Ask a bored nyu writing/production grad questions related to your scripts, writing, pitching, etc.
I'm doing my masters now and worked in development for ~6 months as a post-internship during my graduating year before starting my master's in business.
>>64249415
How would I go about preparing a teleplay for a tv show and pitching it to networks?
>>64249486
Assuming you're speaking about an original show idea:
In order, I would say you should read a few TV scripts, see how they're done and how efficient they are with words and descriptions.
Then, write down your concept, come up with something that ties your characters to the place/each other (the "home" of the show") and come up with a few versions of the logline. You can look at some samples online to get an idea but basically every show has a PLACE and a LENS through which the show lives and its writers see the world.
eg. Seinfeld is in (white, Jewish) New York City and the lens is rather smug, apathetic, observational.
Just keep your lens in mind and it'll help you define your world and show.
After that, write the pilot. Pilots introduce characters and the MAJOR event which makes the characters have to start over in a way (so their story, while not beginning from scratch does begin again - Brooklyn 99: the station gets a new captain).
For a comedy, write ~30ish pages. Brisk scenes, no fat, every line has to be economical and have many jokes on the page.
For a drama, write ~60 pages. Same as above but the scenes should be subtextual and meaty.
Then write the Show Bible - character descriptions, proposed episode arcs, season arc, setting description etc.
Then.... fuck if I know. Don't bother with Pitchfests (I went). Send it to script competitions, send it to agents, ask around, fuck if I know man.
do i necessarily need a screenplay or simple pitch or is it possible to go fishing with a few treatments?
i have a couple of ideas that would have (near) final treatments but the actual script is still incomplete/evolving
>>64249415
>>64249751
Thanks for the advice! This helps immensely.
>>64249415
after i finish writing my film script, how do i sell it to a studio and how much would i get if its good
>>64249415
10 week Screenwriting course is being offered at UCLA. Worth it or should I buy a Syd Field book?
Description seems to indicate it is beginner friendly.
>>64249415
>>64249925
>Through weekly writing assignments, you learn key elements of feature film writing, including story, plot, structure, characterization, dialogue, and visual storytelling; and you build your critical skills through the process of giving and taking critiques. The course goal is to complete one full treatment and the first 10 pages of one feature.
How do I outline
>>64249760
From the bits of knowledge I know about that insanely arbitrary and frustrating world: if they listen to your pitch or treatment, they might say "well do you have a script?" right then and there.
It's not always, but if that happens, what do you do?
I think having a spec is good, writing is a good practice regardless. I wrote and rewrote my show a bunch of times. I won't sell it, it's past due, but it was a great experience.
I'd say have a spec, say that you're open to changing them and adapting them to their notes, and move from there.
But it never hurts to have a binder of treatments. One of my Profs had a ton, just like that.
>>64249813
no problem, hope it helps.
The book Crafty TV Writing helped me. And The Art of Dramatic Writing helps a lot too. Don't use them as template but as general conceptual help.
I hated Story, Save the Cat, etc. They don't make you a better writer, they just offer their own arbitrary paradigms.
Read tons of scripts! Watch pilots. Try to identify what works, when characters come, when the "thesis" of the episode is introduced etc.
>>64249783
Great scene
>>64249902
As I see it, I think the best way to do it is to send scripts to competitions and get buzz from that. Have accolades so when you send your cold emails to agents and such you say "I got 2nd at this script competition" or something.
Going to film school didn't help me make connections at all.
>>64249925
Not a fan of Field at all. I took a class on Script Analysis - basically it's all bunch paradigms.
What you should do is this:
Read a bunch of scripts. 10 weeks? Read 15-30 film scripts instead. Read all kinds. Read good ones that won awards, read ones of films you like, read ones that others like but you hate, etc.
(cont)
I'm writing a tale about a CIA agent undercover on a plane that's been overtaken by terrorists. I have to admit, it's a big task.
