HOLLYWOODSCRIPT.COM NEWSLETTER
Welcome to the latest edition of Movie Scribe Online Newsletter (Winter 2000/2001) which is published by script consultants Craig Kellem, Judy Kellem (http://www.hollywoodscript.com) (and contributed to by Colin Chapman (http://www.chapmanfilm.com).
THIS NEWSLETTER IS NEVER SPAM.
You are receiving this newsletter because you expressed an interest in screenwriting by subscribing to this newsletter; requested a read or a free query letter evaluation from Hollywoodscript.Com(s) Craig Kellem or Judy Kellem, or requested a copy of Colin Chapman's screenplay, "Smoke and Mirrors."
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The purpose of this newsletter is to share information, ideas etc. concerning the fascinating (and elusive) world of screenwriting.
WE RECEIVE LETTERS--
QUESTION- My partner and I had been in the process of revising our screenplay, when I found out in the press that the same story is set for theatrical release this December. I'm sure in Hollywood, these things happen a lot, but it's still disappointing.
Thanks again for all of your assistance and insights, in many ways, it was
a great experience in writing a story and creating the characters. In the
meantime, we'll stick with our day jobs until the next great story comes
along...
ANSWER-Hi and hold on for a minute! Just because someone else is doing a similar picture doesn't mean that all is lost. Often, once the smoke clears, the movie that "ruined your chances" turns out to be different enough or, after seeing the film, you can make adjustments that might make it different enough.
Also if the film's successful, it may actually energize the marketplace for yours. Finally, even if it does blow the TEMPORARY marketplace for you, the script done "right' could be a very valuable writing sample.
Think about it. It ain't all or nuttin!
QUESTION-What do you do while you’re waiting to be “discovered?” It’s hard.
ANSWER-Create a good life for yourself outside of the writing.
Don't wait by the phone, put your energy into the next project.
Do the submissions “drill”etc. It's a process, not a litnus test on your worth.
Appreciate and covet any sign of life (re your writing).
Know that it's hard for everyone.
Be aware that people do sell scripts.
Within reason, continue to write from the heart and not for the marketplace
QUESTION-I took a seminar at UCLA. The instructor says don't put directions in for the actors: that's directing. But, I've read scripts that were greenlighted and none of them followed the UCLA way. They were more descriptive and added directions. What’s the scoop?
ANSWER-Our opinion: there isn't an exact way to do it.
It's a matter of finding the balance. Screenwriting provides a
limited number of narrative techniques with which to tell your story. You
don't want to overdo directions, just as you don't want to overwrite. Ideally, the dialogue should be so strong, the characters so fleshed out that most of the work is done and requires little support from stage directions and narrative etc. But then again, if you're writing something with incredibly muted or stark figures then description becomes essential in giving us visuals, landscapes -- the volume of what you've envisioned. There are (inevitable) other times where a little narrative nudge helps make things clear. I say provide it and don’t worry about offending prospective directors and the like. Whatever it takes (within reason) to communicate your creative vision is “the right way.”
QUESTION-I have a few brilliant movie ideas, and I'm wondering what I can do to protect my position when looking for a writer/cowriter. I know some writers who are very capable, and I would gladly submit my idea to them. But first, should I go to a copyright office and protect the rights to my idea? Then should I make some sort of 50-50 agreement with the author? Or 60 40? 30-70? I have no idea what I should do..
ANSWER-I don’t think that you can copyright an idea itself. What you can do is create as big a file as possible describing the idea, characters, storylines etc and then register it to the Writers's Guild and or copyright it. Thus if you're working with someone and there's a dispute down the line, you have proof of your contribution. This is important since the name of the game in a credit arbitration is the size and depth of creative input. Keep a file as well as YOUR continuing contributions. Finally, if you can make a 50/50 deal with your fellow writer that's fine. But give him/her your written material (after you register/copyright it in order to establish a creative foothold). Casually "telling" your idea to someone is a bad (and dangerous) way to start a creative relationship.
QUICKIE CONCERNING DIALOGUE, from the files of noted screenwriter, John Hill, “my favorite quote on the subject is from a British film book and you can almost hear the dry, Hitchcock-like tone here. Anytime a character finally MUST say something, someone somewhere in the film-making process really isn’t doing their job very well.”
Oh really. But you get the idea: avoid “chit -chat,” “pass the salt” dialogue. In fact all dialogue must either
1. Advance the story
2. Provide exposition and/or
3. Establish character. Period.
TIP: If you’re thinking about writing a TV spec script, we’re told that the
most popular shows to write are: Everybody Loves Raymond, Malcolm in the Middle, Buffy the Vampire Slayer and Sex in the City.
FYI, our contest is going splendidly. We had 3 winners. Free coverage was created and sent to a big time agency in Hollywood. ALL of our winners went from the coverage stage to actually getting their scripts read. The jury’s still out but they all have something going. THEY’RE IN THE GAME. The glowing announcement of their success (and the respective coverage) continue to be displayed on our site. We notified hundreds of agents and producers about our winners. We also advertised the result of this contest. We continue to try to promote and support them. This FREE contest (for our clients) continues. Next winner(s) announced mid December. There’s still room for you.
The X Factor
By Judy Kellem and Craig Kellem
One of the things we’ve noticed in reading a great volume of screenplay
material is the propensity of writers to create from their minds rather
than their hearts. There is a marked, qualitative disparity between stories and images born from real life experience and those made from pure, intellectual invention. This difference is easily detected, commonly distinguished as the distinction between, "connected" versus "disconnected" writing.
