Message Board

Rachel,

I see no benefit in bashing Worldfest Houston or Flagstaff. Your comments will have little effect on their staff, except perhaps a lawsuit against you. The major effect I foresee is a diminishing of the value of the award those screenwriters who won or placed received for their labor of love.

If you truly believe that fraud is being committed, should you not seek legal channels instead of dumping your vitriolic words over the net.

What I like about Worldfest (Houston and Flagstaff) is that they have competitions within different genres. This allows me to compete against scripts of my same genre and, I believe, makes judging more consistent as judges are not swayed by their favorite genre. There is not getting around proper formatting, character development, drama, visuals and all that goes into writing and developing a commercially viable script. A few other contests have this genre separation for sci-fi, the category I usually write in but there are not many.

In terms of Worldfest promoting their winners, I did win at Worldfest Flagstaff and found including that information on inquiry letters has opened many a door at prodcos. If you don't have an agent, YOU have to beat the bushes. Normally, they don't come to you. I have also found through my inquiry efforts that the name of Worldfest was well received and respected. Bottomline - it works for me.

Regarding lawsuits, I am not a lawyer. However, anytime one person states in a public form that another entity is a "sham", the economic worth of that entity may have been decreased. I understand this is called a tort or a "wrongful act, damage, or injury done willingly ...". That is why I would have suggested phrasing such a statement, if it needs to be made, as "in my opinion". We all need to communicate. That is why this bulletin board is here. Let us do so with caution and respect for others.

I use Final Draft for all my screenwriting. Try http://www.finaldraft.com/html/demos.html. They have a free demo download and it lets you take it for a spin. I especially like the very tight, tight, normal or loose page capability when trying to squeeze a script into a page limit.

Morie,

I have a saying. "Rejection is the fire in which all writers must walk." I am becoming expert at receiving rejections. I am still bothered by it especially when the person doing the rejection becomes rude, insulting or otherwise, pulls my chain. I go back to my roots. Why do I write? Certainly not for the dollars. I haven't made a cent. To borrow a phrase, I hate to write but I love to have written. If producer or reader does see the glint of beauty within my work, it's their loss and inability. I also realize that as I continue to write, I will improve and discover the hidden nuggets of gold just beneath my writing skill surface. (I really hope they are there!) My advise. Relax. Take others inputs and see if they can improve your writing and if they are of value. Most of all, never let someone else's concept of what is right for your writing force you to change unless you can accept it and make it your own. Remember, you are the author and this is your piece of art, not theirs. At least until you sell it.

Does anyone know any other screenplay competitions with specific categories for Sci-Fi? I know Worldfest and Santa Clarita have. Any others? Thanks, Steve

Terry,

If you are an unpublished script writer, I know of one producer who uses a $0 option for a period of one year. During that time, he works with the new writer to mold the script into a commercially viable product. My suggestion, tis better to have optioned than not to have optioned.

I understand there is a Boston-based group associated with the American Screenwriters Association (see their contest for website). I heard they meet Wednesday evenings.

I live in New Hampshire and attend the Portland, Maine group. It meets the first Tuesday of each month.

I just got in an upgrade to Final Draft version 4, version 5. It comes as a CDROM versus the floppy disks provided with the previous version. This was a difficulty for me as my laptop can have either a floppy or a CDROM but not both. Installation was relatively easy. However, it was unclear how to install the speech synthesis part but I struggled through the installation. No luck in registering the program through finaldraft.com/register.html. I guess they are still working that interface. I definitely like the voice synthesis. Helps me improve dialog. The backup revision feature is also handy. Overall rating: Good! A few bugs (maybe my computer) but a nice product.

Sondra,

The backup command is under the File command window. It save the current version of the *.fdr file as a dated file. For example, if the name of your Final Draft script file is oneShot.fdr, then the saved version for today's date will be OneShot 7-27-1999.fdr. This is a standard way within the software development community of saving current versions of code. Since Explorer recognizes filenames longer than 8 bytes, this is an easy way for both machine and user to distinguish different versions of script. Steve

Thanks for the insight. Since I saw no comments in either of the responce letters to my two entries, I can assume that neither were in the top approximately 20%. Time for a cold beer, reconsideration at screenwriting as a hobby/career and throwing myself into a deeper depression.

Seriously, I appreciate the additonal insight you provided. But since I have never placed (other than as a total loser) at Nicholl, I will try another contest.

Tim,

Try: http://www.dsiegel.com/film/nine_act.html

I was using Acco until a script consultant scolded me. She pointed out that assistants will often copy the script. If you make it difficult to remove the faseners, they will think poorly of you and your work. Brads are a pain because they can pierce your skin, but stick with them (pun intended).

Steven Lee,

I use brads. However, I fold the points back so they can't pierce someone holding the script. They can still be bent to remove them for copying, etc. I haven't seen the washers mentioned elsewhere.

I think the real issue is the quality of the script and the impression it first gives the reader. Is the author a serious contender or a rank amateur? My biggest learning curve was to make the script professional in appearance, zero spelling errors, grammar problems, etc. A sizzling title that tells the story and a story with a great beginning. To brad or not to brad is merely an item that you want to get past the reader so he doesn't trash you (the script) without opening the first page.

Steve Karels

Steven Lee,

I use brads. However, I fold the points back so they can't pierce someone holding the script. They can still be bent to remove them for copying, etc. I haven't seen the washers mentioned elsewhere.

I think the real issue is the quality of the script and the impression it first gives the reader. Is the author a serious contender or a rank amateur? My biggest learning curve was to make the script professional in appearance, zero spelling errors, grammar problems, etc. A sizzling title that tells the story and a story with a great beginning. To brad or not to brad is merely an item that you want to get past the reader so he doesn't trash you (the script) without opening the first page.

Steve Karels

I am writing a Sci-Fi script where I need to quote The Laws of Robotics from I, Robot. How do I do this so I don't infringe upon an existing copyright? Would this be considered public domain?

Steve

After submitting and receiving rejections from a statistical large number of prodcos, I have developed a model of Kind vs Rude responders. The Rude ones suggest you go back to writing school and question whether you ever attended such a school. Their response is unsettling but to be expected in the large spectrum of reviews we come into contact with.

The Kind ones are more troublesome. Their response usually contains the dreaded word "however". You never see what actually caused their disenchantment with your script. Bad day, bad story, bad hair day, etc. But they don't wish to offend anyone, especially if that writer might someday become the next "hot" ticket. Anyone have a similar experience?

Steve

I had a problem with my password. I used a password in excess of ten characters. It appears the registration form truncated it to ten. When I attempted to login, the password check failed when I entered the full password. I got around it by manually truncating it to ten characters. There also appears no option to change passwords.

Is there a different format, style, etc for a script intended for animation compared to a feature film script? I'm not talking about a production script with scene numbers, camera shots. I see several contests that have an animation category and I have a story that could be made as an animated feature. So, is the basic format of an animation script any different?

Thanks for the inputs.

What I gather from the comments above is to use the standard U.S. Motion Picture format. As is the case with a Movie of the Week, submit the spec script in that format. If the story is great, the production process will convert it to the shooting format as required.

My real purpose in raising a question was for submitting a script to the Santa Clarita contest. One of their categories is Animation. I've inquired them for special formatting requirements but no response yet. I assume they will tell me any special needs for that category. One approach is to win (hopefully) an Animation contest to seek access to Animation prodcos.

My suggestion to others is if you love to write, as hopefully we all do, then write what interests you and see where it leads. Be ready to have some scripts that go nowhere.

TFI appears to have a separate sci-fi category. Their rules indicate the single finalist in that category will compete with each finalist in the other categories for the overall winning script.

It appears that one cannot win in the sci-fi category unless the script becomes the overall winner.

Check out the WGA website Mentor program. Many questions answered I hadn't even thought to ask.

http://www.wga.org/mentors/index.html

I'd like to suggest a different approach. Signing with an agent does not require offering your first born (although it may seem like that) nor is it a lifetime commitment (usually a one to few year period for both parties to see how well it goes).

I believe a new writer should look for an agent that will mentor and look out for him/her. If you're successful, consider a larger agency if the smaller one isn't working out. By then, you'll have gained the needed experience in the field. Most of all, continue to write. Let the agent worry about marketing. You concentrate on creativity.

So how do you like your new literary agency???

I scanned the genre section and see few or no first time writers. Perhaps I've just missed the genres where they occurred. It is very disappointing that new writers have such a small proportion of the sales. Is it because the database from which this information was gleamed does not reflect those producers that might be more receptive to first time writers? Or is this an accurate reflection of the marketplace in general? Is it a waste of time and effort to contact those producers shown in this database given their inclination to avoid first time writers? Any thoughts?

Glynn,

It is one thing to write a script because the story interests you and another to write a script with commercially viability. If you love to write (as I hope we all do) then perhaps you should limit your expectations to winning contests. If you are looking to get an option, sell your script and see it shown on the screen, then commercial viability becomes one of the concerns in the development of the story. Your comment "But it was not sellable because the public would not accept what happened." indicates that it may not be that viable. I cannot tell without having read the script. If that is the feedback you are getting from several producers who, otherwise, love the story, perhaps you should reconsider the script. Just some thoughts.

Steve

Paul,

From talking to producers, I gather that the compensation package for a writer, even a first-time writer, is about 2 - 3 per cent of production cost. I know of one sci-fi company that produces films under $1M and their script purcahse price is between $20,000 and $30,000. Options are between $0 and about 10% of the script purchase price. Like anything, what you get (if anything) is a function of how good the script is and your agent/manager. If anyone else has additional or conflicting experiences, please tell us.

Steve

I use Final Draft 5 on two different computers. One is a laptop and the other a desktop. The desktop experiences some problems during printing. With both systems, I cannot call up the title page. I save every few pages and have had no problem with loss of data. I am running under WindowsNT. If you are having problems, I suggest you state what operating system you are running. You might also check how much available memory and hard disk space you have left to see if there might be a deficiency. Overall, I am quite happy with the new version of Final Draft.

Steve

I just downloaded 5.0.1d for Windows and found many of the previous problems are gone. Perhaps the Mac version has some remaining problems.

The writing and subsequent production of short films are one of many ways a new/first time writer can break into the business. My question: How does one make contact with, market, or otherwise get in touch with the independents who are making shorts for film festival, etc? I assume most agents will not be interested because of the low dollars (if any) such a sale might make. Some of the shorts I see at film festivals are directed and produced by the writer. Anyone have experiences they'd like to share?

Steve

The basic premise that started this topic is that you only get one shot at agencies and producers so you better make sure the script is PERFECT. The premise may not all together be accurate. Obviously, scripts must be the best work a writer can produce. However, we all know that writers grow with time, work and experience. It has been my experience that an agent or producer does not have an infinite memory. Wait a year, repolish the script/concept and pitch it again. If it is good, you may get a response. A word of caution, don't flood the same people with trash or they may remember you.

I have received script reviews complaining that my characters do not have a "voice of their own". The reviewer commented that if she covered the character's name and read the dialogue, she could not tell which character was speaking. Can someone explain and clarify exactly how this is done? Totally confused and frustrated!

Joe,

You are correct in what you stated. But with word processors, the character's name can be easily changed. In order for the new revision to be accepted, the script must be heavily revised. The basic storyline improved, dialogue enhanced, logline changed. I believe we are both vigorously in agreement on the possibility of resubmission but the need for substantial changes to be effective. I don't see the need to change the author's name unless he\she has "soiled" the agent\producer's territory the last time with rude or bothersome behavior.

Frederick,

Would you please consider a category for contests that support judging in separate genres? For instance, Worldfest and Santa Clarita have a contest genre category for sci-fi. This would help me easily search for those contests.

Steve

I seek your advise. I'm writing a spec script where characters speak in another (non-english) language. I've split their dialogue into two dialogue blocks. The one labeled subtitle is the english dialogue on the right side. On the left side, under the character's name is where the foreign language dialogue goes. I'm putting in all X's to indicate a future (during production) location for the foreign words. Is this an acceptable method of handling non-english dialogue? The non-english dialogue is a small percentage of the overall script. I've reviewed Trottier's The Screenwriter's Bible and I seem to be consistent.

Eric and Paula - Thanks.

Steve

A few nights ago, while I was stuck on a business trip in a motel room, I watched a TV movie called Airspeed. Since I am involved in the aviation business, it became instantly obvious that the writer/director of this movie did not have an understanding of aviation or FAA procedures/practices. I couldn't get beyond the technical errors to get into the story. Is this typical of scripts? The errors were so gross as to almost make the story humorous - it was not a comedy. Whose responsibility is it to ensure the story has at least some plausibility?

Bill -

You are right on the money. Research is required and necessary to make the story plausible. The audience wants to be drawn into the story. Major technical mistakes break the audience's involvement. As writers, we can only offer the best that we can provide. The producers and directors will help or do damage.

I am currently writing a script about long range sniping. A friend of mine (glad he's my friend and not my enemy) has a dark past in real life doing the actual activities as in the story. His experiences and insights are extremely helpful. Book research is great. Gleaming experiences from real life people who have done what you write about is priceless.

Elvis,

Protecting your script from being stolen and registering it are spearate items. You can register mail it to yourself and have it notorized (poor man's registration), WGA register it or copyright it. I suggest David Trottier's book, The SCREENWRITERS BIBLE, for more details.

Protecting it from being stolen is another matter. I assume you don't have an agent or manager yet. I suggest you keep careful records of whom you send your script to and document the script transmission with a cover letter. Keep a log and retain the postal receipt for mailing it. Something to show proof that it was sent/received. Try to get an acknowledgement of receipt (certified mail, e-mail confirmation) if this is really a major concern to you.

The advise from the pros at the seminars I have attended is not to put the WGA registration number on the title page of your script. A mark of an amateur. Lastly, try not to worry about it. Mostly likely, a first script may not be marketable. Screenwriting is a learned activity and usually several scripts are required before it approaches a commercially viable product. Producers are generally more worried about being sued by paranoid writers than out plotting how to steal the next script.

Sherlock,

Your description sounds like the O. J. Simpson criminal trial. Perhaps use that as a model. Defense attorneys portray investigating policeman as a planter-of-evidence, thus causing the audience to discount the undeniable evidence pointing to the defendent's guilt. Show the defendant as likeable, believable and a subject of police harrassment. Make him as charismatic as O.J. Then switch at the end showing even though some evidence had been planted, the defendant really had committed the offense. Just a suggestion.

I've been reading A Writer's Journey that talks about the steps in a hero's journey. I've also seen the nine act structure talking about non-linear vs linear story structure. Are these competing structures, complimentary or what? The best I can figure out is the nine act structure talks about plot reversals and the hero's journey talks about myth structure. I'm confused.

I've just been notified that my script, When Androids Dream, is a finalist in the Sci-Fi category at Worldfest Flagstaff. Last year, I received the Silver Award in Sci-Fi at Wordlfest Flagstaff for a script called New Dawn. At this point, I feel I am ready to seek agency representation. The question: How does one do this? I suspect sending form letters to every agency is as about as effective as the junk mail I receive and will likewise find its way to the circular file. Chance meetings with agents at the Flagstaff festival may occur but I believe a more organized approach should be pursued. Any suggestions?

To all,

Thanks for the inputs. Can someone post the http address for Hollywood Literary Sales mentioned above?

Steve

Tory,

Thanks for the address. I have already posted the two screenplays. A word of caution. I suggest you avoid describing the interns as unskilled as they will be the future powers in charge. Some may have long memories with thin skins and payback is tough.

Steve

I understand the use of a release form primarily protects the receipient (production company) since they do not sign it. It does explain what rights you expect to retain and their actions they will be allowed by you regarding your property. I always include a release form (theirs if they provide one and mine if they do not). Tis better to specify your rights now than to fight about it later. It also suggests a more professional writer - one they need not worry about. If you have an agent, he/she will take care any release forms.

Steve

You can fire anyone, anytime. However, it maybe very foolish. Check your agreement regarding termination. I suspect that if the agent lands a deal on your behalf, that she is entitled to, and will insist upon, her compensation - again see your contract. Unless there is a rush, criminal activity, you hate each other's guts, some other agent has wined and dined you to steal you away, etc, I suggest you wait out the contractual period. Meanwhile, start looking for another agent if that's what you need/desire. Remember, how badly you treat your current agent will be remembered by future agents. They do talk to each other.

I am writing a script that some friends and business contacts warn may not be commercially viable. Involves female lead in action/adventure. But I feel compelled to write the script. Am I just being stupid to put the effort into the story? My gut instinct tells me to write the script regardless of its commercial potential. Any suggestions or similar experiences?

I do not know if this is the "correct" way but this is what I have found works. Minimize the interruptions to the person to whom you are trying to pitch/sell your screenplay. I would avoid "polite" letters to determine whether the intended target is receptive. They are busy and will not be receptive if asked. If they don't accept submissions, they will tell you. (Look at their website, if they have one. I've found most information I need from their site.)

Don't include your pitch/synopsis/logline as an e-mail attachment. They won't take time to open it. Provide a short, polite introductory sentence of intent -- please consider my blah-blah script. It has won every award in the world, etc. Then provide the title and a several sentence synopsis. No more than eight sentences. End with that you will be happy to postal mail the script with a submission release form if they so desire. Be positive.

If you do receive a response (please submit your script) send the script and release form. After one month, follow-up with a short inquiry e-mail-- How goes the read? Be polite, not a pest. Follow-up every two weeks for another month before giving up. My experience is that about about 20% will repond (half - immediate no interest, half - ask for the script). Of those you send a script to, about 1/4 will be nice enough to respond, rejection, comments, pass. A few, about 5% will be jerks and try to make you feel bad. After a rejection, thank them for their consideration and any comments they may have provided. Add the respondees to your database for your next great script.

My favorite is Final Draft. Their website updates are easy to download. The speech program allows me to actually hear dialogue. My writing partner and I both have Final Draft so we can easily co-work on scripts. Page expansion/compression to meet unique page length limitations. A great product in my humble opinion.

Paco asks "So what do you people do when they tell you that you have to be using a scripting program that's compatible with their stuff?" I have saved the script in an rtf format and the producer I've sent it to has converted it to his program. I've never had the requirement to use a particular scripting program. However, if it was a condition of obtaining work from that company and they were paying me, I suspose I would buy the program and learn to use it. The Golden Rule - The man with the gold makes the rule.

Grover,

I agree this business can easily deplete one's honesty. I recently held an e-mail discussion with a producer and he asked me if he had previously seen my screenplay that placed at Worldfest Flagstaff. I couldn't lie. I told him had had reviewed an earlier version before a script consultant had done her magic. He refused to revisit it. Bottomline: I lost the potential sale but maintained my credibility. It's a personal choice for each of us to make.

I also agree with Holli. A great logline that hooks the reader is more effective than contest awards. Both is even better.

Steve

Grover,

I agree this business can easily deplete one's honesty. I recently held an e-mail discussion with a producer and he asked me if he had previously seen my screenplay that placed at Worldfest Flagstaff. I couldn't lie. I told him had had reviewed an earlier version before a script consultant had done her magic. He refused to revisit it. Bottomline: I lost the potential sale but maintained my credibility. It's a personal choice for each of us to make.

I also agree with Holli. A great logline that hooks the reader is more effective than contest awards. Both is even better.

Steve

Grover,

I agree this business can easily deplete one's honesty. I recently held an e-mail discussion with a producer and he asked me if he had previously seen my screenplay that placed at Worldfest Flagstaff. I couldn't lie. I told him had had reviewed an earlier version before a script consultant had done her magic. He refused to revisit it. Bottomline: I lost the potential sale but maintained my credibility. It's a personal choice for each of us to make.

I also agree with Holli. A great logline that hooks the reader is more effective than contest awards. Both is even better.

Steve

I submitted a couple of short scripts two months ago. Haven't heard anything. I assume they died and went to wannabe producers heaven. Anybody had any recent contact with them?

Anybody know which production company does The Outer Limits series? Looking for address to contact them.

Grand Valley State Short screenplay contest is just such an idea. I believe they are looking for shorts (under 30 pages) for their students to produce, direct, etc.

If your desire is to get something onto film, this a potential way of doing it. However, students tend to have little money/resources so it may not entered into many (or any) festivals.

The possiblity of a feature film is even more remote because of the resources required for a feature film compared to a short. There are exceptions to the rule. I understand the film Dark Star was produced in the 70's by USC student filmmakers.

If interested, the script should be designed for no-budget production. Minimal locations, low number of characters (few actors), no special effects, etc.

Still, students have energy and lack the learned knowledge of what can't be done or is too difficult that limits more experience filmmakers.

Michael,

The devil is in the details. Impression is everything. Agreed, good brads will not make a poor script great. But when a reader picks up your hard-worked creation and it dumps all over her desk, she is not going to be a happy camper. The discussion above has been informative about an area that few people, outside of screenwriting, even know about let alone care about. I've found a source for those elusive solid brass brads from this discussion. Something my local Staples knew nothing about. Lighten up dude. Along with the creativity and so-called rules of screenwriting comes the small bits of lore and info needed to make a complete, professional looking package. Keep on writing, dude.

Steve

For those of us having problems navigating the nyscreenwriter website, here is the link:

http://www.nyscreenwriter.com/cgi-local/shop.pl/page=usbrads.htm/SID=3485530

Robert,

Are you really an attorney? If so, which state? Imagine using an Internet bulletin board to post a chain letter. How clever. Your approach to encourage others to post similar messages, after you suck money out of them, on at least 200 other bulletin boards will surely clog up the system, not to mention the dumb victims will run out of bulletin board to post messages.

Let's see. First timers get 200, Next generation victims must seek 40,000 bulletin boards. The following generation 8,000,000 bulletin boards. The next, 1,600,000,000. I do believe you will exhaust the Earth's supply of electronic bulletin boards, bring down the Internet and initaite a Y2K burn-down. How sweet you are. Oh, Yes. You didn't mention anything about seeking a sprict at the URL site. An oversight? I do believe, in some states, it is illegal to misrepresent yourself as an attorney. Where's the FBI when you really need them?

Love, Steve

Robert,

Are you really an attorney? If so, which state? Imagine using an Internet bulletin board to post a chain letter. How clever. Your approach to encourage others to post similar messages, after you suck money out of them, on at least 200 other bulletin boards will surely clog up the system, not to mention the dumb victims will run out of bulletin board to post messages.

Let's see. First timers get 200, Next generation victims must seek 40,000 bulletin boards. The following generation 8,000,000 bulletin boards. The next, 1,600,000,000. I do believe you will exhaust the Earth's supply of electronic bulletin boards, bring down the Internet and initaite a Y2K burn-down. How sweet you are. Oh, Yes. You didn't mention anything about seeking a sprict at the URL site. An oversight? I do believe, in some states, it is illegal to misrepresent yourself as an attorney. Where's the FBI when you really need them?

Love, Steve

Frederick Mensch,

I know it is difficult to check all of the postings on your bulletin board, but the lead one under this topic approaches, in my opinion, fraud. Is there some way that such apparent trash can be eliminated, rejected, or at least quickly removed?

Steve

Frederick,

I've had some time to contemplate the choice of self-policing this bulletin board versus censorship. I must agree that self-policing seems the lesser of the two evils. In this case, the response occurred within 3 hours of the initial posting. Hopefully, little damage, if any, was done before the whistle was blown. Indeed, the vitriolic responses might be a better deterent then simply making the posting go poof.

Ashley,

The reason for the initial inquiry was a compelling urge to write. However, (the dread however word), one would like to write about something that has a reasonable chance of being accepted commerically. Writing about, say Nazis in Springtime Germany, might be someone's passion (not mine, Thank God) but it would have little chance of selling. Then again, maybe if done right. . . Hmmn. Never mind.

Passion is the reason we all begin to write. As we gain experience and interact with the commercial world, we begin to understand what is accepted and what is not. The passion can fade. A loss, but so is loss of youth.

Steve

Ashley,

A case in point. I wrote a sci-fi script about an ongoing robotic warfare. It received a bronze award at Worldfest Flagstaff in November. It was great fun to write and I would do it again if so summoned by my muse. However, it has not been well received by perspective production companies. Only one is considering asking for the script. Could be the synopsis but who knows.

The point being, I enjoyed the write, a two year part-time project, but I seriously doubt if it will ever go commercially. We all, at least secretly, desire to see our story on the silver screen. We also only have so much time and resources to invest in a screenplay. There must be balance. Sometimes it's okay to just write realizing that the product will never sell commercially. If the goal is to get on the screen, you don't have to "give them what they want" but it should be a consideration.

Having beaten the topic to death, I do appreciate all the inputs from the various writers.

Steve

I have a manager and not an agent. I have found that some producers/production companies will listen to my pitch if they can receive the script directly from the manager instead of me. I guess it gives them some assurance of dealing with a professional instead of an amateur so maybe they won't get sued.

The real question is would you rather have 100% of nothing or 85 - 90% of something? My recommendation, get a relationship with someone. If the agent/manager is not hustling, consider whether its her lack of action, geographical location or maybe the script(s) is defective in some manner and needs improvement. Listen, Boys and Girls, we all grow with this art and few of us write the perfect script.

As I understand the question, is an agent a good thing to have and, if so, does his/her location matter. Like most things in life, the answer is somewhat complex. I assume the desire to have an agent is to enhance the probability that one or more scripts you have will be purchased by a prodco and turned into a movie. Obviously, having an agent is more desireable than not having one and having one well connected is even better. The non-NY/LA agents I've met have good contacts within the industry and make frequent pitching trips to NY/LA. Is an excellent agent residing in Moosebreath Montana a better deal than a mediocre agent starving to death in LA? You bet. Is a top pitch agent living in LA/NY likely to take a new writer, unproven in her abilities? Probably not. So what do we know? Nothing is certain. Throw the die kids and take a chance.

Steve

I received a voice mail from a production company inquiring about scripts I had written. The voice mail stated they got my name and phone number from Worldfest. First time I had a follow-up from the many contests I had entered. Thanks to Worldfest!

Steve

I was viewing the sci-fi genre to see the latest sales in that area and saw:

Imposter Sci-fi An engineer creates the ultimate weapon in the battle against aliens. (12/14/1999) [Script

However, when I went to Recent Sales and looked at the 14th of December, the only script sale I found was Country of the Skull. It appears that separate databases exist and, if so, they are both not being updated.

I hope this helps to sort out any initial problems with this service. Otherwise, I have found it to be quite useful.

Steve

Then the logical conclusion is to search by genre and not to rely on recent sales since the recent sales may not include all postings?

Thanks for the tip. I tried it and it works like a charm. Watch out database, here I come!

Perhaps you two should find another line of work. Maybe obituary notice writers at Auschwitz? Seriously, have you ever read a raw script with format, grammar and spelling errors but the "soul" of the story grabbed you? I have.

Do you remember why you got into the business? Maybe the passion of a great story, regardless of its technical shortcomings? I know you are deludged with trash and bad technique tends to go with trash. Maybe, just maybe, there might be a pearl of great value under all the stinking seaweed. A thought.

Perhaps my initial response was too harsh but only because of my perceived attitude of the previous postings. Telling writers they "suck" even though it might be accurate is, in my opinion, insulting. The attitude I observed is that we "bother" the reader because of the script's technical shortcomings. Well, too bad! The reader is hired to perform a specific function. Namely to review and analyze a script for its strengths and weaknesses. And I agree that a poorly written script is more difficult to read that a correctly written one. But to slam the writers because it makes your (the reader's) job more difficult is unimportant. The REAL issue is that the script will not be accepted if it is technically flawed. The screenwriter needs to improve his/her skills, not to please the reader but to grow in his/her abilities and to sell the script. Let's get our priorities straight. Help one another grow, not slam each other. By the way. Merry Christmas.

In the news area this was posted:

Due to the lack of submissions, there will be no 1999-2000 Sweet 16 Entertainment Competition. The Sweet 16 refunds are being offered by Universal Short Films, which purchased the rights and ownership of the Sweet 16 Entertainment Festival from StarlightVelocity Productions on November 22, 1999.

Yet I know I submitted and would guess that others did also. How few submission constitute "a lack of submissions"? If the contest has a breakeven point of 200 entries and only 195 submit, is that a "lack of submissions"? Does a contest entity, in this case Universal Short Films that bought the rights to the Sweet 16 festival, have a moral and legal obigation to complete the contest? What about the screenwriters that not only paid the admission fee and the postage but the loss of prize money, recognition and potential future work because the contest entity saw a "lack of submissions" If the new company reads this posting, I would be interested in the statistics, how many entries by category were received. This is the second or third contest I've seen go belly-up.

The letter I received stated that they would refund all entry fees within six months. Six months is a long time.

There must be so many entries that it is administratively impossible to expedite a refund return. Oops, sorry, there were too few entries. Let's try again.

With the complexities of a major corporate merger/takeover, administrative transitions are time consuming. Oops, sorry again, these firms are small potatoes.

I know there must be a logical answer here someplace. I'm positive I shall see the refund check in six months. Then I can turn it around and submit a script to the 2000 Sweet 16 festival because, by then, they shall surely have their act together. Yep, that's what I shall surely do. Yup, Yup. That's it. Golly.

The time for conspiracy theory jesting is over. Let's get real. Even if there were 50 entries with say an average entry fee of $30.00 (my short was less), we are looking at $1500.00. Assuming a 5% savings rate, for 6 months yields a whopping $75.00. Hardly an amount to generate such a fuss.

I really expect that the contest actually failed to generate many entries and the termination was legit. But it is fun to speculate and vent our disappointment. The thrill is in the competition, not the prizes.

Just got an e-mail from Sweet 16. They state:

"You should receive your refund no later than January 5, 2000."

I was watching a musical and wondered, how do you write a musical. Are spaces left for the songs? Do you write the songs first? Is it a script that tells a story and someone later inserts the songs?

I saw the following definitions of the terms logline and synopsis at Hollywood Literary Sales. I thought they encapulsate, for the first-time writer, what they are and their differences.

What is a logline?

A logline briefly describes your story in three or four sentences. Within these few sentences it's important we understand the main plot, the main character, vital twists, as well as, the tone and genre of your script.

For Example:

An unsuspecting wife is framed and convicted for her husband's murder. She finds out the truth while serving her jail sentence. She also learns she can't be tried for the same crime twice. Enlightened, enraged and determined, she sets out in search of her supposedly dead husband and her beloved son.

What is a synopsis?

A synopsis tells your story in several paragraphs. It's very similar to a book report. A synopsis is a summary of your three-act script, it should tell a story from beginning to middle to end. If you left out main characters (protagonist, antagonist, mentor, etc) in a book report, you would have received an F on your paper. The same goes for leaving out major conflicts, twists & turns and important events. Also, you would never leave the ending out of your book report, right? The teacher would have assumed you didn't read the book. And again, you would have failed the assignment. The same format is applicable for a synopsis.

Within the synopsis, we should learn who all the main characters are, what their objectives are and what stands in their way of obtaining their mission. You must also divulge major events that occur in each act; eventually revealing major twists, turns and plot points. The most important reveal is, hopefully, an exciting and unpredictable conclusion.