>>64250143
You're a big guy
>>64250130
thanks senpai, how do i get it copyrighted so some fuckers don't steal my shit low key, and second wheres a good place to read old scripts
>>64250230
Once you finish a screenplay, just register it in the WGA west or east
>>64249415
For amateur screenwriting competitions would you used many shot descriptions? Would you used any? Additionally would you only use 'CUT TO:' or 'DISSOLVE TO:' when moving to a new scene or would you use it more liberally for specific shots or moments within a scene? Last question: how do you handle an intended montage, especially one over voice-over in a screenplay for the same purposes.
>>64249925
Then look around online for some basic fundamental scriptwriting information (also buy Final Draft).
Take your idea, write an outline (MOST IMPORTANT PART), flesh out the outline and keep writing your script like that. Don't be a "gardener" writer, be a construction man.
Scripts are economical, not artistry. I like think of them this way: they're theater for the poor masses way back when. A diversion on our way to the grave. Bread and circuses. They're supposed to be simple, entertaining and distracting. You're not writing 100 Years of Solitude.
>>64250046
It's mad hard.
I never got good at it but from what I know the Index Card method worked for some friends. Profs taught us the Treatment method though: Write logline, expand on log line, then write treatment, expand on treatment, make treatment 3 pages now, expand to X pages, expand again so the plot is pretty much entirely spelled out, then divide into scenes that all lead to and through each other ("this happens so then this happens so then this happens") and then fill in dialogue mate.
Then keep reading it aloud, rewriting, cutting and killing, etc. You might have to remove entire sequences, it's brutal (Stephen King said Kill Your Darlings) and exhausting. I have so many good scripts that need work that I just shudder at the thought.
You might wanna start with short film scripts. 15 pages to get an entire story across. It's not easy.
>>64250230
Not that big a deal but register them with the WGA if you're scared.
The thing is, in the age of digital production, we have literally a million monkeys on a million typewriters. No one cares about your idea, even if it's genius. There are not industry gaps in creative production... just execution gaps.
>>64250143
Nothing, I'll say nothing.
>>64250320
NO!!!
No cuts, no dissolves, no long descriptions at all. Only what HAS to be necessary. Don't direct the camera either (EVER).
For montages I'm even more sparse, I just write
cont
>>64250404
>The thing is, in the age of digital production, we have literally a million monkeys on a million typewriters. No one cares about your idea, even if it's genius. There are not industry gaps in creative production... just execution gaps.
what does that mean mate
>and we
>CUT TO
Bravo Nolan. Bravo.
>>64250404
>You might wanna start with short film scripts. 15 pages to get an entire story across. It's not easy.
>15 pages
It doesn't have to be 15 pages, anon. It can be anywhere from 1 to 30 pages.
>>64250404
>Don't direct the camera either (EVER).
I disagree. There are times when you need to use it such as when it's difficult to get a certain point across.
>>64250320
"V.O. over montage" in the action line
or "Mixed jumping between the following scenes" (or "between Alice's and Ben's scenes")
or "Montage of Alice dining out with Jamal, Ben at home watching flicks with Jama's Son, Alice laughing on her way into a hotel elevator she slips Ben's Visa card into her purse, Ben on 4chan while Jamal's son sleeps softly, Alice in ecstasy in a swanky hotel, Ben searching online for "high test" pornography"
>>64250454
It means that everybody thinks they're a writer. Everybody thinks they can write. Everybody thinks they have that Special Idea. But it's not just reflective of reality. Ideas aren't special, it's writing them well AND getting them read by people who matter that is special. One way around it is to win awards through merit and effort (like competitions and Blacklist shit and so on).
>>64250495
No one will ever watch a 30 minute short film. Even 8 minutes short films are a chore to get through. The rule of thumb is under 20 minutes, our profs insisted under 15.
>>64250592
Give me one example.
I know there are exceptions but I usually write like this
"Ben entered the hotel room, it looks devastated and thrashed, he peers around." (That's at least 3 shots)
"He walks past RED LIPSTICK, left ajar, on the bathroom counter. The crumpled wrapper of a MAGNUM CONDOM crinkles under ben's sole" (that's at least 2 specific shots)
etc.
