Message Board

LA Times wrote an article on it.

It listed the pros and cons, but for $29, what do you have to lose?

My best ideas come from the screwed up characters at work, either through observation or confessions.

They don't really give me an idea to base a script on, but they do give me material to develop characters or scenes.

At home, the best time I can write is in the wee dark hours of the morning. I use that time to obviously hammer away at the keyboard, but lately, I'm not doing anything but loggin on the internet.

James,

There's no e-mail, so you have to get off of your rump and do it the old fashion way -- let your fingers do the walking or snail mail.

Contact person is Eva Peel (310) 396-1662.

Spec Script Marketplace P.O. Box 1365 Santa Monica, CA 90406

P.S. I tried to e-mail info, but your address did not pop up. Anyway, I learned of this outlet through my scriptwriting workshop professor, if you're in the LA area, you should check him out. He's a pretty good critiquer and a good source provider.

Sara,

Your idea of a logline is correct. The people who deviate from the norm or simply amateurs.

The done deal line is just an informal gist of the script. It is simply a quick note of what sold, for how much, and a quick take about the storyline.

Okay, John(s),

This is straight from the article.

Producer Rob Marcarelli has solicited 25 scripts through the newsletter and optioned two, "Just in Time" by Tom Pocorobba and "underground" by Roger Stone and Bruce Jacobs.

Letitia Schwartz was contacted for her script, "Shame," by Shoreline Entertainment and has cut a development deal for the picture.

The scripters (who advertise) range from an unproduced factory worker in England to a William Morris Client with dozens of credits. Approxiamately 65% of advertisers have agents.

In brief... here's the negative...

Some people recieve many calls but no takers.

Some advertisers believe a query letter and phone call work better.

Andy,

I agree with Leigh. I've been going to a screenplay workshop which is a semester long. However, I keep enrolling in the class, because I learn something new every time. Plus, I get valuable resources.

IF you are in the Los Angeles area, it would be a great class for you. This class will help you decide if screenwriting is for you or if you can cut it.

Tim,

I'm preparing to go on vacation, and I'm attending a wedding.

Believe me, I listed the meat and potatoes of the article. I know you can contact Eva and she'll send you a copy of the newsletter; it is sent out to 1300 US film buyers, who pay $99 for annual subscriptions. The ads which cost $29 dollars each, are grouped according to genre and DO NOT IDENTIFY the writer, so that producers will be enticed solely by the pitch, not a resume.

If you ask, maybe she'll send you a copy of the article. It did a fair representation of her publication, so I do not see why she wouldn't go for it, if she has it.

If you can wait a week or two, maybe, I can get around to mailing it out to you.

Tim,

After production, the writer's job is done, sometimes before production.

I assume you're talking about the movie posters. Well, I THINK it's a combination, when you get something like GODZILLA's -- Size does Matter. That screams of marketing.

Like I said earlier, the writer's job is basically done when he or she signs the check, selling the script -- making it not their property or responsibility anymore. In a number of case, sometimes the producer might hire another writer to make changes, so there really isn't a need for the poor hack, once the script is in their hands.

What's Chris' board?

Address?

Paul,

By the way, is the newsletter you subscribe to called, STORYNOTES?

Tim,

The Hollwoody... ( I forget the name) anyway, is this the one where they offer you representation?

How is this Adam Kline?

The name sounds familiar. I remember hearing it in the magazine, but I'm getting a bad vibe, as though I heard some negative stuff on this site about him.

Endings? Let's start with the middle -- the hardest sh*t to write. Excuse, my lack of a more creative choice of words.

Since most of my stories are commercial, I opt for the most markatable ending. When I get more established, I figure I can use that time to go against the grain.

Don't get me wrong, my scripts are very entertaining. I write smart characters in place of stupid plots.

I was reading what I wrote, and it sounded a little hackish. Believe me, my plots are not stupid. I wanted to say I write smart characters INSTEAD of a stupid plot or characters.

I feel my technique is on the right track, because three of my scripts have placed well in competitions.

I firmly believe you can write a smart, sophiticated commercial script. Your endings could be "happy", but there is a creative way you can make the seemily positive ending appear a little bittersweet or twisted.

*A good, strong writer will be able to do this.

People,

Here's a rule of thumb for all:

If you didn't study it in English class, FORGET ABOUT IT!

I remember hearing these terms in class.

POV, setting, time, dialogue, character, and that's about it.

A few exceptions:

INSERT - CLOCK ON WALL

which reads 11:00.

BACK TO SCENE

INT. JOHN'S ROOM

John is on the phone talking to Sue.

INT. SUE'S KITCHEN

Sue is obviously upset by what she is hearing over the phone. INTERCUT Sue's reactions with John's conversation in his living room.

FADE IN:

SPEED

Bus is out of control.

Keanu saves the day.

Keanu and Sandra walk off into the sunlight.

FADE OUT:

________________________________________

Those are the basics for the amateurs. I would advise amateurs to not try any advance techniques, you don't want to set yourself up for failure, just concentrate on the story.

Jay,

To answer your questions, there are no TRENDS only WAVES in Hollywood.

What goes around comes around, again and again.

If I had to put my money on it, I would say the SATISFYING ending works best.

I don't believe in SAD endings. I saw a movie with Danny Glover and Matt Dillion; they were homeless men. Anyway, I didn't care for the ending. It was sad, and there was nothing satisfying about it.

In the Color Purple, it was bittersweet/satisfying. Ceelie was reunite with her kids, but they were no longer kids. See what I mean.

Sandra,

Good question. I had to look on the back of my video box to answer it, but you can bet I knew all the major characters.

That's why I had a topic on this page, titled, SCREENWRITER RECOGNITION MONTH. It is just a place where one could list their favorite screenwriters. It can be helpful as well, if you want representation to know what agent is working for what writer.

Did I get many post -- I DON'T THINK SO.

Now, the answer to your question, STory by Mark Andrus

Screenplay by MARK ANDRUS and James L. Brooks.

I need some dynamic pitching techniques -- STAT!

This is my weakest area, and I need intensive tips.

Valuable stuff. Get my drift.

Renee,

Well, thank you very much.

Crystal,

Just a side note, here...

Fargo was a true story, so art was imitating life, there.

However, I do not know if they really had a pregnant cop to reel in the bad guys.

Crystal,

Touche, very good! Beautifully executed.

Crystal,

As one becomes more experienced in screenwriting, they become aware of many tricks.

A writer can get away with telling an emotion, if they use this device sparingly.

i.e. During the dance, Mario tries to concentrate, but he is still obviously nervous and distracted.

Or better.

Mario slumps in his chair; he looks as though he is carrying the world on his shoulders.

It is sometimes better to just go ahead and write the emotion than to jot down directions and come off appearing vague. I.e. Mario slumps his shoulders.

Well, Mario slumping his shoulders could tell me many things. He's tired, he feels defeated, he's a slacker... what are you, as a writer, trying to convey?

P.S. I think we went astray from the topic, but this is good to know.

Leigh,

Your blanket statement does not apply to all contest, agents, and prod. comp.

First, you must consider what these people are looking for as a project.

I didn't enter my work in Sundance, because I knew they were looking for NONCOMMERCIAL scripts. I do not write noncommercial.

If I entered my script in their contest and did not make it to the quarterfinals, it does not necessarily have anything to do with the writing but everything to do with what they want.

The same could apply to agents and production companies.

ALSO, one can enter a well written sci-fi script into a contest and have someone read/judge their script who hates sci-fi. Sometimes, it depends on the luck of the draw(s).

I know the latter is true, because I have entered a sci-fi in a contest and did not advance to the first level. However, that same draft place well in THREEE different contest, even making it to the finals.

In short, marketing your script is a science. One contest can not determine the fate of a script's success. That would be like doing a survey and only asking for one person's input.









.

Crystal,

I feel my head getting fatter and fatter. Keep feeding my ego :)

James,

I was representing you et. al. (legalese for: and all.)

Did you read my post? If not, read it. If yes, read it again.

You'll see that I had your back :)

Sara,

Fargo is based on an actual true story. I remember hearing about the wood chipping incident on Donuhue, years before Fargo ever became a film.

I was quite young when I watched the talk show, but I remember hearing about the cop coming up to one of the bad guys, as he was in the act of dismembering the body in the wood chipper.

James,

Did you really want to see City of Angels? I heard it was pretty much a lame story, no imagination, at all. I heard the Preacher's Wife dealt better with angels than that sorry a&& movie.

Now, with Bulworth, well, that's a toss up. I saw the movie and -- HATED IT! But, I'm a chick. However, a lot of guys liked the movie.

To me it was amateurish, but it came off, in the begining, very serious and pretentious. In the vein of, dare I say it, BIG NIGHT. I must confess it was a little better than that movie, but that's not saying much. It did have a story, Beaty was suppose to be "shocking", but I didn't really raise an eyebrow. To me, it was an overhyped movie. If anyone, other than Mr. Warren did it, I'm sure people will find it less than

Sara,

Fargo is based on an actual true story. I remember hearing about the wood chipping incident on Donuhue, years before Fargo ever became a film.

I was quite young when I watched the talk show, but I remember hearing about the cop coming up to one of the bad guys, as he was in the act of dismembering the body in the wood chipper.

James,

Did you really want to see City of Angels? I heard it was pretty much a lame story, no imagination, at all. I heard the Preacher's Wife dealt better with angels than that sorry a&& movie.

Now, with Bulworth, well, that's a toss up. I saw the movie and -- HATED IT! But, I'm a chick. However, a lot of guys liked the movie.

To me it was amateurish, but it came off, in the begining, very serious and pretentious. In the vein of, dare I say it, BIG NIGHT. I must confess it was a little better than that movie, but that's not saying much. It did have a story, Beaty was suppose to be "shocking", but I didn't really raise an eyebrow. To me, it was an overhyped movie. If anyone, other than Mr. Warren did it, I'm sure people will find it less than

Sara,

Fargo is based on an actual true story. I remember hearing about the wood chipping incident on Donuhue, years before Fargo ever became a film.

I was quite young when I watched the talk show, but I remember hearing about the cop coming up to one of the bad guys, as he was in the act of dismembering the body in the wood chipper.

James,

Did you really want to see City of Angels? I heard it was pretty much a lame story, no imagination, at all. I heard the Preacher's Wife dealt better with angels than that sorry a&& movie.

Now, with Bulworth, well, that's a toss up. I saw the movie and -- HATED IT! But, I'm a chick. However, a lot of guys liked the movie.

To me it was amateurish, but it came off, in the begining, very serious and pretentious. In the vein of, dare I say it, BIG NIGHT. I must confess it was a little better than that movie, but that's not saying much. It did have a story, Beaty was suppose to be "shocking", but I didn't really raise an eyebrow. To me, it was an overhyped movie.

Tim,

That's good to know, but I don't think I would be too interested in the dry world of instructional video. Aw shucks, who am I kidding, where do I sign up? That is I don't have to do too much research to find the job and if it's not that competitive.

My question to you is, why did you tell me that? Mircosoft gig? Fonts?

Did you confuse me with someone else?

Crystal and all,

Since Chris did not respond to your dead-on-target post, I've come to the conclusion that maybe Chris is not with us anymore. S/he was probably a fly-by-night "writer", anyway; S/he is probably on to the next thing by now.

James,

Thanks for the tip, but I'll pass. That site is full of complete amateurs. I hope you aren't planning on picking up any bad tips from them. Believe me, I don't know much about pitching, but I know it mightly fleuntly.

Someone suggested a better site with real audio on pitching tips, but it is down. Catch you later.

Rob,

You said your read my post, did you comprehend? A contest such as Nicholl might say they are looking for all types of scripts, however, I wanted to know what others thought about it. Does Nicholl really CONSIDERS all categories or merely ACCEPTS all genres? Hey, every little $30 entry fee helps them but not necessarily my pocket.

NOW, I agree with Leigh to a point -- and only a point. Since, she only listed ONE reason for a rejection, I had to call her on it.

Personally, I did not enter Sundance; I said that in my original post. However, one CANNOT DISMISS the script as something inferior, because there are OTHER FACTORS involved in selecting and rejecting a script. I listed them. However, it is easy to say that a script wasn't good, because they didn't pick it, and it is easy to say some of these people on this topic are sour about not being selected. The latter may be true in part or in whole, but I was trying to highlight the less than obvious reason for rejection.

Tina,

I used it on TWO of my many scripts when I wanted to speeed up things.

I used it showing two people hitting it off, and I used it during a riot.

However, I only used this device ONCE during a script. Plus, these shots were incidental not key scenes that I was shortchanging.

P.S. For the two people hitting it off, it was a suspense thriller NOT A ROMANTIC COMEDY. I think if it were a different genre (rom. comedy) I would have shown these scenes in detail. However, if it were an off the wall comedy, maybe not; that's why I say leave the advance screenwriting techniques to someone who has a few scripts under their belt.

Geoff,

Hey, if someone starts talking about changing formats, something that took me years to learn, civility goes out the window.

They have unleashed a lioness -- watch out! : )

Geoff,

Oh by the way, Chris' alternative to the standard format wasn't something easier. S/he was advocating something that would make my life pure hell.

Tina,

I think Renee was correct. However, I was just PONDERING over the reason why they used the word, "bitch" in Casper. That is definately a family film.

Sometimes, your main characters will be children or your script centers around kids, but that does not make it a family movie. In this case, I would let the kids curse. I only had one script like this, however only the oldest child 17 cursed, but the parents definately cursed at them.

Larry,

I wouldn't assign physical characteristics to my leads, other than an age and a brief clue about the character. Why waste your time saying the character is beautiful when 9 times out of 10 there will be a beautiful actress playing the part; I THINK the same goes for race.

Of course, the latter does not apply when you are writing about a kid who goes to Morehouse, because it is a predominantly black univ. However, if you are writing a story that's trying to solve a crime, make a love connection, or kill aliens, then why bother with race. If you want to don't place the clue in the beginning, hook them first with your story, then, maybe they'll accept the lead as a minority.

