.com/ and reposted here at Million Dollar Screenwriter. He is the writer of half a dozen produced movies and a great inspiration to emerging screenwriters. Sign up for his newsletter. It is chocked full of useful and timely information that will help propel your screenwriting career to the next level.

What is high concept?

This was taken from a literary agent's blog (http://literaryagentny.com/). This defines their idea of high concept in regards to story and books.  Works for movies, too. 

What is High-Concept?


•High-concept is a welcome slap-in-the-face for publishing professionals

who’ve been lulled to sleep by thousands of boring submissions (hey, it’s the truth).

•High-concept instantly communicates an idea and gives it context.

•High-concept is the difference between good and great.

•High-concept is taking something timeless and making it timely.

•High-concept is making something familiar and/or faded… fresh.

•High-concept is clever (but that doesn’t mean it isn’t also authentic).

•High-concept is standing out, getting everyone’s attention, creating curiosity.

•High-concept sometimes (but not always) means being bold, creating a spectacle,

and/or creating controversy.

•High-concept is memorable.

•High-concept is often newsworthy and media-friendly.

•High-concept gets people talking, sometimes shouting, other times whispering.

•High-concept is simply positioning or repositioning.

•High-concept is what Houdini created when he unchained himself from manacles

and escaped while hanging upside down 30 stories above the ground (but it’s not magic).

•High-concept is what P.T. Barnum used to fill his tents, employing the talents of

Tom Thumb (but you don’t have to be a clown or create a circus to do it).

•High-concept is embracing your role as both expert and entertainer or master of intrigue

and mystery (even if you’re just writing cookbooks).

•High-concept might mean using a metaphor to make the mundane seem magnificent.

•High-concept often bends (and sometimes breaks) rules and conventions.

•High-concept is arguably more important than the characters in a novel because

no one will ever meet (or care about) your characters without it.

•High-concept might capitalize on current trends (and sometimes creates new ones).

•High-concept understands that important themes, valuable content, and

a beautiful writing style aren’t always enough.

Selling a Script on Title Alone - Create High Concept Titles

Is it possible to sell a script on a title alone?  Rarely but yes.  People have done it but even if you aren't an A-list screenwriter, you can at least get people interested in your book or screenplay by stating the title alone if it's a high concept title.  The title followed by a magnificient logline will get you read.  Below are tips excerpted from the book, "The #1 Secret to Sell Your Screenplay to Hollywood".

CREATING HIGH CONCEPT TITLES

A good title must be:

1. Concise. One to five words is the best length.

2. Genre-appropriate, The Bourne Identity hints at suspense and threat.

3. Relevant. The audience feels cheated if they can’t see a title’s relevance.

This doesn’t mean the relevance always has to be obvious from the beginning. But never take a passing detail and stick it in the title for show.

4. Intriguing. Makes people wonder what or who the story is about. Will the title you’re considering make readers ask questions, questions you answer in your story?

5. Tantalizing. Makes your title irresistible.

6. Memorable. Titles should be easy to remember. The catchier the better.

Short and simple analysis of a story:

In the beginning of your story, the hero and villain meet each other and embark on a journey. This journey can be a plane trip, a business merger, an experimental medical treatment, a wedding, etc.


In the middle of your story, the hero and villain begin to compete with each other instead of cooperating with each other.

The end will be the confrontation and resolution in which only one of these characters survives or triumphs. During the three phases of your story, each character experiences conflict and the trauma that comes with it.

Merry Christmas to you and your family. May you be blessed and amazed in 2012! Natasha

What types of scripts are selling in 2011?

What types of scripts are selling in 2011?


Here’s a break down of the genres sold in October 2011 per the Scoggins Report:

New Specs 47
Number Sold 20
Percent Sold 43%

Genres Sold
2 Action/Adventure
5 Comedy
5 Drama
1 Horror
3 Sci-Fi
3 Thriller
1 Unknown

The amazing thing is that people in the industry will tell you to NOT write a drama because those don’t sell, well as you see, William Goldman was right...nobody knows anything...especially when it comes to what will sell. The one “unknown” that sold was probably a script that couldn’t easily fit into any drama...who knows.