>>64250618
>No one will ever watch a 30 minute short film. Even 8 minutes short films are a chore to get through. The rule of thumb is under 20 minutes, our profs insisted under 15.
Anon, short films should be for the writer alone with the intent of producing it him/herself.
And no, your professor was incorrect. Short films that are not features can be up to 30-35 min in length. If you follow 1 page per minute, then it can result in a 30-35 page script.
>>64250454
Classic dunc post tbf
>>64250752
>"Ben entered the hotel room, it looks devastated and thrashed, he peers around."
Not going to lie but that's poor writing.
>"He walks past RED LIPSTICK, left ajar, on the bathroom counter. The crumpled wrapper of a MAGNUM CONDOM crinkles under ben's sole" (that's at least 2 specific shots)
If it's two specific shots then form a new paragraph after "counter." Also what do you mean by saying "left ajar"?
>>64250815
How many 30 minutes short films have you seen?
It's not just one prof, it's all of them - you have to be economical with your scripts and stories. 30 minutes/30 pages for a short film is ridiculous.
Short films I had to fucking do more than anything, believe me on this. Or don't.
>>64250879
Not at all. I'm saying that no one watches BORING films.
Low production quality, immature directed, poorly acted 30 minute short films are literally torture. The longest we watches was ~21ish and even then, it was blisteringly funny and well made (the student works in hollywood now, he was talented), we still checked our phones every so often. It's just too long for stories with little investment and development.
>>64251020
I'm watching hockey and chilling, the purpose was to give examples of ways to not write durr "C.U. on LIPSTICK" or "CAMERA PAN TO: massive condom wrapper".
I have no idea why I used the word ajar, probably distracted a bit.
Anyway, don't direct the reader - especially not for screenplay competitions. It's amateur hour.
>>64251304
>I'm watching hockey and chilling
Then don't post crap like that in these threads, especially when you're trying to give others advice. Use your common sense, you dolt.
>>64250404
>It's mad hard.
>mad
You from NYC?
>No cuts, no dissolves, no long descriptions at all. Only what HAS to be necessary. Don't direct the camera either (EVER)
Strange, in several professional scripts I have seen camera direction. Not within the scene but at the closing of them.
Example: http://www.lynchnet.com/mdrive/mdscript.html
I realize this may be a script for the director rather than what I hear called a spec script but I have often seen things like FADE IN: to introduce a new scene or at the beginning of the entire film and various transitions to bookend things.
Could you show an example of how you might write a montage given the following shots/sequences: A bird flies from a tree branch, a toe wiggles around a hole in a sock, a scoop of icecream falls from its cone, a character screams at the top of his lungs at someone across a busy street, a hunter's gun is fired.
>>64251304
>, the purpose was to give examples of ways to not write durr "C.U. on LIPSTICK" or "CAMERA PAN TO: massive condom wrapper".
No, dummy. When I said use of camera, I don't mean saying technical terms. I meant,
>" MOVE IN ON"
>Variations of "we" ect
>>64249415
how did you get an internship during your graduating year
was there a program at your college/university? or was it just networking
>>64251524
Nevermind about the montage example, I see it >>64250618. I think both 'mixed jumping' and 'montage of' will take the reader out of the script. But they make sense.pls no more cuck
I've finished most of my first screenplay, and I'm in the process of making revisions to it
I don't wanna go into plot details, but there's sort of a fish out of water element to the story, and I don't feel like I've fleshed out the protagonist's normal "world" enough, how long on average should something like that be?
I'm picturing the script in my head and I feel like the first bit in the life he's used to might get to about 15 minutes with some directorial padding, I don't know it's long enough
>>64251304
>How many 30 minutes short films have you seen?
You should expand your horizons beyond Nolan, Scoree, Spielberg, Kubrick and Hitchcock, kiddo.