Hey,

Big, bad words need big, bad issues. Usually this means you're writing about a dysfunctional family who does not have communication skills. They can't express themselves using kind words. They can't express themselves at all, so they curse to express anger, not thoughts.

If kids happen to be in the story or happen to be the center or lead, oh well.

Of course all of what I am saying is very much off the topic. I wouldn't even consider the above example a family script. I just wanted to point out the fine line between what might appears to be family fare but do to SUBJECT matter NOT AGE leaves the field open for different types of language.

Renee, I heard what you said about Casper, but why? They only used one word; it wasn't needed. This is a rhetorical question, I guess.

I use Movie Master -- the old dos version, because I am too cheap to fix something that's working for me.

Geoff,

Watch out! That cheat formating thing could get you a one-way ticket to the waste basket. You won't be able to fool anyone with it.

Renee,

I am addressing my own agenda? I don't think so; I believe I went off on a tangent. However, isn't that allowed?

I'm going to answer that affirmatively, because we all, Tina included diverted from Sheila's post.

Now, to use profanity or not, really has no bearing over a writer's ability or inability to tell a story. I am not the poster child or advocate for profanity in scripts. If you actually read or have given me the benefit of the doubt, you would know this. However, there's nothing wrong with colorful language.

I know this woman said she doesn't allow her children to use such language, and she shouldn't if she's writing for kids. However, I wanted to point out that SUBJECT MATTER not AGE determines what should be used, and if she's pondering the issue of profanity then maybe she needs to take a look at the SUBJECT MATTER, not the AGE.

Now, there are certain things that I will not use in my scripts, for example cruelty to animals. If I can find a way around that, I will find a substitute. Profanity, though, is a pretty tricky device to avoid, one has to be careful not to shortchange realism.

My comment was off the topic, yes, I think I pointed that out in my original post.

Rob,

Please define my agenda. Personally, I did not know I had one, but since you said so, I'm waiting to hear it.

Paul,

I thought so, it's a pretty good publication. I am now wondering where is my next issue. Anyway, I am assuming you live in or near L.A., if so, there's a workshop you can take for $50 a semester. The instructor is excellent; he's right in line with storynotes. You can even send him stuff after the workshop.

Tim,

Do they offer WGA approved representation. Did they offer you representation?

Mark,

I typed in the addrees, twice, but it read that the address does not exist.

Crystal,

This is it! I left this site, thinking, "Anime?"

Well, I let it settle in my brain, check out my bookmarks, and...

Behold I found something, and I wasn't even trying. Plus, I found something for me, as well.

Okay, enough of the babble, here it is.

Go to:

http://edit.my.yahoo.com/config/eval_suggest.

Once you get there, you're suppose to check off the subject that appeals to you, which will be "Anime", and they will send info. and SITES to you.

Let me know how it goes.

Richard,

Yeah, I felt the love on this post; it was overwhelming. Thanks for your positive acknowledgement.

I guess their egoes told them they were being attacked and quite naturally they wanted to strike back. That same ego kept them from recognizing that there are different ways of thinking.

However, I know it's okay to have a different opinion, even if it's off the topic or dead on.

Rob,

Your animosity towards me puzzles me the most. I have yet to be able to decipher your anger. I truly don't think you actually read all of my post. What I am trying to say is that, I believe you could learn a lot from people you do not agree with as well as from people where you are in agreement.

The truth about me, well, I want to learn more about the things I am aware of, and I want to fine-tune the things I really know. That's why I seek others' advice. Hence, Nicholl.

Paul,

When was the last time you received an issue of Storynotes? I can't remember when I got my last issue; I think maybe it was April.

I do not write with any particular star in mind. Once I am finished, I look at the script, and I might wonder about an actor. My main concern, though, is representation and to sell that work.

I must confess, though, on my very first script, I did have a couple of people in mind. However, I don't look at it as my job anymore, since I wouldn't be getting any dough or favours for dream casting. My ultimate job is big enough -- to get that script on the big screen.

John,

Keep subscribing (to W.A.) for all of us cheap bastards out there. I like to hear why they highlighted certain contests as a scam, especially Great American..., because I entered their contest a couple of years ago.

Tom,

There's a book out there, and I'm sure it costs a pretty penny. The name escapes me, but I use to know it. However, don't fret. If you go to Samuel French, they will be very helpful to you.

They are based in CA, but they have a website, or you can contact SAG. SAG will give you three names (I think that's the number) of actor's agents over the phone.

For James Redfield, here's my educated GUESS. Contact the publishing company and ask for the writer's agent. Maybe, it'll help if you say you're interested in producing something of his.

James,

No e-mail, you lazy bum. :)

However, I will try to get in contact with her to see about some other interesting tidbits she mailed to me. Maybe, I'll ask her if there actually is a website or e-mail address that she did not list.

However, if I were you, I would call her up, I did, and she sent me some good stuff, also that article on SSM that TIM requested.

I'm trying to figure out why this is all directed toward women.

Civility is open for all sexes and or the lack of it.

By the way...

Chivalry is a common courtesy from a gentleman extended to a lady. If one of the two beings are not in the equation then you don't have chivalry.

Tim,

Thaaaaaaank you! Hearing your words makes me remember how this site use to be -- and that's only going back a couple of months!

Since, I'm finally back to writing; I, too, am writing something that, well... is set in the church.

I had started on one story. It had strong religious tones, but I did not have a handle on it.

This one dabbles with or uses religion as a back drop -- but in a good way.

DG Balaz,

Of course, I read Chaucer's C. Tales, and I loved the profanity. I don't know if I'm with the masses, but yeah, I'm trying to feel your love.

Leigh,

Sour Grapes is what you said some people had on the Sundance topic. I was merely trying to defend the people who entered but were not selected by Sundance from your blanket statement. You attacked the applicants by saying they were sour about losing. I tried to put a different spin on it, now, if I had offended you in the process, it was not deliberate.

Rob,

Obviously, you have a fixation on me. I say -- get over it!!!

Yet, you keep following me from topic to topic. Now, you have said that I am rude. I believe I can say the same thing about you. I try to be civil, even though I can be curt at times, but then again I am entitled. I can't be all things to all people, and people are not going to agree with 100% of the things I say 100% of the time, anyway.

In fact, if I were "nice" 100% of the time then I would not be genuine. I would be something of a phoney, because humans are not perfect. Plus, I would be the last person to sit around and ponder over whether I stepped over your toes. Obviously, you are too sensitive, and that is your problem.

Now, you can chose to respond to this post are not; it doesn't matter. You can slam me if you want. I'm a big girl, and I can take it. However, all bets are off; if, you expect me to alter my words, because it offends you. As long as this is America, I am going to be true to my words, first.

Jay,

Thanks and ditto.

Not short story but...

No more than the first 30 pages of your script should be submitted.

Southwest Writers Workshop. 505-293-0303. Deadline 5/1 $39

The Sundance Screenwriters Lab Check this out!

No script but various items: appl. resume, synopsis. etc. 310-394-4662. 11/1 for June Lab $25.

Bonita,

Good lookin' out! Have you submitted an ad with them, yet?

Details, details...

Maybe, he could witness the murder of a family member or a close friend. You could have it as though there is a lot of pressure on the family to get him to speak.

JOHN C,

That's a tough one to get around, but I do know that you must get permission from the person who holds the copyright.

I worked in copy/advertising, and we always had to get permission just to use a couple of words, even though we changed some words.

Leigh,

I only used your name because of your post on this topic, and I will apologize if I had misread your past response.

In fact, I will apologize in advance for anything and everything I might say to offend you.

You are right, though, I do love a good argument. Ain't nothing wrong with that, is it Doc?

Wait!

Before you call in the men in the white coats, keep in mind, people like me keep you in business.

Sheila,

Why wait around? I would use the Hollywood Creative Directory and searched under Kid movies to find a suitable producer.

Or

You can read the credits of a kidvid and look up the prod. in the directory.

I'm in agreement, raping the kid is too drastic, but what do I know. However, if you chose to use this, the plot seems familiar to I KNOW WHY THE CAGED BIRD SINGS.

The girl in the story became speechless after the her rape.

chose = choose

Crystal,

I take a book and adapt it to the screenplay format, and it's mine?

Do you mean I can take someone's work, let's say Dean Koonz, fiddle with it, and like magic, it's mine?

If so,

Would I have to share my riches with Koonz after I cut my deal?

Or

Are my reading comprehension skills at an all time low?

Is it pass my bedtime?

Please, hurry with your answer.

Crystal,

I'm salivating over the thought of instant success.

If there was any kind of misprint on your part, and you have bad news to deliver, please break it to me gently.

Alva,

Everything everyone has said to you is valid.

I like DG's post about writing long hand; sometimes, you have to do that if you're not around a computer, anyway.

The FIRST thing you should do, is decide what genre (action, romantic, comedy, horror) your script will be. THEN pick up a copy of THE BEST SCRIPT in that category, and type the WHOLE DAMN THING. You'll learn format -- quick.

However, that script should be a RECENT one, let's say within five years (very important). IF POSSIBLE, it should be a reading script.

A reading script is a script that doesn't use camera stuff, like pan, dolly, cut to... In short, stuff you didn't learn in Language arts class, SO If you find yourself trying to figure out the words, then YOU HAVE A SHOOTING SCRIPT.

The only thing you should be concern with is Ext. Int. Fade in, Fade out, POV, V.O. (voice over), O.S (off screen). If you can't get your hands on a reading script, then a shooting script it is, just ignore all the no-nos in it.

This is a lot to learn, but if you start slow, with no fancy moves, then you'll be okay.

A very good source for format is STORYNOTES. (310) 715-6455.

It's like format for dummies.

It gives you everything and holds your hand.

A good program for format is MOVIE MASTER in DOS (why DOS, because it's cheaper); it's $99.

PLUS, it has PICTURES OF EVERY STEP, and I mean REAL PICTURES of every step.

Use a search engine to locate it on the web and download a free trial version.

email me if you have any questions about writing. poetest@hotmail.com

Alva

Hold out a while before buying a script or getting Scenario. There are places on the web where you can copy or read for free.

I use to know of a site, but they stopped showing their scripts. Yet, the search continues; I know one right off the tip of my tongue.

Hopefully, someone can list a site.

Ellen,

The same way.

..........EMPIRE STRIKES BACK

Once upon a time in a galaxy far, far away, blah, blah, blah....

EXT. GALAXY - PLANET NOTH

We see a space ship, blah, blah, blah... ______________________

Ellen,

By the way, there are no dots near title. I did that in an attempt to center the title. You asked for a split screen with words on both sides, I know, but it is up to the director if he or she would want to do it that way.

If it's some sort of zany comedy. I would say split screen.

OR BETTER YET--

I would write the words in two column as though they are SPOKEN words done by two characters at the same time.

once upon We see the star...in a P.S. I'm not going to warn you against doing this, since I'm sure you have read the earlier posts.

Ellen,

Oh boy, I hope you can discipher the message. Stupid web won't let me make a couple of columns, anyway, I tried to give you an example of what I meant.

Bonita,

I'm so jealous.

P.S. $39!

Sara,

That was a great movie. I loved it! However, I don't think you should waste your time to see if a particular line was in the movie.

I say, write it in your script as though it actually was in the movie. That would be borrowing a tip from my all time fave, PULP FICTION.

For example, Samuel Jackson quotes words from the bible which in fact (well, someone told me on the this site) did not exist.

Plus, how amany times have we heard these words, "Show me the money" on television shows, or "I'll be back", oh and "Don't make my day" to name a few.

I say write the movie and let the lawyers figure out the details.

This all seems intriguing, and I would go for it, if everyone was in California.

As it stands, we have someone in Pennsylvania, Michigican, California, and God knows where else.

I'm aware some people could take off to California for a few days, but scheduling that at the same time, could become a headache in itself.

Plus, donating DAYS would not be enough time to fully do the project justice.

The only headache should be the production, costs, and distribution.

However, if you wanted to showcase your work, maybe a short would be better.

Lemmons (Eve's Biyou) made a short, shopped it around, and got the go ahead to do a feature film. Even Spielberg started with a short and showed it at UCLA.

I'm not gung-ho about shorts, but it is an alternative. Plus, it would allow people from out of state to contribute to the project, easen the burden on the wallet, and maybe get something accomplished.

Since this is the first year of the contest, all one can do is either sit it out or submit.

So far Bad has a good record, well, how about a clean slate. It's sort of like someone who doesn't have a credit history.

Are you going to approve them for the gold card? Probably, not, but maybe, if you're feeling lucky or have good faith in them, you'll try them out, if they aren't asking for a mint.

Coming to the rescue!

reel.com

is selling it used for 12.99 and new for 14.99.

James,

At last, we disagree! I saw Trilogy when I was a kid, so I don't know if it could live up to my expectations, now.

However, I loved that whacked out vodoo doll! How could you not love the scene in which Karen throws it in the oven?

Larry,

I thought the Full Monty was the top grossing independant film.

Plus, don't forget lemmon's, Eve's Biyou. It was the top grossing film of its year. Of course, it helped to be featured on Oprah.

They e-mailed me, but the sight looks as though it's new.

However, it did not appeal to me, concept wise, because I have no desire to market my script on the internet.

For some reason, when I e-mailed them, I was thinking that it was going to be a sight for more advanced writers.

Joe,

Having worked as a copywriter, I do not believe writing for a tv commercial, counts as earnings from writing.

Why?

Well, a copywriter writes for the advertiser/client. In fact, it is copyrighted in their behalf. Plus, copywriters work in committee, well, at least with a graphic artist, and their commercial/idea stems from the clients input.

For example, the advertiser might already have a slogan that they want included in an ad, or they want certain words stressed in the commercial. When it all boils down, there is very little that is soley the product of the copywriter or anyone else for that matter.

John, John, John, you are right, so right, and I know you are talking about me, even though you include others in my error.

