Go to the Writers Guild Association website. Copyright it for $20.00 dollars. You should get a screenwriting software app. Everybody pretty much uses “Final Draft.” Having a Ipad helps. I think the app is free on there.
Im on page 46.
Any Screenwriters On The Board??
- Thread starter LeftyLuchini
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Go to the Writers Guild Association website. Copyright it for $20.00 dollars. You should get a screenwriting software app. Everybody pretty much uses “Final Draft.” Having a Ipad helps. I think the app is free on there.
Im on page 46.
Copyright your scripts at the US Copyright Office: http://www.copyright.gov
The best way to improve your writing is to watch movies, read screenplays, and write them. It's going to take a couple scripts under your belt before you really get the hang of it. Don't fall too in love with any particular script. Some newbie writers don't like to hear this. Yes, you might have a great idea, but lack the skill to execute it properly. That skill only comes with experience. Do the best you can and move on. Don't waste time trying to perfect what you believe is your Golden Ticket to success. It doesn't exist.
If you ask 50 people how they broke into Hollywood, you'll get 50 different answers. Try anything and everything (within reason):
You might get lucky with a screenwriting contest.
You might know someone who has a cousin/friend that works for a well-known actor, actress, or producer.
Research successful movies, in the last 5 years or so, on imdb.com that are in the same vein as your script. Contact every producer you can find on that movie and pitch your concept.
Contact directors you feel would be a good fit for your script.
Convince a manager or agent to read your work.
Even if you're lucky enough to get somewhere with these approaches, they'll often lead to dead ends. It's a difficult business to break into. You'll find yourself sending out hundreds of emails a month and maybe getting a handful of responses, at best. Half will be from their legal departments telling you they don't accept unsolicited material.
Keep in mind, there isn't a huge demand for original scripts these days. Sure, sales happen here and there but most don't turn writers into overnight millionaires. There is a market for low budget scripts though. And streaming has increased the demand for content.
I say this all to say, a lot of things need to happen that are out of your control. Focus on the things you can control: being objective about your work, writing as much as possible, making the next script better than the last. Once an opportunity presents itself, you'll be in a much better position to take advantage of it. The last thing you want is a bunch of regrets because you ruined a connect with a lackluster script or only having one script to showcase your writing.
So get those 3-4 scripts written then start strategizing.
FULL DISCLAIMER: I'm not typing this from my yacht, Cash Money Screenwriter, while two bad foreigns give me a back massage. We might have varying levels of experience but at the end of the day, most of us are in the wannabe writer dinghy.
There are a few cats in the business who post and lurk in this thread. I do know a bit about missed opportunities so I thought I'd share some stuff I learned the hard way.
But hey, if you're that confident about your ideas and ability, go shoot the thing yourself. It's not for everybody, and it certainly isn't easy, but it can be better than waiting around for your career to happen.
I am about to get one script copyrighted. But how do I contact directors that I feel would be a good fit for my script? Also getting in touch with manger or agent to read my work?
Imdbpro is a paid version of the imdb. It has contact info for a lot of directors, managers, actors, etc. They have a free trial period, maybe a week or two, after that the fee is something like 20 bucks a month.
The majority of these people will say they don't accept unsolicited material, if they respond at all. Don't take it personally. In general, make a list of contacts and keep track of your emails.
There are a few legit managers and agents who accept submissions. But it's an ever changing list. Read the trades like the Hollywood Reporter, Deadline, and Variety. Google every agent and manager involved with a project like yours. Research everyone before sending them a script or asking them to read your material.
I don’t think he understands how difficult it is to get in touch with directors without connections. Through a coworker I knew someone who was a screenwriter. The most I got out of that was being able to get him to read what I started on, which was years ago, and get his feedback. 70% of what I have now, is different from what he read then for a number of reasons. I still have his email somewhere, but from what I remember he makes his living as a screenwriter, maybe freelance writer also I think.
Someone else I know just recently told me they know one or two people in the business, but I don’t think they are invested in the type of movie I’m writing right now. I’ll have to ask. Like you said, contests and connections are the best way early on. Then once you make a name, you start to get projects lit that might not even be worth it; or at least ones that end up needing a lot of refinement.
