Screenwriting

put it away for a few weeks (or months) Then read it fresh.

But, just so I'm clear, Maurice Vaughan, what's a zombie week?

It's basically a week you take off from a project, John Snell. I think Pat Alexander might've came up with the term "zombie week." I didn't have a name for it until I saw his comment.

Hi Maurice Vaughan, my bad it looks like I mixed up the comments. Either way thanks I learned something new today! I like mostly mysteries, or crime novels, such as back in the day the old Mack Bolan series.

I do my best writing when I'm napping.

I have to admit I'm feeling that right now.

Got a lot of these scam messages recently ...

How you know that's a scan because in my case, this being a long conversation after that he asked for the money

Hi, Arun Sharma. Stage 32 deleted Tim Johnson's account.

Thankyou, actually this is the best thing for all of us

You're welcome, Arun Sharma. You're right.

Kit Wilson nice to hear from you. First of all, nice poster. Take a look at the answer I gave to Dante. I think it can perhaps guide you as well. Your story sounds intriguing, but it's a little unclear. Is the film historical fiction? Are Orson Wells and Rita Hayworth the stars? If so, start with that. We want to know who you're talking about. I.E. In 1940, Hollywood stars Rita Hayworth and Orson Wells involve (the hypnotist's name) in a deadly game of espionage with Nazi spy Hanz Gruber... Okay, so that's not it, but I hope you get the idea. In a logline, you're looking to find a shorthand so that the audience knows what the ride's going to be. Who will they be attracted to, and why?

Let me know if you have any other questions.

Thank you Brian. Yes, it's historical fiction with Hayworth/Welles performing with the lead actress. Together they work to defeat the bad guys and establish the actress as a viable Hollywood star.

Thank you, Brian. That was helpful. I do not have one main character but one character does have the largest transformation so I'll use him. *Note: If the ethnicity of the lawyers isn't black then there is no code switching.

This is the result:

"Code Switch"

When Marcus attends a corporate law retreat, a group of Black lawyers make a bet: whoever can stay in their "professional voice" the longest wins, but as the weekend spirals into chaos, he must decide if losing the bet or finding himself is more important.

Thanks for your time today Brian and for your wonderful responses on Q & A. I was in Ted Field's office in 2018 and he wanted to be part of my limited series about the women pilots in WWII - until my producer gave him a horrible script and he backed out. This true story deserves an A-list screenwriter to work with me as the historian. I am more a producer on this project than a writer but I was forced to come up with a Pilot script. I got in touch with Fred Roos (who wanted to help me in 2007 but couldn't) to wish him a Happy 90th Birthday in May. He was still producing ("Priscilla" and "Megalopolis") and told me he would try again to get traction for my story. Then he died 4 days before his 90th! So sad. So I continue to reach out to reps for stars who could make it happen - but I have exhausted all producers on Stage 32 who aren't able to take the project to past bosses. Disney has major IP to the story, but the young Execs probably will never know if I can't get in the right door to educate them. They could merchandise the heck out their IP and distribute the limited series if I can ever get it done. A couple of attempts have been made to tell some of the story in the U.S. - but nothing has moved forward. I know I have the right story. Can I pay you to write a dynamite synopsis? LOL

Hi Brian, thank you for hosting this AMA! I’m really interested in understanding the key elements that contribute to building a solid narrative structure, from the beat sheet all the way to the final script. How can a writer ensure that the dramatic progression remains engaging and cohesive throughout the entire story? Also, what is the most common mistake screenwriters make when creating a beat sheet, and how can they avoid it?

Congratulations on the script requests and meeting requests!

Mike Childress I hear you about no more school. I had plans for a PhD but scrapped them once I got my masters. I was too burned out on school. Of course, a few years later I did go back to get an MBA. Somehow I have a hard time staying away. Also, I think being "forced" to do writing exercises and group/team writing would be a treat, especially if the class is not a huge time commitment.

Mike Clarke There are actual film school graduates who claim filmmaking school didn't do much to help them breach the industry gates, and a Certificate in Screenwriting is certainly no degree in Film Studies! I've listed some of what I think could be potential benefits of the Certificate program in comments here, but as "they" say, "The proof is in the pudding."

Tucker Teague Friends that went the PhD route seemed mostly miserable when doing so! I never really planned on being a teacher or researcher soooo hard pass. A 12-week, two-credit course sounds do-able, in theory. Outside of commiserating, querying, and commentating on this site, and talking to a few friends, I haven't really done anything to network with other screenwriter peeps. I have this idea I have to have a certain amount of screenplays in my war chest before I go full-on hawking, and I already have ten in the portfolio.

