I watched one of my favorite movies tonight. It’s called The Sting. For the handful of you who aren’t familiar with this movie, it’s a 1973 release starring Paul Newman and Robert Redford. It won Best Picture for that year. I haven’t seen it in quite a while, so I thought I’d pop it in the ol’ DVD player. I’ll tell ya, you’ll find very few movies that have as solid a storyline as The Sting. The script, by David S. Ward, is perfect. There’s not a trace of fat to be found. The direction, by George Roy Hill, is flawless. Then you have Newman and Redford. C’mon, you can't do any better than those two guys. (As many of you know, George Roy Hill directed Newman and Redford in another one of my all-time favorites, the classic Butch Cassidy and the Sundance Kid.) I have the script for The Sting in my collection – I think I’ll dig it out and re-read it. So, ladies and gents, if you’re looking for a movie and screenplay to study, I strongly recommend you turn to The Sting. You won’t be sorry.
My book, Q & A: The Working Screenwriter, at The Writers Store!
New interview on Two Adverbs...
The fine folks over on the Two Adverbs site did an interview with me recently. Hope you'll check it out...
Two Adverbs Interview!
Two Adverbs Interview!
Words of warning for the novice (and not-so-novice) screenwriter...
I post warnings like this on various websites every so often. In fact, earlier today I posted this particular warning on one of the screenwriting forums. I figured I'd post it here, too. So...
A writer just contacted me and asked if I knew anything about a particular literary agency. Yes, I heard about this so-called agency. Many of us have. It’s the one that charges you a fee for having them rep you. They’ll contact you and say, “Oh, we really love your script and we think we can get it into the hands of the right producer, but we need you to send us $300 to get the ball rolling.”
Arrrghh!!
It really sickens me that unsuspecting writers are still falling for this scam. Here’s the rule:
If an agency or management company tries to charge you any fee whatsoever, avoid them like the plague. I don’t care if they tell you the fee is to cover script copying or costs of making telephone calls. They’re ripping you off.
Legitimize lit agents make their percentage when they sell your work or secure your employment.
You have been warned. Don’t become a victim.
A writer just contacted me and asked if I knew anything about a particular literary agency. Yes, I heard about this so-called agency. Many of us have. It’s the one that charges you a fee for having them rep you. They’ll contact you and say, “Oh, we really love your script and we think we can get it into the hands of the right producer, but we need you to send us $300 to get the ball rolling.”
Arrrghh!!
It really sickens me that unsuspecting writers are still falling for this scam. Here’s the rule:
If an agency or management company tries to charge you any fee whatsoever, avoid them like the plague. I don’t care if they tell you the fee is to cover script copying or costs of making telephone calls. They’re ripping you off.
Legitimize lit agents make their percentage when they sell your work or secure your employment.
You have been warned. Don’t become a victim.
SCREENWRITING EXPO 2007!!
People occasionally ask me, “Is it worth it to attend the Screenwriting Expo?” My answer is always the same: “Yes, go!” I truly think you’re missing out on a fabulous opportunity if you’d don’t go. If you live in Los Angeles, you have no excuse. C’mon, it’s $75 for four days of screenwriting, screenwriting, screenwriting. This is a no-brainer. Even if you only go for one or two days, it’s still worth the price of admission.
With the exception of last year’s Expo, I’ve been to all of them. I go mostly to hear the guest speakers. I’ve heard some great ones too: William Goldman, Richard Matheson, Shane Black, David Goyer, Susannah Grant, Joss Whedon, Harlan Ellison...and that’s just the tip of the iceberg. And there are plenty of great classes and seminars to take advantage of as well.
The party/events that are held in the evenings after each day are also fun and worthwhile. You’re not guaranteed to meet any bigwigs from the film industry, but hey, ya never know. But it’s certainly fun mingling and schmoozing with other screenwriters, both budding and pro. As for the pitch session: these are only worth your time, effort and money if a) you actually know how to present a dynamite pitch, and b) if you have an idea for a great movie. Problem is, most people a) can’t pitch their way out of a paper bag, and b) don’t have a decent idea for a saleable movie. (For more of my opinions on pitchfests – though not necessarily the one held at the Expo – visit my website, The Working Screenwriter, and go to the “Questions & Answers” section.) So if you’re planning to pay your entry and pitch your script at this year’s Expo, make sure you nail it. Nail it.
The Expo will be held October 24 – 28 this year. It’s definitely a worthwhile event, so if you’re able to go, GO!
For more Expo information: Screenwriting Expo!
