NaNoWriMo 2011 is about to come to a close at 12:00 AM tonight. To my fellow writers out there, whether you won or lost you still played the game and I, your humble peer, SALUTE YOU!
Showing posts with label script. Show all posts
Showing posts with label script. Show all posts
Wednesday, November 30, 2011
54,726
NaNoWriMo 2011 is about to come to a close at 12:00 AM tonight. To my fellow writers out there, whether you won or lost you still played the game and I, your humble peer, SALUTE YOU!
Friday, February 20, 2009
Script Frenzy 2009
30 days. 100 pages. April. Are you in?
Well, you could be. I make mention of this writing exercise now because I would like you to consider joining me in writing a screenplay in the month of April. I figure now is as good a time as any to make the offer so here it is. Script Frenzy is from the same people who bring us NaNoWriMo every November, the Office of Letters and Light. Submitted for your approval, check out http://www.scriptfrenzy.org/. Poke around long enough and you’ll find the following:
Script Frenzy is an international writing event in which participants attempt the daring feat of writing 100 pages of scripted material in the month of April. As part of a donation-funded nonprofit, Script Frenzy charges no fee to participate; there are also no valuable prizes awarded or "best" scripts singled out. Every writer who completes the goal of 100 pages is victorious and awe-inspiring and will receive a handsome Script Frenzy Winner's Certificate and web icon proclaiming this fact.
Even those who fall short of the word goal will be applauded for making a heroic attempt. Really, you have nothing to lose—except that nagging feeling that there's a script inside you that may never get out.
The 5 Basic Rules of Script Frenzy
1) To be crowned an official Script Frenzy winner, you must write a script (or multiple scripts) of at least 100 total pages and verify this tally on ScriptFrenzy.org.
2) You may write individually or in teams of two. Writer teams will have a 100-page total goal for their co-written script or scripts.
3) Script writing may begin no earlier than 12:00:01 AM on April 1 and must cease no later than 11:59:59 PM on April 30, local time.
4) You may write screenplays, stage plays, TV shows, short films, comic book and graphic novel scripts, adaptations of novels, or any other type of script your heart desires.
5) You must, at some point, have ridiculous amounts of fun.
Of those 5 Basic Rules, number 5 is a must.
“But I’ve never done anything like that. I wouldn’t know where to start.”
Well, you’ve got to start somewhere and worrying is bad for your health. Don’t worry; there is helpful advice on the site for whatever genre that you decide on writing. There is support & instruction, there are screenplay programs to download & use for your script too. Perhaps writing a screenplay is something that you’ve always wanted but you felt that you just didn’t have the time to do it. Well in April your time has come.
“What software, if any, would I use?”
Well that’s a good question and the answers are circular; use what is the best tool for you. I’m not a professional writer but I have played with some of their tools. I’ve used “Screenwriter 2000”, dabbled briefly with “Final Draft”, and wrote a script once with “Celtx”. These days when I want to bring out the guns for a screenplay, script or puppet-script I just fire up my Screenplay Template from Microsoft and I’m off to the races. Since I’m addicted to “WORD” anyway it makes a nice even flow. You can score a copy of that template here: http://office.microsoft.com/en-us/templates/results.aspx?qu=screenplay&sc=4&av=TPL if you so desire. Script Frenzy has several free programs that you could use and discounts on “Final Draft” if you just have to spend money. The choice is up to you. As for yours truly, the Screenplay Template for Microsoft WORD is the weapon of choice.
“I’m still not convinced.”
That’s OK. This is something that I find particularly cathartic; writing. Perhaps you will as well. Yes, now it may seem foreign and be outside of your comfort zone but come April and YOU are writing YOUR script, telling YOUR story the exercise becomes more tangible. You walk into the month of April someone who has ideas and creative possibilities swimming in your head and you walk out of April as a writer who has just completed his/her first draft of a screenplay. You did it. Congratulations writer!
“It can’t be that easy – what’s the catch?”
This will be the third Script Frenzy that I will participate in. The only catches in this process are the internal ones that you will have to answer for yourself, writer. Consider this; you like a good story don’t you? Sure you do. Haven’t you ever found yourself screaming at the TV after watching a goofy show or after renting an expectation crushing DVD from Blockbuster, “That really STUNK! I know I could do better.” Are you sick and tired of the rehashing of tired storytelling in most Hollywood productions? Yeah? Well, do something about it! It’s time to fire back at Hollywood and April is your time to shine.
