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.
There's been a lot of talk recently about the 3D craze that seems to be hitting Hollywood (and, some worry, will undermine Hollywood even further). John August tried to put out the fire a bit this week, but it's hard to deny that 3D is everywhere - and increasingly so.
I'm not looking to debate the pros and cons of the 3D boom as it affects writers. (The short, if you're wondering, is that with 3D really taking off now, only projects that easily lend them selves to a z-axis integration will be greenlit.) It makes for some fun viewing experiences, but the decisions to go back and reshoot a lot of pictures in 3D to try and jump on board the Avatar kick seems a bit much. Avatar had flying... dragon things (as did How To Train Your Dragon). Flight looks cool in 3D. (Cough Up cough.) Other things don't so much.
Horror, though, is one of those things that I think can look good with the added dimension. I never saw Valentine 3D, but I heard it was campy and gory enough to work with the medium. Well, this week there's another one added to the franchise.
Title:Ring 3D
Logline: Teens find a VHS player that still works.
Writer: David Loucka
More: Sequel. Third installment of "The Ring" franchise. Walter Parkes & Laurie MacDonald will produce. Vertigo and Benderspink will executive produce. The film will be in 3D.
Ok - for a change, I won't linger too much on the logline itself. If you've read any of the other Logline Centrals, you'll probably guess that I think this is a less-than-stellar logline. I mean... this can happen at a pawn shop with no cinematic repercussions whatsoever. That's beside the point this week.
No, the reason I chose Ring 3D as our feature this week is that a few of us in the League - including yours truly - were taught by Loucka while at NYU. At the time, he had finished some work on Snakes On A Plane (I know you all know it) and was working on other things. Loucka had some interesting ideas about my script in particular, which really benefited from his more mainstream Hollywood career. He helped me break out of a structure that wasn't working, expand my idea, and really turn it into something much more workable. He's not necessarily a household name (as much as screenwriters can be), but it's good to be able to say, "Hey, I know him. He was my teacher." Plus, the Ring franchise helped kick-start the Japanese import horrors, which tend to be pretty popular, so it's double nice to see him getting in on the action.
Last night, as was my goal for the weekend, I “finished” the… sixth? seventh? draft of my post-Apocalyptic spec. This is a draft that came out of talks with an executive at a production company that’s been developing the script with me since October. No money’s passed hands yet, but the hope is that, once they’re on board, they’ll take it to the studio that they have a first-look agreement with. At the beginning of April, I met with the executive to go over an outline that I’d written for the script (after devoting two months to a massive re-write that she wasn’t totally on board with, we agreed that I wouldn’t put any more words to the page before cementing an outline everyone was pleased with). She approved the outline, and I’ve been writing semi-steadily since.
In last week’s post, I wrote about how I wasn’t exactly feeling the pages I was writing. I’m sort of still there, though I’m a bit more positive. Obviously, having a full (if not a bit long at 122 pages) draft is a good thing, even if it warrants a lot of edits. My main concern is that there are disjointed segments, holes in the information that I think I’ve conveyed – or needed to convey but didn’t fully set up – or redundancies that stem from the fact that I haven’t trusted myself enough that the clues are already in there.
At times like these – or really, any time I’m going to submit a draft – I hold firmly to the conviction that a script needs to be read in hard copy, not on the computer screen. It’s way too easy to overlook things while reading on the computer. The screen makes skipping ahead or skimming that much easier. On paper, though, you can really see the impact of every word, how one scene relates to another, and where formatting errors and inconsistencies make the finished product look sloppy. Printed scripts are also best for edits – both grammar and copy-editing – and for determining the cohesiveness of a story.
Tonight, I’m going home with my freshly printed (on recycled paper) script. I know I have to cut about 10 pages, so I’ll be looking for obvious and not as obvious trims. Some of the earlier scenes in act two are probably unnecessarily long, because I wasn’t sure how much filler I’d need, and therefore overwrote a lot at first. Mostly, however, I’m going to be looking for the key bits of pivotal information that I’m worried aren’t yet in there. Are the disparate parties involved fleshed out enough? Are the protagonist’s character and voice consistent throughout, even in the face of some major reveals? Are all of the reveals earned? Where are there plot holes and redundancies? I’ll be looking for all of this and more, and I know I wouldn’t have as great a chance at finding any of it if I opted to just read it on my computer.
