Screenwriter-to-Screenwriter.com

I’m offering a free basic story notes package on a screenplay to any reader who can correctly predict the Oscar winners in the following categories:

1. Best Picture
2. Actor in a Leading Role
3. Actor in a Supporting Role
4. Actress in a Leading Role
5. Actress in a Supporting Role
6. Cinematography
7. Directing
8. Writing (Adapted Screenplay)
9. Writing (Original Screenplay)

Email me at screenwritertoscreenwriter @ gmail.com with your selections by Friday, March 5 at midnight, PST.

For a complete list of nominees, click here.

If there are multiple winners, I will put their names in a hat and choose at random. I will post the winner’s name on Monday, March 8th, here on the blog.

Okay, so here are my picks: Monica’s Oscar Picks

Best Picture: For political reasons, I’m choosing Avatar, even though (should I admit this?) I didn’t see it.

Actor in a Leading Role: I’m going to guess that Jeff Bridges will probably win, even though that type of film isn’t my thing, and I thought Jeremy Renner was fantastic. George, you’re always a winner in our hearts (and, actually, that goes for Morgan and Mr. Darcy as well).

Actor in a Supporting Role: I’m going to go with Christopher Plummer for a wonderful lifetime of work. This was a charming film and is worth seeing. Although Christoph Waltz may well win.

Actress in a Leading Role: Who else but our lady Meryl? I’m sorry, but Meryl Streep’s performance in that film was so amazing. I also loved The Blind Side and am very happy Sandra Bullock was nominated. Carey Mulligan and Gabourey Sidibe were amazing, and Helen Mirren is wonderful. But Meryl takes the cake.

Actress in a Supporting Role: Mo’Nique! I also enjoyed Vera Farmiga in Up in the Air and hope we see more of her to come.

Cinematography: No idea here, but I’ll guess Christian Berger, just since that White Ribbon rubbish has gotten so much buzz and they have to throw it some kind of bone.

Directing: Jim Cameron, for reasons stated above. Although, I very much enjoyed The Hurt Locker and will be sad if it doesn’t win anything. Kathryn, we hope you win.

Writing (Adapted Screenplay): Despite the fact that I really enjoyed Up in the Air and found it to be an enjoyable film, I’m going with Inglourious Basterds simply because Jason Reitman has acted like such a douche about Sheldon Turner, who apparently really wrote the script.

Writing (Original Screenplay): Precious with the really long and now kind of annoying after-title based on the book I really enjoyed.

I was Skyping with a writer friend the other night who had sent me a list of about 10 loglines and was wanting to brainstorm which project to write next. He later sent me an email indicating he’d chosen to write a horror movie starring a young boy character and, in essence, a CGI character.

My immediate reaction was one of confusion – horror is, in general, a genre for teens and adults. It didn’t feel an intuitive fit that a young boy would drive a horror. Perhaps if the young boy were co-starring with an adult man or woman (such as in The Ring or The Shining), that could work. However as the protagonist, that opens up a can of worms. It doesn’t fit the genre conventions.

I’d like to note that the way this was pitched wasn’t along the lines of a B monster movie, like Chuckie or Leprechaun. It was pitched as a straight horror, something akin to The Sixth Sense but darker.

First of all, who’s going to see this movie? Let’s keep in mind that cinema is a very expensive medium and is intended for millions of viewers. Young children can’t go see this movie in the theatres, so that kills part of the audience. Do teen and adult males really want to see a horror movie starring a young boy? Hm. That seems confusing to me. It would seem an easier sell to have the story starring a hot teen male actor and hot teen girlfriend character (think Twilight, but horror).

Secondly, it’s sticky casting a child as the star for production reasons. Young kids can work limited hours, which complicates the shooting schedule. If you’re trying to do something on a budget, casting a child as the star is probably not the easiest choice.

Children usually star in family genre films because it’s families who go to see those movies. The parents go with the children, and that’s why most family movies have a heavy leaning toward family relationships. Horror, however, is mostly seen not by small children.

It’s important to give some practical thought to your concepts in terms of the basics: what is the genre, who is going to see this film, how would a manager or agent try to sell it? Even if you’re writing something that is basically not commercial, it’s still important to give some thought to the indie questions of: genre, does your story have an edge, what’s the hook, how is it pushing the envelope?

