Hello Fellow Screenwriters! What do you think is the best screenwriting software? Thanks for your feedback.
Hello Fellow Screenwriters! What do you think is the best screenwriting software? Thanks for your feedback.
Hi guys! My name is Ren and I am an actress and screenwriter in Vancouver BC Canada - I have developed a television series and just starting to get some feedback on the trailer- I would love and appreciate your feedback and insights- especially the following questions - what do you think the show is...
Expand postHi guys! My name is Ren and I am an actress and screenwriter in Vancouver BC Canada - I have developed a television series and just starting to get some feedback on the trailer- I would love and appreciate your feedback and insights- especially the following questions - what do you think the show is about - what is the genre and what network would be a good home for this show? Thanks again!! http://www.youtube.com/watch?v=VVgwKGuLi0I
Thanks Andres - still working on the overall concept - hoping I can find a place for it as a series or perhaps a feature - appreciate the encouragement :)
"Back to the Future"
Hi, my husband's name is Ren. Ah, if we could go back 20 years I'll do it all over again. Great feeling and stern acting. I'd sit back to see some more. If you need costume or design I have 4 credits...
Expand commentHi, my husband's name is Ren. Ah, if we could go back 20 years I'll do it all over again. Great feeling and stern acting. I'd sit back to see some more. If you need costume or design I have 4 credits and also in actiong. I come with many real accents from German, French, South African. Always wanted to play a "mean" role. I could relate to your story having written a book about looking back into an toddler to teenager abyss of war and abuse. But aside that your trailer is great and we live in North Burnaby :-) a stone throw from studios. The projects I acted in and for were the ten best shorts in 2013 and best trailer in 2016 and best new Canadian Director in 2017 both at TIFF. Wishing you luck and connection!
How much experience do you think you need before an agent will take a meeting with you?
Try and find out if there are talent agencies in your area. Invite agents to see your shows, showcases, and film premieres. Make sure you do your research on the agency to see if they are accepting ne...
Expand commentTry and find out if there are talent agencies in your area. Invite agents to see your shows, showcases, and film premieres. Make sure you do your research on the agency to see if they are accepting new clients and if they will take your head shot and resume through mail or email. If you can, try and set up a meeting and come prepared with a few monologues that show your range (one is not enough) but also fit your look and style. As for how you know that it is time for an agent, take some professional classes and make sure you get feedback from the teacher. When you and your teacher(s) feel you are ready to present your work professionally that is when you are ready.
None...I got signed because they liked my look and thought it was extremely marketable.
Hey I been really looking for you please inbox me
What are some great careers for a character to have in a TV Sitcom?
I believe that any career can be great for characters in a TV sitcom. As every human can relate to authentic life and characters.
Maybe your character's looking for that great job but doesn't have one yet.
How about a college's sports information director? His or her interaction with administrators, coaches and athletes in various sports, print and broadcast media, alumni, etc., provide possibilities for plenty of good (and funny) stories.
I'm looking to produce a feature film with a budget of around $5000-$10000 with a good portion going to a name actor(s). Is hiring a casting director out of the question or do some of them work for extremely cheap? Or do many producers take on the task of casting a negotiating deals themselves? Thanks!
DIY. As above you will not enough to pay one, unless you have a connection to one, and they agree to a token payment. Good luck!
As a casting director, I'll maybe accept to work in change of film percentage points, if the script is interesting of course.
The simple answer is probably not (at least not a pro).
Anybody prefer scribing their first drafts by hand? Do you have a sacred pen or pencil nobody is allowed to touch? Journal or loose leaf? Legal pad? Why is this your preference? I personally am clumsy with computers and use it only to process further drafts of a hand written manuscript. Anybody else do this or feel this way?
My grandfather-in-law wrote a novel in longhand and had it typed up by his wife later. I respect it... and I'll write the first act or so in longhand so I can "let the juices flow" as it were... but after awhile I just get onto Highland or WriterDuet and bust it out.
I'm back in the habit of always writing a full first draft by hand. Typing it out gives me (as Ana said) access to the evil "Backspace" button, and I wind up writing the first four pages over and over...