Every writer gets that feeling. You know the one. It’s unpleasant. It makes writing sessions seem unproductive, no matter how man pages you bang out during them. I’m talking about the feeling that you’re just not writing scenes that work, that the work you’re doing is going to have to be undone and redone soon.
Last week, I complained a bit about not having accomplished as much as I had wanted to. I’d set a goal of 60 pages by the weekend, but only came in at page 50. Immediately after, though, I cruised ahead to 64. Then, I crept to a halt again, dragging myself painfully through another 3 pages that I just knew were not going to be in the final draft. The dialogue was feeling forced and going nowhere. The characters’ motivations were unclear and unnatural. As a whole, the scene was just not working. And I knew this.
The big question, though, was whether to push through it (did I say it was painful?), make myself sit in front of the computer for an hour a day, and just see what happens, or was it best to turn away for a few days and let things settle? Luckily, I didn’t really have much of a choice. In a weird twist of coital timing, my sister and I share a birthday, though we’re four years apart. So, the whole family went down to where my sister’s in school for the weekend. My laptop stayed up here in NYC, which meant that I wouldn’t be doing much writing at all for three days.
The break proved to be what I needed. (Full disclosure: I write this now without having returned to the script yet, but I feel less cluttered.) Sometimes, knowing that progress won’t come makes it difficult for me to even just sit in front of the screen for an hour. Many writers will tell you that it’s better to at least commit the time to sitting, even if you don’t produce a single word. This process helps you to get used to a writing schedule, if nothing else. And typically, I’d agree with this. Perhaps the fact that I had a trip coming up is why I allowed myself to step away for a few days. Had I stayed in town, I surely would have spent a few potentially unproductive hours in front of my computer this weekend. Right now, though, I’m grateful that I had an imposed break, time away from the script to get my mind in other places and reduce the stress level I’ll feel coming into tonight’s writing session. Just as stepping away from a script can be incredibly helpful after you complete a draft, stepping away from one (ideally to some other project) can be equally soothing for a few days if you’re feeling particularly stuck.
My goal for this weekend was to hit page 60 of my script. Granted, I’m primarily re-writing from page 40 on, so the task didn’t seem that challenging (I started writing around this time last week). However, when I sat down to write Tuesday and essentially got nowhere, I realized that I couldn’t just plow on ahead like I normally do. I was being held back by something, something very important; I had changed the nature of my protagonist fairly dramatically, setting up a very dark past for him, and I was having trouble advancing before fully fleshing that out and reconciling it with the existing pages.
To see that typed now, the problem seems obvious. Of course I couldn’t write 50 new pages with a drastically different protagonist before addressing Act One and the first part of Act Two. What’s the saying? “If you’re having Act Two and Act Three problems, the solution probably lies in Act One.” Sometimes, you just have to re-learn the old lessons through trial and error.
I thought I could achieve what I needed to before doing too much digging into my protagonist’s past. A tweak here and there to Act One – his past catches up to him in Act Two, but remains largely hidden until then – and I would be good to go. But something was still nagging at me, something telling me that what I had was… incomplete. In fact, the first scene that I sat down to write involved a flashback to one of the darkest memories from my protagonist’s past. There was no way I was going to b.s. my way through it, so I did the only thing that I knew would help me move forward – I wrote a character backstory.
Normally, I don’t tend to put too much about my characters down on paper. I did it in the outlining stage of another project I was working on, and I did a tiny bit in a general outline for this one, but I avoided specifics. I thought that the “gist” would suffice. Obviously, it didn’t, because when I was staring at that FLASHBACK transition, I had no idea what to write next. I set aside the script for a night, opened Word, and pumped out a page and a half about my protagonist’s previous life, detailing who he was and what he tries to hide from his life ten years ago. And once that was done, I felt like I’d made the breakthrough I needed. It was the most elegant piece of writing, and it probably won’t all make it into the script, but it was essential to my work. And, now that I’ve done it, I can move forward with him further into the script.