>It's not just one prof, it's all of them - you have to be economical with your scripts and stories. 30 minutes/30 pages for a short film is ridiculous.
I don't think you know what being "economical" means especially when you don't know what stories would fill in those 30 pages. You should write the story out, not page count quota.
>Not at all. I'm saying that no one watches BORING films.
So did copper make it out of the worm hole alive, anon?
>>64251489
Gimme a break, I gave universally accepted advice (don't direct the reader), you or another anon (who aren't educated in this field) challenged me, I gave a quick, effective example.
Don't direct the reader, you're a screenwriter - in screenplay competitions they don't want to know about your potential as a director, they want to know about your script and your abilities as a screenwriter.
>>64251592
Those are identical. And all but one of my profs hated and discouraged "we" and those camera moves. They hated them because producers hate them. And directors who read your script hate them.
It's entirely amateur hour - if you don't believe me, so be it.
>>64251603
nyu helped set up some internships, but asking around never hurts. Look up online "graduate jobs X" or "internships X"
>>64251524
East coast yeah.
Yeah so the thing is, some people think they're capable of doing David Lynch but David Lynch did a lot to get to where he is (he's a tremendous artist anyway). I subscribe to the very economical way of writing and don't use any, my profs loved that and encouraged it because it wouldn't conflate the director's role with the writer's.
For your montage, I personally would write
Montage of:
Ext. Tree Branch - Day
Bird, etc.
Int. Foot
Toe pokes out sock
Ext. Park - Day
Ice cream falls out of cone
Ext. Street - Night
Ben screams when he walks in on Jamal and his wife Alice holding hands, breaking their only hard rule.
Ext. Park - Day
Muzzle flash of a rifle. Sound of birds scattering.
End montage
>>64251605
People read scripts knowing that they aren't reading literature. That's kinda been the subtext of what I'm writing here. You want to be economical, not artistic.
Reading your pages aloud is a huge help to find and correct snags and weird syntax and wording (for any kind of writing actually).
>>64251796
Ooooh good question. Have you read anything about the Hero's Journey? (answer and we'll go from there)
>>64252052
>Hero's Journey
I know it to some degree, but probably not very in depth
>>64251842
Name three 30 minute short films you've watched all the way through.
Don't conflate your pretensions as a writer with overripe memes.
>I don't think you know what being "economical" means especially when you don't know what stories would fill in those 30 pages. You should write the story out, not page count quota.
Good in theory but again, no one watches 30 minute short films. Every big competition has a hard limit of 20 or so for a reason.
It's not to get invested into stories with such poorly and lightly developed characters. Short films are supposed to be small stories that show off a director's vision - 30 minutes is not a small story, but far too short to be a feature story.
I really don't wanna refer to my education here but all we did was write and direct short films. The program was geared toward that. The unanimous, universal advice was shorter is better, no longer than 15, 17min if you must.
>>64251304
>Anyway, don't direct the reader - especially not for screenplay competitions. It's amateur hour.
That doesn't make much sense to me. I don't mean to contradict you, but I am wondering about the logic behind that.
I mean, if you're the writer, and, as the writer, you have a clear idea in your head of how a scene plays out, wouldn't the onus be on you to articulate that idea as clearly as possible?
>>64252052
>Gimme a break, I gave universally accepted advice (don't direct the reader), you or another anon (who aren't educated in this field) challenged me, I gave a quick, effective example.
Except your example was terribly written and now you're shrugging me off due to your ego created by this thread.
I'm guessing you're 18 years old because you sound completely immature.
any advice for a guy just abut to enter a university media course about screen and sound production?
will i proverbially 'make it'? do you regret what you do and wish you'd done something like engineering or business earlier?
>>64252302
>you or another anon (who aren't educated in this field) challenged me
Take your autism pills kid
>>64252307
https://www.arts.unsw.edu.au/future-students/undergraduate/degrees/media-in-screen-sound-production/
forgot link
>>64252052
I see where you're coming from.