With the exception of last year’s Expo, I’ve been to all of them. I go mostly to hear the guest speakers. I’ve heard some great ones too: William Goldman, Richard Matheson, Shane Black, David Goyer, Susannah Grant, Joss Whedon, Harlan Ellison...and that’s just the tip of the iceberg. And there are plenty of great classes and seminars to take advantage of as well.
The party/events that are held in the evenings after each day are also fun and worthwhile. You’re not guaranteed to meet any bigwigs from the film industry, but hey, ya never know. But it’s certainly fun mingling and schmoozing with other screenwriters, both budding and pro. As for the pitch session: these are only worth your time, effort and money if a) you actually know how to present a dynamite pitch, and b) if you have an idea for a great movie. Problem is, most people a) can’t pitch their way out of a paper bag, and b) don’t have a decent idea for a saleable movie. (For more of my opinions on pitchfests – though not necessarily the one held at the Expo – visit my website, The Working Screenwriter, and go to the “Questions & Answers” section.) So if you’re planning to pay your entry and pitch your script at this year’s Expo, make sure you nail it. Nail it.
The Expo will be held October 24 – 28 this year. It’s definitely a worthwhile event, so if you’re able to go, GO!
For more Expo information: Screenwriting Expo!
Only in Hollywood...
A few months ago, I blogged about the “creative vibe” that permeates Los Angeles. I experience this vibe on virtually a daily basis, but a couple days ago I got a BIG dose of it. To wit...
I’m at one of my favorite Starbucks – one that’s near a major movie studio and is regularly frequented by folks from The Biz. I glanced up and noticed Ron Howard standing in line. (I’ve dealt with him a handful of times years ago when I worked security on some of his movies. Nice guy.) Anyway...after Mr. Howard got his coffee, he went outside and joined another man at a table. This other man had to be a screenwriter. I mean, he just looked like one. But they were definitely working on a screenplay. My guess is they were doing rewrites on a film already in production. It was interesting watching the two of them toss ideas back and forth. I just found all this kinda cool – and it’s one reason why I enjoy living in this town. It’s that “creative vibe,” man.
I’m at one of my favorite Starbucks – one that’s near a major movie studio and is regularly frequented by folks from The Biz. I glanced up and noticed Ron Howard standing in line. (I’ve dealt with him a handful of times years ago when I worked security on some of his movies. Nice guy.) Anyway...after Mr. Howard got his coffee, he went outside and joined another man at a table. This other man had to be a screenwriter. I mean, he just looked like one. But they were definitely working on a screenplay. My guess is they were doing rewrites on a film already in production. It was interesting watching the two of them toss ideas back and forth. I just found all this kinda cool – and it’s one reason why I enjoy living in this town. It’s that “creative vibe,” man.
Why can't they get it done?
My apologies for not posting anything in a long while. I’ve been keeping busy with a handful of script projects. I’ve also done a tad bit of traveling. Hopefully I’ll be able to post more in the next week or so. Anyway...
Today, on one of the screenwriting boards I occasionally haunt, someone posed the question: “Why are some people unable to complete a screenplay?” I thought this was a good question. So here’s my take on it:
Reason #1: Some writers stall the completion (or starting) of a script by always being in research mode. They spend months and months compiling information. After filling a few notebooks with all that great research, they feel they’ve done an admirable amount of work, give themselves a pat on the back, and move on to something else.
Reason #2: Most budding writers have no idea what they’re getting themselves into. Once they realize they must come up with page after page after page of material, they become overwhelmed and give up. Hey, that’s fine. I mean, not everyone on the planet has to write screenplays.
Reason #3: Many writers fail to outline. They have the "great" idea, and they write those first thirty pages, but then things just fall apart on them. It’s cuz they didn’t plot out their story and determine if it warranted a 100-page screenplay.
Reason #4: Many people will tell you their life is too busy to write. They’ve got the 9-to-5 job, the significant other, the kids. Sure, I understand. But the fact is, if you really want to write scripts, you’ll find the time. Even if it’s thirty minutes early in the morning before life gets busy. Thirty minutes a day equals 3 ½ hours a week of writing. That’s about fifteen hours a month worth of writing. Are you telling me you can’t get a script completed in six to eight months? Stop making excuses and do it.
Reason #5: Truth is, these people are not really writers. They think they are, they might want to be, but they’re just not. Writing 110 script pages is a daunting task. If your heart isn’t into it completely, you’re more than likely not going to get through it. I liken it to crawling across a burning hot desert, trying to make it to an oasis: if you don’t have fierce will and determination, you’ll conk out and die somewhere in the sand.
