Issue Twenty nine

 HOLLYWOODSCRIPT.COM NEWSLETTER

Welcome to the latest edition of the Hollywoodscript.com Newsletter, which is published by script consultants Craig Kellem, Judy Kellem
(http://www.hollywoodscript.com)

THIS NEWSLETTER IS NEVER SPAM.

You are receiving this newsletter because you expressed an interest in screenwriting by subscribing to this newsletter OR requested a read or a free query letter evaluation from Hollywoodscript.Com(s) Craig Kellem or Judy Kellem.

If you do not wish to receive this newsletter, please reply to this E-Mail and put the word "UNSUBSCRIBE" in the subject line.

The purpose of this newsletter is to share information, ideas etc. concerning the fascinating (and elusive) world of screenwriting.

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IF WE DON'T ANSWER YOUR EMAIL PLEASE RESEND IT AND PLEASE MENTION SOMETHING
ABOUT WRITING ON THE SUBJECT LINE. WE LOSE SOME MAIL DUE TO SPAM. NORMALLY WE
GET BACK TO EVERYONE!!
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GOOD THINGS

We want you to know how happy we are with so many clients emailing us about the
good things that are happening to them. We feel honored to have contributed. A
really dynamic script on which we worked is now about to become a major offering
and tied to an "A'" list Hollywood producer and production operation. Soon to be
announced.

Another client (a recent contest winner) has been back and forth to L.A. Meeting
with some powerful players and is in the process of being read by one of the
biggest stars in captivity. Another just bagged a top agent for her script in
record time to boot.

Last months winner Joyce Capron just sent this welcome communication. She really
got into a proactive mode using her winning coverage etc with great results.
Suggest that you read what she has to say. She knows how to take an opportunity
and truly run with it.

CAN-CAN ON THE COUNTERTOP
by Joyce Capron

" Come on out! You're ready." Picture Craig Kellem opening a door and yelling
at me, in the closet, about my screenplay HAPPY, NORMAL.

If it wasn't for Craig, I'd still be scribbling in the dark with the mops and
boots. Unseen, unread. Until recently, only a handful of people knew I was a
writer--a writer giving voice to characters from the seedy neighborhoods of her
subconscious, a writer still at it in the face of long-term nonsuccess. Those
who knew of my obsession I made promise not to talk about it. Why add to my woe
by getting a reputation as a psycho?

When I got Craig's e-mail saying I'd won the contest, I felt like a roach must
feel, when you find one on a countertop and shine a light on it. Exposed. And
what would the roach do? Dance the can-can with all six little legs, until a
fatal dose of Raid shuts down her show? No, she'd run away. Obscurity is safe.

Notoriety is scary. My writing was private and now, it's out there. Queries
about HAPPY, NORMAL have gone out to hundreds of complete strangers. Egads.

So far, so good. No one's called me up at 2 a.m. saying "Your screenplay is
about to be shot." But I'm dancing in the spotlight, savoring the notion that
I'm on the brink of a satisfying career.

Forty-two producers have requested HAPPY, NORMAL, and only one sounds like a
creep. I'm still getting requests over two months after my win. My readers go
from indies making their first feature up to a guy in LA whose last picture had
a budget of fifty million dollars. Plus, I've found an agent.

To get to this point, I've had to sweat. I finished HAPPY, NORMAL a few months
ago and sent it out to Craig. He called it "raw material."

" If you want people to read it, you've got to make it readable," he said. He
pointed out places in the script where readers would find it hard to follow the
twists and turns of the plot, and passages where the emotional state of my
characters was not coming across, and scenes that went on too long or should be
cut entirely.

Craig is not easy to please.

That's good, because when he likes your stuff, his recommendation gets you read.
The ScriptBlaster e-query to producers, part of the prize, brought in nine
readers the first day. Others responded to Craig's e-mails to a select list of
producers and agents willing to consider new writers. Others contacted me after
seeing coverage of HAPPY, NORMAL on the HSC web site, or the listing on
InkTip.com, both part of the contest win package.

HSC script coverage is a useful selling tool. I send it with scripts. Readers
(typically, entry-level assistants) get stacks of stuff, and may not get around
to reading a script until weeks after they receive it. Once they pick it up,
the coverage reminds him/her what the story's about. If and when the assistant
passes the script on to the producer or agent, the coverage helps them explain
and promote the project to that person.

Overall, the HSC experience is about branching out. You go from writing alone
to writing with Craig. He asks tough questions that lead to tough rewrites.
" Why use this word?" "Why does that happen?" He considers every line, and you
can talk to him, argue with him. What he does is script development, the art of
incorporating other people's ideas into your own--because that's how movies get
made (unless you're an auteur). Filmmaking is a group thing. He also tells
you where the script needs to go, to make it marketable.

Craig tells me the process I've gone through is a rehearsal for what I will face
if and when I get a meeting with producers--a chance to pitch HAPPY, NORMAL to a
room full of people who ask tough questions. I can see myself there.

Will it be a party? Or a bug-crushing disappointment? We shall see.

joyce.capron
joyce.capron@bhawk.com

FROM OUR CURRENT WINNER

Dear Judy

Remember my first email to you? - "This is a huge cry for help all the way
from South Africa ..."

Being an Afrikaans speaking writer, busy taking on a very first project in
English, I wasn't quite sure then whether Hollywoodscript.com. would suit my
specific needs. Or would be "inviting" towards somebody living so remotely far
away from "the big industry pro's." It was scary.

However, the moment when your first email reply hit my Inbox, I felt embraced
and inspired.

