Jolene Marie Nickerson: Screenwriter in Nashville, Tennessee.

I've never used Blake Snyder's B.S. but I am fan of Truby's 22 story-step method, although I never use all 22 steps (very, very few movies do). I attended a Truby seminar in NYC. The first script I wrote after finishing the seminar was, at that time, the best one I'd ever done -- "Stone's Throw From Hell" -- using the Truby method. I find it helps keep my story writing more focused and structured than if I just wrote.

1 more thing -- I would just pretend your hero found the info and keep writing the rest of the story. By the time you finish the story, you'll probably have figured out the best way for the m/c to have found the info and then you can go back to fill in the details. The key is that the way the hero finds the info should flow naturally from his/her essential nature that you've hopefully portrayed in the script. If the hero is a savvy techny type, finding it on their computer would be appropriate. But if they're a chatty Kathy type who loves to chitchat, obtaining info from a coworker/friend would be better.

What a great thread...Some tremendous information here. This is what the true spirit of Stage 32 is all about. I thank you all for being so active and helpful.

But Steven, thanks for sparking such a discussion. It has been quite entertaining!

No problem Sean ;)

If you ever find yourself with a screenwriting assignment gig, you will not be able to write "cold" as the producer will demand to see a detailed treatment or beat sheet. They will need to sign off on that before you start writing. It's best in my opinion to get used to structure, as you it will be a necessary element when you start getting paid as a professional screenwriter. There is always plenty of room for impov when you work with a tight structure. I read too many scripts in my consultation services that are a jumbled mess in the story/structure department. One script I read, what should have happened on approximately page 30 was on page 90! In my humble opinion, scripts are all about structure, especially in that barren wasteland called ACT 2 where it's so easy to get lost.

You'll know when it's ready. But don't be surprised if it reaches a loooooooooooooooot of drafts. I know Little Miss Sunshine had a 100 drafts before it was "ready".

It is not a question about me but more a general topic. We probably all have different patterns. It is interesting to see all of your comments here. We all do share some aspects of the process but also some differencies. Personnally my characters live the story in my head for a while before even starting the first draft. Then I write a resume of the story and some more episodes in case of my last work. Then I go back living the story in my mind as I write, rewrite, rerewrite... as long as I don't have a clear picture of where it goes. As a result I usually do rewrite really a lot.

42.

With your next script, you might try writing the end first, after you have your logline. I did this a couple times. You end up rewriting the end as you go, but at least it's there, like an anchor.

lol, that's true you know? when you begin from the end, as you write along it will keep you inline as well, so you don't go off your track. Its just like an anchor I use to guide my life "always aim at what you want to achieve, and any step you take; ask your self if it will lead you to your destination..." Big Ups to you @David Dalton.

I don't even start to write until I have a solid outline with all the turning points and reveals. Sometimes, all I have is the beginning or one character or just and end. I will write down what I have and meditate on that. Pretty soon, all the ends start to come together. I don't force anything. I let it come to me.

I think it would depend on the situation. A lot of movies were amazing with Voice Overs. American Beauty, Fight Club, American History X, Kick Ass. A lot of great films use voice overs, but it depends on whether or not it works for your circumstance.

It depends, Lord of the Rings did it well, The Last Airbender did not. Much of it depends on the tone of the film in general, and if you need to get a lot of backstory out of the way early and the rest of the film is engaging and well done, then audiences will be forgiving about that. But, for the love of God and all that is holy do NOT write the expo with people in a room talking. Give me a dry text scrawl over two guys who I don't know nor give a crap about bleating out unbelievable dialogue and ham-fisted exposition any day.

I think the key is transition and integration with the rest of the story best that I've seen , and feel free to disagree, was the beginning of serenity because of how well the voice over flowed into the first scenes.

Hi Jolene, I think I might have spotted the problem. Can you try re-uploading your headshot? Let me know if you still have trouble.

Hello, Steve and Jolene thank you for advice I will look into those avenues and se what I can. Rik I have to date written 2 film scripts and 3 episode scripts for a tv Series but thery are still in first draft stages

You are not stabbing in the dark, Alan. Scripts are purchased every day. You can sell also. When you have three to five truly excellent, marketable scripts and the three, finished TV scripts you can begin the process of getting a manager or agent.

Don't count on contests to "make" you're career. They are a wonderful exercise to work with a prompt and a hard deadline, but they will in no way break you in. Your best bet it to acquire copies of the Hollywood Creative and Representative Directories, take ten of each agents and producers (not randomly, research on what they are looking for. imdbPro is a fantastic tool), call them, find out their query letter procedures, send out, wait a couple weeks, rinse and repeat. NEVER send unsolicited scripts or pitches. Ever. It's both annoying and can cause legal complications. And keep records of what was sent when. Be sure to register your script with the WGA and Copyright office before showing them to anyone. The "mail it to yourself with postage date as legal cover" isn't viable because its too easy to steam open the envelopes and repackage the contents. It's a pain and expensive but necessary.

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November Rain. It's a classic. That wedding dress! Slash on that piano with Axl banging away. Love it!

Bjork - All Is Full Of Love. Sexual robots.

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A lot of creative things come from a tension between worlds. Some really interesting projects take some element and turn it on its head. The film 'The Hours' for example took three different stories and interwove them - past, and present were included. Some films have people go back in time from modern times making something relevant in a new way and engaging, lively, etc.. What we love can be multi-faceted. I love watching one kind of show, but can be more interested in writing another kind. Partly I often like something more 'entertaining' to watch, but then I someitmes want to write things more 'substantive'. I notice the tension. Lately I am thinking about writing more 'fun' things. For me the journey is the point. I know enough to know it can be something like trying to win the lottery with more skill involved, but it can still be something of a crap shoot. My dreams are more than just chasing my dreams. But I feel 'called' to the creative process and called to inquiry of characters, stories, etc... so I stick with it. I love spy films and crime shows sometimes, but then at a certain point it can get too dark and heavy with that and also just too trivial. I like more emotional substance, so then I tend to want to write shows that integrate the adventure of spy with at least some substance. I can't say I have pulled it off, but I work at it. That is just one example of some of the tension I work at in my creative process. Recently there was a certain location/theme I was wanting to explore and I couldn't get it right and then realized I could take it to Sci Fi/Fantasy and probably make it more accessible to others and more interesting to write. There was an interior designer I saw on HGTV who would work with couples. She would take both of their styles and show them individually and then would blend the styles and they would have their own unique mix. One may like modern and the other liked exotic asian for example. You could get this interesting modern/asian fusion look which would have soul and often looked better to me than either individuals' aesthetic. Life doesn't have to be 'either/or', it can sometimes be 'both/and'. Sherlock Holmes for example is both modern and a period piece. There are many ways to weave what you love in and out of your work. Get creative and see where it leads you. You may find it leads you to something you would never have thought to create or known to attempt.

Truth is Phil, you need to broaden your horizons. Only working with one theme will certainly kill any chances of getting produced. Extend your Civil war to "world war" etc etc stay in the same concept if you like though a different twist.