They’ve been falling through. So far I’ve worked on deals in the $1-15M range.
Any Screenwriters On The Board??
- Thread starter LeftyLuchini
- Start date
I think I'm going to try the Script Pipeline. I'll let you know how it goes as well. Good luck!
Cool good.
Thanks
Thank you fam for taking the time. (and happy you feeling better)
I am very confident you will be pleased. VERY talented brother, strong work ethic and reliable.
Thank you playa for thinking of me.
I just touched up Tara and literally finished touching up two short films yesterday.
That’s a good range. Do you want to move up?
To what
Like even bigger budgets, hundreds of millions? Some people don’t like to compromise; because they think independent films are more innovative.
My personal equity group doesn’t have that kind of money.
Cool.
The script I wrote most recently is action based; big budget. Jordan Peele’s movie Get Out only cost about ten million to make. The return on his film paid off for him. I have an idea for a script more like his, but I’m more interested in big budget right now. A well done small budget film will more than likely earn more.
10 Most Common Reasons Why Scripts Are Rejected
Whenever a script is submitted to the industry, it is passed off to a reader for analysis. The reader will give the s
creativescreenwriting.com
10 Most Common Reasons Why Scripts Are Rejected
Whenever a script is submitted to the industry, it is passed off to a reader for analysis. The reader will give the script a “recommend,” a “consider” or a “pass.”
And unless it gets a recommend, probably no one else is going to look at it. So how many scripts get a recommend?
About two percent during a good year. Which means roughly ninety-eight percent of spec scripts are dead on arrival. Many of these scripts make the same mistakes.
Here’s my take on the ten most common mistakes reported by the studio and network readers:
1. The scenes are void of meaningful conflict
I have found that roughly five percent of writers naturally write in professional-level conflict, by which I mean the kind of conflict that hooks a reader and makes them want to keep reading. The other ninety-five percent write scripts that routinely get rejected after a scene or two. But nobody tells the screenwriters this. They know they’re failing, but often don’t know why.
The good news is that professional-level conflict is a learnable skill based on techniques that can be practiced and mastered.
If you don’t naturally write this way, as most screenwriters don’t, I can’t emphasize enough how important it is that you make the investment to train yourself in these skills.
Do whatever you can to learn how to write in professional-level compelling conflict. Because without that, you have no shot at making it. Without writing in compelling conflict, you are simply wasting your time.
2. The script has a by-the-numbers execution
Too many writers fall prey to the well-marketed classes and books that teach formulas, often labeled as “must follow” universal paradigms, structural building blocks, myth construction, genre guidelines, or such. It’s an easy trap to fall into, especially given how many formulaic movies are cranked out of the film studio system.
Given the incredibly competitive landscape for breaking into the film and television business, writing a paint-by-the-numbers screenplay is a surefire way to be ignored.
Adam Levine, a partner at the Verve agency, put it this way, “Challenge yourself to do something different. Because what I think really sticks out at the end of the day from the clutter is something that is obviously well-written, with great characters, but is also something that is innovative, that we haven’t quite seen before or that challenges us. And so the stuff that is formulaic and that has been done a million times is not going to stand out and it’s not going to make your career.”
3. The protagonist is a standard-issue hero (and other characters are stereotypes as well)
A by-the-numbers screenplay is only made worse if they are populated by characters we’ve seen before. Sure, they need a degree of familiarity for the audience to connect, but they need a degree of uniqueness. Give them an unusual trait, affliction, interest, or world-view. Think of it as adding one new herb to your mashed potatoes. It will make a world of difference and creative executives will thank you for it.
4. The villains are cartoonish, evil for the sake of evil
Not even Dr. Evil can be that cartoonish. Like all characters, they need to be grounded in some sort of reality. Villains often believe they are the heroes and their actions are being wrongfully thwarted. Villains need to hold a rigid worldview and believe that their actions are for the greater good. That good could be the pursuit of power and success or for the benefit of humanity.
5. The character logic is muddy
Once audiences establish a connection with your characters, the actions of the characters need to be congruent with their goals and beliefs. We need to understand the motivation behind the actions. Sometimes the character motivation isn’t clear, or it’s not believable. There needs to be an internal logical and emotional reasoning that drives your characters. Make sure it’s consistent throughout your screenplay.
