HOLLYWOODSCRIPT.COM NEWSLETTER
Craig Kellem
Hollywoodscript.com Newsletter, which is published by script
consultants Craig Kellem, Judy Kellem (http://www.hollywoodscript.com
<http://www.hollywoodscript.com>
THIS NEWSLETTER IS NEVER SPAM.
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The purpose of this newsletter is to share information, ideas etc.
concerning the fascinating (and elusive) world of screenwriting.
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If you do not wish to receive this newsletter, please reply to this
E-Mail and put the word "UNSUBSCRIBE" in the subject line.
The purpose of this newsletter is to share information, ideas etc.
concerning the fascinating (and elusive) world of screenwriting.
_____________________________
SCREENWRITING? WHERE TO START?
By Judy Kellem
It seems like more and more artists with a love for words are
redirecting their passions away from short stories, poetry or books
and trying their hand at screenwriting. But many are finding that it
is a very daunting task – an endeavor that is surprisingly unwieldy -
especially for seasoned writers who are exceedingly talented at those
other writing forms.
Indeed, screenplay format is very tricky, as we are used to prose
writing and the parameters of literature. From the time one learns the
“A,B,C’s” one is taught to think of “writing” in terms of that which
one finds in nursery rhymes and books. A script is really a visual
medium, a “motion picture” mapped out in words. Writing a script is
therefore a test of whether or not one can suspend the reader’s
disbelief, make the reader feel as if they were a VIEWER. The reader
must forget that they are reading and feel themselves watching. A
silver screen must drop down in their minds and the script must
project a series of pictures in their head.
For artists used to playing with language, taking up lots of page
space to conjure mood and tone, employing metaphors, double-entendres
and so on, it is very difficult to create visual equivalents. Prose
writers get log-jammed trying to make dialogue and stage directions
evoke the texture they are going for, and add the rich layers they are
so used to massaging into their text. Screenplay writing is a tough
art form to get used to.
So where can one start?
As all writers know, reading really good material can only benefit
one’s own craft. Read professional screenplays. Get a deep feel for
how they are written – deconstruct each act – how is the story being
unfolded? What happens in the first fifteen pages? Where is the story
by mid-script? How are the characters introduced and how do they
experience gradual change with each scene? Do a microanalysis of the
way each scene is handled – how much dialogue is needed to nail a
scene - what kinds of visual cues are employed?
Consider the overall style of the screenwriter. Is there a heavy
reliance on dialogue? Where has the writer used imagery to unveil the
tale? Take note, scene by scene, of what choices the writer has made –
how has the writer used the tools of screenwriting to cinematically
“tell” their story?
Then watch really good films and do the same – take them apart,
scene-by-scene, until you get a hold of how they were built.
But while training via pro scripts and top rate films, most
importantly, one must really work at one’s own material. Everyone
assumes that writing a book will be a bear of a job. They expect it
to take years of their lives, a kerzillion drafts, desperate nights
and so on. There is a trend, however, when it comes to screenplay
writing to think that it’s easy. People seem to think great
screenwriters just crank out their movies in no time, sell it as a
third draft and laugh all the way to the bank, before hitting the red
carpet to receive their Oscars.
Writing a stellar script is certainly less demanding than writing a
Pulitzer-worthy piece of literature. That goes without saying. But
screenwriting is in no way simple.
One must stay patient, know that it will take many revisions to really
finish a script. Like all writers, screenwriters need smart feedback
on their material, and must have the discipline to revise and rewrite
over and over again.
One can dissect professional screenplays, understand the design of the
best films out there, but above and beyond this all, it is writing
that makes one a better screenwriter. The more one works at the
process of developing a script, the more one trains oneself - in
general – to be a great screenwriter.
COPYRIGHT HSCL 2010 ALL RIGHTS RESERVED
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BIG CONGRATS to our contest winner T.J. QUINN for SPACE CRUISE, his
funny and clever sendup of the iconic era of the 1960’s juxaposed sci
fi style with the distant future. This win was actually for the month
of May, but he wanted to do another rewrite so we waited to announce
it.