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.
Right off the bat, this logline intrigued me.
This week’s logline comes with a big ole WTF.
Title:Violet and Daisy
Logline: Described as a “Thelma and Louise” meets “Superbad” and “Pulp Fiction.”
Writer: Geoffrey Fletcher
More: Wendy Finerman will produce. Geoffrey Fletcher will also direct. Carey Mulligan and Saoirse Ronan will star.
If you’re thinking about sending query letters and looking for logline models, do NOT use this one. Geoffrey Fletcher just won an Oscar for his adaptation of PRECIOUS. His logline could just have read, “I won an Oscar for Precious a month ago."
It’s one thing to compare a couple movies – in fact, that happens all the time. “Bill and Ted meets JurassicPark“ gives you an idea of what you can expect (in this case, probably something about a couple stoners who somehow get zapped back to the time of dinosaurs; cue high jinx). In order for that to work, though, you A) usually still need an actual logline (where you give a brief description of WHO has to do WHAT and WHY) and B) should stick to two movies that people can logically piece together.
I can see how Superbad and Thelma and Louise can maybe go together. But throwing in Pulp Fiction raises too many questions for me to comfortably get behind this, if this is all the info provided. Mind you, I’m trying to think like an Acquisitions Exec here, and the titles just don’t mesh enough for me to think, “Yeah, I could see that; this sounds promising. I should read it.”
When you’re comparing your spec to other work out there (and by NO means do I imply you have to do this in your queries – I never did), stick to just two films. And in order for the example to be a successful one, choose two films that people can see the relationship between.
That said, I’m sure VIOLET AND DAISY is about something and not worth writing off just yet. However, don’t let that “logline” be the example you base yours off of when querying agents and production companies.
This past week held a lot of firsts for me. For one, I had my first ever play reading, which was both nerve-wracking and exciting. I have a day job in the Off and Off Broadway theatre industry, and one of my coworkers is an actor/director who wants to start his own theatre company some day. One day, we were heading to a work event and got to talking about his plans – which at that point consisted of little more than wanting to do a reading of a play – and I mentioned that I had a play sitting in my drawer from a couple years back. He asked to read it and quickly decided to get a reading of it going. I spent some time tweaking it in December and then again in February, and he managed to nail down a cast about two weeks ago. Of course, we probably shouldn’t have planned a reading for Good Friday, but it still went off pretty well.
Having worked in New York theatre for over two and a half years now – and been around it during school for four years before that – I wasn’t new to readings. I was new, however, to having my own material read. We had a rehearsal on Wednesday, which was the first time that I’ve ever had a full length piece (or actually anything longer than a one act) read aloud since high school. I didn’t quite know what to expect going in; I knew that the play read alright on paper, but that was about it. The beginning was a bit shaky, but the seven actors involved (one of them a 9 year old kid) got into their roles pretty quickly, and I calmed down in no time. On Friday, we did the play for a small audience – about 15 people – which was exciting. I remembered how much I dislike hearing my material read before an audience (something I’ll have to get over) and how difficult it is for me to sit still during it. Afterward, though, we had a Q&A that lasted longer than we’d expected and wound up being really successful. People were into the play and debating amongst themselves certain points I had intentionally left open to interpretation. None of the comments indicated a lack of clarity about the story or poor writing, which was great.
The next morning (Saturday), I had brunch with the executive from the production company we’re working with on my post-Apocalyptic spec. It was actually pretty weird timing that she wound up coming to the City last week. I had just emailed my manager to let him know that I have a bunch of vacation days to use up before the end of June and to see if he wanted me to reserve any for LA. While it’d be great for me to get out there, he said that the best time to take meetings would be after I finished the script. The next day, I found out that the executive was boarding a plane for NYC for a number of meetings and that she would be in touch to try and meet. We had sent her an outline for a proposed new draft of the script, and we were also eagerly awaiting her feedback on that.