I'll do my best to combine economy-writing with some flare for the sake of the reader interest.
Thanks for sharing the montage example. Interesting how you lay it all out, especially 'Int. Foot'. Certainly better than jumbling it all in a single paragraph. But if the montage of shots in one's mind are more connected, say, in the same location, I assume you don't need to separate them as clearly as you've outlined?
How's NYU. Was thinking about applying there or Columbia if this attempt of mine didn't pan out as well as I hope it will.
>>64252229
I think you should get into learning it very well. The beginning portion of the journey has to define the balance of the world (this is where the "lens" building comes into play - what I call lens means the style of the story) and then the triggering thing happens (call to action, iirc) the hero rejects it, then has to accept it, and then he enters a crazy new world and has to pretty much relearn everything he knows (or something like that) and so on. Harry Potter, Star Wars, etc.
So how long did they initially spend at the farm in Tatooine? Or in the Dursley's house in Harry Potter? Not very long, if the original world is mundane, make sure to establish that it's mundane and the character is exceptional without knowing it yet.
(ex: "Ben drove home along after work his usual path, by the usual shops. However this time, he didn't spot Jamal's car besides Alice's in his driveway")
Hero's Journey plots are simple and immensely relatable for some reason I don't recall now, so you're doing alright.
Keep asking
>>64252302
Mid-to-late 20s, just trying to be helpful, you're being a pedant, etc.
It was one fake line in the middle of a fake, unwritten scene. No shit it was "terribly" written. There is no way it could be well written. You're criticism is not uncalled for but entirely misplaced. We're discussing script mechanics and you're ragging on prose?
Give me an example of a professional script (not written by a director, and not a shooting script) using CUs and ECUs and so on. Look up and down the blacklist or whatever.
>>64252564
>So how long did they initially spend at the farm in Tatooine? Or in the Dursley's house in Harry Potter? Not very long, if the original world is mundane, make sure to establish that it's mundane and the character is exceptional without knowing it yet.
Alright, cool
The character's life in question is pretty mundane, I feel like the script establishes that well enough, but I wasn't really sure if I should spend more time really hammering that in, or if I should just hurry up and get the story running
I'm pretty happy with the story, it's not quite the Hero's Journey, but the character's not really all that special, I even have a line saying that a lot of people like him have tried doing what he's going for. Should I stick with that, or would going slightly more towards HJ be a better idea?
>>64252307
I kinda do regret the program, yes. Film school is one of those things you get out what you put in and I didn't put in enough.
That said, the best advice I got was to specialize in something technical. I learned how to Sound Mix pretty well. Some went toward editing, many toward Camera, some to post-sound, etc. Those gigs have many jobs, and you just have to intern or something a few times before getting those gigs.
Many people realize they enjoy being in the industry without actually being directors/writers/creatives. You realize it's a massive industry with so many moving parts, some people thrive as UPMs/LPs (non-creative producers and set managers, pretty much) and there is a place for everybody as long as they put their egos aside and do their job properly.
>>64252411
Point taken, but how else can someone respond in this context without going full autismo?
>>64252546
The flair (or is it flare?) comes from great dialogue. Read some Coen Bros scripts, or some other directors who are wordy and fun - Tarantino's Inglorious Basterds is a phenomenal script with so many typos and little jokes in it. Seriously, even Shane Black scripts (that have many inside jokes and meta references, that go against the grain but "he's an exception") are snappy and quick. Don't bog your reader down with paragraphs of action and description. Instead of choreographing a fight just say "They start to brawl, midway through ben reaches for a glass bottle and smashes it over Jamal's head" etc.
>But if the montage of shots in one's mind are more connected, say, in the same location, I assume you don't need to separate them as clearly as you've outlined?
The int/ext stuff is basically for lighting purposes - it used to mean "this is on stage and lit"/"this is not on stage and natural lighting". It's a carryover from before. Now they use lighting and bounces all the time, all over the place.