Also big congrats to RUSS ZITARUK for his smashing sci fi script
BEYOND THE RED PLANET which we’re about to announce on site. (Please
note that our contest prizes now include a powerful e-query “BLASTER
PACK” from SCRIPTBLASTER; UNIQUE placement in INKTIP; Industry
notification via FREE COVERAGE to our own list of industry folks and
ONE MORE BIG PRIZE - a very substantial and unique one which we choose
to keep as a surprise but it's also in the area of valuable industry
exposure. It's worth $300 and it GUARANTEES you responses from
producers/agents and the like (a list from which you choose). It has
been a very successful method with several of our clients. You'll get
30 free goes at it)!
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WE’RE PROUD to announce that INKTIP has honored us by listing
Hollywoodscript.com on their site under “PEOPLE AND COMPANIES OF WHOM
WRITERS HAVE SPOKEN WELL.” Also MOVIEBYTES lists our contest under
their “MOST SIGNIFICANT” and there are lots of good comments from
writers included in the listing there. We also did quite well in
Creative Screenwriting’s survey. (It should be noted that we’ve done
well before with Creative Screenwriting Magazine when they featured
our contest http://www.hollywoodscript.com/csinterview.html
They also gave us a “RECOMMENDED” as well as an “HONORABLE MENTION” previously).
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SOMETHING TO THINK ABOUT WHEN WRITING
Debate it, they’ll hate it. Live it they’ll love it.
In other words, don’t preach, demonstrate (SHOW don’t TELL).
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GREAT TIPS FROM OUR GOOD FRIEND MARK MILLER. who’s a weekly humor
columnist for The Huffington Post. His experience includes writing
humor columns for the Los Angeles Times
Syndicate, writing on numerous sit-com staffs, national TV appearances as a
stand-up comic, and comedy writing for nationally syndicated radio
shows and cartoonists, as well as for numerous magazines, newspapers
and websites.
To follow him on The Huffington Post:
http://www.huffingtonpost.com/mark-c-miller
1. WANT TO WRITE FOR TV? – Here’s an excellent site containing PILOT
SCRIPTS AND SHOW BIBLES:
http://sites.google.com/site/tvwriting/us-drama/pilot-scripts/09-10-season
2. ARE YOU A DAVID MAMET FAN? THEN CHECK THIS OUT
http://www.movieline.com/2010/03/david-mamets-memo-to-the-writers-of-the-unit.php
3. UNTANGLING THE WEB (IE: WRITERS ON THE WEB)
Check this out
http://www.hollywoodscript.com/UNTANGLING.pdf__
4. The 7 Worst Movie Pitches Ever -- And How You Can Get One Made
http://www.asylum.com/2010/07/01/worst-movie-pitches-tribeca-filfestival-american-express-my-movie-pitch-contest/
5. WHICH CRAZY WRITER ARE YOU?
"Writers tend to be an eccentric bunch. They drink too much, act out
in public, have substance-abuse problems, have unique personal lives,
and often expire before their prime. They also have very distinct
personalities. Take this quiz to find out which writer you are most
like!"
http://roflquiz.com/which-crazy-writer-are-you/q/59/?src=1038391
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OUR GREAT FREE RESOURCE
YOU’RE WELCOME TO GO TO THE “USEFUL AND IMPORTANT” ARTICLES SECTION
ON OUR SITE AS WE HAVE WRITTEN MANY MANY ARTICLES ON THINGS SUCH AS
STORY STRUCTURE, PITCHING, STAGE DIRECTIONS, ECONOMY IN WRITING,
QUERIES, CUTTING, DEVELOPMENT, ETC ETC. ALTHOUGH THERE ARE SOME
PRETTY SUBSTANTIAL ARTICLES THERE, AMONGST THEM YOU CAN ALSO FIND SOME
THAT ARE SHORT AND HOPEFULLY SWEET, SUCH AS THE TWO BELOW.
http://www.hollywoodscript.com/articles.html
The Two Times Your Concept is Important
BY CRAIG KELLEM
1. The first time is when you're developing your idea. Sounds obvious
right? You'd be surprised how many well-intended writers come up with
a notion, fail to think it out and work their fannies off, only to
discover that they shouldn't have "begun what they begun."