Reason #6: Many have a severe lack of patience and are unable to stay focused on one particular story for a long period of time. If you want to write a screenplay, you’re going to be “stuck” with that idea for quite some time, so you’d better be darn enthused about it.
Reason #7: Many wannabes like to give off the impression that they’re working on a hot spec script. You hear them all the time at social gatherings: “I’m working on a screenplay.” Hey, that sounds kinda cool, doesn’t it? Fact is, these people are posers and have no real intention of actually sitting down and writing a script.
Reason #8: Many wannabes get caught up in the “glamour” aspects of screenwriting. They’d get a rush telling people, “So I pitched my script idea this big producer at a lunch meeting last week. He thinks it’s great.” I mean, why actually write the script when you can just tell people about all the big meetings you’ve had on the idea?!
So there you have eight reasons why some budding writers don’t get their scripts written. If any of you have reasons you’d like to add, feel free to post ‘em here in the comments section.
Today, on one of the screenwriting boards I occasionally haunt, someone posed the question: “Why are some people unable to complete a screenplay?” I thought this was a good question. So here’s my take on it:
Reason #1: Some writers stall the completion (or starting) of a script by always being in research mode. They spend months and months compiling information. After filling a few notebooks with all that great research, they feel they’ve done an admirable amount of work, give themselves a pat on the back, and move on to something else.
Reason #2: Most budding writers have no idea what they’re getting themselves into. Once they realize they must come up with page after page after page of material, they become overwhelmed and give up. Hey, that’s fine. I mean, not everyone on the planet has to write screenplays.
Reason #3: Many writers fail to outline. They have the "great" idea, and they write those first thirty pages, but then things just fall apart on them. It’s cuz they didn’t plot out their story and determine if it warranted a 100-page screenplay.
Reason #4: Many people will tell you their life is too busy to write. They’ve got the 9-to-5 job, the significant other, the kids. Sure, I understand. But the fact is, if you really want to write scripts, you’ll find the time. Even if it’s thirty minutes early in the morning before life gets busy. Thirty minutes a day equals 3 ½ hours a week of writing. That’s about fifteen hours a month worth of writing. Are you telling me you can’t get a script completed in six to eight months? Stop making excuses and do it.
Reason #5: Truth is, these people are not really writers. They think they are, they might want to be, but they’re just not. Writing 110 script pages is a daunting task. If your heart isn’t into it completely, you’re more than likely not going to get through it. I liken it to crawling across a burning hot desert, trying to make it to an oasis: if you don’t have fierce will and determination, you’ll conk out and die somewhere in the sand.
Reason #6: Many have a severe lack of patience and are unable to stay focused on one particular story for a long period of time. If you want to write a screenplay, you’re going to be “stuck” with that idea for quite some time, so you’d better be darn enthused about it.
Reason #7: Many wannabes like to give off the impression that they’re working on a hot spec script. You hear them all the time at social gatherings: “I’m working on a screenplay.” Hey, that sounds kinda cool, doesn’t it? Fact is, these people are posers and have no real intention of actually sitting down and writing a script.
Reason #8: Many wannabes get caught up in the “glamour” aspects of screenwriting. They’d get a rush telling people, “So I pitched my script idea this big producer at a lunch meeting last week. He thinks it’s great.” I mean, why actually write the script when you can just tell people about all the big meetings you’ve had on the idea?!
So there you have eight reasons why some budding writers don’t get their scripts written. If any of you have reasons you’d like to add, feel free to post ‘em here in the comments section.
***
The Outlining Process (part 2)...
OK, getting back to my blog from May 13th. Let’s review the bullet point outline from the previous blog:
1). Joe arrives home from work. He finds his wife’s dead body in the bedroom. She’s been killed.
2). Joe is interviewed by a police detective.
3). A week later, Joe is back at work; he can barely get through the day.
4). After work, Joe goes to a neighborhood bar and has had a bit too much to drink. He meets Carla, an attractive young lady.
5). Joe takes Carla back to his place and they “have a good time.”
6). The next morning, Joe wakes up…and discovers Carla’s dead body in bed beside him. She’s been killed!
Now, here’s how I might write up an initial draft of a somewhat more in-depth outline for those scenes:
1). JOE at work (what type of work does he do?)...plush office...private secretary...well-respected...has some close pals/colleagues he’s worked with for several years...intro colleague/friend RON...
2). Joe drives home in his luxury car...up into the hills...listening to jazz music...and arrives at his very large house...there’s another car (belonging to his wife) in the driveway...
3). Joe enters house...checks mail...loosens tie...pours himself a drink...settles at the desk in his home office...starts doing some work.