(cont)
>>64252908
alright thanks for the advice
this might sound really generic and cliche, but is it true that to get into hollywood its all about making networks and contacts? i might be taking part in an international film/tv course (i live in australia) at UCLA for a semester and thought that it might 'boost' my chances
>>64252546
>>64252908
But if it's in the same room, write them as very very short sentences under the slugline.
INT. Jake and Alice's Bedroom - Night
Montage: Ice cream falls out of a cone. A toe wiggles in a shoe. Jamal's BBC glistens with sweat. Alice's eyes dart around the room. Ben wipes away his tears. Birds fly off a branch. A gun fires. Jamal's BBC dangles in the breeze.
NYU was good technically with great profs, lots of dweebs in the program. I was older than a lot of them. Film school kids are the rich geeks in high school who are now suddenly "normies". Tisch is ~40% gay too, so it's /tv/ or /pol/'s nightmare.
If you (or your folks) can afford it no problem, yeah go for it. Otherwise, intern and/or work for people who do the role you want (if it's an on-set role) or just write and write and write and read and read and read. Which is, arguably, harder than going to film school.
Columbia's film and writing programs are excellent but I don't know that first-hand. I know NYU is rather unique in that they insist you shoot (terrible) short films from pretty much the get go. They believe in experience rather than theory. Theory classes are aplenty though, and I enjoyed those the most.
Never take Film Studies/Culture Studies if you want to actually produce.
>>64253202
>Never take Film Studies/Culture Studies if you want to actually produce.
Do you mean independent film schools or university courses?
>>64253198
>but is it true that to get into hollywood its all about making networks and contacts?
Entirely, 100% true. And not in an evil, jews-run-the-world-way but it's pretty much this: people make deals with people they know and trust and can vouch for.
I got more meetings through my internships and (very few) connections/word-of-mouth than anything else. I regret rushing through my degree and into a master's program for this very reason.
Going to UCLA won't open any door to be honest but it'll be an interesting exposure. You won't meet a single important person, and no one will read your script or pitches or anything.
If you're in Oz, get into the field in Oz - work with/for people in the Australian film industry, that's a way smaller field and higher chances to get seen or noticed. PA for a person or two, intern here or there, make some proper relationships, etc. That's how it is everywhere.
Or, be jewish.
>>64253329
Film Studies as in the actual program. Film Production (whether at an independant school like NYFA or at USC/NYU/Emerson/etc) is different and more technical.
Basically you want to be able to go on set and know what's going on. You can either learn that through gouging your family's money or by working on set as a PA/runner and trying to jump up and around the ladder.
>>64252766
Missed this one.
Is your character really not special at all, in any way? Is he not a hero?
Luke isn't special. Harry Potter sure as hell sucks at everything (seriously). But they're heroic. Is your protag heroic?
If he's not and he is boring, and I doubt this is the case, why would anyone want to follow his story?
>>64252908
>>64253202
It is flair.
Read through the opening of Shane Black's Lethal Weapon, it's up my alley.
Last question, do you ever describe your title cards? If you have a thematic idea you want to present in the title cards how do you approach that, if at all?
I'll be trying my hand at making a full project first and then, if I don't do so hot, I'll send out some applications. Thanks for this info.
>>64253578
He doesn't really have magical powers or anything like Luke or Harry, but he's willing to put himself into a potentially horribly dangerous situation to make a change in his life
The story involves taking down a wanted criminal, so I'd imagine that falls under someone's definition of "heroic"
>>64253584
Good luck with your full project. I wish I could give advice but it would be an incoherent mess of words. The golden rule would be (for me): measure twice, cut once and don't have an ego. The project lives beside you, not as you.
>Read through the opening of Shane Black's Lethal Weapon, it's up my alley.
The thing is, you really shouldn't write like Shane Black. He breaks the rules and made it in an era where it was easier to make it, and now it's his thing. Writing like Shane Black is a huge no-no, actually (also the beginning of LW is dated, try to read more modern scripts and see how they do things).