Hey, so I finally broke down and I’m on Twitter.

You can follow me at

http://twitter.com/sw2sw

I wasn’t a big fan of Twitter, but it’s actually an amazing resource for news and site links on screenwriting and the entertainment business.

To all you enthusiasts of online screenwriting communities - here’s another one for you.

Raoul Tawadey recently emailed me about the launch of his new site, Circalit.com.

Raoul writes:

I have been working with some fellow screenwriters to setup a website called Circalit, which allows writers to upload their screenplays in a safe and secure manner, and to build up support for their screenplay within the industry. Circalit is the first dedicated social networking site for screenwriters. Though a few other sites allow users to read and discuss their screenplays, Circalit is the first to incorporate the next generation of social networking features, a comprehensive review and ratings system that allows you to break down your feedback into different categories and ability to selectively control who you share your screenplay with. Circalit is the only site that truly allows screenwriters to take control over the way their screenplays are marketed and distributed. The site is simple, intuitive and tailored specifically for writers.

He thinks this site has the ability to revolutionize the way screenplays are sold. I like the notion of a FaceBook for screenwriters, but I’m wondering what practical impact that will have on writers really getting exposure for their work. I guess we’ll see.

To be honest, I haven’t been a fan of this type of business model and so I’m not really familiar with the ins and outs of screenwriter social networking. I was emailed by another screenwriter social networking site this week and I’ll check them both out and let you know my thoughts.

Good luck, Circalit!

Fantastic site for script downloads:

http://scriptcollector.blogspot.com/

Happy reading!!!

You can download Oscar nominated screenplays here:

http://www.simplyscripts.com/oscar82.html

Happy reading!

Cool resource for downloading screenplays

http://www.mypdfscripts.com/

Check it out!

Dennis L. writes:
I’m a screenwriting neophyte and if you could, please, give an example of a scene outline? I think I’m over-thinking what constitutes how a “beat” should read in a scene.

This comment is in reference to my article on the types of screenplay beats.

Monica says:
Okay, so let’s discuss how a “beat,” or emotional reversal, works within a scene.

A beat within a scene is something simple: There is a change of emotion. The character believes the scene is going one way, but then something happens or information is exposed that changes how the character feels within the scene.

Let’s take this (fictional) example: I enter a room to give a pitch having information that the exec is going to buy my pitch – I’m excited and over-confident. However, when I arrive, a different exec is taking the pitch. Not a good sign. I realize I might have been given bad information, which makes me concerned. Half way through the pitch, the exec zones out. I then realize that not only am I not going to sell this pitch, I understand that this exec thinks my writing sucks.

This scene starts with the character feeling confident and excited, and within a few minutes the character’s hopes have been dashed and she is devastated. That’s the emotional beat of this scene.

Another example: I’m thinking back to The Ring Two, which I saw recently. In essence, the mother’s son is possessed by the spirit of the evil girl from the well. The mom has been out trying to figure out a way to save her son, whom she believes is in danger of being murdered by the evil spirit – but then when she arrives home to tell her son what she’s been doing to try to protect him, he does something totally out of character, and she then understands that it’s not her son at all but her son’s body has been possessed by the spirit. She’s been trying to emotionally hold it together and then she realizes she’s already lost. She goes into her bedroom, collapses to the floor and cries.

To be clear, when I outline a whole screenplay, I would “beat out” that script in a comprehensive outline, or “beat sheet.” Main story beats would incorporate story points, such as “Sally goes to the market and meets Reynaldo, her new lover” or “The captain makes a kamikaze move and runs his spaceship into the enemy craft (thus enabling his crew to escape in pods).”

The emotional beats are the emotional shifts that happen within the scenes themselves. So, with that second example of the captain, as in Star Trek’s opening sequence, he believes at first that he, too, can escape in a pod – but then with a technical malfunction, he realizes that he must sacrifice himself in order to save his wife and newborn baby. The emotional beat is the moment he realizes that he must essentially kill himself to save his newborn son. This then perfectly sets up the world into which this kid was born, his stock, and we’re fascinated to meet Captain Kirk.

