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)
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CREATIVE SCREENWRITNG MAGAZINE FEATURES HOLLYWOODSCRIPT.COM
As many of you might have noticed, we were honored to have been featured in the
July/August issue of industry powerhouse CREATIVE SCREENWRITING MAGAZINE
http://www.creativescreenwriting.com/. The article, by Patricia B. Smith, was
about contests. As you know we have a MONTHLY contest offering solid industry
exposure for winners. For those who missed this article please go to:
http://www.hollywoodscript.com/csinterview.html
Here's a quick sample excerpt:
"
We've had a lot of success with this" (ie: the contest), Kellem says. "We
have
people who've gotten great responses; they've been optioned by producers, gotten
agents and managers, and development deals. It's very satisfying when you have
a
writer out in the middle of nowhere, sitting...writing good stuff...and nobody
knows it. Then the magical day comes when they're on the phone with a famous
movie maker."
Kellem believes the most effective marketing tool any writer can employ is to
take out only scripts that are truly ready. "It's amazing how many amateur
writers are out there who write terrific material and write better than many
of
the professionals working in Hollywood. The only difference is persistence. The
people working in Hollywood keep putting themselves out there until something
happens."
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AN IDEA ISN'T A CONCEPT!
by Craig Kellem
This is fast world in which we live. And how anxious we all are to get directly
to our (hopefully) plentiful destinies. Perhaps I notice this with writers more
than with others out there, but maybe I'm just more focused on our brethren.
But
I suspect this aspect of contemporary living is everywhere.
What I'm trying to say is that too many writers are rushing projects, seemingly
going for the final draft TO GET IT READ PRONTO BY THE POWERS THAT BE before
they've spent enough time in the sandbox spawning the prerequisite "art." In
fact, there are more writers than you'd believe who start writing screenplays
before they even have a solid concept.
I'm serious.
You need a real CONCEPT before you can DEVELOP a movie project. It needs to be
thought through, fussed over, examined, obsessed about, vetted, loved etc. And
please remember that AN IDEA ISN'T A CONCEPT! A concept isn't a one or two line
notion. It's a fleshed out "creative invention" brimming with potential
and
ready for the next step on the assembly line, namely development.
Sometimes, on the heels of an underdeveloped creative flash, and on the wings
of
our longing to get there, writers commence with ill-conceived projects, and via
the adrenaline which ensues, don't realize their (often) fatal mistake until
it's too late.
Often writers can misunderstand what a solid concept actually is. For example,
I
was talking to a writer recently who tried to justify his screenplay which was
"
about nothing," with the TV shows Seinfeld and Curb Your Enthusiasm. Boy,
was
he ever off! These shows are HUGE concepts involving tremendous strategies which
cleverly mine "the little things" in life, and frame them through a
prism of a
certain kind of convincing reality. What ingenuity it takes these show-makers
to convince you it's all real, and what skill and preparation it takes to
explore these kind of niche creative areas that so few other practitioners have
ever been able to exploit in such a way. Bet Larry David and the gang took their
time developing them. Lots of hit and miss, back and forth etc etc..
Another example that comes to mind would be a recent contest winner, Jim Janosky
whose concept was about a guy intent on killing himself and who takes a ride
across the country as a prerequisite to the big jump into eternity. There are
many writers out there who might have built nicely onto this notion but maybe
not as much as is needed and this could end up on the pages. Janosky (who's
getting tremendous reaction to the script as well as some serious action-and
who's given me permission to tell you all this) had his work cut out after
hatching the initial idea. THE IDEA WAS NOT YET A CONCEPT-he really had only
just begun. What followed included MANY hits and misses in the INITIAL spawning
process, followed by the slow carving out of the beginnings of a terrific story
threads and subplots, one involving a relationship with "a one of a kind" mangy
dog, that he finds along the way and with whom he shares many dubious and
poignant parallels; a string of unique and juicy completions of old rivalries,
resentments, and lost love situations; visits to outrageous, story rich and
unique places, and finally a fateful hookup with an old guy, and some nice folks
from whom he derives new strength and sparkle (so much so that he finally
decides to hang around on Earth a little longer). All of these nuggetts (plus
lots more) had to be invented and carefully placed into the matrix, before the
CONCEPT was fully realized and then fully developed.
High Concept is also a candidate for real thought and scrutiny before a script
should be started. A old favorite of mine is the movie BIG. What a good idea
it
was to explore what would happen to a kid who makes a wish to be grownup and
then gets it. But did the writer know what he had when he first came up with
this fanciful notion? Could it have been, after scrutiny, just another cute idea
that might make a good sketch on a SNL, or a "C" subplot in a sitcom.