4). An hour or so has passed and Joe glances at a photo of his wife on desk. Finds it odd that he hasn’t seen her. So he goes looking for her. Searches kitchen...she’s not there...goes upstairs...
5). Goes into his wife’s work room (she’s a clothing designer??) and she’s not there, either. He goes into the bedroom...and he finds wife dead on the floor. She’s been strangled.
6). An hour later and Joe, in a haze, is being interviewed by a police DETECTIVE.
DETECTIVE: When did you see her last?
JOE: How’s that?
DETECTIVE: When did you see her last?
JOE: This morning. Before I left for the office. About 8:30.
DETECTIVE: How was your relationship with your wife?
JOE: Relationship? We were married twelve years. We had our ups and downs. But I loved her, Detective. She loved me.
DETECTIVE: Did either of you see other people...outside the marriage?
JOE: No. I’d never do that to my wife. Never.
DETECTIVE: What about her?
JOE: She wasn’t that kind of woman, Detective.
DISSOLVE TO:
7). Days later and Joe is back at work. He’s in his office and finding it difficult to concentrate. His buddy Ron comes in to see how he’s doing. Ron invites Joe out after work (to a cigar lounge, tennis club, whatever). Joe declines.
RON: If you need anything – anything at all – I’m here.
JOE: I’m fine. Thanks, Ron.
8). That night, Joe stops at a neighborhood bar. He has a drink or two, then goes to the bathroom. As he enters the men’s restroom, an attractive woman, JILL, is coming out. She apologizes, says she really had to go and the woman’s restroom was tied up. They share a laugh. There’s a spark between them. Back out at the bar, Joe buys Jill a drink. Chit-chat. Some laughs. Jill talks about her recent divorce. Joe says he just split from his wife, but doesn’t mention anything about the murder.
9). Jill’s house. Modest, but clean. Joe and Jill arrive...they’re all over each other before they can even get in through the door...and once inside, they’ve got their clothes off and they’re in the bedroom...discreet FADE OUT.
10). The sound of a phone ringing and an answering machine picking up... “Hi, it’s Jill, leave a message.” And we hear a voice: “Jill, it’s Dave. You’re not here. Not like you to be late without calling. Get back to me ASAP.” Daylight pours through the window as Joe wakes up in Jill’s bed...and he’s groggy...and Jill is not in bed. However, her clothes from the previous night are all over the floor. He goes into the other room and looks for her in the living room...the den...the kitchen...and she’s not there. Very strange, but whatever. Joe goes into the bathroom and rinses his face. He looks at himself in the mirror. “What the hell are you doing?” He turns from the sink and sees...Jill’s nude dead body in the bathtub, submerged under the water!
OK, so there you have it. As you can see, there’s a bit more detail in this outline – details that really weren’t in my bullet point outline. Details, baby, it’s all about the details. And it doesn’t necessarily have to stop here. Eventually, I’ll add more dialogue, more nuances, and more important bits of information to the outline. When all is said and done – just prior to starting on the actual script – I will have a very clear picture of what my screenplay will be. I’ll know the characters, I’ll know the plot-points – I’ll know pretty much all the details that are necessary to properly flesh out a cohesive storyline.
Many will argue, “But outlining gets in the way of my creativity.” Um, okay, so what’s an outline, non-creative? C’mon, the outline is where you explore your creativity and give yourself the opportunity to actually see your movie before you commit it to those 100+ pages. Believe me, I’d rather make changes to a 20 to 40-page outline than a unwieldy screenplay.
And no, I’m not saying you have to stick to your outline 100%. It’s fine to deviate here and there. So go ahead, explore, see where your characters take you – I guarantee that you’ll discover new things along the way – but get as much of the detail worked out ahead of time so you’ll know your beginning, middle and ending – and you know it all works. It’ll make that 110-page trip a lot less bumpy.
***
APRIL 2015 ANNOUNCEMENT: My debut novel, Luigi's Chinese Delicatessen, is now available in paperback from Amazon.com and Kindle e-book! (You're gonna love it cuz it's all about Hollywood and screenwriting!)
1). Joe arrives home from work. He finds his wife’s dead body in the bedroom. She’s been killed.
2). Joe is interviewed by a police detective.
3). A week later, Joe is back at work; he can barely get through the day.
4). After work, Joe goes to a neighborhood bar and has had a bit too much to drink. He meets Carla, an attractive young lady.
5). Joe takes Carla back to his place and they “have a good time.”
6). The next morning, Joe wakes up…and discovers Carla’s dead body in bed beside him. She’s been killed!