The lesson is to write from your heart, continue to show up on the page and know that good writing will eventually sell.  If you keep at it and believe that quitting is not an option, your time will come.

Write right and write on!

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For more industry information, check out www.onthegrid.com.

Why did they pass on my brilliant screenplay?!?

We’ve all been there. You’ve spent 3 to 6 months or more working on your screenplay. You’ve put your best foot forward and then some and you were psyched because someone actually wanted to read it. You give it a once over then nervously attach it to an email and send it off then wait...and wait...and wait what seems like forever and either after endless waiting you finally hear back and it’s a, “No, not what we’re looking for.” or worst...you never hear back from them ever again and contacting them makes you feel like a psycho stalker. Rarely do we get an explanation as to why they really passed on our work. I found the below except on Linda Bergman’s blog and thought I would share it here. Knowing how those in the industry feel will better help you polish your gem of a screenplay the next time it goes out...or better yet, will help you write a better script from the start.


Except from Linda Bergman’s blog...www.lindabergman.com

1. Your story is probably not as original as you think. If it rings of anything familiar, it will get passed on. Also, if it is too contrived, it will get a big fat “No.” If the story is not a good one and executed perfectly, it will get a pass. If it is a terrific story and executed poorly, it might have a chance at getting optioned and new writers assigned. Don’t do a rehash of something you saw. Make your idea (which has probably already been done somewhere by someone) different enough to be called original. Find a way to make it fresh and compelling. You do that by having something NEW to say about the idea or a different point of view.

2. Your characters are weak, flat, and unimaginative. Murky characters don’t have a goal. They aren’t driven to overcome any obstacles. They don’t come to life on the page and we don’t care about them. I always ask my students if they have written a ten page bio for each of their characters. You don’t have to put everything in the script that they did their whole life, but a good bio will inform your writing of the character. You are the only person that can bring him/her to life for the reader. And the reader is the first step in the process of selling.

3. Your descriptions are too long, too wordy. Just pick the best words to economically describe a scene then let the reader’s imagination take over.

4. Your dialogue is clunky, over-written, unnatural, too on-the-nose, or you are using dialogue as exposition. Don’t tell the reader what is going on through dialogue, show the reader what is going on with action. Also, make sure your characters don’t all sound the same. Good dialogue has rhythm and meter. Each character should have their own.

5. You don’t have a conventional three act structure and your tone is not obvious up front. Write like a pro and you’ll have a better chance of selling like a pro. No exec will read past page thirty (some will only read to page ten) if you don’t have a structure in place.

6. Your script doesn’t make the reader FEEL. If a reader laughs or cries or gets scared, this is a good thing. Even if a script is well written, it can still be boring. Ask yourself if you are moved by your material, if you didn’t laugh or cry, no one else will.

7. Your script cannot be marketed. There are a lot of well-executed scripts with material that cannot be sold. Maybe it’s too similar to one the studio or production company already has in development. Or maybe your rom com is just too cookie cutter or your thriller is not that particular execs cup of tea. These are things you cannot control and please try not to take them personally.

8. You did not let enough people who know what they are doing read the script before you submitted it. A script must be in the best possible shape before you send it to a buyer. Find an editor or professional that can help you and ask all the tough questions of your piece before it goes out.

Most importantly, don’t stop writing!

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Linda has some good advice and freely shares her industry experience.  Be sure to check it out.  Oh and her book, "So You Think Your Life's a Movie", isn't too shabby either.

For industry insight into getting them to say Yes instead of No and getting that much sought after sell, check out The #1 Secret to Sell Your Screenplay to Hollywood, without an agent and even when you don't live in LA.

Good luck and happy writing and getting those Yes's!

Write right and write on!

The Secret to Writing Screenplays

I believe the secret to writing screenplays is being prolific in writing them.  The more you write, the better you get, just like with any other craft.  Below is an article written by Martin Acuna that explains the road to prolificity.  Take note and write write write write. He also has a free newsletter that you can sign up for that has other great screenwriting tips and tips for breaking into the industry.  Be sure to check it out.  The more you write, the better your chances of having the million dollar screenplay and also when someone asks, "What else do you have?", you won't come up empty handed. 

Write right and write on!