6. The female part is underwritten
Some screenwriters make these mistakes because they are forcing their characters to do or say things to adhere to certain pre-ordained plot points. But for other writers, particularly more conceptual writers, the reasons go deeper, having to do with the way that they write.
Conceptual writers tend to work from the outside in, often starting with a big idea, world, or specific story beats. Such writers often excel at high concepts, plot twists, pacing, and story logic. All that stuff is in their wheelhouse.
But because conceptual writers are often limited in being able to access their intuitive side, their characters almost never seem real. Instead, they seem more like puppets invented to serve a story, which is exactly how the conceptual mind works.
Tragically, too many of these writers end up believing that they are lacking in some natural ability to write compelling characters and end up quitting. Others continue to write scripts, only to keep failing because of their characters and dialogue. The key to overcoming this is through the process of creative integration.
Check out our article on writing stronger female characters.
7. The story is too thin (20 pages of story spread over 100 pages)
You’re hosting a dinner party. A roast to be precise. There isn’t enough gravy for ten people so you add water and stir hoping that your guests won’t notice the sad watery mess you’ve served. They will. It needs more stock, not more water.
Creative executives feel the same way. Your short film doesn’t become a feature film by extending the car chases or party scenes. Use this time to give us tender, character-driven moments or an additional plotline that intersects the main story.
8. The conflict is inconsequential, flash-in-the-pan
Conflict arrives, is instantly solved, and the narrative continues unaffected. There aren’t any rising stakes, no complications, or the conflict doesn’t affect the character’s goals in any way.
Imagine a scene where a guy walks into the jewelry story to pick up his wedding ring. He left his wallet at home. The jeweler said he can’t have it until he pays. Dilemma. The guy offers him his watch as collateral and promises to be back later that day. The guy returns and buys the ring.
The alternate scenario might play out like this. It’s his wedding day. He needs to pick up his wedding ring because he forgot. The wedding is in an hour. He’s forgotten his wallet at home and doesn’t have time to pick it up. The guy steals the wedding ring. The jeweler calls the police and reports the crime. The groom makes his wedding on time. The cops are waiting for him.
9. The narrative falls into a repetitive pattern
Compelling conflict is the gas that creates and sustains narrative momentum. Without it, the story inherently runs out of steam. This is why readers routinely complain that most of the scripts that start out great simply can’t go the distance.
Some writers try to remedy this problem by repeating interesting beats over and over, but no matter how compelling these beats initially might be, the repetition ends up just begging the reader for a pass. You can only use a car chase so many times in an action movie.
10. The story begins too late in the script
It’s not uncommon for writers to slowly ramp up to the main conflicts in their first drafts. They need time to settle in and explore the world and the characters, warming themselves up before diving head-first into the teeth of the story.
But many of these screenwriters fall in love with too much of this pre-story stuff. They fail to realize that while they may have needed to write it, we sure as hell don’t need to read it.
Such writers would be smart to heed the advice given by author Pat Conroy,“Write like you’re in love, edit like you’re in charge.”
What screenwriters should do
Screenwriters don’t fail to have a career because they make these mistakes. They fail because they don’t learn from them.
The popular advice given to writers is to keep writing, because the more scripts you write, the better you will become. For far too many, this is simply a fairytale. Continuing to pound out script after script often ends up in nothing more than a pile of similarly flawed material. So no wonder ninety-eight percent of scripts receive a pass.
Here’s much better advice:
- Step one. Accept the fact that writing a great script isn’t an easy endeavor and you will start out making many mistakes.
- Step two. Figure out exactly what these mistakes are. You’ll probably need others to assist you with this.
- Step three. Dedicate yourself to learning and mastering the skill-sets required to overcoming these mistakes. Most writers skip this part.
- Step four. When you get to the point where you believe you can now write a truly amazing script, it’s time to test that theory.
I like to imagine a two minute trailer for my idea. If you can do that, the idea is probably worth turning into a screenplay. When I start writing, I'm not worried about writing in chronological order. If you can picture some amazing chase scene that happens somewhere the middle of the script, do that first. The purpose of the first draft isn't to get everything perfect, it's to get it done. Get all the ideas out of your head and put them on the page. Sorting them out and making a good story is where the writing talent comes in.
