"I will not read your f***ing script."

A History of Violence screenwriter Josh Olson blogs for the Village Voice in a piece called "I Will Not Read Your Fucking Script":

I will not read your fucking script.

That's simple enough, isn't it? "I will not read your fucking script." What's not clear about that? There's nothing personal about it, nothing loaded, nothing complicated. I simply have no interest in reading your fucking screenplay. None whatsoever.

If that seems unfair, I'll make you a deal. In return for you not asking me to read your fucking script, I will not ask you to wash my fucking car, or take my fucking picture, or represent me in fucking court, or take out my fucking gall bladder, or whatever the fuck it is that you do for a living.

Simple enough, indeed. A bit later:

Which brings us to an ugly truth about many aspiring screenwriters: They think that screenwriting doesn't actually require the ability to write, just the ability to come up with a cool story that would make a cool movie. Screenwriting is widely regarded as the easiest way to break into the movie business, because it doesn't require any kind of training, skill or equipment. Everybody can write, right? And because they believe that, they don't regard working screenwriters with any kind of real respect. They will hand you a piece of inept writing without a second thought, because you do not have to be a writer to be a screenwriter.

A very harsh truth in a lot of cases, I'm sure - but I have had experiences in the past where professional, working screenwriters were more than willing to offer feedback and advice to a fledgling writer. I know other Leaguers have, too.

You can read the full article here, and feel free to let me know what you think.

It's Sale Season!

Labor Day has come and gone, marking the unofficial end of summer. Offices are operating at full steam again, as the long weekend getaways have come to an end. So you know what that means...

Get those scripts ready, because studios are getting ready to start buying again. My producer tells me that for the next month or so (in particular once September ends), the spec market is like a shark feeding frenzy. It's highly competitive, and companies are biting.

In light of that - or perhaps as a testament to it - today's DoneDealPro tracking was the busiest I've seen it in weeks. Granted, six of the sales were to the Swedish company Yellow Bird that I haven't heard of before, which bought up what looks to be an eight-part novel series about crime reporter Annika Bengtzon.

Still, I think that the post-summer market deserves it's own Logline Central, so let's represent the times with:

Title: Supermax
Logline: Set in a maximum security prison for the supernatural, a guard must join forces with a lethal inmate after a riot ensues in order to fight his way through various monsters and mad-men in order to survive.
Writer: Christopher Allen Nelson, Mitch Rouse
More: Spec. Broken Road's Sean Robins & Todd Garner will produce. Sony's Doug Belgrad & DeVon Franklin will oversee.

I chose SUPERMAX for a few reasons. One - it's a spec. There aren't nearly as many specs selling (compared to adaptations or sequels) as any writer would like, so it's great to see one go. Two - the writers are intriguing. Christopher Allen Nelson might be most recognizable (or was to me) as Uma Thurman's groom in KILL BILL and has done a ton of work as a special effects makeup artist; he doesn't have any other writing credits on imdb. Mitch Rouse has more writing credits to his name with STRANGERS WITH CANDY, WITHOUT A PADDLE, and EMPLOYEE OF THE MONTH (among others).

The last reason that I chose SUPERMAX this week is that it is disappointingly similar to an idea I had. That happens, unfortunately. Doesn't mean I won't immediately drop that idea, but it's part of my training to become a working writer. I hope any of our readers who, like us, are trying to get into this crazy field develop enough of the c'est la vie attitude to let things like that roll off their back when it happens.

Anyway, go take that script market by storm!

The Writing Week (Vol. 2) part 88 - The Plan of Action

As I was leaving work on Friday, my phone rang. It was my manager, and he had Gretchen - the producer who optioned my post-Apocalyptic spec - waiting to conference in. With all three of us on the line, it was time to talk about the latest (and we hoped, final) draft I had turned in and what the plan for moving forward with my script is.

First, the great news was that they really liked all of the changes I have made and how effectively I have incorporated their notes. They reminded me that unproduced, young writers can best guarantee their careers by being easy to work with. Had I fought every note I've gotten from them, I'd be burying myself. Since I took their notes, threw in my own new ideas, fleshed the story out, and made the script much stronger, they said I have a much better chance of having a long career.

There's one final round of edits that Gretchen and I will be working on. There were some things that she wanted to cut, so she was going to use the weekend to really comb through the script. I should have those final edits soon. The difficulty, though, is that I write in Movie Magic 2000, while she uses Final Draft. Though the software claims to be compatible, I've found that it really isn't. She finally managed to get the script working in Final Draft after I converted the script to a rich text file. So, we'll see how re-converting goes.