So Saturday morning the executive and I grabbed a cup of coffee at Dean & Deluca in midtown. In case you’re wondering what to wear to something like that – I actually did some reading beforehand on proper meeting attire for these situations – I wore a polo shirt, Converse sneakers, and jeans. Pretty casual. It was also nice out, so I didn’t have to worry about a jacket or anything. Granted, this was an informal meeting with someone that I’ve been on phone and email with a lot in the past few months, but still – a first impression. Coffee lasted about an hour, the first fifteen minutes of which was us talking about a show she’d seen in town, my play reading (which I had invited her to), and my background as a writer. Then, we dug into her notes on the outline I had submitted, which she had responded to via email a couple days before. I was in agreement with her on almost all of what she said, but I did have questions on where she was coming from on three points, so we discussed those.
All in all, I’d say it was a pretty successful meeting. Of course, there were a few things I wish I had done a bit differently. I hadn’t anticipated talking about my other projects (for some absurd reason), so when she asked what else I had, I informally pitched a few that I would probably not have mentioned had I prepared a bit more for that. Not to say that they’re bad projects – I want to get back to them both – but I’d have gone with other ideas over one of them in particular. At one point she asked me if I had questions about the production company, and I kicked myself for not having asked first. Luckily, I’d done my research, so I could ask about different projects they have in the works (one of them I wish I’d known had fallen apart). Still, it was an hour very well spent, and I think we’re in a good place with the script. She’s excited about it, so are my producer and manager. Now it’s just up to me to write the thing (again).
April is Script Frenzy month, and to help kick it off and spread the word, The League recently had the chance to ask Program Director Jennifer Arzt about the month long challenge. For any of our readers who are new to Script Frenzy, the Frenzy is a writing challenge issued to any and all writers who wish to participate. Entrants are asked to try to meet a goal of writing 100 pages of original scripted material in 30 days - screenplays, stage plays, TV shows, short films, and graphic novels are all welcome. There is no fee to enter Script Frenzy, nor is there any penalty for not hitting the 100 page mark. The goal is to motivate people to write, and here at The League, we think that's just the bee's knees.
Hi Jennifer, thanks so much for taking a moment to speak with The Screenwriters League about Script Frenzy. What a great program! Can you tell us a bit about the inspiration for this event - whose idea was it and how did it first come about?
Thank you for having me!
In 1999, Chris Baty started National Novel Writing Month, which has since grown into the largest writing competition in the world. Chris founded the nonprofit Office of Letters and Light in 2006 to run National Novel Writing Month and launch new events. In 2007, the curtains rose on the very first Script Frenzy.
I'm very excited for our fourth year! We already have thousands more writers signed up this year than in 2009, and the registrations are still going strong.
This is a really unique program compared to all other competitions and contests. Script Frenzy is so much more about a writer's challenge with him or her self than with other entrants. How has the response been from writers so far (both this year compared to others and in general)? Do you find that the program has helped a lot of writers get words on the page?
It is unique especially when compared to a competition or contest because there are no prizes per se. It is a challenge. The competition is between the deadline and the writer.
As far as I know, most participants' response to this is very positive. I think folks like having the deadline to keep them motivated. It also works as a great excuse to skip out on other events, cleaning, and errand running.
I've seen it really inspire first-time scriptwriters to fall in love with the form. And, I've seen it rekindle a love of writing in Hollywood professionals who had become burned out by working on scripts for other people.
Thousands of writers win the challenge every year. Even those who don't win report writing more during Script Frenzy than they otherwise would have.
So, 100 pages in a month. What a great challenge. How did you settle on that, and do you find that most participants accomplish that goal (or at least something close to it)?
100 pages is the average length of the typical feature screenplay.
In Script Frenzy's first year, the goal was 20,000 words. The idea was pulled from our sister event, National Novel Writing Month. It was quickly apparent that counting words just didn't fit the screenplay format, so we changed the measurement to pages.
Each year about ten percent of participants cross the 100-page mark and thousands come close.
