The 2013 Black List Revealed

Deadline Hollywood is live updating its announcement of the 2013 Black List selected screenplays. The Black List is a yearly list that recognizes the best unproduced screenplays of the past twelve months. Initially, the list was meant to showcase new work by emerging talent, and placement on the list often led to representation, sales, production deals, and the like. More recently, the List has experienced some controversy, since many well-known writers with projects that have already been set up feature heavily in the ranking. Technically, their featured screenplays are still unproduced, though when Tarantino's DJANGO UNCHAINED made the list a couple years back, for example, many felt the nature of the list had been besmirched. Still, kudos to all who have made it on, especially those who are new to the industry.

Check out the 2013 Black List Screenplays here. 

UPDATED 12/17

You can now read the loglines and representation and production/financing info for all Black List screenplays on the Black List's official site.   

Writing Opportunity Alert - Nickelodeon Writing Program

The annual Nickelodeon Writing Program application dates have been announced. The program is designed to usher in a new crop of talented writers each year, who are selected based off the strength of a spec television script they submit for a show currently on air. Selected writers are then offered a year's placement as a salaried writing staff member.

As always with any fellowship, competition, or submission, be sure to read the guidelines carefully before submitting. I've regretted forgetting to take, say, my name off a title page when instructions clearly indicated that I had to, and you never want something like that to be the difference between placement and a form rejection.

Good luck!

The Writing Week (Vol. 6) part 283 - Outlining (Again)

It has been 22 months since I first began collaborating with actor turned director-writer, W.A., on our sci-fi project. I have since lost track of the number of drafts of the outline and script that I've written, but it's up there. A few months ago, we sent the script to our representatives for their feedback, hoping they would be on board to start shopping the material around. Unfortunately, they didn't think the script was ready yet. After my initial disappointment at their qualms with it, I came to see the points and understand the flaws they had picked up on. I then went back to the drawing board. 

The major problem with the script, as pointed out to us, was that the first half (and especially the first half of Act Two) failed to excite. A lot happens exposition-wise, and there is a strong science component that the characters focus on. However, as my agent said, we created a heightened other world that the story is set in, but then just have characters sit around in a room for a long time. While an exaggeration, it's not too far off the mark. The more I reread the notes, the more clearly I saw the weaknesses of the first half. Yes, things happen, but it's not riveting, nor is it visually compelling - at least, it's not as aesthetically exciting as a story set in the world we've devised should be. Something big happens at the midpoint that both elevates the emotional resonance and capitalizes on the world and action potential established early on, but the 50 pages before that barely scratch the surface. Our big obstacle in rewriting, therefore, was to make better use of the first half of the script.

W.A. and I got on the phone (a few times) to hammer out ideas. I pitched him one that actually struck me as we spoke. I didn't know if it would be too out there or too disruptive, but the great thing about working with W.A. is that he's always totally game for whatever idea, as long as he thinks it could work. He thought this radical one would be the perfect way to address the first half shortcomings, so we started spitballing using that as our base. I since went back to outlining, as neither of us wanted to spend any time writing before we were positive we had the new direction firmly set. It took me a while to crack the first half of the revised second act, but after a call on Monday with W.A., I think we're there. 

The change I proposed ups the emotional impact of the script very early on, moving a major reveal from page 70 to page 10. IT catapults the characters and story in a way that the inciting incident hadn't yet before, and (we hope) it buys us a little more time before we need a major action beat. We still push the action up, but in really looking at the rules of the world that we've established, it became apparent that certain things simply cannot happen - at least, not organically - and therefore limit how and when we can have a tentpole, edge of your seat scene. Still, with the new incarnation, the major first half of act two action sequence moves up from page 42 to somewhere around 32, which is great.

So, now, after months off, I am about to dive back into pages for the script in what's almost (but not quite entirely) a page one rewrite. In the meantime, I've had additional reviews go up on Under the Radar. You can read my two latest online exclusives there, for Last Days on Mars and Expecting. Suffice it to say, I was underwhelmed by both films I saw.

Spec Script Analysis Infographic

 Former Leaguer King Suckerman, (aka Alex Segura, whose debut detective novel, Silent City, you can buy here) recently tipped us off to an incredibly interesting infographic on spec script coverage. 