The biggest mistakes writers make when submitting their synopses is not revealing major plot twists and conclusions. Most writers feel if they reveal their conclusion, the reader won't have a reason to read the script. This may be true in some cases. However, you're submitting your script to Producers, Agents and Studio Executives, it's their job to find an exciting, original script from beginning to end. Remember, they have piles and piles of scripts on their desks, if you don't entice them to read your script by revealing major conflicts and an exciting ending, chances are they will use your script as a doorstop, before even opening the cover.

Michael,

Perhaps the "rudeness" you mentioned is a missunderstanding. Your posting under this topic was a mystery to me since it had no relevance to the topic. I assumed you posted it in error and later corrected the error by posting a new topic. I congradulate you on your success. Your third person style is unique and does raise an eyebrow but you were successful in this highly competitive business. Perhaps, in the future, a single posting allowing all of us to share in your joy might be sufficient.

Ashley,

Thanks. My first and probably only fan.

As I was scanning the Producers section, I saw the Independent Screenwriting Connection. Look for yourself but they claim to be assistants and executive for indies. They charge a modest fee for feedback but state they can place scripts in the hands of indies. Anybody know if they are legit?

I saw the above contest listed in the All Contests section but not in the upcoming contest information. From their website, I looks like they just closed the 2000 competition. Did moviebytes miss their contest, did they choose not to be listed for 2000 or forgot to pay their bills for advertising?

hanks,

I was sure there was no sinister undercurrent to the situation. I'll contact SCIFF and suggest they contact you next time.

Steve

As a general rule, I don't resubmit rewrites to the same agency/prodco that declined them the first time. There are exceptions. If their response suggests they are receptive to a revision. If you have significantly changed the story so it is not just a clean-up , you know, new title, different characters, different plotline. . . If I tell them this is a rewrite and they choose to receive it.

Otherwise, you run the risk of killing any future business with that entity.

I had a negotiation for a no-dollar option. This Prodco offered such to first time writers. Negotiations fell through between my manager and the Prodco. But had it been successful, the Prodco would have worked with me in polishing the script in question. I would have retained rights to the rewritten script. A 3% price on sale was negotiated before we broke down.

An option, even with no dollars, is still an option. Rewrite credit is still rewrite credit. I suggest take it if offered unless other conditions make it unfavorable. Typical option periods are one year. Even if unsuccessful, the time will go by quickly. Meanwhile, you go into the top 1% of all screenwriters. You've been optioned.

Here's the URL

http://colorpro.com/chadwick-gros/

Like many of you, I am a member of a screenwriting group that meets monthly. At many groups, authors exchange scripts and the others review the work in progress and provide their comments. At a new group I am attending, I was asked by the group to provide a copy of one of my scripts to the other authors for next month's meeting. The others agreed to review the script and provide comments. Since I was mailing it out to each member, I included a standard release form signed by me granting them permission to read my material. The same release form I send to prodcos. One of the members has bitterly complained about receiving the release form and refuses to review the material. I am confused. Was I wrong to include the standard release? I thought I would be an interesting point of discussion for the newer writers who were not experienced with releases. Seeking your opinions - no arrows please. I've already received a quiver full from that one person.

I believe the other writer was concerned because he was worried that reading the script after seeing my signed release document constituted implied acceptance of the release. It has standard phrases to the effect that the receipiant agrees not to "steal" the ideas contained in the story in any future work the reader may create.

Since I was not asking the reader to sign anything, I thought that the document should be a non-factor. I contend that even without a release document, the reader implicitly agrees not to "steal" the intellectual property contained within the script. In effect, a reader agrees to this when he/she reads anyone else's script. For the reader to have implicit right to "steal" the intellectual property of another author's script would preclude reviews between authors. The release document only clarifies the rights and expectations by the author to the reader. It protects the reader provided he/she stays with the release agreement conditions.

I agree that passing the script to a "housewife" or someone not normally expected to generate or develop scipts or movies on their own would be a waste of resources and could be considered "rude". However, screenwriters are, by their very title, involved in the creation of similar properties. Should they not, even more the Prodcos, want to be protected?

Ashley,

Thanks. I promise I also will not write about killer penguins. Maybe killer bunnies....

Steve

I use goto.com to look for "film production companies Irish" and got http://www.iftn.ie/sites.html. Similar directories are available on-line for UK and South Africa, etc. I've had good luck pitching to Irish companies especially Maron Pictures.

Sang

Try this:

http://www.fatcat.co.uk/swfilmcom/oldir/prodcom.htm

Other URLs can be found through goto.com using the keywords "film production company UK" Good luck.

My understanding of WGA registration is that it does not protect you. It only provides an independent broker who keeps a snapshot of the script at the time of registration. Theoretically, a judge could open the WGA registered script to see if the script contents existed at a certain time/date. My suggest is to register everything, if asked, it makes the prodcos feel better and don't worry about being ripped off. It cheaper for a prodco to pay you for your script then to go through a lawsuit, even if they win. There's no protection from a person intent on ripping you off, no matter the cost.

To protect your work, I suggest a good paper audit trail. When you send a script to anyone (US or overseas), include a cover letter detailing what you are sending them and on what date your sent it. I also include a standard release form to tell them that I will not sue them if they have or receive similar ideas or scripts but also defines what I expect from them to safeguard my material. I keep a copy of the cover letter with the annotation that a named script and the release form were sent. The WGA registration documents the contents of the script at a specific time. When you do that, I believe you have done everything possible to safeguard your material while still being professional and not appearing to be a paranoid jerk.

I've seen the name John Turby (www.turby.com) referenced as a mentor. His site indicates he has audio tapes for sale regarding screenwriting. Any comments - good and bad?

Steve

William,

Are you the same William who posted -

My name is W.C. Martell, I'm a pro screenwriter and MWA member who specializes in crime scripts. I've had almost a dozen produced, most for cable (I wrote the HBO World Premiere Movie for Sept 95). I'm also a huge DePalma fan. I have a strange hybrid of noir and clues mystery called "UNDERCURRENTS", a cross between Jim Thompson and Agatha Christie. Everyone who reads it wants to make it... without the mystery! Does Forrest Gump run studios these days? Why can't an actual mystery film be made in today's Hollywood?

If you are the same, isn't it interesting what can be found on the Internet?

Steve

I use Final Draft and they were able to accept the formatted files directly. My script, New Dawn, didn't place (68 with the cutoff around 75). Got some feedback in areas needing improvement. Am rewriting and may resubmit. Positive experience for me.

Since you asked what level of correspondence was typical, let me put my two-cents worth in. This was what was promised.

"At competition's end all contestants shall receive a copy of the Judges' scorecards and those who do not advance past the first stage shall be notified why his / her script did not make the grade."

This is what I got:

"Dear Steven,

There's nothing more frustrating than entering a screenplay in a competition and receiving a letter such as this one.

But unfortunately, your screenplay NEW DAWN was not among the 40 quarter-finalists for the 1999 Big Australian Screenplay Competition.

To achieve quarter final status, a score of 77 was required.

Obviously, judging is subjective and there are scores of scripts that have failed to be properly recognized in competitions such as ours that end up not only being optioned and purchased for large sums, but actually made into films.

It is in that light that we urge you to continue your screenplay pursuits and wish you nothing but the best in your endeavors.

Here's your scorecard:

ORIGINALITY: 20 Out of 25 points STORY/PLOT: 18 Out of 25 points STRUCTURE: 10 Out of 20 points DIALOGUE: 10 Out of 20 points FORMAT: 10 Out of 10 points TOTAL: 68 Out of 100 points"

I assume the "why his / her script did not make the grade" is characterized by the scorecard.

Steve

Eleanor,

Fair is in the eyes of the judges. Did they treat me differently? I have no knowledge of unfair treatment.

Since the results of the contest were announced, I have had a professional script consultant working with me on the script. Dialogue has improved as well as dramatic conflict. I don't know if that's the same as structure. We've gone through one review and she's reviewing the rewrite at this time. I plan to be ready for Worldfest Houston, a contest I've never placed in. The script finished as a Silver award at Worldfest Flagstaff in 1998 but did not place at Santa Clarita, ASA, Big Australian, Nicholl or TFI. Obviously, it needed some improvement. Big Australian was the first to give me some definitive scores. Most contests just provide a Dear John letter.

The problem I have found with the contest route is that it provides the experience of rejection but does little to grow a writer. I've tried one consultant and she helped out tremendously - beat me to a pulp - but I could only grow under her to a certain extent. My current one provides another direction of growth and understanding. Maybe, someday, I'll figure this artform out.

Steve

Two routes are open. Use the win to get an agent/manager. Use the win as part of your query letter to get into prodcos. An agent might not want to take you if you don't have several scripts ready to go. They want depth. Continue to submit to contests. More wins the better plus agents/prodcos are sometimes the judges. Most of all, never give up. Remember, rejection is the fire in which we all walk.

Thanks for the input. Their site states

"Two competitions are held each year (deadlines October 30 and June 30), each yielding approximately 100 feature script submissions. Of those, 4 to 6 are selected to be workshopped with a veteran writer, story editor, producer or director."

If they only select 4 - 6 out of 100 entries, then I assume the winning scripts must be very good. If my script needs work (as I know it does) it has little chance of winning the competition. Catch-22.

I contacted Blackleg Zero Productions last year and sent them synopses of three screenplays. They asked for one script and said to send it electronically. I converted it to an rtf file and e-mailed them. I checked periodically but they said they hadn't gotten around to reading it yet.

Now I see on their website they not only posted the synopsis for the script but also posted the entire script for public download. I've asked them to either remove the entire script from public download or to only include the first ten pages for downloading.

No release was signed by me giving them permission to publically post the script. Hopefully, they will comply with my wishes. A word to the wise. Monitor what prodcos who receive your intellectual property do or think they can do. I'm certain there was no intent to harm.

Before we throw out all agents, let me share a personal experience. I contacted an agent in my local area (Boston) and pitched my script to her. It had recently won at Worldfest and she received and read it. It was not up to a suitable standard for her to represent it. Quite a shock to me but since then I have learned how to write better. She refused to accept a substandard script and pitch it to her prodco contacts. She retained a measure of integrity and we are still on speaking terms. Like any commodity, the agent must be assured that the product she is pitching is consistent with the level the prodco demands or she will lose credibility.

Do we need agents? Maybe and maybe not. But they can serve a valuable function, including deflating the overrated ego of some writers, mine included.

They removed the full script and provided only the first ten pages per my request within 24 hours of my notification. Plus sent an e-mail apollogizing for any mis-communication. Very responsive on their part. Still, if I had not checked, my manager would surely have slain me.

Raymond,

Your posting was well written and, for now, I'll assume you are genuine. I've already sent an e-mail synopsis and, depending on your response, will forward the completed script. If you are legit, this is an excellent way for potential producers to solicit synopses. I suspect you will be deludged but, when you come to the surface, why not give us another posting telling how many synopses you received and how many scripts you requested.

Reality check time. If you have sufficient funds within a 401K account to live on for a significant period, then you are probably not a new kid on the block. If you have a wife or significant other and replacement units (kids), you better be darn sure you have what it takes to make it in H land. Perhaps sell a script or two first before moving there. If retiring (from first job) anyways, go for it.

More than likely, one will wind up in some assistant job working for an arrogant sob (otherwise the position will still be filled by your predessor) and writing at night.

Maybe you won't like writing full-time. Try a vacation period (I assume your current awful job gives vacation time) and write full-time. See how it feels.

If the 401K approach works for you, go for it. For others, a word of caution. Just thoughts.

I synopsized and he responded. Passed but was willing to look at other synopses. From his conduct, he looks legit.

Goals are not the issue. If you achieve all your goals in life, you are aiming them high enough. What is the issue is whether it is necessary, desirable or even wise to sell all and relocate to H land. Given the Internet, the geographic dispersion from Hollywood of film makers and the ease of travel, being in Hollywood may not be the requirement it once was for a serious writer. I still say, make a sale, then reconsider. But do your thing!

I just received a letter from American Accolades. They have a sci-fi/adventure category for screenplay competitions.

Dear Mr./Mrs. Yo Mama,

So glad you are doing your thing. I assume you are not on the public dole (welfare). And the job you quit had no special social significance (doctor, fireman, police) so that your absense from society has no negative impact on the rest of us.

As long as you pay your bills and don't neglect your responsibilities (needy off-spring, spouse/significant other, parents??), I'm so happy that you're having a great time.

When you make your big sale and pay lots of income tax, the rest of us will welcome your contribution to reducing the federal debt. Enjoyment of the good life is wonderful, as long as you don't expect others to unfairly carry the load.

Steve (over-worked, under-paid, over-taxed) - the would be writer

I have a writing partner although we pretty much write our own scripts. We primarily review each other's work, facilitate each other when we're stuck on story problems, dramatic decisions, etc. My advise to you is to be sure you have a written agreement prior to working together detailing how any funds will be shared, what each person promises to do, how expenses will be handled and perhaps deducted from any funds, the length of the relationship, and how the relationship is to be terminated. Your choice whether to involve a lawyer. Then, live up to your end of the agreement. Most of all, have fun working jointly and don't expect more from your partner than that to which you both agreed, in writing, to perform. Remember, he/she probably has a life outside of writing (even if you don't).

Steve

Do you have a URL, e-mail or telephone number and a point-of-contact?

Steve

My last contact with Indiegal Productions was on 17 Jun 99. The point-of-contact is Jeanne @ (818) 890-6111. Their FAX number is (818)890-5851. They read my script but took a pass. Seemed like a genuine prodco. Hope this helps.

Steve

Anybody heard from the Bad Kity contest? They were suppose to announce results in January.

Ron,

Not a peep. Still interested in any info.

I checked their website and found:

We are a tad behind in announcing our 1999 Quarterfinalists. The judging, however, is almost complete, and finalists should be announced mid-February.

I assume most of you are excellent writers but me, a wannabe writer working as an engineer, I need all the help in spelling and grammar that I can get.

I use Final Draft as my screenwriting program and they have an excellent spellchecker. But what to do about grammar? I consistently confuse the use of their, there, and they're when I'm in the creative writing phase. When I go into my critical mode, it's difficult to root out the grammar errors.

The technique I've found useful is to save the script as an *.rtf file. I open the rtf file using MSWord. The MSWord program has an excellent grammar checker underlining questionable sentences and uses in green. I correct the sentence in Word and then correct the same passage in Final Draft. It works for me. Hope this helps any other grammar-challenged writers.

I employ a reture schoolteacher and she does an excellent job. However, I prefer to generate correct scripts before I submit they to her. The original posting was to provide a means to let writers check things themselves.

I have employed a few script consultants to both learn about scriptwriting and to polish my scripts. I, a male, seem to have problems with the emotional response of female characters. The female script consultants seem more in touch with enabling me to make my female characters come alive. Am I just being sexist? Any similar experiences?

The way I got into screenwriing was in a similar incident. I met a writer on a long airplane trip. He was seated next to me.

I suggested a storyline and he said if he used it, he would mention my name. I later sent him a synopsis and then a script. It was so bad. Eventually, he and I partnered. He stayed with me and I have improved. He and I are still partners.

If he had blown me off, I probably never would have gotten into the artform.

I received a strange message from Bad Kitty. It reads:

If you or anyone you know has had any dealings with, or has been approached by:

Marlene M. Mendoza - d.b.a. Film Capital Corporation or Emerald Cinema Corporation

PLEASE CONTACT US IMMEDIATELY! We have important information for you! Whatever you do DO NOT SEND THIS PERSON MONEY!

Does anybody know what this is about?

Steve

Since most of us have limited budgets to support our screenwriting activity (addition?), I'd like to know what are the top five best (most prestigious) competitions. I would guess that one of them would be the Nicholl competition. But what would be the other four?

A wiff of good sense is needed here. If you send your logline or script to a place that accepts material from new writers, you can expect that lots of others just like you are, have or will be submitting materials.

It takes a great management control system to input, control, track and respond in an orderly manner to this deluge. If you don't like it, then try pitching directly to other prodcos and see where you get. Maybe they'll accept your material but most likely they will refuse.

So take it or leave it. If you want timely response, avoid publically accessible prodcos. If you want to be read, submit to contests and WIN or have a great logline and an even better script and go for the other prodcos. Either way it's a crap shoot. If you want improvement, find a GOOD script consultant.

Take your chances and roll the die or do nothing and die. The choice is yours. For God's sake, don't get angry, a sign of an amateur. You'll get no place.

When you have sent in a script, be persistent but polite. Check in once a month, After awhile, they will respond just to avoid the irritant (you). Too often warrants an automatic rejection. When (if) rejected, be polite and thank them for the review. You may want to submit another work later. Ask if they will accept future work. Most likely, they will say yes. What have they to lose unless you've been rude. Reference their willingness to receive material the next time you pitch a concept/script. Always be nice. Don't burn bridges you may have to cross again. Even if they're rude. Just an observation. Thoughts?

I entered and did not place at TFI. I have received no judges notes, critique, nada. Anybody receive notes on their scripts submitted to TFI? Maybe it's just me they're against. How do you spell paranoid?

I haven't seen the Juno banner so I am guessing. Look for a dismiss box, usually an X to remove the banner. Depending on the computers operating system, try depressing the control-alt-del keys simultaneously. This should show which tasks are running and if you see a Juno task, end it. Try it and let me know if it worked.

Steve

Thanks,

I'll be waiting.

Steve

Nada, nothing, not a cent. Chalk it up to being too dumb to not spot being taken to the cleaners. I actually believed them. How could I have been so stupid? My intellectual incompetence astounds me. Let me slither under the nearest large rock and hope and pray that God Almighty will squish me like the snake that I am. Alas, there is no hope. My life as a promising writer comes to an end. Not with a bang but a whimp as I fall victim to one more contest rip off. Life, life ends at last. The cycle of eternity, broken. All over $16.00!

Virginia,

I hope you placed your contact information on the title page of your script. You know, name, telephone number, address, e-mail address, etc. Maybe they've finally read it and loved it and can't contact you.

In reality, write them off. If they call, it's a pleasant surprise. If you get their number, call them and ask if they've lost your script. They may have and have been too embarressed to admit it. If so, and I'm assuming you've continued to rewrite the script, offer to send them the improved version.

I'd suggest contacting them and don't even ask if they've lost it, just offer to send them an updated version. It will save them face, you can determine if they're really interested and everyone will be happy. If they really don't want it, they will say no.

You use the phrase "a spiritually aware, anti-psychiatry, producer and/or agent". I suggest you clarify your meaning. Do you mean Christian, New Age or just one willing to listen/read spiritually based scripts? The "anti-psychiatry" term confuses me (although I confuse easily). Are you refering to someone willing to work with you although you may have certain psychological problems? Or do you have another meaning?

The contractual relationship you wish to establish with the producer or the agent, is it for a single project (script) or a more long-term one, such as a series of scripts with similar themes or a lengthy business relationship? These clarificions are needed, I suggest, to find your ideal producer/agent relationship.

Am I missing something here? I came upon this competition under the home page. It seems to be an organization of script readers, you know, generally assistant to the assistant producers. They promise to do script notes and want to charge $95.00. Why would I possibly want to pay them a relatively large amount for an entry fee? The awards are "$500 in cash, $1000 script consulation and submission to producers". When I submit to a contest, I'm really trying to get my script in the hands of and in front of the eyes of a real producer, someone with the power and connections to make a film happen. Why should we possibly be interested in this contest?

When sending a script into a competition, is it better to submit it early or late? A few years ago, I would submit early and I always lost. Now I submit as late as possible (unless there is a submission fee difference for early-birds). I have been doing better in the last two years. My writing has improved so I can't tell if it's the strategy of late submissions or improved writing or both. Any thoughts?

When sending a script into a competition, is it better to submit it early or late? A few years ago, I would submit early and I always lost. Now I submit as late as possible (unless there is a submission fee difference for early-birds). I have been doing better in the last two years. My writing has improved so I can't tell if it's the strategy of late submissions or improved writing or both. Any thoughts?

Ashley,

Settle down. I meant no injury to you. But I think you can see how a stranger looking at your initial posting could be at least confused as to what you want/meant. I am still not sure how different themes from run of the mill ones relates to the question in your original posting. I'm glad to see that there are writers such as yourself who venture into different territories. If you were offended, then I offer my sincerest apollogies. No offense intended, really.

Steve

My understanding is that a prodco will buy the rights to a script. Usually, the original writer is provided a first rewrite clause. If the producer doesn't like the first rewrite, he/she is free to hire a different writer to rewrite the script. It just makes good business sense.

If you get 1/3 or 33% of the production cost, I believe you are doing better than most writers. The usual amoutn I've heard of is 2 - 3% for a medium cost feature.

Ignore last, misread purchase price for production cost.

I came close once but the option fell through the cracks. I had my manager lay too many restrictions on the producer. He went elsewhere. For me, I would get the option first, assuming it is even barely agreeable. Better to have optioned than not. Make a tougher deal on the next twelve scripts. My two cents worth.

I came close once but the option fell through the cracks. I had my manager lay too many restrictions on the producer. He went elsewhere. For me, I would get the option first, assuming it is even barely agreeable. Better to have optioned than not. Make a tougher deal on the next twelve scripts. My two cents worth.

Ashley,

I also write a very spiritual theme, looking at the good within people and allowing them to rise above the animal instincts some scripts portray. We each have our our life and world views. My suggestion to you, based on my own life experience is to not be defensive but to be assertive in your offense. By this I mean, don't get upset with other people because they fail to share your same viewpoint. Realize they are just not at the same level as you and possibly we are. Advocate your position fiercely, passionately. But remain respectful of other's positions.

Regarding the original posting to which I replied, my father tried to teach me long ago and I was too resistant to learn that "to say what you mean and mean what you say". The first relates to clarity and the second to integrity. It took me 30 years of adult life to begin to comprehend some of the depths of his statement to me. I am still struggling with certain aspects. My response was intended to help you, as a fellow writer, to be explicitly clear in what you said.

We are all on a ladder in life. Some of us are ahead of others and some behind for each talent and shortcoming. I firmly believe we are called to help the ones below us and never be so prideful as to refuse help from the ones above us. This is the code by which I try to live. I hope that this exchange, even though painful to me and apparently so to you, aids both of us to progress as writers and as fellow humans.

Steve

Ashley,

Apollogy accepted. Emotions are both are blessing and curse. I am delighted to hear from people such as yourself who have passion. Best wishes to all of you.

I've been fortunate enough to have won at Worldfest. They provide a framed award. I ordered a oopy of the award and sent into it to my manager so he could display it on the wall in his office. I figured it couldn't hurt keepng his focus on my work and who knows who might visit his office and where that could lead to. Any thoughts? Is this a dumb thing to do?

Steve

My suggestion. Drop him a thank you note or letter with no script. He may ignore it but you might impress him. Tell him you are taking his suggestions to heart and in a few weeks/months (depending on the level of rewriting he suggested) resubmit the script with a new cover letter referencing the previous submission and thanking him again for his insightful comments and how you have incorporated them. If you resubmit too soon, he will think you've done a superficial job. Too late and the fire will have diminished. I suggest one to two months.

In my opinion, this matter is closed. Let's not reopen it.

Steve

I sent an inquiry e-mail to pdleitch@lionsgatestudios.com. If I get a response, I'll post a message.

Sang,

I got the e-mail address from their website. No specific person known to me in script development.

Steve

I have a manager but in our contract it states that he will not be responsible for seeking work. I use him for contract negotiations, etc. I do the marketing myself. My choice.

If your manager is not living up to expectations, tell her so. Maybe there's a misunderstanding or maybe that's how she does business. If it's not what you need, wait for the contract to expire or terminate per the contract and live without one or find another. Meanwhile, keep writing.

I've been pitching to a foreign prodco (Central Europe) and they may be getting serious about one of my scripts. Any difference in dealing with a foreign prodco versus a US-based one? For instance, worrying about being ripped off.

Maybe I'm just getting old and paranoid but a prodco requesting scripts be directly sent to them without first asking for a logline or synopsis seems strange. Likewise for a release form. Either very strange or too good to be true. Maybe they're just eager to get some good horror/sci-fi scripts and will sort out the legal stuff later. I've left a voice mail message for them to call me. I'll post if/when they respond.

Received my evaluation from TFI today. Somewhere between give up screenwriting and play DOOM all day and maybe there is some hope if you live long enough. They were actually quite polite while inflicting massive pains on my writer's ego.

TFI employs a review process using The Dramatic Cycle and it appears to resemble Campbell's The Hero's Journey (see Chris Vogel's The Writer's Journey). Review format is either Excellent, Fair, Poor or Not Applicable followed by narrative comments.

Maybe playing DOOM or QUAKE might be a better use of my non-working time. At least I have the satisfaction of forcing the reader to review and comment on my screenplay. Why should I be the only one to suffer from reading my screenplay?

Seriously, Thanks TFI. I'll review the critique in depth and see what I can salvage, although it looks hopeless. Their comments finished with "I wish you luck, but you are not ready for competitions yet". Time for some gin and tonic.

Employing a standardized evaluation form, while generally applicable, my not always be the best approach in evaluating scripts. It can be done. Take Pulp Fiction as an example. Chris Vogel's book does properly analyze the story and unwinds the heros and plots but an average reviewer might easily fail at a complex story.

In my submitted script, the reader identified the wrong character (from what I had intended) as the hero and therefore drew the resulting conclusions. I need to improve that aspect of the story to more clearly identify the protagonist and antagonist.

I find it cumbersome to layout the story in treatment form as suggested in McGee's book, Story. This would improve the structure but I currently find it extremely inhibiting. Perhaps, some day, I will learn the skills and discipline.

The software to read printed scripts is called, in general, optical character recognition software. However, it historically has worked poorly with handwritten materials. The computer must "learn" your handwriting to convert the characters.

The other type of software is called voice recognition. My son uses it but he must still correct the text where the computer errors in grammar or misinterprets the voice input. In addition, I tend to write better than I speak as I can think about what I write and immediately correct it.

I entered the Venice competition primarily because of the judging panel (lots of prodcos and agents) and that the submission was via Internet. I found using PayPal (their on-line payment method) was difficult, the Big Australian contest is much easier to enter and pay. But they rapidly responded to my e-mails and we solved the payment problem. NOTE: I do not see Venice as a contest under the On-Line category for competitions.

I received a return call from Dreamline Productions. Their e-mail address is dreamlineprods@hotmail.com. This will be there first feature and is planned to consist of three short scripts. Writer payment is on a deferred basis. I'll send in a script that I can reduce in length to their page limitations.

I was asked by Anthony West of First Look to send in a script. They responded to my e-mail status inquiries promptly and politely but eventually passed on my script. I have their address as:

First Look Talent & Literary Agency 264 S. LaCienega Blvd Suite 1068 Beverly Hills CA. 90211

Other than their horribly blinded mistake in passing on my script, they seem to be a good agency.

Let's separate the one posting the original message from the agency he is promoting. Robert, according to his own profile, is a high school student in South Africa. It appears that some or all of his claims are unsubstantiated. This does not logically mean that there is something amniss about the agency.

If Robert's falacious claims are based on information directly obtained from the agency, then that agency's actions are questionable. No one has posted any information to that effect.

I suggest new screenwriters determine for themselves which, if any, agency is correct for them and not rely on general consensus obtained on bulletin boards. Bulletin boards, I contend, are best suited to sharing experiences and "tricks of the trade" regarding screenwriting. My "two cents" worth.

The list of quartefinalists is out and posted at:

www.badkittyfilms.com

Steve

I've got the beginning concept for a story involving a homosexual being converted to Christianity, joining a church and being rejected by the members. The question: How do I write and sell the script without being excommunicated from my own church? Even if the script is well-written, unbiased and addresses important topics, people could make church life difficult for me if I wrote such a script, I suspect. Dropping out of the church scene is not a viable answer for me. Any thoughts?

Thanks to all for your inputs. The story idea is neither a condemnation of homosexuality nor its promotion. The issue is intended to deal with being yourself and self-acceptance of what you are. I shall take a shot at it.

In terms of the use of my name, I will try a nom de plume or pseudonym. How does one do this? Do you use you own name on the script when you send it to producers/agents and if it get produced take credit under the other name. If so, what about WGA credit, etc? Paying taxes?

E.C.

Alas, the difference between the ideal and reality. There are certain areas of vulnerability each of us has that we are not willing to expose to our adversaries. It is unfortunate but true. Thus, in my opinion, is the need for the story to be written and shown to the Church.

Steve

Never trash it. Since the other script is in development, remember that it will probably never make it out of development hell. Even if it does, I assume the two scripts are not identical. As you grow as a writer, you will probably modify your story.

If the script in development becomes the next "in" thing, producers might be looking for something similar. Either way, if it is good, it can be used as a calling card to demonstrate your skills. My two cents worth.

Voice Over (VO) can easily be poorly done. For new writers, the best policy is to avoid it like the plague. Most begineers use it as a crutch for exposition. Well crafted professionals can use it effectively. Given that the reader for a begineer's script will use any opportunity to dismiss the script, I'd suggest the begineer not use VO.

It took ten minutes to download onto my PC. If you were to send a floppy disk, then there might be a problem with a agent/producer worrying about viruses although a protection program should eliminate that concern. An interesting approach. If you can overcome the speed and the intended audience (producers) will accept the medium, it might make an alternative way of presenting your script. For now, I'd suggest staying with paper or e-mail pitching. Probably better comfort for the intended reader.

If you are an average (new) writer, it probably makes little difference. If you are at the 50 percentile, then you should place about in the middle of the competition. Most contests, even those that have quarterfinalists only award the top ten percent. Therefore, most entries, small contests and large alike, receive nothing. My suggestion, if you find yourself in this category, is to seek those contests with FEEDBACK to improve your writing skills.

If you are in the top ten percent, or think you are, then enter the BIG and small contests alike. A quarterfinalist at Nicholl is something to put on your inquiry letter as is an award winner from an unknown contest. Most all, keep writing. Improvement comes over the broken bones and scars of your/my ill-completed works.

I, personally, chose the contest route, was severely beaten with losses, eventually went to a professional script consultant, had an occassional contest win and more severe contest beatings, am currently working with another script consultant and am slowly (painfully so) improving my skills. To do it over again, I should have used the script consultants early but I massive writers ego would not have allowed me to change.

I recommend the Big Australian script review service as they are relatively inexpensive, accept scripts on-line and provide feedback by e-mail, my preference in communications. I have found their comments to be correct (as being consistent with other reviewer's comments) and their attitude is refreeshing. If you can afford it, a professional script consultant is invaluable. My two cents worth.

Steve

It's been several months since I submitted two shorts to Burn Productions. They are posted on the Producers site of this web site. Has anybody heard anything? Has anyone been optioned or sold to them? Have I been burned by Burn Productions?

Bill,

I congradulate you on your successes. Would you characterize it as to the subject of your scripts, a long standing relationship with one or a few producers, your query letters, the genre and medium (television MOWs as I recall) or another factor(s). We'd be interested in knowing that not only someone has been successful but the details.

Steve

Bill,

I congradulate you on your successes. Would you characterize it as to the subject of your scripts, a long standing relationship with one or a few producers, your query letters, the genre and medium (television MOWs as I recall) or another factor(s). We'd be interested in knowing that not only someone has been successful but the details.

Steve

I've received two opposite answers from a producer and a script professor.