We have a total-page counter on the website (it appears on April 1). It is really exciting to see that number start exploding upward. This year, there are already more folks signed up to take part a few days before April 1 than at the end of last year's event! I'm excited to see how many total pages are written this April!
How does Script Frenzy track writers' progress throughout that month? Do you ever get to see the finished products that people submit?
Every person who signs up gets a profile page. Each day writers track their progress and can keep track of how consistent their writing has been by checking their chart.
They can also check the status of their writing buddies. It is amazing how motivating it can be to see a buddy jump ahead of you.
I get addicted to the page-count bar on my profile. I keep the website up when I'm writing just to see how far I've both come and have to go.
We never read what gets submitted for verification at the end. Participants upload a PDF, a supercomputer robot counts the pages, verifies the total pages, then deletes them. Because there are no “best scripts” singled out, we don't need to do anything other than count. With two exceptions...
There is a place in every profile for a script excerpt, but this is completely optional.
Also, at the Headquarters wrap party, we string up clothes lines and folks pin up a few pages that they want to share. The grand finale of the party involves a few members from the very funny improv group Killing My Lobster performing a page or two (with no rehearsals!). It is side-splittingly funny and not to be missed! This year our wrap party will be in San Francisco on May 8.
Is there anything else you want people who are considering participating to know?
You have nothing to lose. Honestly. Script Frenzy is free and is designed to get you writing. That's it.
Script Frenzy starts on April 1 and ends on April 30.
It is one month out of the year that you get to devote to your writing. I look forward to it every year, panic when it is just around the corner because I'm not ready, and then dive in anyway on April 1.
There's really no downside to a challenge like this. And the great thing is that Script Frenzy is run by people who are all also writers, correct? Have you learned anything about your own writing and cinematic pursuits from running Script Frenzy?
You're right! There is no downside.
I am a filmmaker and a writer. I fell into writing by accident when I was trying to make movies. I found that it is hard to direct something that isn't there, so I started writing. It is mostly free and doesn't require a crew, a distributor, or an audience–yet.
Even though I was fully committed to writing, I was still having a hard time getting to the end of the first draft. I would find a plot hole in the middle of Act 2 and go back to fix it. When I returned to the middle of Act 2, I would see that a character would have been better set up a different way. So, I'd head back and rewrite. I just could not arrive at the end. But when I finished my very first full-length, beautifully flawed script with Script Frenzy, I learned that all first drafts are meant to be first drafts. They are meant to get done, be read by friends for feedback, and rewritten. I knew that “writing is rewriting” but it took me actually getting there to really understand it.
So as you know, The League is dedicated to helping other aspiring writers launch their careers by sharing our experiences while trying to start our own. Is there anything else you want to say about Script Frenzy or writing in general, that our readers might like to know? Any advice?
(I'm also still trying to get something huge, wonderful, and career-launching off the ground, so take my advice with a grain of salt.)
In a nutshell, my advice is: Write until it's done, then celebrate what you've done before starting the next thing.
Once you've started a story, spend time with it every day. Every. Single. Day. Don't let it slip out of your hands, or out of your subconscious. Creativity works in funny ways. I'm not doctor, but I can tell you that your subconscious works to puzzle out what it's currently involved with. So, let it work for you. I can always tell how good of a job I'm doing by how many awesome ideas pop into my head while I'm in the shower. If I've been away from the story for a few days, those moments just don't happen.
In an industry where so much is dependent on things that have nothing to do with the quality of your script (who you know, did a similar story just get picked up, did the economic climate hit the next ice age), take time to celebrate getting a script done–no matter what happens to it next. Finishing a screenplay is a huge accomplishment. A lot of people set out to do it and never cross FADE OUT. Just getting to the end of your story is worthy of champagne, confetti, and a high-fives.
Thanks Jennifer. This is a tremendous program. Kudos to you and everyone on the Script Frenzy team from everyone here at The League!
To join Script Frenzy or for more information, go to www.scriptfrenzy.org. Happy writing!
The Screenwriters League is a collective of NYC-based writers sharing their experiences as they build their careers from the ground up, and hoping to impart any knowledge they gain along the way.