So who's interested in writing an original screenplay for the month of June? You've got seven days to come up with an idea.
Absolutely. They say your first draft is always your worst. As for writing one, I’ll have to think about it. I took a break after completing my first one. And I’ve been brainstorming my second.
This is a great thread... I just purchased a Screenwriting Course on "Udemy.com." The course is taught by a guy named Jeff Schechter, who has many award nominations for his screenplays.
The course is normally over $200, but they usually have special pricing once a month. I waited and I picked up the course for $11. Once I'm finish with that course, I'll speak on it in this thread. I actually purchased several courses, one includes Character Development and the other was Character Dialog.
Again, great thread OP.
The course is normally over $200, but they usually have special pricing once a month. I waited and I picked up the course for $11. Once I'm finish with that course, I'll speak on it in this thread. I actually purchased several courses, one includes Character Development and the other was Character Dialog.
Again, great thread OP.
One of the courses I'm taking said that budding screenwriters should read many screenplays before writing your own. That way, you'll begin to understand the structure etc... So, I'm going to read one screenplay per day for a couple of weeks. I've just finished reading "Get Out" by Jordan Peele.
I think I'm going to read, "Reservoir Dogs" by Quentin Tarantino tomorrow.
I think I'm going to read, "Reservoir Dogs" by Quentin Tarantino tomorrow.
It’s true. I really only read about two or three, and not all the way through. When I downloaded the Final Draft app, it gave me free movie script samples. I looked through them a little bit on my own. They were very detailed, right down to “slow motion” shots taking place during the film.
@raze I just got my call from Script Pipeline that I paid for, in order to learn more about the business. She was very informative. She told me that she wasn’t able to read my script yet, but let me know when the quarterfinal cuts would be. So we’ll see.
I missed the deadline. Haven't decided on another contest yet.
@swoop1 @PsiBorg
You probably know this already but there's a thread full of movie scripts in the E-Books/Audio Books forum.
I don't read them as much as I used to but screenplays are a great resource. Reading them helped me better understand things like character and scene descriptions, action lines, and story pacing. Every writer has their own style, too.
I'll try to come up with a list of my favorite screenplays later.
You probably know this already but there's a thread full of movie scripts in the E-Books/Audio Books forum.
I don't read them as much as I used to but screenplays are a great resource. Reading them helped me better understand things like character and scene descriptions, action lines, and story pacing. Every writer has their own style, too.
I'll try to come up with a list of my favorite screenplays later.
Here's the website that they suggested to get the free screenplays from: www.scriptslug.com
Has anyone come up with a premise for their script yet? You don't have to say what it is.
I've always wanted to do a time-travel story, but my idea doesn't have enough meat for a feature length script. If I can't find a solution, I'll have to try something else.
Here's a good video on outlining.
I've always wanted to do a time-travel story, but my idea doesn't have enough meat for a feature length script. If I can't find a solution, I'll have to try something else.
Here's a good video on outlining.
Not a big fan of his work, but he makes a good point here.
There was a time when many aspiring screenwriters wanted to write the next Matrix or start an original superhero franchise. But these days, more writers lean towards creating the next Atlanta, Power, or Insecure. Writing talent has shifted from mid/big-budget movies to streaming and television. The writers have more control and there's a steady demand for content. But the studios still need writers with movie scripts...
Most Hollywood execs would probably shove a Black screenwriter with a brilliant African fantasy spec down a flight of stairs to get to a white guy with a generic action script for a Marvel actor. But it's worth shooting your shot, especially with what's going on in the country right now. Everyone claims to finally recognize the inequalities. Hollywood is promising to do better. So get those scripts polished and finished. And if you haven't started yet, what are you waiting for?
There was a time when many aspiring screenwriters wanted to write the next Matrix or start an original superhero franchise. But these days, more writers lean towards creating the next Atlanta, Power, or Insecure. Writing talent has shifted from mid/big-budget movies to streaming and television. The writers have more control and there's a steady demand for content. But the studios still need writers with movie scripts...