Many
might have declared victory after coming up with this idea and started writing
early, on the wings of all the obvious schtick that comes to mind and general
manifest destiny -like situations. This writer didn't. The concept was explored
and tested with the many possible ways to go, and tones to take, not to mention
other important considerations, such as what level of reality should be
maintained and how much humor should be injected, the whole nine yards. The
final choices worked well. Things such as putting the kid in a job as a toy
company maven, juxtapositioning the grown up kid with his little buddy (who even
while being aware of the situation, no longer fitted in) were excellent choices
which enhanced this idea and helped turn it into a real concept. At some point
after all this labor and sifting, a solid framework was decided upon and then,
and only then deep story development commenced.
The point that I'm trying to make is that one must fully dance with the idea,
allow it to breathe, grow and broaden into a fully developed concept followed
by
the next step, involving lists of scenes, moments, bits, and pieces and then
begin to connect them into story threads, etc etc before even thinking about
the
actual writing. And in doing these things, allow yourself to appreciate the
wonderfully uncomfortable feeling of not commencing with the screenplay until
the concept and all its adjuncts are FULLY realized.
Another symptom of this sometimes "rush to nowhere" are well-intended
writers
who seek instant technical solutions to artistic problems. So many want to be
provided with the correct note on the correct page, so that the situation or
problem can be IMMEDIATELY resolved. The real problem is that we sometimes don't
grasp what's really needed, which might be a fresh creative turn, or an ounce
or
two of new artistic inspiration, which only comes from REALIZING THAT YOU NEED
IT, AND BEING WILLING TO SPEND THE TIME WALTZING WITH THE ARTISTIC MYSTERY
PROVIDER WITHIN OURSELVES, THAT ALWAYS COMES TO OUR RESCUE IF PROPERLY NOTIFIED
BY A PATIENT SUITOR. The point is that some things are simply not found even
in
the fattest encyclopedia!
Hopefully my point here is clear and can be illustrated by my recent
communication to a young writer --"your material continues to feel like
the
proceeds of somehow patching things together, rather than something born out
of
a burning creative vision dying to be expressed. You seem more like a guy who
can't wait to write a script rather than one who has a script to write. Please
consider this and take your time, you do good work and it deserves to be treated
more delicately"
And as for the perceived urgency of getting your script read I say this-getting
your script read is NOT the problem. It's getting your script RIGHT so that when
it gets read, something good happens!
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ACTION IN ARIZONA!
Craig,
I just wanted to let you know that I posted the
message below to the Arizona Screenwriter's
Association. (126 members and growing)
Thanks again,
Tim Bechen
(Posted Message)
Hollywood Script Consultant service
From: TBechen
I've recently used this service and highly recommend
it to those who are seeking more than script coverage.
There's a quick turn-a-round time with a line-by-line
review of your script at a reasonable price. It's a
professional evaluation with constructive suggestions
on how to make your script the best it can be. I've
found more useful information on this website than
I've found in any three screenwriting books. Check it
out.
Thanx Tim--much appreciated!
_________________
MORE ON STAGE DIRECTIONS AND LAYERING
Q-I'm working on a script, and although I understand the notion of using STAGE
DIRECTIONS (ie physical indicators on page such as "he looks nervous" or "they
lock eyes" ) and LAYERING (activity of some kind to offset sedentary material
like long conversations), could you show me something to demonstrate how this
works. thanx.
A- HERE'S A SCENE THAT CONTAINS LOTS OF STAGE DIRECTIONS AND IS LAYERED A TAD
AS
WELL.
A young couple, Tom and Mary, are sitting by themselves. It's late at night.
Tom looks very agitated.
He paces around.
Mary
What's the problem?
Tom
What are you talking about?
Mary (concerned)
You always act like this when you've got something on your mind. Spit it out.
She begins to undress. He tries hard not to notice. As he
takes a deep breath, they lock eyes.
Tom
I don't know, I just get a lot of thoughts about you...I don't like what goes
on in my mind, but I can't seem to stop it, it's like a diarrhea attack or
something.
Mary (stops undressing)
Thoughts? What kind of thoughts?
Tom hesitates.
Mary
Tell me.
Tom (softly)
Sometimes I wonder if we're right together...I get these stupid thoughts about
your voice...that it's too, shrill, and like how am I going to be able to listen
to it... for the rest of my life?
Mary takes a deep breath.
Tom
And I know that you're really pretty, but sometimes when I look at you, I think
you look like, well, like kind of a fuzzy toy animal thingie...I know it's just
a crazy thought but..
As Tom proceeds with his mea culpa, he begins to tear up and ironically draws
closer to Mary. At the same time, even though Mary is being insulted on a level
that she never has before, somehow in his execution, the words are not coming
out harshly-- the tone is soft and his eyes dance with a kind of tearful
surrender.
