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 <http://www.hollywoodscript.com>
THIS NEWSLETTER IS NEVER SPAM.
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The purpose of this newsletter is to share information, ideas etc. concerning the fascinating (and elusive) world of screenwriting.
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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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SCREENWRITING? WHERE TO START?
By Judy Kellem
It seems like more and more artists with a love for words are redirecting their passions away from short stories, poetry or books and trying their hand at screenwriting. But many are finding that it is a very daunting task – an endeavor that is surprisingly unwieldy - especially for seasoned writers who are exceedingly talented at those other writing forms.
Indeed, screenplay format is very tricky, as we are used to prose writing and the parameters of literature. From the time one learns the “A,B,C’s” one is taught to think of “writing” in terms of that which one finds in nursery rhymes and books. A script is really a visual medium, a “motion picture” mapped out in words. Writing a script is therefore a test of whether or not one can suspend the reader’s disbelief, make the reader feel as if they were a VIEWER. The reader must forget that they are reading and feel themselves watching. A silver screen must drop down in their minds and the script must project a series of pictures in their head.
For artists used to playing with language, taking up lots of page space to conjure mood and tone, employing metaphors, double-entendres and so on, it is very difficult to create visual equivalents. Prose writers get log-jammed trying to make dialogue and stage directions evoke the texture they are going for, and add the rich layers they are so used to massaging into their text. Screenplay writing is a tough art form to get used to.
So where can one start?
As all writers know, reading really good material can only benefit one’s own craft. Read professional screenplays. Get a deep feel for how they are written – deconstruct each act – how is the story being unfolded? What happens in the first fifteen pages? Where is the story by mid-script? How are the characters introduced and how do they experience gradual change with each scene? Do a microanalysis of the way each scene is handled – how much dialogue is needed to nail a scene - what kinds of visual cues are employed?
Consider the overall style of the screenwriter. Is there a heavy reliance on dialogue? Where has the writer used imagery to unveil the tale? Take note, scene by scene, of what choices the writer has made – how has the writer used the tools of screenwriting to cinematically “tell” their story?
Then watch really good films and do the same – take them apart, scene-by-scene, until you get a hold of how they were built.
But while training via pro scripts and top rate films, most importantly, one must really work at one’s own material. Everyone assumes that writing a book will be a bear of a job. They expect it to take years of their lives, a kerzillion drafts, desperate nights and so on. There is a trend, however, when it comes to screenplay writing to think that it’s easy. People seem to think great screenwriters just crank out their movies in no time, sell it as a third draft and laugh all the way to the bank, before hitting the red carpet to receive their Oscars.
Writing a stellar script is certainly less demanding than writing a Pulitzer-worthy piece of literature. That goes without saying. But screenwriting is in no way simple.
One must stay patient, know that it will take many revisions to really finish a script. Like all writers, screenwriters need smart feedback on their material, and must have the discipline to revise and rewrite over and over again.
One can dissect professional screenplays, understand the design of the best films out there, but above and beyond this all, it is writing that makes one a better screenwriter. The more one works at the process of developing a script, the more one trains oneself - in general – to be a great screenwriter.
COPYRIGHT HSCL 2010 ALL RIGHTS RESERVED
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BIG CONGRATS to our contest winner T.J. QUINN for SPACE CRUISE, his funny and clever sendup of the iconic era of the 1960’s juxaposed sci fi style with the distant future. This win was actually for the month of May, but he wanted to do another rewrite so we waited to announce it.
Also big congrats to RUSS ZITARUK for his smashing sci fi script BEYOND THE RED PLANET which we’re about to announce on site. (Please note that our contest prizes now include a powerful e-query “BLASTER PACK” from SCRIPTBLASTER; UNIQUE placement in INKTIP; Industry notification via FREE COVERAGE to our own list of industry folks and ONE MORE BIG PRIZE - a very substantial and unique one which we choose to keep as a surprise but it's also in the area of valuable industry exposure. It's worth $300 and it GUARANTEES you responses from producers/agents and the like (a list from which you choose). It has been a very successful method with several of our clients. You'll get 30 free goes at it)!
