Wynne Beuche's Lounge Discussions

How fantastic ... Big congratulations .. Wx

I'd be interested in reading it, but the link says the post does not exist.

I agree ... Says the article does not exist ... Failed to interest me immediately ... Ironic .. Wx

Jason, some connections/possibilities do happen privately. Many prefer to keep details quiet -- at least until they're ready to make announcements, if any. :) I do know writers have been signed, optioned, requested, hired and have found staff positions... Perhaps glance through Happy Writers success stories: https://www.stage32.com/happy-writers/success-stories

To add a few points: + I agree with Laurie's assessment regarding qualified service. I haven't seen a better site that offers as many high-level production company people or high-level management people as Stage32 does, and I've been doing this off and on for around six or seven years on the Internet. And it's not just in the pitch service - it's also in the coverage/consultation services, too. I don't offer praise easily, but Stage32 really provides some stellar opportunities and services to us writers. + WIth regards to seeking your own funding....you have to really do a lot of research; perform a lot of production development work; and know a lot about legal matters before you even start to try to raise money. You have to know market rates for all positions involved in a shoot; you have to know what the different union rates/requirements are; and you have to know what non-union market rates are before you can even create a budget and raise money. You have to know how to reach out to talent and offer contracts; you have to know about sets, props, sound, lighting, camera, editing equipment and related matters; and you have to know about local permitting matters before you can start to create a budget and raise money. You have to be able to know you can put together a crew; have locations at which to shoot; and that you can feed people before you can start to create a budget and raise money. You have to know about LLC/corporate matters; you have to have an attorney who has experience in putting together contracts; and you have to know if you qualify for tax benefits (which you don't realize until after the shoot) before you can start to create a budget and raise money. You have to know about bonding and insurance matters; you have to put together a solid production schedule; and you have to know how to put together a solid budget before you can start to create a budget and raise money. You have to know about friendly and unfriendly shooting scripts; you have to have a storyboard; and you have to have professional production software or access to it before you can start to create a budget and raise money. You have to know about rate books; you have to know about how to get distribution; and you have to know about film festivals and their requirements and application deadlines before you can start to create a budget and raise money. You have to know how to create a business plan; know about music licensing; and know about intellectual property protections and licensing before you can start to create a budget and raise money. THERE IS A LOT TO KNOW AND DO. And most importantly...YOU HAVE TO DO ALL OF IT RIGHT AND NOT GET SCREWED ANYWHERE ALONG THE WAY, or else you're gonna be LIVING IN A VAN DOWN BY THE RIVER. Heh-heh. RIP, Chris Farley. + And once again, kudos to Stage32 for putting together a great website that offers access to a lot of resources - not just for writers, but for all people working in, or with the desire to work in film, television and theater. Like Laurie said, it really is the best site of them all. And thanks for the kind words, Steven - I appreciate it.

this whole discussion makes me wanna drop writing altogether. thanks guys. lol

TV will dwindle in the coming year(s). Trust me. It was up until very recently, much easier to sell a TV show than feature. But the market is saturated with a shit ton of great content. The Netflixes need it so it's not going anywhere - but SOOOO many are writing pilots there's more of those than cable channels which will no longer be a value pack to subscribers.

Would like to complete William's first comment/sentence: ....and I only will if I know for sure that what ever it is, it's worth more.

Guys... imagine the grades you will all have if this were a test question. The guy asked what are the majore differences between FD Celtx. Let's start all over again.

Lol! Can't stop laughing Nkanya! Sorry folks!

Philip

Nkanya ... Too true .. Love that comment .. Wx

http://www.amazon.com/Your-Hollywood-Pro-Business-Without/dp/0692281576/...

Welcome aboard Ximena

Can't wait to see your work ... Wx

Intriguing .. I am gonna keep my eye on you ... Wx

Stephen King uses a pen name for certain work; so does Joyce Carol Oates (when she's writing pot-boilers vs literary fiction). Should you, Ruby, use a different name for kiddie books? YES!

Thank you..!!

My pleasure, Ruby. Good luck with your projects ---- and protect your "BRAND."

The only people who seem to make a success out of writing under a pen-name are established authors. And it's let out of the bag pretty early on who the writer actually is so I question the value. Would J.K. Rowling's "adult" book have sold more if people didn't know it was her that wrote it? Would Stephen King fans really buy Richard Bachman books if they didn't know it was Mr. King writing them? I doubt it. I have three very different books. A biographical account (Access Denied), a horror (The Roots of Evil) and my latest, a series of travelogues (Omonolidee). Someone did suggest to me that I should use a different name for each. But I took advice from Clive Barker when I asked him a long time ago if he'd ever use a pen-name and his answer was a most definite "no". His point being that you spend so long working on whatever you're working on, that to deny yourself the recognition of it is somewhat wasteful. It's hard enough, especially for a new author, getting recognised as it is. So compromising your identity is somewhat fruitless.