Examples:
High concept ideas that don't have "legs" and would have trouble
lasting as a four minute sketch on Saturday Night Live; one brilliant
scene that the writer thinks can carry an entire film; situations or
misplaced "plot" notions that are in fact only meaty enough to be a
subplot at best and certainly won't carry the day; content that may be
very meaningful in one's own life, but doesn't have the breadth and
uniqueness to make the grade for a diverse audience.
2. The other
time a concept is important is when you've finished the script, dotted
the i's crossed the t's and now it's time to send it out. Assuming
that the script is great, the veracity of your concept will now make
or break you.
Beware of what you choose.
2. THINK OF STORY AS PROTEIN!!
By Craig Kellem
The element of STORY in a script is like PROTEIN in your diet. You can
eat tons of salad, potatoes, veggies and even partake of dessert, but
if there’s not enough protein you can still feel hungry. There’s a
similarity with screenplays! Load them up with character dimension,
schtick, stunts, cute scenes etc, but if there’s not a story making
itself felt, and percolating along the way (making you wonder “what’s
going to happen next”), then it can feel as if something vital is
missing: STORY!! STORY RULES!
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(ONE OF OUR MOST POPULAR ARTICLES EVER)
"PITCHING" IS A HOT TOPIC (LEARN ABOUT THE DREADED ART)!!!
By Craig Kellem
It seems that pitching (ie: a verbal sales presentation of your
project) has become yet another needed skill for writers trying to
break into the industry. Often this kind of salesmanship is required
when the writer has his or her first contact with an interested party
("so tell me all about your screenplay") or when she/he plunks down
blood money to attend one of those pitch sessions that seem to be
cropping up. While writers squawk over the sweat and tears of script
revisions and the like, when it comes to pitching many would rather
face a surgeon's scalpel. The idea of confronting "the man" with the
stakes on the moon, and cleverly rendering the consummate sales pitch
can be so traumatic that one might even consider a new career and
leave town.
Wait!
Pitching will probably never be easy, but it can
be very manageable.
Hear me, I know what I'm talking about!
The
greatest enemy of pitching is the notion (often generated in the "how
to" culture) that there is a TECHNIQUE to be learned. This notion
implies that one must somehow capture the art of contrivance and
"salesmanship," practice it to the max and then dole it out like a
Shakespearean Sonnet.
Forget about technique, it's usually death on
the Nile.
The only rule for good pitching is BEING YOURSELF and
COMMUNICATING THE TRUTH. In this regard, all styles are welcome. The
enthusiastic artisan on the edge of his/her seat, passionately
chatting up their beloved project can be very winning, but so can the
quiet, stoic-faced waif, earnestly making his/her case.
Another
cardinal rule for effective pitching is this: prepare all you want but
NEVER, EVER READ YOUR PITCH. It just doesn't work.
My suggestion is
that you create a "beat sheet" (like a crib sheet) touching upon the
main points of your pitch. A smorgasbord of the highlights. While
preparing, keep in mind to pitch like you write: have a beginning,
middle and end. Then get the gist of it set in your mind (you can keep
an index card with your cues handy) but, when the big moment comes,
kill the teleprompter, shoot from the hip and trust in your own
spontaneity and well directed fear. Your passion and extemporaneous
energy, will provide more spunk, sparkle and splash to your
presentation than any scripted spiel could possibly do. And even if
it's speckled with imperfections, it'll be a thousand times more
enchanting and dynamic than some over prepared, memorized diatribe.
When I used to pitch TV projects at the networks, I was always
confronted by that moment of terror, usually on the car ride over,
when it would suddenly seem like I had "nothing to say." I would
scribble copious, last minute notes, while feeling paralyzed in
banality and dullness. But, I finally learned how to interrupt this
insanity.
Instead of scrambling to get my "part right," panicking
that I'd forget my lines, I would start back-tracking, remembering my
love of creative work. And I'd ask myself the following questions:
*What do I like about my project?
*Why did I get involved with this
thing to begin with?
*I'm enthused, right? How come? Spit it out
boy!
As if by magic, I would wake up to the genuine, vital me and
remember how excited I was when I got the idea (or when I heard the
idea from the writer)(and why I thought it would be entertaining,
touching, relevant etc). All this flooded me with a whiff of my
original enthusiasm which included an ambitious vision that America
might someday share in my delight.
Suddenly I had lots to talk about!