Script Frenzy, as is the case with all of the writing projects from the Office of Letters and Light, is an exercise in creativity. It’s free, by the way, and they hold non-profit organization status. You can donate if you want but it’s not required. Remember, you are writing the first draft of a script. It’s a FIRST DRAFT so you don’t need to get hung up on if your T’s are crossed or if you transitions in and out are the industry standard. Just write it. Have fun with it. Tell your story. You can do it. I know you can.
30 days. 100 pages. April. GO!
Monday, November 05, 2007
The Writer’s Strike of ‘07
It’s on now. The 4,000 members of the WGA (Writers Guild of America) have voted to go on strike. Why’s that? Well, it’s got a lot to do with as the story by Gary Gentile, Associated Press Business Writer says, “…a bigger slice of DVD profits and revenue from the distribution of films and TV shows over the Internet.” You can read the article yourself here: http://news.yahoo.com/s/ap/20071105/ap_on_bi_ge/hollywood_labor_29;_ylt=Aq744qd6kZtymLr5XbCrFsYE1vAI.
Are they serious? Yes. Check out this letter dated 10/31/07, from the WGA website entitled, “Pencils Down Means Pencils Down”: http://wga.org/subpage_member.aspx?id=2529. Scroll down and see who is on the list. (BTW, I love that whole, “You have our word” ending.)
Writers have always been the red headed stepchildren of the film industry. They are not in front of the camera, they don’t direct or produce and they don’t usually throw tantrums if there are green M&Ms in the craft services bowl. They don’t have trailers on the set. They do not work with models or computer graphics designing special effects that are seen on small and big screens across the world. They don’t operate the cameras, edit film (35mm or digital), work with sound, cast for parts or scout locations either. They have nothing to do with scoring a picture or television series. Yet without the writer NONE of it is possible. Without the spark of creation inside the mind of a writer it all goes south – every last one of the aforementioned jobs simply does not happen. You see, Gentle Reader, it is the writer who first realizes that the story is there; from acres of blank 8.5 X 11 inch paper he (or she – BTW from this point on “he” is synonymous for both he and she) sees it first. In the theater that is his mind he constructs it, nurtures it, chips away at it and watches it develop honing the edge making it real. He hears the sounds around him, feels the textures and sees the colors of this world vividly displayed before him. Soon after he meets the inhabitants who live in there and they begin to talk to him. If he is observant enough and can jot down their words and listen to what they have to say then he can put it onto paper to report his findings to the rest of us here in our world. Now if he can assume the role of imagination’s correspondent and do it with voyeuristic abandon then he just may be a writer; a wordsmith whose job is to serve the story no matter what venue it takes.
Currently the venues in question are Film and TV; both are examples of collaborative story telling. You see once a screenwriter sells his script it is out of his hands and faces the hard, cruel world. I’ve been told this is akin to raising a child who becomes an adult – you raise them so far and then, one day they are on their own. I’ve been told this by people who have actually sold screenplays. What happens to the scripts after they are released into the wild is usually out of the writer’s hands. This has been changing with some directors wanting to have the writer(s) on set for ideas and/or changes but as a general rule of thumb once it is sold it’s gone. There have been amazing screenplays that have been made into horrid atrocities of filmmaking. This is the hazard of collaborative story telling. It’s just the way of things; the scriptwriter’s circle of life.
But I digress.
Late night TV will feel it first, followed by talk shows. Forget topical TV until after the strike is over. What happens with this strike will send ripples through the rest of the industry. The SAG (Screen Actors Guild) is watching closely to see what happens with the WGA for their own negotiations with the producers. They will want at the very least what the writers will get.
Everything is further complicated with how a product is delivered. Emerging technologies have and will always see to that. No one believed that people would be interested in watching color films until “A Visit to the Seaside” (which was made in “Kinemacolor”) premiered in 1908. No one believed that anyone would want to see a film where the actors talked until “The Jazz Singer” was released in 1927. No one believed that a giant ape could climb the Empire State Building with Fay Wray in hand until Willis O’Brien pioneered stop motion animation and made it happen in 1933’s “King Kong”. I could go on but we all get the gist, no? Fast forward to now. No one believed a few years ago that we would be able to plug these little things called “iPods” into a computer via the internet to download TV shows and films. Welcome to now. Titanic corporations are fighting it all out right now for who has the intellectual property rights (Viacom Vs. Youtube). This fight will play into speculative technology – or rather, technologies that are still emerging. Remember how well the recording companies befouled the whole MP3 thing? Well, film companies don’t want to repeat the same mistakes and that puts the film and TV industry is in the crossfire.