Expand commentI'm back in the habit of always writing a full first draft by hand. Typing it out gives me (as Ana said) access to the evil "Backspace" button, and I wind up writing the first four pages over and over again. I go through phases when it comes to what I write with/on - sometimes it's gotta be a yellow legal pad, other times a spiral notebook or a journal...whatever feels right for the project I'm working on.
My handwritten manuscripts end up half college ruled half legal pad. I prefer zebra pens with the metal casing.. mine is a Zebra F-701. I have some Copic liners I have as backup just in case, but I'll settle for any old black pen eventually tbh. Felt tip pens are always a joyous welcome.
Just want to get some general feedback. Do you guys think that a flashback should be under a certain page count? I have a flashback in a script that is 8 1/2 pages. What are your thoughts?
Jodie: in the words of Villain-We-Love Frank Booth from Blue Velvet, "Let's FLASHBACK! I'll FLASHBACK anything that MOVES!" I think he said that, or something like that. Heh-heh. And yes...Robin Harri...
Expand commentJodie: in the words of Villain-We-Love Frank Booth from Blue Velvet, "Let's FLASHBACK! I'll FLASHBACK anything that MOVES!" I think he said that, or something like that. Heh-heh. And yes...Robin Harris was a great one. It's hard to believe he was only 36 when he passed away in 1990. Crikey....1990.....time sure does fly.
Jesse, I'm a little late for the discussion, but I have to agree with the majority of what everyone else has said. If the flashback works and moves the story along, then, by all means, don't change th...
Expand commentJesse, I'm a little late for the discussion, but I have to agree with the majority of what everyone else has said. If the flashback works and moves the story along, then, by all means, don't change the page count. If you're questioning yourself, then maybe you already see that the flashback isn't moving the story forward and needs to be cut down. Sometimes we tend to keep writing out scenes because we think it makes them better, when in actuality, they need to be trimmed and to the point.
You gotta be REAAAAAL careful with flashbacks as a new writer... simply because the proper use of flashbacks is one of those "learn to walk before you run" type of devices. An executive will typically...
Expand commentYou gotta be REAAAAAL careful with flashbacks as a new writer... simply because the proper use of flashbacks is one of those "learn to walk before you run" type of devices. An executive will typically see a flashback in a new writer's script and, before he's even read it, go "oh no..." It's because, unfortunately, MOST new writers overdo it. MOST new writers lean on them and other devices far too much. They take the tools that the masters have used and think they know how to use them when, honestly, they don't. THAT SAID... if you do it right, it can be a powerful weapon. It can hit you right in the gut with the feels. But tread lightly.
Hi Jessie. Please check out my latest trailer. https://www.indiegogo.com/projects/the-so-so-you-don-t-know-web-series-l......
Expand postHi Jessie. Please check out my latest trailer. https://www.indiegogo.com/projects/the-so-so-you-don-t-know-web-series-l...
Thank You!
So I've written two feature scripts, but now I would like to try a TV script, but I am unsure what the length should be. My first thought was 60 pages (if we are going by the page\minute rule), but most shows only run 42-45 minutes. Should I stick with 60 pages or aim lower?
I've just been helping my mentor out by making action notes for fight/action choreography on an AMC Network TV show script and got the chance to read everything from outline to shooting script- This i...
Expand commentI've just been helping my mentor out by making action notes for fight/action choreography on an AMC Network TV show script and got the chance to read everything from outline to shooting script- This is a 1 hour action/drama show and to give you some ideas, the writer's draft was 44 pages , the Network draft was 43 pages and the final Shooting script is down to 42. This episode has a few fight scenes, and each show has at least one big showcase fight, so it's not going to have as many pages as a drama like Breaking Bad.
It depends on a few things. Is the show going to be a half hour or full hour? What Network do you see the show fitting on? Is the show action or dialog heavy? If you're writing with a network in mind...
Expand commentIt depends on a few things. Is the show going to be a half hour or full hour? What Network do you see the show fitting on? Is the show action or dialog heavy? If you're writing with a network in mind like NBC, CBS, CW, etc, the length and format are going to be different then if it's more of a HBO or Netflix type of show. I've done some hired work for show that's currently in pre-production (on the pilot). It's an hour drama, for a regular network. My script came in at 52 pages, but there's a lot of dialog in it. I'd say 42-55 pages for a basic network, and 60-75 if there isn't commercial breaks. At the end of your day, go with your gut. You can always come back and edit. I'd say it's better to be over than under. It's easier (at least for me) to cut things out, than to try and put things in.