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The Importance of Being Prolific


by Marvin V. Acuna

Terry Rossio (co-writer of the Pirates of the Carribbean franchise) believes that

a trait of successful screenwriters is... Prolificacy.

Here are his specific thoughts:

PROLIFICACY

Consider this: in the afterward of Stephen King’s book Different Seasons, he
explains how the four stories in the volume came about. Each one was written
after he had completed writing one of his novels.

He writes, “...[I]t’s as if I've always finished the big job with just enough gas
left in the tank to blow off one good-sized novella.” So he wrote The Body
after Salem's Lot. Apt Pupil after The Shining. Rita Hayworth and the

Shawshank Redemption after The Dead Zone. And Breathing Method after
Firestarter. Now just stop and think about this. Here's a writer who, after
finishing a bestselling novel, has the ability to sit down and knock out a
masterfully written novella in a matter of days. And three of these
“afterthoughts” have been adapted into major motion pictures.

Now that's prolific.
I often meet screenwriters that become obsessed with one screenplay and devote
years of their time and energy to it. Some spend more than a decade on one.
Other writers expend precious energy awaiting responses to query letters or
submissions. Months go by and the only additional writing done is focused on
follow-up letters or emails asking the horrid question: Have you read my script?

In my humble opinion, if you are spending that kind of time on one screenplay,
writing is a hobby, not a profession.

If screenwriting is a hobby for you, then it doesn't matter. But if you are truly
committed to screenwriting as a professional endeavor, then generating content
should be a ritual, a tradition, an absolute must.

Hobby or profession? Only you know the truth.

This is a competitive profession. It requires that you play your A-game even if you
are not yet an A-lister.

I've worked with various screenwriters who have written an entire spec and then
through the process discovered a character or an idea that was worthy of further
exploration. They have no issue discarding the screenplay and beginning a new
one based on their new discoveries.

Other writers submit their completed works and while they await feedback from
their representatives or the market itself, they begin work on the next screenplay.

Is it easy? No. It's not supposed to be easy. If it were easy everyone would be
doing it.

Being prolific has numerous benefits. Beyond amassing an inventory of material
and developing a necessary habit, I believe you hone, shape and refine your skills
as a screenwriter.

I know many industry professionals who would agree with literary manager Jewerl
Ross, who said “I sell writers, not scripts.” He expects his clients to generate
content, to be prolific. Three to four screenplays a year is the minimum.

With these criteria in mind, let's bring all of this back to you. While not everyone
can be Stephen King, are you at least setting the table for your success? I've said
this before, but this is an industry where talent alone won't carry you across the
threshold to screenwriting stardom.

Instead, it takes that rare combination of talent, passion, and joyful hard work.
In other words, being prolific. My hope is that you have already incorporated this
necessary screenwriting trait into your writing routine, or you see the value in it
and will start applying it immediately.

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To get Hollywood's "Most Valuable e-Newsletter" for FREE, sign up for Martin Acuna's The Screenwriter's Success Newsletter.

www.TheBusinessofShowInstitute.com

Four steps to achieving anything you want in life

The four steps necessary for achieving anything you want in life are as follows:
1.  Have a wish. (Desire something)
2.  Create the dream by visualizing it happening.
3.  Release the dream to a higher power while retaining the visualization. (Higher can be the Universe, God or whatever name you said higher power)
4.  Take constructive action to direct your dream into reality.

It's the law of attraction in action.

Formula for success = Desire + Dream + Faith + Commitment + Action

Write right and write on!

Marketing Your Script

Here's an excerpt from my book:  The #1 Secret to Sell Your Screenplay to Hollywood: Without an agent and even when you don't live in L.A.

MARKETING YOUR SCRIPT


Successful screenwriters have two jobs: writing a good script and marketing it.
Once you make your script as best as you can, research appropriate buyers for your script.

There are three basic steps to marketing your script:

1. Know your market. Look at the credits the target producer has already. Don’t pitch them something in a totally different genre than what they have previously made movies in unless you know for sure that they are looking to branch out in a new direction. Don’t assume that your high concept script that happens to be the next great horror film will make a producer who usually does romantic comedies invite you and your script into their arena with open arms.