Once the edits are all done, we're actually going to hold off on going to production companies or studios. Gretchen and (manager) Kevin have decided that trying to get an agent on board will make our case for the sale stronger. Their reasoning is that an agent at CAA, WME, or ICM will have other contacts at possibly bigger places and will also bring a level of name recognition that we might not yet have. Not to say that Kevin and Gretchen are unknown in the industry, but since they're working with an unknown writer, we have to do everything we can to make some things happen. If, however, we don't get any bites from agents by October 1st, we'll go forward on our own.

So, while there's more waiting ahead, I can handle it fine. There's been so much waiting to this point, that the next month shouldn't be too bad. Yes, we're waiting to hear back on some potentially big news, but I know I can't make those deadlines come any quicker. the best thing I can do going forward is to get another script in order that I can use it as a follow-up to this one. Roman army spec, here I come.

Logline Central

Logline Central is an irregular segment that takes a deeper look at loglines of scripts or projects that have just been purchased, as listed on DoneDealPro.

I just came across this today:

Title: At Swim-Two-Birds
Logline: A 19-year-old student sees the fictional characters in the play he's writing intertwining with the people in his life.
Writer: Brendan Gleeson
More: Based on Flann O'Brien's seminal metaphysical novel. Parallel's Alan Moloney will produce. Brendan Gleeson will direct. Colin Farrell, Cillian Murphy, Gabriel Byrne and Brendan Gleeson will star.

The idea isn't what caught me about this (though it is vaguely similar to something that a Leaguer was working on). No, what I'm most interested in is the cast. Not only is Brendan Gleeson near the top of my list of actors I want to work with (alone, Gleeson as writer, director, and star will get me in), but with Farrell, Cillian Murphy (another one I'd love to collaborate with), and Gabriel Byrne all also attached, it's a virtual who's who of Irish actors. Add Liam Neeson, and it might be overload.

I'm certainly going to keep a close eye on this one. It's proof for me what a great cast and do to attract people to an idea that might not at first be wholly riveting.

Bite The Bullet

My thesis professor once told me that he always gives his script to his wife because he knows she'll be flat out honest with him and tell him what's working and what's bullshit. I've always been a little hesitant to give my writing to my girlfriend. I'm not worried about how much she knows about screenwriting. She knows enough about the craft and is more involved with the entertainment industry than I am right now. There's just something about getting criticism from the person I wake up next to that scares me from time to time. I can deal with her being frustrated with my choice of tv shows, or with my wastefulness of faucet water, but her being frustrated with my screenwriting is often more than I'm willing to deal with. I usually opt not to fight my battles so close to home, but sometimes you just have to bite the bullet. I did more than bite the bullet. I put the gun in my mouth and pulled the trigger, and in a Fight Club kind of way, I feel like it saved my life.

A few months ago I was feeling none too thrilled about life. My girlfriend was feeling more like a roommate, she was making strides in the industry while I sputtered, the lease on my interest in my job was expiring, writing was slow, and my closest work friend and confidant was leaving the office to face her unknown destiny. I tried to fall back on my writing and completed two first acts to two different scripts. I enjoyed the concepts and hope to return to them, but the pages weren't fulfilling. I did something I've never done before. I abandoned my 200 million dollar concepts, dug real deep to get to the marshmallow of my personal emotions, and poured it all out into a minuscule budgeted, character driven script. It was a different animal. Those closest to me would be able to point at specific characters and events and say "Wait, I know that." It was the most personal thing I've written to date, a 90 pager about a recent grad who begins to question his current path and the relationships surrounding him after experiencing a traumatic work incident. So much of this script stemmed from feelings towards my girlfriend, some positive (love, admiration), and some not so positive (jealousy, envy). Even though the script was a work of fiction, it would hit home with her and had the potential to cause wounds. I felt it would be an extreme one way or another. Either she would be pretty upset and uncomfortable that I could write something like this without her having any knowledge of the process or content, or she would appreciate the invitation into parts of my life and value what I had chosen to share with her and what I had been able to create from those feelings. Despite some cautioning from the league, I gave her the script.