By the time I reached the network, I'd be bursting. I'D BE PREPARED
FROM THE INSIDE OUT!
I found it helpful when I began my pitch by
explaining the genesis of the project, then I'd segway into the
creative realization that ensued after inception(introducing examples
of story lines, descriptions of characters, etc.)
My pitch was also
supported by reminding myself of the fundamentals of salesmanship
*TRY TO ENJOY THE EXPERIENCE
*MAKE CONTACT WITH PEOPLE IN THE ROOM
*LISTEN WHEN THEY SPEAK
*REMEMBER (ALTHOUGH IT MAY NOT SEEM THAT
WAY), YOU NEED THE GIG BUT THEY NEED THE MATERIAL, THAT'S WHY THEY ARE
THERE. YOU HAVE SOMETHING OF VALUE TO OFFER!
It's ironic that many of
the principles of pitching are similar to the principles of writing
itself. Contrived, formulaic writing is as boring as contrived,
formulaic pitching. On the other hand, spontaneous, bold and "from the
gut" writing and pitching has endless potential.
Copyrighted HollywoodScript.Com LLC 2001 -2010 All Rights Reserved.
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2010
We started off really well this year with a our January contest winner
being optioned along other fine things such as the release of Evan
Drake Howard’s book, THE GALILEAN SECRET (available at Barnes &Noble,
Borders, Amazon.com, etc) http://www.evandrakehoward.com
"Judy, you helped me SO MUCH when I was in the early stages of writing
my novel The Galilean Secret! I couldn't have gotten the plot off the
ground without you! What an amazing journey this has been. After
self-publishing, I got signed by literary agent extraordinaire Robert
Gottlieb, who discovered Tom Clancy and Janet Evanovich and founded
Trident Media Group in New York. He has been a fabulous partner and
got me significant deals in both the U.S. and Brazil. The book was
released on May 1 and was featured on the front table of Barnes &
Noble stores nationwide. This has truly been a dream come true, and I
can't thank you enough for all of your prompt and insightful feedback
and unfailing encouragement in the early stages.”
All my best, Evan
This was in addition to Joanne Wannan’s fine and ever so meaningful
book being released, NEW LIVES: STORIES OF RESCUED DOGS HELPING,
HEALING AND GIVING HOPE. http://www.3BlackDogs.org. Joanne is a
previous contest winner whose movie was made and aired on TV around
the world.
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ANOTHER CONSULTATION CLIENT (AND CONTEST WINNER) MARCHES ON!
Hi Craig,
Just wanted to share some good news with you. NEAR DEATH TANGO just
won first place in the Philadelphia Screenplay Festival! With this
win, my script and query letters will once again be sent to lots of
producers. Also, I'll get a free pass to the Great American Pitch
Fest, where I'll pitch my scripts directly to producers in L.A at the
end of June.
As always, thanks for all your help!
Jackie
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HOLLYWOODSCRIPT.COM is a boutique script consultation service run by
former Universal and Fox development exec Craig Kellem. Craig and his
studio analyst associate, Judy Kellem, (who has a Masters in English
and Creative Writing) operate this two person company.
Motto: The #1 Secret for Selling a Script...MATERIAL THAT’S READY!
SERVICES: Script consultation, Coverage, Developmental Help (ie Works
in Progress), Book manuscripts, Free query letter analysis, Free mini
consultation
HOLLYWOODSCRIPT.COM CONTEST-Free MONTHLY contest for clients. Prize:
free coverage--guaranteed big industry exposure.
Craig --craig....@valley.net 732-963-9350
Judy --judyk...@earthlink.net 917-647-8782
___________________________________________________
SCRIPTBLASTER E-QUERY SERVICE has an incredibly vast database of
producers,
agents, managers and the like. They can zap your coverage
or query directly into
the hands of many viable Hollywood producers,
agents, managers etc. A unique
feature is that the emails will be
generated from your own personal email so
industry professionals will
respond directly to you.
If you'd like assistance writing your query letter, their experienced
editing
team can create a complete query letter for you that will
include a tight
logline and a compelling synopsis.
For more information about their services visit:
http://www.scriptblaster.com
Or if you have any questions you can email them at:
http://www....@scriptblaster.com
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Copyright 2010 Hollywoodscript.com LLC, all rights reserved.