As for titles, or chapter titles, I just write them as
The Ballad of Ben and Alice.
sub: (or how I learned to stop worrying and love Jamal's BBC)
>If you have a thematic idea you want to present in the title cards how do you approach that, if at all?
Good question, I guess it's such a unique and small event in the script that one can "break" the rules. I'd write them as
Scattered shots of sex toys and sex refuse on the floor. Condom wrappers, empty lube bottles, discarded penetrative toys, wet strap-ons, outfits, worn out leather, whips. Pulling back a bit they spell out
TITLE: The Ballad of Ben and Alice
Subtitle: (or how I learned to stop worrying and love Jamal's BBC)Sorry about all the kuk shit, I'm terribly bored.
Back to Shane Black, the opening scene of LW is quite long, keep that in mind. I haven't read it in a while but it's famously said that Die Hard (1) has one of the the most economical and tight scripts around.
>>64253712
I'd really recommend reading about the Hero's Journey. And the other book I mentioned above, The Art of Dramatic Writing, is all about knowing your character inside out so you'd know what they'd do (or say) in any circumstance or scene innately. Makes for more naturalistic dialogue after you've outlined it all.
I'm sure your protag is heroic - your next steps are as follows:
(cont)
>>64253712
Finish the first treatment (aka the 1 page)
Flesh it out to ~3 pages (put in more details and plot points)
Flesh it out to ~5-8 pages (still don't put in any dialogue but now you have pretty much all the major plot points down)
See if you can put in EVERY plot point in a final copy.
Then split it all into scenes, see if they all lead into and through each other. Write them out on index cards and lay them on your bed or floor or desk and see how the story progresses.
Is it exciting? Do things happen that challenge your character over and over? Does he continuously strive?
Adjust accordingly. Then start writing scenes out. At this point I'd actually recommend writing them out not linearly because I feel like that kinda compels the writer to know their story inside out and fill out the preceding scenes and therefore be likelier to finish.
Finishing a first draft is one of the hardest things to do, if you force yourself (even if the script is pure garbage) to finish the script you're way ahead of the game. The revising process is more delicate but way more fun and challenging. The first draft is a god damn chore.
>>64254079
Yeah, sometimes I'd not write for over a week, not even over writer's block most times, writing for long enough periods all at once got kinda draining on the first draft
I think I'll try that out, I feel like I like my story the way it is to even make changes that would be for the better at this point, but I'll definitely try that and see if it's better.
Thank you!
>>64254283
Write the outline as it is. But you're not sculpting precious marble, if the story snags at parts for YOU then it'll surely snag for others.
You have to keep an open mind about (positive) changes.
Usually when I pitch in my 2 cents in these threads I stress about subtext, today's conversations were mostly about mechanics. Once you have your script and story written for a first draft, you have to then paint it and give it life in terms of dialogue.
Character tics, traits, flavors, etc. That's the real fun part - it paints the world.
>>64254389
My main problems are that I don't feel like I'm stressing the protag's normal life and the antag's past enough, I'm mostly happy with how it is, but when I read through it for my first revisions it ended up only making sense on paper with the context I had in my head already, I didn't explain the premise at all, which ironically kinda fits into the antagonist's character
I'm sure it can definitely be improved, and outside input is very much appreciated
>>64254491
I'd say you should read scripts of similar stories.
(completely random pick) Three Days of the Condor is about a pretty normal dude who gets caught up in something bigger than him. He does some courageous things but he's really not talented or skilled or exceptional.
His mundane routine world would therefore be super unnecessary, it's kind of implied.
Now, for the Antagonist's past, I'm of the school that the antagonist has to be as strong a character (not as developed/capable but as motivated and desirous) as the protag. Maybe he needs backstory then.
I can't give much advice, just finish the story and then go over it.
Cheers
>>64254713
Yeah, those sound like what I'm going for.