That's the one great thing about being named Andrew Smith. I can switch from Teddy Bear Picnic to Teddy Ripper - and you are going to have a hard time pinning me down.

Nice.

Deserves a bump...all writers should see this.

Thanks, guys. Here's another tip I found useful for writing fantastic description/direction/action: THE VISUAL MINDSCAPE OF THE SCREENPLAY by BILL BOYLE. Hands down the best book I've read on the subject.

Thanks for the link. I posted a comment. "Thank you for the fine article. I add a comment. Regarding “A man dressed all in white, ...", I'd say that if you do it that way, you'd better have a good reason for indicating how he is dressed and the way he is dressed should pay off later. "

Thanks Shawn for sharing this article. Real "meaty" and something we all need to consider. I'm going to go over the script I'm working on and see if I can "up" the visuals . . . certain that I will. Thanks for taking the time to send it to us.

Shadow - the written story was not completed. The entire story was completed in other forms - not the least of which was in my head.

Good question, and often a style in which I enjoy writing... ie. '21 Grams' or 'Traffic'. Who's to say from the audience standpoint that one protag' is all you need? If the character themselve's are not stale, then take us on a ride with all of em'.

Thank you Terri ... This has completely changed my world today, my story is True and about a shocking incident and the revelations based around this incident ... I have struggled with it for some time now because of my fears of making a loved one the antagonist ... You have helped me see that the best way to get my story out is if I am the antagonist ... Total re-write is in motion as we speak ... What a fantastic share this has been .. Wx

Great comments! Stephen, I'm actually leaning towards your thoughts, though shifting perspectives at least in my head has opened up the story for me. Seems the story is richer from the "new" protagonist's POV but interestingly, not just for her, but for the other characters as well. Fun stuff, this writing life. =)

I've had other characters come out of nowhere and take over the plotline. It's captivating, but if you let it carry you away too far you'll have to go back and cut it all up in a re-write. Best to do what you did, and redirect yourself early.

FADE IN: INT. – AIRCRAFT – DAY With an overwhelmingly, loud suit, TREVOR GRUTT, 47 years of age, gestures to a SEASONED FLIGHT ATTENDANT, mid 30s, for a pre-departure cocktail. Ignoring the emergency procedures that are being shown in the alley, Trevor SNAPS his fingers to encourage a quick response… TREVOR Hey. Trevor looks in disbelief. TREVOR Christ, I know you see me.

The women seated next to Trevor glares at him in disbelief. She has obeyed the warning signal and is positioning herself in readiness. WOMAN Can't you see the sign?

Trevor rolls his eyes. He looks across the aisle where he sees army strong JOSH BOUCHER, 33, tightening the seatbelt for his brother MARK, 24, who is visibly agitated. Mark rocks back and forth. MARK 1972 the worst year for commercial airlines. 2429 dead. 2333 dead in 1985. Only 224 in 2013, but 761 in 2014. Still... Trevor's brow furrows at the strange babbling. Josh tries to still his brother's rocking. JOSH Mark, she's just going through the routine emergency procedures. They do this at the beginning of every flight. We're okay. Mark nods his understanding, but continues to rock. Josh puts his head back and sighs. TREVOR (muttering) This is going to be a long flight.

I totally agree with you Sarah. When you develop characters thoroughly (down to what they would wear, their hair style and their favorite music) you can get a feel of them so they become real people. You will "hear" their voices talk to you to tell their stories. When you hear their voices then you know what they would say or if it seems like it fits the scene. Watching a lot of movies helps to show how dialogue can flow too.

Totally love and agree with what and Dawn and Tony said . Thanks.

@Tony, lol! Here's another bribe, I also love Best Years of Our Lives. Then again so did everyone that year, for it was an Oscar winner.

The funny thing about the best movie dialogue overall is that it's not real life, but it sounds like it is on screen. Listen to people? - Yes. Distill it down to the essence? - Definitely.

@Tony, of cause not, we both saw it on TCM, just last week, in separate living rooms or bedrooms of cause. Lol

Way to go Chris.

Excellent !

Congratulations!! Do you know award winning African-American Playwrite/director Levy Lee SIMON?

Congrats to you Chris!

Great news!

Yeah, I know, but I write anyway, because writers write. lol

So do I, I never stop but it's the first time I've even heard of shrink who can help me to finish the script, unless we write as partners.

I have found writing a screenplay is definitely an out of body experience at times ... Splitting myself up into several people has helped me to control the screen character messing with my life .. Wx

I couldn't agree more with you, Wynne. You do understand, this makes both of us a multi-split personality cases.

Absolutely Niksa ... I'm sure we are all in good company