Most Hollywood execs would probably shove a Black screenwriter with a brilliant African fantasy spec down a flight of stairs to get to a white guy with a generic action script for a Marvel actor. But it's worth shooting your shot, especially with what's going on in the country right now. Everyone claims to finally recognize the inequalities. Hollywood is promising to do better. So get those scripts polished and finished. And if you haven't started yet, what are you waiting for?
and yet Hollywood still releases bs movies10 Most Common Reasons Why Scripts Are Rejected
Whenever a script is submitted to the industry, it is passed off to a reader for analysis. The reader will give the s
10 Most Common Reasons Why Scripts Are Rejected
Whenever a script is submitted to the industry, it is passed off to a reader for analysis. The reader will give the script a “recommend,” a “consider” or a “pass.”
And unless it gets a recommend, probably no one else is going to look at it. So how many scripts get a recommend?
About two percent during a good year. Which means roughly ninety-eight percent of spec scripts are dead on arrival. Many of these scripts make the same mistakes.
Here’s my take on the ten most common mistakes reported by the studio and network readers:
1. The scenes are void of meaningful conflict
I have found that roughly five percent of writers naturally write in professional-level conflict, by which I mean the kind of conflict that hooks a reader and makes them want to keep reading. The other ninety-five percent write scripts that routinely get rejected after a scene or two. But nobody tells the screenwriters this. They know they’re failing, but often don’t know why.
The good news is that professional-level conflict is a learnable skill based on techniques that can be practiced and mastered.
If you don’t naturally write this way, as most screenwriters don’t, I can’t emphasize enough how important it is that you make the investment to train yourself in these skills.
Do whatever you can to learn how to write in professional-level compelling conflict. Because without that, you have no shot at making it. Without writing in compelling conflict, you are simply wasting your time.
2. The script has a by-the-numbers execution
Too many writers fall prey to the well-marketed classes and books that teach formulas, often labeled as “must follow” universal paradigms, structural building blocks, myth construction, genre guidelines, or such. It’s an easy trap to fall into, especially given how many formulaic movies are cranked out of the film studio system.
Given the incredibly competitive landscape for breaking into the film and television business, writing a paint-by-the-numbers screenplay is a surefire way to be ignored.
Adam Levine, a partner at the Verve agency, put it this way, “Challenge yourself to do something different. Because what I think really sticks out at the end of the day from the clutter is something that is obviously well-written, with great characters, but is also something that is innovative, that we haven’t quite seen before or that challenges us. And so the stuff that is formulaic and that has been done a million times is not going to stand out and it’s not going to make your career.”
3. The protagonist is a standard-issue hero (and other characters are stereotypes as well)
A by-the-numbers screenplay is only made worse if they are populated by characters we’ve seen before. Sure, they need a degree of familiarity for the audience to connect, but they need a degree of uniqueness. Give them an unusual trait, affliction, interest, or world-view. Think of it as adding one new herb to your mashed potatoes. It will make a world of difference and creative executives will thank you for it.
4. The villains are cartoonish, evil for the sake of evil
Not even Dr. Evil can be that cartoonish. Like all characters, they need to be grounded in some sort of reality. Villains often believe they are the heroes and their actions are being wrongfully thwarted. Villains need to hold a rigid worldview and believe that their actions are for the greater good. That good could be the pursuit of power and success or for the benefit of humanity.
5. The character logic is muddy
Once audiences establish a connection with your characters, the actions of the characters need to be congruent with their goals and beliefs. We need to understand the motivation behind the actions. Sometimes the character motivation isn’t clear, or it’s not believable. There needs to be an internal logical and emotional reasoning that drives your characters. Make sure it’s consistent throughout your screenplay.
6. The female part is underwritten
Some screenwriters make these mistakes because they are forcing their characters to do or say things to adhere to certain pre-ordained plot points. But for other writers, particularly more conceptual writers, the reasons go deeper, having to do with the way that they write.
Conceptual writers tend to work from the outside in, often starting with a big idea, world, or specific story beats. Such writers often excel at high concepts, plot twists, pacing, and story logic. All that stuff is in their wheelhouse.
But because conceptual writers are often limited in being able to access their intuitive side, their characters almost never seem real. Instead, they seem more like puppets invented to serve a story, which is exactly how the conceptual mind works.
Tragically, too many of these writers end up believing that they are lacking in some natural ability to write compelling characters and end up quitting. Others continue to write scripts, only to keep failing because of their characters and dialogue. The key to overcoming this is through the process of creative integration.