Around 10pm last night I got a voicemail from her stating that she'd read my script and she wanted to talk about it. Oh no. She can't even wait until she gets home from her late night commercial shoot to tell me how awkward she feels. In perfect dramatic fashion I couldn't make out the second half of the message. "I hate you" jumped through my mind, but it turns out it was "I love it." In our five years together I've been fortunate enough to get my fair share of "I love you", but this was the first "I love it", pertaining to a screenplay. I called her and we talked on the phone for half an hour about the script until she absolutely had to get back to work. I can't remember a time we talked for half an hour on the phone, and I can't remember a time she felt so strongly about one of my screenplays. You have to factor in the emotional connection to the material, but it was more than that. The discussion was surprisingly less personal but rather focused on the script as a story and how it might play out on film. I was so excited and relieved, because it just wouldn't have been fair to me to love the script as much as I did and have her not enjoy it.

In writing my untitled piece I not only got back on track with my writing, but I had put myself through self therapy and was feeling healthier. I felt better about my relationship with my girlfriend, my job situation (used to be a fatal tailspin, now just a loss of cabin pressure), and my emotions concerning my friend who had moved on. On top of that, I now have a very affordable, character driven script that I'm confident is pretty good. Lucky for me I get the league verdict on that later tonight at our next meeting.

I love the league and respect their opinions, but this might be the one I put my foot down with. I feel like I wrote it the way I wanted to write it and the way it needed to be written. There were so many moments when I felt the urge to make traditional screenwriting choices, things that would crank up the drama and solidify structure. But each time I tried to make those choices I felt like I was betraying the script and losing the human element that made it real. There are a few elements I'm open to changing, but I will most likely be stubborn as a mule regarding the vast majority of edits. That stubbornness might not make the script better, but maybe it will. Right now it doesn't matter, because I feel I've completed something more important than material.

Site Alert - Writers Store: The 11 Laws of Great Storytelling

An email with a link to the following article just popped into my Gmail account (now that Gmail is back up and running, that is): The 11 Laws of Great Storytelling by Jeffrey Hirschberg.

Most of these are pretty rudimentary, but they're good to have all down together. Obviously, there are other things that all writers should be aware of, also. But for the purposes of this blog - i.e. aiding aspiring writers -it's a worthwhile read. Hirschberg takes readers through the following 11 key reminders/pointers (with my summary and thoughts in italics):

1. Assume everyone has ADD

Hardly anyone is going to devote their precious time to reading a script that doesn't instantly captivate them. Their phones will ring; they'll get emails; they'll be at home trying to get their kids to bed. Hook them, and keep them hooked, or their eyes will wander from your script to something more interesting, and you can consider that opportunity blown.

2. Spend most of your time on the first ten pages of your script

Most readers and acquisitions people will tell you that you get 10 pages to reel them in. Within that ten, not only do readers learn who the protagonist is, the world the script takes place in, and what happens that launches the protagonist's upcoming journey, but they get a good sense of a writer's ability. If a writer doesn't wow the reader in those first ten pages, then the remaining 110 pages look like a chore, and the opportunity is often blown.

3. Write roles to attract movie stars

This one is good to keep in mind if you want to write major Hollywood blockbusters. Most male action stars don't want to look especially weak or vulnerable or afraid on screen, so trying to get Tom Cruise to play a guy who is afraid of butterflies - unless it's a comedy - is not likely to happen. Personally, I wouldn't rank this #3 out of 11. Yes, you'll want a star to get your $80 million budget financed, but don't sacrifice what you want to do for that. Especially if you're not looking to break the bank. A number of League members have written great scripts with no celebrity in mind.

4. Write economically

You only get so many pages. Don't clutter them with unnecessary description and excessive dialogue. That doesn't mean skimp on either. My rule of thumb is that I try to keep most blocks of action/description to three lines (Hirschberg says five). This keeps action moving. Short but sharp descriptions urge the reader forward, keep their eyes on your script, and make it a page turner. All good.

5. Make sure every character has a unique voice

If everyone sounds the same, your reader will get lost. In a strong script, a reader will breeze over slugg lines and character names marking dialogue, because both will be obvious from the description of the scene's setting and the character's voice.

6. Understand your audience

Hirschberg means both the reader/agent/producer/manager you're submitting to and the target audience for the intended film. When agents send scripts to production companies, they know who they're targeting. They won't send your comedy to the guy who mostly does horror, and they certainly won't send your bloody horror spec to the family films people. Likewise, your horror film better be scary to the high schoolers its intended for. Want to blow another opportunity: send a horror spec that might scare a three year old - if that - to the people who acquire family films.