The producer said that Shorts were a waste of time for the screenwriter since the screenwriter's finished product is a script. In his opinion, shorts are used by directors and producers to show thier skills.

The instructor countered that screenwriters must master the skills and shorts are an excellent way of writing. You must learn the techniques before mastering a feature length script.

My opinion is in between. Write what interests you whether it is a short or a feature. Shorts also provide a valuable connection to producers and directors, show you are commercially accepted and can develop many contacts for potential future work. Don't expect any money from shorts. Many directors/producers also write their own scripts. But most of all, keep writing.

I am not a lawyer but it seems to me if there was an option in place, there should have been contractual protection to preclude them from "lifting" portions of your intellectual property. In addition, I would assume you have directed them to not use your material in future scripts they may independently write.

In terms of taking co-writer credit, it is not unusual to have another writer rewrite a completed script and to be listed as a writer in the credits. The fact that the script had been through a professional script edit is interesting but the finished script may not be the story the director/producer wants, hence the rewrite.

When I pitch a foreign prodco with a script and they request the script, I've recently inquired if they would be willing to receive the script as an e-mail attachment. Many times they agree and I submit it as an rtf formatted file. While the rtf file loses a slight amount of Final Draft formatting, it is acceptable. The advantages to the e-mail transmission are that it saves me about $13.00 in postage, and the script gets there immediately instead of ten days later. I also follow-up with an e-mail inquiry to verify the script got there in good condition (file not corrupted) and to get an e-mail response showing they received the named script.

Question: Is there a downside and am I assuming additional risk in doing this?

I find the commercial tools generally too cumbersome to use. I use MS Excel and generate a file for each of my screenplays. I form categories in columns to place the prodco, contact name, phone number, e-mail address, pitch date, whether they asked for a script submission or declined, the date of submission and a results column. Probably not an efficient use of Excel but it sort of works for me. I organize the rows by the prodco's name using the Excel insert command.

You can always counter-offer. Say No FEE and a 50/50 split if the sale is over a base, say $50,000, of which you receive the entire base before the remainder is split.

Reference the three postings below. The same info appears within each. In addition, the contents are legalize and about as interesting as watching a car rust. From the posting times, it appears that the message was sent at different times in a mass mailing method. Wouldn't have been more effective, or at least more interesting, to post the URL to the same info? In addition, since the newest posting rises to the top of the board, sending the same info on three different postings seems more meant to infuriate than to inform. I ask the offending agency to cease such postings in the future, lest they suffer more wrath and indignation from the writers.

Before we all burn Anna, perhaps we should consider the "evidence" against her. As was demonstrated in another post, imposters previously could post as another person and spam the board. I suggest we discount all previous alledged traffic from Anna and her supporters and only consider new postings since the password implementation. I also note that postings by her supporters may not accurately reflect Anna's true position or business practices.

NO, I AM NOT A SUPPORTER OF ANNA nor is she my agent nor do we have any type of relationship. But fair is fair. I suggest we reset our judgements on Anna and her agency and see what happens from now on.

I assume you keep a submittal log of what you sent whom and when. My rule of thumb is wait one - two months after submission and follow-up with an e-mail or telephone call. If I get a definite date to call back and receive no response, wait about one week more and inquiry again. Keep inquiring, but don't be a pest, about once a month. After six months, write off the submission as a lost cause. Remember, always be polite and remind the one you are talking to they asked you to call back for a follow-up.

I have a current script submission with a prodco. After a month, I e-mailed an inquiry. He asked me to wait two months until all of his staff had read the script. Of course I agreed.

Marc,

I have used several different script consultants to review and help me learn the ropes of screenwriting. My current one is Madeline D'Maggio. She's a produced writer. For about $500 she will read the script, mark it up and provide about an hour long microcassette tape of comments plus a 10 - 20 minute phone call after I've had a chance to review her comments and listen to the tape. I met her at Worldfest Flagstaff where she was conducting a screenwriting seminar. If you are interested in contacting her, write me at:

snkarels@hotmail.com

and I'll see if she wants her e-mail address released or otherwise put her in contact with you.

I've also had some really bad experiences with consultants so when you find a good one, keep him/her.

My two cents worth -

Congradulations on completing your first screenplay. You face some choices. How to evaluate your own work. Sending it to most contests is like throwing money away. You get the Dear John letter saying you were not a finalist but no feedback to change and improve. Some contests are exceptions. Try TFI and Big Australian. A low cost evaluation is available through the Big Australian for about $90.00. If you have a bigger budget, try a good script consultant. Meanwhile, read scrrenwriting books - Trottier's A Screenwriters Bible is an excellent start. McGee's Story is also good. Join a local screenwriters club/workshop - see American Screenwriters Association.

But most of all, toughen your writing skin. You're going to get rejected, Big Time! If you're human, you'll feel like quitting and never writing again. Keep on writing. It may take 5 or 10 scripts before the talent and know how kicks in. Go for the long road. My thoughts.

Checkout this production company on the Producers section of this site. Great web site design.

Maybe I'm being overly sensitive but isn't restricting submissions to Latino screenwriters a rather racist thing to do? I could see limiting the subject material to Latino issues. But to imply by the limitation that non-Latino's cannot write about Latino issues seems to me rather harsh.

Suppose a white supremist production company (I know of none but just suppose one existed) required the screenwriters to be pure Arian. Blacks and Latinos were not welcomed to submit. Wouldn't there be an outcry? And what of the web site that permitted the posting? Would Moviebytes be labeled as racist? I am not suggesting censorship but, I believe, these are important issues. Comments, anyone?

Free or low-cost analysis should not be rejected out of hand. Some of the best comments come from peers at the Maine screenwriters group. We review each other's work and provide feedback. American Screenwriters Association (ASA) has a free script critique service for its memebers. I've read and commented on three scripts from other members and had three others review my scripts. These tend to be more superficial than the paid script reads but several people can show you how a more general reader might react. My suggestion, use all that you can get. But choose wisely and receive inputs with consideration of the source. Remember, you are the author of the script and must be happy with the work after all the changes.

I've talked to agency people not located in LA or NY. There approach is use the airlines. Lot's of travel. They plan their trips efficiently and schedule visits. If done well, they can be as effective as local-based agencies. They filter writer material (scripts, treatments, pitches. etc) and gain credibility with producers, insiders, etc. In this age of telecommunication, being present 100% of the time may not be as important as a generation ago. However, the "big" agencies have a presence in NY and LA. Roll the die and take a chance.

Glynn,

I have not worked with Anna's agency nor have I been represented by an agency. Your posting reminds me of the X vs Y management arguments. The classic managemnt theory suggests that a new worker (a new writer) needs an X type manager (strict controls, do this type of direction, etc.) until the worker has learned the business. Then, under Management theory, the supervisor slowly transitions into a Y manager (distributed decisionmaking, worker freedom, etc.) and lets the worker make more independent decisions (creative freedom).

If this is the case with Chadwick and Gros I complement them on their style. New writers need direction and guidance on improving their work and learning the craft. If you have personal experience with the agency and found them to be too restrictive for your own location on the writer's career path, perhaps they did not recognize your writing maturity for whatever reason.

Freedom, something we Americans treasure, is not always appropriate when trying to learn a trade. The apprentice serves the master crafter until the apprentice learns the trade. Then he/she moves on. Some thoughts.

Thanks to all. Now I know why my scripts have not been placing first in contests. I had forgot to put FADE OUT at the end of the script,using only THE END. Watch out world, I shall revise and begin to win everywhere.

I recently entered the fray at Chadwich and Gros. I offer my experiences as some feedback to others.

I entered on March 31st, the last day to enter. They reponded within a day to my email confirming I "had made it under the wire". I waited a couple of weeks but heard nothing. I emailed an inquiry. First responce was a chastisement for not using their standard business practice of including within the email my full name, address and script title name. After some confusion on my part, I received direction from Anna to submit the first ten pages of my script. Their business practices told me to not expect feedback for a month or so. I submitted the script on 14 April. Anna's response was dated 22 April. I got rejected in seven pages.

She commented on my cover letter five times (misplaced modifiers, value of the enclosed stamps, failure to write script title in all CAPS, etc). The next seven pages were full of Anna's comments and notes. In my case, the primary problems noted were format issues, extensive use of passive voice, grammar problems, inconsistency, spelling, and many other problems. She ended with "Pull out your 3rd grade Grammar book, please. I've had enough. Try us again next year if your basic writing skills improve or season enough. You're not ready, Steven. Do some hands-on work with a keen editor who can show you the basics. Thanks, Anna".

While some of you might consider her comments rude or hard, remember that this is a hard business. No one is obliged to be kind or to help a writer advance in his/her skills. I had not realized the passive voice problems in my narratives and the script had previously been through four professional reviews. Obviously, my initial reaction was disappointment and anger over the harsh words, but I am learning to harden my "skin" in this business. Other than four first class stamps, this episode with Anna cost me nothing but some time. I appreciate her inputs and comments.

This response is meant to neither support nor critize Chadwich and Gros agency. But I thought it would be of interest to the screenwriting community to provide one more "data point".

John,

No need to worry about me being con'd. I've learned a few things in 53 years of life and one is to spot such a move. Your premise, while interesting, does not apply to my case nor to Chadwick and Gros. I took Anna's review, upgraded my script and today submitted it to the Nicholl contest. I had decided to skip that contest but her comments encouraged me to redo the script once again and go for it. (Maybe just to show her?)

Anna's response to my script was very direct. Probably the toughest response I've seen. And it was just what I needed to get me back writing. I doubt that I will resubmit to Chadwick and Gros next year (I'm ineligible under their business practices until then). Perhaps I'll have another agent and a sale. Who knows and that's what makes this business so fascinating. Thanks for the concern for me but I'm a big boy and quite capable of detecting con persons.

Robert,

I have been reading and commenting on this bulletinboard for some time. Your comment was the most crude and obscene reply I've ever seen on this site. Please grace us all by removing yourself from this bulletinboard forever. We will all be truly appreciative of your absense.

Ashley,

You, as usual, are right again. I overreacted to his vile and foul message. Perhaps another remediation is appropriate.

Maybe a public flogging. His production company, R.A. Films, could document it. We could then view this motion picture spectacular on the Internet while munching popcorn. But maybe R.A, Films is a myth.

Perhaps Robert is only a nasty little boy. Perhaps washing his mouth out with soap might be a better justice. No, I have too much respect for the soap.

I am too close to the issue to properly decide these alternatives. Review his postings to gleam the full nature of this Hollywood Mogel. Maybe, someday, in a distant future, Robert can reach the lofty heights of a normal, civil human being. Alas, we may be asking too much of him. Banishment, I suggest, is the more humane punishment.

This is technologically possible now that sign-ins and passwords are required. Just alter sightly Robert's password and, Oops, he can't write his crude utterings on this public board. Maybe the password fairy will grant my wish. Maybe, someday, that password could be magically recovered, say, after twenty or thirty centuries. Forever is a long time.

Ashley, I retract the word forever from my previous posting. Thank you for showing me the right thing to do.

Steve

John,

I did e-mail Anna for a suggestion for a "keen editor". She replied with a nice response suggesting a FREE service or continuing with local fellow screenwriters. Under your above criteria, Anna is not a con artist. Again, I am not endorsing Chadwich and Gros. But fair is fair.

Steve

Daniel,

Obviously I have not read your screenplays. In general, Comedy is King. Look at the posting under the Home section for the statistics on what type of genre is most heavily bought and you will see Comedy. All other things being equal, go with the comedy.

The other approach, if you are pitching your own scripts, is to pitch some or all of them. Let the buyer decise what he/she wants. Best of luck.

Steve

Sang,

Robert's last message is what set me off. However, before I let him have it with "both guns", I did review his previous postings on the off-chance that this was an isolated incident. A review supported my decision to go after him even harder.

Steve

Doug,

Congradulations. I'm a quarterfinalist at ASA and am waiting to see the semi-finalist results the mid part of this month. What's the genre and title of your award-winning script?

Doug,

I mostly write si-fi. The script is called New Dawn and is about a DNA-enhanced family being sought by a secret government organization called the Eugenics Bureau. Sort of a combo between Diary of Anne Franke and The Fugitive. The children are taught to suppress their natural abilities lest they be detected (they have doubled the normal IQ and psychic powers). The family is discovered and goes on the run. Parents are conflicted over how to raise the children.

Ashley,

Sounds as logical as a chain letter. First of all, a small production company probably does not have access to provide a $Million contract plus the associated costs of actually making the scale of production that a $Million script would require. Assuming a 3% purchase price suggests a production cost of 30+ $Million. That's a studio level effort.

Second, why would the entrants judge each other's script? The winning effort goes to the script judged best by competing authors? And they would risk $Millions on the judgement of an ensemble of unproven writers?

My instinct is that the production company will collect the entrant fees and disappear before they are forced to name a winner or that no winner will be named. Something smells really bad.

Steve

Anyone have a similar experience? I received a call from a prodco back in December and they urgently wanted a recent award winning script from me. In fact, the guy who called me insisted that I overnight it to him before the Christmas holidays so I sent it express at a cost of about $17.00. I waited two months and called the same guy. He tells me that if they're interested, they will contact me and for me not to call them again. I know this is a hard business but if they solicited the script, they should be decent enough to tell me yes or no thanks. Any thoughts?

Deb, two answers. First, never post the prodcos's name if you ever expect to do business with them in the future. I may not like their treatment of me now but things might change. The development guy/gal could be replaced and the whole interaction with the company alters. But corporate memories are long and hard.

In answer to your quuestion, get an attorney/manager/agent, whom ever you need to not be bullied. An option agreement is an AGREEMENT. When you submit a spec script, the prodco is in the superior position. When they offer an option, you are in the superior position. But neither party will/should do something stupid. Business is business. A poor initial offer does not mean they do not like your intellectual property or you. It's just their initial offer. Some thoughts.

Ashley,

An interesting technique. However, I doubt it work for me because of my gender. It also only works in person.

Seriously, a WGA writer during a seminar mentioned to never cry or do similar actions as it is considered highly unprofessional. It might win the moment but will cost you dearly in future business. Prodcos want to be able to work with their writers and emotional outbursts, though justified, do little to extend that relationship. My suggestion.. Get a hard nosed agent/manager who can be the "bad guy" and you remain the pure artist.

I received my notes on the two scripts I submitted to the Bad Kity contest last year. There were two different judges on each of the scripts I submitted and the comments correlated well with reviews I received from a script consultant working on the same materials and from the ASA competition. I recommend Bad Kity as a viable screenplay contest and which provides good contest notes. The judge's notes were less judgemental than the notes I received from TFI for the same materials.

Anybody know anything about Dana Franklin or The Daily Script Contest? Admittedly it's only $15.00 to enter but I got burned last year on the Sweet16 contest. Any help out there?

Daniel,

Titanic may be the greatest movie of all time but most professional (WGA) writers I've talked to say the script was weak. The credibility of a rich girl throwing all her position and wealth away for a poor artist is highly questionable. The villian (played by Billy Zane) is such a monster with almost no redeeming characteristics that it makes the outcome too predictable. The scene going below deck once more more time is boring. Titanic was and still is an awesome movie but, most agree, the script was not.

From a script viewpoint, would not the story of some of the "common" people have been much more dramatic and compelling? What about the old couple in the bed while the ship sinks? Who can argue with the most commercially successful movie but the script WAS soft!

Richard,

My actual statement on the previous posting was "but most professional (WGA) writers I've talked to" and I talked with three WGA writers I've met and made friends with them. Their opinions were two faulted the script and one was neutral. Not a scientific polling but it illuminated me.

TITANIC was a titanic movie in scope, direction and effects. For an independent review of the script quality ask a WGA writer the next time you meet one at a seminar or similar function specifically about Titanic. There is a difference between a great script and a great movie. Personally, I liked Titanic and saw it several times.

I also noted their presence on Hollywood Literary Sales. Looking at their website, they will accept script submissions without first reviewing a logline/synopsis. I don't do business that way. So I sent them an e-mail with a short synopsis to see if there is any real interest. If they want to see my script, I'll have my manager forward a copy to them to establish a correspondance history.

D.G.

Chill out dude! Don't try to take the place of ill repute reserved for Robert Anderson. You're too good to be that bad.

Steve

D.G.

You the man! Keep writing.

What a way to find out you were not a finalist. ASA at least lets you know the bad news before they announce the finalists.

Best luck to the finalists. Maybe Flicks on 66 could execute a better notification program next year.

I just signed up for my first online course. Mr Trottier (The Screenwriter's Bible) is conducting a 6 week course. More info at www.davetrottier.com. I'll post the results of the course in a couple of months.

Steve

Doug,

Your comment "The ridiculous aquatic scenes with Leonardo and Kate in the frigid (that means very cold) waters of the North Atlantic destroyed any credibility the movie may have had." is not clear to me.

Are you saying the water was so frigid that death was instantaneous or are you saying the victims died too quickly? The historical fact that some people, although not many, survived the waters indicates that instantaneous death was not the norm.

The use of debris to get Rose (Kate) out of the water is a sound engineering means to reduce body heat loss as conduction is a much more severe factor than body heat loss by thermal convection (air) or radiation loss (night time sky) for the scenario defined in the movie. (Can you tell I am an Engineer by trade and training? That's why my script dialogue is so terrible).

Survival tables used in the U.S. Military indicate the avarage life expectancy is about three minutes for a fully immersed person. I thought the immersion scene was plausible.

Steve

Peter,

You asked for some feedback so here it is. What really gets me hot is someone who posts three different postings saying essentially the same thing. Once said is sufficient.

Ashley,

Once again you are right. I struck out in a moment of anger. Something I criticise others for doing. It just goes to show we are all human and each of us has "hot" buttons. I shall try to control myself in the future.

Steve

Sang,

I entered two scripts last year. One received a good review, the other didn't. Their comments correlated well with the results from other contests that offered reviews. They use the Dramatic Circle method to evaluate - see their web site for details. I've entered one script this time at the $75.00 fee. Hope this helps.

Steve

Peter,

Nothing personal in my first comments. Just hit one of my many buttons. Sorry!

I try to avoid fights. But my Vietnam combat experience taught me to go for the quick kill and never take prisoners. If I must fight, I'll choose your side.

Steve

It may be just me but it seems as though the activity for this bulletinboard has diminished over the last few months. Perhas it is the hassle of the sign-in and password. Anyone else out there tired of this site's security? Maybe the (single?) incident that sparked the increased security level was just that, a single event. Just some thoughts.

I received Dave's comments on the first three pages of a script sample. I'd like to share the results.

1. Formatting a Slugline

Incorrect: INT. LABORATORY - NIGHT.

Correct: INT. LABORATORY - NIGHT

(Notice the period at the end of the slugline - it doesn't belong there)

2. Character Names in a Script

As a very general rule, use the last name of "bad guys" and the first name of "good guys" in the character name field of a script.

For example, if John Talbert is a "bad guy" and Frank White is a "good guy", then Character Names are as follows:

TALBERT dialogue

FRANK dialogue

I'll post more as I receive additional feedback from this course.

Steve

Anyone have a definition and/or examples of a Milieu genre? Thanks in advance.

Steve

Ashley,

I was read The Scrrenwriter's Bible. 3rd Edition, Page 34. He was giving examples of other genres. To quote "Obviously, there are many genres and combination of genres: ..., Milieu (ALICE IN WONDERLAND, MIDNIGHT IN THE GARDEN OF GOOD AND EVIL), ...".

Steve

D.G.

The Bottom Line is that Titannic made a profit. That in the end, is what the commercial side of movies is about. Personally, for me, I related, at least for three hours, what those people on the sinking boat must have felt as the end approached. Before, it was a matter of history, facts and figures. Because of Cameron, I now have empathy for the victims, and the survivors. Something I lacked before. Titanic may not be in the top 100 movies of all time, but it did move me from where I was to where I am now.

I just finished an hour long chat session. Learned a couple of things.

1. When doing your character bios, try an interview process and write in the first person. Let the character talk to you, about his/her role in the story and his/her goals, fears, etc. Then interview his/her mother, shrink, pastor, etc for their viewpoints of him/her.

2. Three dimensional characters are required for interesting stories. Make your good guys have flaws and make your villians have some redeeming qualities.

Excellent course so far.

John,

I recommend contacting Mr. John Johnson at ASA. Here is a URL for them: http://www.asascreenwriters.com/GettingaNewGroupStarted.htm

He helped us get the State of Maine group going.

Steve

I began this post when I noticed the drop in activity and wanted to see if it was related to the sign-in effort. Apparently it is not. Thanks to all of gave their opinion and time.

Steve

Danial,

You were much too direct in your attempt at provoking a flurry of activity or even a mere response. You must be introduced to the concept of SUBTEXT.

What is subtext? It is text between the lines. The emotional text, the hidden text. As writers, many times our script's dialogue should have two or more meanings.

For example, a scene where a man and a woman have just had a minor fender bender. They start by exchanging driver licenses and insurance information. Soon the exchange heats up to a flurry of accusations and replies. The exchange escalates until she grabs him and kisses him. The dialogue was about the accident. The SUBTEXT was about their broken relationship and her need to get him back. The depth of the dialogue becomes now clearer to the audience and enriches the scene.

Never tell me you are going to stir the pot and then stir the pot. Be subtle, deceitful, ingenius. Start a new posting as Ashley suggested. Keep us guessing about what you really are asking. Is it about Battlefield Earth or a deeper meaning, such as starting a new line of engagement? The misdirection and obscurity is necessary to attract and engage the audience. Some thoughts.

Steve

Randy,

The classic is Story by Robert McKee. But the one I am currently re-reading is The Screenwriter's Bible by Trottier.

Steve

Jay,

Are you sure it's the ASA competition? I looked in the contest web site and didn't see your name or the title of your script. Perhaps a different contest?

Steve

A month ago, I entered three script synopses into the "UK screenwriting opportunities" posted at this site (See the News section of this site). Two of the three have made it to the "long" list. If any make it to the "short" list, the sponsoring producer and myself are invited to pitch them in London on 26 June. From the "short" list and after pitching, up to three scripts will go into development with at least one made into a movie. Anybody else out there receive a "long" list notification?

Danial,

SASE usually means self-addressed stamped envelope and is used to return scripts, acknowledgements, etc to the original sender. I know of no "SASE Form". SASE is generally used by writers who do not wish to leave their intellectual property with producers who do not desire to buy their script.

I never use SASE because the cost of the SASE mailing (that I would pay for) exceeds the cost to me of printing the script. Plus, who knows, maybe the hard hearted producer who rejected my work might suddenly come to his senses, swallow his pride and realize the greatness within his reach.

Hope this answers your question.

Steve

Dawn,

I too enjoyed Gladiator and was pleasantly surprised by the emotional depth of what I expected to be a hack and slash story. But I still find Titanic much more deep (excuse the pun) and powerful. It was a moving story for me. Gladiator was a good story but I'll only see it once. Titanic draws me many more times to watch it.

Steve

Do production Companies (prodcos) have an ethical responsibility to notify a writer when they reject/pass on a spec screenplay? If they agreed to receive a script, I contend they do. Obviously, if they decide to option or buy the script they will contact the writer or his agent. If they receive an unsolicited script, it most likely goes in the trash. But when pitched (phone call, e-mail or snail mail) and agree to receive it, I contend that they have implicitly signed up to read the script. Having read the script (90 per cent of the effort), they at least owe a post card or letter stating a pass. If they want to given reasons or feedback, that is nice but not ethically required. What do you think.

If you have read Christopher Vogler's The Writers Journey, this hopefully is familiar and correct. The following is my understanding of the mythic story structure.

Act I 1. Ordinary World 2. Call to Adventure 3. Refusal of the Call 4. Meeting with the Mentor 5. Crossing the First Threshold Act II 6. Tests, Allies, Enemies 7. Approach to the Inmost Cave 8. Ordeal 9. Reward (Seizing the Sword) Act III 10. The Road Back 11. Resurrection 12. Returns with the Elixir

In a "perfect" world, prodcos should log each script as they receive them, assign a reader responsible to complete the read and story coverage by a certain date and respond by e-mail or postal letter with the results. This would provide much needed order to the prodco world. Alas, too much work and too little time causes corners to be cut. This document tracking methodology is used in the business world. Perhaps prodcos should embrace it.

It looks like CheckOne Productions is having its problems on hollywoodlitsales.com. Someone posted a message in their name. Sound familiar? It's a sad thing when log-ins are going to be required on public BBs.

Miriam,

Looking at the postings, it looks to me like the false author was rejected by the prodco for excellent reasons. His grammar is terrible. His last posting promises to stop wasting posting space. Maybe he/she has decided to grow-up and go back to 3rd grade grammar school.

Steve

I've submitted to a spectrum of prodcos. From those that were paranoid about obtaining a release form to those who couldn't care less (saying they were usless).

If you want to include a standard release form, go ahead. Your signature doen not force the receiving prodco to do anything. It does clarify what you expect. You do face the off chance of the receiving party getting excited and not reviewing your script. But would you really want to do business with such a novice?

If it makes you feel better, enclose the signed release form. I think it helps distinguish you as a more professional writer. Some thoughts.

One of the homework assignemts was to develop a treatment of a proposed story, three pages in length. I had been having problems with a current script I am writing and I used this exercise to "force" me to write it.

The treatment did two things. (1) it required me to layout the story, to see the twists and turns and the outcome. I also saw the emotional side of the story. (2) I saw the flaws in the basic story as it currently stands.

I disliked doing treatments although I understand that time spent now on organizing saves much more time in rewrites. What I learned is that a treatment allows the writer to be able to "see" the story in one place.

It still remains for me to discover if the story can be salvaged. Better to work upfront than pay and pay for rewrites and script consultants. A good course.

More from the course. Ten tools to building suspense (from The Screenwriter's Bible) 1. Evoke emotion - create characters we like/hate. Audience want to feel what they feel. 2 Create conflict - conflict creates suspense 3 Provide opposition - Give your Central Character a powerful opposition 4 Build expectations - create an expectation for trouble. 5 Increase tension - Place the audience in a superior position, let them know something the main characters don't know. 6 Use surprise - occasional nasty twists or sudden turn of events. 7 Create immediacy - make something vital and make it at risk. 8 Establish consequences - there must be terrible consequences if the main character fails to achieve his goal. 9 Limit time - use deadlines, "the threat of violence is more powerful than violence" (Hitchcock). 10 Maintain doubt - there must be reasonable doubt how a scene/story will end.

I have a business card that includes awards. On the front side it has the key information: name, address, phone number, e-mail address. Under my name (centered on the card) is the word screenwriter. This way the receipient remembers who I am and the context of our meeting.

On the reverse side, in three lines it says:

New Dawn - winner Worldfest Flagstaff 1998 Hidden Traditions - semi-finalist Worldfest Houston 1999 When Androids Dream - winner Worldfest 1999

This year I will remove the dates since they are becoming aged.

Make the card attractive, easy to read and inviting a call. Make it look professional.

David,

You rationale in stating "I think anyone who pays money to have scripts critiqued probably shouldn't attempt writing in the first place. What do you think of the above?" eludes me.

Are you saying that only those that write perfectly without feedback are true writer and the rest of us poor mortals are only pond scum?

Is the issue of paying for feedback the discriminating difference between those that should write and those, according to you, that shouldn't?

I am truly interested in hearing you explain your reasoning. I await your response.

A note for your memory banks. I printed out a script last night to send to a prodco. I did a page-by-page count and found that one page (page # 84) was missing - it had fallen off the printer and was out of sight when I retrieved the script.

MAKE SURE YOU DO A PAGE-BY-PAGE COUNT before sending your work off for review. Also check for any other printer mishaps.

If you don't your next great screenplay will go into the circular file. No second chances in this business. Some thoughts.

Some observations on e-mailing synopses. One, never attach the synopsis. They will never open it. Two, immediately identify genre, state it is a completed script. Three, try to "hook" them - either mention an award or provide a catchy "high concept" logline.

Make sure you e-mail yourself a copy to show a history of transmission. Keep a record of to whom you send your synopses. Don't use "Dear Sirs" - I've had more than one female exec/reader remind me that not all decisionmakers are male. Figure on a 10 - 20% reply rate (if you are lucky). Be ready to send out a great script. Ask about their release form (it shows you know the business) or offer one of your own. Some thoughts.

Finished the online course tonight. Learned the Gang of Four "rule" in comedy. Sitcoms, especially those on television, benefit from four charaters. This allows for more comedic and dramatic oppositions between a number of characters. Allows the interactions to keep going during the many episodes. Make each of the main charaters distinct.

Overall appraisal for the course was good. Price was reasonable with lots of interaction with David. Good course.

Samuel,

If you use the Priority mail service from the US Post Office (cost about $3.20 for a typical script), for a few dimes more you can get a tracking number. Use the Internet (www.usps.com) to track you package and to show delivery. I resently submitted a script to the Sci-Fi Channel. Internet tracking showed delivery. I waited a few weeks and called. They said they hadn't received it. I mentioned the tracking status, they looked and found the script. In this case, the tracking helped me avoid the cost of another mailing.

I find it humorous that the script must be properly formatted and of the correct length. Winning the award would be something I would hestitate to mention when pitching to a prodco. Oh well, maybe some will do anything for their 15 minutes of fame.

At this point I am confused about ScriptShark. Praises and curses equally flow and the truth is unclear. Perhaps a simple solution.

What would be the definition of a good service versus a fraud in this case? I contend the litmus test is how many scripts received Considers and how many did not? Of the Considers, how many were subsequently optioned or bought?

Obviously ScriptShark cannot control the quality of the scripts submitted to them but there have been claims that some have been sold. If they were to post this info including, for the ones sold/optioned the title of the script and the prodco buying the script, this data could be independently verified.

I am sure some of the posting writers would undertake the challenge to verify the correctness of the data. How about it ScriptShark?

An alternative, in case ScriptShark does not take the challenge, is for writers to call them and seek the same info. Less desireable and harder to verify the correctness of the data. But an alternative approach.

Try Santa Clarita (SCIFF). It is resticted to family-type screenplays. You can locate it under the Contest section of this site.

Screenplays thrive on drama - people in conflict. The main characters need to be three-dimensional. Give them flaws. Put them in adverse situations and then turn up the heat. Then make it worse until they crack and react under the steain. For better or worse, that's the author's choice.

To both of you. Chill out. Life is short.

I saw Hollow Man last night. Great special effects. Bummer of a storyline. No emotional conflict. Megomanic scientist discovers invisiblity and restoration process using apes. Tries it on himself but cannot get back. Explores moral implications of invisibility. I felt nothing at the end of the movie except relief it was over with. Anybody else see it?

I've used several script consultants. The current one I'm working with is Michael Carey with the Big Australian. I send him a Final Draft file and he provides a coverage and in-script notes. Big Austalian can be found in the Contest section of this web site. Their rates are posted at their site.

I may try Dave Trottier - see his online course under davetrottier.com. His course was very useful and I think he could help on my next script.

I've also had assistance from Leigh Murray (Charleston, SC) and Madeline D'Magio (TX/CA).

Frederick,

I love the idea of a tracking system. Looking forward to its release.

Have you considered releasing portions of your site's software to trusted developers to help you augment the site? I work in that field and might be able to do somethings on a pro bono basis.