I support the writers. I’ve never sold a screenplay but I have two registered with the WGA and a third on the way. It will be interesting to see how this all develops. I’m not the only one who will be watching for the outcome. It might be a good time to rent some DVDs. I recommend the first season of “Heroes” and all seasons of “Battlestar Gallactica” and “4400”; believe me it will be better than all the reruns we are about to be hit with.
“Writing is easy. All you do is stare at a blank sheet of paper until drops of blood form on your forehead." - Gene Fowler
Are they serious? Yes. Check out this letter dated 10/31/07, from the WGA website entitled, “Pencils Down Means Pencils Down”: http://wga.org/subpage_member.aspx?id=2529. Scroll down and see who is on the list. (BTW, I love that whole, “You have our word” ending.)
Writers have always been the red headed stepchildren of the film industry. They are not in front of the camera, they don’t direct or produce and they don’t usually throw tantrums if there are green M&Ms in the craft services bowl. They don’t have trailers on the set. They do not work with models or computer graphics designing special effects that are seen on small and big screens across the world. They don’t operate the cameras, edit film (35mm or digital), work with sound, cast for parts or scout locations either. They have nothing to do with scoring a picture or television series. Yet without the writer NONE of it is possible. Without the spark of creation inside the mind of a writer it all goes south – every last one of the aforementioned jobs simply does not happen. You see, Gentle Reader, it is the writer who first realizes that the story is there; from acres of blank 8.5 X 11 inch paper he (or she – BTW from this point on “he” is synonymous for both he and she) sees it first. In the theater that is his mind he constructs it, nurtures it, chips away at it and watches it develop honing the edge making it real. He hears the sounds around him, feels the textures and sees the colors of this world vividly displayed before him. Soon after he meets the inhabitants who live in there and they begin to talk to him. If he is observant enough and can jot down their words and listen to what they have to say then he can put it onto paper to report his findings to the rest of us here in our world. Now if he can assume the role of imagination’s correspondent and do it with voyeuristic abandon then he just may be a writer; a wordsmith whose job is to serve the story no matter what venue it takes.
Currently the venues in question are Film and TV; both are examples of collaborative story telling. You see once a screenwriter sells his script it is out of his hands and faces the hard, cruel world. I’ve been told this is akin to raising a child who becomes an adult – you raise them so far and then, one day they are on their own. I’ve been told this by people who have actually sold screenplays. What happens to the scripts after they are released into the wild is usually out of the writer’s hands. This has been changing with some directors wanting to have the writer(s) on set for ideas and/or changes but as a general rule of thumb once it is sold it’s gone. There have been amazing screenplays that have been made into horrid atrocities of filmmaking. This is the hazard of collaborative story telling. It’s just the way of things; the scriptwriter’s circle of life.
But I digress.
Late night TV will feel it first, followed by talk shows. Forget topical TV until after the strike is over. What happens with this strike will send ripples through the rest of the industry. The SAG (Screen Actors Guild) is watching closely to see what happens with the WGA for their own negotiations with the producers. They will want at the very least what the writers will get.
Everything is further complicated with how a product is delivered. Emerging technologies have and will always see to that. No one believed that people would be interested in watching color films until “A Visit to the Seaside” (which was made in “Kinemacolor”) premiered in 1908. No one believed that anyone would want to see a film where the actors talked until “The Jazz Singer” was released in 1927. No one believed that a giant ape could climb the Empire State Building with Fay Wray in hand until Willis O’Brien pioneered stop motion animation and made it happen in 1933’s “King Kong”. I could go on but we all get the gist, no? Fast forward to now. No one believed a few years ago that we would be able to plug these little things called “iPods” into a computer via the internet to download TV shows and films. Welcome to now. Titanic corporations are fighting it all out right now for who has the intellectual property rights (Viacom Vs. Youtube). This fight will play into speculative technology – or rather, technologies that are still emerging. Remember how well the recording companies befouled the whole MP3 thing? Well, film companies don’t want to repeat the same mistakes and that puts the film and TV industry is in the crossfire.
