Screenwriting

Yes, William Martell, read a Walter Hill script. Hill's STREETS OF FIRE is a fantastic read.

That's so interesting! I didn't realize that was even a thing. So I suppose it would the effect of making the actual product faster-paced with snappy dialogue?

22-year old Shane Black wrote the modern screenplay format with Lethal Weapon.

@Dan thanks for sharing!

I concur with @Mauricio. From the job reqs I've been seeing they're 60-80 90 sec (1.5 page) episodes. Sure teaches you to make your scenes snappy.

Way to go, semifinalists! Congratulations...and here's to even more success!

Cheers to you all! So thrilled for you.

Does anyone know how many finalists there will be?

I think there's usually 10 Finalists, Sam Kesler.

Thanks, Dustin, you were correct! Unfortunately, I wasn’t one of them. The good news is that the script submitted for the contest, is three months worth of revisions better.

Claude Gagne, I think WriterDuet can import a pdf. It might not be perfect, but all you would need to do is give it a proofread or too, updated the contact details, and export. That would negate your email address issue.

I believe you can keep deleting and creating new project files as you see fit. As long as you only have three active at any time, it's free to use.

If you do decide to go for a paid tier, keep in mind Script Revolution Rockstar Members get 30% off the subscription price.

"I believe you can keep deleting and creating new project files as you see fit. As long as you only have three active at any time, it's free to use." You're right, CJ Walley.

Technically, the best free software is Windows Notepad. When you're in the process of writing, you don't want to be editing. Seeing little squiggly lines on spelling and grammar makes you want to keep backspacing and fixing things. I start most things in Notepad. Plus, the files are small and don't run into memory issues as the page count grows. Final Draft or other software can import it later.

As an example:

INT. DEFENDER LIMO - NIGHT

Pikul drives. He can see why the limo is an off-road vehicle: the road is terrible, dirt and gravel, stutter potholes and sharp ridges, the occasional fallen tree.

PIKUL

(manic, scared)

I normally like the countryside, don't you? Normally, the country is relaxing and calm.

I use Trelby. Trivial and intuitive, so it is easy to learn.

@Christopher that's so interesting!! What a great idea.

It's certainly useful to putting together the complete package to make the movie.

I have created 22 hours of no-budget films, including 3 comedies which is each slightly more than 100 minutes long. I have never done any storyboarding. But I can understand the value for others.

I know AI is a TOUCHY subject, especially in the screenwriting community (and justifiably so) but just as an FYI, I know of someone who storyboarded their entire script using MidJourney, which is not a function I would have ever thought of for it. I think we can all agree that we don't want AI writing scripts, and frankly, I am not a fan of it being used for any public-facing advertisement art or graphics, but how does this group feel about using it privately for that function to help you better visualize your story or help others see your vision?

It's up to every writer what they wanna use, Tom Lapke, but I won't use AI publicly or privately for storyboards, loglines, scripts, etc. Screenwriters were doing these things without AI before, and we shouldn't need them now.

Tom Lapke I think that's person-to-person. I can understand a creative wanting to complete the process themselves. And I can understand using Midjourney for specifically reference or inspiration purposes: not letting that be the final product, but a jumping-off point. But as you said, touchy subject, and I tend to lean against AI in general.

I like Preston Poulter point, the stress of working hard towards a goal you disagree with may not be worth holding your peace. Perhaps a conversation with the director and the producer as to if they feel these overhaul changes still carry the weight of the original story, and if not then you've got to decide if you're going to go along with them. Sounds like a sticky question indeed.

Dan MaxXx I can only hope it provided for a payment to the writer.

A screenwriter's main goal is to be produced. The option will usually state how many expected rewrites are to be done. Rewrites are not polishes. A rewrite is a substantial updating of the script. Options usually assume a minimum number of rewrites an the original writer should get first crack at rewrites.

Obviously, no one wants to be taken advantage of and have "unlimited" free rewrites beyond the initial option specifications. However, if the original writer doesn't do it, other writers will be hired, which will dilute the % of work attributable to the original writer for screen credit.

Options usually have time limits on them. The payment structure will usually depend on the project starting production. So, if the changes aren't done at all before the time runs out, then no payout. Eventually, the option will expire and revert back to the writer. But that means starting all over again trying to get it optioned and produced.

Occasionally, a writer will have to walk away from the rewrites because the expected changes aren't in the writer's wheelhouse like an action story gets turned into a rom-com and that's not something the writer can do. That's understandable.

But, right now, the producer has the rights to the story. So, it's important to try and make it make work within reason.

Thank you for your input: the option agreement is a WGGB template. It has time limits, and something I hadn't noticed until I read the comments - there's a reference to WGGB rates for first and second drafts, which, when you dig into them, provide for funding, albeit not very generous. Anyway - the tension here is about how far the director's vision can be from the writer's original idea and still be workable. You might say that, as a new writer, I can't afford to be fussy: that's certainly what I'm thinking. But there are limits to everything. My purpose in posting was to establish how common this is and how you deal with it.