Steve

Destiny,

My understanding is that there will be no more Worldfest Flagstaff film festivals. Reportedly, they lost money at the last one and the local government there had discontinued subsidizing a portion of their costs.

I miss the festival not only because I placed twice in the two years at Flagstaff but also because it was a nice place to visit. Their Charleston film festival was discontinued three years ago under similar circumstances.

Much of the above is heresay so take it with a grain...

Steve

Ste3ve

I recently made contact with a Paris production company, emailing them a synopsis of one of my scripts. The Assistant to the V.P of Development expressed interest and she asked for the script to be mailed to her plus a bio of an attached director. I sent the script, bio and a standard release form to the prodco.

A few days later, I get the script, bio and release form returned with a short letter explaining that they do not except scripts with legal documents telling them how they may or may not distribute the script. I e-mailed the assistant but no response. Next I e-mailed the V.P. who signed the letter (the company e-mail address was at the bottom of the letter). No response. Seems as though I am on their "do not respond to list".

It is unclear, since they will not respond, if it is their policy never to receive release forms. Release forms protect the intellectual property rights of the writer. I was going to resubmit without the release form but my manager advised against it.

Any one have a similar situation? If so, how was it resolved?

A good title should convey the genre or something about the story. It should be related to something in your story. "A few Good Men" relates to the U.S. Marines. "As good as it gets" is a line out of the script. Can there be any doubt about what type of genre and story "Battlefield Earth" or "Starship Troopers" are about?

Play with the title as you would play with a scene in your script. Keep honing it until it is as sharp as steel, has the clarity of a diamond and reflects the firey color of a ruby. Most of all, have fun with screenwriting and be willing to change.

Rejection is the fire we writers walk in. Don't get burn about it. My dealing with them were the same, although one rejection e-mail from them was sufficient in my case.

Have some fun with them. If they sent you two different e-mails saying the same thing, ask them is these two wrongs really make a right and they really meant to say they were interested.

Anyone know anything about Athena Films or Tricia Moya? Looks like a new prodco seeking sci-fi/thriller scripts.

Eric and Cassandra,

It's always wonderful seeing your two kids enjoy each other's company. In a perfect world, prodcos would keep precise track of submitted synopses, scripts and would individually respond to each and every one of them. This is not a perfect world.

Writers are allowed to grip, even publically complain. Rejection by a prodco does not mean the script is necessarily bad although an extensive history of rejections can be used as an indicator that something is not working, an area of improvement is needed. Nor does receiving a rejection notice or even no response at all mean that the writer has no talent.

Let's calm down, be less vitrioic and get on with writing and life. Can't we all just get along? (Mars Invades)

Sang,

Relative to why back-biting is creating such tension on this site, several factors are in play. First, the explosion of TWA 800 four years ago, caused by an alien spacecraft plummeting through the atmosphere, released a time-delayed toxic gas that affects the mental conditions of selected people, specifically, those with tendencies for prolific writing, and intense visualization powers. Screenwrites, alas, fall into this unique congruence of traits and are therefore especially susceptible.

The alien gas would normally have passes by America due to the winds aloft and have infected Europe, however, the U.S. Government, attempting to keep knowledge of the alien presence from the general public, emitted high energy anti-neutrino beams in a missguided attempt to neutralize the effects of the toxin before it affected any writers, knowing full well how writers have a manner of exposing government cover-ups. This resulted in the inversion of the disfussion rate for the gas causing it to reverse natural migration and instead go from east-to-west. Naturally, the east coast and west coast communities were especially affected due to the well known effect of Shindler's Law of Gas Diffusion Inversion.

The effect of the gas was subtle, waiting until the release of the TWA 800 NTSB report to build up sufficient psychological tension to caused mass hysteria in the screenwriting community and secondarily resulted in inter-personal conflicts such as you have observed.

We have the last laugh on the alien forces that created the initial incident as the increased psychic awareness and neural activity experienced by the screenwriters has played havic with their interstellar navigation systems. In fact, to date, no less that 3713 spacecraft have passed to close to our Sun resulting in the destruction of those ships due to the massive graviomentric distortions generated by FTL travel in the immediate vicinity of huge masses such as the Sun. US Military tracking observatories have witnessed the resulting increased solar activity and only one object has escaped total destruction, that being an alien wrench, which the British call a spanner. In fact, you might say it is a Star Mangled Spanner.

Steve (totally wierd)

Ashley,

I too had many errors in my previous post. All I can offer is that it was a creative, right brain side burst and now the left brain side, analytic review is taking place. I cringe at the grammar and spelling errors. But, lifting my spirit up, I shall rewrite and rewrite, until it is perfect. Then and only then, shall the work be submitted to some dweeb (sp?) of a reader to cast his cruel and heartless comdenation upon my work, and file it in the trash can. And the prodco will never notify me of its death, only silence, dark silence.

Bad Kity has added a short screenplay competition this year. I plan to enter a short. See what type of feedback I receive.

Carol,

First, congrads on placing. My wife and I attended several years ago. We found the location great and the films, feature and shorts well done. Thoroughly enjoyed ourselves as a vacation. I don't know how well it will work for networking. If you like the location, go for it.

Anna was previously listed as one of the judges for the Venice competition. I just received an email with the notification of who made semi-finalist. I quickly replied with an e-mail saying they had made a terrible mistake and forgot to put my name on the list. I also asked for the scores for my script. They are promised for release in late September.

I've seen the term Walla used in some screenplays. It seems to be simultaneous conversations. Any clarification?

I noticed a free screenplay competition but asks the script to be in an animated standard format. How does this differ from U.S. Motion Picture standard format, if there is any difference?

The quarterfinalist notifications are out on the TFI contest. Posted on their website.

But the best was the detailed notes I received. Their evaluation form (delivered as an rtf file) is much more readable and the comments are very detailed. Best competition in terms of notes I've seen. Good job, TFI!

Get some skin cream or something similar because over the next few months you will need to develop exceptionally tough skin. Critiques and reviews will be harsh, confusing, contradictory and otherwise infuriating. Welcome to the club.

Most of all, get yourself a present, a drink or some other award because you have entered the realm visited by few others, a "completed" screenplay.

It's probably not finished. Have you checked proper formatting (see The Screenwriter's Bible by Trottier)? Is there a character arc -- does your main character or characters change someway during your story? Does the story have a correct structure (see Story by McKee)? This is what a screenwriter's group can help with by providing feedback (see ASAscreenwriters.com).

My first script was "completed" several years ago but it is not finished. I know now what is wrong with it but it is time to move onto other scripts. Perhaps, given time, I shall revisit it and bring it up my current level of standards (they keep changing as you grow).

Whether you choose the peer group or paid consultant, the contest route (use the ones that provide feedback (TFI, Bady Kitty) or other approaches, keep writing and don't get hung up on your "completed" script. Most of all, have fun writing.

Congrads. What's the genre and how about a logline. We'll see if it is still recognizable after it's filmed.

TFI announced semi-finalists. Still hanging in there.

Congrads to Sang. Best I can figure, field dropped from about 41 quarterfinalists to 17 semifinalists.

Sang,

I got them via e-mail along with the notification of the quarterfinalists or shortly thereafter. The document was in their format of The Dramatic Circle with the judges notes. Document was about 7 pages in length as I remember. If you like, I can send you a copy of it to your personal e-mail address,

Steve

I sent two scripts in total. For each, I received a very professional and polite pass letter. They seem like a class agency. Would like to land there if I could.

I like Bad Kitty Films. Although it is past their deadline, they will consider an extension until sometime in October if you e-mail a request. See their site for details. You get good notes and a fair review.

Philip,

Step 1. Take a deep breath and relax.

Step 2. Go to the screen above this one where all the topics are posted.

Step 3. Scroll to the bottom (use the elevator bar on the right side of your screen - That's the opposite side from where your car's steering wheel is located)

Step 4. Mouse click on the Add New Posting button.

Step 5. Type in your message.

Step 6. Mouse click the button to actually post your message.

Step 7. Use the Back button (located on the top left of your screen) to exit the window. You should now see the posting topics.

Step 8. Hit the Refresh button (located on the top of your screen).

Step 9. Mouse click on the topic you just posted and verify the message was correctly sent.

Step 10. Become enthralled with the wonders of technology.

Steve

Gee Don,

Do you think you could post the same message one more time?

As I understand it, WGA registration (for non-WGA Members) costs about $20 while a copyright costs $30.00. WGA registration provides no legal protection except it marks a document as received at a point in time and the registration is good for 5 years. Copyrighting provides prima facia evidence in a court of the author's ownership and is good through 70 years after the author's death.

I am therefore confused. What is the benefit of WGA registration over that of a copyright? The copyright office is online and for a single authored script the short Form PA is easy to complete. Why shouldn't I copyright each of my script once and be done with it?

Ashley,

I'm staying out of this fray. As you know from reading my screenplay, grammar is not my strong point. I know when not to wander into a minefield. I shall stay respectfully quiet, watching the fur fly from a quiet distance, content to now that those better suited than I can fight the good fight.

Who is this Gretta? Could Gretta be the same as the other one, whose name shall never be spoken on this bulletinboard again? I wonder as I watch from the lofty heights of the uninvolved, the "silent majority".

Ashley, may your fire never cease nor grow cold. May your passions glow in the night and may you continue to write as well as you do.

Steve

J.J.

I have not read your script but, in general, first time writers tend to make a script too expensive for their likely producers. My suggestion is to write another script targeted for the low cost producer. Use one to a few locations and one or two main characters.

My experience is that it is easier to start afresh than to squeeze a script. You may choose to use the same premise or storyline but cast it as a very low cost budget. My 2 cents.

Steve

Location - My understanding is a physical place to where the film crew would relocate. In the above message, the house would be one location although scenes might be in the backyard or in each of several rooms. The essence is to minimize the amount of packing, shipping, new hotel/motels for the film crew.

I just reviewed the upcoming Worldfest screenplay competition and this year they are accepting short screenplays. I plan to enter a short screenplay and a feature length screenplay in the contest.

The competition is tough but, if you are a finalist, you get to attend the awards banquet and take home a nice trophy. I enjoyed the two banquets I attended in 1998 and 1999.

To Jason,

Try refocusing your pitch to address your script but from perhaps another point of view. You might be able to salvage the logline this way. Don't give up! The sale may die in development hell. Someone else may like it and ask you what else you have.

To Ashley,

The full statement is:

Life's a bitch, then you die!

Steve

Ashley,

The magic is in the story. The devil is in the details. New writers and even not so new writers need to learn the craft of screenwriting. Some people may be natural healers but I prefer a trained doctor.

Whether it is a service like this one or script consultants or fellow writers, we all need to learn and grow.

Everyone has a story. A properly formatted script with good structure interesting character arc and a story that is truly compelling is something rare and precious. Like the diamond, the raw mineral is there but it takes a master craftsman to cut it correctly to turn the mineral into a multifaceted gem. May we all grow to craft our stories into their full potential.

Steve

Linda,

What's the URL for their website? I was dealing a few years ago with a Matrix Entertainment but I thought they closed up shop.

Steve

Linda,

Same firm, must have gotten refinanced. They lead me along for several months but eventually passed on my script. No bad feelings on either side. I worked with a John in Development. Maybe I'll resubmit.

Steve

Linda,

First, I am not a lawyer so my opinion has no legal weighting.

The alternative title and using a different author's name is their attempt to overcome the studio's database system.

For example, I know my name and a previous script coverage exists at MGM. If the coverage was negative (I have no way of knowing since the studios do not release coverages) any script submitted by me through them to that studio might get bounced just because of my history with that studio.

So they want permission to submit the script under a new title and with a made-up author's name to avoid the prejudgement.

I do not know if this is effective or a real issue. It is an interesting idea.

Steve

Dale,

If you are talking about writing a script or scripts for a Broadway type production, this is substantially different from screenplay writing. Plays primarily use dialogue while films focus on the visual. Still a purchased script is a purchased script. But I doubt a success in one area will automatically gain you entrance into the other.

Steve

I agree with Frederick's call. The contest is for screenplays, not for screenplays + films or other media into which they evolve. Multimedia contests (script+films, directors + films, producers + films, etc) could exist but these sound more and more like festivals.

Sour Grapes I say! Call to Arms! I say hunt them down while carrying our burning scripts as torches and ramming their castle door with our pens. They can't take away our contests! A pox upon them.

Back on track. A festival is more than a contest just as a script + film is more than a script.

Steve

One thing I found disturbing about Matrixx on their website was the list of screenplays available to producers. Some ended with the caption - Writer Needed.

It must be disappointing to have your screenplay make it all the way through their selection process and then be branded as "Writer Needed". How sad.

Mirian and Robert,

Life, like writing, is often a mixture of compromising and blending. Story is an excellent book on the Theory of Writing and contains some techniques, however tedious, which do have merit. As a writer, choose and modify what works for you. Don't forget to modify your techniques as you change and grow as a writer.

For me, I found first found Story too stiff and structured but, with a second look, I did incoporate some of his techiques in writing my latest screenplay.

I highly recommend the use of a treatment but perhaps not to the length he suggests (100 - 150 pages).

If you insist on doing the "perfect" screenplay, Story is the route to follow but you may never reach the end of the journey. Writers need to write to improve. Allowing fixed methodologies to stop the writing process serves no one.

Steve

Frederick,

As a writer, care to share with us of the same calling what genre you write in and what you've done. If you'd rather keep private, that's Okay too.

Steve

Some smells bad at 21stCenturyVox, Inc. Email: mike@voxpix.com Web: http://www.21stCenturyVox.com

Mike,

Your company is currently posted in the Writers Wanted portion of this website and you post a vitriolic letter against Frederick because he won't list your screenplay + film contest. Then you consume vast quantities of cyberspace ranting against Randy.

My original opinion of 21stCenturyVox, Inc. was highly favorable based on your advertizing and after reviewing your website. Unfortunately, your conduct on this board, while civil, leads me to believe we are dealing with an emotional juvenile, chronologically so aged or not.

I wish you the best in your production attempts and hope you can find a more favorable bulletinboard to post with in the near future.

Steve

P.S.

When you give yourself an impressive title at a high sounding corporation and then responds so rapidly and over such a small thing, it indicates "too much time on his hands" and that the greatness of your position may be as vitual as your corporation. If any comments contact me off-line. E-mail me at snkarels@hotmail.com.

SNK

A word of caution to "newbees" and not so newbees about contest feedback.

I recently entered the SAME script in two different screenplay contests, TFI and Venice. I assumed the results should be similar since, after all, it is the same script. WRONG!

The script is currently a semi-finalist at TFI and the feedback was glowing, some areas of improvement noted. (I have taken the suggestions and implemented them in my current version.) Professional feedback format, well analyzed. A good piece of feedback.

Venice notified me that I failed to make the cut by sending me a list of finalists and I searched but my name was not to be found on their list. I quickly e-mailed them to inform them of their dreadful oversight. But there was no mistake. So I asked for the judges scores. I received them. A series of scores (1 through 5 where 5 is best.) My scores ranged mostly in the 1 or 2 region. One of the most interesting was "writer's potential" where I received a 1 of 5.

Bottomline: Don't let some miserable contest reader screw up your writing career with some mean thoughts/comments.

Steve

Relative to consultants, when you find a good one, stick with him/her. Look for not whether they like the story/script but their evaluation of structure, character development, dialogue, etc. Liking is subjective.

Congrads to all the TFI finalists:

DECEPTION by DOUG PFEIFER

SHARING SHARON by SHANNON JIMENEZ THAT AMERICAN VIBE by MARLEY SINCLAIR THE ROBOT DID IT by MICHAEL WARNER THE WEST TEXAS WALTZ by JOHN PAUL PORTER

THIRD CLASS CRY by SANG KYU KIM WALKING AROUND LUCKY by TERRY COSGRAVE WHEN HARRY TRIES TO MARRY by NAYAN PADRAI & RALPH STEIN

If SAG avoids the strike but WGA does go on strike, is that a good thing for non-WGA writers? Or will SAG honor the Writer's strike? I know therre's a producer buying frenzy in effect. What are the possibilities?

Which leads to the next question. Is WGA membership key to a successful screenwriting career? I assume that one can sell scripts without WGA membership since selling several screenplays is one way of qualifying to join WGA. Therefore, if a writer can sell without being WGA and the WGA costs are substantial ($2500 to join last I heard), then why do it? What is wrong in this business about being a SCAB? What is the downside of not being WGA?

Randy,

I have not thought through the WGA question as I am still struggling to create the perfect script and become THE NEXT GREAT SCREENWRITER. My current thoughts are:

Positives to joining WGA - industry recognition - arbitration dispute - benefits package - minimum wages/compensation defined - I'm sure there are other good things to WGA

Negatives to joining WGA -someone telling you how to work (restrictions) - initial large entry cost/annual costs - becoming a union member (my daddy will rollover in his Republican grave) - strikes/arbitration - probably other things too.

I believe the WGA fills a vital function -- keeping the studios and majors from screwing the writers. But, like any large labor organization, I would approach it with a certain fear in that I might violate some rule or who knows what. Probably a groundless fear but still the concern is real.

Anybody know what the cost is to join WGA once you have earned sufficient writing points?

Steve

Randy,

A little research...

See http://www.wga.org/thewga_index.html on becoming a member of WGA. One time cost is $2500.00 plus 24 credits earned over the past three years. See the site for how credits are earned.

Steve

Ashley,

You stated "I want a revolution". Are you really ready to hold that terrible cup and to drink from it? Are you able to look into the blackness of combat and watch your soul darken? Be careful for what you wish, for you may not be able to keep the demon restrained. Some thoughts from one who has been a warrior and is now just a has been.

Steve

Ashley,

Revolution by its very nature is change and change within society can be ugly. You are probably too young to remember the social upheaval in the 60's which was a social revolution. The US is a better place because of that revolution but people did die, houses were blown up and cars were set on fire. We humans, by our nature, resist change.

Life can be a very nasty business. Reflecting life in our screenwriting can either be superficial or we can tug at our souls and tap into that reaction to change and the human condition.

Each year, at this time, my writing partner and I, we are both Vietnam era combat vets, remember our fallen comrades and those we have killed. It is the least we can do to "balance karma" and show a respect for all life. Perhaps your remark made me step on one of my emotional landmines and it set me off. Apollogy offered.

May your writings reflect, as always, the brilliance of life.

Steve

PS

How do you make words BOLD? What's your secret?

SNK

Matt,

I ran into a similar situation with Texas Film Institute. The first year I submitted, they completely misread my story. As I have gained experience, I came to realize they were right and I was wrong. My story was confused, wandering and contradictory. I do not know the situation with your script but perhaps this is a chance to rethink your script.

If the story is not compelling, does not grab the reader and pull him/her into the script, perhaps it is in need of a rework. Think deeper characters, think emotional conflicts with limited time to resolve the problem and limited options. Be tough with your characters, especially the protagonist and make the antagonist very powerful, seemingly invincible. Give your characters unique traits and personality. Sounds easy but it's not. I am still struggling to make my stories interesting, emotionally compelling and engaging. Maybe you can beat me to the goal.

Steve

Hemp,

Interesting name... First you need to decide where you are (novice, written some, etc.) and what you are looking for (polish, complete evaluation or lead into an agent or producer). I've worked with Dave Trottier (I believe he's best with the novice), Madeline D'Maggio (good for a polish) and Lee Murray (good contacts with certain producers).

Steve

Carl,

I use Final Draft. Here is what Final Draft says:

Final Draft is a word processor designed specifically for writing screenplays, episodics or stage plays.

However, I have not used Final Draft for stage plays or episodics so I can't tell you how well it works for those situations.

Steve

Am I dumber than dirt?

I tried to download the screenplay entry form and all I get is the FILM entry form. Is something amiss or AM I DUMBER THAN DIRT?

Steve (Perhaps Dumb)

RJ,

I had previously tried both the phone call and an e-mail. But at your suggestion, I tried again and got a response. They are postal mailing an application form. I used the e-mail address located in the Contests section of this website.

Steve

Peter,

Any plans for next year to become an online competition? Check out Venice. They've done a nice job in ease of entry and tracking the scripts judging.

Steve

If the writers doesn't write a story to his expectations, is it a short trip on a long river with cement boots? What about the writer revealing (through the person's story) that which certain high profile crime bosses may not like and are not impressed with Free Speech amendments?

Well, drop a dime on me, I'll think I'll pass on this one.

My main genre is Sci-Fi/fantasy. Star Trek forever! Live long fellow earthlings.

Miriam,

Alas the truth be known. My "real" job is taking so much time right now that I have none left for sci-fi-ing (writing or watching). But the kid's college tuition is being paid so I can't complain too much.

Steve

Ashley,

Was your entry the same script I reviewed? (R.I.T.M.)?

Steve

It is not all that unusual for a small, relatively new prodco to offer no money upfront and offer points. Don't expect to get a cent but a sale will place you in the great transition from writer (unproduced) to author (produced). If you don't need the money and are in for the long run, go for it.

Look at some alternatives/perks that go along with "no money upfront". You can probasbly negotiate "no cost" perks into any contract. The contractual right to attend the shooting. Maybe the writer would like to see the shoot - not an inherent right to be on set. Maybe be listed as an Excutive Producer - more points if the film makes any money (is 5% of $0 better than 3% of $0?) and maybe other goodies. There are always options. Bottomline: Writer make your choice, get a good outside review (lawyer, manager, etc) and do what is best for you, the writer. You're in a better position than most. Congradulations.

Manny,

American Accolades offers separate genere competitions (as does Worldfest). Worldfest is more expensive than most but I have had a degree of success at Worldfest Houston's sister contest (Flagstaff - now discontinued). However, I have never been a finalist at Houston. Comparatively, a tougher competition. But let's look at some pluses and minuses.

Pluses - If you are a finalist (meaning you will receive either a Gold, Silver, Bronze or Finalist Award), they will discount a $500 pass to about $200. As a Finalist, you get free admission to the Awards Banquet. The prizes are nice looking and I cherish my Flagstaff wins on my wall. You get to meet lots of directors and producers at the festival (you have to search them out, Worldfest doesn't help) Nice people, especially Kathy, running the Festival.

Minuses - Expensive entry fee, tough competition means low probable return on investment. If you don't live in Houston, the travel expenses are significant. If you just want a contest win for your resume and don't care about the festival (aren't going to attend it) there are cheaper contests.

Summary - Worldfest contests have always been good to me and for me. Makes me strive to improve and I like the people. I will continue to enter. You need to make the choice that's right for you.

Sun,

I have submitted scripts to a major studio (and been rejected) without the use of my manager. All you really need to do is to execute the release agreement to protect the receipient. It's nice to have a manager or an agent. Some prodcos view them as filters to keep out the garbage. My suggestion, win a contest to validate the script quality and then pitch the story with a polished synopsis. And never give up.

Steve

Ashley,

Two questions:

a. How do you run a printer in a cave (with no AC power)? b. Is it network compatible - can I can connect to it?

Steve (The Computer Geek) Karels

P.S.

Merry Christmas! (I know how much you hate that)

SNK

Manny,

I don't know you or your ex-girlfriend but my read is that she hasn't lost interest in your writing ability but something else more personal. Why else the atire?

The two, in this case, appear to be independent. Your ex is giving you the heave-ho and I suspect she has found a replacement for whatever function(s) you performed for her.

Scriptwriting is a powerful mistress but few women fell threatened by it as a competitor to their charms. If you're in writing strictly for the $$, maybe she's giving you good advise (although for undoubtedly for the wrong reasons) and it may be time to move on with your life and transition screenwriting to a part-time status.

If you still feel you can make it in the business, dump the Miss, move on with your life and pound the doors until you get in or come to the realization you're not going to make it in this business. Tough truth but the best I can suggest. Anyone else have other thoughts?

Steve

The application form never showed up in the mail. Anyone else receive an application form for the screenplay competition?

Tenacity is the key to Success!

Ashley,

I was sure my generalization about women would have caught your attention and ire. Perhaps you have caught the Holiday spirit and were exceptionally kind to me - not raking me over the coals as I truly deserve.

Steve

Ashley,

Whether it be screenwriting or matching your rapier wit, I could never raise to the level to be even with you. Merry Christmas.

Steve

Same policy here. Be persistent but polite. Prodcos have a responsibility to let the author know if he/she is in consideration if they ask for and receive a script. They don't need to send you a formal letter but they should, I contend, arrive at a definitive response to your input (Pass. interested, etc.).

Technically, WGA-prodcos cannot ask for a free rewrite but they may leave the door open if you want to do a rewrite and resubmit. Some allow only one chance. Handle each case on it's merits.

Pitching to Prodcos?

I use Whos Buying What and use the Search option to find prodcos with a history in my genre.

I've also had good success at finding them on their websites using Internet search engines. Use "Film", "Production", "Entertainment", "Director", etc. But read their website carefully for contact and submission statements. Violating these will be sure to get you the boot.

Finally, have a "killer" logline and synopsis. This is your one chance to impress them and make them want your story concept. With most, you don't get a second chance on a particular script.

Lastly, be persistent but not rude. I've closed a few prodco doors but opened some others.

My resolution is simple.

To stop worrying about an agent or selling a script. Back to basics. Write because I want to. Write about a story I care about and not what I think will be commercial. And most of all, to have fun writing.

I'm writing a screenplay where the protagonist is hit up close by four youths shooting paintballs. Each youth has one paintball "gun" and uses a different colored paintball. They are caught and charged with the assault crime.

One of the four colors has consistently hit the neck area causing swelling to the trachea and is life threatening. The protagonist survives.

The question: Would a District Attorney charge the offending youth differently because the other three made "body shots" while this one made hits to a vital area of the throat?

Assume that the "guns" are recovered and fingerprints can specifically tie an individual to a paintball color. I'm not looking for the "true" legal answer only what seems reasonable to the gifted public (you guys and gals).

Steve

Randy,

The screenplay scene is a vehicle based ambush at 5 feet. (Gay Bashing episode). At that range, paintballs can be quite accurate. And with the semi-automatic "guns" (actually called markers) and a good full tank of nitrogen, they can be quite formitable especially if the user adjusts the upper velocity limit.

I've personally found it most paintful when doing paintball during the wintertime. The balls may not break but bounce of your skull (ouch!).

As far a playing paintball, a few years ago my teenage son and daughter took to me the local paintabll field. We played against three marines fresh out of boot camp. During the engagement, I rolled up their flank and kicked their as... So much for dealing with an old Vietnam vet. No prisoners and no mercy!

By the way. Writers, try to write about something you have experienced or have participated in. It adds depth and realism to your writing.

I once talked with the author of White Squall and he spent time on a sailboat before writing the script. Invaluable in adding realism.

The inspiration for my paintball scene is based on a true news report out of LA a few years ago. A gang of youths videotaped themselves randomly selecting and then shooting with paintballs strangers on the streets. Especially nasty and stupid of them as the videos were used in court against them.

Thanks to all for their inputs. Now to the word processor.

Steve

Congrads to the winners:

BUTCHER BAKER by Michael Nelson USA. LIPS by Alice Love USA. NIGHT FLASHES by Brad Stokes NEW ZEALAND. ONE WOMAN SHORT by Jack Russell Jnr USA. OVERTIME by Dan Knotts SOUTH AFRICA. SHARING THE JOY by Peter Stone USA. STATE FUNERAL by Claire Rogers USA THIEVES ATTACK by Ross. T. Simpson SINGAPORE. THE RIDDLE by Brendan Foley UK TWO MUST DIE by Brian Bayliss USA.

The Grand Final Winner for Year 2K is Jack Russell Jnr from New York, NY for his Black Comedy ONE WOMAN SHORT.

Am I losing my mind? Wasn't there at one time, a time not too long ago, an address book section of Who's Buying What? So what is the purpose of the database if one finds an active prodco in the genre of interest and not be able to locate their address or telephone number?

I didn't see an announcement that this valuable feature was going to be removed when I renewed. Moviebyes, tell me this a temporary oversight.

John,

Perhaps I am being too cynical but if they told you the criteria, then maybe you wouldn't enter. And if they gave you the criteria, maybe you could challenge their judges conclusions if they were arbitary or invalid. What incentive would they have for doing so? The Contestmeisters jobs are to gain market share, increase entries, etc. Doing as you suggest might run against that.

John,

There are exceptions.

Santa Clarita looks for family oriented screenplays - no violence/sex. Not criteria but you get an idea of what they are looking for.

ASA uses their criteria that is available through their free critique service.

TFI uses the Dramatic Cycle and that is available on their website.

Maybe not exactly what you are seeking but these contests do give some insight into what they are looking for.

Hope this helps.

Steve

Ashley,

There three unchangeable constants in my universe:

a. The speed of light in a vacuum b. The coming of the seasons c. The temperment of Ashley.

I'm glad to see another year has not changed you. The receipient of your post was neither indignant nor rude but was clearly frustrated. I agree with F that he should have taken his complaint off-line instead of posting the problem. I chose to do otherwise because I thought the loss of the Address Book of a sufficent public interest to justify a posting.

Some thoughts for a New Year. By the way Ashley, Happy New Year.

Steve

I think we can use this posting to learn something about ourselves and each other. Writers require passion. Passionless people don't write or at least don't write meaningful works. We obviously have passionate people here.

But a skill that can be learned is how to battle with the cool, clean thrust of a rapier. Ashley wields her tool very well. With percise pricks to her opponent. Skillfully done, Ashley!

We will all take verbal abuse from readers, directors and producers on our beloved works. The required skill is how to defend our work passionately but professionally. Some of us are still learning that skill. Others have mastered it. Most of all, we need to learn not to take it personally. But vengence is a dish best served cold.

Steve

Francine,

While your comments are no doubt correct for you, I beg to differ. I am and have met other writers who have very busy, professional careers in non-writing fields (Engineering, Software, Medicine) who write to relax. Many are very disciplined and segment certain hours or days to writing. One doctor keeps his Saturday mornings free to write. So while the "struggling writer" model may be valid for you, it is not necessarily valid for others. Bottomline: Do what you need to do and keep writing.

Steve

Dan,

I've treated you with respect both on the public forum and via the private e-mails you initiated. But you have gone too far.

I know the problem with electronic communication is when you get flamed, it's too easy to whip one right back in the opponent's face but think before you post. Becoming vulgar is a fast way for other writers to ask you to leave the BB.

I suggest the "war" end now. It serves no one to watch you two slug it out. Time to move on to more important things within life.

Steve

P.S. I'm happy for you that you've done so well with your three scripts. So move on the writing "the next great American screenplay".

SNK

Ashley,

It is obvious that Dan is attempting to disengage. Perhaps you might consider the same. I suggest reading Sun Tzu's The Art of War. To paraphrase, always give you enemy a way out or he will fight with the stength of three.

Relative to Shooters, it is a script co-written by my writer partner, Jim GREAT ELK Waters and myself. It is about world class snipers assigned to take out a Middle Eastern dictator. The subplot is a love story between an American sniper and an ex-IRA Irish female sniper. The technology uses 0.50 calibre projectiles with smart and brilliant rounds. If you want a read, drop me a line at my email address. The script is in competition at Worldfest and Santa Clarita. What have you been writing since Roses in the Mist?

