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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Screenwriting Tip

Some requested changes are certainly warranted to make a screenplay marketable. Using city names that are internationally recognizable, for instance.

Everyone knows Paris or London. Not everyone knows Lyon or Bath. If it makes sense and doesn't compromise story, I make the changes. To do otherwise is a bit stupid.


Let's just hope this young lady isn't your reader ...

http://www.youtube.com/watch?v=ANTDkfkoBaI


Changing TEEN GIRL #1 to JULIE is not really warranted to make a script marketable, and I think points out a weakness in the reader, or as mentioned, someone looking for a valid reason to pass on a script instead of just saying 'It's not for us'.


a
 
alexwhitmer said:
This is a great point.

When an actor is reading the part, and getting into character, all the nuances that go with being a detached stepfather - or whatever - can be built into the script. The actor never gets the luxury of a name, or a sense of belonging, and hopefully that translates in the performance, and the directing of that performance.

Hopefully. As mentioned, on set changes can be made if somehow it isn't working out as planned. Certainly pre-production can throw up red flags as well. Every script will go through it at some point or another.
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You got exactly my point.
 
Joe G. said:
TEEN GIRL #1 also says very little.
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The #1 implies it's an anonymous type of teen clone.

Now what that in fact means depends abit on it's script context...and
that will be supplied by the Reader..Director..and Actor.
Which is how scripts mainly function...as blueprints which are interpreted.
 
alexwhitmer said:
... or as mentioned, someone looking for a valid reason to pass on a script instead of just saying 'It's not for us'.


a
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I'd rather they just passed on it, rather than feeling compelled to give me a reason. I can get feedback from fellow writers, I don't expect more than "yes" or "no" if I'm trying to sell it. People don't have to give me a reason they don't want to buy my old Chevy, for cryin' out loud. Asking a busy professional to give reasons for their passing on the script (if none are offered) is just going to make the writer look like a schlub.
 
DCC Erickson said:
I'd rather they just passed on it, rather than feeling compelled to give me a reason. I can get feedback from fellow writers, I don't expect more than "yes" or "no" if I'm trying to sell it. People don't have to give me a reason they don't want to buy my old Chevy, for cryin' out loud. Asking a busy professional to give reasons for their passing on the script (if none are offered) is just going to make the writer look like a schlub.
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i agree...
and sometimes a no doesnt have to do with the script. if the portfolio have similar projects some distributors say no and want a different genre to spread their risk. i dont send screenplays, just short exposes or a scene outline, saves time on both sides, and when tge story, director, cast in plan combo is right and has the right timing you get thr money to shoot. of course if you have a loi from a list actor things get mucho mucho easier.
 
I agree with both of you Erik and Kaya, that is not good to ask why the Script was refused, unless told up front.

Nonetheless, if there is a clear understanding that it was indeed refused do to the story, and there is a possibility in the discussion, it is always good to know why, as if two or more turn down the script for the same exact reason, there could be valuable information to revise the script and make it sellable, I know this form indirect experience, of a friend which back in NY in 92 sold two scripts after been rejected four times for the same reasons, He revised them and then sold them to the same people under different title and changes to the story.
 
Cüneyt Kaya said:
...sometimes a no doesnt have to do with the script. if the portfolio have similar projects some distributors say no and want a different genre to spread their risk. i dont send screenplays, just short exposes or a scene outline, saves time on both sides, and when tge story, director, cast in plan combo is right and has the right timing you get thr money to shoot...
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Bingo..yes that's how projects happen. It's not like only the best
scripts are automatically made. Besides hard to really define a "best script".