2. Come up with a plan then put it into act. There is not try, just do. (I think that was Yoda.) If that plan includes sending out mass queries, think about that. I sold my screenplay without sending one query letter and without an agent. Maybe I got lucky or maybe I decided on a different approach or approaches. These are noted in the “Marketing Your Script” and “Break into Hollywood” sections.

3. Have a knock ‘em dead One Sheet.

The One Sheet is different from the synopsis or outline because it’s a marketing tool. "One-Sheet" is a standard industry term for a movie poster. More recently, within the screenwriting industry, it has come to mean a one page narrative summary of the entire story of your original screenplay. It includes all of the major story beats, and act breaks. Beginning, middle and end -- minus the minor details. Having listened to your pitch, a producer will often ask for the one-sheet as a reference, or as something to show to a higher-up.

Think of what the poster would be for your movie. There are no strict guidelines on what should be on it or how it should look except that it has to be amazing and get the producer or studio executive excited about your project. Easier said than done, I know but it is possible.

Tips for creating a dynamic One-Sheet:

1. You’ve got to have punchy description of your story.

2. Leave out the backstory.

3. Imagine what you would see in the trailer.

4. Describe only the interesting scenes.

5. Include your contact information.

Exercise:

Watch some movie trailers. Check out ones that are for movies you have already seen. These can be found on the internet…imdb, fandango, the movie’s website. Notice what images they choose to highlight in the trailer. Note what made you interested in seeing the movie.

Next take an upcoming movie and view the trailer. Note what makes you want to see the movie or what doesn’t and why. This will give you a clue of what works and what doesn’t. Notice what is the difference between the movie trailers that were phenomenal that made you excited about seeing the movie and which ones didn’t. Try to read the screenplay for those movies. You can find them most times for free online. Then compare what parts they chose to show in the trailer.

Do the same sort of thing with your movie. What strong, visual elements do you have that will pique their interests? Forget the fluff and extract the big events, the big turning points in your screenplay. If you have a major twist that you do not want to give away, hint at it so that the reader will know that there is something more to come but they’ll have to read the script to find out. Don’t be totally vague but provide just enough intriguing information to whet their appetite. They will already be interested based on your title and high concept logline. Note that the One-Page write up is a lot shorter than the outline or synopsis. A paragraph at the most. Try not to have more than 10 - 15 sentences.

Example information to include:

For a screenplay:

Genre
Title
Logline
Synopsis

For a TV series:
Title
The Concept
The Series Description (basically a synopsis)
Episodes Explained (Explain how the first 6 episodes will play out to show them that you’ve thought through the concept)

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I hope this gets you started. For more information, be sure to check out my book:  The #1 Secret to Sell Your Screenplay to Hollywood: Without an agent and even when you don't live in L.A.

Write right and write on!

Seven Most Popular Genres

The late Blake Synder was revolutionary when it came to story and plotting.  If you haven't read any of his Save the Cat books, I think there are 3 in the series, check them out.  He has a new way of looking at the same old genres we see time and time again.  He's the Polti of our generation.  Below are the seven most popular genres per Save the Cat.  If you like this approach, I think it's a fun approach to creating, there is also Save the Cat software and an Iphone App.  I love the app because then I can create on the go or while I'm waiting for appointments.  A creative mind is never idle!

The 7 Most Popular Genres per Save the Cat

1. DUDE WITH A PROBLEM - Every story, in essence, is about a “dude with a problem.” But this particular genre dictates a certain type of problem: one that is life-or-death and immediate, that must be solved through some sort of physical battle, right now. The whole movie is essentially a chronicle of that battle (which might consist of a series of mini-battles). Think Die Hard, Bourne Identity, Misery, 2012, or Apollo 13.


2. GOLDEN FLEECE - This often seems to be the “catch-all” genre when no other will fit. But it, too, has its own specific requirements that must be met for it to really work. The key is that the main character’s “team” is chasing a very clear and definable “prize” that seems unreachably hard. You’ll know the movie is over, because they’ve achieved the prize, or not. Often, I find in scripts purporting to be a “Fleece” that the “prize” is unclear, or not big or challenging enough, and the journey toward achieving it thus not as compelling as it could be. Think The Bad News Bears, Finding Nemo, Saving Private Ryan, Ocean’s Eleven, or Cast Away.