Steve

Ashley,

I stand corrected but I was close on the title. Shooters is my most recently completed. I am currently working on Your Precious Child - homosexual accepts Christ but meets hostility/non-acceptance when he joins a church. I previously posted on the subject.

Will send you a copy via e-mail.

Steve

Dear Mr. GLAD-HE-ATE-HER or Danial or Bill or Whatever,

You're a real class act. I haven't had so much fun since the pigs ate my sister. Golly, Billy Bob Boy, welcome back to the fray. Been to any family reunions trying to pick up girls? And to think things were getting dull on the old BB.

Randy,

I watched the pilot also. Interesting character build-up. Has the potential for great conflicts using less than perfect characters.

Imagine if the ADA brother had refused to help his junky brother. He'd be a flat 2-D character. Now he is compromised, could be blackmailed, perhaps further corrupted. The possibilities are almost endless.

Note the "Let'm go, Joe" character, how the background info was slowly released, revealed through casual dialog, a little at a time. Nice writing. Good dramatic conflict and establishment.

Steve

Ashley,

Upon receipt of the photograph, I suggest pins, chicken blood and jamacian rum. Placement of the pins are left to your imagination.

Steve

Nicely designed, easy to use. Well done.

Ashley,

Maybe the character is a nice, lovable villian type.

Your name in a script. How exciting. Fame and fortune will surely follow.

Steve

I've entered various scripts into Nicholl for the last several years and never made quarter-finalist. Given today's abundance of contests, including those with feedback, festival award banquets and other amenities, I've decided to spend my limited resources elsewhere.

I still acknowledge that for a serious professional writer who writes very well and is looking for full-time professional employment in LA or NY, winning or even placing in Nicholl would be beneficial if not a requirement. But that is not the career path I plan to take.

I enjoy writing screenplays. I enter various competitions to seek feedback and for the competitive rush I get from the occassional win or near miss. So, for writers like me, is Nicholl irrelevant? Some thoughts and a question.

Steve

Congradulations on your double win.

Congradulations on your double win.

Ashley,

Funny you should ask. Yes, I do feel useless. Maybe it's time to do something else.

Steve

My own style is:

A new location, specify DAY or NIGHT. Next scene is a new loaction or time. If the time relative to the previous scene is important, state: SIMULTANEOUSLY, MOMENTS LATER, MINUTES LATER or HOURS LATER. If the next scene's time is not dependent on the previous scene's time, then DAY or NIGHT or just LATER, whichever is best to convey the new scene's time state.

Rules are not hard and fast but do whatever works best to clearly convey the story.

And we all hope he remains in that condition. (LOL) FADE TO BLACK:

Byran,

Chill. If all it takes to get your dreams stomped on is a comment, man, stay away from this business and from Hollywood. Be prepared to get your screenwriting heart ripped out, stomped on and spit upon. It ain't easy in this biz, boy.

Several roads are open to you. An agent, a manager or go it along. Consider MOW as well as theatrical films. You gotta pay your dues in any business and in this one it's write, write, write.

You might pitch to Mr. Andrew Deane at Gold/Miller company. I've met him and talked to him several times at various Worldfest film festivals. Attend his pitch session and he'll give you the honest (Gulp!) opinion on the marketability of your story/concept. If you are the next great screenwriter and you've got a killer high concept story, he might even rep you. Who knows?

P.S.

Stay away from the personal slaps. I've never met Ms. Ashley so I can't comment on the million better looking actresses claim but it weakens your argument, makes you look unprofessional and potentially makes a personal enemy. You don't want enemies in this biz. Good luck on your Writer's Journey.

Steve

A caution about sending your script everywhere and to everyone who wants it. If you have thoughts, delusional or otherwise, about actually selling this script, the buyer probably doesn't want one that's been so freely distributed. If it's your first script, you know it's never going to be bought, hey do your thing. Would you buy a pair of shoes that everyone else has tried on?

Dan,

Maybe I missed something. Here's what their rules state:

Venice Arts LLC is entitled to a "success fee" equal to 5% of all consideration received by the author(s) from the sale and/or option of the screenplay to any party affiliated with, or contact provided through, Venice Arts e-Screenwriting,

Seems pretty standard to me. As I read it, the "success fee" applies only if the script is optioned or sold to a party affliated with or contact provide through them.

So what's the issue? If you don't want to pay the "success fee", don't sell or option to a party or contact through them.

Steve

Dan,

First of all, I am not trying to pick a fight with you. I just don't understand your concern. This "success" rule, as I previously posted, seems to me to only apply to an option or sale made through their contest. Am I missing the point here?

If company A reads your script you entered Venice and decides to option/purchase it through the activities of Venice, you pay the "success" fee or choose not to option/sell to company A. Isn't that the bottomline? Given you (the writer) have ultimate control, why does this bother you so? This concern eludes me. 5% is, I understand, a norm for a finder's fee. If it applied to transactions outside of the Venice contest, I could see your concern.

By the way, I did not do well last year at Venice and am entering some scripts because of their low entry cost and ease of entry (online). So I don't have an axe to grind for or against Venice. But the logic of the complaint eludes me. Perhaps I am just being dense.

Steve

Dan,

First, I entered two feature length scripts on 1 Feb 2001 and was charged $35.00 each.

Second, I don't believe most writers are looking for cash prize money. The process is too uncertain and subjective to make the effort economically viable if that is the only reason.

In my opinion, we writers enter contests to get feedback, determine relative status compared to other writer's products and for script exposure.

I am considering a submission to TFI simply because of the judges who will be reviewing the finalists. One of them is a prodco head that I submitted scripts to years ago when I was first starting. He won't accept or review rewrites so this, if I become a finalist, is a way of forcing him to review. Maybe I am deluding myself. Still thinking about it.

Bottomline. If enough writers don't like the "success" fees and avoid these contests, the fee will be discarded.

A 5% "success" fee to me personally is trivial if I make a sale/option. Once a writer is produced, I would guess that winning contests might become a relaxation instead of an approach to seeking being read by prodcos.

Steve

I considered submitting to Daily Script but after contacting the person running the contest and finding that he was a film school student (USC I think), I reconsidered.

Maybe they're legit but I was concerned with a bunch of college dudes maybe looking for some easy cash. If you get good feedback or make a sale, please let me know and I might try it next year.

I suggest to continue to market your works regardless of the strike. The only decision you need make is if a prodco wants to option or buy your script.

If an offer is presented, a BIG IF, seek a lawyer, agent or manager, assuming you don't have one, and take your time. The strike will end.

If pressured to choose while the strike is on, then make the decision. No decision should be made before its time.

Ron,

I understand that script deals with non-WGA signatory prodcos does not count toward the 24 points needed to apply for membership to WGA. The following is from the WGAw website:

An aggregate of twenty-four (24) units of Credit as set forth on the Schedule of Units of Credit, which units are based upon work completed under contract of employment or upon the sale or licensing of previously unpublished and unproduced literary or dramatic material is required. Said employment, sale or licensing must be with a company or other entity that is signatory to the applicable WGA Collective Bargaining Agreement and must be within the jurisdiction of the Guild as provided in its collective bargaining contracts. The twenty-four (24) units must be accumulated within the preceding three (3) years of application.

So if the question is gathering points for WGA membership, you can't sell to a WGA-signatory prodco during the strike to accumulate credits. I would guess that sales to non-WGA signatory prodcos by a non-WGA member are overlooked by the Guild but a lawyer would provide a more confident and informed answer.

Randy,

I agree but for the rest of us, the next best thing might be a live reading. Professional actors if available. Otherwise, host a party of readers, you provide free pizza and refreshments and a tape recorder. See how the dialogue comes alive or drops dead.

Steve

My writing partner wrote a spec script for a small prodco. They wanted a "mindless" action/adventure about guns, assassins and was fast moving. Target audience was "15 year boys".

So my partner wrote a script per their guidelines. It got rejected because it was "mindless" but did have "lot's of action". Go Figure. Must have been a change in Management since the start of the effort.

I submitted a script a couple of years ago to them. What caught my interest was the statement on their website: Contact us and we will review your work for FREE and give you any advice to help you move to the next level of your work.

Never received a review, rejection, nada, although I did get a response to a follow-up e-mail that they had received the script and would get back to me shortly. At least I didn't see the name or the essence of my script in the under development portion of their website.

After a few months, I wrote them off as nonresponsive. Now he pops up here. Ain't Life wonderful?

How about it Steve? Do you really do as your website says you will do?

Steven,

It was called New Dawn, now retitled to Sky Fire (see Winning Scripts) for a description. Was submitted a year + as I recall. I no longer have your e-mail address due to a hard drive crash.

Steve

The question is .. you have a script, you like the story, you have passion for it. You want someone to buy it. How?

If the concept grabs the assistant (yes, it will be received by an assistant first, not the decisionmaker) at the prodco, he/she will ask for it.

I've had good success with e-mails. They're cheap, fast and give me a record of who I've communicated with and their response. (I keep a paper copy of all e-mail solicitations and responses - may need it in a future court case, I hope not but who knows) Don't use attachments, they won't open it (takes time, viruses, etc). Hope this helps.

I had extensively used flashbacks in my earlier days of screenwriting. But a class from Dave Trottier (The Screenwriters Bible) convinced me to try to avoid them. They become too easy as a crutch to reveal the back story.

Now I try to reveal the back story through dialogue and action and much later in the story. While the time in a screenplay is normally linear (increasing), the information revealed in the character's lives need not be. That is, the reason for their state does not have to be revealed in the beginning and then they proceed along their karmic paths. Rather, the key information can come in isolated spurts and the later in the script, generally the better. Keep the audience wondering why this or that character is doing this and what is the relationship between these two characters. Reveal as little as possible and as late as possible. And of course, break this "rule" as needed.

Anyone heard the results? They were suppose to have posted their results yesterday and notified the winners. Maybe no news is bad news.

I called them up. New date to announce finalists is 2 March.

This week I spent in California and discussed the strike issue with my writing partner and a non-WGA producer. Their advise was if a deal pops up, apply to the WGA for a waiver. Apparently it is a routine procedure and easily implemented. The prodco is the one who initiates the action and provides the proof to the writer BEFORE a contract is signed. Tis better to ask permission then beg forgiveness.

Steve

I am writing a spec screenplay where I want to use three specific songs as part of the story. I was tempted to stuff them in, lyrics only, and worry about the copyright infringement later. But my conscience stopped me.

I contacted the publisher and they refered me to their copyright group. Initially, they we going to charge me a licensing fee but I sent an e-mail to their contact stating what a spec script was, that the prodco would be licensing the use of the songs for the film, which songs and that I expected to release no more than a certain number of spec script copies in the process of distributing the spec script to prodcos. I included within the e-mail a scene showing the lyrics to provide some clarification. They granted a no-cost license by e-mail for these specfic songs, for the number of copies I requested and only required I place the copyright info at the end of the script for each of the songs. A painless process. So it can be done.

Maybe because the lyrics carry the message for the scene. A producer reading the script probably does not know the song being included in the scene. I know scenes are suppose to be visual but sometimes words are helpful.

I came back from the Santa Clarita film festival. My short script, Mystic Mountain, was a finalist but was not chosen as first place. So I walked away with nothing more than when I came in the awards banquet door (except a fuller stomach).

My point is that wouldn't it be nice if the festivals all gave 2nd and 3rd place notifications (and possbily awards/certificates)? It seems to me that 2nd or 3rd place sounds better than "finalist". They probably determined the "scores" that lead to the first place determination. So why not select 2nd and 3rd place? Some limit is required so you don't become number 323 out of 397. Thoughts?

Steve

Ashley,

You have a RED CARPET in your living room?

Steve

Like all good Americans, I believe the "cream will rise to the top" theory regarding screenplay competitions. If moondance is a great competition then the $100.00 fee (entry plus coverage) will be acceptable and female writers will flock to it and enter. I am sure some will because of the reduced competition (no male writers plus excessively high fees). If moondance doesn't get enough entrants to cover their fixed cost, they will lose money and either change their business model or go out of existence. If you don't like their methodology, enter somewhere else. If enough people avoid them, they will change.

The idea of a screenplay competition that limits entrants by some criteria is not unlike. Black female, female, latino-limited entrance competitions have all occurred.

What I would like to see is a contest with a screenplay purchase as the prize for a sci-fi genre only, limited to males only of American-German descent, where the writer must currently live in New Hampshire, with the writer's age between 54 and 56 and the writers last name must start with a K and end with an S. That is the contest I am looking for. Any producers out there want to run that contest? I'll gladly enter.

Steve Karels

Ashley,

It's a Guy thing.

Steve

Chris,

I've entered Worldfest Houston each year for the last 4 years and never was a finalist until this year. I've been to the awards banquet at the now defunct Worldfest Flagstaff twice and attended Worldfest Houston's award banquet once before (although I wasn't a finalist at that dinner).

They have a great banquet, better than the one I just attended at Santa Clarita. I'm going this year because I've got a script in the finals. The dinner is free for finalists. So, for me, they've done alright. If you are a finalist you receive a nice plaque. I've got two of them on my wall at home. I have nothing but praise for them. Worldfest Houston is a lot tougher competition than the now defunct Flagstaff. I like the challenge.

You, of course, are free to your own opinion and maybe Worldfest doesn't meet your needs. I decided against entering Nicholl (see previous posting) for different reasons. Bottomline: Choose which contests you like but keep on writing. Best Wishes.

Steve

If the place really is not answering phone inquiries, e-mails, or any other form of communications perhaps a call to the local DA is in order. Since I did not enter, I have no grounds or standing in this matter. And since the scripts were sent in, I presume, via the US Mail, perhaps there may be a federal violation.

I didn't enter because I e-mailed them and it sounded like a film school student looking to bag some extra cash. I also didn't enter another contest where the contest director's plan was to pool the entry money to make his first film. Bottomline: read carefully especially with new, unestablished contests. It's bad to not place at a contest. It's worse to be had. Word to the wise.

You can query anyone or anything. Most studios I've dealt with won't accept an unsolicited screenplay because they worry about legal problems. Most require you to go through an agent, etc. Catch 22 situation. If it's your first time screenplay, try the contest route or the independent production companies. Get some legs on your script and make it happen.

Steve

Ashley,

Calm down. Relax. Take two aspirins and send me $5.00 for the medical advice. To save others the trip, here is what the link leads to:

THE MASTER STROKE

No photo available

Minimum Bid: $2,500.00 (convert this currency) Description: Tiger Woods gets the bigots How the golf "Master" eventually gets the last laugh on white supremacists The screenplay that Hollywood doesn't want made into a... My Comments:

1. I would say "some nerve" to post like this but little falls outside the pail in Hollywood.

2. $2500 seems very low especially since you are going to give part of it to Tiger Wood. You did get his written permission before you wrote the script, didn't you?

3. I suggest your beef up your logline. I sort of yawned and said "so what". You really need to catch the producer's imagination.

4. What screenwriting credits do you have - sales, contest winings, options. A producer wants to know these things before he commits major money to a production (and his/her reputation).

Best wishes to the author. Keep writing and don't quit your daytime job just yet.

Steve

P.S.

Don't say "The screenplay that Hollywood doesn't want made into a...". Because they won't.

SNK

To all,

I just received an email stating Bad Kitty Films will no longer host screenplay competitions. Here's what they said (FYI):

Bad Kitty Films is eliminating our Acquisitions department, and will no longer be sponsoring screenplay or pitching competitions. We will also no longer accept script submissions of any kind, and will no longer be able to acknowledge or reply to queries of any kind from writers or agents.

THE GOOD NEWS: We are pleased to announce that as of this date, our long-standing Acquisitions & Production Manager (and Screenplay Competition Administrator) Sandra J. Hall, and her exciting new company, Practical Paradox (www.practicalparadox.com), will be picking up where Bad Kitty leaves off. Besides providing a multitude of script consulting and promotional/agency assistance services, Practical Paradox will be presenting a twice-a-year competition.

Too bad. Kind of like the sound of Bad Kitty.

Steve

Ashley,

I would prescribe better stuff but I keep that for myself. In terms of Hollywood being hard, if you want a friend in Hollywood, get a dog (or a cat). (LOL)

I am always amazed at the new writers who come on strong with the next "world's greatest screenplay". Such an ego. It reminds me of when I was a beginning writer. Perhaps that is what renews us "oldies" - seeing the freshness of the new writer before Hollywood has beat the dog out of them.

Steve

Mirian,

Did you burn with passion for your first script? Did you love the first story, your first creation, with all the fires within your bones? Now you continue to write and probably better than the first script. But do your current stories have the same passion or has it faded ever so slightly?

That is why I enjoy conversing with "newbies". They still glow with the light of youthful writing. My first script was terribly written but I love the story. Someday, I shall go back and redo it. Feel the fire and be the fire.

Steve

Randy and Ashley,

Remember. Aspirin and $5.00

Steve

Who are these guys? Oh Yeah, they're professional entertainment information consultants who specialize in fact checking scripts. Huh?

Scripts need not be factual only plausible. The original Star Trek series had many technical inaccuracies but somehow the audience over-looked them because the stories were interesting. Unless you are writing a documentary, I don't see the value. Am I missing something?

Steve

Sondra,

Options are a legal contract and thus highly sought after. There is always the chance that a sale will occur. And the option is for a limited period of time.

It is considered a plus to have been optioned. If you're an "old salt" and have been optioned 10 or 20 times, there may be less incentive in seeking an option. But for the newbee, get the option.

Work for free, with no contract, the production company might claim ownership in the revised script, unlikely but possible. An option clearly defines the ownership issues - usually the writer retains all rights if the option is not exercised.

Since, as mentioned before, the production company does not claim ownership of the revised intellectual property (the script), do so with your eyes wide open - this will probably not result in a sale. Keep your original script intact - the changes under the production company may be worse, not an improvement.

Lastly, if you do decide to "work for free", remember to be professional, polite and a pleasure to work with. The word does get around, both positive and negative. Try to meet deadlines, etc. And don't get disappointed when it falls apart, as it probably will.

I understand WGA-signatory prodcos are prohibited from asking for free rewrites. Although they might be willing to accept a "work in progress" with later revisions from the writer.

Lastly, keep on writing, no matter how. Writers write.

Steve

Just got back from Worldfest Film Festival. A great time. Huge awards banquet. Great sailing regatta. I especially liked the indie feature "F-Stops". Took time off to do writing on my next great screenplay during the festival. Met a bunch of great movie people.

Steve

Sang,

I have heard of them and they seem legit. The comparison:

WGA is $20.00 and good for 5 years.

They are about $19.00 and good for 10 years.

They accept on-lone registration - send electronic version of script to them, they inspect to make sure the file was not corrupted and store the file at three different locations. WGA currently (I think) only accepts paper copies of the script.

Obviously you can't update a script (defeats the purpose of registration).

I understand that copyrighting gives you more protection (recovering damages) in a court of law but I'm not a lawyer.

Steve

Chris,

Thanks. My writing partner got a Silver for One Shot, One Kill.

Steve

Trevor,

Would it have not been better to have the brainwaves emitted by the readers who read you "brilliant" screenplays than to rely upon the scripts as the source? (LOL)

Steve

Michael,

RTF is rich text format. It is one of several file formats that retain the structure of formatted text such as is used in screenplays. Since it is a common format, many different programs (MSWord, Final Draft) can accept or output it.

To output a different format then what your program normally generates, select Save As (normally under the File option). You will be presented a screen showing what output options are available. Go up and down the list using the so-called elevator bar and click on the one you want. In this case, rich text format or RTF. Now when your program outputs the file, it will be with the three character extension of rtf.

Steve

Finally! Sci-Fi Channel is a tough nut to crack in getting them to accept scripts. Time to update 5 sci-fi/fantasy scripts collecting dust on my hard drive and submit. Who knows, maybe Bonnie Hammer will even read them! (I doubt that but dreams are nice).

Brian,

I've used several script consultants in the past with various price ranges and levels of service. A good script consultant can help you grow as a writer when you've reached a point where the next level up is "blocked".

What I'm suggesting is that the road we follow from newbie to hopefully WGA is one with road blocks of learning. For me, my roadblocks to date have been format problems, plot-driven vs character-driven stories, predictability, being "too-nice" on my characters and dialog.

At each road-block, a consultant, paid or free (review by partner or fellow writer) was the catalyst to allow me to see the problem and move on. I use the term catalyst because, like the chemical analogy, the road-block must be overcome internally -- the writer must ingest the understanding of the problem and transform it into a strength. Thus we grow.

There have been similar postings on this subject before. Some writers have a natural talent to overcome these road-blocks, others must slog through the mud until they can overcome the problem. Consultants can help you do that.

A word of caution. Don't let the consultant become the author of your work. You alone must retain control of your story or you lose the passion. If you take several consultants on a single story and combine all their comments, you'll undoubtedly wind up with a mushy story - lacking uniqueness and passion.

Some thoughts,

Steve

Paula,

I don't think the issue is writers running contests. In fact, I think a writer brings some compassion for his fellow writers.

I would guess that most of us enter contests to:

a. win as a means of validating our work b. use it as leverage to get noticed and to difference our material from those around us. c. get decisionmakers to review our scripts with the hope of options/sales.

I doubt that accomplished writers would need to "steal" ideas from relative newbies. The case in point with this posting is whether a film school student is sufficiently experienced and connected with the industry to meet those goals. Or was it just a bunch of guys (and/or gals) looking for some additional spending money?

Steve

Never say never. In terms of writers "either are or are not" reflects a lack of experience in life.

If you work hard, study, grow, write, rewrite, struggle, cry, swear, agonize and continue to write, you will improve. True, some people have talent or more talent that others. So what! Writers write, they aren't born that way.

Learn from whom you can. Read books, takes classes, use consultants, do whatever you can afford in time and money to fulfill your dreams. Don't live by other's rules of "do this" or "don't do that". Find out what is right for you and do it.

Chris,

I was at the Worldfest Houston 2001 Awards Banquet and met many Canadian film companies there. They didn't announce where the screenplay winners were from but I received an email from a fellow screenplay award winner. She was from Australia.

Steve

Francine,

I'd suggest you insist on some contractual agreement detailing what you are excpected to do, what they are expected to do, who retains ownership of the intellectual property and how you dissolve the relationship.

This is for their benefit and for yours. Legal and relational damage can easily occur when both parties don't understand what is expected. etc. Sit down with them, work up an agreement, length of time together, and then have it reviewed by a lawyer.

My biggest concern would be that the "helping" party would not contribute significantly to the property and then demand part ownership.

Steve

Jamie,

So what is the WRITER's question or topic you are posting? Do you want someone to rewrite your script? Unlikely since it placed well and has attracted lots of "interest".

Are you encouraging other writers to write based on your success? Again, No.

Maybe your are out beating the bushes anyplace you can to raise money? Yes, perhaps that's it.

Monetary abundance is unlikely at this site since we writers are spending all of our available cash on contests and script consultants. Why not try the US Governmetn for a grant. Unlikely as that is, I suspect it has a better chance then finding lots of loose cash here.

Good Luck,

Steve

Jamie,

Sorry if you felt beat up but your original posting sounded like a hungry used car salesman seeking funding.

Your second posting with "Does anyone have any suggestions as to how to go about finding financing for a small indie movie?" would have been more effective in soliciting suggestions and getting less vitriolic responses.

Funding for low budget independent movies has always been tough. From listening to the film festival responses of first time producers (which is the role you are sliding into) the responses vary from got money from my mom, maxed out 47 credit cards, developed a limited partnership, to found a rich dentist.

There are an infinite number of possibilities with an infinite number of ways to be rejected.

If the response to your original posting was too much, over the hill, outside the pail, then give up hope now. The obtaining funding process will eat you up.

Being rejected as a screenwriter is hard, but getting people to yield their money is harder. Prepare thyself for the struggle.

Steve

Hey everyone,

I just got a strange email from "pam@SCIFF" with an executible attachment. I replied back to the sender that I don't open executible attachments from people I don't know and then deleted the email without opening the attachment.

This has all the markings of a computer virus. So all be advised, especially those who attended or communicated with SCIFF. Consider this my public service announcement for the year.

Steve

Grover,

I've slipped away from sci-fi. My last few scripts were one in Native American mythology, another in action/adventure and I am currently working on a Middle Earth fantasy. No response from SCIFF (if they indeed sent it) on the executible attachment.

Just a warning to all. Be careful opening email attachmnents. I got hit by a virus a while ago and it took down my computer. I ended up replacing the computer with a faster one, new operating system and was barely able to salvage my years of screenplay files. (I have a back-up on another computer).

Steve

Barry,

This is not what you asked but your posting requires the question. If you are just starting out, are you ready for the BIG Three or Four? Maybe you should start with the contests that give writers some feedback on their work. TFI is one I've submitted to in the past and got good feedback (some of their feedback made me upset but I learned from it). If you are the Next Great Screenwriter and a natural then you may be able to jump into the Big three and win. If you're human, like the rest of us poor smucks, you'll require some time to grow in the art. Get your feedback now and learn to grow as a writer. Then, when you're ready, hit the Big Three. Some thoughts.

Steve

Joanne,

I believe you are refering to a tag or epilogue. To quote from The Screenwriters Bible "The tag, often called the epilogue, is the brief (about one minute or so, and often less) ending section that ties up loose ends. In some shows, this is "scenes from next week's episode." Usually, the epilogue or tag is identified as such at the top of the page."

I have also achieved the same effect using a Voice Over (VO) by the main character. Although doable, you must ask yourself if the epilogue is really needed. I used the VO in a short screenplay where I would have continued the story in a feature length script. Hope this helps.

Steve

Barry,

I use Final Draft all the time to save as an RTF file and have never had any problem with format corruption. Perhaps you have an older version of Final Draft or not all of the free updates. Hope this helps.

Steve

Jason,

What's the URL to their website?

Steve

Bob,

I agree with your comments on the Physics of Screenplays. Sci-fi scripts must merely be plausible and consistent, not scientifically implementable with today's technology - or else it wouldn't be sci-fi.

Steve

Ashley,

Depending on how the victim website was organized, it is one thing to disrupt the website and quite another level to hack into and EFFECTIVELY get credit card info. I don't think it's time to upchuck the cookies but a well placed inquiry to the victim website is in order.

Steve

Greg,

Something seems wrong. As I understand your posting, through the "game", a script is written or adapted or something. The writer then sells all rights to the production company for nothing. If the movie is made, distribution is achieved and release is achieved, the writer gets 75% of gross ticket sales less a 25% commission of the writer's amount.

So who gets the other 25% of gross ticket sales (the theater, the producers, the director, the actors, the investors? The finanicals seem way off. Please explain.

Steve

Dear C. B.,

Sorry to inform you but this is a screenwriting board so most of us do not have completed films to distribute. But we'll be sure to keep you in mind when we do.

Steve

Jimmy,

I received a letter stating my script (which had won awards in other contests) was in the bottom 50%.

I usually don't comment on such results. Bad for my huge ego, I guess. I take the results with a large grain of sand and move on.

Now I'm waiting to hear from Venice and TFI. Hope lingers eternal.

Steve

Everyone,

Let's make some sense of all of this. Badly written script almost certainly get poorly rated in contests. Good scripts can receive different reviews at different contests and sometimes even the same contest by different readers. My rule is to look at the result of several contests especially those that provide MEANINGFUL feedback.

Next, keep in mind that this has little to do with how a prodco will receive the same screenplay. They may like the concept but hate the implementation - they option and rewrite using their own writers. They may love the writing but hate the concept and ask for something else. They may love both but this is what they want to do. It's a crap shoot.

So what to do? Keep writing, hopefully improving and have fun.

Regards,

Steve

I think you should have a general idea of the theme of the story and its spine. More often then not, I've found the ending and the beginning change, be replaced, or be thrown away. McKee's STORY strongly suggests a structured treatment BEFORE writing. I've always lacked the discipline to do this but I can see the wisdom of it.

If you have Final Draft, use the Scene Navigator to outline the story, jot down sequences (a series of scenes) or other important scenes you may "see" in your mind so they don't get lost.

I think it is important to have a story, a compelling story to tell. Sometimes, it doesn't come in a logical way and you have to put the cart before the horse.

Barry,

Would you actually pay an agent to take flights to California? I live on the East Coast and the agents I know of in Massachussets pay for their own travel expenses, not the writer.

Steve

Terrina,

The selection of an agent in California versus outside the state is not so straightforward. The arguments raised are not decisive.

a. The argument that the writer should plan to spend some sum of money in air travel is independent of whether the agent is in California. If the writer is required to be at a business meeting, then he/she will go and the agent will not be paying the airfare. Either the writer or the company the writer is meeting with will.

b. The real question is how well connected is the particular agent for your genre, style of writing, etc. Which target customer are you going for (studios, independents, direct to video).

c. Do you want/need an agent or a manager?

The agents outside of California obviously know that they must travel and have factored that into their business plan and operation model.

I recommend you talk, face-to-face if possible, with an interested agent and see if he/she meets your needs. Given that you can probably get a contract period of only a year, what's to lose if you try an agent outside of Hollywood. Some thoughts.

Steve

I entered ASA this last year and got my "Dear John" letter a few months ago. Since then they have changed the format of their website and I haven't seen anything of critique comments on the scripts I sent them or any word on quarterfinalists or above. Did I miss the event? Anybody have an update?

Steve

I went through Dave Trottier's online screenwriting class about a year ago. My first time with an online class. I "chatted" with several other screenwriters and got a good, detailed review of a future project. The script went on to win an award at Worldfest so Dave's inputs were good. Cost was reasonable.

I also understand their is a UCLA online course but it is very expensive ($1000s) but I suspect it would be excellent. But "She who must be obeyed" has not allocated that level of funds for my activity.

Clint,

I see three possibilities:

a. The production companies aren't really interested and are using the agent story to blow you off.

b. They are worried about being sued so ask them for a release agreement or offer to send them a standard one (available from the Internet)

c. They really want you to be referred by an agent. If so, contact a few WGA agents and explain the situation. You may find one willing to take the time to read your script for the possibility of making a sale.

Steve

Harold,

I think the real question is whether this sale a defered compensation one or do you get paid upfront? If you are being offered a no cash upfront sale then you should wonder if the film will ever make money and whether it will actually get produced.

From my adventures at different independent film festival the rule of thumb I've found true is that if the total production cost for a film is under $1M then that film has a reasonable chance in the video market of making a profit. So if the film can be COMPLETED for say $200K to $500K, it has a chance of getting residuals back to you. In general, I'd recommend getting some money upfront and consider residuals as "icing on the cake"

An alternative is using your script as a means of entry into filming and getting to work on the production of the film. You learn alot working with the director and the actors. I'm doing something similar on a film production here in New England. Lot's of fun and a good learning experience.

Steve

Melvin,

You are one sick puppy. GO FOR IT! Keep on writing.

Steve

Barbara,

Thanks for the update. In the past, they used a standard critique form showing how the reader appraised the script and felt about the story. I hope they haven't changed. I used them to see how a more controversial story, about a homosexual who accepts Christ but finds rejection by the Church (idea was previously posted here), was received. I sent in the first 25 pages before I finished writing the complete script.

It got nailed (failed to make the cut) so I'm waiting to see what the comments are. Their "free" critique service seems to have died so I am less impressed with ASA and may soon depart their company.