Tom
I mean... I like animals. A lot of them are cuter than people. But I can't get
this thought out of my mind that you look like this bird ...that we used to have
when I was a kid.
Mary(going with the flow)
I don't mind being a bird. I could even chirp for you if you like.
She smiles warmly.
Tom
And there's more.
Mary(as she begins to undress)
Why don't you tell me after I slip into something more comfortable...like you.
Tom
What I'm trying to say is, that I think I'm madly in love with you, and I'm
trying to kick my feeling out the door.
Mary
I know...I love you too.
______________________
MORE CONSTRUCTIVE CRITICISM! (BITS AND PIECES/SAMPLES OF FEEDBACK WE'VE GIVEN
TO
OUR WRITERS)
*The bottom line to your fundamental question is that if material is good enough
it can "sell itself." You don't have to be out there to make it happen.
Of
course there's work getting it done--queries, submissions, entering contests
and
the like. And it doesn't mean that you won't go through an obstacle course and
that it will probably take a ridiculous amount of time. But it's my experience
that sooner or later the Missouri crosses the Mississippi and justice is done.
This doesn't necessarily mean a script will sell but if it's really good
something usually happens. A door opens, an invitation to submit down the line,
an agent appears etc. But let me be clear: the process can be a real pain in
the
ass, and it is smart not to let hope and expectations overwhelm you. There are
many talented new -ish writers sitting in motel rooms in Hollywood, full of fear
and loathing because it's not going their way fast enough. An ugly way to live,
let me tell you. This is a PROCESS where it's best that the writer keep churning
stuff out, tending to marketing duties (about ten percent of the time), and
leave the results to the universe. All the while never quitting the day job,
until and unless it happens.
*At this point, this script is disproportionally "sizzle" oriented
rather than
substance (story) oriented, and that ratio needs to change, as story is always
the horse that pulls the cart. And not just any story. All story threads,
including the main event, must have credibility/believability/relate ability.
This is a great secret in the elusive pursuit of making people laugh. A guy in
a chicken suit only has so much shelf space, but feasible comedy with raison
d'etre, heart, poignancy, and, indeed, drama, can be eternal.
*As discussed, you sure picked a tough arena for an existential "make it
or
break it" moment of truth. I know about four people who could figure out
how to
keep a herd of people in one location shucking and jiving successfully over a
two hour
block of time. In my view you should pick a kinder and gentler playing field
for
yourself. So, it's a tribute to your good writing, wit and insight, that you
did
as well as you did.
*As mentioned, I'd avoid the tendency to overwrite and overdo things, but my
theory on this is that you did it because you were short on "real material",
which can cause the best and the brightest (like yourself) to overdo what they
actually have. The real trick
then would be to create more plot so that you don't have to stretch.
*Both J and R need more discernible characterizations/personas SOONER rather
than later. Saving the full wad of disclosure cheats the audience of their
prerequisite right to have some early realization about who's who and what's
what. To receive hints early on that we are dealing with a couple of guys who
are down on their luck, fragile, vulnerable, and even desperate, automatically
whets our appetite to want to know more about them. This applies in a story
sense as well. Because if they're both basically okay and only doing their
normal day-to-day activities, then what's your story franchise?...The bottom
line is this: give these characters more conflict, angst, obstacles, woes, and
situations, and they will automatically become more interesting, and also their
dreams and goals will become more story-like because we will be worried about
them, rooting for them, and wonder "what's going to happen next?" That's
the
essence of what story is about and why we continue to turn pages.
*Although there's lots of room for good fun and spectacular action, the "crime
story" must also ring true and, in its own way, be as dynamic and inventive
as
any effective crime story/drama whether the mother vehicle be comedy or drama.
Currently, the situation is too "broad and bozo" often over-the-top,
and not
really all that intriguing, mysterious, or surprising. And it needs to be. What
I'm suggesting to you on a macro level is to give your story and players a less
simplistic ambiance and instead provide a true dramatic base that has
everything: a bitchin story with legitimate twists and turns, real people,
pathos, drama, intrigue and lots and lots of good buddy humor (and other humor)
all packed into one exciting vehicle. If you analyze other good comedy dramas
(even really funny ones) you will usually find a serious infrastructure that
may
not be all that obvious but is incredibly necessary. And if all comedy were
predicated on just being funny, you'd be way ahead of the pack. But the fact
is
that it's not. Comedy is kind of a shield for pain, angst, and tragedy, and
these qualities are usually present in all good comedy offerings.
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
Copyright 2005 Hollywoodscript.com LLC , all rights reserved.
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