I'll second Dan Maxxx's suggestion of the Children of Tendu podcast - it's literally a master class in TV writing for free. I'd also suggest reading pilot scripts for shows that you 1) enjoy, and/or 2...
Expand commentI'll second Dan Maxxx's suggestion of the Children of Tendu podcast - it's literally a master class in TV writing for free. I'd also suggest reading pilot scripts for shows that you 1) enjoy, and/or 2) feel your show will be in the vein of. For example, one of my pilots lines up with the style and approach of the CW's slate, so I read every CW pilot I could find to understand how their shows break down. In the big picture, this matters most when it comes to your act breaks - CW shows run 6 acts, some other networks run 4-5, etc. Best of luck!
Hi everyone! I will be graduating with an MBA here in May. I plan to use my MBA to start my own studio (as film is where my passion lies) after graduation. I will initially be creating content for local businesses before transitioning to indie features. My one big question right now is where to move...
Expand postHi everyone! I will be graduating with an MBA here in May. I plan to use my MBA to start my own studio (as film is where my passion lies) after graduation. I will initially be creating content for local businesses before transitioning to indie features. My one big question right now is where to move after I graduate? I am currently just outside Portland, but I'm ready for something different. I've been leaning towards Austin, but recently an opportunity to live with a buddy in LA emerged and now I'm torn. Any suggestions or overall thoughts would be much appreciated!
Spencer, my niece and nephew are in the film business in L.A. Though they make a good living, they still rent out a room to help pay expenses. They also say they sit in traffic for HOURS every day. Re...
Expand commentSpencer, my niece and nephew are in the film business in L.A. Though they make a good living, they still rent out a room to help pay expenses. They also say they sit in traffic for HOURS every day. Rent a hotel room or stay on a couch for 30 days in a city --- before you decide. I'm a native New Yorker ---- for me Manhattan is where miracles happen every day.
I would recommend a smaller market like Baltimore/ Washington DC. It's small ,but it's booming and their aren't a surplus of competitors. L.A will be super challenging ,but at the end of the day it's important to follow your heart. It will lead you where you need to be.
Mr. Ramsey, I admire your passion, however there is a potential in Texas for investors to invest in your projects with a good script, a couple of endorsement letters from name talent and a good busine...
Expand commentMr. Ramsey, I admire your passion, however there is a potential in Texas for investors to invest in your projects with a good script, a couple of endorsement letters from name talent and a good business plan. Teaming up with the right people makes a big difference because this business has unethical people in it. Los Angeles and its surrounding areas is a good place to network and those dinners others are talking about, are necessary to build relationships.Last but not least, I would advise you to study every aspect of the business and do it in a work related way before you open a studio. There's lots of competition. I know, because two of my associates are struggling with their sound stages. All good things take work, diligence and focus. Keep that burning passion in a realistic way.
I'm halfway through my rough draft of my first script. It is taken from my book series, Assumptions. Now, I question myself if I should even do this project. This series, which brought in readers when it was on Amazon, is a series that continues from one book to the next. The first and second end on...
Expand postI'm halfway through my rough draft of my first script. It is taken from my book series, Assumptions. Now, I question myself if I should even do this project. This series, which brought in readers when it was on Amazon, is a series that continues from one book to the next. The first and second end on a cliffhanger. What are the chances of a producer wanting to consider something of this nature? Is it better to stick to single focused scripts, ones that don't rely on another being produced, or should I continue?
If the books weren't wildly successful, you may want to consider standalone. Have you thought of perhaps hiring a publicist for your books to maybe garner national interest for your series?
Jesse, I had a publisher, the company ended this past January 2016. The series was doing well, not NYT good, but it stayed in the top 100,000 on Amazon, which is the top 1-2% of the books listed. Ther...