However, I have a problem when I am tired or working too quickly. Under such circumstances, I write how something sounds to me.

A lot of times, I right (oops, there it goes again) WRITE, "your" for "you're", all the time knowing the difference, but my eye does not catch it in time.

It is definately a mispelling, but it is not a mistake that I think is correct. It is just something that slips in there from time to time. There must be a name for it.

Dyslexics jumble their letters, and I jumble homonymns -- not all the time, only the occassions noted.

P.S. Now, dyslexic and homonymns may be true spelling errors, but I'm not checking my dictionary to find out.

Okay Jay,

What if you write instructions for a manual? Professional writer?

What if you write bills? Professional writer?

Or

What if you are a song writer? Professional writer?

The former would be consider industrial writing. If I were to be big in the idustrial video producting market, I don't think those skills would count for a talent in creative writing. However, I would be considered a pro in that market.

If I were a big time song writer, I don't think I can get my foot in the door at William Morris? Tupak wrote some great lines, but I don't think the powers that be will allow him a budget without having proved his worth in a script.

If I wrote bills, I would be considered, a lawyer, maybe or someone who is familiar with the termonology used in law. But a professional writer? Yeah, in the sense of what was eluded to on the topic, a creative writer?

just playing devil's advocate.

Joe con't

You are right to suggest asking the contest, first.

However, as a psuedo lawyer, I think I can drive a truck through the loop holes of the word, "professinal writer."

Maybe, they didn't use those exact terms, but if they did, they better be prepared right their wrong.

Alva,

If you are in California, I can help you. poetist@hotmail.com

The sad news is that it will take time to write a MARKETABLE script -- something you can sell, in laymen's term.

Learning occurs when you change your behavior.

Don't be too quick to write something you haven't thoroughly thought out in your mind. Later, you will regret it, because it will embarrass the hell out you.

You do have a talent of writing great query letters, and I have been writing for years, but I can't pass go until I acquire that skill.

Think of this as baking a cake for the very first time, from scratch. Would you want to enter THAT cake in a cooking contest? I don't think so, no matter how good it taste to you. Most likely, you would be competing against master chefs who know a thing or two about cooking cakes.

Plus,

The judges have been around for a while, as well; they know good food. They can distinguish a Hostess cake from a gormet creation.

On the formating,

You need to get it right. I can help you there.

Back to food...

If you now learned from the master chefs and created a beautiful feast, would you want to serve that meal on a garbage can lid?

Take your work seriously, and it shall be treated as such.

P.S. Formating is frightening (sp) in the begining, but it can be a piece of cake. Agents...

Hold out on the agents, they'll forget your name, but if you submit trash to them, they'll never forget it. If you write great query letters one time, I don't see why you can't do it again.

Alva,

The quickest way is to have someone format for you, because you are working on a deadline, of sort.

I believe Smart Girls Production will format it for you for a heafty fee. We're talking in the range of $125-$200+.

I would like to second an earlier post, if you are going to attempt to do it yourself. Keep it simple.

Remember this: If you didn't learn it in English/Lit. class, don't use it.

For example, I remember these terms, POV, setting, character, description, time (DAY, NIGHT, MORNING), and dialogue.

Since this site doesn't place the text on the post correctly -- like centering. It's totally incapable of doing that. Remember character and dialogue or centered, even if it doesn't appear that way on my example.

INT. MARK'S ROOM NIGHT

MARK TAYLOR, 14, a kid with a worried expression pounds away at his calculator.

MARK Wrong answer, what did I do wrong?

SARA, 40, ducks her head between the door.

SARA Still up, Honey?

MARK Yes, Mom.

Sara glides over to Mark and glances at the homework.

SARA Equations.

INT. TAYLOR'S KITCHEN NIGHT JOEY, 9, stuffs his chubby hand into the cookie jar.

SARA (O.S.) Joey! Snack time is over!

JOEY Geez.

This is the basic with one advance technique. O.S. means off screen.

What helped me the most was that I got a page of a script shooting or spec and place my typed page over it. If the margins line up, I was cool. Then I took it from there.

Good luck, if you're heading forward, keep it simple, though.

Oh well, I guess I can't demonstrate format on this site.

For about $2, the Writer's Guild publishes a format pamplet. It makes reference to Camera direction, and it warns agains using them a lot. However, it still sticks them in its sample.

Tim,

I mentioned hiring someone to format, because Alva is working under a deadline. There is no time, I think, to really learn formating and to turn in a flawless script.

Why, do I think this, because I have been sitting in on a beginning screenwriting workshop, for a couple of years, and frequently the person new to screenwriting stumbles on format. They mess up even with samples, suggestions, and books as aides.

Plus, I look at it this way, by paying someone to format, she's buying herself a valuable lesson.

Who's to say, she couldn't read through her script and say, "Dangit, I could have done that!" I will guarantee you; she'll learn quickly and will not be a repeat customer.

Plus, I didn't know that scriptwriting software could be so simple.

I know it is easy to use, but I use Movie Master. A program, though so simple, requires you to know some format. In addition, I thought all programs were basically the same.

Sure, you press a key or two, but you need to know when and where to do it, am I right? (THIS IS NOT A RHETORICAL QUESTION; I WANT AN ANSWER FOR THIS ONE.)

Plus, one has to match up what's on the monitor to the printed page. I find that once, I change printers or computers, I always have to do a little tweeking with the margins.

Is it just me or did anyone else experience the same thing, once they changed hardware?

Stu,

Once, I supplied my own standard release form to a prod. co. Don't sweat it, though. In a way, it is best to supply your own.

Don't think you have to hire a legal team to draft the form. I collected mine from two sources. One, I will not mention, because it does not deserve to be recognized.

You can probably get some screenwriting book but here is where I got mine.

Dealmaking in the Film & Television Industry from Negotiations to Fianl Contracts by Mark Litwak.

The title is a mouthful, but it offers pretty good material in laymen's term. Plus, it has the legalese defined for you in a glossary.

P.S. Sometimes, it is best to supply your own form, just in case some slime bucket tries to sneak something in on you.

Didi,

You are relatively new to the site, well at least your responses are. I just wanted to say how much I appreciate your sound comments, especially the one above my post.

There are few people whose comments that I value, because it is evident that they lack experience and or knowledge on the subject area that they chose to comment.

Some people come from a different angle, that of one which is not a writer, but I believe you are a writer. Anyway, it is good to have someone who has business savvy (sp), and I'm sure the artistry of the written word.

Tim my dueling pet,

You can bet I have formating down to a science. I will send no script (not even to a bum), unless it is picture perfect. That's why, whenever I change printers, twice so far, I make it a point to perfect the margins.

And what kind of writer do you take me for? I'll sell your first born in order to have my own computer, software, and printer, which I do have, so no need to worry the little darling.

Tim, it's been nice, but that was a weak retort, no printer of my own, no handle on formating? Come on, you can do better than that!

I'll duel with you on another topic, if you have grown tired or feeble. : )

P.S. The way you described your program sounds just like Moviemaster, but with Moviemaster you don't get a card. You see, once you press one of the three keys, your options pop up, and it tells you what to push. Maybe, yours does the same; I basically think all programs have the same skills. Like your prg., Moviemaster does not require tabs.

Tim,

You did say let's play devil's advocate, but my reading comprehension skills are at an all time low. When you say, "you", I think - me.

Anyway, I still have love for your message. You are one of the few people on this post whose responses I value, but I ain't sucking up to you, so there.

You have great maturity for my sometimes cutting remarks, which I did not know I had until recently. You take it in stride which is great.

I only say this, because I hope you know that I thoroughly enjoy nipping away at your remarks, when the occassion occurs. This does not happen often, but I am chopping away at the bits when it does.

Here's a question to ponder, that is off the topic.

Why do we use words like flame and duel when we are on the internet, myself included for the latter?

If we were face to face, in polite society, it would be considered a debate. Hmmm....

P.S. I haven't gone soft, but I thought I should toss you an axe to grind. This is a genuine question, that I would like to be answered by all.

Didi,

I think you make a good point, and I think Stu does as well.

It doesn't matter to me, either way. If a production company wanted a release form from me, cool, if not, great.

However, Stu makes a good point. If the prod.cos. are running a business, they should have the proper documents for their potential clients. It works out for their benefit that they do.

It would be like a mechanic asking a customer to furnish their own paper releasing the worker of wrong doing. You know that document that they make us all sign, whose small print we ignore.

Well, that's the best analogy I could think of, at this late hour.

Okay Tim,

Here's your bone. Good point.

I guess it would seem sensible for them to ask a writer to supply the form, if the company is in a rush for the product.

But what about, faxing and email?

I finally saw the movie.

It was moving but not a downer. I'm glad I was forced to go see this movie, because I would have never rented it.

I had to agree with the post above about the character of Ryan. Number one, Damon was not convincing as Ryan. Maybe, that was due to poor character development. I believe the character was only on the screen twenty minutes.

When he was on the screen, there was no real conflict between him and Hank's men. What little conflic there was, it was immediately squashed. The main deal was that Ryan didn't want to leave his outfit, but I was thinking, couldn't Hanks and his men force him to leave. I mean they did have orders which would over-ride Ryan's commands.

In all, I was hoping for more anomosity (once they were face-to-face) between Hank's outfit and Ryan, who was like thanks but no thanks.

In the final scene, decades later, there was not much sincerity between the older Ryan, because Ryan and Hank's character did not really go through the steps of developing a kinship.

Overall, excluding that minor detail, the movie was film-making, unlike Titanic which was a movie. With Oscar season around the corner, I can't wait to see SPR's contenders.

Sondra,

For object such as a radio, tv, etc. I center the object's name (i.e. radio) just as I would do a character's name.

Since, it's not possible to center on this site, keep in mind the word radio, along with everything else, should be centered.

Radio (Kasey Casem's voice) This week rolling in at number one is Aretha Franklin.

Phone (Jeff's voice) Hey, Sondra, what's up?

P.S. It's triple space between scenes.

Dangit!

The words in parenthesis (someone's voice) should be under the word, radio and phone.

Then the dialogue should be under the parenthesis.

Well, Sara, I can only tell you what works for me. I submitted scripts with radio in the character place, and in parenthesis, the voice emitting from the object.

I have use this format in two scripts that have placed in quite a few competitions. One script even made it to the finals.

For years, I have contributed to workshops, with four different professors, one was the writer for Robocop, and he was the one who told me to use this method.

Anyway, we shouldn't get too bogged down with the intricacies (sp) of advance format. As long as the writen makes damn clear of what she wants the reader to know then she has successfully formatted her script.

Keep in mind, that there are no set rules in format, once, you lay down the basics: margin, parenthetical, slug, etc. You are basically free to place information which ever way you want to, as long as it does not confuse the reader.

In the end, it doesn't really matter, because, as you get hip to the game, you'll eventually learn that you shouldn't have anything on the page.

P.S. Didi is totally correct on the phone conversation, with the use of intercut. I would do such a thing if I had conversation from two different locations.

However, I did not use intercut in my example, because my example consisted of someone just answering a phone.

I think that's all, but I ain't mad at you Sara.

Do a search on: Smart Girls Productions.

They do that kind of stuff.

It might be best to search through www.goto.com

Tim,

I agree on T2 which happens to be the one and only script that I have purchased, over the years.

Sara,

The use of the word, "filtered" troubles me. I think the characters are somewhat sininster by using such a term. You know the scene, bad guy covers the receiver of the phone with a hankie and talks through it, in order to get that muffled sound.

I, now this is just my opinion, think the reader would have a good understanding of how a voice carries over a phone. There really doesn't need to be a parenthetical, "filtered." Especially in this day and time when most phone systems and microphones, sound as clear as a bell.

Just a thought...

Call 'em up and see.

References?

It ain't a term paper; it's story telling.

Just relax and write what you know to be true. Nothing personal, but I don't think the producers or any other descision maker would want to see your notes.

Art,

You are so paranoid, relax.

I don't think Eisner had time from his busy schedule to read his hate mail when there are so many praises from brown-nosers.

Most likely, your letter ended in the trash heap or to some assistant to an assistant mail room clerk's shredder.

I mean you don't honestly think your letter wound up in the hands of Eisner. Let's keep our head on straight. As you get hip to the game, you'll learn that it is not so easy to reach the head of a Studios from the bottom.

Regarding your friend's submission...

It's all good. Your friend needs you as well as you need her. Remember, the business of getting into Hollywood is who you know. Well, wish her the best, since she's your shot.

I just hope you registered the script you sold to her before you gave it to her. It's a little insurance in case she gives you the cold shoulder.

Remember this Game recognizes game.

Rich,

Reality...

Your script is not original, most are not. Any work wanting commercial success follows some sort of a formula, and there is nothing wrong with that.

However, you should not be alarmed when a close cousin of your script pops out of the woodwork. I read a children's book that had the same premise, except I forget which planet.

Anyway, people mysteriously disappeared on this said planet, and it is up to Captain Courageous to solve the mystery. Granted they didn't have an ex-lover on board, this was kid faire.

Now, there is some legal recourse for you if you had that script copyrighted before the one in question, but this only holds up if there are strong, undeniable similiarities. It will take more than the similiar premise of a mission to Mars gone wrong and let's send a hero up there for answers.

P.S. Captain Courageous was a character name completely from my own original thinking. He is a superhero which I envision for my example. Any characters living or not resembling this entity is solely conquencidental (sp) legalese I undoublty screwing up...

Drum roll and the correct answer is... the first one.

Sondra,

You can steal ideas, because they cannot be copyrighted.

Scripts are copyrighted.

Take for instance the scenario when two similiar movies come out at the same time, like Armageddon and Deep Impact OR Wyatt Earp(sp) and Tombstone.

The idea is the same, but the characters (or the slant on them) and storytelling are different.

Dang you, Rich! You beat me to the punch. Go to bed!