Now, here’s how I might write up an initial draft of a somewhat more in-depth outline for those scenes:
1). JOE at work (what type of work does he do?)...plush office...private secretary...well-respected...has some close pals/colleagues he’s worked with for several years...intro colleague/friend RON...
2). Joe drives home in his luxury car...up into the hills...listening to jazz music...and arrives at his very large house...there’s another car (belonging to his wife) in the driveway...
3). Joe enters house...checks mail...loosens tie...pours himself a drink...settles at the desk in his home office...starts doing some work.
4). An hour or so has passed and Joe glances at a photo of his wife on desk. Finds it odd that he hasn’t seen her. So he goes looking for her. Searches kitchen...she’s not there...goes upstairs...
5). Goes into his wife’s work room (she’s a clothing designer??) and she’s not there, either. He goes into the bedroom...and he finds wife dead on the floor. She’s been strangled.
6). An hour later and Joe, in a haze, is being interviewed by a police DETECTIVE.
DETECTIVE: When did you see her last?
JOE: How’s that?
DETECTIVE: When did you see her last?
JOE: This morning. Before I left for the office. About 8:30.
DETECTIVE: How was your relationship with your wife?
JOE: Relationship? We were married twelve years. We had our ups and downs. But I loved her, Detective. She loved me.
DETECTIVE: Did either of you see other people...outside the marriage?
JOE: No. I’d never do that to my wife. Never.
DETECTIVE: What about her?
JOE: She wasn’t that kind of woman, Detective.
DISSOLVE TO:
7). Days later and Joe is back at work. He’s in his office and finding it difficult to concentrate. His buddy Ron comes in to see how he’s doing. Ron invites Joe out after work (to a cigar lounge, tennis club, whatever). Joe declines.
RON: If you need anything – anything at all – I’m here.
JOE: I’m fine. Thanks, Ron.
8). That night, Joe stops at a neighborhood bar. He has a drink or two, then goes to the bathroom. As he enters the men’s restroom, an attractive woman, JILL, is coming out. She apologizes, says she really had to go and the woman’s restroom was tied up. They share a laugh. There’s a spark between them. Back out at the bar, Joe buys Jill a drink. Chit-chat. Some laughs. Jill talks about her recent divorce. Joe says he just split from his wife, but doesn’t mention anything about the murder.
9). Jill’s house. Modest, but clean. Joe and Jill arrive...they’re all over each other before they can even get in through the door...and once inside, they’ve got their clothes off and they’re in the bedroom...discreet FADE OUT.
10). The sound of a phone ringing and an answering machine picking up... “Hi, it’s Jill, leave a message.” And we hear a voice: “Jill, it’s Dave. You’re not here. Not like you to be late without calling. Get back to me ASAP.” Daylight pours through the window as Joe wakes up in Jill’s bed...and he’s groggy...and Jill is not in bed. However, her clothes from the previous night are all over the floor. He goes into the other room and looks for her in the living room...the den...the kitchen...and she’s not there. Very strange, but whatever. Joe goes into the bathroom and rinses his face. He looks at himself in the mirror. “What the hell are you doing?” He turns from the sink and sees...Jill’s nude dead body in the bathtub, submerged under the water!
OK, so there you have it. As you can see, there’s a bit more detail in this outline – details that really weren’t in my bullet point outline. Details, baby, it’s all about the details. And it doesn’t necessarily have to stop here. Eventually, I’ll add more dialogue, more nuances, and more important bits of information to the outline. When all is said and done – just prior to starting on the actual script – I will have a very clear picture of what my screenplay will be. I’ll know the characters, I’ll know the plot-points – I’ll know pretty much all the details that are necessary to properly flesh out a cohesive storyline.
Many will argue, “But outlining gets in the way of my creativity.” Um, okay, so what’s an outline, non-creative? C’mon, the outline is where you explore your creativity and give yourself the opportunity to actually see your movie before you commit it to those 100+ pages. Believe me, I’d rather make changes to a 20 to 40-page outline than a unwieldy screenplay.
And no, I’m not saying you have to stick to your outline 100%. It’s fine to deviate here and there. So go ahead, explore, see where your characters take you – I guarantee that you’ll discover new things along the way – but get as much of the detail worked out ahead of time so you’ll know your beginning, middle and ending – and you know it all works. It’ll make that 110-page trip a lot less bumpy.
***
APRIL 2015 ANNOUNCEMENT: My debut novel, Luigi's Chinese Delicatessen, is now available in paperback from Amazon.com and Kindle e-book! (You're gonna love it cuz it's all about Hollywood and screenwriting!)
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