Expand commentJesse, I had a publisher, the company ended this past January 2016. The series was doing well, not NYT good, but it stayed in the top 100,000 on Amazon, which is the top 1-2% of the books listed. There are approx. 5 million ebooks for sale on Amazon. There was international interest since I had readers from Austrailia, UK, Canada, Russia, Japan, contacting me. Some asked me if I would ever consider seeking deals to put the series into a movie or TV series, i know, as well as you do, that it's not that simple. I was thinking if the big screen or TV series is not a viable option, maybe creating a web series. Has anyone done something of that nature and if so what were the outcomes?
People are right, writing an average script of a great book will kill your chances. I guess we don't have the universal truth but having a second chance to sell the same thing is supposed to be more d...
Expand commentPeople are right, writing an average script of a great book will kill your chances. I guess we don't have the universal truth but having a second chance to sell the same thing is supposed to be more difficult than having a first chance. I had a similar discussion with a friend of mine, where you have to chose between a lot of work when writing your script (time to write, time to think, ramping up the writing skills... etc.) as opposed to spending a little time packaging the things that you already have established with good success: your books. Showing that your books have a niche, on several markets, and show the overall tendencies of reviews is enough to draw attention. The good thing is that it shows the stronger side of your skills and it gives the producer a full idea of how the rest of the material could stir the franchise. Then again, it gives the producer freedom to decide what he wants you to write, if ever you're the person he chooses to write the script, since (most of the time?) producers want to get involved in the writing and the development. That is why final drafts are less and less accepted. Hope that helps.
While I am a writer, producer and director, I was & am an actor 1st. If you’re a “filmmaker”, stop reading this. It’s not meant for you. If you’re an actor, let’s wax lyrical about getting paid for your work. As an actor, you may have studied your craft and have amassed a sea of dept. You may have d...
Expand postWhile I am a writer, producer and director, I was & am an actor 1st. If you’re a “filmmaker”, stop reading this. It’s not meant for you. If you’re an actor, let’s wax lyrical about getting paid for your work. As an actor, you may have studied your craft and have amassed a sea of dept. You may have done theater; sacrificing your valuable time for months at a time to be a part of something that only a theater actor can fully appreciate. You may have acted in short films, feature films, teasers, trailers, pilots and webisodes. As an actor you may have put years in to working on your craft. Why do you keep acting for free? Please allow me to clarify a point. Short films, feature films, teasers, trailers, pilots and webisodes should pay you. At the very least, they should offer deferments, so that if & when the filmmakers make money, the actors will make money. The only projects that should not have to pay their actors are student films and film challenges. You probably keep acting for free because “filmmakers” aren’t paying. “Crafty, credit, drinks.” “You will be well fed.” “Professional set.” “Fun people to work with.” “Networking opportunities.” “Considered for future work.” None of that pays the bills! It’s preposterous for “filmmakers” to pretend that those are incentives to audition for them. It is disrespectful! They’re supposed to offer that on their shoots! Yes, I understand & appreciate the argument that actors have to first build up a resume. However, at what point should you get paid? For me, and on my projects, if an actor with no resume has the "look" and the ability to pull off the role, they should be paid! Often times, it’s not necessarily their resume that earns an actor their role. It’s their look and their abilities, but that's another post. Whether or not they are a good person with a great energy also factors in on the casting, but that’s another post. Fellow actors, let’s look at the power we posses. What if you stopped acting for free? What if all of your actor friends stopped acting for free? What if every actor stopped working for free? “Filmmakers” would have to start paying you. How would “filmmakers” get money to pay you? They’d have to secure funding for their projects. How would “filmmakers” secure funding? They’d have to approach investors or stage crowd-sourcing campaigns. They would have to write and/or find great screenplays that would attract investors and/or crowd-sourcing campaign donors. But really, that’s none of your concern. That’s the “filmmakers” job. Some might ask, "isn’t that what a producer does?" Well, isn’t that what a “filmmaker” is? Somewhere along the line, compensating a cast fell out of the job description of a “filmmaker”, and that is disgusting. It is unacceptable. It's disrespectful. “Filmmakers” figure all costs in to their budgets. They should add the cost of paying you. You are bringing your skill set and your abilities to do the job you’ve been hired to do, just like everybody else on a production set. This article isn’t meant for filmmakers. It is meant for actors. It is meant to get us thinking and talking about the powers that we posses. We can have a domino effect in getting paid. We deserve to be rightfully compensated. We are to be treated with respect. I hope you all are well! If this post resonates with you, please share it on social media. Respectfully, Marcelo Dietrich https://twitter.com/MarceloDietrich
Well a novice and a wannabe are two different things; I wish you could stay at a point and I would follow more consistently and relevantly. I believe I have hit every point necessary of being made, in...