I don't know, I'm happy with it for the most part, but I feel like it needs more, like it should be longer. I'm hoping for feature length, but aside from padding out for time with certain shots that don't include dialogue, I really don't know what else to cram in there.
Thanks a lot, though, you've been quite helpful.
>>64254841
Fit in a sub-plot that enhances the main one. That's a good intermediate question, not something I can answer off-hand.
I think reading some similar scripts would help you a lot.
Cheers again. I'm gonna go back to baneposting now.
>>64254883
A subplot is probably a good idea, I've got a few side "characters" that have nothing to do outside of establishing the antagonist and being from his past, it might not be a bad idea to try something with them
I feel like we're trying to hang up the phone but nobody wants to be the one to do it
>>64255190
*click*
>>64255190
man, my family spent a ton on my 'education' I have nothing to do over the break, might as well help out the fa/tv/irgins when I can.
>>64255243
That's the spirit
The amount of my free time I've spent looking at Rooney Mara lately rather than working on my script is getting ridiculous, you're at least doing something productive
I spent 2 months slowly working out the plot for my Polybius screenplay, which is heavily influenced by the films of Joe Dante. Last night I decide to look him up on IMDB, and apparently he's already working on a Polybius movie.
I was so depressed I couldn't sleep, but in my sleep deprived state I came up with another silly idea for a movie with similar influences. I called it Terraborn and ran the idea across my brother. He said some of it was very similar to some recent shitty movie that took itself way too seriously. So I turned the TV on to wind down, only to have Gremlins show up on the screen.
Should I just kill myself?
Let's say I have a script I'm comfortable with, but I've only shown it to people I know.
Where could I take it to get it critiqued?
>>64256997
Script Consultant?
Some competitions have feedback. But I feel they will simply look for anything to say after reading it through once for the competition's sake. Meaning, they might highlight something non-traditional in the script and suggest you change it, or give rather superficial critique like 'flesh out this background character more'. Which could simply come down to personal preference, difference in visions, and someone might simply not 'get' what you're going for.
Never actually had it done myself, so don't consider me some bitter wannabe. It's just based on examples I've seen online.
Having some trouble writing a short script to be made over the next few months. Any advice for shorts?
>>64258368
big Chris Nolan twist
Opening scene. I'm mostly trying to practice
>>64252546
>>64253198
>not attending usc
>>64259192
pitch it
>>64259192
USC teaches you all of the technical aspects of filming with none of the storytelling. If you are a born storyteller and don't need help in screenwriting, go for it. But you'll probably be worse off.
>>64259020
>like an oasis in the desert.
Try to keep it objective, bro.
I like it, m8. Try finishing it.
>>64259997
it's The Room
is writerguy the nyugrad? don't bother with his advice, he's unemployed, doesn't know a thing about what he's talking about and only makes these threads so that he can stroke his own ego. heck, you're better off reading Save the Cat! than listening to this nonce.
>>64259997
cheers bud, I'll get to it
looking forward to the what a story scene
>>64260121
Is its Tommy's version though?
>>64260239
it's a neonoir adaptation retaining all original dialogue
Mark's a cop chasing a fraud/laundering scam, and is set on johnny's trail after seeing the dress on lisa
Johnny reluctantly descends into the seedy criminal underbelly of San Francisco, killing off his competitors for a larger share in the scam, then eventually himself
>>64259394
>not being a natty storyteller
>>64263748
Man, Max Landis is the most punchable face in Hollywood right now.
Anyone who wants to share some stuff and is looking for feedback can join the skype group.
add wazzaup92 if you wanna join.
>>64264214
someone please confirm if legit or not
>>64264262
I'm gonna infect you through skype and make your PC overheat until it explodes.
relax son.
Highly recommend all you other writers to give this a listen. Roundtable discussion with Aaron Sorkin and a bunch of writers from this year's critical hits (Room, Spotlight, Inside Out, Brooklyn)... and Amy Schumer's there for some reason.
https://www.youtube.com/watch?v=G-GKiB43iJs