7. Know your three-act structure

The reader/manager/agent/producer knows it, and they'll be looking for it, especially if they don't know you. New and unproduced writers have got to show they know the basics. While there are always exceptions to any rule, it's not really a great idea for new writers to try to scrap three-act structure for something more experimental. If you can do it and do it well, though, then my hat's off to you.

8. Be aware of theme, and keep it consistent throughout the script

Ever seen a comedy that turns really dark and almost scary half way through? Were you surprised and disappointed when that happened? Readers have the same reaction to scripts that do the same thing. That doesn't mean a comedy can't get dark, but remember that it's still a comedy. Even in the darker parts.

9. Watch and re-watch successful movies similar to your story

You're writing a movie about gladiators. Watch Gladiator and take notes. Why was Gladiator so good? Why did it get made? And what can you do in your script to make sure it's not a Gladiator rip-off. Same token: you're writing a revenge script; watch Gladiator of Man on Fire and outline them. Where does the betrayal come in? How does it unfold form there? When does the final showdown come into play?

10. Know what your hero wants (the goal), what happens if he doesn’t get what he wants (the stakes), and who/what is preventing him from getting what he wants (the villain)

Screenwriting 101. Set the stakes high. If your hero is a low-income high school football player who needs to get an A on his math test, make sure we care that he gets it. If failure to get the A means he doesn't get into the college that's giving him a full ride, that's a big deal. If not getting the A means that his parents are mad and he'll go to a different school, we care less.

11. Leave them wanting more

Hirschberg doesn't mean set up a sequel (though most producers/managers I've spoken to about my action specs look for sequel potential). What he means is that your reader should wish there were more pages, because they couldn't get enough of your story and your writing. They want to see more, and since there isn't more, they want to a) see this script become a move and b) see what else you have.

Visit the Writers Store to read the full article, which is actually an excerpt from Jeffrey Hirschberg’s recent book: “Reflections of the Shadow: Creating Memorable Heroes and Villains for Film and TV.”

The Writing Week (Vol. 2) part 87 - Ahead of Schedule for the Competitve September Spec Market

When last I spoke to my producer and manager, we agreed that I would get them what is hopefully the last rewrite by September 1st. That's tomorrow.

The more I focused on the job ahead of me, the less daunting the task seemed. The larger rewrites shrunk as things clicked more and more. Before I knew it, I was targeting August 26th for my final rewrites and giving myself the 27th and 28th to re-read everything before sending. On Friday the 28th, I shot the "final" major rewrite for this stage of the script off to the producer and the manager.

This process has taught me a few things, and reminded me of others. For one, it's great to have a deadline. I usually approach rewrites by starting with a very cursory grammar and spelling check. That gets the ball rolling on prepping myself for making some actual changes. With a tight deadline, though, the comfort of doing those superficial (and sometimes meaningless, once scenes are cut) changes is gone. Only having time to focus on the actual rewrites with one proofing round at the end forces attention. I usually try to avoid the meat of a rewrite as long as possible, but this week, it was all business all the time.

Another thing I've been thinking about a lot is deadlines. September 1st was a nice round deadline. Many production companies end their year in August, so I'm told, and have little to no cash left for acquiring material then. Come September, though, their bank accounts are open again (so-to-speak) and the buying begins. Add to that the fact that most execs and VPs take their vacation in August, and September becomes a highly competitive time in the spec market. It's our goal to be a part of the competition this year. It was my goal to make that as much of a reality as possible, so I pushed myself to beat the deadline and give the producer and manager more time to read and, therefore, give myself more time for any final tweaks they feel necessary.

That brings me to the last point. Though this will hopefully sound intuitive to most of you, re-reading your material is essential. And I'm not just talking about for typos and grammar - if you don't reread for editing purposes, though, you should probably re-think your career choice. It's important to go through for other reasons, too. Did you make every single change you meant to? If you cut a character, did you cut him/her everywhere, or does their name pop up somewhere. Same with changing a character or location name. Make sure the old is fully flushed away. Also, depending on your method of sending - do you email your contacts scripts in Movie Magic, Final Draft, or pdf format - check the final version. I once sent Onyx a pdf created from Movie Magic, which I use, only to discover that 5 pages had been corrupted. I now scan every single page before sending anything out.

These things might seem small and very "Screenwriting 101," but at a certain point, they become just as important as the content on the page. Make sure the presentation is as flawless as can be, and take the extra hour or so to do so.