Life is rife with evocative moments, large and small, which create
powerful feelings. Insights. Unique situations. Quirky fascinations
that linger about our minds. Those of you who know us, know one of
our all time favorite axioms was coined by Julia Cameron. She states,
"The singular image is what haunts us and becomes art." Think about that! At last "a place" to put all of your little insights, moments of truth, fascinations and unique experiences that previously lacked a
"file." If you access that "file" while preparing your script and use these hot little tidbits as springboards for scenes, your script is going to be buzzing with honesty and life. This is what audiences crave.
Singular images can come from anywhere. An unusual weekend, a comment said in fleeting, a detail caught at a glance. Something grabs us in these images and the image stays, resurfacing and resurfacing. While some may try to shoo it out of their mind, or lightly ponder the fact they’ve been "haunted," for the writer this is a jackpot of creative enterprise.
Characters, scenes and moments modeled on real life experiences that
touched the writer, carry that original feeling like an X factor into
the material. And this X factor transmits to the reader, heightening
their experience of the script. And it’s regardless of how truthfully
or not the "singular image" is related. A writer who uses emotional
photographs from his/her own life can drift far from the
actual event. They can invent, exaggerate, fictionalize so much that the
"reality-base" is unrecognizable. But still, it’s inevitable
that the emotional root will come through. The fundamental feeling
attached to the writer’s memory can’t be shaken. It seeps through the
fiction and the reader senses this presence on a visceral level.
A major reason why access to emotional ammunition is so important is that ALL scenes need to be maximized. It’s not enough to produce a great concept enhanced by a few treasured moments. A winning script is the sum of parts that continuously produces dynamite.
On the other end are "disconnected,” thought-based writings, conceived
from images, stories, ideas and moments conjured only by the brain.
They can work, can act as a vessel for the writer’s unconscious emotions
and therefore have an effect on the reader. But its effectiveness is often not as reliable. Much material wrought from rationale winds up flat on the page, lacking life (as it was never truly known) and spirit. The
writer can do a thousand pony tricks, have every bell and whistle in
place but the grand show is a flop, because it’s empty. It has no root
in the gut of the creator. There’s no X.
Our screenwriter friend, John Hill, warns the artist who tries to
circumvent writing from real, personal experience: "How can you try to
write for a ‘business of emotions’ and know that you’re going to veer away from really revealing your own?"
Instead of limiting a script to snazzy concepts, draw upon your life and
those around you. When something effects you, trust it, save it and
when appropriate use it to grab and haunt your audience.
NICE TO KNOW--
When do you become a writer? When you first write? When your writing
is first praised? When your writing is first published?
No self definition can come from outside. You don’t "become a writer"
because others say that you have written well. You become a writer when
you tell yourself that that is what you are. If you have a fundamental
self-honesty, you will then write. You will carry out the activity you
have linked with your deepest identity. Your membership card as a writer
is issued in the closet of your soul. ---
Walking on Alligators, Susan
Shaughnessy, Harper San Franciso
PLUGS
NEW FEATURE AT HOLLYWOODLITSALES.COM
Weekly tips from Rob Tobin, author of the great new book, "How To Write High Structure, High Concept Screenplays." Go to: http://nt.hollywoodlitsales.com/journal/rtobin.cfm
Have a script? Let many producers know about it as well as the people behind "Forrest Gump" and "I Know What You Did Last Summer," by submitting a logline to their free online marketplace. There have been options and agent signings and a low budget movie was made last year from a script found on their site. The submission rules and instructions can be found at: http://nt.hollywoodlitsales.com/specsubmit/rules.cfm
QUERY PITCH SERVICE--If you're tired of researching, posting, typing, stuffing envelopes, querying, and pitching .... try the Venice Arts Automated Query Submission Service? It's simple, immediate and inexpensive. Fill out a simple form with your name, address, screenplay information, etc. ... The usual stuff that all the spec screenplay sites, production companies, agents and managers want. Press the SUBMIT button. And they do the rest.
Venice Arts is pleased to offer this service to clients of www.hollywoodscript.com for $35.00 instead of the usual $50.00. Check it out at www.venicearts.com/query or contact lisa@venicearts.com
CRAIG OFFERS UNIQUE TUTORING SERVICE FOR WRITERS. The tutoring takes many forms depending upon your needs. In most cases writers, want two things--help with a specific project and/or instruction on development and execution.
What I do is give 5 full hours for 250.00. We converse on the phone, e-mail back and forth etc. If you have material to work with-- I read outlines, scenes, the works. I make suggestions, help craft material, set goals, attack problems and upgrade material.
If you don't have material and want to start from scratch, that's fine. (I'm used to this from teaching college students who have no previous orientation). My goal is to give you what you want and get you on track for the next incarnation of the creative process.
FREE MINI CONSULTATION
Writing a script is an emotional experience and it can be a lonely one. Questions pop into your head like, "Does this idea suck" or "Am I crazy to be trying this." Or maybe you're just perplexed by a story point. If you're like me, you may have reached a stage where you'd just love to "talk about it" with someone, but who? How about a professional?! Call Craig at 603-795-9424 for 10 (or so) free minutes.
NICEST “FAN LETTER”
Thanks for all your help. I don't think most writers realize that even their most brutally honest friends (whom may even be writers themselves) can never take the place of an honest-to-goodness industry professional who:
A) Knows what a good story REALLY looks like, and
B) Knows how producers and agents THINK.
C) Isn't afraid to tell you that your story just isn't good enough yet. I had some helpful feedback from friends and writers (on Zoetrope), but it was your analysis that really opened my eyes about (title omitted). I've been driving around in an adrenaline frenzy, mini-recorder in my trembling hand, just thinking of how good the story COULD be, thanks to you. It was a strange feeling talking with you, between blushing at the compliments you gave and cringing at the criticisms, it was quite an experience. My screenplay WILL be something to be proud of, thanks to your advice.
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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