Recently I got a comment on the blog that I decided not to post because it was clearly from a Hater. “Hater” is the term I use to describe angry, reactive people who are foul and negative only to assert their hostile position – however, in most cases, their position isn’t fueled by logic but simply by their own anger and hostility. We all know such people. These people generally suck. Haters, this blog’s for you.

The comment used profanity and basically attacked me personally, recommending I kill myself, for trying to communicate on my blog what the professional standards are for screenplay submissions within the United States (i.e., using screenplay software, proper margins, correct formatting, proofreading, adhering to proper screenplay structure, etc.). I mean, dude, if I killed myself, you’d just have to find a new person to hate!

I’ve decided to address the contents of this comment in a blog because I wanted to underscore the need for professionalism in any endeavor. That kind of shit blog comment underscores the need for what I’m trying to do with my blog – encourage professionalism.

For whatever reason, most humans have a basic capacity for language, even retards, but this somehow translates into any idiot fancying himself “a writer.” This particular hater-writer was really angry at me that I wasn’t evaluating just a good story and that I was evaluating the craft equally with the idea. Sorry to break it to you, but any dimwit can come up with a great story concept. In fact, sitting here right now, I could come up with about 30, just off the top of my head. The difference between a writer and a guy with an idea is the writer actually slaves away for hours, days, months, years, working on the CRAFT of writing. And, ultimately, it is the employment and skill of the writer’s craft that separates out an incredible writer and screenplay from something any guy could have sat down and written in a couple of hours.

The average script I read at the competition level is something I myself, or any reasonably well-educated screenwriter, could sit down and write in a few hours. It is the script that was clearly drafted, re-drafted, labored over, structured and re-structured, that rises to the top. That kind of script takes time to write - and it’s that kind of time that improves our craft.

I had coffee this morning with a great writer friend, someone I truly respect and admire, and now, 15 months into a project, these latest rewrites are taking on a whole new dimension. The project is amazing. I fully believe it will get produced one day. He’s not a Hater. He is a WRITER. He does the work.

To all of my international screenwriter friends, I am by no means asserting that the American standards of submissions are applicable in any other country. You should research to discover what the professional standards for submitting your writing are within your own country and market. However, I have personally read many scripts by writers who are clearly not native English speakers, and they still have aspirations of writing for the American audience and getting discovered in Hollywood. If you’re in Pakistan and dreaming of having an American movie studio produce your project, I think that’s a wonderful dream – but get educated about what standard of screenplay they will expect to see from you before you start sending your work off. I’m just being practical. Cover your bases.

Look, if you’re going to cling to your liferaft of hatred, balls to the wall. Good for you. If you want to tattoo your screenplay on your bald head and pitch it that way, go for it. If you want to fingerpaint it because this is an expression of your true soul, do it! However, I am trying to forewarn you that before you spend a year of your life fingerpainting your screenplay, nobody in a position to move that project along is going to take it seriously if it’s painted like you’re in preschool.

Fake it until you make it. The more professional an appearance you can give yourself, in whatever market you’re trying to sell yourself in, the better off you’ll be.

Hey, at the end of the day, Hating never served anyone. You might glorify your own self-sabotage, but at the end of the day, that’s all it is – self-sabotage. And that guy that you think is an asshole for using Final Draft (or Celtx) and properly formatting and proofing his work will be laughing all the way to his next pitch meeting - and the bank.

So I’m in the process of redesigning my blog and need favorite movies lines that will be used in the redesign.

What are your favorite films and movie lines?

THANKS!
Monica

It can be advantageous to submit several scripts to competitions as once, particularly if you get a discount with several submissions. Why not? If you have two or three strong submissions and think the more, the merrier, then go ahead.

With one BIG caveat.

If you submit three scripts at the same time, in all likelihood, those scripts will be bundled and distributed to the same reader. It’s logical to assume if Reader A read Script 1 and didn’t like it, that reader is not going to be enthusiastic about reading Script 2 by that same writer. It is possible, but you’re then rolling that boulder uphill – and why not simply start with a clean slate?