I think it's a phase every aspiring writer goes through. We all think our first script is great, maybe not great, but better or just as good as the trash Hollywood churns out on the regular. All we need is somebody in the business to read it.
The Youtuber - A Short Film
I posted this to highlight a comment made on this video:
I rewind sometime while writing to make sure that if a scene explains what is or just happened, there is no need for the character to regurgitate it. I feel like it insults the intelligence of the viewer.
I posted this to highlight a comment made on this video:
I rewind sometime while writing to make sure that if a scene explains what is or just happened, there is no need for the character to regurgitate it. I feel like it insults the intelligence of the viewer.
Yea. This one I’m on is my rewrite. I’ve made a lot of changes.
I agree in some ways but in some cases there can be a need for it. Like if a key point of the plot may get lost in the humor or ornate language of the characters. Or if the details of the plot are intricate. I may be wrong, but I see no problem with rehashing (summarizing) it briefly for the audience.
I kind of think of Avengers Endgame. They explained their idea of time travel to go back and recover the infinity stones about two and a half times.
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True, there are exceptions to every rule. I'll watch Endgame again to see what you mean.
I was thinking of Ant Man who explained it first. Then they bring the idea to Hulk, then they take the idea to Stark who solves it. Then War Machine asks a question about why they couldn’t do something simpler, and Hulk (Banner) explains why.
That's different than what I mean.
My example would be: Something happens visually, then the character voices over what just happened. He isn't explaining it to another person who wasn't present. He is saying the same thing shown to the viewer.
Oh that, well that’s different. I’m not sure I’ve seen that in movies I’ve watched. Or at least I don’t remember.
You posted a video on how to outline your story. It was helpful to me. You didn't follow that?Final page count: 52 pages
Started off strong but got stuck for most of April. I couldn't settle on the best way to tell the story.
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Final page count: 52 pages
Started off strong but got stuck for most of April. I couldn't settle on the best way to tell the story.
hold on fam
I posted some writer's advice in separate threads...is it ok if I post them here?
Final page count: 52 pages
Started off strong but got stuck for most of April. I couldn't settle on the best way to tell the story.
Yea sometimes outlines help. I didn’t use one for the one I’m working on now. But I will for the next one.
Much appreciated!
I finished at 93 pages. I wanted to get to 95, but the minimum to enter the contests was 80 to 88 so I should be okay. They say professionals can bend the rules though. I also saw on this site, from a writer who has had his scripts produced said he’s written 92 page movies that got shortened to 84.
Writer's Circle: 10 Ridiculously Simple Steps for Writing a Book
https://goinswriter.com/tips-writing-book/ 10 Ridiculously Simple Steps for Writing a Book BY JEFF GOINS WRITING Writing is easy. All you have to do is cross out the wrong words. –Mark Twain The hard part of writing a book isn’t getting published. It’s the actual writing. In this article, I...
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Writer's Club: Resources for New TV Writers - Twitter
http://msinthebiz.com/2018/11/27/resources-for-new-tv-writers-twitter/ Continuing my ‘Resources for New TV Writers’ series, this month I’m focusing on Twitter. (If you missed the first part of this series, where I talked about Podcasts, go check it out!) I know, I know — a lot of people have...
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6 Secrets to Nailing Your Netflix Pitch - The Script Lab
thescriptlab.com
6 Secrets to Nailing Your Netflix Pitch
So you want to pitch your TV show to Netflix?! That’s great, but let’s be honest, it’s extremely challenging to get a pitch meeting at a cable, network or streaming platform like Netflix. So yes, I’m going to give you 6 secrets to nailing your Netflix pitch, I mean it’s the title of the article after all, but I need to warn you, you’re going to have to put in some serious work after reading this!
Learning how to pitch a TV show is an incredibly important skill, equally as important as writing. It’s vital to master both crafts if you want to have a successful screenwriting career.