Moviemakers can base fictional characters on real people, even using their names and likeness, without violating the right to privacy, under a California court ruling, by the state Supreme court on Wednesday, October 14, 1998.

This all stemmed from the "Sandlot" movie, where a character was based on a childhood friend of the moviemaker. It was proven that the nerdy character in the movie did not defame the real person, and therefor it was ruled in favor of the studio. Needless to say, the plaintiff did not receive any compensation for having a part of his childhood displayed for the paying public.

Wow, that opens up a new world of possibilities for writers, but I do feel as though it is a great wrong for anyone to produce a portion of someone's life without them being compensated or even asked.

Okay, I know some people are jumping for joy, because I have noticed a lot of writers wanting to base something on someone. Creativity be damned! Well, what's good for the goose is good for the gander, so I, too, have a story that I am dying to twist and embellish. Is this ruling right or wrong?

When in doubt, spell it out.

Of course, here is the rule:

In dialogue, one-word-numbers are written out or spelled, however you prefer to say it.

It's a free for all in the description or sluglines. Yet, I feel it is best to spell out decades, such as the twenties, and I believe it's okay to type a number for centuries, especially if you're writing a sci-fi 21st century. Although, I have seen the former (decades) not spelled.

P.S.

If you have a character that has numbers in its name -- use numbers in dialogue (i.e. R2D2). I searched a bit for that answer on my script; thought maybe someone could use the info.

Here's a revision to my post,

Spell out ONE AND TWO DIGIT numbers within dialogue: Ten, not 10. Twelve, not 12. Twenty-three, not 23. So, 0 through 99 are spelled out: zero through ninety-nine. (Tim, I know about the up to ten, spell it rule, but it's not standard form for scripts.)

For three digit numbers: If it's 500, write out "five hundred", since it's two words, but if it's 499 or 501 and etc., then you might want to use the numeral. If you spell it out it would take up too much space and probably be less easy to read.

Numbers of THREE DIGITS or more can go eihter way: 120 or one hundred and twenty -- unless the sentence STARTS with a number; then you must spell it out.

THE GENERAL RULE: spell out any number that can be written in one or two words (eleven, four hundred, sixty-four million **** since it's hyphenated, "sixty-four" counts as one word). If the number takes more than two words to write out: it's your choice. You can go with numbers or words, or, as you'll see, a combination.

Tim is correct, in saying that it's easier on the eyes to process and read the following example.

"You owe me fifty-eight million" oppose to " YOu owe me 58,000,000."

Remember, you're trying, in dialogue, to make it not just reader-friendly, but actor friendly.

P.S.

Tim, my all time favorite script, T2, uses numbers to describe the name/type of cyborgs, since they function as part of the the NAME OF A MACHINE.

Crystal,

He used the same name and likeness of the real McCoy. Since the movie was fictional, they put a real character and some real situations into a "fictional" movie.

Sure, we all base from reality certain things, but to go as far as keeping the real name and identical situations,is a bit too far.

Of course, it did not defame his character, but it did borrow from his life. On this issue, I am sort of torn, it does add realism to a part and movie, but what if it this was not about a nerd but a WELL KNOWN loose girl in high school. Let's say she changed her life over the years, but she played a vital part in this writer's passage to manhood. Does her past deserves to be dug up or anyone's past for that matter? Remember, it's not defamation, if it's true.











.

Sondra,

Welcome.

Very clean and reads at a good pace. Some points need to clear, such as...

The woman, is her face revealed, after the death? If so, you need to describe her.

I couldn't tell, and I didn't realize that she severed his hand, until you mentioned a knife. I wondered if she could have let him fall to his death, instead of slicing off his hand, first. What was the purpose?

Plus, I think you went a little long in the description of the "love making" scene. You wrote about snow, a bit too much. It was treading into novel writing on that point.

And another thing, I couldn't figure out the location. Yeah, I know you said Lady Libery, but I was trying to picture where your characters were. I didn't know they were perched high atop of some point, until the Man slips off the rail and hangs by his hands.

The good new is that the latter stems from some format problems which can easily be corrected.

I don't know how long you have been writing scripts, but this is a very nice start. It's not ready for submission, until you clear up some minor errors. All in all, I hope you don't take my critique too harshly.

JG,

"You're driving the true hopefuls away?"

Well, I never made a comment about scams or such, but your statement bugs me.

Why?

I feel as though if someone has the drive and talent to write, it will take a lot more than a nasty snide remark to sway them from their craft.

Plus,

If people want to bitch and moan, let them. If they see a scam or a questionable prod.co., it's in everyone's best interest if they make a loud stink.

But!

Instead, you ask them to have a soft heart. Do you want them as well to have a soft head to match?

Dawn,

Tim is right. Color really has no basis. Of course, I send out my material in a pale blue or grey, because I think those colors are less jarring. (sp).

Besides, I hate to use white, because the cover can get very dirty.

Simon,

They would probably prefer you to be available, for meetings or calls. The latter might be difficult due to the time difference. The former because of location.

There seems to be a warm reception to independent work coming from the UK i.e. Full Monty, Elizabeth, and the Crying Game to name a few. Usually, I've heard of foreign directors, like the aforementioned being wooed off to direct commercial films, what you may call "AmericaniZed" movies.

Sidenote: Too bad I'm missing that accent of yours; that would sell me, if I happen to be an agent. However, I can't say that's true for the others.

Simon,

I would test the waters before I would jump ship. Translation: Submit your work to American contest, agencies, and or production companies.

If they really like you, why not hop on a plane.

My very best sugestion would be to get an 800 or 888 number. Translation: A toll free phone number.

Don't worry. Usually, if an interested agent is calling, because of a query letter sent to them, they'll keep the phone message brief.

Anyway, it beats forking out the high rent (nothing compare to London, though), while you wait it out in LA.

Sondra,

I remember you spoke about your group in the past. I live in LA, and the commute would be a killer.

Just for curiousity's sake, what time on Wednesdays are the meetings held?

Forgive possible spelling errors.

Didi and Simon,

I hate to play devil's advocate, here, but getting into a respected agency like ICM is pretty tricky.

It's much harder to get in ICM, than any old agency, which is not to say that any NON ICM agency is going to be that much easier.

I heard that ALL the agents in packaging firms (ICM) must okay your entry into the agency. Translation: Everyone must want you. It has to be an unanomous (sp) vote.

PLUS, you must have a referral. Translation: Someone who's pretty big must give you a recommendation.

So Simon,

There is no easy way about it. Well, maybe, if you are willing to sleep your way to the top, but I hear they're doing away with the casting couch.

I'm sure it's just a matter of time before the representation couch is soon out the door.

James,

Is this a production company as you stated in your topic or a management team?

James,

I saw Elizabeth -- hated it!

Since, I have some free time tell me some flicks I should forgo -- video or theatre.

Sondra,

Tim's right on this one.

Now,

INT/EXT. JONES' HOUSE DAY

can be used. The use of INT./EXT. means that two adjacent areas will be covered in the scene.

Only a SUBTLE camera movement will be required to proceed from one area to another.

This may involve a situation wherin a character is inside the house for a few moments and then moves outside the door.

Sheila,

It depends on the contest. I've never entered Quantum, so I can't tell you. I know Nicholl publishes their names, and producers and such might give them a ring.

Jullian,

I think you're at the wrong place. You need to be sitting in front of a good entertainment lawyer.

That is if you feel as though this could be the big one and feel your work is worth every damn penny you'll have to fork out to this attorney.

However, if you're on the fence...

and, if you don't mind losing out on option money, than write the script for him. No skin off your back, right?

But time is money ...

This person may honestly like your idea, but that's not saying he would like how you wrote the story.

As a consquence, you might catch the too-many-cooks-in-the-kitchen syndrome and cater to someone else's likings.

For all you know, this guy's opinion could be far out and not in touch with mainstream society.

That's if you're aiming for something commercial.

Remember, different strokes for different folks.

So, back to the topic at hand...

Should you or shouldn't you? Should you compromise?

Should he buy the cow when he can get the milk for free?

Stay tuned..

How do I find one? Not for me, but my character.

Anyway, I need a book or a website that could direct me to slange, dialect, anything New York.

P.S. Besides Drew's page, does anyone know of any other site for scripts?

From: Da Gawdfadda

To: All espezz-cialeez yews from New Yawk who know a lil somethin bout Da Bronx, yah hear!

Now, Didi and Marleine,

Whuz the matta with dah boat of yews?

You make-a me wanna come over than and smack yew, knuckle heads.

I'm ma lookin for phrases an Italian Brooklynite would use.

Like-a, whadaya, whadaya, stupid or somethan!?

Yah mudder put yah on the short bus to school?

Look, I don't mean this in a bad way, but the boat of yews must be toy teen or somethan.

Now, don't give me no crappa, or the boat of yews be floatin with the littl fishies.

Rest in peace Frank!

(That I knows meanz God bless Frank Sinatra! Which any good New Yawka would knowz.) That's zit! That's whata I'm askin for, How awe ya? Is there a light in that freakin head of yourz?

Now, I hopa da boat of yews has a good sense a yuma, cuz we don't wanna meet at the hawbuh, do weez?

Oh Hawbuh, that's the wata betweeen Manhat-in and Brooklyn.

Remember, don't hold out on Da Gawdfadda and don't believe any of that crappa that the Don is caput! Because, I'm tellin the boat of yews, that as we speaka, I've got yah Mudda and yah Fadda in a headlock.

P.S. I hopa this getz through to that thick skull of yuzs. I'm askin' yah to speak my language, yews hear?

Tim and Didi,

Never fear...

I was just having fun on my post with the dialect.

I was asking for phrases, common in the area and widely known. For instance, a valley girl in the 80's would be heard saying, "Gag me with a spoon." A southern merchant might be heard saying to her customer, "Ya'll come back y'hear." All of these phrases really need no translation.

Back to the topic...

I want to know what someone from maybe the Bronx or Brooklyn would say.

My example, REST IN PEACE FRANK.

Or...

I swear on my mother's grave

Or...

I don't mean that in a bad way,

Or

Whatya whatya, stupid or something?

These are the ones that come quickly to mind.

I know I can't write, " the boat of yews" for fear of losing the reader, but I was trying to be creative in my post.

However, I must thank Jay for giving me a lead; I'll check it out.

The rest of you, I still need something. Maybe, phrases that are not so over the top, but if you have those, I'll take 'em, never know when they'll come in handy.

I'm working my butt off at Disney. My desk is cluttered with material that was referred up to ying-yang.

Their agents are ringing my phone off the hook. I've got pitch sessions up to my a&&. Someone walks through the door saying Cruise might be interested in that Romantic comedy, I sent him, but he has talks with Paramount.

Please, someone, schedule a lunch in there. I must convince him to sign with Disney!

But first...

I've got to sit in on a meeting with Eisner. It probably has something to do with getting him a bigger raise, since profits were marginal last year, he only received 50 million oppose to his usual $100 mil bonus.

In the meantime,

I've got to surf the internet and sift through hundreds of loglines. I hope no one knows I'm doing this. See everyone must come referred, but I really like some of these loglines, I'm hearing.

Shoot on company policy. Damn my six figure or more salary and my annual bonuses.

I'm taking my chances with Tim et al.

But wait, I've already got my readers doing overtime.

Hell, if I down some uppers, I can stay up all night reading their scripts.

Wait a minute...

I don't know if they can write, shoot I don't even know if their scripts are written. You get so many flakes on the internet, these days, all trying to pull the wool over your eyes.

Plus, I really don't have to do this. I'm at Disney. I'm set. People must crawl to me as long as my a&& is sitting behing that swirlin' chair.

Maybe, I should give them my address. To hell, if they come banging on my door demanding to know what I think of their scripts.

No, I think I should give them my e-mail address. They seem nice. Maybe, they won't flood my box with pretty-please's. Shoot, I could block them if they do, but kids these days, so technically in the know.

Hmmm....

I'll take my chances

reading the Mammoth rewrite can wait.

I've got to e-mail these guys - STAT! I don't know them from Adam, but if I bump my high profile clients and ignore their stupid calls, just so I can e-mail these fellas...

Well...

What am I waiting on...

Marleine,

Well, said.

Question: So how did you get CAA to read your script?

Poetist@hotmail.com





I got through half of it and thought it was brilliant stately for the newcomers.

Oops, I meant to delete the latter part.

Donna,

I hope you are not seriously considering writing a whole or even a stanza of song lyrics.

I can't remember a GOOD film where I sat glued to my seat, intoxicated by the songstress/actress.

It was really the characters that drew me in, and you must count on your writing for that.

In, LADY SINGS THE BLUES, Ross sang a line or two and dragged them out, never a song -- never even a stanza.

In contrast, Georgia was a bad movie with too much singing, for my taste. However, it did win some critical praise from Siskel and Ebert. Why?

Well, if you are considering including a song or two, watch GEORGIA. Then, if you feel you still want to do it, be my guest.

Re: Copywriting

If you include the lyrics in your screenplay, then you don't need to copyright the songs and the script separately. The whole kit and kaboodle is part of the deal.

I believe you mentioned something about music (score) well don't bother sticking that in your work. I doubt the reader will be able to read your music score.

In short, there are so many battles to create a viable product for someone to consider. It simply makes the task even harder to go against type and do something that's very risky.

Call SAG (screen actors' guild).

They'll give you a contact person for up to three actors.

John is correct. An agent can't double as a producer.

However, a manager can do so.

Nhim,

There's nothing in that, that sounds standard to me.

If they didn't like your material, they wouldn't bother giving you a critique or a reason why they didn't want it.

But then, for them to ask for money, via a brochure...

Now, that's totally not in line with the standard and practices of a WGA approve agency.

For clarity's sake, please use a NAME. You don't want to give anyone a reason to go, "Huh?"

Besides, it's gramatically correct to do so.

However, you don't have to keep using the name in the same direction.

For instance,

Mike picks up the phone; he hesitates.

Dream, until you burst.

Columbia Gives Writers Some Profits -- Movie profitst that is...