I support the writers. I’ve never sold a screenplay but I have two registered with the WGA and a third on the way. It will be interesting to see how this all develops. I’m not the only one who will be watching for the outcome. It might be a good time to rent some DVDs. I recommend the first season of “Heroes” and all seasons of “Battlestar Gallactica” and “4400”; believe me it will be better than all the reruns we are about to be hit with.
“Writing is easy. All you do is stare at a blank sheet of paper until drops of blood form on your forehead." - Gene Fowler
Tuesday, October 09, 2007
Screenwriting Expo 6
Hey out there! For those of you who have an interest in the craft Screenwriting Expo 6 is coming up. This year it will be running from October 24th – 28th at the Marriott and Renaissance Hotels at the Los Angeles Airport. Here's the details... http://screenwritingexpo.com/about.html
The year that I went it was held at the Los Angeles Convention Center (very cool building by the way) next to the Staples Center just down the street from the Hotel Figueroa. I see it show up in movies, TV shows and commercials all the time. If you travel down the street just a little more to the left you’ll be in the same tunnel that Ridley Scott used for Blade Runner back in ’82.
But I digress…
If, by chance, you go I recommend sticking to the “Guests of Honor” section where you will hear from people who make their livings by writing. Conversely, it would behoove you, Gentle Writer, to only attend the classes that you have an interest in or really can’t find out in a book or on the internet. The classes that I took were all well and good but if you are a writer then you are going to write no matter what some self-proclaimed “expert” with no track record has to say on the subject and seriously, how many times can someone reiterate the importance of the “heroes journey”? I’m still having “Joseph Campbell” flashbacks.
Skip most of those classes for the others. The “Guests of Honor” are worth listening to. These are people who are willing to tell you their tales of navigating the industry and are generally there to answer your questions. This year includes William Goldman (Butch Cassidy and the Sundance Kid – Hearts in Atlantis – the Princes Bride), Steve Zaillian (Schindler’s List – Gangs of New York – Clear and Present Danger), Michael Goldenberg (Harry Potter and the Order of the Phoenix – Peter Pan) and Ted Elliott and Terry Rossio (the Pirates of the Caribbean franchise, The Mask of Zorro, Aladdin & Shrek). These people know what they are doing and are open to questions and conversation. I found this refreshing after sitting through a couple of classes. A few years ago my writing partner and myself spoke with Andrew Kevin Walker (Sev7en – Sleepy Hollow – The Wolfman [in pre-production]); he was accessible and amiable and patiently stayed after his presentation to answer all our questions.
Do go to the “Networking Parties” it’s an interesting experience meeting such a large group of people with the same twisted passion for writing. Be warned; however… this is L.A. and the land of make believe. Fiction is a staple in Southern California. Don’t unveil your master plan for the next summer blockbuster while at one of these parties. Don’t get too tainted by the laid back lifestyle. Don’t forget to stay focused, be friendly and don’t drink too much before you pitch your screenplay(s)… Just don’t.
Speaking of pitching… there’s “The Golden Pitch Tournament”. If you can get ticket(s) you will be purchasing 5 minutes of a studios time to hear an outline of your story. If they like what they hear they can option to buy your script. Of course they can also take your idea and steal it – this is L.A.; remember? Good. Never forget this.
But I digress.
The Pitchfest is always interesting to observe, writers will pimp themselves out just to make an impression. I know that the studios and production companies must really get a kick out of most of the writers that shake their hand and try to sell them their wares. It’s an exploitative town. Jay Leno has started interviewing some of the more eccentric screenwriters as they wait in line. It’s a funny bit that illustrates the fact that while all people can write not all people should. Still it makes me cringe a little; possibly it’s a little too close to home. One never knows, however, I have heard of some things being optioned but realize before going in the odds are pretty bad; still as one of my best friends always says, “You’ll miss 100% of the shots you never take”.
Their website states the following when it comes to the Pitches of 2007, “One room with up to 60 of Hollywood’s A-list producers, development executives, agents, and managers looking for new material. No other event will offer writers better access to the people and companies capable of setting your writing career in motion. We’ve provided the venue, all you need to do is bring your best ideas and polished pitches — this is your chance to gain representation, sell your idea and make career-changing contacts.”
The Pitchfest gave me a new and deep appreciation for Independent Filmmakers. But, as I’ve said, one never knows.