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WE’RE PROUD to announce that INKTIP has honored us by listing Hollywoodscript.com on their site under “PEOPLE AND COMPANIES OF WHOM WRITERS HAVE SPOKEN WELL.” Also MOVIEBYTES lists our contest under their “MOST SIGNIFICANT” and there are lots of good comments from writers included in the listing there. We also did quite well in Creative Screenwriting’s survey. (It should be noted that we’ve done well before with Creative Screenwriting Magazine when they featured our contest http://www.hollywoodscript.com/csinterview.html
They also gave us a “RECOMMENDED” as well as an “HONORABLE MENTION” previously).
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SOMETHING TO THINK ABOUT WHEN WRITING
Debate it, they’ll hate it. Live it they’ll love it.
In other words, don’t preach, demonstrate (SHOW don’t TELL).
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GREAT TIPS FROM OUR GOOD FRIEND MARK MILLER. who’s a weekly humor columnist for The Huffington Post. His experience includes writing humor columns for the Los Angeles Times
Syndicate, writing on numerous sit-com staffs, national TV appearances as a
stand-up comic, and comedy writing for nationally syndicated radio shows and cartoonists, as well as for numerous magazines, newspapers and websites.
To follow him on The Huffington Post:
http://www.huffingtonpost.com/mark-c-miller
1. WANT TO WRITE FOR TV? – Here’s an excellent site containing PILOT SCRIPTS AND SHOW BIBLES:
http://sites.google.com/site/tvwriting/us-drama/pilot-scripts/09-10-season
2. ARE YOU A DAVID MAMET FAN? THEN CHECK THIS OUT
http://www.movieline.com/2010/03/david-mamets-memo-to-the-writers-of-the-unit.php
3. UNTANGLING THE WEB (IE: WRITERS ON THE WEB)
Check this out
http://www.hollywoodscript.com/UNTANGLING.pdf__
4. The 7 Worst Movie Pitches Ever -- And How You Can Get One Made
http://www.asylum.com/2010/07/01/worst-movie-pitches-tribeca-filfestival-american-express-my-movie-pitch-contest/
5. WHICH CRAZY WRITER ARE YOU?
"Writers tend to be an eccentric bunch. They drink too much, act out in public, have substance-abuse problems, have unique personal lives, and often expire before their prime. They also have very distinct personalities. Take this quiz to find out which writer you are most like!"
http://roflquiz.com/which-crazy-writer-are-you/q/59/?src=1038391
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OUR GREAT FREE RESOURCE
YOU’RE WELCOME TO GO TO THE “USEFUL AND IMPORTANT” ARTICLES SECTION ON OUR SITE AS WE HAVE WRITTEN MANY MANY ARTICLES ON THINGS SUCH AS STORY STRUCTURE, PITCHING, STAGE DIRECTIONS, ECONOMY IN WRITING, QUERIES, CUTTING, DEVELOPMENT, ETC ETC. ALTHOUGH THERE ARE SOME PRETTY SUBSTANTIAL ARTICLES THERE, AMONGST THEM YOU CAN ALSO FIND SOME THAT ARE SHORT AND HOPEFULLY SWEET, SUCH AS THE TWO BELOW.
http://www.hollywoodscript.com/articles.html
The Two Times Your Concept is Important
BY CRAIG KELLEM
1. The first time is when you're developing your idea. Sounds obvious right? You'd be surprised how many well-intended writers come up with a notion, fail to think it out and work their fannies off, only to discover that they shouldn't have "begun what they begun."
Examples: High concept ideas that don't have "legs" and would have trouble lasting as a four minute sketch on Saturday Night Live; one brilliant scene that the writer thinks can carry an entire film; situations or misplaced "plot" notions that are in fact only meaty enough to be a subplot at best and certainly won't carry the day; content that may be very meaningful in one's own life, but doesn't have the breadth and uniqueness to make the grade for a diverse audience.