Steve

To paraphrase Ben Franklin, A sale in the hand is worth two in the bush. If this is your first sale, go for it unless the terms are terrible. Change from a writer to an author (a published writer - definition via Ashley).

You are a writer. Writers write. New scripts will come and it's easier to get sold when you've already sold something.

Steve

Ashley,

Sometimes you can be very difficult. Yes, we do have outside jobs and lives and bills and relationships, all that makes us human, emotional, vital, sad and happy.

We leave that aside for the few moments as we come here to celebrate our existance as writers and reflect the silence of our souls with other soulmates, writers. As with any extended family, there is a time and this is the place of sharing, of crying, rejoicing, laughing and of anger in our mutual field.

If the sharing and crying is upsetting you, then harden your heart and get on with life. But I know you and you don't have a hard heart. And I know your compassion and passion for writing.

Please do bring us to the whipping post if we go over the edge but never lose the compassion for your fellow writers as we see and share what life has for us.

Steve

Melvin,

I am probably stating the obvious to you but the use of flashbacks is extremely dangerous and it is generally recommended that you avoid them like the plague. That said, the sluglines should contain enough information to allow the reader to know where and when the scene is occuring. I'd suggest you avoid using the word FLASHBACK as it's sure to get your script tossed in the circular file.

If you are doing a specific period, e.g., Dec 7, 1941, then use the date. If it is a relative time, as in 12 years ago from the present, then use that. A good example of how to avoid flashbacks but to write in different times is in Godfather 2. Two different stories are intermixed but are clearly separate.

Flashbacks were the one thing that Dave Trottier's class beat out of me. They, along with Dream Sequences, can be deadly to getting your script accepted. If you must use them, try to push them as far toward the end of the script as possible. See The Sixth Sense where the flashback is close to the end of the movie.

Steve

Melvin,

The "rules" are best read in The Screenwriters Bible by Trottier. Pick up a copy at your local Barnes and Noble. They are important to know and it's also important to know when to break them.

Steve

Ashley,

When my wife and I were approaching forty, I...

INT. RESTAURANT, DINING TABLE - NIGHT

An ordinary couple sits across from each other in a crowded scene. WALLA from surrounding tables. STEVE, 40, ordinary looking and WIFE, 40, beautiful in his eyes, but undistinguished to the rest of the world, sit facing each other.

STEVE You know, dear, to be mathematically correct, I must exchange you for two 20 year olds.

Wife glances down at her salad, takes a bite, crews.

WIFE Dearest, you aren't wired for 220. You'll burn up.

FADE to BLACK

Perhaps there are both demons and angels in each of us.

Steve

Melvin,

I am intrigued with your alleged propensity of being "blitzed". Do you write when blitzed and if so, how do you know what you are writing is any good?

I am not here critizing you and your lifestyle choices and additions (we all have our passions and problems) but you seem preoccupied with spending a good portion of your life in an altered state. I assume that cannot be good for your writing.

Steve

Perhps its Gunshy (1998). The director was Jeff Celentano. If not, you can try further seaches at imdb.com.

Steve

Melvin,

Maybe the readers should be issued blood alcohol test kits to self-monitor and administer intoxicants until they maintain a 0.5 over the legal limit? Whatch think, Buddy?

Steve

This is how I would approach the problem - other answers are possible:

INT. LIVING ROOM - DAY

Two pairs of couples stand in the room, each in their own group, arguing between the pair. MR. JONES, 30s, SCREAMS obscenities at his wife, MRS. JONES, late 20's, attractive. MRS. SMITH, 30s, seductive, ignores the screams from across the room and glares at her husband, MR. SMITH, meanwhile the television blares a sitcom.

TELEVISION

Two characters, RALPH, 30s, and DORIS, 20s, passionately kiss and hug.

RALPH

Blah, Blah.

DORIS

You two...

SMITH COUPLE

MRS. SMITH

So you like me slepping with the newspaper boy, do you? Just an excuse cause you sleep with the babysitter.

Mr. SMITH

I do not and you're a slut.

JONES COUPLE

MR. JONES

What do you mean you've been babysitting for the Smith's?

MRS. JONES

You men are all pigs.

........

Steve

Ashley et al,

I know I'm not being fair but neither is Life. Without referring to Ashley's script, in general, don't use terms, nouns, usage that the average Joe wouldn't be immediately aware of. If you think the reader's going to grab the nearest dictionary, WRONG! The script will be gently (read flung) deposited in the nearest circular filing cabinet (trash can).

I know we're writers and we love to show off our literary skills. Save it for the novel. A spec script is meant to sell to a producer, not win a Prize. (Contests are great as a reference on your intro letter but not many contest wins directly result in a sale).

Ashley's script (the one I read) used antiquated terms I was unfamiliar with and I questioned her. She had done her research and had used the correct words. The risk she runs is whether a reader or producer would consider the authenticity a plus or just dump the script.

Steve

My grief came from the Venice Contest. I'll let you determine if the reader was justified in his/her comments. The reader stated the premise was implausible.

Reader's comment:

p. 14 - General Kilgore's explanation of how mankind will become extinct due to 500 teenagers becoming sterile after ten generations - this is logically and mathematically false. There is no way that these 500 people and their descendants are going to somehow breed with every "normal" human on earth.

Actual Script:

STEVE WINSTON

There’s more. The eugenics agent affects the recipient's DNA. Their children will receive the powers and the affected genes are dominant. There’s an additional problem. Simulations suggest that after the 10th generation, the offspring will become sterile.

I hate it when readers read into a story something that was never there.

The other comment was oral ingestion of the agent would not affect DNA. Is this person a medical doctor? Would the average viewer know or CARE about the efficacy of application?

Steve

I pitched a concept and within 24 hours got a pass. Polite, well written and inviting me to submit other ideas. I was treated nicely by them.

FYI.

Steve

I posted several months ago my intent not to participate in the Nicholl competition. I am not here to say "I told you so". I think the Nicholl competition is wonderful. But after several years of not making the quarterfinalist and getting very little feedback (not that they promised any feedback) I felt I should go elsewhere.

This is a subjective business and what the reader feels about a script is just that, subjective. But good script writing techniques and story structure helps. It's realtively easy to pick up a script that's well written, has a captivating story and vibrant characters and grade it with flying colors. It's also easy to pass on a script that's poorly constructed or structured even though the hidden story is great.

For those fellow writers, past or present, that didn't get selected for the next phase of the competition, get over it. If you've won every other competition with the same script but missed at the Nicholl, chalk it up to bad luck. Otherwise, review your writing, seek contests that give back meaningful feedback or get a consultant or friend to help you along the road. But never giver up.

Steve

Olga,

Most of what you say is true. If a producer has to CHOOSE a spec script and sell it to turn it into a movie, he/she will probably select one that has the best chance of making money.

Exceptions to this are producers selected by a studio to produce a movie the Studio wants made. I've met one such who hated the script but did what the Studio said. The business is very complex.

Like in all business, know your target client. Are you writing an art-house script, an independent (read low cost) or a studio blockbuster or are you just writng for fun? Then target the intended client base you wrote for.

Contests are nice (to win). They provide feedback (some of them), awards (too little cash to make a living exclusively) and a note of distinction.

Steve

Here's what the WGA says for an agency to be a WGA agency:

"Guild policy prohibits an agency from appearing on this list if it charges reading fees or similar fees as a condition to read literary material."

My interpretation is that administrative costs are allowed (keep in mind this organization is probably non-WGA and therefore under no such restriction), as long as the costs are reasonable.

Is the $30.00 per month a flat fee charged forever to all clients? Suppose you printed and bulk mailed a dozen copies of your script - therefore negating their need to copy for you? Find out and let us know.

Thanks,

Steve

They requested a script I pitched to them, and sent me an email when they received the script. So far, they've treated me better than most I've sent scripts to. I'll see if an agreement is forthcoming.

Sara,

Thanks, I guess, for the congradulations. Yes, they do know my name and entry fees at Worldfest Houston. I've entered many times over the last seven years and this was my first win at Worldfest Houston. I did win in the sci-fi category at each of the Worldfest Flagstaff competitions, now defunct.

To answer your question, I found winning did open some doors to producers but most Indies don't go for Sci-fi. So nothing came of it.

This last year, my partner and I each won in a separate category (short drama and feature action/adventure). I am currently working with a writer/director on a small Indie feature film.

I met him indirectly through a pitching session at Worldfest Houston. We hope to start shooting this Fall. I'm doing the rewrite of his script. He's teaching me directing and filmmaking.

Steve

R,

I got an email saying they had received my script on 6 Aug. I haven't heard anything yet. Perhaps your script was so wonderful that they just knew it was great. Cream rises to the top. They told me 2 - 4 weeks so I'll be patient.

Steve

Marc,

Let me morph into a shrink for a moment. There!

If you want to hurt someone, don't initially reject them. Praise them, lift them up, THEN REJECT THEM. Once you've lifted them up, they have more height before they hit the floor. OUCH!

Probably a delusional condition brought on by excessive and repetitive forces being applied to the fingertips (as in typing?).

Doctor Steve

Anyone know a site where I can find sample contracts for cast and crew for an Indie movie effort?

Thanks,

Steve

Karen,

If I were an agent or a manager, why should I consider you? Has your script won any awards? Hollywood talent could be a really good janitor or goffer. Maybe tickle my interest with something more than the genre - say a logline. Hope you get lucky.

Steve

Miriam,

My dictionary defines "perverse" as

1. Deviating from what is right or good. 2. Obstinately persisting in an error or fault. 3. Disposed to contradict or oppose or Marked by or arising from opposition and contradiction.

Steve

Miriam,

And that is the point. Write in the language used in the time frame of your story. As previously mentioned in another post, Ashley took the extra care to use the correct language of the time for one of her period scripts. Language evolves and the script ideally will reflect the language of the time period.

There's no faster way for a reader to discard a script than to note excessive grammarical errors. It's part of being "professional" although most of use haven't earned a dime in writing.

Steve

So why not cross out the $30.00 monthly fee and in its place have the agency pay $30.00 per month to you, refundable should they sell your script? Maybe they don't read their returned contracts all that well.

Anyone have an update? I still haven't seen a critique form on either of the two scripts I submitted (first 25 pages) nor have they replied to my emails.

Steve

John Johnson of ASA returned an e-mail today. This year they are not doing the script critiques. He said they did not put words into this year's contest description saying they would. Finalists and quarterfinalists have been posted at the ASA's website although I can't figure how to navigate to them.

I had a production company contact me and request one of my scripts through WinningScripts. They passed.

Just to add some balance, they passed on my script for similar reasons a WGA agency passed. So it's not a submit and get automatically accepted shop.

Arthur,

I asked my manager a while ago about submitting a script for a television series. He said it was very hard for a new writer to even be considered. But I pressed him and he suggested providing a treatment describing the series concept, who the characters were, etc, an idea or brief description of each of the first year' 26 episodes, detailed descriptions of any four episodes and a completed script for the first episode.

He may have been just trying to discourage me (it worked) or let me know how tough it is. I understand the usual approach is to get a job writing in a television series, establish contacts with producers and pitch them. I guess, alternatively, find a televsion series producer and pitch the concept. I'd suggest the above list of items be ready in case he/she bites.

Steve

Barbara,

Yes,

Steve

I'm working as co-writer, assistant director and goffer on a no-budget feature film. Anyone have a suggestion on where and how to get inexpensive or free props -- crystal bowls, swords, daggers, etc? This is my first time doing something in film other than writing so I'd prefer not looking like a complete idiot. I've got doing a partial idiot down pat.

Thanks,

Steve

I agree with Francine. The SASE for the script will cost almost $4.00, the prodco has to keep it with the script or somehow associated with the material, a pain for them and you get back a used script. Why not have them keep it? Once they reject it, you think they send it to the "Let's steal this one" pile of scripts. There's always the off-chance that somehow it may find it's way into the right person's hands. Remember the story of the screenwriter who left his script at his dentist's office only to be read by a awaiting producer...

Send it. If the prodco is worried about liability, they'll send you a letter asking for disposition. I've had it happen to me once. I told them to retain the script or destroy it, their choice.

When asked the question of the best 5 screenplay competitions, one must address what the definition of best is.

Does best mean best feedback (TFI)? Best chances of being optioned or purchased (Nicholl? Best for ease of entry and feedback (Venice)?

The selection, while always subjective, depends on the criteria one chooses.

Daniel,

Part of the greatness of America is providing the opportunity for the unwise to sell their capitol in a downturn. Think of the nationwide fear if the Stock Market had been closed for a month. Not all of us prove our heroism by pulling bodies from wrecked buildings. The rest of us manage to go back to our lives and prove the terrorists wrong in destroying America and our way of life.

Steve

Find some one you know. In my case, I know a retired schoolteacher who proofs my scripts.

Spell checking is easily accomplished by a computer program like FInal Draft. Or save your file in MSWord format (rtf, etc) and import it into MSWord. Then do the spellcheck.

I find humans do a better job with grammar checking than computer programs.

Steve

Melvin,

I think you are wrong on this issue. The purpose of the script is to communicate to the reader and eventually to the producer/director the story. Since most people do not speak Apache, it would be pointless to write it in the original language.

When the spec script gets converted to a shooting script, then the rewriter may elect to actually translate it, use a Voice Over or any of a number of methods to convey the setting and the message.

Regards,

Steve

Sondra,

I just had Lisa send out an inquiry. She rewrote my inquiry letter and significantly enhanced it. We made several passes through the letter rewrite before I gave her clearance to send it out. She sent it to 54 agencies, 93 managers and 102 prodcos. I am starting to get responses now.

Steve

Jean,

I was on business travel so I could check my email only infrequently. We started on Friday last and I released it early Friday. Replies (mostly passes) started coming in within hours later.

Steve

Randy,

So who owns the rights to your original work, now modified from a short to a feature length at the request of the prodco and also who owns the rights to the "gangster" script co-written by you and Mark and corrdinated by the same prodco? If you believe it's you, are your really sure?

Steve

Based on this thread and my previously working with Lisa I spent the fee and used the service.

HERE IS THE PITCH:

>Dear ,

> The time has never been better for a cathartic story involving the high tech assassination of a middle eastern terrorist. > > ONE SHOT, ONE KILL incorporates action, suspense, sci fi, military, supernatural, and international elements. > > When industrialist STEVE WALKER blames Osama bin Laden for the death of his daughter, he takes action by putting together a world class sniper team. A former Vietnam era sniper, Walker hires professional sniper YARNELL LORNES and his former partner CHARLIE RED FOX, a Gulf War vet. Red Fox is currently in private practice with ex-NSA covert operative KATHLENE MALONE, who also joins the team. > > High tech weaponry and smart bullets are matched against massive armies and suicidal odds in the Middle East. But is their greatest opponent greed and betrayal? > > Along the way Lornes and his partners find romance, enlightenment, and incidentally save the world. > > Osama bin Laden is presently our world's most feared and hated criminal; however any fictional name can be used to evoke his essence. > > ONE SHOT, ONE KILL (under the title of SHOOTERS) won the Silver award at the 2001 Worldfest Houston in the Action/Adventure screenplay division, and is currently a quarterfinalist in the 2001 Texas Film Institute (TFI) competition, results pending. May we submit this timely screenplay to ? > > Please let us know if you have any questions. We'd be more than happy to submit a complete screenplay; if so, please provide your current submission address.

END OF PITCH.

It was sent to 54 agencies, 93 managers and 102 prodcos.

I received 20 responses.

One problem was telling which response was from which destination as sometimes emails are not consistently addressed.

Of the 20 responses one asked for the script and another asked for a 2-3 page summary and then passed.

I thought it was interesting that about half of the passes were of the "I cannot handle this right now" of "this is too soon" variety.

The 20 responses are a better rate than what I have personally obtained in the past from similar emailings although the 1 in 20 request rate was less.

Hope this snapshot helps you all.

Steve >

Tracy,

Here is the essential elements of a pitch - not from Lisa but what I picked up at various seminars.

What genre? - sci-fi, action, drama...

Logline - one line concept of the story

Awards, if any

Manager or point of contact - so they know whom to call.

Synopsis - paragraph of two, usually placed at the end if reader is still interested.

Be sure to state it is a feature length or short, completed or just a concept.

Steve

Angelina,

Welcome to the rough and tumble Moviebytes site, where even if you were a saint, someone would tie you to a post and light the fires.

I think most of us use a computer program to help with spellchecking and proper formatting, although it's still possible to make format errors with these computer programs. But I also know a few writers who hand write or use a typewriter (GASP - yes children, there really are such writers). So although I personally don't need the service you offer, it may be useful for others.

As I said before, welcome to this site and harden your skin. Tis not for the faint hearted or easily offended.

Steve

I have a BS in Physics (long ago when we still believed in Newtonian laws) and I write sci-fi. The issue is not compliance with the laws of Physics but offering a consistent and plausible world in which the story is told. The audience must be drawn into the world and experience it.

Regarding reader's comments, I have found some get "hung up" over a minor matter and use it to discredit the story. It's easier to write a negative coverage by clutching to an apparent Law of Physics violation then to more deeply examine the story's issues, character development, etc. If multiple coverages by different readers consistently point out the same flaw, then re-examine the "violation".

Steve

Lisa's email:

Venice Arts e-Screenwriting [lisa@venicearts.com]

Steve

In my case, the synopsis was originally written by me (and my writing partner) and edited by Lisa. She added the cathartic line and rewrote the pitch into a more coherent form. After my partner and I approved of the edited version (several iterations later), she sent it to multiple email sites that had previously told her they would accept email inquiries. She also sent me the list of the addresses.

I guess in the future I could send other pitches to the list she gave me without using her service but I would feel that to be unethical for me to do so.

For the price ($50 for 100+ inquiries) it was a good business move. Each writer must, of course, make their own decision.

Niall,

Obviously you are joking and trying to stimulate a great debate or you must be a complete idiot.

Many artists, yes writers are artists, like doing the creative part but don't either do well or just plain hate the business side of professional writing. That's why there are agents and managers.

For me, I have a manager. Why you ask? Because when I was asked to work on an indie movie, I didn't want to get involved with the negotiations or the legal side of the business. That was my manager's job. He kept me "above" such things and didn't ruin my business relationship with the producer.

In my case of using Lisa's services I got two things out of the service right off the top.

First, an independent rewrite of the pitch, logline and synopsis. Most of us do not write the ultimate, perfect logline and synopsis the first time. It evolves and ages like a fine wine. Lisa added some improvements and helped nudge it toward perfection.

Second, I had the pitch sent to a 100+ prodcos for which I didn't have email addresses for. That alone was worth the expense.

Your initial posting didn't deserve any response but the "newbies" who read this BB might get the wrong idea so I felt compelled to dispute you.

Steve

To the rest of the screenwriters,

It was great fun watching Randy and Craig bash each other over the emotionally intense question of "To washer or not to washer". For the "newbies" this is what they are talking about.

Don't submit a script to a production company (prodco) in a three ring binder, GBC or Veco (sp?). Instead use brass brads. Using predrilled photocopy paper will save you alot of time and energy. I buy the paper at Staples and it saves my mcuh pain and effort.

Don't get your brads at Staples or similar place. The kind you find at Staples are flimsy. I use NYscreenwriters.com for brass brads. They are stronger and don't let the script fall apart while being read at the prodco.

You can also buy the washers that attach to the brads to better to better hold the brad in place but these have some disadvantages.

First, if a prodco reader likes the script, the script will go to the next level of review and may be photocopied to multiple readers, executives, etc. Some poor assistant to the assistant has to remove the washers to photocopy the script. Make his/her life easier and don't use washers.

Second, it is alleged that the washers can cut the delicate hands of readers and thus discredit your script when it is dabbed with blood - maybe that might be an improvement??? I cannot attest to this since I am a sreenwriter and thus, have "thick skin" covered completely by scar tissue obtained by the many battles at Moviebytes.com's BBB.

Use good quality brads and your script won't fall apart. Making life easier for a prodco won't sell a bad script but it helps with a marginal one. All WGA writers I've met (three of them) use brads without washers but this is not a statisticly significant set.

Bottomline: Do as you choose and may Success smile upon you all.

Steve

John,

I guess my humor was a little to dry and non-obvious. I was working hard to come up with reasons to "not washer" and I wanted to work in the "thick skin". I guess that's why I don't write comedy.

Steve

Tracy,

Why not call up the agency and ask for an e-mail address? Usually they won't give one but in the current situation, who knows? Either way, call up the agent/agency and ask what they want. Be sure to put a return address on the mailing.

Steve

If the comparison is between feature length films and episodic television, then one difference is character development. In a feature film, you have to develop the major characters. In episodic television, the audience knows the characters from the last show and knows what to expect of them.

I received the evaluations for the two scripts I entered. As always, the evaluations are extremely professional looking, stating for each category the criteria and then specific comments on the script for that category. Good, HARD comments. What works, what doesn't. Best evaluation for so few $$.

This is pretty obvious but I got caught twice this year on contests I entered expecting certain activities or procedures only to find out later that THINGS HAD CHANGED.

I entered ASA primarily to get their feedback on the first 25 pages of a script. So I submitted and only got a "so sorry" letter. When I asked where's the evaluation I was told "Oh, we deleted that from the rules because it was too much trouble". Note they didn't post on their site prior to submission something like "We have decided this year not to give out critiques" but only deleted their reference in the submission rules. Obviously, I won't enter their contest next year as they no longer distinguish themselves from other contests.

Another was TFI. The previous two competitions or so, they had scripts compete within each genre. They even posted a message to that effect here a long while back when I was seeking sci-fi only competitions. They changed the rules this year where you still entered the script's genre but only to assist their reading process. TFI is still great with its notes so I'll enter next year but with lower expectations.

I am not saying these contests don't have the right to change, only that dumb SOBs (that's Soft Old Boys) like me should ASSUME NOTHING, TRUST NO ONE and READ THE RULES.

Steve

Grover,

My experience has been that judging is extremely subjective. The same screenplay submitted to different contests received radically different reviews and placement.

Try to win or place at any contest. Use that as part of your calling card to prodcos.

Bottomline - Your script has to a killer to get bought. Invest in your script.

Steve

To all,

If you live near the Connecticut area and want a no money part in a fantasy movie, see the following:

BlackStripe-Video is looking for extras to be in a background scene for fantasy movie " The Silver Tree "

Must be available Saturdays and Sundays from 6:00am to 4:00pm.

For minor speaking roles. Call to schedule a meeting.

For non-speaking roles. Just show up at the beginning of the day. We WILL use you.

No pay, but looks great on an acting resume. Some small speaking roles also available. For more info look at the script online at

WWW.BlackStripe-Video.com

Call 860-928-3392 or 860-377-5047 to set up a read or if you have additional questions.

The story is about an Elf Princess in love with a human magician. Her tribe is attacked by an evil wizard. They go on a quest to the other tribes for help.

If you look like an elf or a human, come on down and earn your elf ears.

Steve

Positive: Lord of the Rings is totally cool. It is long but the cinematics is great. Characters are endearing and believable.

Negative: Ends without resolution of the basic problems. Left me uneasy, unfullfilled. Obviously the sequel will pick up where it left off. Doesn't cover the Hobbit story. Begins with Bilbo's retirement party. I loved the Hobbit story - the best of the series.

Overall: Great story, excellent effects, beautiful scenery, a must see. But I think I'll only pay once to see it.

I received an e-mail from Texas Film Institute. A new change to the rules may affect most of us (at least those that will not achieve semi-finalist status). They write:

Unfortunately we cannot offer genre prizes. And this year, we can only offer notes to contestants who qualify for semifinalist.

How sad. I really felt their script notes were worth the entry fee regardless of the script's chance for making semi-finalist or higher. Perhaps someone else will pick up the torch.

Steve

I referenced Dave Trottier's The Screenwriter's Bible. First, don't reference a song unless you own the rights or have permission to use it. The suggested format is

MCKAY Well, you take the high road/and I'll take the low road/And I'll be in Scotland before you.

Use slashes to separate the stanzas.

Alternatively, write it like a poem.

Steve

Bryan,

According to "The Screenwriter's Bible" - 54 pages for a one hour dramatic series.

Try to get a copy of the show's "bible" and a copy of one of its episodes.

When you've got a GREAT script where your brass ones and call the producer. He/She will probably pass you to an underling/assistant to the assistant, etc. Tell the poor unfortunate that Mr. So and So likes your idea and wants me and you to discuss this. Lie through your teeth but be polite.

Steve

The Big Foot ESP idea is not plausible. The random opportunity or probablility to both have one or more Big Feet (plural of a Big Foot???) in close vicinity to a human who happens to be a script reader and therefore an individual possessing or elsewise producing little or no brainwaves is of a finite value. Against such "lugs", the poor Big Feet would be observable and vulnerable. Likewise for the case of the Big Feet being emphathic and the chance encounter with heartless beings such as agents. But suppose the opposite were true and these kind, gentle beings were drawn, like moths to a light source, to highly intelligent, passionate humans. Alas, this fails less they frequently appear at screenwriter's conventions. Maybe they are in disguise. I've seen some rather strange writers at some of the screenwriter mass gatherings. Hmmm.

Dear S,

Classifieds are in a different section. Also, why would I hire a polish writer/re-writer who doesn't know how to spell correctly?

Steve

If you have great ideas, document them. Not for legal purposes but to keep track before they fade away. 6 screenplays at once tends to dilute your effort. Focus on the best looking concept or the one that generates the most passion within you. Write until you complete it or the creative juices stop. Then set it aside. Work on another. Revisit each partially or completed screenplay and see if it can be improved or if it has faults. Remember, your skills are constantly improving.

It's better to pitch a concept and follow up with a completed screenplay. Even if the screenplay is not what they want but they love the concept, you'll get more $$$ if you have the screenplay.

My sister is going through a difficult divorce and the screenwriter in me tells me there is a good, dramatic script waiting to be written. My question: Can I buy the rights to her story about her interaction with my soon to be ex-brother-in-law or do I need to get the rights from both he and my sister? I assume I just need her agreement because the story is being written from her perspective.

Brandon,

The advantage of buying the rights is to include "Based on a True Story". This makes the film much more appealing especially for the MOW category. Writing a dramatic, emotionally compelling script is enhanced when it is based on actual events and the reader/audience knows it.

Steve

She sounds like a challenge. I may submit just to experience her wrath. Toughen the old skin, you know. Talley Ho. Boogeys at 12 O'Clock High.

Marcel,

From the comments in this topic, it appears that if you write a script based on YOUR experience, there is no problem. If you interview someone else and use THEIR experiences, then you are expected to buy the rights to THEIR experiences and story. In the story (later a screenplay) INTERVIEW WITH A VAMPIRE, were rights purchased??? (LOL)

Anyone have a link to a site where a standard rights contract might be found?

Steve

D.G.

The saying is:

Fools go where Angels fear to tread.

Steve

Jay,

Melvin was indeed an interesting character but perhaps he got tired of the bantering. I doubt he was driven away for we screenwriters inherently must develop thick skins with much scar tissue to survive in this crazy business. Don't hold your breath for someone to apologize cause it ain't gonna happen.

Steve

Grover,

Thanks a bunch. Exactly what I was looking for. This is an example of what makes this BB a great place to visit. Writers helping writers.

Steve

Anyone know of contests or prodcos specifically dealing in screenplays with a Christian perspective? I finally finished a script about a homosexual who finds Christ but also finds rejection within the Church.

Thanks,

Steve

Colleen,

Never saw it. Will look for it.

Steve

Jimmy,

If only Life were so simple. The theme of the screenplay does not take a position on whether homosexuality is good or bad. After all, homosexuality is not even one of the seven deadly sins. (Pride, Greed, Envy, Sloth, Gluttony, Wrath and Lust for those who want to know). This s/p deals with Pride and Wrath.

Yes, the protagonist, Mark, does eventually walk away from homosexuality but he is not lead, educated, bashed nor beaten upon by this author. The theme of the s/p is intolerance within the Church. Nothing more, nothing less.

The greater road that Mark follows is resolving his relationship with his father, a mean spirited Baptist preacher dying of stomach cancer, forgiveness in the death of another "trash person" Audrey at the hands of a bigoted Christian policeman and a treacherous conspriracy within his own church to use him and those like him as a weapon against the minister by people opposed to change and openess within the Church.

So, whether you agree or not on the "good or bad" of homosexuality, the thematic issue is intolerance. I neither call for a social opening up of the Church nor condemn all gays. That is an issue I carefully attempted to avoid.

An interesting note: My first version of the story had Mark remaining as a practicing homosexuality as he came to terms with his life and his relationship with God. The sexual transition just sort of wrote itself into the story.

Steve

Marc,

The screenplay should be just right. No more pages and no less. A complete story. I was told about 105 - 107 pages is "ideal" but this is not a hard number.

I suggest you try this. If you use Final Draft, resubmit you screenplay without any revisions, just change the page option from Normal to Very Tight. The script will loose 10 pages. Then see what comments you get.

Steve

Jimmy,

You present a well-thoughtout, compelling argument for the character Mark to remain as he started. Interesting, the subtheme is only sprinkled lightly within about three scenes and comes to its conclusion only in the last scene. I will reconsider Mark's change.

Steve

To all,

When I started to write this screenplay about intolerance within the Church I looked for a character with a condition that would strike a LITTLE controversy. So I made Mark Gay. I researched on the Internet and found Exodus International and read some of the testimonies.

The character could have easily been over-weight (Yes, fat people are discriminated against and some do give up their innate tendency to be heavy to conform to society's goals) or smoke pot or chase women or do any number of other things considered a sin and also socially unacceptable by American norms.

I wanted to strike a match to bring some light into the world. But the last thing I thought that I would be doing was to find I was doing it in the middle of a gasoline factory. BOOM!

The story is about intolerance. The character is slowly, inwardly changed by and through God's love. This is not to say that everyone of the same condition has to change or that you're evil and undeserving if you don't change or somehow less important. I go to great lengths to show that (in my story) God accepts us, all of us, as we are. The title of the script is Your Precious Child and I will be submitting it to OUTFEST.

I expect to be soundly defeated because of polarized attitiudes expressed in the above postings. But sometimes a script compels the writer to write. Perhaps it might even open a dialogue between a few members of each side and a bridge can be built and a few cross at least half way to meet.

Steve

P.S.

I never burn scripts although I have been tempted to hit the Delete button.

SNK

Marc,

What is the right serving size for roast beef compared to sirloin? It's apples and oranges. There is no "perfect" size for a screenplay and no ratio or page count by genre.

A story is complete when it holds the reader's attention. Feature length scripts are GENERALLY 90 - 120 pages because usually one page equals one minute of film time. A perfect story might be in a short film - the story is perfectly done in less than 90 pages.

From your posts you seem to believe that your script is lean and mean, that no more could be cut or added to and the agent/reader is following an arbitrary rule to have you cut off a portion of your love child - your story.

Unless you're the Next Great Screenwriter and you are fully matured in the craft, there may be room for improvement in your story. Just maybe, trust me on this one. There might just be a little tweaking still needed? Come on, join the rest of us and rewrite and rewrite.

Hope you script wins at the Oscars.