Mike Childress, the proof is indeed in the pudding. I think, to stretch the proverb a bit further, one learns to make better pudding by making it, rather than studying it. I think one has native skills or you don't , but perhaps you can develop them. I've been writing fiction for about seven years now, and the learning curve has been better while writing it and having it edited and reviewed by a skilled mentor/editor. I think, though, script writing exposes the story, makes it naked, without words to clothe it. It is the story that really drives a great script. I think I've been lucky that stories just keep popping into my head (make it stop). The challenge now is how to craft them. The art and craft of script writing could be learned in a compressed course form, but the learning involves writing one, and then having it properly critiqued, with explanations of what you did wrong, and suggestions for how to improve it, (and why).

Mike Clarke The obvious, perpetual, problem with the 'critiquing' of the screenplay is the (highly) subjective nature of it. Sometimes it might be good to shun coverage opinions of "experts'". There are scripts that haven't placed in one competition and won another. Scripts that didn't place in any competition and ended up getting produced. Scripts tossed in the trash by one producer/agent and coveted by another. As to what you potentially did "wrong" in any given script the opinions are likely to run the gamut given the spectrum of preferences of readers (in any environment). I think the screenplay format is pretty easy to learn, especially with software programs, and structuring a story logically and entertainingly is not difficult (to me at least, especially if you consume books, novellas, film, etc.) so create some interesting characters, avoid boring dialogue, try and ideate something quasi-novel, and voila! As a Spec Script Ronin it's a numbers game as to getting something optioned, bought, produced so I'm not going to get bogged down in the Opinion Swamp and potentially dull my writing "voice".

Scripts seem to be much more subjective than writing. It's individual taste, I guess. I'm not one to guage the quality of a script if I was reviewing. My taste is a little unusual, in just about everything. I'm just shocked at how much stuff is produced and distributed on Netflix that I can't watch. So much bad stuff (subjectively speaking), so little time to waste. But occasionally something pops up that I love. "Cowboy Bebop" was one of them. Surprisingly "Skeleton Crew" on Disney, was another.

WOW thats awesome (:

Good Luck.

Congrats!

Diane, here's wishing you plenty of success with "My Favorite Narcissist" and future scripts!

Awesome News, Diane! Keep Going! Make it happen!!! : )

It's a tough road.

Hi, Jed Power. I'm a Stage 32 Lounge Moderator. I wanted to let you know I moved your post from the Acting Lounge to the Screenwriting Lounge since it's about screenwriting.

It's possible to sell and option work here. The biggest tip I always give writers is network/build relationships on Stage 32. It could lead to script requests, meeting requests, etc. Here's some blogs about networking (www.stage32.com/blog/tags/networking-41). I sold four short scripts to a producer. We networked for a little while. Afterwards, he checked the scripts I had on my profile and picked four.

Here are some more Stage 32 success stories: www.stage32.com/scriptservices/success-stories

Thanks, Maurice. COOL!

You're welcome, Jed Power. Hope you sell and option your projects on here!

Maurice Vaughan I agree with the strong hook, Maurice. The hook for my psychological thriller, DREAM HOLLYWOOD, starts with two questions: 1.) Who's your favorite celebrity? (Wait for answer) 2.) If you had to, could you kill them? Yeah, these two REALLY get the ball rolling! : )

Sharing emotional moments always make for incredible nourishment during a pitch.

Dan MaxXx hahahahahahahah! "Always dudes." really made me laugh!! And Dan, I AM spending money. Those $35 pitch sessions don't grow on trees! Plus, being very cash-savvy, I like to bring a coupon to my Pitch Knife Fight. First impression is key, here. It tells the executive that I can work within budget.

What a hook, Bill Brock!

Maurice Vaughan Thanks, Maurice. It’s a very unique approach that hits an exec / producer right between the eyes! Plus, extremely memorable! I once had an exec answer “Tom Cruise”….. and he instantly followed with , “Wait, um… why would I HAVE to kill Tom Cruise???” I almost burst out laughing because the exec was totally thrown!! Man, I gotta dust that script off and get back to pitching it.

You're welcome, Bill Brock. Definitely memorable. Your hook got the exec/producer involved in the pitch. “Wait, um… why would I HAVE to kill Tom Cruise???” And your hook got him intrigued, which is great in a pitch!