About a week and a half ago, a Reddit user named profound_whatever analyzed and compiled comparative data on 300 screenplays s/he had covered as a reader for five different film companies. (Readers are the first point of entry to getting your script repped or sold. They are the people - sometimes in-house, like interns, which I did for two companies during college; sometimes hired externally and paid on a script by script basis - who read most if not all incoming material for a production company, agency, or studio. They are then tasked with writing coverage, which consists of a brief synopsis of the script, followed by an evaluation of its strengths and weaknesses. They are then asked whether to recommend, consider, or pass on a script - and let me tell you, they are encouraged not to recommend, as each recommendation could lead to many staggering expenses, including buying a script and making a movie, which could lose the company a lot of money. The whole point is to get the muck out of the way, so that the higher ups can be spared the trash and focus solely on promising material. In short, you want a reader to like your script.)

The reader on Reddit assembled stats on the 300 screenplays to provide a broad, and sometimes quite detailed, snapshot of the kind of material assigned to him/her. Of the 300 scripts, they averaged 107.22 pages (which should give you an idea of where your script should land), but ranged from 79 to 147. As a former reader, I can tell you that the shorter script will always be read first, though too short a script is an immediate red flag. The most popular genre was horror/slasher, with 49 script. More than 1 out of 7 scripts (43) was set in New York City. The scripts were male dominated (270 male writers and 137 scripts that featured both a male protagonist and antagonist). 

Perhaps most importantly, of the 300 script, the reader recommended only 8. Yes, 8 out of 300, or just under 3% of script were considered worthy of recommending outright. The reader "considered" (or considered with reservations, which means s/he didn't want to be the one to say no, when it might be worth looking at a bit further) a further 89 scripts. That's a good stat, but most considers get a second read by someone else, and then a pass. A total of 203 (more than 66%) of scripts received a straight up pass. Someone higher up at the company will read coverage on a pass and might read the script if it sounds interesting enough, but generally, a pass is where a script's life ends at that company. (You should also be aware that coverage is archived, so if you rewrite your script and resubmit it, the company will go through the files, see that they have a script of the same name by the same writer that they already passed on, and they won't read you again. A pass, friends, is a pass for good.)

Check out the image below - or click here for the original link and access to a higher resolution version - to see the above stats and countless others. It is super helpful info, so major thanks to Reddit user profound_whatever for compiling it. 

The Writing Week (Vol. 6) part 282 - Back in the Saddle

Surprising as it might seem, the fact that I've not been writing blog updates doesn't actually mean that I haven't been writing. In fact, I finally began diving into a new project, which has been both fun and paint-drying slow, as new projects often are at first. League member Onyx (Jon) has for a while now encouraged me to take a time out from writing action scripts to work on something of a different genre. His idea, which I fully subscribe to, is that working on alternative material will clear the dust off of other writing tools and muscles. Sci-fi and action specs don't always have room for deep character cathartic moments or heartbreaking losses or reversals, so making time to write something that does can be invaluable - not that they are definitively devoid of them as a rule, either; many great sci-fi or action screenplays have truly tender and touching moments.

When I was new to writing and, a little later, new to NYU, I loved character-driven material. Plays, screenplays - I didn't care. I was in love with the idea of exploring characters through their reactions to heightened emotional circumstances. I wanted to root for the underdog and relate to people trapped in one of life's ruts and find a way to explain and explore love and the great emotions of the human experience. Most of my early work dealt with the "average" person in recognizable, day to day situations. Then, I wrote  a post-Apocalyptic spec that landed me an agent, manager, lawyer, and two producers, and the game changed. I was encouraged to develop multiple specs per year of a similar genre. Though no sale resulted from my new-found connections, I was brought on to write the sci-fi spec I've been working on for going on two years now. Still, the result has been a deep saturation in the sci-fi and action genres, with few outlets for any other type of emotional expression.

Not long ago, I had an idea for a film about two teenagers falling in love. The theme of young love is by no means new or unexplored - if anything, we're almost drowning in it on an indie level. But the concept I had threw it into an unconventional setting, which (to me at least) elevated the situation and themes I would explore. Still, I had a nagging sense that, no matter what I did with the film, I wouldn't be able to flex my dialogue muscles the way I did when I used to write plays in school. Taking Jon's suggestion, I decided to table development of additional action ideas I have, and instead to focus on the teen love idea, but as a play. Different muscles indeed. Progress has been slow and limited to date, but I have a working document that grows a bit each day I sit down in front of the computer, and I'm excited to be able to unburden myself of an experience certain emotions vicariously through the characters in the play.