Steve

Jay,

I think Colleen is right on. Suppose you did all the reading yourself and actually read the scripts - all 100 in her analysis. I assume it would take about two hours to read a script carefully and about 1/2 hour to administer the contest per script. That's a gross of about $10 per hour. Not that much above minimum wage. Plus the hassles of advertising, notification, and losers whining on BBs about you. Hardly a money making scam. Unless you just take the money and run. Except now you've used the U.S. Mail system for fraud and the Feds come after you. No thanks. Too much high side risk and too little benefits. Life is too short.

Steve

So what ever happened with Dana Franklin or The Daily Script Contest? There's a contest that may fit the subject of this post.

Writers can get points. Indies are well known for deferred compensation (no money upfront) and their contract reads that they receive a certain percentage of net. Same with the actors and crew. The movie I'm working on has a similar methodology.

As always, have your manager read the contract over before you sign. Along with no money comes liability if you fail to perform whatever you are suppose to do.

Steve

Sonya,

I think this post has run it course. I originally sought guidance on contests, etc and I have received that information. Thank you all.

There are obviously strong opinions on both sides of the issue of homosexuality and I respect each side's right to their opinions. It is time to end this post and move on to other issues.

My script's synopsis has been passed on by many producers and requested by a couple of producers. The contests mentioned above will do whatever with the script. Time will tell.

Meanwhile, I'm starting to write a story about an elf princess. I hope we don't have any elf-lovers or haters out there to stir up the fires.

Steve

Brandon,

The plural of Elf is Elves. Sorry to hear about your neighborhood.

Steve

Madeline D'Magio, a Script Consultant and WGA writer said "All writers should pull from incidents and people in their own life - that's where the truth in writing comes out."

While simple and straightforward, I found this profound. Though I would share it.

Brandon,

sabe la toda?

Steve

Brandon,

I have found from experience it is better to take such personal attacks (and responses) off-line. AsHley has a profile with an e-mail address. If you have the heart to attack (or retaliate), go for it. But don't do so on the public side. It detracts from your credibility.

Regards,

Steve

Marc,

Do a treatment of each idea. Soon you will realize that most ideas "don't have legs". The ones that do will now have a treatment to speed up the writing process. The hopeless ones will soon die and be forgotten. Life is cruel. Kill the weak ones. Strengthen the strong.

Steve

Congrads,

The screenplay I entered (helped co-write) failed to make the finals in sci-fi/fantasy. What category did you place in?

Steve

Anybody else out there who's a finalist or got the "axe" from Worldfest?

Mylo,

If the writing block really has you all tied up, try this. Take a tape recorder and a friend, significant other, spouse, etc and tell him/her the story or what your script is about. Don't worry about time. Tell it three times to get a relaxed version out. Take the tape recording of the third time and transcribe it on the computer.

Now boil the transcribed text into shorter and shorter versions until you have squeezed it down to a synopsis. First get rid of all the hems and haws. The cut out all that is not essential to understanding the basic story. Don't give Back Story, just the fact. I've found this technique useful in bypassing the dreaded Writer's Block Beast within me.

Steve

Anyone have any experience with Matrix Entertainment, mecfilms.com or James Jaegar? They've offered non-exclusive options on a couple of my sci-fi screenplays.

No it's not a newspaper or my opinion of a major American city.

Anyone ever use Chicago Screws to bind their scripts? You can get them in plastic, aluminum and brass. Up to 6 inches (for 1200 pages) in length. So a typical 100 pages script would use a 1/2 inch screw. It seems to me they have advantages over brads in that they are not sharp and can be reused indefinitely. I know they are somewhat more expensive than the brads. Are there any problems using them with prodcos or contests?

Also, does anyone use washers with their brads? If so, what's your experience with them. Just curious.

Steve

I came across a posting at hollywoodlitsales.com for LSStudios. When I went to their website I found:

"LSStudio will incur substantial costs per script evaluated. See ScriptProf's Service Rates. In an effort to discourage frivolous submissions, while encouraging the participation of serious writers with a degree of faith in their work, the company requires a nominal submission fee to help offset evaluation costs."

$50 is a lot for covering the costs. Many contests charge less than $50 as an entry fee and some of those still give prizes to the winner.

Beware of prodcos that charge writers fees to submit their scripts. I certainly won't pay. Writer beware.

Steve

Suppose I wanted to contact a fellow writer from a posting on this BB? If he/she had a profile with an email address no problem. Suppose he/she did not have an email address in the profile. Wouldn't it great if we could send an email to that person through Moviebytes without access to the person's email address?

The way it could work is that a field would be added to the profile allowing or disabling blind emails. If I wanted to send a private email to writer X, I would select his/her name, that takes me to the writer's profile page and I have the option of sending an email but without knowledge of the receipent's address. The recepient can ignore my email, read it, respond or go to Moviebytes and amend his/her profile to disable blind mail.

What about it Moviebytes? Can you do it?

Would this be a useful service?

Steve

Rick,

I always give them a call to find out for sure. They've been known to "forget" winners before.

The way Worldfest works is the finalists in all categories are notified, hopefully, and invited to attend the awards dinner. They start with the Bronze awards (4th place), then work through the Silver (3rd place), then the Gold (2nd place and finally the Platinum winners (1st place) in each category - both films and screenplays. Lastly, the Overall winner for the best screenplay is announced. It's a great celebration.

Steve

Mitchell,

I've seen some heated debates on this BB that have slipped over to personal attacks to certain individuals and resulted in obscene and insulting messages to their personal email addresses. That's why, should the service be provided, there needs to be a way to "pull the plug" or block the communications.

There's been some postings where I would really have liked to contact the person on a non-public communication. Nothing threatening, just not for public review.

Steve

Ron,

I've been a finalist twice (and a non-finalist many more times). I got lots of contacts at the festival seminars. But as far as a career goes, I'm not quite there yet as a screenwriter. Getting better, but still working at it. Unless you are the grand winner, I don't think it's a homerun for your career. But networking is important. Mostly, have fun, meet people, listen and ask questions.

Steve

I know some posters use email addresses that don't directly relate to their name (Frederick hates these but such is life). That is why a blind email system would work. If a poster's real name is Fred Smith and he posts as Danny Dodo, I send an email to Danny Dodo, I never see his real email address and I would never know the truth. We could all keep our dark little secrets we so carefully treasure.

Ron,

The banquet dinner has been attended by people of every dress code. Tuxs to jeans. Most dress nicely, suits, dresses, are the norm.

I assume hard copies of my script. Yes, but only one copy, just in case. I brought business cards so I could pass them to anyone I wanted to network with. Most producers, directors don't have a ton of room to receive and carry back scripts. I think it's better to formally submit a script to their firm anyway. More professional.

Some of the seminars were good, some just okay. I depends on the presentor and topic. Go and attend if you have the time and $. A great way to network before and after the seminar. It was through a Worldfest seminar that I indirectly made contact with the no-budget indie movie I'm currently working with.

Groupie's? I can only speak from personal experience and I have never in my life had a problem, nor opportunity, of women throwing themselves at me. So why would Worldfest be any different?

Steve

I just electronically entered a script into Script World 2002. A beautifully designed site and so easy to use. My complements to them. Wish more contests were so easy.

I payed using PayPal and the entire entry process took less than 5 minutes. Got an electronic receipt via email from PayPal confirming payment.

I especially like the "personal website" feature where you can log in and see the average scores by the judges on your script. I am looking forward to see how good, or bad, the scores will be and their variance.

Steve

For those of you not yet aware, WGA now accepts scripts for registration online. Save the cost of printing and postal mailing. Same terms: $20.00 per script. Tain't technology terrific?

Steve

Brandon,

Such a delightful visualization you've given all of us. My compliments on the elegant choice of words, so powerful, so visual. Keep up the excellent writing.

Steve

John,

It's so easy getting trapped in the Moviebytes two-step. Spend all the time here instead of writing the next great screenplay. To those of you who have the discipline to work every day (or night), my hat goes off to you. I work in spurts. And when I can't work on writing, I visit here until my Muse whispers sweet things once again into my ear. Oh, I hear her whispers now.

Steve

Final Draft, Version 5.0.4.

Randy,

So is Final Draft 6 worth the upgrade?

Steve

Jo,

So why write as futuristic sci-fi? Make it contemporary and dramatic. Will probably expand the marketability for the script to keep it "normal". Less production costs, etc.

Steve

I do it several ways. First, I catch what I can by reading from the screen, check for spelling errors, make sure the first time a character is introduced his/her NAME is all caps, etc.

Second, I print it out, wait several hours or days, if I can, and read it in a different environment, different room, different location, so I can get away fromt he computer room area.

Lastly, I use Final Draft voice synthesizer to listen to the script.

Steve

Joan,

To use the Voice Synthesizer:

a. Go to www.Finaldraft.com b. Go to the Upgrades and Downloads area c. Select your version of Final Draft (e.g., Final Draft Version 5) d. Download text-to-speech installer e. Run the text-to-speech installer program. f. When you have opened your script under Final Draft, select TOOLS, then Speech Control. A Control Box will pop up and the text is read aloud. g. You can assign voices (man, woman, boy, girl) to characters using the Assign Voices option.

Steve

Brandon,

What you state about 40 - 50 hours is wrong as well as the punctuation, etc.

The Text-to-Speech tool on Final Draft does not read the punctuation (e.g., it does not end a sentence by saying "PERIOD"). It does speak every word on the page regardless if it is a slugline, action or dialogue. Nor does it do anything with page breaks.

There is a saying in Engineering that "One good test is worth a 1000 expert opinions", so I timed the first page of my script and it took 49 seconds. Therefore, a typical 100 page script should take about 5000 seconds or about 1 - 2 hours. This is close to the one minute of film time per script page norm used in the industry.

Just like the TV Ad bunny, it just keeps on going and going. The listener can halt it anytime, skip to a new section, etc. It is not as good as actors doing a live reading but I am impressed with the technology.

Steve

Bill,

I primarily use visual queqes (reading) to proof a script but having alternatives is sometimes useful. I find reading my own stuff is very painful so if I can "get on" with the sound technology, it improves my mood and I can listen to my garbage of a script and perhaps salvage something out of it.

Brandon,

Have you seen A Beautiful Mind? I think you might relate to the protagonist.

Steve

Barbara,

No cash. Finalists do receive a framed award, approximately 17 inches high by 12 inches wide. I have four hanging on my wall and they look great. But, as you observed, it is an expensive contest. For return on investment, I would suggest the Nichol fellowship coming up the end of this month.

Steve

I totally agree with Miriam. A live reading, especially by professional actors, is the ultimate. But that should be done after the script is reasonably polished. Get the script scribed down and polished anyway that works for you.

Grover,

Perhaps I lack some basic talent in the area of writing? Regarding "some pure and clean minds contributing...", I dare you to walk where my mind is. We may try to walk in the light, but we all think in the darkness of life. It is our common nature, that which makes us human, simultaneously so creative and good, yet so dark and evil.

Steve

Normally, if you want someone to contact you, you might consider providing an address.

ystein,

No one says that you are a fool. It is highly honorable and commendable that you are even trying to make a no-budget film, epecially an animation.

Can you give us some idea of the type (genre) of script you are looking for? You've told us the length of less than 30 pages (one page approximately equals one minute of film time).

What country are you from and can you give us some background on what you've done and who else may be involved?

Steve

ystein,

Yes, in a perfect world, money would not be of major (if any) importance. Writers seek to advance their careers through improving their crafts, seeing their script actually made and watching it on the screen, theatrical or video. The risk the unpaid writer faces is that the receiver of that script has additional obstacles to overcome. Production is not free and distribution is even tougher.

I am working on such a movie now where I and the others involved are donating their time for the love of the craft. But it is a slow process since we all have "regular" jobs that keep us busy. The likelihood that it will complete is not certain.

The premise that a movie will be "good" when it is written by an unproven writer, directed by a non-professional and produced with no funding is optimistic at best. Even great art films need some budget. I think what you are asking for is a defer compensation agreement where no monies are exchanged upfront and profits, if the film ever gets made and if any result, are split up between the contributors.

Steve

New writers should generally avoid flashbacks and/or dream sequences. Thye are too easy to use as a tool to release exposition - background information not really needed.

The way I would format a flashback sequence of scenes would be:

INT. BEDROOM - TWELVE YEARS AGO

...

INT. BEDROOM - PRESENT DAY

...

I have seen it effectively used at the end of the story - like in The Sixth Sense where the main character finds out he actually died a year earlier. Generally time should flow from the past to the future sequentially in a script. Flashbacks may be used for dramatic effect but usually there are better ways to release the information.

Steve

Terri,

My Final Draft program automatically appends (CONT'D) to the charater name if it follows dialogue from the same character.

MARK Blah, blah?

Pointing to the now empty medicine tray.

MARK (CONT’D) Blah.

Steve

Randy,

I have been polishing the Christian screenplay I previously mentioned in another post. I am also working on a Middle Earth fantasy script - about 60% written.

Steve

Here is what Robert McKee's Story says: (ref pages 341- 343)

"The flashback is simply another form of exposition. Like all else, it's done either well or ill."

"A flashback can work wonders if we follow the fine priciples of conventional exposition"

"First, dramatize flashbacks."

"Second, do not bring in a flashback until you have created in the audience the need and desire to know."

"The Dream Sequence is exposition in a ball gown."

Flashbacks can be used but they are tricky. Use them if you follow the rules and they ENHANCE the story.

Here is an except from an email I received from Done Deal, although it might as well be written for Moviebytes.

EMAIL FROM DONE DEAL

As a reminder, the message board is not here for you to show how moody, snippy, sarcastic, crappy, mean, or unhelpful you can be.

We’re not concerned with what other boards do or how they are run. This message board is part of the Done Deal website and thus we look to maintain as high of a quality useful information as we can provide.

It is publicly accessible but it is still very privately owned – be sure to read our guidelines if you have not yet.

We’re very aware that we are dealing with a lot of different personalities and opinions each day. That’s great. But that doesn’t mean you shouldn’t be civil and act professionally we dealing with each other.

Have fun. Tell some jokes. Tease each other. But the ongoing bickering between some of you isn’t necessary or making the boards run smoothly. It needs to stop. If you are having issues then contact one of the moderators or myself. We’ll be more than happy to assist you with any questions or issues.

BACK TO SCENE

A suggestion we might all live with.

Steve

Brandon,

I always use my real name on all BBs. Just my way of doing things. It's snkarels.

Steve

She responded to an email pitch and asked I call her which I did. Listened to me do a more detailed pitch, then said she wasn't interested and didn't think she could place the script. Was very nice and professional with me.

Everybody has a past. I won't be throwing a stone at this lady.

Either:

a. write the treatment that your never did and should have

OR

b. write the ending or some other part

OR

c. write some other script and get back to this one at a later date.

BOTTOMLINE. Keep writing. Eventually you'll burn out your block (and brains) like the rest of us.

Ashley,

It does sound like your world is falling apart. So why not push it a little more? Try giving up on the cancer sticks.

The daily cost will help mitigate the repair expenses for your sewer system repairs, the withdrawls will keep you awake all night so the neighbor yelling at 4 a.m. won't wake you, and the additional stress might toss you into a slight psychotic mood swing so you'll see everything from a very humorous point-of-view.

Can't do anything about the children issue. Alas, I'm Married With Children and like the late, defunct TV show, life has already beaten me down into a whimper of the person I use to be. If you don't believe me, just ask my wife. Ah, Yes Dear, I'll be off the computer real soon. Sorry, I'm back.

As a Techie type, I can tell you that we Techies always ask questions even when the answers are written and obvious. It is our feeble attempt to interact with the rest of non-techie humanity at least on some level. Our pitiful gester to reach out and touch someone. But we really prefer our computers to people.

Doing your movie thing can be quite stressful and I know that you will look back on this currently horrible experience and years from now come to the realization: That Steve is a complete idiot.

Shalom.

Rabbi Steve

I submitted this year. I've moved beyond the sci-fi genre, still enjoy the genre, and did a dramatic piece. Best to you all.

Matthew,

You don't hold the record. A screenwriter in New England has been writing the same script for 15 years.

My suggestion: Start your next one. Put aside the first one and then revisit it at a leter date.

One question. How did the prodcos know it was your first screenplay? Never, ever tell a prodco this is your first, second screenplay. An automatic dump into the circular file.

The lack of response on your inquiries could be because of the story or the logline or the inquiry letter. Look to Lisa's services at Venice Arts as a starting point. It has been previously posted.

I am still in love with my first script but recognize its deficencies compared to my later scripts. And I am still learning the craft. Keep writing.

Steve

So how do you distinguish a "good" script from a "bad" script. Sure, structure, character development, etc but the whole judging process is subjective. A randomly selected reader either likes or hates the script placed before him/her.

The only way I know is to submit the identical script to multiple contests and see if it floats or sinks. We enter the script into an ensemble of contests and see if the average outcome is favorable or not.

The process of selecting two winners from a specific contest and then subjectively determining if these scripts are "good" and then generalizing the results to the entire contest or to all contests is also invalid.

As much as we all would like the world to be a place where "good" is always "good", well, we just don't live in such a noise-free place, so deal with it.

Manfred,

Afraid not. For an ensemble test to be properly administered, the receiving units must be statistically uncorrelated, preferably independent.

Steve

Regarding "the best method for me has always been to 'casually' run into the right person at the right place", watch out. CA has tough Stalker laws. Be polite and non-threatening.

Mike,

Depends upon where you are in your screenwriting career. If a beginner, try Dave Trottier's online course. I've also heard good things about UCLA's online screenwriting but it is expensive.

Steve

D.G.

Any good writer, as you know, needs to research the material until he/she becomes a sufficient expert in the subject so as to write with authority. In your case, I'd recommend you try Jesus as your personal savior for, say, 30 days or so. That should be enough time for you to experience the subject to coherently write a screenplay. I assume from your previous postings that you have enough knowledge and experience to write the Bigfoot part. If you need any help in the acceptance part, please contact me off line, where such matters should be truly handled.

In His Name,

Steve

P.S.

If Christ came back as Bigfoot, I'd expect the underlying personality to come through. D.G., if you feel this response inappropriate for public posting, I'd suggest you think twice before opening the subject. As an ex-New Ager, I know "The Call Compels the Answer".

SNK

D.G.,

There is book I recommend to you. Seriously. It's A View from the Medicine Lodge by Jim GREAT ELK Waters. A Native American Shaman and Chief. Just released and available from Amazon. Has some great myths, stories and personal insights. No, it's not a Christian book in disguise. But I think you might enjoy it. Peace brother.

Steve

D.G.,

I love your postings. It reminds me of myself in my younger years. It was great to be young and dumb. Each of us has a spiritual journey, a path to follow. I look forward to observing you on your path to enlightenment. As for me, I have found my inner realization in the one whom you merely regard as a teacher. All I ask is that you respect and tolerate my state of beliefs as I do yours. Maybe we can all get back to what this bulletin board was meant for - screenwriting. Keep walking the path and don't take any wrong turns. Shalom.

Lynn,

Only 5 rewrites??? It may not be as ready as you think. Perhaps, it really is. Suggestions:

Pick up The Screenwriter's Bible - excellent section on marketing your script.

Winning contests is a big help. Winning (or not) gives you an idea if the script is really ready.

Venice Arts - helped me with the pitch, synopsis and logline.

Toughen your emotional skin - get ready for rejection. It's a'comin.

D.G.,

If you were truly millions of years old, then you should have known better. Would you have been as eager to suggest a certain Islamic prophet as Bigfoot or Buddha or Vishnu? A truly evolved soul knows when to tread lightly, to walk on the rice paper without ever making a noise or leaving a footprint or a tear. Perhaps you are not as evolved as you believe you are. Stick to screenwriting, my friend. We both will be the better for it.

SNK

D.G.

Even if reincarnation was true and the norm, I don't think it's possible for Buddha to have degraded so quickly. Keep on writing buddy.

SNK

Since this posting has turned into a rather open forum, here's a couple of questions.

Is it a true statement within the Islam religion that if the dead body of a devout Muslim is consumed by a pig, the person (soul) cannot go to Heaven? I've heard that but don't know if it is true.

Next logical question: If Israel were to feed the body of a "suicide/homicide" bomber to pigs and make it known, would that discourage people from becoming human bombs? Might be an interesting story/script although it is not the type of script I would choose to do.

Mitchell,

A common misunderstanding. Jesus Christ is a latinized version of his given name (a derivative of Joshua) and the Christed or Anointed One as His title as stated by the Early Christian Church. He was really "Son of David" with his human heritage traced through his mother. As one rabbi told me, "You always know who was your mother."

One can become Jewish. Liz Taylor converted and several other Hollywood personalities I have heard of also have. Jews, in general, have not sought to convert others. Christian have the Great Commission and that is part of the reason why we rub some people the wrong way. Sorry about that but you gotta do what you gotta do.

Regarding your e-manuscript, I'm sure it's wonderful but that is an area in which I don't look for humor. I'm not putting you or your work down. It's just not for me.

Steve

This is a test. I've tried twice to post and I keep getting logged off the BB. Is this censorship?

Steve

Bryan,

Hey, D.G. started it. Seriously, I agree it is time to pull the plug on the other post and get back to something we can really fight about - screenwriting.

Steve

One last word. Oh NO, not the dreaded last word. If you really feel compelled to continue any of the postings, it's okay to email me. See my profile for the address. But don't be too nasty or I won't reply.

Craig,

Perhaps separation from God is far worse than what our mortal minds can answer? Christians do not have a responsibility to convince you of anything. That responsibility is yours and yours alone as to what you believe. As my beliefs are my responsibility. Peace to you, my Brother.

Steve

Craig, The initial question posted on a "good writer" can be boiled down to "if I don't write all the time, am I a good writer." Some people can write all the time because it is their nature, the have the opportunity financially and/or because of other circumstances. But I would submit that writing all the time is not a necessary condition to being a good writer. I use the counterexample of writer's block. It happens to the good and bad writers alike and has been discussed here before.

That said, the more we as writers write, generally the more our writing improves. The faster a "non-good" writer will approach becoming "good".

I wish I had the discipline to write everyday for say 2 - 4 hours. But, my busy life gets in the way and sometimes I may be waiting for my sweet muse to whisper inspirations in my ear.

I don't believe commercial success or winning a competition is necessary to make a "good" writer. It just affirms it. Write if it pleases you. If some writers write just to output commercially viable junk, than I pity them. What a waste of a talent and their limited time.

Steve

I've got multiple versions of the same script in different contests (only one script in each contest). Fix the problems as you find them. Submit when the deadlines arrive. Hope the readers are understanding.

I also have problems reading my own material. I've found speaking the parts helps but is no cure all.

Mitchell,

In actuality, Jesus never said, as far as scripture is concerned, the number 666. It is mentioned four times in the old and new testament. The reference here links to Revelation 13:18 and refers to the Mark of the Beast.

Steve

Craig,

The other three passages are Old Testament:

1 Kings 10:14 2 Chronicles 9:43 Ezra 2:13

The first two talk about the amount of gold received and the third about the number of people in a certain family.

Steve

Mitchell,

I have read and contemplated your statements and find them unconvincing. Let us both agree that there is more to the subject then we combined or apart can fully comprehend and depart friends and brothers.

Steve

It depends. How tough is your skin? If you think you are the "next great screenwriter" and your screenplay is perfect, then enter the "majors".

I would first enter those competitions that give feedback - judge's score's or evaluations. ScriptWorld or Texas Film Institute are examples.

It also depends on what your objectives are. Is it to become a professional feature length screenplay writer or a television series writer. Do you want to go the independent route and produce your own movie? Perhaps write a short and have someone else produce it? Maybe just write because you enjoy writing. Many times in life the "best" options depends upon what you are looking for - there is no absolute answer.

Submission to a contest that only gives a winner or finalists can be frustrating, if you don't win. You know only two things - you didn't win and your checkbook is a little smaller. But there is always hope, hope eternal. If you got the bucks to spare, submit the script to Nicholl. Maybe you'll be one of the few winners (chances 5 out of 6,000?).

Ashley,

You speak of escotology - the study of the end times. There are three different theories called Pre-Tribulation, Mid-Tribulation and Post-Tribulation, differing by when the Church is extracted.

Most Christians like the idea of Pre-Trib, we get janked out just before the beginning of the seven year period (the time of Tribulation) as the Anti-Christ begins his rise to power. I believe in the Post-Trib version, figuring that God will give us the full ride before pulling us out. The "Mark of the Beast" film series does a good job of explaining the theory, although it is a little dated (1970's) in terms of style.

As for demons and angels, I've seen people in the process of having demons cast out. The Roman Catholic Church calls it Exorcism. We Protestants just call it "casting out". I've never seen a demon with my own eyes. I've never seen air, except in the L.A. area and I actually only saw the smog. But I have seen the change in the person from before to afterward. So I know something happened.

By the way, If you are a non-believer and you happen into a church performing such an activity, my suggestion is to leave rapidly. That which comes out must go somewhere. Born Again Christians are protected. Others are not.

I hope you've found this information helpful and is provided without condemnation or judgement. If you're reading this and your head spins around, you begin speaking in a gutural voice or start flying across the room, don't call me. That is only the Beast of Hollywood calling you.

Steve

P.S.

I share in your dislike of organized religion. That is why I have a Personal Relationship. Try it. You'll like it. (LOL)

SNK

It seems you have some pretty good contacts already in the film industry. If what you are looking for is a critique or a validation that your current script is "ready to go" to a producer, I would avoid the contest circuit. You never know whether you got a "good" or "bad" reader. I've had the same script floop at one contest and get an award at another.

Perhaps some professional services might be better suited for you. Contact me off-line if you want some recommendations on Script Consultants.

D.G.,

As much as you rant and rave and state your OPINION with such great vehemence, I feel no anger toward you, only pity. I wish you could have the calm and peace that others have in their lives and beliefs.

When you want to get serious, drop me an email. Let's take it off-line.

Steve

"run the gamut, not gauntlet"

Interesting.

gamut means "the complete range or extent"

gauntlet means "Two lines of men facing each other and armed with sticks or other weapons with which they beat a person forced to run between them"

I wonder which is the best description for this posting?

Well, we finally hit 100. Perhaps it is now time to put this post to rest.

Craig - thanks for the spelling correction. I didn't have a dictionary near me at the time and I see you know the subject. I did like your posting. It was coherent, stating your opinion as an opinion and your experiences.

Christians have the Great Commission - to Share the Good News. Because of that it is difficult for us to remain politely quiet when we perceive our belief structures attacked or criticised. Perhaps some of us may have been harsh in our response although most will agree harshness was on both sides.

Mitch - let me give an example of how this posting pangs us. You have attributed to yourself as being a Jew. Suppose a neo-nazi revisionist posted here claiming the Murder of 6 million Jews never occurred and Hitler's removal of the Jews from Europe was justified? Would that not incite you to a response? Could you politely remain quiet? I assume not.

I use to be in New Age and one of the things I learned then was a simple idea. We all have a figurative button labeled "Set Me Off" in the palm of our hand. Others can push that button and watch us react. Or we can simply close our hand and deny access. So when we are "set off", who is to blame? Perhaps the one pushing the button or is it we who didn't close our hand. I try to keep my hand closed but it is so difficult.

Take for a fact if you are a non-believer (non Christian) and you interact with a Born Again Christian, eventually he/she will approach you about our belief structure. Sorry, it is in our New Nature. When that happens, close your hand over your "button" and be nice. It's okay that you believe what you believe. The Truth is the Truth and we shall all discover that eventually.

Craig - I too have taken an indepth study of religion and Theology. At least for the last 25 years as I transitioned through who knows what to New Ager to Born Again. I have come through the process, although the process still continues, with a different conclusion than yours. That is fine. This is not a hard science where only one answer is valid.

Peace and Love to All.

D.G.,

I congradulate you on a truly coherent posting. Well done. Keep up the good work.

Steve

Try,

http://www.nyscreenwriter.com

D.G.,

I knew it was TOO GOOD to last forever. You've reverted to your sweet, adorable old-self.

Steve

Ashley,

I am glad the posting battle is over. Too much negative energy at and by others was exchanged. I too agree that reality is often much simpler than what we humans make it in attempting to describe it, understand it.

My favorite saying is "God doesn't have a theology. God knows who He is." (I used He in a non-gender sense. Please don't jump on my case!)

Steve

Hey Mitch,

Are you old enough to remember the butter commercial - "It's not nice to fool mother nature."?

Steve

Mitchell,

You and I have different opinions. Basically, I'm too tired to keep on posting and fighting and I've got work to do on another screenplay. So, as much as I'd like to come out and play somemore, my wicked Muses are dragging me to the keyboard to pound out their gentle whisperings.

Steve

Mitchell,

He said to me, "Have you seen this, son of man? Is it a trivial matter for the house of Judah to do the detestable things they are doing here? Must they also fill the land with violence and continually provoke me to anger?

Ezekiel 8:17

Do not provoke me for I have pages of script to write and so little time. Let this be the last of the quote wars.

Steve

Just to set the record straight.

1. Yes, Christians did do the crusades. Historical estimates are that in all the religious wars, about 5 million people died. Compare that to the losses in the 20th Century alone due to two non-Christians, Hitler and Stalin, who were responsible for 50 million dead in WWII and the Soviet purges.

2. Yes, many Jews died in the Holocaust. Credible estimates range between 1.5 and 8 million (discounting those that say it never happened). Christian losses are estimated between 0.5 and 1.5 million.

3. Yes, Christianity did off-shoot from Judaism. The three major Abrahamic religions are Judaism, Christianity and Islam. We all trace our roots back to the same Old Testament. So I guess it's true. I work for a Jewish Carpenter. Shalom.

D.G.,

Man I wish the best for you but I've found the Kingdom of God. Hey Dude, guess what? It's not a place or somewhere else. It's a relationship. While I walk in this world with all of its resident evil, I exist in a heavenly state and for that I am eternally grateful to the One. You figure out Who that is and you're in. Keep on seeking. One day you'll get it. Truly I tell you, the Kingdom is all around me, everywhere I go. And it's not exclusively mine. So share the experience.

Steve

Definitions:

Conservative: A Liberal who has been mugged.

Liberal: A Conservative who has been arrested.

We all have beliefs and core values, some more than others.

Canada: They have many, many problems, just like the U.S. Gun-control does remove some civil problems but at the expense of some personal freedom. Overall, I prefer the U.S. MY OPINION.

Definitions:

Conservative: A Liberal who has been mugged.

Liberal: A Conservative who has been arrested.

We all have beliefs and core values, some more than others.

Canada: They have many, many problems, just like the U.S. Gun-control does remove some civil problems but at the expense of some personal freedom. Overall, I prefer the U.S. MY OPINION.

What does "Standard PBS lengths are 26:40 and 56:40" mean? I assume this translates to either a 30 minute or 1 hour broadcast time. Does this also mean a script length of either 30 or 60 pages?

Thanks, Steve

Final Draft version 6.0 allows you to save in Adobe. I've tried it and verified that the *.pdf file can be read by Adobe Reader.

Mitchell,

To say that Christ had nothing new to say is total arrogance. Gaining material wealth or world peace is not what Jesus brought to the world. The peace and happiness He provides is internal within His followers. Even if what awaits us all is nothingness, an ending I do not believe will occur, those internal transformations make Christianity worth all the work and hardships this world and others place on us. I would invite you to experience this vision on the mountaintop but your earlier postings show a fear of soaring. May you glide in peace at your current altitude. As for me and mine, we shall soar like the eagles.