Check out our article on writing stronger female characters.
7. The story is too thin (20 pages of story spread over 100 pages)
You’re hosting a dinner party. A roast to be precise. There isn’t enough gravy for ten people so you add water and stir hoping that your guests won’t notice the sad watery mess you’ve served. They will. It needs more stock, not more water.
Creative executives feel the same way. Your short film doesn’t become a feature film by extending the car chases or party scenes. Use this time to give us tender, character-driven moments or an additional plotline that intersects the main story.
8. The conflict is inconsequential, flash-in-the-pan
Conflict arrives, is instantly solved, and the narrative continues unaffected. There aren’t any rising stakes, no complications, or the conflict doesn’t affect the character’s goals in any way.
Imagine a scene where a guy walks into the jewelry story to pick up his wedding ring. He left his wallet at home. The jeweler said he can’t have it until he pays. Dilemma. The guy offers him his watch as collateral and promises to be back later that day. The guy returns and buys the ring.
The alternate scenario might play out like this. It’s his wedding day. He needs to pick up his wedding ring because he forgot. The wedding is in an hour. He’s forgotten his wallet at home and doesn’t have time to pick it up. The guy steals the wedding ring. The jeweler calls the police and reports the crime. The groom makes his wedding on time. The cops are waiting for him.
9. The narrative falls into a repetitive pattern
Compelling conflict is the gas that creates and sustains narrative momentum. Without it, the story inherently runs out of steam. This is why readers routinely complain that most of the scripts that start out great simply can’t go the distance.
Some writers try to remedy this problem by repeating interesting beats over and over, but no matter how compelling these beats initially might be, the repetition ends up just begging the reader for a pass. You can only use a car chase so many times in an action movie.
10. The story begins too late in the script
It’s not uncommon for writers to slowly ramp up to the main conflicts in their first drafts. They need time to settle in and explore the world and the characters, warming themselves up before diving head-first into the teeth of the story.
But many of these screenwriters fall in love with too much of this pre-story stuff. They fail to realize that while they may have needed to write it, we sure as hell don’t need to read it.
Such writers would be smart to heed the advice given by author Pat Conroy,“Write like you’re in love, edit like you’re in charge.”
What screenwriters should do
Screenwriters don’t fail to have a career because they make these mistakes. They fail because they don’t learn from them.
The popular advice given to writers is to keep writing, because the more scripts you write, the better you will become. For far too many, this is simply a fairytale. Continuing to pound out script after script often ends up in nothing more than a pile of similarly flawed material. So no wonder ninety-eight percent of scripts receive a pass.
Here’s much better advice:
Hire some studio or network readers to do coverage under the table for you. Ask them to pretend your script has been given to them for analysis and to write up the actual report they would normally generate. If the readers give your script a pass, it’s time to go back and repeat steps one through four. If they give you a recommend, it’s probably time to go market yourself like crazy to the industry.
- Step one. Accept the fact that writing a great script isn’t an easy endeavor and you will start out making many mistakes.
- Step two. Figure out exactly what these mistakes are. You’ll probably need others to assist you with this.
- Step three. Dedicate yourself to learning and mastering the skill-sets required to overcoming these mistakes. Most writers skip this part.
- Step four. When you get to the point where you believe you can now write a truly amazing script, it’s time to test that theory.
Thanks for this thread. Went to school for video production....suck at writing but I want to try and get into it. Some meaningful things in here.
You're right. The truth is that nobody knows what will turn into a hit. You can have a well-written story with an original idea and still flop at the box office. At the same time, a generic script with a big budget and big stars can hit a billion.
It feels like marketing is way more important than story these days.
Nah, Bro the real reason is producers are who are medeling with script. And also working with the same old people.You're right. The truth is that nobody knows what will turn into a hit. You can have a well-written story with an original idea and still flop at the box office. At the same time, a generic script with a big budget and big stars can hit a billion.
It feels like marketing is way more important than story these days.
This is why we need to start are own. Well maybe with what is happening now it might change. But it's a safe club.
That's a cool concept!
John Legend's production company produced La La Land and Pharrell was one of the producers of that Roxanne Shante Netflix movie. I know they're long shots, but you never know...
Yeah Pharrell has had a few films including Dope. There's a lane for this type of stuff.