3. BUDDY LOVE - All movies have relationships with problems. But it’s not a “Buddy Love” unless the main problem of the movie has to do with a key relationship that seems essential to the main character, which is threatened by something. “Will they or won’t they end up together?” is the central question of the movie, and the main issue that is explored throughout. Think The Black Stallion, Starsky and Hutch, Pretty Woman, Mr. & Mrs. Smith, or An Officer and a Gentleman.

The world of fashion is an institution - and as a turns out - makes for a memorable film.

4. INSTITUTIONALIZED - Just because a story takes place at an “institution” of some sort, does not make it fit this genre. And the “institution” does not have to be literal. The question is whether there is a group with its own rules and norms that the main character is exploring the costs and benefits of membership in — and ultimately deciding whether they want to be a part of it or not. It’s about deciding who they want to be in relationship to it, and the risks and reward of same. Think Full Metal Jacket, Goodfellas, Office Space, The Devil Wears Prada, or Crash.

5. RITES OF PASSAGE - Similarly, just because a character is going through some sort of rite of passage (in the generic sense) does not mean it meets the criteria for this genre. The key here is that it is a relatable life problem (like adolescence, divorce, mid-life, loss of a loved one, or addiction), which the main character is avoiding by chasing something else. They are clearly on a wrong road, as they spend most of the movie in pursuit of some challenging goal that is entertaining to watch, but not ultimately going to work out well. Finally, they’re left having to face life after all, hopefully having learned something in the process. Think 10, The War of the Roses, Ordinary People, Trainspotting, or American Pie.

6. SUPERHERO - The key here is a nemesis and problem that is seemingly bigger than they are. It’s never compelling watching amazing people (real-life or made up) succeeding over and over again. Good stories are always about characters being pressed to their limits and overmatched — in hell, essentially — until the very end. (I cannot say this strongly enough. Stories are about dealing with big problems that only get worse when you try to deal with them. So are scenes, most of the time. This is the main issue that I work with on almost every story — making sure it’s a compelling problem that is big enough, hard enough, and complicated enough to take a whole movie to solve.) Think Erin Brockovich, the Harry Potter series, The Matrix, Gladiator or Spider-Man.

7. OUT OF THE BOTTLE - The “magical” catalyst should cause complications and challenges that never would’ve been there without it. Again, they make the hero’s life harder, in ways that demand to be solved. Usually, it’s easier for readers to swallow if the magic emerges from some sort of relatable, semi-explainable place (i.e., not too arbitrary or contrived) like a carnival wish machine, an electrical storm, or some established mythology like genies or witchcraft. And the magic should go away or be resolved in the end, with the character back to an essentially “normal life,” where they’ve grown in some way. Think Big, Aladdin, The Nutty Professor, Liar Liar or Field of Dreams.

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Question for today:  Where does your script or concept idea fall within these seven?
 
Happy Writing and Creating!

Hero's Journey tip: The Oracle

A tip from the Hero's Journey:
Every hero must meet an Oracle.

The Oracle is that entity that guides the Hero towards the tangible (Sword) that represents the intangibles (Expansion of Consciousness etc).


The Oracle can be literal. For example, in The Matrix (1999), a literal Oracle guides Neo towards the choice he must make.

The Oracle can be an inanimate object. For example, in Alien (1979), the Oracle is Mother the computer.

Or the Oracle can simply be metaphoric for any event that pushes the Hero in the required direction. In Scarface (1983), it is the assassination attempt that pushes Tony to take out Frank.
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Write right and write on!

Starting with a bang

The best way to hook someone who’s seeking a thrill is to start with an action scene. A quick example can be seen in the James Bond movies. Bond movies always starts in the middle of some life or death situation that he’s required to bomb, shoot, or ski his way through to safety. The action hook may or may not be related to the story as a whole, but it sets the tone for what the reader can expect throughout.

Question:  Does your script start with a bang?  If not, how can you incorporate a bang to make it pique the interest of the reader making them chose to skip lunch because they have to turn the page to find out what happens next.  Once they put it down, the chances of them picking it back up again is slim unless they are mandated to do so.

Write right and write on.