Steve

Craig,

As much as you say you cannot change one thing. I know who I was before Christ and I now who I am now. The old me was only a shadow of the person I have become and the now me is, I expect, only a shadow of whom I will become. I have seen this change in not only myself but in those close to me who have accepted Christ. This is my experience. Brilliant words, or less brilliant ones cannot take this experience from me. I know what I know. The questions is are you that cynic or are you still searching for the truth? I hope the later. The search is part of the healing process we each need to endure. The cynic? To have given up in self-indulgent, head in the sand thinking, I hope not.

Steve

So how does one go about writing a documentary script? I know about fictional scripts. This sounds dumb but I've never written one although I've seen documentaries on History Channel, etc. Do you just spell out specific individuals either speaking a role (dialogue) or referencing a particular film segment (e.g., historical footage)?

Suppose the after-life is nothingness. That Heaven and Hell are just so much "horse puckey". Still, the values and changes that Christianity has instilled within me makes the change worthwhile. And what if I get to Heaven and Jesus tells me that I must re-incarnate. Then through His love, I will be able to gladly accept it. As I said before - theology is not for God, He knows who He is. It's only for us poor humans searching around for a needle in the darkness. I truly don't absolutely know what is right and wrong, but I know what works for me.

Mitchell,

Most Christians, like "most" of us, are ill-informed. Therefore, it is not surprising that most Christians believe in the New Testament. Most Christians don't know their bible well at all.

I believe in both the Old and the New Testaments. I especially find complelling the Torah, the first five books of the Old Testament. From the Old Testament, I find a relationship with the Jews and an understanding of Israel and relavency in today's world.

I would like to see the authoritative sources of some of your claims on Jesus' father, Joseph. I didn't understand your association with Jesus not being "pure" and a claim that Joseph was the uncle to Mary? Even if true, does that somehow make him unpure? After all, Joseph was not the biological father to Jesus. Or, I assume, you would challenge that also. The burden of proof is upon you, as the one making the claims.

Steve

Mitch,

Talk about wild arguments. I shall attempt to address some of them.

a. I am sad that you believe that only Christians are truthful and all others are liars and fools. We are not perfect, just forgiven. We, like everyone else, have plenty of liars and fools in our ranks. Christianity is an inclusive group, both good and bad.

b. Relative to the nailing through the hands versus the wrist. Most bibical scholars, at least those I could find, contend that the nails, as you pointed out, went through the wrist. The reference to the "hands" is explained as: "the Latin word for hand, manus, also is used by such early writers as Virgil and Josephus to designate the part of the wrist which joins the hand." So early readers/listeners of/to the New Testament account would have clearly understood the context of the word "hands" to include the wrists.

I have never heard any story or teaching suggesting that blacks came from Caine. The New and Old Testament does not present this. Perhaps you have a better source?

Likewise, Simon substituting for JC (I assume JC is Jesus Christ and not Julius Caesar)? News to me. I think not. By the way, did you know of the Jewish tradition not to speak Almighty God's name? Interesting.

Believe what you like but don't confuse us with Conspiracy Theories and the like.

Steve

Okay, here is my UNDERSTANDING of the books of the Bible. The books within the Roman Catholic Bible and the Potestant Bibles are mostly common with some differences. Some books are in one and not the other.

How does a book make it into the "Bible"? Well, Theologians, God love them, meet and decide which books are valid and which are not. The Book of Revelation has, over history, been in, then out, then in. The collection of the books of the Bible is called the Canon. I understand that Baptists see the Canon as closed, that is, there can be no new books added as God's revelation to man ended at the time immediately after Christ period on Earth. I'm a Methdoist and our church doctrine believes the Canon to still be open - that there is the possibility for future Books to be added. Some of the writings of Dr. Martin Luther King where considered, I understand.

So what is the bottomline? This is not a hard science. People who spend their lifetimes studying theology attempt to use their best judgement on what is consistent, historically correct, etc concerning scripture. As one former minister of mine told me "Somehow, in someway, God's truth comes out of those words" After all, religion is a matter of faith.

Mitchell,

I believe you previously suggested that Joseph of Arimathea was the same as Joseph, the early father of Jesus. Joseph of Arimathea was a rich man, and on the Jewish Council, not a simple carpenter. The two are different people.

If we only believed what we can factually verify, think how we would worry about gravity failing and we'd all fall off the Earth. Or how could I enjoy a good fantasy movie?

Steve

Mitchell,

Here is the context.

Matthew 27:57 As evening approached, there came a rich man from Arimathea, named Joseph, who had himself become a disciple of Jesus.

Mark 15:43 Joseph of Arimathea, a prominent member of the Council, who was himself waiting for the kingdom of God, went boldly to Pilate and asked for Jesus' body.

John 19:38 Later, Joseph of Arimathea asked Pilate for the body of Jesus. Now Joseph was a disciple of Jesus, but secretly because he feared the Jews. With Pilate's permission, he came and took the body away.

As you can see he was a disciple of Jesus, a rich man and a member of the Council. Hardly a poor carpenter. He may also have been a descendant of King David. King David had a lot of fun when he was king and many children.

The one acknowledged as taking care of Jesus' mother is the Apostole John. And yes, Scripture does say "brothers and sisters" although this may also mean an extended family - cousins, etc. It is not a significant point to me and does not reflect on the belief in the Virgin Birth since any siblings would come later.

Steve

R Sparks,

Does your head rotate 360 degrees about your neck and do you puck green pea soup? Should we hold a "casting out" service for you? Maybe, like me, your life is just "going to the dogs".

I use to believe in reincarnation as the norm. Theologically, I do not currently believe it occurs, at least for Christians. On an exceptional basis or for non-Christians, I could see it as possible. Just my own beliefs. Everyone, don't get up in arms.

I have come to see reincarnation more as a curse instead of the "benefit" most New Agers, like I use to be, see it. It sorta falls in the "keep on doing it till you get it right" type of theology. I don't think Christians receive it because of the Bible verse "to be away from the body is to be with the Lord" and other Scripture versus.

Steve

Ashley,

In my little world of theology, there are no Christian souls, only those who become Christians. It is an interesting area of debate. If you look at Calvinism, pre-destination determines what will happen to us. I once debated my minister on pre-destination and the whole TULIP concept. It was interesting and we remained civil during the exchange.

Of course Christ has a sense of humor - he created me. I'm out there at the five sigma point of the Bell curve. If I wasn't there, the whole Bell curve would deflate.

In terms of losing His humor, we humans do enough stupid things to make the Earth look like a Keystone Kops movie.

Anbody heard from TFI? The quarterfinalists were suppose to announced on 30 June.

Darrell,

If you want to sell your script and music, get paid and walk away, look for an agent or a manager.

It is tough enough selling a script but adding in music really restricts a producer.

But from the tone of your posting, it looks to me like you really want the movie made. My suggestion, find an independent director or producer and see if he/she wants to run with it. Try some film schools. See if it has "legs". Also, a sci-fi genre is tough to sell to most producers. Limited markets (everybody loves comedies, drama) and special effects?

Steve

I saw this on their site:

Heavy flooding in South Central Texas for the past three days has put the announcements of TFI2002 on hold this week. We have had over 15 inches of rain in two days with more on the way. We will begin to call the Quarter finalists today and also begin emailing as the weather permits access to our office in sporadic and short times periods. We apologize for the short delay but it is essential for our safety.

Steve

Steve,

I shall constantly pray for you. You need a lot of help.

Steve

Shelley,

Congrads.

Steve

Some are even beyond the healing power of prayer. Good Luck.

D.G.

Though I shudder at the analogy, Jesus is more of a manager than an agent. An agent seeks work for his/her client and collects 10% only if it sells. A manager seeks to develop the career of the one he/she is responsible for. Yes, Jesus is my heavenly manager and I only pay 10% (a tithe) rather than the normal 15%. And He is managing my career and my life. Do you want a good manager, D.G.? I can certainly recommend one to you.

Steve

It is Jesus Christ's nature to transform. Given the scenario that He comes back as a Hollywood agent, I am confident He would Transform Hollywood. But most of you, I suspect, might not like the transformation. Drama would not be characterized by how loud on character yells at the other. Sex would be within marriage between the married partners and to celebrate the glory of their union. Yes, I am sure that if He came back as an agent, the World would shake with HIs transformation of Hollywood.

I believe that He will come back "like a thief in the night", when no one expects it and in a twinkling of an eye the Christians will be gone, Left Behind. Then all that remain, the naysayers, can laugh and scoff His name to their hearts content for the seven years of Tribulation, enjoying their short, unfullfilled lives until the AntiChrist and his followers are destroyed in a huge battle. Sounds like the story for a screenplay but its already been done. No, D.G., you are not the AntiChrist.

Mitchell,

You of all should know that the word "rapture" never appears in Scripture.

There has been historical occurances where different battles were fought in the same place at different times. The previous conflict at a specific site does not preclude the possibility of a future battle at the same location.

Happy Birthday America to all.

I took David Trottier';s online course. The eventual resulting screenplay won an award so I was very happy with the course. The site is: http://www.keepwriting.com. It is a six-week online screenwriting class, beginning on July 23. For details, visit http://www.keepwriting.com and click on "Online School" in the left column. Register early since classes usually fill up fast!

Steve

I would use the following slugline:

EXT./INT. JOE BLOW'S DARKENED MASTER BEDROOM - NIGHT.

From the outside of the window. . .

I think the logic is that if the scene is really shot from the inside looking out then it is one scene and the additional transition is unneeded. When the script gets converted to production, the director may elect to shoot an External to capture the window breaking or he/she could shot it from the interior only. His/Her call. I would opt for minimizing the number of sluglines. Also, put additional info (e.g., the Master Bedroom is dark) into the slugline to tighten up the scene action.

You can use the names of people who mean something special to you, for good or bad. But the reader will not have that knowledge and you (the author) will tend to read the script differently then the audience will. I suggest choosing names that are distinct, no Smiths or Jones or Brown.

There is also a case here in NH where an employee wrote a fictional account about a disguntled employee who attacks the firm, shooting several co-workers. He eventually was fired. The firm cited employee safety as the reason. So know what your risks are before you write.

I use the following rules when "sharing" scripts.

a. Never post your script in full on an open website. My manager insisted on this.

b. It is obviously okay to send your script to a Script Consultant even if that person is a writer. You have a record of the effort and, in effect, a contract.

c. Keep records of when and to whom you sent the script. This includes prodcos and other writers.

Trust that no one out there intends to steal your idea or your script. You'll sleep better at night. But as Reagan said to Gorby - trust but verify.

Most "stealing" I have heard of is where the producer sees a script and several years later, re-invents it, however, unintentional, as his/her own idea. Rarely have I heard of out-right giving a script to another writer and telling them to use it. As said above, it's cheaper to buy the rights.

My toughest is "there, their and they're".

"While you're here, you gotta crawl in the dirt and eke out a living and work for the man."

And perhaps, every once in a while, momentarily look upward, see the beauty of creation, the gift of life and write something moving and profound.

I wrote a spec script with three songs in it. Got permission from the publishers to use their lyrics at no cost (for the spec script) provided I included the "used with permission" and the trademarks.

I agree with the advise to be cautious when including music in your script but the only rule that is consistent is this business is that there is always an exception.

St. Germaine & Associates - any relationship to Church Universal and Triumphant and Elizabeth Claire Prophet??

www.wbei.com is what I recall. But I tried to connect and couldn't.

"constantly dwelling on auto-euthanasia? Being writers/artists/thinkers, I'm sure you have all, at one time or another, caught youself contemplating suicide. "

So which is it? Constantly or occassionally?

If constantly, seek outside help. Screenwriting is tough enough with all the rejection. Don't do it when suicide is also a problem.

Occassionally? Perhaps, when I'm trying on a character's feelings in a story. But I keep the character and me separated. Part of being a control freak.

Actually the odds of being a finalist at Nicholl are approximately 1 in 1248, assuming one script entered, 6200 entries and five finalists and statistical independance. Chances for semi-finalist and quarter-finalist are, of course, much greater.

nerdwear

nerd accessories

Dear R,

Go wash your mouth out (and your typing fingers) with soap and repeat after me -- I will never say that word again.

Uncle Stevie

Ashley,

I agree with you to a certain point. Happiness should be self-determined, not expected based on a relationship with another (co-dependency) or on obtaining external awards or recognition by others.

But we humans are by our nature social animals, seeking to achieve happiness through relationships and through achievements. It is both part of our great nature and our curse. If we had no need to be in a relationship. our species would die. Self-worth, especially in our society, drives us to build and do great things. The down-side is the emotional costs when there are problems.

In AA and similar groups, one's reliance is placed on a "higher power", be that God or a table top or whatever as long as it is external to yourself. So, although it would be great if we were all self-sufficent emotionally, I doubt that it would a workable society.

Self-termination is no solution, it only transfers the pain from the individual to nearby others in the person's life. Many of us have found solice in "a higher power". It works for us. It may work for others in need.

Steve

Got my script death certification letter. Here's the stats: 6,044 entries. every script read once. 2,700 scripts read twice. 935 read a third time. 300 selected as quarter-finalists.

So of what use are the stats on how many time certain scripts were read if that information on the script I submitted is not referenced?

Maybe a notation could be added indicating number of times read or perhaps a score with cutoffs for the various reads and the selection level?

I've entered Nicholl for several years and have done nothing, nowhere, nada. So how do I figure out how to crack this egg? TFI gave scores and I was able to discard some scripts and pursue others.

I'm not challenging their judgement on my script. Readers bring their likes and dislikes. So what is the feedback from Nicholl?

On the positive side, at least Greg Beal personally signed the letter instead of a machine. That was nice.

Dear Greg,

Suppose your contest did give out the number of times a non-quarterfinalist's script was read. What can be logically infered?

Given this year's stats of about 6,000 entries, 300 quarterfinalists and 600 of the non-quarterfianlists receiving notes of encouragement, this analysis applies to the remaining 5,100 who received the plain "death of your script" notice.

If the script was read only once, then it is obvious the particular reader did not rate the script high enough to be considered for a second read.

If the script was read only twice, then the first reader must have either given it a good score or a marginal score and the second reader gave it a sufficiently low score to end its read cycle.

If the script was read three times, it most certainly was scored marginal or less by a couple of readers since it made it to three readers but was not one of the 300 to advance to the quarterfinalists or be one of the 600 to receive a post mortum statement of grace.

Adding the number of times a script was read does not add much additional work for the competition but provides a great deal of information for the writer. Currently, Nicholl is a great contest for the top 900 but provides little to the remaining 5,100.

Steve

D.G.,

As my old college prof use to tell me way back then.

"Fools rush in where angels fear to tread."

Nicholl is a complete mystery to me. I submitted scripts that Script Consultants have given high praise (even after the check cleared the bank) and nothing. I know it is the luck of the draw on readers and by asking Greg some hard questions I potentially may be shooting myself in my screenwriting foot.

I figure the chances of me finishing even as one of the 600 with the little note on the bottom of their rejection letter has gone negative. That gives one a certain freedom to expound -- when you having noting to lose, what's the cost?

Steve

I would approach this as a deferred compensation option. That is, secure the rights for a certain time, say for 5 years, for a nominal value, say $1.00. If you write the script and it is sold, they family would get say 10% of what you get. Of course, seek the advise of an attorney.

Greg,

I agree that it would not be an accurate metric. However, compared to the present situation, that of receiving no information at all, I think it would be an improvement.

Perhaps stating it a different way. Would the inclusion of the number of readers cause more damage than not including them?

Please take this as a suggestion for consideration. Think on it and then you decide what Nicholl should do. My 2 cents worth.

My journey with Mitchell Bailey was a short one. Exclusively the interchange on this BB. While we had different opinions on a common subject, I respected his articulation and intelligence.

I have a difficult time dealing with death. Perhaps from my personal combat experiences in Vietnam or the suicide death of my brother in-law so many years ago and the problems still seen today in our extended family.

I have been raised with the values of Duty, Honor and Country and although I can understand and admire the self-sacrifice of one dying for a friend or one's country, I cannot condone nor reconcil the extinguishment of one's own life for less than those nobel causes.

I can imaging being faced with a slow death by a certainly terminal disease that suicide might be an avenue. Or if being tortured by an enemy soldier. Or even if taken as a hostage by terrorists to kill oneself as well as a few of them might still have some meaning.

Likewise, a person in the throws of a mental illness can be "pardoned" for suicide as he/she is not responsible. But Mitchell was none of these conditions. His departure leaves me troubled and uneasy. I certainly hope he does not eternally regret his choices in life. Thank goodness I am not the one to judge others. I have enough of a job judging myself.

I prefer the late-entry approach. So the edge has been taken off the readers and they are not as quick to dump a script. Assuming that the script I submit is better than most (a debatible assumption), it should stand out from the great unwashed deluge of trash being read by the judges and rise to the top of the current scripts being read. As Ashley pointed out, the assumptions do not apply to second and third reads.

The range I have heard for "low" budget productions is under $1Million and usually half that or less.

There are also "no budget" movies where production costs are (much) less than $100K

My brother-in-law is a former marine. Does that count?

Let's see

"it's nothing short of admitting you know not of the misinterpretations of your own heart's desire."

Of your own heart's desire probably refers to what Bill wants.

Interpretations of your own heart's desire must refer to what Bill thinks that his heart really wants.

Misinterpretation of your own heart must refer to incorrect realizations by Bill of what his own heart truly wants.

Now cames the hard part.

"You know not .. Misinterpretation ..."

Bill doesn't know what he is misinterpreting of his own heart's desire.

It's nothing short of admitting ...

Bill has achieved admitting that he knows not that he ...

Darn. This logic problem is just too hard for a dumb s__t like me. Help me D.G.! I just don't understand.

So what file format do they accept? I would try RTF.

Open you Word document under MSWord. Then do a "SaveAs" and select RTF as the type of file.

Marcel,

If you have (or get) Final Draft, you can save files as pdf or rtf or a number of different file formats. Plus you get all the advantages of Final Draft. What are you currently using?

Steve

I always liked

"Magnus Malus Lupus"

or

Big Bad Wolf

D.G.,

In this society, if I were to call up the auhorities and tell them I had cause to believe that you (D.G.) were insane and suicidal and they actually did lock you up, I suspect that I would have to sell a large number of scripts to pay for the legal bills and judgements brought against me.

Steve

Depends. Is this a medical documentary or a comedy?

Aren't we really talking about camera angles and the like. These are things the Director does and shouldn't be in the spec screenplay.

If needed for the story, a BIG IF, just say pig deficates on ___.

Like in a hot and steamy sex scene. THEY MAKE LOVE. No need for the writer to get into such details.

What drama! what emotion! Watch out Godfather, Chinatown and other great scripts. D.G. is coming on down the road.

Ashley,

You sent a love letter to a guy and it made him gay?

Steve

A True Story --

Way back when, I was in college and ROTC. I invited a co-ed, named Sylvia, to go with me to the Military Ball. Much to my surprise and delight, she accepted.

The next weekend my roommate rushed in to tell me that Sylvia had attempted suicide. My response was "Well, if she wanted out of the date that bad..."

She was fine and eventually overcame her self-image problems. We all have an effect on each other. Some effects are more positive than others.

Strange you should ask. After she got her life back together she didn't want to go out with me. Must be a coincidence.

By the way, I did make it to the Military Ball, well almost. A replacement date but on the way to the dance the engine blew on my Corvair, blowing oil spray all over the two dates (and their formals). They were in the back seat. They were not happy campers. My buddy and I, in the front seat, were spared the oil spray but somehow earned the ladies' wrath.

Craig, Craig,

Be nice. It's obvious she's new, filled with a vision and eager to take on the whole Hollywood scene.

Linda,

It is unlikely that you will find a good mentor that is available and affordable. I know one that I use to get help from (she's out of South Carolina) but she is pricey. Drop me an email off-line if you are interested.

Steve

Orlanda,

Don't forget to save your work and occassionally move it to another computer, media or elsewhere physically store the files outside of your current computer's place of abode. Don't want a fire to destroy all of yur creative work. There's also the possibility of a virus or hard drive failure wiping out your work. So hi ho, hi ho, it's off to back-up we go.

Steve

I noticed a Christian Screenwriting Competition recently posted on this site.

Dear ystein Rabbe,

When asking for help as a producer, I would expect that your group would have some professional assets (high quality video equipment, a place to shoot) and an assembled team of experienced crew to start this adventure. All I know is that you have a start of a concept for a story.

Have you, as the producer, attached an experienced director or DP (director of photography) and all the other people needed to put together a serious production? Or is it just a bunch of crazy guys and gals who want to be film makers and tell great stories on the Internet? Either way is fine, as long as you tell us which is the case.

If it's just a bunch of crazies .. there might actually be a screenwriter who would be willing to spend (waste) his/her time to eventually produce a movie that will most likely best be forgotten. But, what the hey, life is beautiful.

Steve

When people ask me what my sign is I tell them "Feces".

I sent in a script that's been dying at the competitions. They sent back a positive read with some suggestions. They also said they could rewrite it for $495.00. I took no further action.

I sense nothing of a rip off. I consider this posting an advertisement for his services. Wish them the best but not on my nickel.

I just entered a script and got email confirmation of its receipt. Announcement of winners on 15 Nov.

Nope. First time. Same script as entered Outfest but didn't place. Maybe better luck this time.

In any competition, where the evaluators must fill out a form so as to grade the competitive item into categories, the implicit result is "form over substance". While it is generally true that good scripts have good form, it is not always true.

If I get feedback from a contest showing the relative scoring, I try to see if what they say is true (judges do make mistakes) and if the comments can be incorporated into my script.

From Trottier's book, THE SCREENWRITER'S BIBLE, 3rd Edition, page 120-121:

(ACTION line) Silvester tears the letter open as the door SLAMS shut.

INSERT - THE LETTER

"Dearest Darling Silvester,

From Trottier's book, THE SCREENWRITER'S BIBLE, 3rd Edition, page 120-121:

(ACTION line) Silvester tears the letter open as the door SLAMS shut.

INSERT - THE LETTER

"Dearest Darling Silvester,

From Trottier's book, THE SCREENWRITER'S BIBLE, 3rd Edition, page 120-121:

(ACTION line) Silvester tears the letter open as the door SLAMS shut.

INSERT - THE LETTER

"Dearest Darling Silvester,

From Trottier's book, THE SCREENWRITER'S BIBLE, 3rd Edition, page 120-121:

(ACTION line) Silvester tears the letter open as the door SLAMS shut.

INSERT - THE LETTER

"Dearest Darling Silvester,

From Trottier's book, THE SCREENWRITER'S BIBLE, 3rd Edition, page 120-121:

(ACTION line) Silvester tears the letter open as the door SLAMS shut.

INSERT - THE LETTER

"Dearest Darling Silvester,

Sorry, I didn't get to finish.

"Dearest...

I am ... ....

Your ex-chick, Birdie"

BACK TO SCENE

I don't include the BACK TO SCENE if I am at the end of a scene. Steve

My script got KILLED (DOA, KIA) at Venice, see www.ScriptWorld.info.

Here's the scores on my script:

Your Average Scores: (based on 1 judge(s) so far) Originality: 1.0 out of 5 Plot Premise: 1.0 out of 5 Structure: 1.0 out of 5 Characters: 1.0 out of 5 Dialogue: 1.0 out of 5 Cinematic Potential: 1.0 out of 5 Writing Ability: 1.0 out of 5 Composite Score: 7.0 out of 35

Comments: (NONE)

On the SAME script sent to a professional review service, I got this:

CONCEPT: Original and Commercial. Due to subject matter, a vehicle for the smaller indie production companies or a major such as Miramax.

CHARACTERS: Real, multi-dimensional.

DIALOGUE: Needs to be edited, shortened wherever possible.

FORMATTING: Good with a few minor changes.

STRUCTURE: Good.

SCENES: Need tightening, should be shortened and must move story along, never getting bogged down with too much dialogue. Short scenes give the story momentum, something a reader looks for in a screenplay.

STAGE DIRECTIONS: As with dialogue, directions need to be shortened to give readers a fast and clear read without any excess wording. Large blocks of text are a no-no and turn off readers. NEVER include in the directions anything that can’t be SEEN by the audience. It’s meaningless.

Comments: Story has a good dramatic feel to it with many touching moments. Script could be shortened somewhat and the above mentioned dialogue editing should accomplish this, resulting in a marketable screenplay.

Go figure. Looks like I got "porked" by Script World's (Venice's) reader. Such is life. If I based my writing career on the first review, I quit forever.

Steve

I doubt the all the judges would read all the scripts. The only inference to multiple judges reading is the term "average" in the scoring section. I guess the average of one judge is one.

I posted my score to illustrate how you can get tanked by an individual judge and eliminated from a competition. But my ego is a little bruised that I got the lowest possible score. Maybe I should approach Script World for the "Worst screenplay" award.

J.C.

This was my Christian story about a gay man's conversion and subsequent rejection in the Church. It was the subject of some postings here a while back.

It seems that everyone hates the script so it may go on the back burner for awhile and I'll retreat to sci-fi/fantasy. No one gets offended when I write about elves or robots.

Steve

By the way, I did send an email to Venice/Script World and asked for the "worst screenplay" award. Haven't heard anything back yet.

I saw this in my evaluation:

NOTE: Scripts not advancing to semi-finals will receive only one reading.

So I guess most of us will receive one reading by a judge.

I submitted a nice and somewhat humorous email to Venice - suggesting I be given the "Worst Screenplay Award". Lisa and Craig read my script and changed the scores from 7 to 22 plus provided an indepth and coherent set of comments. Still not enough to make the cut. I do appreciate the effort and the feedback.

I guess sometimes things do work out for the better.

Obviously the intensity of the film school must focus a writer to his/her craft. I know UCLA has an online school.

Maybe another factor might be the connections that allow a new writer to have his/her script read at an intermediate level, bypassing the lower level reader or finding an opportunity to get read not available to the public. Not every film student gets a 6 figure sale. I suspect the stars line up just right for these chosen few.

I see there is a seminar by Robert McKee in LA the end of September. Anybody out there ever attended one? The online material states times are Friday - Sunday from 9:30 a.m. to 8:30 p.m. What's it like, if you've attended a seminar? I'm considering going but would like some feedback, positive or negative to help the decision process along.

Steve

Thanks to all,

Since I've got and read his book, I think I'll skip the seminar and cost.

Steve

I tried going to the TFI website, I recall as www.texasfilminstitute.com and got an access denied message. Anyone know another address?

Duncan,

First, welcome to the board. I'm not sure how you meant that a screenplay competition motivates a write to write. I think, for most of us, the story motivates, almost compels us to write. Contests have submission dates and dates force us to meet deadlines and deadlines make us wrap up what we have written into a coherent, or so, package to submit it. So I've never been motivated by a contest to write, only try to finish an ongoing work by a certain time.

Steve

Let mw first state that I don't own a gun. I am not a member of the NRA.

Banning all guns because some are used by people killing other people is the same as banning all cars since some people are killed or kill others using automobiles. Likewise, airplanes kill many people per year. Should all airplanes be banned or maybe just General Aviation since they are used only for "entertainment" purposes.

I support banning machineguns, rocket launchers, military waepons, etc. There must be limits in a civilized society.

Drivers are required to be licensed to legally drive a car. One does not need to be licensed to own a car. There is a difference between cars and guns. At least for Americans, we have a constitutional right to own firearms.

Ban all guns? What is next, ban all kitchen knives? What about forks and spoons and other potentially deadly objects? Pencils?

I too would be for the "gun fingerprinting" law if it works. But unlike human fingerprinting, the ballistic marking do change with repeated use and the barrels can be changed (humans don't cut off and replace their fingertips. And our fingerprints don't change, other than scarring, etc).

Ignoring these considerations, it should only apply to new gun manufacturing -- otherwise you would require gun owners to register their firearms and provide a sample bullet and casing. A pain and only the law abiding citizens would do it. So then what do you do -- if a gun is un-fingerprinted do you fine the owner and taker away the weapon? By the same logic, we should have mandatory fingerprinting of everyone and take their DNA samples so the police could more easily solve cases. This is a "slippery slope" regarding individual rights, which we Amercians hold so dear. Whatever steps we take must be carefully considered and thought out.

R Sparks,

A well thoughtout idea. My compliments. I would assume the only practical way of IDing a bullet would be to internally mount a subminiature tag or piece of material with a unique ID. Again, this would not help for existing ammunition stocks but within a few years, they will have been depleted or will be too old to be reliable. With micromachining and using an embedded marker, single bullets could be IDed.

Perhaps there is a story in this.

Randy,

Actually providing an ID for individual bullets is possible. One method would be to insert a piece of metal (say stainless steel) into the bullet as it is cast. The piece of metal would have a unique ID code of sufficient size and code redundancy to contain enough numbers to provide a unique ID. The bullet could then be scanned using a short wavelength X-ray or Gamma ray machine and the ID read without intrusively examining the round. This could be done on a mass basis although I suspect the bullet manufacturer would object because of cost and possible liability issues.

After the police recover the bullet from a crime scene or body, the same scanning operation would "read" the bullet. Code redundancy should help with even badly deformed bullets. Those that blow apart on impact might also leave the ID marker tag intact.

The self-casting of rounds would be possible for individual use (commercial companies would be required to comply) and the fact of a non-ID'd bullet was used would be exceptional and point to a person who has the casting equipment.

Politically, this has the same chance of passing as mandatory fingerprints for all citizens. A nice idea, but probably not achievable.

Steve

What if every human was fingerprinted and DNA sampled and kept on record with Federal authorities?

1. Would that stop crime or merely make the prosecution of it easier?

2. Would you really want to live in such a society, even though the vast majority of us (law abiding citizens) would not see a personal impact?

If all automobiles had an embedded ID on their bumpers such that it left an indelible signature on the victim/surroundings, would that eliminate hit and runs?

If all money transactions were eliminated and replaced with credit cards, debit cards, etc. and all transactions made known to the Federal government, would that make this country a safer place to live? And would you want to live under those circumstances?

Steve,

The point I was making is that a "safer" world could be obtained if we gave up all "rights" to do criminal activities. Place governors on cars so they can't go faster than the speed limit. Place video cameras to watch all of us so that any criminal behavior can be detected and quickly silenced. Shades of Orwell's 1984. Technology and the elimination of freedom to do wrong can remove much of mankind's ability to commit crimes but at what cost to personal freedom?

Gun control laws greatly differ between those in the U.S. and Canada but does criminal behavior correspondingly vary. From your posting, I guess not. I advocate no solution here. I am only trying to point out that each solution has a cost, an impact on our freedoms. We, as a society, must weigh what we are willing to give away.

I've upgraded to Final Draft 6.0 but I retained a copy of 5.0. 1. Make sure you have the free udpates from finaldraft.com.

2. Open you script and then the Documents/Title Page.

3. Edit the Title Page as you want. Then dismiss it using the X at the upper right.

4. When you save the script the Title Page changes should be also automatically saved.

5. When you print the script - don't forget to check the Print Title Page check box.

Good Luck,

Steve