Expand commentWell a novice and a wannabe are two different things; I wish you could stay at a point and I would follow more consistently and relevantly. I believe I have hit every point necessary of being made, including the initial point of the post; "This Post Isn’t Meant for Filmmakers. It's Meant for Actors." I believe Marcelo prefaced his post as such to indicate it's intent. Obviously a filmmaker will be defensive of this point, they are the ones not paying. This post was intended to unite Actors with knowledge and a cause; one that I believe in fervently! And, of course you could judge how others' interpret your comments; but it would be better to judge your own comments. In fact it would be a good tool to learn how to pose future posts so that they are more likely to be accepted and your valuable opinion goes farther and is more lucrative to the community you are part of.
I've been in over 50 theatrical productions, and was paid for only three of them. While I'd love to get my SAG and AEA cards, two things hold me back: first, I need the day job to pay the mortgage; se...
Expand commentI've been in over 50 theatrical productions, and was paid for only three of them. While I'd love to get my SAG and AEA cards, two things hold me back: first, I need the day job to pay the mortgage; second, in my professional gigs, I moved tables and was an understudy, while as an amateur, I have played leading roles in great classic and contemporary shows. I got a late start in acting, so I don't have my 20's, 30's and 40's ahead of me to establish a reputation and network. I consider myself a competent and successful actor - I just don't get paid for it.
So true!
4/25... 5 WME LITERARY AGENTS" (310-285-9000) are ERIN CONROY... ANNA DeROY... CAROLYN HARRIS... ERIC REID... and a 6th is LAUREN HELLER WHITNAY..... William Morris Endeavor's address is 9601 Wilshire Blvd, Beverly Hills, CA 90210.... So now you know (A) an Agency, (B) 5 Literary Agents, (C) a Phone...
Expand post4/25... 5 WME LITERARY AGENTS" (310-285-9000) are ERIN CONROY... ANNA DeROY... CAROLYN HARRIS... ERIC REID... and a 6th is LAUREN HELLER WHITNAY..... William Morris Endeavor's address is 9601 Wilshire Blvd, Beverly Hills, CA 90210.... So now you know (A) an Agency, (B) 5 Literary Agents, (C) a Phone number and (D) an Address.... The saying is "You can lead a horse to water but you..... " .... If you don't know what to say when you call go to my "NO-BULL FILM BLOG".... it's FREE... and learn the talk.... Happy Filmmaking.... DOV SIMENS
4/25... 5 "CAA" MOVIE FINANCING & PACKAGING AGENTS (424-288-2000 424-288-2000) are MICAH GREEN... ROEG SUTHERLAND... BEN KRAMER... LAURA WALKER... DAN STEINMAN (NY)... Creative Artists Agency address, for script & budget, is 2000 AVE of STARS, Los Angeles, CA, 90067. When you call be to talk Cannes...
Expand post4/25... 5 "CAA" MOVIE FINANCING & PACKAGING AGENTS (424-288-2000 424-288-2000) are MICAH GREEN... ROEG SUTHERLAND... BEN KRAMER... LAURA WALKER... DAN STEINMAN (NY)... Creative Artists Agency address, for script & budget, is 2000 AVE of STARS, Los Angeles, CA, 90067. When you call be to talk Cannes Pre-Sell, Louisiana Tax Credits, Netflix On-Demand, Apple Product Placement, 50-50 Net Deal, 65% Gross Profits, Shrinking Windows & China Theatrical…. If not read my FREE… “NO-BULL FILM BLOG… at www.WebFilmSchool.com... DOV SIMENS
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I use writerduet. Is it the best? who knows? But its not the software that gets you a deal! As long you find it user friendly and has the features you like then write.
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These Zombie posts never die.
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I suggest you use writer duet.