2. The other time a concept is important is when you've finished the script, dotted the i's crossed the t's and now it's time to send it out. Assuming that the script is great, the veracity of your concept will now make or break you.
Beware of what you choose.
2. THINK OF STORY AS PROTEIN!!
By Craig Kellem
The element of STORY in a script is like PROTEIN in your diet. You can eat tons of salad, potatoes, veggies and even partake of dessert, but if there’s not enough protein you can still feel hungry. There’s a similarity with screenplays! Load them up with character dimension, schtick, stunts, cute scenes etc, but if there’s not a story making itself felt, and percolating along the way (making you wonder “what’s going to happen next”), then it can feel as if something vital is missing: STORY!! STORY RULES!
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(ONE OF OUR MOST POPULAR ARTICLES EVER)
"PITCHING" IS A HOT TOPIC (LEARN ABOUT THE DREADED ART)!!!
By Craig Kellem
It seems that pitching (ie: a verbal sales presentation of your project) has become yet another needed skill for writers trying to break into the industry. Often this kind of salesmanship is required when the writer has his or her first contact with an interested party ("so tell me all about your screenplay") or when she/he plunks down blood money to attend one of those pitch sessions that seem to be cropping up. While writers squawk over the sweat and tears of script revisions and the like, when it comes to pitching many would rather face a surgeon's scalpel. The idea of confronting "the man" with the stakes on the moon, and cleverly rendering the consummate sales pitch can be so traumatic that one might even consider a new career and leave town.
Wait!
Pitching will probably never be easy, but it can be very manageable.
Hear me, I know what I'm talking about!
The greatest enemy of pitching is the notion (often generated in the "how to" culture) that there is a TECHNIQUE to be learned. This notion implies that one must somehow capture the art of contrivance and "salesmanship," practice it to the max and then dole it out like a Shakespearean Sonnet.
Forget about technique, it's usually death on the Nile.
The only rule for good pitching is BEING YOURSELF and COMMUNICATING THE TRUTH. In this regard, all styles are welcome. The enthusiastic artisan on the edge of his/her seat, passionately chatting up their beloved project can be very winning, but so can the quiet, stoic-faced waif, earnestly making his/her case.
Another cardinal rule for effective pitching is this: prepare all you want but NEVER, EVER READ YOUR PITCH. It just doesn't work.
My suggestion is that you create a "beat sheet" (like a crib sheet) touching upon the main points of your pitch. A smorgasbord of the highlights. While preparing, keep in mind to pitch like you write: have a beginning, middle and end. Then get the gist of it set in your mind (you can keep an index card with your cues handy) but, when the big moment comes, kill the teleprompter, shoot from the hip and trust in your own spontaneity and well directed fear. Your passion and extemporaneous energy, will provide more spunk, sparkle and splash to your presentation than any scripted spiel could possibly do. And even if it's speckled with imperfections, it'll be a thousand times more enchanting and dynamic than some over prepared, memorized diatribe.
When I used to pitch TV projects at the networks, I was always confronted by that moment of terror, usually on the car ride over, when it would suddenly seem like I had "nothing to say." I would scribble copious, last minute notes, while feeling paralyzed in banality and dullness. But, I finally learned how to interrupt this insanity.
Instead of scrambling to get my "part right," panicking that I'd forget my lines, I would start back-tracking, remembering my love of creative work. And I'd ask myself the following questions:
*What do I like about my project?
*Why did I get involved with this thing to begin with?
*I'm enthused, right? How come? Spit it out boy!
As if by magic, I would wake up to the genuine, vital me and remember how excited I was when I got the idea (or when I heard the idea from the writer)(and why I thought it would be entertaining, touching, relevant etc). All this flooded me with a whiff of my original enthusiasm which included an ambitious vision that America might someday share in my delight.
Suddenly I had lots to talk about!