If you submit three screenplays and get assigned three separate readers, you have a better chance that your scripts will all be read with a fresh and unbiased eye.

I would actually submit scripts at different times, perhaps a couple of weeks apart, and not take the discount. Why? Because if you submit your scripts at the same time, you will likely be assigned the same reader. In some cases it might be possible to submit at the same time and request different readers. If you do go ahead and submit at the same time, it would behoove you to request separate readers. This is probably something that can easily be addressed with the contest coordinator before submitting.

Last season, there were several instances wherein writers submitted multiple screenplays, and they didn’t bother to submit the script without their name, so in reading, I knew that the screenplays were written by the same author before hitting page 1. If I thought the first submission was sloppy, trite or novice, it would influence the attention with which I would approach the next screenplay. Of course, I would still read the next project, but if I already knew that the reader was weak with character development, or plotting, then I would be more critical approaching the second script.

Every script deserves a fair shot - so be conscious about how you submit and who might be reading your scripts.

I hope you’re all settling into a wonderful writing schedule as we move into February. Only 11 months left in the year. Better get cracking. What do you want to accomplish this year?

My writing resolutions for 2010:

What is your writing schedule for the year?

The Blog
Screenwriter-to-screenwriter.com is going to get a facelift in the near future. I’ve hired a designer to snap it up. Stay tuned.

I will continue to work on the genre database and add more titles as well as work on the genre indicators.

Now that the reading season is gearing up, I will try to create sample pages of both good and bad writing that will be offered as downloadable pdfs, so you can see on the page how something should look. I know it’s one thing to read about – in theory – how something should look. It’s another thing to actually see it on the page and feel how it should feel. So, that’s another goal I have for the blog – to give you concrete examples in pdf form of how both good and bad writing looks and feels.

Thank You
I just wanted to thank all of my readers from around the globe. I find it totally amazing that I have regular readership from countries all over the planet. I am inspired by and hopeful about the stories I imagine you’re telling about your experiences. I hope you find the information here helpful and inspiring.

Please continue to email and post your questions and comments. The more you can ask me questions about what you don’t understand or are having trouble with, the more I can help!

12th Annual Scriptapalooza International Screenplay Competition

Regular Deadline is March 5th

www.scriptapalooza.com

Why should you submit your script to Scriptapalooza?

-Grand Prize: $10,000
-All the reading is done by 90 production companies
-Entertainment Weekly Magazine calls us ‘One of the Best’
-We promote the winners, runners-up, finalists and semifinalists for a full year
-We are considered one of the best screenplay competitions by agents, managers and producers
-Supported by the Writers Guild of Canada

About Scriptapalooza:

The Scriptapalooza Screenwriting Competition, was founded in 1998, and has generated heat, publicity and a reputation that demands respect. Scriptapalooza, Inc., along with its various divisions was created to nurture talent and create opportunities. Storytellers come from all over the world and from all walks of life, because of the simple fact that everyone has a story. Scriptapalooza’s goal: to seek out that storyteller and honor their script with a grand prize of $10,000. Each year dozens of production companies and literary representatives sign on as participants to read our winners, resulting in many scripts being optioned, sold or outright bought.

Questions? Comments? call the office 323.654.5809
or email us at info@scriptapalooza.com

My advice for entering any sort of screenplay competition is send your script in early. The earlier, the better.

Why is this important?

Generally, screenplay competition readers are designated scripts as they roll in. If you get your script in early, you will likely be read in a smaller batch and that reader will have more time and attention to give your script.

As for myself, I will be more likely to pay special attention to one script in a batch of 10, rather than one script in a batch of 100. If I only have ten screenplays on the docket, I’m more forgiving and will likely be willing to spend more time with your script.

That said, this might not matter a ton - but even if it matters a little, why not give yourself that advantage?

At the very beginning of a competition cycle, the scripts are sent out as they come in, and readers will generally have fewer scripts on their plate. The closer to deadline, and also post-deadline, those scripts need to get read as quickly as possible, and they will get distributed in large batches.

Just something to keep in mind when sending out your scripts to competitions.

Final Draft’s Big Break International Screenwriting Contest for 2010 is now open for submissions.

Good luck!