Hey, I swipe this from the A.P. News. The writers who want to be in the know read on and on and on. . . and excuse the snafu down the line.

Hollywood writers brokered a deal with Columbia Pictures that gives them a percentage of movie profits, an agreement that could rile rival studios and pressure them to adopt similar plans.

Studios historically have resisted giving writers percentages of a movie's gross receipts. Top writers can get $1 million to $2 million for a script and the Columbia deal would give them another 2 percent of the picture's gross.

At a time when studios already sweating out a shrinking bottom line as they pay big bucks to actors directors and producers, Columbia's rivals likely will have to come up with a comparable plan to attract top writers.

The deal caught other studios by surprise and executives declined requests Friday for interviews, saying it was too early to determine the impact of the Columbia deal.

"I imagine it will irk them at first, but on reflection I would hope not that they would feel that way," Daniel Petrie Jr., president of the Writers Guild of America west, said Friday. "It's more than a deal about money, it's about dignity.

"People who are sophisticated about the business know the importance of the screenwriter. But I feel for the public at large, and maybe more shortsighted people in the business, writers are looked down on."

Up to 40 percent of a film's gross can go to actors, so 2 percent isn't insignificant, a rival studio executive, speaking on condition of anonymity, told Daily Variety.

"This comes at a time when profitability is under siege in the movie business. So I ask you, 'Where are they getting the money?' With stars and directors taking points, there aren't any additional ones to give away," he said.

The group of more than 30 top writers approached other studios with the plan. Columbia, a unit of Japan's Sony Corp., was the only one that agreed to talk, and the discussions were kept confidential until Thursday's announcement.

"The writers came to explore collaboratively ways of justifying writers getting what they've always been denied," Columbia TriStar Motion Picture Group Vice Chairman Gareth Wigan said.

The writers represent the cream of the 8,500-member Writers Guild of America, including Eric Roth ("Forrest Gump"), Tom Schulman ("Dead Poets Society"), Ron Bass ("Rain Man," "My Best Friend's Wedding"), Nicholas Kazan ("Reversal of Fortune") and Frank Pierson ("Dog Day Afternoon").

The deal is very specific about who's entitled to a percentage of the gross. Among them, writers must be getting $750,000-plus per script, must have an Oscar or WGA award nomination, or sold a speculative script for more than $1 million.

About 200 writers fall into this category, Petrie said.

Under the deal, the writers under the Columbia pact will deliver one script, an original screenplay, an adaptation, or a rewrite, to Columbia within the next three years. A writer receiving sole screen credit is guaranteed 2 percent of gross box office receipts, or if there is co-writing screen credit, 1 percent of gross box office receipts.

The writers can either commit to one of five projects the studio proposes or give Columbia their own idea.

The gross receipts are calculated after the studio recoups its production, marketing and distribution costs. With the average movie costing about $60 million, if it were to earn $200 million in box office receipts, a writer who receives sole screen credit would get $2.8 million on top of the initial writer's fee.

AP-NY-02-05-99 1717EST<

Copyright © Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

Jay,

This is what I know to be the absolute truth -- find a damn name for your salutation.

A simple dear CAA, won't cut it.

The rest is an art form that I have yet to perfect.

Hell no!

It reeks of a rank amateur.

Any self-respecting writer would register their work, so there is no need to broadcast it.

Besides, the moment you list a number on your script it is a tell tale sign to everyone, that here is a someone who is out of the loop.

Sondra

Sounds good. I live in LA, and I'm tackling my second romantic comedy.

Rom. comedies are not my easiest scripts to write; I'm better at sci-fi.

However, I do attend a workshop, but I am open to a writing group.

I'm in a workshop for all genres.

I assume there are benefits as well as deficits (sp) for being in a group that is genre specific.

If we were to write romantic novels, we would greatly benefit by working with like minds, since that is a large and diverse market (i.e. historical romance, modern, etc.).

For screenwriters, I guess one can say the same. If the group is focussed on commercial work, we could plug in the important aspect of a sound r.c. script.

Then analyze, analyze, analyze. . .

On the down side, by restricting our genre to only romantic comedies, we maybe dismissing a lot of good people, (ones who have good eyes for structure and direction then can articulate those points).

I have learned that a good writer doesn't necessarily mean that they can be a good critiquer of other's work. For instance, they may know that something isn't working, but they aren't able to put their finger on it.

Sometimes, someone who doesn't know too much about the category can be very direct and to the point.

Teri

Let it be known that I have never had an agent, but I do know a few things.

It is true that an agency can charge you,(you being their SIGNED CLIENT) for copying your scripts in order to have them available for inquiries.

Cheapskapes!

However, since you are not their client, I think it would be wise to give the WGA a call and direct this to their attention.

I'm glad to hear Jeff Newman made the ranks. He had a nice screenwriting newsletter out, called Storynotes.

However, I don't if I can give thumbs up to the Christopher Columbus contest. It is a total sham.

Why?

Well, I sent them two scripts in separate envelopes, and within TWO DAYS, I get two rejection letters.

I mean, I mailed the suckers out on a Monday and by Thursday I had an answer.

The troubling part was that they were suppose to be in a year-round contest which, at the time, was suppose to be held every month.

Sondra,

Don't hold your breath.

A critique is just a critique, from last I checked.

Sondra,

I agree, but sometimes writers aren't able to articulate the faults of a script. I don't care how good of a writer they are, a lot of us fall short in this category.

We may know that a script is lacking. We may be able to point out certain situations that fall flat, but too few of us are able to give solid advice on direction.

Stuff like: this scene is too short, this drags, there's no tension, and etc.

These are important elements that are often overlooked by most.

N Smith,

Tell me more! There was a time I was considering using her, but I found a great workshop.

However. . .

Anyway, I want to know what are her prices, these days? Well, that's one thing.

Thanks, N!

Can I call you, N?

At last, the mystery is solved!

N is for Nancy. (Same name as my sis.)

Hey, after spring cleaning, guess what?

I stumbled upon Donnie's card, go figure!

Do you think this is a sign?

Jaime,

Better safe than sorry!

I don't know about the WGA and its policy on foreign registration, but I believe the Library of Congress is open to everyone.

Plus, it's the same price as the WGA. Even better, it's last a lifetime, so there is no need to renew after five years.

Anyway, I think production companies feel safer knowing that a work is copyrighted under US laws.

Yolanda,

I just want to preface that this doesn't have anything to do with the topic at hand.

It is about an assumption you made about Spike Lee's taste in scripts.

You said you think he goes for gangsta genres?

What film has he done that comes close to being considered gangsta?

She's Gotta Have It. School Dazes. Do The Right Thing. Mo Better Blues. Malcom X. Jungle Feaver. Clockers. Get on the Bus Girl 6 Four Little Girls. Crooklyn. He Got Game.

Yolanda,

Don't get too hostile.

I only pointed out something you said that I felt needed some clarification.

Gangsta films are far from Films BASED in the hood.

Drugs addicts are everywhere, and I don't feel that Lee's use of them is either here or there.

It's fine that you do not write material remotely close to Lee's liking, and I do not either.

However, if you felt that Lee's films were against your type then why did you bother submitting material to him?

Just curious?

P.S. You'll probably find more typing errors. C'est la vie.

Yolanda,

I am only a fan of Lee's film, DO THE RIGHT THING. The other movies are far from being a masterpiece.

However, I feel he has a lot of talent, and I catch glimpses of it in most of the aforementioned pictures.

When you labeled his work as gangsta, I paused. Since, this is an open forum, I wanted you to expound on that statement.

That's all.

You catching me on a mispelled word, doesn't get me upset. In this word of spell checkers, why worry?

Ooops!

There I go again.

I meant to type, "World."

When it was called the Christopher Columbus Awards, it was called a SCAM!

Now, that it is called the Discovery awards, I wonder why they had to change their name?

Hey, I don't want to go through a whole drama, but years ago, I did submit two scripts to them. IT WAS SUPPOSE TO BE CONSIDERED FOR A YEAR LONG CONTEST THAT WOULD BE HELD EVERY MONTH.

Anyway, I sent the scripts off on a Monday in LA and got two rejection letters by Thursday!

WHICH WOULD MAKE THAT ONE DAY PROCESS OF READING TWO SCRIPTS, SENDING OUT THE REJECTION LETTER, AND MAILING THE BAD NEWS TO ME.

I felt they had my name already on the rejection letter, and all they wanted was my check.

If I was the person I am today, I would have stopped payment on the checks, just as quick as they whipped out the reject letter.

This may seem like sour grapes, but it is not, believe me. Now, I know my writing wasn't up to par at the time; it was far from being perfect. My question is did they even read it? What happen to holding the material for a year and looking at it every month.

Anal Correction to post above:

The above should read as follows:

If I were the person I am today. . .

or

Should it?

Nathan,

There is nothing to fear. You can include those terms in your script if it is necessary.

If a scene calls for that call -- call it. If it clarifies things, because it wouldn't makes sense to have, let's say a vampire movie, without those terms.

Also, I want to tell you to not worry, because screenwriting does allow you some creative license (sp?).

Mainly, readers are most concern (at first glance) about grammar, spelling, and format. Format, meaning that your page and text are correct, and that you don't use camera directions.

The rest is a piece of cake.

Correction: It wouldn't MAKE sense...

Well said, Sondra.

I must add that if a SMART writer spots something is not clicking with his or her script, than it would behoove him or her to re-evaluate their work.

If this means rewrites (which most of the time means it does) than so be it.

It doesn't mean write with the trends, but it does most definately mean FOR COMMERCIAL SUCCESS write for the audience.

They used poetry a lot in Poetic Justice, in fact the main character was a poet.

Plus, they used poetry in The Postman (Il Postino), because the main character befriended a poet.

Oh, and Love Jones! They went to coffee houses a lot and recited poems for the most part.

I must say, though, that these movies, sprinkled their film with poetry. I don't remember hearing a very long poem read.

I suggest you check out these scripts, first, but I don't see anything wrong with it, if the script isn't littered with poetry.

P.S. This is late. Excuse all typos, mechanical errors, and spelling.

Christine did a good job at explaining this all, Captain.

I've been a finalist, semi-finalist, and so forth in a number of contest.

I must tell you that I do CAPITALIZE sound, and I think that not doing so is a new thing.

I do use the following once every blue moon: Insert and Intercut.

My thing is if I am going to cheap with a camera direction, I'll stick it somewhere away from the front. That way, I'll most likely be guaranteed a read.

Personally, I don't think Gary is a producer, but I will say he is a critiquer.

Sure, a person, who reads material, doesn't have to buy what he or she reads, but I do wonder about him.

Where does he get this time to read all of these scripts?

Shouldn't he hire a reader to help carry the load?

He really needs the latter, because he critiqued a scipt of mine, which left me wondering, as well.

Why? Well, let's just say that he missed a lot of key facts, and he critiqued things that I did not write. Big time! I mean the man stated "FACTS" that were not there. I was like, "Huh, who this person he's talking about? He did what? He said what?"

Now, I must say that I have been in a writer's workshop for years, and at least 30 people have read and critiqued the script. I heard no such thing from them, because they as well as a friends, were able to follow the story. Plus, I wouldn't dare send out anything that I did not proofread about 20 times -- and that's a fact! (Posting on this board is another story, though.)

Now, I do not want to sound bitter or anything of the sort, but I must say that I have my reservations. For the most part, he did do a good critique of my material -- the part that he read, that is. I just wished he read the middle and the end. That's all. In short, he made me feel sort of bad, maybe my story wasn't his cup of tea. I did say it was a romantic comedy, but it also dealt with fairy tales. He didn't seem to like the latter, but I felt as though he should have not given me a critique if he couldn't read the material.



--- excuse all typos and such.

To All:

About a week ago, Gary e-mail me an explanation. It did not address all of my concerns, but I do feel he was genuine in his response.

So, I'll leave it there. All's forgiven on my end.

My instructor was a finalist in their screenwriting contest and was invited to to come for free.

I trust his opinion, and he thoroughly enjoyed the event.

Sondra has it almost just right

except. . .

INSERT - CALENDAR

then you put info about the flying pages. i.e. Dec. 24th . . . Dec. 25th. . .

mike,

You can do whatever you want.

HOWEVER!

The standard is to introduce the narration early, having VO only at the end of a script is jolting.

If there is no reason to hide the voice of Michael, there is no need to say a man's voice.

Instead, you can do this.

Michael (V.O.)

Once upon a time, in a galaxy far, far away. . .

But are you sure, it's a voice over? It's late for me to do any real serious remembering, but I believe you have Michael speaking as he is entering.

If that's the case, you would want to write it this way.

Michael (O.S.)

Hi, Karen! What's up?

Michael hops on the bed.

Michael

I heard you weren't feeling that well.

O.S. stands for off screen or off camera, which means we hear the character and he is in the scene, but not within the view of the camera.

Ron,

30 pages equal 30 minutes in a movie.

My question is would you sit through 30 minutes of a film, if it didn't interest you?

I mean, you have to tell a story in a short amount of space, and in that time, you want to grab the reader's attention.

It may not seem ideal to you, but that's the way it t'is.

Tudor,

Details, details, please.

First, are you trying to reach the British or the American market?

Film/serialized?

Are you trying to write for television or film?

Sondra,

Are you sure Movie Master isn't called Movie Magic?

I knew they were once the top screenwriting format program, now Movie Magic is very prominent.

Just wondering . . .

Steven

It depends on the contest. Personally, Nichol's is too artsy in their selection of scripts, in my opinion.

However, there are other contest that are commercial, but I haven't wrote nor submitted one good comedy to know which one that would be.

Of course, a lot depends on what you said in your post, in regards to people's individual tastes. Plus, I totally agree with you about comedies being more difficult to write than dramas or any other genre for that matter.

Since, people are reviewing summer flicks, I thought I would take a stab at critiquing a film.

I saw Summer of Sam on its opening weekend, and I can truly give it a thumbs up.