By the time I reached the network, I'd be bursting. I'D BE PREPARED FROM THE INSIDE OUT!
I found it helpful when I began my pitch by explaining the genesis of the project, then I'd segway into the creative realization that ensued after inception(introducing examples of story lines, descriptions of characters, etc.)
My pitch was also supported by reminding myself of the fundamentals of salesmanship
*TRY TO ENJOY THE EXPERIENCE
*MAKE CONTACT WITH PEOPLE IN THE ROOM
*LISTEN WHEN THEY SPEAK
*REMEMBER (ALTHOUGH IT MAY NOT SEEM THAT WAY), YOU NEED THE GIG BUT THEY NEED THE MATERIAL, THAT'S WHY THEY ARE THERE. YOU HAVE SOMETHING OF VALUE TO OFFER!
It's ironic that many of the principles of pitching are similar to the principles of writing itself. Contrived, formulaic writing is as boring as contrived, formulaic pitching. On the other hand, spontaneous, bold and "from the gut" writing and pitching has endless potential.
Copyrighted HollywoodScript.Com LLC 2001 -2010 All Rights Reserved.
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2010
We started off really well this year with a our January contest winner being optioned along other fine things such as the release of Evan Drake Howard’s book, THE GALILEAN SECRET (available at Barnes &Noble, Borders, Amazon.com, etc) http://www.evandrakehoward.com
"Judy, you helped me SO MUCH when I was in the early stages of writing my novel The Galilean Secret! I couldn't have gotten the plot off the ground without you! What an amazing journey this has been. After self-publishing, I got signed by literary agent extraordinaire Robert Gottlieb, who discovered Tom Clancy and Janet Evanovich and founded Trident Media Group in New York. He has been a fabulous partner and got me significant deals in both the U.S. and Brazil. The book was released on May 1 and was featured on the front table of Barnes & Noble stores nationwide. This has truly been a dream come true, and I can't thank you enough for all of your prompt and insightful feedback and unfailing encouragement in the early stages.”
All my best, Evan
This was in addition to Joanne Wannan’s fine and ever so meaningful book being released, NEW LIVES: STORIES OF RESCUED DOGS HELPING, HEALING AND GIVING HOPE. http://www.3BlackDogs.org. Joanne is a previous contest winner whose movie was made and aired on TV around the world.
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ANOTHER CONSULTATION CLIENT (AND CONTEST WINNER) MARCHES ON!
Hi Craig,
Just wanted to share some good news with you. NEAR DEATH TANGO just won first place in the Philadelphia Screenplay Festival! With this win, my script and query letters will once again be sent to lots of producers. Also, I'll get a free pass to the Great American Pitch Fest, where I'll pitch my scripts directly to producers in L.A at the end of June.
As always, thanks for all your help!
Jackie
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HOLLYWOODSCRIPT.COM is a boutique script consultation service run by former Universal and Fox development exec Craig Kellem. Craig and his studio analyst associate, Judy Kellem, (who has a Masters in English and Creative Writing) operate this two person company.
Motto: The #1 Secret for Selling a Script...MATERIAL THAT’S READY!
SERVICES: Script consultation, Coverage, Developmental Help (ie Works in Progress), Book manuscripts, Free query letter analysis, Free mini consultation
HOLLYWOODSCRIPT.COM CONTEST-Free MONTHLY contest for clients. Prize: free coverage--guaranteed big industry exposure.
Craig --craig.kellem@valley.net 732-963-9350
Judy --judykellem@earthlink.net 917-647-8782
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SCRIPTBLASTER E-QUERY SERVICE has an incredibly vast database 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.
If you'd like assistance writing your query letter, their experienced editing
team can create a complete query letter for you that will include a tight
logline and a compelling synopsis.
For more information about their services visit:
http://www.scriptblaster.com
Or if you have any questions you can email them at: http://www.info@scriptblaster.com
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Copyright 2010 Hollywoodscript.com LLC, all rights reserved.
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