Before we dive into the 6 secrets, we need to first make sure you’re ready for them. Here are steps I recommend you consider taking before you attempt to pitch Netflix (or any studio).
- Come up with a brilliant idea. This is obviously easier said than done. But your idea and why YOU are the one to write it are equally important. Just because your best friend likes your idea doesn’t mean it’s good, yet. Share it with anyone who will listen so you can find out what is and isn’t working and then revise accordingly. If people start telling you “I’d watch that TV show” or better yet, “that’s a brilliant idea,” then you’re probably in business.
- Master the craft of writing for TV. Malcolm Gladwell believes it takes 10,000 hours to master a craft. Read books on screenwriting. Take screenwriting classes. Read scripts. Write, write, write, and write some more. Luckily, there are more resources than ever to improve your writing. You can start reading scripts right here for free with The Script Lab’s Screenplay Library.
- Put together your pitch materials. That’s pitch materials plural. You should have a bulletproof elevator pitch, a treatment and/or show bible, and a pilot. You should also consider having a sizzle reel. If you don’t know what a sizzle reel is, think movie trailer.
- Do your research. Read the trades daily. I recommend Deadline, Variety, and The Hollywood Reporter. Figure out which companies are the best fit for your concepts. You should know their mandate and their audience. You wouldn’t pitch a rom-com to the Sci-Fi Network would you?
- Pitch, pitch, pitch, and pitch some more. The pitch an important part of your calling card. It shows your unique voice, your brand, and your sensibility. It also shows you can generate ideas, create characters, and tell a story. It’s vital that you master it, so practice every day.
- Try to find representation. If you can land a manager and/or agent, they can open a lot of doors and further guide you on how to pitch your TV Show. There’s no easy way to find representation, but here are a few strategies. Enter and win a screenwriting contest. Network and share your scripts with industry professionals. Get a job working at a studio, network, production company, management company, or agency.
I had the pleasure of working in the Motion Picture Talent Department at Creative Artists Agency. If you’ve never heard of CAA go back to step 4 and “do your research.” They are arguably one of the most influential agencies in the entertainment industry. They represent Emilia Clarke, Tom Hardy, Margot Robbie, Brad Pitt, Zendaya, Will Smith, James Cameron… shall I go on?
Although there’s no universal template for a cable, network or streaming platform pitch, these 6 secrets are a solid guide I learned while working on pitches with clients at CAA. When you combine all 6 elements, the pitch should be roughly 20 minutes from start to finish.
- Share your personal story and connection to the idea. The network or studio is more apt to buy your idea if they feel it’s coming from the perfect writer. They want to feel you are connected to the idea on an emotional level, so let them know why you and only you were born to tell this story. Show them how you’re the best person imaginable to write this story.
- Define your themes. Robert McKee defines theme as “the emotional lesson of the story.” In other words, theme is the stories larger message. It is here you should tell us what the show is really about. Some common themes are good vs evil, power corrupts, coming-of-age, revenge, death, etc.
- Pitch an anecdote that gets the exec to understand the potential of the series. This could be a teaser or a portion of the pilot that really exemplifies the style and tone of the show and the main character. I recommend watching the teaser/cold open of your favorite TV pilot for inspiration.
- Breakdown your characters. Pitch the main 4 characters and their respective relationships. I’d recommend focusing on the protagonist, antagonist, love interest, (yes, ever story has a love interest), and one other supporting character, perhaps a family member, mentor, friend, or co-worker. Each character should bring a strong point of view to the central themes.
- Describe the tone of the show. Discuss pacing, type of humor, look and feel, etc. I’d also recommend dropping in your TV show comps. Make sure your comps are successful shows that have run for multiple seasons. More seasons equals more money and more money equals happy executives.
- Explain the week-to-week. In other words, what is the format? Is the show episodic or serialized? If episodic give us examples of episodes. If serialized, give us examples of conflict and what stands in the way of the hero achieving his/her goals. Lastly, be prepared to answer, “what happens in the 5th Season?”
I think I'm going to try the Script Pipeline. I'll let you know how it goes as well. Good luck!
What's the budget range for the films?