Sure, it was a bit long here or there, but overall it kept me in my seat rooting for Brody.

Oh, and who can forget the dog scene. That made the movie right there for me.

However, I would place this movie a notch below Do the Right Thing and tie it with Malcom X of Lee's work.

Finally, I have a Spike Lee top three list. I am not a true fan, but I do love the little worlds he takes the audience to see. In short, I was quite please on this tour of New York in the summer of Sam.

What's your take?

Tim,

You don't need both, but a WGA copyright will not do the same as the Library of Congress.

In essence, you get more bang for your buck with the government. Go figure?

This bang happens if a legal issue may arise, and it's for life and then some with the govt.

You only have five years with the WGA, and their number won't be much use during a trial.

I THINK the WGA says you submitted the material on said date, but they will not declare that you originated the work.

In essence, they are nothing more than a storage company. They will pull out your script and show what they got from you, but that's about all, folks.

This one got me wondering. . .

A production company asked me to write a treatment for a true crime story. I pitched the idea, because they asked me if I had a true-crime story.

Well, I had a STORY not a script. They heard my pitch and liked it. Then, they asked me to write a treatment.

But what if I wanted to write a script, which I always wanted to do, but for legal reasons stayed away from it?

The story is fairly recent, not too widely known, but known.

I don't think I need to ask for permission, because I was thinking about shows such as Law and Order, which snatch stories write off the press.

Plus, the show sticks very close to the story, though, occassionaly taking some liberties. Well, anyway, I felt I can do the same.

Any legal eagles out there?

Tim,

Can you give me a Cliffnotes version of it?

After thinking this over, I would be quite happy just writing a treatment, since I have too many obligations at the time. Besides, I love the luxury of having time to write without deadlines. [Though, I don't see this script as something too complex to write.]

However, I think the information in that book can be useful for future reference or if things should change.

Thanks.

Washers!

Boy, that's a new one. I guess I should stop writing and actually shop for supplies, not sponge from the office.

However, to answer the original post, I use Labelon, now since I just heard Acco was a no-no. To tell the truth, I have a smorgesbord (sp) of brads.

Labelon 800-428-5566.

Jennifer,

You don't want to write a montage; you want to write a series of shots.

Series of Shots as the heading implies, is a series of short, usually action-type "mini scenes" which serve to move the audience quickly through time or a sequence of events. Examples: Highlights of a sporting event culminating in a "win" for the home team. A chase. A blossoming romance (sp)

A montage is similiar to the above and often confused with it. The difference is that a Montage incorporates more on the screen simultaneously -- at least two or more different but related subjects which dissolve in and out of and onto one another. The opening scenes of "Apocalypse Now" are an excellent example of a Montage.

NOW HOW DO YOU WRITE YOUR TYPE OF SERIES OF SHOTS?

SERIES OF SHOTS

Jack meets Jill at the door

Jack and Jill dance at a disco

Jack and Jill kiss at the door.

INT. JILL'S ROOM NIGHT

Jill lies on the bed with a phone to her ear.

JIll (into the phone)

I can't believe it! You want to go out again?!

SERIES OF SHOTS

Jack and Jill drive up a desert road.

Jack kisses Jill in front of a wedding chapel.

Jack and Jill hit the jackpot at a slot machine.

Hopes this helps.

Joan said it best, and Daryl has a point as well as the other guy.

Joan's definition is good, but I would like to add that you can use a beat in your action.

For example,

Joan slowly moves to the box. Should she or shouldn't she? She rests her hand on the lid then takes a beat before

Eric shoots through the door and catches her red-handed.

____________________

As it was mentioned above, use these directions sparingly and only when it's absolutely necessary.

My sentiments exactly.

DG,

I only voiced my opinion on your Topic heading -- not your script.

I've tried to access the Zoetrope site, but it is down. I've tried twice, and I'll keep on if the thought doesn't leave me.

Now, I have never made the step to seek out someone's spec script, so you can consider it a compliment.

However, here's the truth. I always wanted to check out the site, but never had the time until now.

Now, I'll give your screenplay a customary ten page read, perhaps if it's coherent.

Suzanne,

You DO NOT wait around for a response from ANYONE.

If they don't want you to show (shop) your script to anyone else, than they need to hurry up and option it.

Option means putting money on a script, so they will have exclusive rights (within a predetermined amount of time, usually no more than two years) to see if they can make it into a movie.

Plus, if you do not have a legal agreement with them -- option, you are not obligated to them. Whatsoever!

P.S. I do not consider entering your script into a competition the same as shopping it around town.

I LOVE Fade Ins!

There's nothing better than looking at a blank screen and immediately typing Fade In.

I mean, it gives you a starting point, and that's fantastic. You don't know how many times I rewrite, but I can guarantee you , that I won't have to touch the Fade In.

It's wonderful to know that there lies one original element from my first draft.

P.S. It maybe silly to do, but if the votes out there to ax it, I vote nay!

Nathan,

Rings, what are they?

I'm figuring something resembling a real ring.

To answer your question, I guess, it all depends on the competition.

If it considers itself a respectable literary competition, they have exact specifications.

Is this fair?

Well, it is one way to distinguish the rank amateurs from the amateurs. If you are serious about your craft, you will take the time to read the small print. Hey, you are spending your hard earn cash (or somebody's) on these contests.

Plus, you should know the industry standard regarding format and presentation. There is a difference in the two.

Besides, what's the point in submitting material, if you're going to skip over the formalities? Which are the basics, and it you can't seem to get that, well...

I have read lots of scripts in my workshop, and I sigh heavily when I come across haste. To the reader, it becomes just an extra burden.

Yet, I must confess, I too threw out haste in my frustration over format. However, I never was so incline to submit this to anyone other than my instructor, who chewed me out over it.

Well, a good chewing out was all it took. From that point on, I got my act together. I literally held my script page to one that I knew was correctly formatted. Plus, I got my hands on good resources.

A motto of mine. . .

If it doesn't look like the Real McCoy, it isn't going out with my name on it.

Of course, I know this may sound harsh, but it needs to be said, especially since you come across as a nice person. Nathan put those FADE INs in your script, make sure those margins are exact, the font, and what have you. There are big bucks at stake, not small potatoes, so don't treat it as such.

A good way to get you in shape, is for you to type someone's correctlty formatted spec script, and that ain't a shooting script ( one with camera directions and scene numbers). Type the whole damn thing if you must. We need you to bring credit to our craft. If you have questions along the way, no matter how simple in nature, e-mail me at Poetist@hotmail.com. Do anything but send your money with nonstandard material.

P.S. Where do you reside? If you are located near the Torrance, CA area, I'm inviting you to join my workshop. I'll promise not to bite off your head.

Marlon,

You can use whatever you want, as freely as you want, when it comes to the time of day part.

It is just customary to write day/night, because, in most scenes, there's not much significance riding on the time of day.

So. . . people just write day/night.

DAY/NIGHT IS NOT AN INDUSTRY STANDARD that's etched in stone.

If it's important to write dawn, do it. There's nothing to hate.

Suzanne,

I do not have the time to waste.

Plus, words cannot convey my true worth, so why bother?

David is nitpicking, and he should be worrying about not ending his sentences with prepositions.

Lynn tried to hint about it, but I'll be bold enough to say it.

David, you have enough mistakes in your post to keep you in a grammar and mechanics book for ages.

Zsa Zsa,

You can tell your people that, but try imposing your demands on someone who has an ounce of power.

You denounce grammar and mechanics, but I must say these things do make for an easy read.

Of course, your characters can speak any way they want, and you can break every grammar rule in the book, when it comes to dialogue.

So rejoice on that end.

Leonard,

I'm just curious. I know a couple of people, who inked a big deal.

However, they never received their six figures, because the movie did not go into production.

Further more, I was told in school that a writer does not receive the money in a lump sum.

They get it in thirds.

One third for pre-production.

Another third for production.

And the last third for post-production.

This makes sense to me, because Hollywood "buys" a lot of scripts. However, most of them stay on the shelf, without ever seeing the light of day.

So, technically, someone can pay a third, of let's say 100,000, which would be 33,000 and consider the writer paid in full, if let's say the script dies in pre-production.

The same is so for actors. Haven't you heard of actors, who have walked off of sets, because they weren't paid?

Leonard,

I'm just curious. I know a couple of people, who inked a big deal.

However, they never received their six figures, because the movie did not go into production.

Further more, I was told in school that a writer does not receive the money in a lump sum.

They get it in thirds.

One third for pre-production.

Another third for production.

And the last third for post-production.

This makes sense to me, because Hollywood "buys" a lot of scripts. However, most of them stay on the shelf, without ever seeing the light of day.

So, technically, someone can pay a third, of let's say 100,000, which would be 33,000 and consider the writer paid in full, if let's say the script dies in pre-production.

The same is so for actors. Haven't you heard of actors, who have walked off of sets, because they weren't paid?

The movie was a tour-de-France, but I couldn't help but feel jilted over the ending.

I have to agree with Roger Ebert.

I think the writer made a terrible turn by announcing the ending.

con't: The writer made a terrible turn by announcing the ending at the beginning.

I'm gonna say it again, I don't like to be told the ending.

If this topic, had announced the ending, people (who didn't see it) would be up in arms.

As I sat through the film, I couldn't help but have a count down for the hit.

I second what Darryl said, a viewer simply doesn't invest much into a character, whom they know is doomed.

Think of Private Ryan, SPOILER COMING!

If you knew most of the troop and Tom Hanks character were going to die at the begining, a la American Beauty style, would you feel the way you did when you walked out the theatre?

Watching AB, I felt I couldn't root for Spacey's character, because the monologue gave me no reason.

It simply stated he was a loser and a goner, and who roots for losers?

Side note:

One movie, Casino, did a great job by fooling the audience into believing they were seeing the true end of De Niro's character at the beginning.

Steven,

If it sound like a duck and walks like one to the buyer than it is, simply put.

There is no accountability, unless the producers demand that there be an expert on the set or to supervise the script in some fashion.

Hey!

You're quoting from one of my favorite artist -- Sam Cooke.

He wrote this song as well, so it is quite appropriate that it's listed under a writer's site.

Someone made a comment about there not being any movies worth the popcorn, well, I think this one's worth the price of ADMISSION!

It kept me guessing, and I liked the characters.

I liked it much better than American Beauty, which didn't offer any hope.

I'm surprised I got a response! Wasn't this the number one movie a week ago?

I don't want to say it, but I find it very odd that films that feature mainly black characters don't get the recognition that they deserve.

I'm not saying that the ones of late deserve it, but when there are some gems, I do think they deserve to be recognized.

Examples: Down in the Delta, Summer of Sam, Best Man, and Why Do Fools Fall in Love, to name recents ones.

Tory,

What in my opinion is a gem?

Well, words cannot describe it, until I see it.

I don't think I have a problem with taste in movies. It's what I like, and I deem important enough to mention.

Some of the things that I gravitate toward are the following: unique characters (which are often found in independment films), an element of surprise, and good story telling.

I'll give you an example of my all time favorite films: Pulp Fiction, Fargo, What's Love Got to Do with It, Terms of Endearment, My Cousin Vinny, Beverly Hills Cop, Tombstone, The Crying Game, Terminator II, This Boy's Life, Dog Day Afternoon, and Do the Right Thing.

I'm sure I am forgetting some, but I just wanted to give you a sample of what I like.

Michael,

I hear what you're saying, but I also hear what the following poster stated.

I, too, get sick of the numerous basic questions. Simple questions like "How do I get an agent?" makes me scream. Spend some time in a book folks or better yet buy one, for it'll serve as a good reference tool.

However, Michael, I wouldn't suggest for someone to read a "produced" script, because those are shooting scripts, which are different than spects. They have stuff in there that the writer need not bother with, i. e. PAN IN.

Spects with very few directions -- I would suggest reading.

Okay, John,

Since the cat is out of the bag, why don't you tell us the storyline, and let us see for ourselves?

Better to read a bad couple of sentences than attempt to read a complete awful 120 page script.

It's a common belief that if someone can't write an entertaining 2-3 sentence, it's usually a reflection on their writing.

Personally, I find reading others scripts to be painstaking, because they don't use the correct grammar, mechanics, or formats.

9 times out of 10 they even have spelling mistakes. Now, how lame is that! Aren't we in the age of spellcheckers.

P.S. excuse, any mistakes that I may have in this post, because it's late. I have no spellchecker, but a dictionary, which is out of my reach.

Steven,

The screenwriter does not need to please the reader, since when?

Aren't those the first hands that touch the script, once it's on it's way to Hollywood?

My take on the writer who lacks language arts skills is to give it to someone else, who has those skills and pay them handsomely.

That is if they feel their BRILLIANT idea is worth the investment. Might of fact, they got professionals who do that sort of thing.

Good post!

Congress should wonder if the internet has done so well so far without charging folks, what would be the need to do so now?

Could it be . . . GREED!

Sondra,

To answer your first question

INT. LIVING ROOM - LATER

You want to make things clear for the reader.

There could be a better way to write it, but I would need more details about the previous scene.

To answer your second question....

Less is more, but you don't want confusion.

Confusion is bad.

Simple: keep the camera stuff out i.e. Zoom, Dolly, Close-ups and such.

Simple: Write clean action. Write lean but to the point.

Int. kitchen - morning

Sue cooks. Max enters. Caresses Sue.

Sue Mmmm.

Max Mmmm.

They sink to the floor in the folds of matching thick robes.

Terri,

If I am understanding you correctly, you are writing a story with scenes in a theatre.

If that's the case, you need to put the location in the sluglines, because a reader may get confused on where each character is suppose to be.

For example.. .

INT. Stage Alex and Sarah bump into each other.

Alex the actor

What are you doing here?

Pit Harry is rolling in seat with laughter.

Harry the Heckler

Who does he think he is, Olivier?

_______________________________________

I know you want to be concise, but it needs to be clear to the reader.