Since that day you have certainly opened a new vision on my story, my writing,
my way of thinking about scripts. Reading and studying your invaluable notes
and comments, written with such amazing insight, I found it hard to believe that
there was actually (at last!) somebody out there who
knew the potential of my screenplay indeed better than I did myself. You've
been an incredible mentor! Many, many thanks for your patience, Judy, your
dedication, your distinctive voice has led me through the revisions in such a
kind and caring way.

And thanks to you and Craig for tweaking my synopsis and making it shine! I
couldn't have done it without you. I am deeply grateful.

Hollywoodscript.com has made me fly. You've made me hear the stars up there
cheering. And let it be known loud and clear that I am the proudest contest
winner you've ever had.

Baie, baie dankie!
With warm blessings from Saldanha

Esta Steyn
estastyn@mweb.co.za
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LET'S GET INTERACTIVE!!

In our ever relentless effort to communicate worthwhile techniques and ideas
concerning the craft of screenwriting and the like, Judy and I have come up with
what we think might be a novel and productive way of actually practicing some of
the notions we've been preaching.

As you know, we are great believers in the thesis that writers should be
constantly looking for ways to upgrade scenes and characters. You say "BUT OF
COURSE, that goes without saying." But we have found in actual practice that
many many writers get down the first or second blush of a given idea or passage,
then take a victory lap and go on to the next piece of business.

It's not nearly enough.

Scenes are there to not only further the story, but also to INTRINSICALLY
entertain us. In fact, each and every scene can be considered, "CONCEPTS UNTO
THEMSELVES." Similarly, we find that extra touches with characters can make the
difference between adequacy and breakout. This all requires work and a backwind
of MORE!

But how do we do this?

The short answer is to simply BE AWARE that it needs to be done and not rush
through material. Your characters and passages must be fully realized,
creatively maxed out before you can call it a day. And much of the texture and
nuance you can add may be derived from your own guts and life experiences.
" Life is rife with evocative moments, large and small, which create powerful
feelings. Insights. Unique situations. Quirky fascinations that linger about
in our minds. In fact, characters, scenes and moments modeled on real life
experiences that touched the writer, can carry that original feeling (call it an
" X" factor) into the material."

Need a demonstration of what we're talking about?

We want to put our money where our mouths are. We invite you guys to send in
some SHORT scenes (not more than 3 pages that you are willing for zillions to
eyeball). PLEASE INCLUDE A VERY BRIEF SETUP/ORIENTATION TO THE SCENE JUST SO WE
CAN GET A FEEL FOR WHAT TYPE OF SITUATION WE ARE ENTERING . And we will PROVIDE
FEEDBACK IN THE NEXT NEWSLETTER ON HOW IT CAN BE STRENGTHENED/UPGRADED/IMPROVED.
THE NOTES WE WILL PROVIDE ON SELECTED SCENES are our attempt to demonstrate the
kind of thinking and technique that goes into this kind of upgrading /alchemy.
If you don't have a scene but an idea for one that's OK too.

As mentioned, we'll do as many as we can so please don't be
OFFENDED if we don't do yours - I'm sure all who are interested in this kind of
exercise will benefit from that which we can incorporate into this newsletter.

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GHOSTWRITING

Although our main function here is script consultation and developmental
services like our Works in Progress program (ie: WIP), there is an occasional
request for assistance beyond this, namely actual writing from our end. In the
universe of writing, this need is not atypical at all. Sometimes writers just
need a little relief from the bullpen. In Hollywood an occasional change of
horses is business as usual. In TV for example there are large staffs that
rewrite each other every day.

Most of the time we have chosen not to heed to this call (for various reasons)
and it's not part of our agenda to be involved in "partnerships." However, we
have and do accept writing jobs once in a while as GHOSTWRITERS. In such cases,
we do everything from rewrites to polishes - and have even redrafted an act or a
section of a given script in order to demonstrate what we hope is a higher level
of effectiveness. This can be inspiring in creating a better aesthetic direction
for the original writer re the balance of the script.

Please be advised that this service can be an intensive effort and does not come
cheaply. Cost obviously depends upon the amount of work involved and issues of
credit or future financial rewards (if the material is produced) are relative to
the specific job. (In most cases we remain ghostwriters in the truest sense:
anonymous uncredited helpers, where whatever you get from this is yours, we
simply fade back into the sunset. If, however, there is major rewriting involved
and reworking of entire storylines, character reinvention etc. we reserve the
right to negotiate.)

Judy does the writing, Craig serves as the consultant on the job and the writer
temporarily becomes a producer/writer in effect with the full right to be
consulted and approve in advance proposed changes and also to give comments on
the material that is produced.

This service is not for everyone, but can be very valuable in certain cases. As
mentioned, more often than not, we are only interested in a simple fee for
services rendered. (Please note: We do charge for the time involved to go over
your material (if it's hefty) if you want us to do this assessment etc). Please
contact us if you would like further details.

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***Do What Works!***
InkTip.com has proven results: From the scripts that have been acquired through
our network, eighteen have been produced in the last 24 months! For more
details, see www.InkTip.com/endorse.php
Get your scripts seen at http://www.InkTip.com!

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SCRIPTBLASTER has an incredibly vast data base of producers, agents, managers
and the like. They can zap your coverage or query directly into the hands of
many viable Hollywood producers, agents, managers etc. A unique feature is that
the emails will be generated from your own personal email so industry
professionals will respond directly to you. (http://www.scriptblaster.com)

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If you want to find out more about Hollywoodscript.com and the work we do with
screenwriters and their scripts, please
visit our site at http://www.hollywoodscript.com
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