Steve Mallinson Well, if you're getting paid guild rates to do the re-write...

Congratulations, Finalists!

Your post reminds me of something I do when I outline characters, Craig D Griffiths. I think you mentioned that you do the same thing. I'll do a relationship chart kinda thing (I don't have a name for it) where I'll show how each major or minor character affects the other characters (major or minor). And I'll include how they interact and how they feel about each other.

Maurice Vaughan John Truby calls it the Character Web.

Protagonist -> ally(s) -> false ally that eventually turns on the hero

Antagonist ->ally(s) -> false ally that eventually turn on antagonist

Ok, thanks, Christopher Phillips. Yeah, similar to that. I'll really go into detail with them, and it helps me think of backstory, scenes, dialogue, etc.

I believe a character needs to have “skin in the game” (for Aussies a dog in the fight). A character needs to have a reason for their involvement. For example.

You hear a young couple arguing on a bus. He says something dumb, she gets off the bus. You may think of a hundred bits of advice, but you stay quiet, because you are not invested in the outcome. Now if that was your brother, you may give them advice. You are invested in their happiness.

You often see characters that only exist to give advice or information. It bumps us, feels poorly written. When we write them we get told, they are one note, flat or unmotivated. We get this advice because the note giver may not understand why they feel the way they do about the character.

A character needs to have an imprint on your main protagonist's character arc, or at least in the overall grand scheme of things. Otherwise, it's a waste.

Given your stated interests for women defying expectation, you might like my historical drama about the only two women to become WW II fighter aces, White Lily.

Available at your local comic store:

https://globalcomix.com/c/white-lily-graphic-novel/chapters/en/1/1/1

i recently wrote a western female driven that is winning awards on festivals circuit. I’d love the info from inktip thank you sincerely

You may need to join InkTip to submit (which costs something), but here's the lead - and good luck!

We are looking for completed, feature-length female-led Western scripts (period pieces and contemporary stories will both be considered). We are specifically looking for scripts set in 1-2 locations with a small yet multi-ethnic cast, little to no stunts, no nudity (PG rating only), and no special effects. We specifically would enjoy scripts that have horses, cattle, and are set in a Rodeo-type setting in California or Nevada, but these are not necessary to submit.

Our budget is not to exceed $250,000 if you have no cast attachments. If you have name talent attached, the budget can be higher. Both WGA and non-WGA writers may submit.

To find out about this company AND submit to this lead:

1) Go to https://www.inktip.com/leads/

2) Copy/Paste this code: 4wkq9vqznx

Thank you for posting and one of the best things about this community is the support.

You're welcome, and I hope we'd all do this for each other :)

My best tip is to network with producers, directors, DPs, actors, writers, editors, etc., Göran Johansson. Here are blogs on networking: www.stage32.com/blog/tags/networking-41

You could also post your loglines, synopses, and scripts in the logline section of your Stage 32 profile. Producers, directors, etc. search profiles for projects.

And you could search for producers, directors, etc. on IMDbPro (https://pro.imdb.com/signup/index.html?u=http%3A%2F%2Fpro.imdb.com%2F).

I agree with Maurice Vaughan Your Stage32 profile is a great free way to have your screenplays seen. You can also use a free website builder and have additional information on their as well.

What people to see? I've been a professional screenwriter for 34 years now and I don't think anyone comes to my website to look at scripts. If I want people to look at my scripts, I usually query them with a logline or meet people in person, and if they request a script I send them a PDF. Though I do have scripts hidden on my website, those are for my lawyer to grab if he ever meets someone looking for something (which almost never happens). Mostly my website ScriptSecrets.net is a Free Screenwriting article every day (since 1998) to help new screenwriters. Nobody comes to you in this business, you need to go to them.

Carl, you’re in the right place! Make sure you put it up on your Stage 32 profile under your profile section. This way our community of over 1 million people and the thousands of executives we work with can see it!

Got optioned via Script Revolution...also good place, especially for feedback is Simply Scripts...I was approached by a director for one of my shorts recently, I figured he saw it there...

William Martell I like to watch your Film Courage interviews. Good stuff.

Dan MaxXx Interesting how he added extra spaces between some words. Gives a sense of pacing and makes the page easier to read.

I was told a number of years ago to capitalize AUDIO but just recently I was told that you no longer do that as it is distracting. So I stopped doing it, and I think it does read much more smoothly. I will say that keeping up with do's and dont's like that can be difficult at times.

Yes, Christopher Phillips/@DanMaxx, Shane Black's THE LAST BOY SCOUT was an excellent read.

Christopher Phillips I dont think Black used computers to type then. Could be a typewriter thing. I noticed there are two or three spaces after period. lots of "orphan single word" sentences

Dan MaxXx You're right. Just looked at an old article and he beat on the typewriter with two index fingers to get his screenplays out.