If you took Alex and Harry's lines away from their location, it gets confusing.

That is if I am understanding you correctly.

Oh, it is late.

I kinda see what you're doing, but I think you should put in a location for characters in the pit or box.

Also, I feel as though you don't need to italicize a fictious character's name.

If Jeff is playing Sam, all dialogue falls under the name Jeff, because it's not as though the script is going to have Jeff playing Sam 90% of the time.

Most likely it would be a line or two. If a character calls Jeff, Sam, and Jeff speaks, we know Jeff is playing Sam.

Deb,

If they are asking you to rewrite, you ask for a paycheck in return.

That's standard, and that I do know.

Now this is just MY OPINION.

If they are going to ask for the sequal rights, you better make sure it's going be a cut of the GROSS and that you are paid handsomely for the sequal script -- plus the use of characters i.e. action figures marketing bonanza.

MOST IMPORTANTLY

You get yourself a good lawyer, one that can get you the best deal without spoiling your chance of selling your first script.

Grover,

Is that all you have to say?

I hate to burst your bubble, but you're not the first to catch me in a spelling error.

Luckily, I have spellcheck, and the web is the only place you'll catch me making a spelling mistake.

Oh, by the way, you don't have to write your name after your message, because it's sort of imprinted on the top of the post.

In essence, there's no need to be redundant.

Deb,

Your spelling counts on your script. Don't worry about your spelling on this site. The only person who's gonna have a cow is Grover.

Eleanor and Grover,

I know spelling counts, but that's why I have a spell checker.

Since I don't have one on the web, I do my best to get my message across to others.

However, I do not feel as though I or others should feel the need to cross and dot every "t".

If I were anywhere else, sure, spelling would count.

What truly needs to be important (and cannot be simply corrected through a spell checker) are mechanical errors, which I find in a lot of posts.

-- even Grover's the writer --

Didn't know if last post was posted because of a computer glitch.

So. . .

Continued from last post. (I'm kind of hot folks. Please excuse, me.)

Grover,

Instead of investing in a story analyst (sp.?), I think you need to have someone check your writing for run-ons and mechanical errors.

I found at least three in your last post.

I know this may sound simple, but if you want people to take you seriously. . .

Here they are!

In my sales and writing b.g. [,] I can talk and write for hours.

[You forgot a comma after b.g., which you should have spelled. This is not a script.]

My dialogue is excellent [,] since I have an ear for it.

[You got another mechanical error there, buddy.]

I'm considering joining ASA for any extra guidance and help they may care to contribute to my efforts to sell the comedy and the thriller script.

[Dude! You got a run-on, there. Plus, who are ASA? I think you need to first identify them before you abbreviate. Plus, your writing is not clear. You're rambling. You're losing the reader. Flatlining! ]

See, Grover, this is why you shouldn't point out someone's mistake.

Ooops!

A correction is coming:

Who are ASA?

Should read:

What's ASA?

P.S.

I know this is off the topic.

I apologize in advance to all I offend, but I had to do it.

Grover,

In a way, I have to thank you, because you got me visiting this site more.

To add more to what Allen said,

Characters should be people we can identify with, not people playing the bad guy/girl.

In Pulp Fiction, we identify with Travolta and Jackson, because they're people. They eat at Mc Donald's. They debate over right and wrong, regarding the foot message and other matters. Jackson, we identify him as a character wanting to get out of his rut as a hitman. We even root for him at the diner, during the robery.

In Go (a simple movie I detest), the main female character, most people identify with, because she is someone who is struggling to pay the rent, to save her ass, and yadda, yadda, yadda.

Of course, there is more, but it's late.

I hope you get the drift.

Make your characters real with real problems and real solutions.

I am still working on the old Movie Master program, the one without windows.

They've, since, changed their name, but I love the program. I do know at the time, I received my copy it was the top of the line screenwriting program.

However, as the first poster said, I think the programs are now pretty much the same. You can go to the writer's store (online or in person if in CA) and check out or download for yourself.

I figure if you spend $149 or so, you'll get you something decent.

Oh, ask for the student rate.

I like what you said, Steven, but now days, I believe a beginner can get away with much more.

Especially if s(he) studies how the above mentioned films used narration.

Very sparingly in Cider House and Rose.

However, I noticed in mafia films (Good Fellas) and "crime"-like movies (Election), they use it a hellava lot.

In Election, they had a lot of backstory to tell, as well as Good Fellas.

Yet, these are masterpieces, and as Steven said, a beginner shouldn't dare tread on this territory. Give yourself time to develop your craft and get feedback, then you'll know you're ready.

Berkus,

In layman's term, an option is like renting a script for the production company.

They didn't buy it, but they are going to see if other people like it enough to help finance it.

Just like renting, optioning a script can range in time, usually an option goes from short term 6 mos. up to long term 5yrs.

(For 5yrs., you better make sure it's in pretty big studio hands.)

Anyway . . .

Since, they are not buying the script, they make a small payment in order to "rent" it. Sometimes, they pay nothing; sometimes they pay around 5 grand.

Hopefully, before the option is up, they would have gotten enough people iterested in the project, and you're rich. Translation: they'll buy your script.

P.S.

Just like renting, the terms of an option agreement varies, so it would be wise to consult with an entertainment attorney.

I wouldn't suggest doing what another writer did, when they were offered an option, because all are different as well as the circumstances.

Berkus,

You may know the mood of the film by looking at a particular piece of artwork or scenery, but give us a break.

Who's going to know what the picture represents?

My advice would be to find a way to creatively place your characters in scenes that move the story.

As yourself. . .

Is it really necessary to show a Van Gogh or a rose garden, when having your character chop off his ear or having a heomphiliac (sp?) prick his finger on a rose could do the job better?

Marc,

I would have to disagree with the last poster. Since, the novel was written in the 1700s, it predates any copyright laws.

You can plagerise to your hearts delight. Ever hear of Shakespeare?

I better correct this before I get some a$$ calling me on my mistake.

The above post should read:. . . heart's delight. . .

Steven,

Sure non-Latinos can write Latino-oriented stories.

However, I think you are missing the point, regarding the need for the contest.

So many times minority themed stories are passed over because of the lack of commercial appeal.

Often, there is institutional racism. Someone might take a look at the writer's name and deem the script inferior for whatever reason.

On the positive side, the contest might be acting as a scout for individuals looking for an authentic Lationo view, regarding storytelling.

I can tell you, they would be wasting time waiting for the few and far between Lation scripts that "may" come from an agent.

Al,

Dude, you're the writer not the director.

Short of making a major character color-blined, I don't know what else to say.

Besides, you're hoping to sell your script. After the sell, you have no say in it anyway.

Yes, I have participated and listed a script.

The pitch sessions can be very exhausting, because you have to: scope out the people you want to target, rush to sign your name on their list, get yourself situated with your appointment, listen for the bell, and be ready to sell under five minutes.

It can be very productive, I did get a couple of people interested in my work.

I suggest having a wide range of material, because you could be stuck with an agent/prod. co. that doesn't want to hear about the main script you want to sell. Plus, there is a catch 22. You don't want to list an army of work; it would be best to list your top three. Of course, you'll be lucky, in the five minutes time, to get to the second script.

However, I feel it's best to have three, because the folks there will tell you straight out if they don't like what you're selling. That's the time, you'll move onto script #2, #3.

The Marketplace is were I got no success. My instructor, though, got someone interested in his work, via the marketplace. They passed on it, but through that, word got out about his writing style. Now he's the one in the letter that Eva talks about that is writing for a tv series.

That's all I have to say.

Cindy,

Of course, I would suggest face-to-face pitching to someone who has never done such a thing.

If anything, it can serve as practice.

Here's a story, my first pitch session was at the Marketplace with an agent, who never sat in on such a pitch session. We spent my five minutes by both saying "I never done this before. What's next?"

Oh, and to the last poster, it is possible to pitch three scripts, the way you said it, and I have done so. However, I have eavesdropped on some pitches, and they sounded awful. As though, they were an auctioneer speeding through a synopsis.

I know I talk fast. That's why I chose to offer a printed copy of my synopsis to the people, while I pitch. That way, they could follow, and I am a little mindful to slow down, knowing someone is reading what I say.

I absolutely loved Braveheart.

I thought Gladiator was cool, but the gore was a lot for me to process. This is coming from a Pulp Fiction fan.

Plus, I thought Maximus duty to free Rome was lost in the wide scope of the film and his personal desire to kill the emperor.

With Braveheart, the viewer couldn't forget that Gibson was to free his country. Of course, he loved his woman, but he never lost sight of the main goal.

That's my take. What's yours?

Did anyone notice that they didn't highlight that there was a BLACK family on board the boat?

Let's see they showed rich folks, poor ones, crew members, musicians, and such, but there was a multi-racial family onboard. They road second-class, not third, who dine with the first-class.

There's a great article accounting the details of their journey in Ebony magazine. I have been following the Titanic long before the movie, and I must say that this is one of the better passenger stories.

I agree with an earlier post about the script needing to focus on others like the old couple, and I should add the minority family.

The only thing I could think about during the movie was when the hell were they gonna hit that iceberg.

I didn't care about Leo and Rose.

I wanted a shorter film and or more action. Something! I must add that I thoroughly enjoyed the last hour of the film.

Another thing I learned from the article!

I learned that they had church services on board the Titanic.

I wondering where was that preacher during the final hours of the voyage.

It would have been interesting to see, his reaction/view, witnessing a shipfull of adulterers, bigots, and scoundrels doing their thing.

Eric,

Thank you!

Ashley,

It's nothing personal, but it has been a pet peave of mine, when people neglect the writer. I know you figuratively thanked the writer, but let's get literal, here.

________________

I just want to add that the writer is never forgotten when there is a bad script.

I loved Siskel & Ebert, but I hated it when they marveled at the director, never the writer, unless they were, of course a writer/director or David Mamoth.

From my experience, I would suggest bringing a synopsis.

It's a good thing to have to keep you focused.

Plus, it's quite loud in the pitching rooms, so it would be thoughtful to have something so someone could follow along with what you're saying.

Plus, it would also serve as a reminder for the prod. co or agent, once the meeting is over.

Randy,

I don't think everyone needs mentioning in a film crew, but I will not back down from recognizing the writer.

It is the writer, whose talents are short-changed. When things are a success, you hear about everyone but the writer. In fact, who is the writer of Gladiator? Braveheart?

If no ones speaks up for recognition, even in the smallest forums, such as this, the neglect will continue.

People will continue to say yippie-yay for Scott, Spielberg, and the like.

It's not that I am thin-skinned or Eric (if I can speak for him), it's just that we deem it important to honor the original visionary of a movie.

Ashley,

I took what you were saying as:

Your desire to rekindle the tale, which I took as Gladiator the movie. You did talk about its "sheer poetry" and such, but I still thought you were talking about the movie: the look and execution of it.

Plus, I did see the movie and didn't see too much poetry in the film. I know you're not talking literal here, but I thought the dialogue was okay. To me, it was more of an action driven film.

Nothing wrong with action, so let's not go there. . .

Ashley,

I just want to add that like Eleanor the paper in hand thing works.

Each time, I pitched with that old stand-by, I got 8 out of 20 positives for the two days I pitched.

In total:

I got three more requests out of that.

I got one rewrite.

I even got another offer to pitch.

In all:

I believe that you should do what works best for you. I don't think that agents and prod. cos. are going to be that overwhelmed with a hundred or so sheets of one-page papers from writers. Shoot, one script is 120 pages. They're suppose to be use to handling that kind of weight.

Eric,

I love how you directed the above post. I especially enjoyed how you took the words from my mouth, logged in your name, and sent my thoughts to cyberspace.

I bet you are a really good writer, because I loved how you broke it down.

The FACTS that is.

It's a sad commentary that people have such poor reading comprehension skills.

We simply said, "hey, don't forget the writer."

Never did we say screw the director.

Will, anyone ever see things that clearly?

Okay, I'll try to bury the hatchet, but I'll keep my hands on the handle, just in case.

Ashley, if you look on my 6/13 post, you'll notice that I took the word to mean rekindle. Even so, it did not offer any clarity for me and seemed sort of vague. You complementing the writer escaped me, and I thought you wanted to retell the "tale" of Gladiator, meaning the movie. Not getting out there and saying, hey the writer did a good job.

Or in the world of screenwriting pedaling. . .

It means a SAS-postcard with the following three options.

___Yes, send that wonderful script ASAP!

___No, we're swampted.

___No, we're swampted. Try again, in x amount of months.

The producer/agent would check off the appropriate space, and whammo you've got feedback.

I don't think most people would want a coffee-stained script return to them, and this is the closest thing that comes to a "SASE FORM".

Terry,

IMO, GP is over-rated as well as the film.

I'm so glad the lovefest is dying down.

I couldn't take the movie in its entirety, but I'm sure your critique was right-on.

A beacon of light ...

Gigantic doesn't have a monopoly on Titanic spoofs.

Who knows, Gigantic may already be down the tubes or clogged in the Hollywood system.

Go shop your script around town but not to who bought Gigantic.

Oh and if Gigantic is in production, don't fret, because

Armagedon had a similar movie that preceeded it, so did a lot of others.

Claims to do just about everything for the writer.

There's the showcase of your work (online), which I am no fan of, really.

They do the critiques of outlines, scripts, books. . .

They'll take a look at your query letter.

I'm not saying I'm in the market for this kind of stuff, but I am very curious. I would like to know if anyone used their services.

Raphael,

Can you fit all that information on a card? : )

I think if you won or was a finalist in a prestigous contest, why not!

However, if your card is littered with, for a lack of a better word, no-count-barely-there-hardly-known contests, than forget about it.

Save that for the querry letter, which this stuff is traditionaly reserved for anyway.

I'm trying to jog my memory on the best films on singers or musicians, but I'm coming up with nothing.

I'm trying to write a script on a very complex life, so I need your help. I'm calling on all suggestions for my viewing pleasure.