If you are in the area and you have an interest you should go. Keep your ears and eyes open, learn and have one of those $3.00 cups of coffee that they sell there on the veranda. The sun is always shining in Southern California and looks spectacular through the glass panels of the Convention Center or the Marriott and Renaissance Hotels at the Los Angeles Airport; I would imagine.
Good luck out there.
“Looks like another perfect day… I love L.A.”.
The year that I went it was held at the Los Angeles Convention Center (very cool building by the way) next to the Staples Center just down the street from the Hotel Figueroa. I see it show up in movies, TV shows and commercials all the time. If you travel down the street just a little more to the left you’ll be in the same tunnel that Ridley Scott used for Blade Runner back in ’82.
But I digress…
If, by chance, you go I recommend sticking to the “Guests of Honor” section where you will hear from people who make their livings by writing. Conversely, it would behoove you, Gentle Writer, to only attend the classes that you have an interest in or really can’t find out in a book or on the internet. The classes that I took were all well and good but if you are a writer then you are going to write no matter what some self-proclaimed “expert” with no track record has to say on the subject and seriously, how many times can someone reiterate the importance of the “heroes journey”? I’m still having “Joseph Campbell” flashbacks.
Skip most of those classes for the others. The “Guests of Honor” are worth listening to. These are people who are willing to tell you their tales of navigating the industry and are generally there to answer your questions. This year includes William Goldman (Butch Cassidy and the Sundance Kid – Hearts in Atlantis – the Princes Bride), Steve Zaillian (Schindler’s List – Gangs of New York – Clear and Present Danger), Michael Goldenberg (Harry Potter and the Order of the Phoenix – Peter Pan) and Ted Elliott and Terry Rossio (the Pirates of the Caribbean franchise, The Mask of Zorro, Aladdin & Shrek). These people know what they are doing and are open to questions and conversation. I found this refreshing after sitting through a couple of classes. A few years ago my writing partner and myself spoke with Andrew Kevin Walker (Sev7en – Sleepy Hollow – The Wolfman [in pre-production]); he was accessible and amiable and patiently stayed after his presentation to answer all our questions.
Do go to the “Networking Parties” it’s an interesting experience meeting such a large group of people with the same twisted passion for writing. Be warned; however… this is L.A. and the land of make believe. Fiction is a staple in Southern California. Don’t unveil your master plan for the next summer blockbuster while at one of these parties. Don’t get too tainted by the laid back lifestyle. Don’t forget to stay focused, be friendly and don’t drink too much before you pitch your screenplay(s)… Just don’t.
Speaking of pitching… there’s “The Golden Pitch Tournament”. If you can get ticket(s) you will be purchasing 5 minutes of a studios time to hear an outline of your story. If they like what they hear they can option to buy your script. Of course they can also take your idea and steal it – this is L.A.; remember? Good. Never forget this.
But I digress.
The Pitchfest is always interesting to observe, writers will pimp themselves out just to make an impression. I know that the studios and production companies must really get a kick out of most of the writers that shake their hand and try to sell them their wares. It’s an exploitative town. Jay Leno has started interviewing some of the more eccentric screenwriters as they wait in line. It’s a funny bit that illustrates the fact that while all people can write not all people should. Still it makes me cringe a little; possibly it’s a little too close to home. One never knows, however, I have heard of some things being optioned but realize before going in the odds are pretty bad; still as one of my best friends always says, “You’ll miss 100% of the shots you never take”.
Their website states the following when it comes to the Pitches of 2007, “One room with up to 60 of Hollywood’s A-list producers, development executives, agents, and managers looking for new material. No other event will offer writers better access to the people and companies capable of setting your writing career in motion. We’ve provided the venue, all you need to do is bring your best ideas and polished pitches — this is your chance to gain representation, sell your idea and make career-changing contacts.”
The Pitchfest gave me a new and deep appreciation for Independent Filmmakers. But, as I’ve said, one never knows.
If you are in the area and you have an interest you should go. Keep your ears and eyes open, learn and have one of those $3.00 cups of coffee that they sell there on the veranda. The sun is always shining in Southern California and looks spectacular through the glass panels of the Convention Center or the Marriott and Renaissance Hotels at the Los Angeles Airport; I would imagine.
Good luck out there.
“Looks like another perfect day… I love L.A.”.
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