Great article by a writer who had 1 studio film in 2002
and then nothing. So he directed his own indie movie in 2009.
Problem: his studio film = 26,000 votes...his Indie = 19 votes on imdb.com

http://filmmakermagazine.com/webexclusives/2009/09/from-hollywood-to-nobody-by-rob-perez.php

At the time I believed the film was made because of the script. However, in retrospect I believe it was made because of a confluence of a 20 completely random stars aligning. This included an influx of money at the studio from a new partnership; their recent films had been hits; young comedies like mine were connecting at the time; a few bankable actors in the age range wanted to play the lead
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If this is a major criticism from your reader, you may want to get another reader. If you're receiving a lot of flack over relative minutia, it should tell you something. Don't get me wrong; names are important, especially for key characters. But if this is the best critique that your reader can throw at you, then you're either a fantastic writer or he / she is a poor reader.
 
Here is a random off topic tip that I have used with screen writing. I use improv a lot in my scripts and give my actors free range to establish the character style within the initial confines that I have established. I have actually gathered the actors prior to composing the script and provide them with a loose outline of the topic and desired direction of the conversation. They then have conversations into a microphone that then feeds into a software program that converts audio into text (very useful). They do this a couple of times varying the style and from those conversations, I will then compose the final dialogue. Ultimately, the wording seems very realistic. In the past, I have found that what sounds good in your head and on paper, often does not translate well into actual conversation. Off topic I know put this is the first scriptwriting thread I have seen so it would be great if others could offer tips on how to write scripts effectively.
 
Joe G. said:
Well, it's a gray area as all the comments suggest.

A principle should be kept in mind, however. You have precious few keystrokes to say anything at all about these minor characters. You should exploit the name to give as much as possible, so that it isn't a blah, generic world you're creating.

TEEN GIRL #1 also says very little.

BITCHY PRINCESS (16) says more.

Carry on...
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Agree with this.
 
Joe G. said:
Well, it's a gray area as all the comments suggest.

A principle should be kept in mind, however. You have precious few keystrokes to say anything at all about these minor characters. You should exploit the name to give as much as possible, so that it isn't a blah, generic world you're creating.

TEEN GIRL #1 also says very little.

BITCHY PRINCESS (16) says more.

Carry on...
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Agree with this. I always like it when even a peripheral character with one line has some personality.
 
I'm going through final tweaks to my next robot short entitled "Maria" so this subject is near and dear to my heart right now.

I was also critiquing someone else's screenplay in exchange for critiquing mine and the subject of changing character names for the same character as things are revealed came up. He had four different names beginning with similar thing to MYSTERY WOMAN. My argument was to select one name for the reasons given above, but also for one additional reason:

Today's screenwriting software (eg Final Draft 8 which I'm using) has automated functionality to generate reports for production and breakdowns by character etc. If there are several names for the one character, this could easily mess up your report and give an erroneous summation as well as confusing others on set as to who is what.

So yeah, I go with names for major characters and generics for bit players/extras.

HTH

Paul
 
Andrew Rieger said:
... tips on how to write scripts effectively.
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Re-write. It ain't gold the minute it shows up on the page. If the writer finds it boring, it IS boring. I'm astounded how many scripts I've read where the writer has obviously decided that a scene is "good enough".
 
Still, the script does not need to bleed creativity, perfection ect at the sacrifice of realism. To me, if a script does not seem realistic, than it will come off that way in post no matter how talented an actor is. Unless of course you are going for a certain style that calls for each line to be gold. I try to mimic reality with my scripts and will often throw grammatical errors, uh's, um's pauses. People don't talk like they write (most of the time). If each line is delivered with theater grade accuracy, it sometimes makes it more difficult for the character to be believable. Just my 2 cents.
 
Paul Leeming said:
Today's screenwriting software (eg Final Draft 8 which I'm using) has automated functionality to generate reports for production and breakdowns by character etc. If there are several names for the one character, this could easily mess up your report and give an erroneous summation as well as confusing others on set as to who is what.

So yeah, I go with names for major characters and generics for bit players/extras.

HTH

Paul
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Exactly. Casting will be pulling their hair out, and it just slows things down.

Get it right in the screenplay first, and the following players will have a much easier go at it - including the actor trying to find their actions and dialogues. I also think having one name - one identity - will make it far easier to grasp that character. Multiple names may end up being multiple personalities on screen.
 
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