My subject is complex in that he was ahead of his time. He danced with danger in a turbulent era and was often swayed by temptation. He wasn't a druggie or alcoholic, nor a weirdo. He was well liked by most, except when it came to his money and those who wanted to short-change him.

I have no intentions on writing another Shine, nor do I desire to write such a script.

With that said. . .

If you think you know of a film that could help me in the slightest bit, drop me a line.

Miriam et al,

I got What's Love Got to Do with It, and I'll check it out, once again...

Amadeus appears to be too old. I saw the movie, and thanks but it's not quite right.

La Bamba (saw it) was too low key. Valens, that is. This person was very charasmatic (sp), over 250 million people attended his funeral.

A Star is Born (I've Got to see) and the others.

I saw what's Love Got to do with it, and it A DRUGIE movie, so, even though I loved the movie, I can't really draw too much from it.

It's been years since I've see LADY sings the blues, another Druggie film, but I believe I'll get around to it, once again.

Thanks all, keep dishing out.

I was thinking the same thing for the longest.

This site use to be very exciting.

There were serious "debates" or people were appeared to be more passionate.

Now, I come here every couple of days, and I see the what-do-you-know-about-this-prodco.

topic.

It's useful info, but I skip over those. Rarely, do I post at the same frequency as I use to.

Title that is.

Now, I know you can't copyright a title, but what if there's already a book with that title? What if that same book got it's title from a song title?

Can't I just give my script the same title? What's good for the goose is good for the gander, right?

___________

You might wonder why I would want to use this title, but it's damn good to the script, just as it was for the book and song.

Plus, I am writing on a singer, and I want the title of the movie to come from one of his most post popular tunes.

It's an important song, because it was his first successful tune and most folks remember it. Although, he had a bunch of hits after that, none struck a chord such as this one.

Ashley,

I guess the topic poster, Randy, and myself need something to stimulate us.

I do add a topic, every 6 months or so, but I don't usually get the big responses. I believe it's due to the level of the writer and their needs.

If I'm not asking a beginner question, forget about asking something more advanced.

Currently, I have a topic: I Want That Too.

It's about Titles; it's not as cut-and-dry as it appears. I will leave it at that. You can check it out if you want.

Anyway, I would love to help others, but some of the topics are not needed. Especially, if someone can easily do a little research (i.e. read a book) and find out the info.

That's my beef, and that's why I feel this practice has brought down this board.

Very well, thanks!

However, I was a little hesitant, because the book was a best seller. Plus, I was afraid someone might think I was basically writing a script based on the book.

Which I couldn't avoid doing anyhow, because it was a true story. I've read other books on the singer, and they all basically say the same thing.

However, I will exercise my creative license, a hellva lot, so I guess I'm covered there. Right?

Okay, I want to keep the board interesting, so I decided to create a topic anyone would feel comfortable contributing their two-cents.

[Anyone in the know, would know I stole this topic from Movieline, but it's here now.]

Besides failing to discover my talent, I would say Bruckheimer's need to make a female version of Cocktails, we all know the name. However, I feel naming this movie would automatically age this discussion, so. . .

Oh, what's the deal with putting ex-druggie Robert Downey with ex-druggie Lisa Carson on the same set. Isn't that a recipe for disaster?

[For Lisa's sake, I hope not.]

Okay, I want to keep the board interesting, so I decided to create a topic anyone would feel comfortable contributing their two-cents.

[Anyone in the know, would know I stole this topic from Movieline, but it's here now.]

Besides failing to discover my talent, I would say Bruckheimer's need to make a female version of Cocktails, we all know the name. However, I feel naming this movie would automatically age this discussion, so. . .

Oh, what's the deal with putting ex-druggie Robert Downey with ex-druggie Lisa Carson on the same set. Isn't that a recipe for disaster?

[For Lisa's sake, I hope not.]

I'm entertaining the thought of shooting a film (God only knows the length).

I went to film school seven years ago, and I was hoping technology would bring the prices down.

Now, I would like to know what cheap gadget (dummy proof) would work and give me a decent quality.

Randy,

I was thinking about doing a short. (20 min. max.) Anyway, I just want a showcase of my work.

I have a couple of ideas that doesn't require much in location. It sounds more reasonable to buy than rent.

What did you mean when you said film matters?

Randy,

I was thinking about doing a short. (20 min. max.) Anyway, I just want a showcase of my work.

I have a couple of ideas that don't require much in location. It sounds more reasonable to buy than rent.

What did you mean when you said film matters?

More and more, renting seems like an option for me.

Seven years ago, I was quite comfortable with cameras, but I wonder how long has this rentable camera been on the market?

Sorry, not good with names.

Plus, I guess I must factor in editing. Do you have a clue on costs?

Casaundra,

I assumed that you called, got the okay to do so, and addressed to someone with a name.

Now, if you did the aforementioned, you shouldn't be waiting on a response. Instead, you should be mailing out another round of letters and another and another.

In essence, you should be raining queries (sp?).

Does this sound just? I'll tell you it'll wear your a$$ out.

In the between time, you might get a response from someone, but by them, you should have forgotten who they are.

You then look up in your log book of list of people who were the target of your spam and go from there.

Thanks, Randy. Will do.

Joyce,

Rejoice. Yes, it's okay.

Luckily, that's before the copyright laws took affect.

Michael,

That's Berne, Switzerland, you're talking about; we are on the issue of U.S. copyright laws.

Since, the person in question died 80 years ago, s/he is not under the protection of the U.S. copyright law.

Currently, I am writing a script (more "trying" than writing) on a person who died 37 years ago. This person was a public figure, and there have been books written on him. So I feel it's okay for me to write a script on him.

I guess you can say it would be the equivalent to writing a story on Elvis. What I will do is write a story on my guy and practice some creative license. The law says a dead person's reputation can't be ruin, but you better watch out for that person's relative.

That's where the writer can be screwed.

Michael,

Tell me something!

However, I like to keep things simple.

The Berne thing in a nutshell, protects American works ABROAD. Essentially, it says: If you protect the works of our authors in your country, we will protect the works of your authors here.

But on this side of the pond. . .

For works created before '78, the 1909 Act's two 28 year term scheme applies. Expire and renew for another 28 yrs.

Anything after '78 will last for the lifetime of the author plus 50 yrs.

Neither of this answers the original post, though.

Basically, what I said earlier applies. If they're dead; it's okay. Just ask yourself, how many times have we seen unauthorized bio's or movie of the weeks of living people?

I'm trying to find out the name of an Austrailian film.

It involved two sisters, who were fighting over a dj. The dj just moved into the dusty town.

Does anyone have the slightest clue on the title of this film?

[Last weekend, I went searching for this film, and I had to settle on Two Friends by Jane Champion. What a load of crap! I thought Jane, "Sweetie, Piano, Snapper" could offer some entertainment, but nooooo.]

Mirriam -- LOL

I don't know about you, but I'm so damn lazy, lately, I would be willing to give my pimp a slice and take a hooker's cut.

Hell, where's a true script pimp, when you need him?

Didi,

Thanks a bunch. It sure helps to know the title oppose to peeling through the dusty video boxes.

Randy and All,

What's the length of a standard short film?

Any other info, will be greatly appreciated.

Thanks, Randy.

FYI

I'm trying to showcase my writing not finance a film.

Hey, I know my limitations.

I gather you aim high (in pages), cut, shoot, cut, edit, and hopefully you have a film.

I like to have it right on page, before I start slicing and dicing in editing.

Basically, I want something short and simple. Simple meaning no technique fancy stuff. Just aim and shoot. Plus, I don't that many locals, because I'm not trying to go broke. Maybe, three locations.

Speaking of editing, how would I accomplish that feat?

Can you give me rates, my Endless Source of Information?

Randy,

Video?

Are you talking about shooting on video and transferring to film?

Or. .

Simply, just shooting on video?

By the way, I live in LA and would probably want to rent and hire a cameraman and editor.

What would this cost for a two-day shoot?

Oh, and how did you shoot around locations that were businesses?

Assuming that you did . . .

Anyway, I plan to shoot at a cheap motel and wonder could I get around paying a fee for a permit. __________________

Now, don't get me wrong, I really appreciate your knowledge, but I went to the sites that you suggested and was totatly lost.

IFP/West appeared to be way beyond my scope.

Remember, I'm a writer first and filmmaker, if I can wing it. Never mind that I was a Broadcast/Radio/TV/Film major. I learned what I needed at the moment and lost it. Plus, my education was never really heavy on the technical stuff.

However, the Film maker's Alliance seem to be a place for you to already have your act together.

This soley is my opinion, but I wonder where you got your help for doing your film?

I'm sure you know more than the average writer in the behind the camera angle, but where can a dummy go with limited know-how?

Now, I asked you a lot of things; I hope your head isn't spinning by now.

Hope you can remember it.

Mirriam,

How much is the coverage?

Oopsie!

I mean -- Todd.

Mark,

What's so great about the windows versions, and how much is that going for anyway?

With and without the upgrade?

Since I have been doing this for a while, Nathan, I suggest you follow Paula's advice.

Steve's post is fine if you were doing something that required terms such as: simultaneously or moments later.

For example, you were writing a story about lovers, who were near each other, but for some reason kept missing each other.

We all know that elevator scene, where one gets in and moments later, one steps out the elevator.

According to your scene example, you won't need to be this specific.

Plus, it's not important to list Day or night for every slugline.

You are on the right track in your thinking, trust me.

In fact, as a writer, you would want to keep you paper as white as possible.

It was exhausting, but it was great experience for me.

That was the first time; I have since returned -- twice.

In a nutshell, you're time there is only as good as your pitch and how well they like you.

So beware be prepared.

What's the mystery behind breaking into soap (such as Days) writing?

Anyone knows this one?

Thanks Sondra,

I was thinking the same thing (submitting ideas). Gee, I think it's easier to write a Star Treck episode than get a foot through the soap world.

In my heart of hearts, I'm hoping this Lisa chick is legit.

However, after reading everyone's post, there seems to be a common element.

Everyone, who pays, gets responses, and they get them quick!

Hours even!

If everyone's idea, was that hot, why doesn't one of these Powers That Be pick up the phone -- forget the internet!

I'm thinking that these agents, prod. cos, and the like, are a creation of Lisa.

I read that synpopsis that someone posted, and it's too dang long!

Here's hoping that I am wrong, because I would love to use Lisa's services.

So, hopefully, I can be proven wrong, and my marketing worries will be over.

Naille,

I haven't yet used Lisa's services, but, if she's all that, you bet I'll use her.

I've tried the marketing angle, and I'm not as good as Lisa.

I know my limitations.

Sure, I can drum up some interest, but compared to what others say Lisa does for them, why shouldn't I make use her services.

I much rather use my creative juices to write narratives -- not querry letters.

There's nothing wrong with that!

Sure, you may call me and others lazy, but writing querry letters is a science.

You can't say a screenwriter should be just as able to write a querry letter.

That's just like saying a songwriter should be able to write a querry letter.

Sure, both a song/script writer write words, but they put those words to different uses -- not to sell a product but to tell a story either through words or music.

To me, someone such as Lisa is more of a promoter than a writer.

A lot of famous writers, have people to write copy for their books.

In this day and age, even the president, a public speaker, doesn't write his own speeches, for lack of experience or knowledge of the message to send to a vast audience.

Steve,

Seriously, that earlier post with the synopsos, appeared too long. Perhaps, it's very compact on hardcopy.

Re: Lisa

Does she snailmail, email, or neither?

What exactly do you get for 50 bucks?

I went to her website, but it was hard to read, with a third of the screen covered with dark blue graphics.

In essence, I couldn't get much info.

I see I have a spelling mistake.

Synopsis, it should read. I hope that's right.

With the recent Anthrax scare, I think we all can hold off soliciting agents, managers, and production companies.

Things are getting bizarre and fear is at its highest.

I hope there is a way around this, without wasting postage.

Any thoughts?

If you do, can you tell me if they changed their name to Movie Magic? I'm thinking about spending some cash on a new scriptwriting program, even though there's nothing wrong with my DOS (don't laugh) program.

Thanks, for responding, so Movie Magic is something, huh?

I guess I better get with the times.

I have scripts written in another script program, which believe it or not, was in DOS (Movie Master).

I was wondering is it possible to transfer the scripts to Final Draft, or do I have retype all my scripts into the Final Draft program?

Thanks, guys, very much. Now, I have another question what is "RTF"?

I looked at my Movie Master program, clicked on File and there was the import option. I clicked on it, and it read:

Select drive and/ or directory: \movie\

________________________

Question: What is next for the computer dummy to do?

Again, thanks for all of your support. I haven't purchased FD, as of yet, because I wanted to make sure I could import my script to it.

Now, that I know I can. I will most likely get it, unless there is somthing better, which I don't think there is. First, I must purchase a new computer, seing that I will have to have Movie Master and Final Draft on my system at the same time, in order to do the transaction.

Or...

Could I send it to my office computer? Who know where to, but. .. anyway --

Remove Movie Master from my computer and replace it with Final Draft?

Thanks, guys.

I need a way to show the passage of days (no more than 3 to 5 days). My script is situated in an isolated place, with three characters.

One character goes to sleep for 3 days or so, but I want to show this first, before a character comments on him sleeping for a long period of time.

Thanks, everyone.

More info on the story. The characters are isolated from the outside world for a certain amount of time. The sleeping character wakes up and discover a major change that has happened outside. This crushes him, but I don't want to show any exterior shots, until he wakes up to see it.

I just wanted interior shots of time passing. Yep, no calendar shots. The tea bag and water bottles piling up is okay, but that really isn't their world. They have supplies, are tidy, but they are isolated.

Thank you all for your posts, but I must tip my hat off to Orlando's suggestion.

I think he got my what I was trying to say without me having to tell all the elements of my story.

Ooops!

Sorry, Orlando, or should it be Orlanda?

Anyway, how sexist of me!