In a similar vein, I also began a new venture - thanks to Austin Trunick, aka Zombie, aka the Cinema Editor at Under The Radar magazine - that of movie reviewer. So far, I've had the opportunity to review two films, Mr. Nobody and Casting By. While the cinephile in me loves having access to movies ahead of time and the platform to weigh in on their strengths and weaknesses, the writer in me loves the challenge of a succinct assignment. Tasked with delivering no more than a few hundred words, I find my creative delivery muscles being flexed - how do I say what I want to convey in a captivating, yet short-lipped (typed) way? Every word becomes an element necessitating evaluation. Does I need this "that" there? Can I consolidate these two sentences? Can I cut this train of thought? We're taught as screenwriters to keep action and description brief and moving; writing short articles is a great way to beef up those skills while also developing deeper analytical tools to bolster my own writing.

Article Alert - Joe Eszterhas Speaks

"My basic message is: believe in what you do and put your heart and soul into it, and then be willing to fight for it."

Legendary, or perhaps legendarily controversial, screenwriter Joe Eszterhas opens up about writing, writing gurus, and Hollywood feuds in a recent article in The Guardian. 

Regardless of what you feel about his body of work, the man's a successful writer and commands (at least a little) attention when he shares his views on writing for the big screen. Check it out and leave your thoughts below. What do you think of Joe's insights?  

The Writing Week (Vol. 6) part 281 - The Query Campaign

I'd be lying if I said that my primary focus the past month has been on writing. Frankly, I've really not done any writing at all to speak of in a while. It's not that I'm done with writing or out of ideas - I just haven't really been able to get motivated for a while. That happens. It's an accepted (though perhaps not entirely acceptable) facet of being a writer. Sometimes, you hit a bit of a slump. When that happens, you just have to do what it takes to pull yourself out of it, and for me, that's been the process of querying my children's book.

Over the summer, I wrote a 1,670(ish) word children's picture story book. Think Dr. Seuss, only I can't draw well enough to do the illustrations in addition to the text. I since cut it down to about 1,270 words. I had two people tell me that's still probably too long back in September, and as they were both much deeper in the world of children's literature than I am, I should probably take what they say as truth - at the very least, as a very solid suggestion.

I put out a couple feelers and landed a few leads. Two colleagues at the theatre companies I work with had connections to children's book agents that they said they could introduce me to. One said I could use her name in my query; that agent gave me the fastest rejection I have ever received. HOWEVER, that's actually far more positive than it sounds. (I'm serious.) For anyone who has ever queried an agent or manager or producer, you know that it can take months to hear back - and that's if you hear at all. To know within a couple hours that the agent you have reached out to is definitively not your person is actually a relief. With the waiting game over, you can immediately move on. And, what was especially positive in this case, is that the agent let me know why she was not representing me. In addition to being overloaded, she also just doesn't handle the particular type of children's material that I had submitted (not that I knew that based on the information about her online). Agents can be very particular about what they rep, and your project, no matter how incredible, will not find a home with every agent. If it's not their cup of tea, thank them and move onto the next. You won't change their mind (and probably don't want to). I have yet to hear back from the second colleague.

As I mentioned in earlier posts, I have a friend who worked in publishing. She has been very generous with her time, reading a few drafts of the story, weighing in with very lengthy notes, and has agreed to help me get it to agents that she knows personally. She's the one who advised that I write a query letter, and she has provided feedback on that, too. I just have to finish tweaking it, and the hope is that we'll go out to agents before the end of the month.

My writing partner on the sci-fi collaboration has connections in the animated film industry. Those connections have contacts in the children's book world, and he has offered to forward it along. Any potential in can help. (Speaking of agents, we got feedback from my agent for that one; it looks like we will be embarking on a potentially not-insignificant rewrite in the coming weeks.) I also reached out to another friend in publishing on Facebook, but I've not yet heard back. 

Finally - and most unexpectedly - I wound up meeting an Assistant Editor at a major children's book publisher at an event this week. She has taken a look at the material and was quite supportive. Like the two people earlier this year, she also recommended that I shorten the book by up to half if possible. That's an almost daunting amount of editing, but she knows her stuff and is a great contact and potential in to have. If she says cut, then cut I will. 

If all leads take me to a dead end, then at least I'll have a solid query letter and a product I believe in. I'll then start the blind query submission.