Den Of The Damned Storyboards

I've been tinkering with some ideas to promote a script I wrote, titled The Den Of The Damned.  One idea in motion is to make a limited number of storyboards that will give a broad overview to the whole story.  It's a live-action screenplay, but the artwork (obviously) is not.

So, here's the first panel.  As you can see there's a "+Spaghetti Western" look, along the lines of "+The Good, The Bad, and The Ugly".  I really like this one.

Here's another panel:

Obviously staying with the "Spaghetti" theme.  One more panel:

This one went a little bit away from the "Spaghetti Western" style I was going after, but overall it works.  It's going to take a little time, but I'll fix the color scheme of this one.

*UPDATE*

I altered the color scheme, and am trying to get the image to match the contrast-style of the other panels.  I'm still deciding how much detail to leave in if I'm going to match the silhouette form of the first panels which, again, goes for the Spaghetti Western/+Clint Eastwood westerns poster look.

So, I'll keep tinkering with all these (there are 8 total, so far), and will have a finished presentation in relatively short order.  This script has a good story, and probably the best characters I've ever written.  Hopefully I can bring some producers on board soon, and get the ball rolling on financing.

The Art Of Words: The "War" Of Words

Every writer, whether they realize it or not, is in fierce, bloody competition to get read, noticed, published, and bought.  This battlefield is, quite literally, a "war" of words.

FADE IN:

While the title War Of Words isn't about face to face confrontation (at least not directly) the reality is: if the words you choose to tell your tale don't stack up and elevate above every other piece of material being offered, you will lose ground in the "battlefield", and be left to face the marauding hoards of new material, as they thunder into the "breach" (publisher's or producer's office), determined to claim their glory, and leave all others in their wake.

It is every writer's responsibility to rise to the challenges of the marketplace. It's also our responsibility to realize what the marketplace is, and what it's looking for. While the marketplace can be a vast landscape, a writer's material has to narrow it's focus on which segment(s) of the marketplace to serve. Far too often writers start writing on "impulse", then spend days, weeks, months, etc. working on material that will have little to no chance of landing at it's desired destination - a producer or publisher's desk - because little to no thought was given to how the material will stand out and above the rest, or how the material can be pitched, or marketed. Sometimes it comes down to whom the material is geared towards, i.e. major or independent studios, niche magazines or web sites, and so on. Let's see if there's a few ways to improve our chances of survival.

The Essential Questions

If you consider yourself among the ranks of writers creating new content and material, then you possess the desire to manifest your creativity into a physical reality. Creating new material is no small feat, and I salute your effort.

However, as countless writers perpetrate their countless tasks, there are essential questions that we each should ask ourselves (and we should be able to answer positively and honestly):

1. How is your material so different as to stand out from the pack? This is the basic question, and you need to answer it honestly. What makes your story or material better than every other on a producer/editor's desk?  How does your material rise above the din, and make a producer/editor want to do all the necessary work to get your work made/published?  How solid is your pitch to make them want to consider your material?  How well do you know the genre(s) you write in?  Are you true to the basic foundations of that genre?  Are you bringing in a new twist to the genre, or deconstructing it in a way a producer/publisher hasn't seen before?  If so, how?  If you can't answer these basic scenarios with an honest, positive response, then you face an uphill battle to get your work published/produced.

2. Is your "voice" truly unique, or an echo of the writers whom influence you?  This is important. Your "voice" is your calling card, and is measured against every other piece of material that comes across a producer/editor/publisher's desk. If your work reminds the publisher/producer of another writer, they may go after that other writer, whom they feel may handle the material better. Studios constantly juggle writers, trying to find the winning situation for the material.  If your "voice" stands out, and your material is solid, you are more likely to be hired and keep the job (there are exceptions to this idea. Many, many writers have done wonderful work, and still been replaced on a project).  But the bottom line is, your original "voice" is what you are selling. Stay focused on who you are as a writer.

3. How prepared are you to "change" your voice, if necessary?  Writers fall into comfortable habits. It's part of our nature, and sometimes it works in our favor.  But, sometimes not.  If your writing has plateaued, or hasn't moved your career forward the way you would have hoped, are you willing to change your writing style, or "voice"?  Are you willing to adopt a style that maybe isn't as comfortable as your current one, but may give you a greater chance at success?  Our individual styles have to evolve, one way or another.  The more we write, the clearer our "voice" should be.  But this isn't always the case.  There are plenty of stubborn writers who won't change.  They just "haven't found the right story, yet".  Well, you don't have time to wait.  The longer you search for that "right story", the further back you'll be in the line trying to land on a producer/publisher's desk.  Writer's need to adapt and move quickly.  And (I believe) changing things up in your writing style can have residual (no pun intended) benefits to your overall approach, and make you a better writer.

4. What are you bringing to the table that's different from every other writer?  Not only in terms of "voice", how prepared are you to not only create the material, but work with the producer or publisher to get the material to it's highest level?  What new angle or turn can you give to the pitch or material that will make a producer/publisher say "Okay, let's do it"?  How prepared are you to defend what you've pitched or written when challenged by those whom you may want to produce or publish it?  Are you so in love with your work that you won't let publishers or producers make suggestions or changes without a fight?  This can be a tricky area. You want to show that you're a team player, but there are times you might need to make a solid (and sensible) stance on areas of you material that others may want to change.  You have to be firm, but diplomatic.  Good luck with that.

5. Is your material inherently marketable?  Again, an important point.  If your themes or material is too convoluted, too dark, or too esoteric, the harder it is to get produced/published/bought (though not impossible).  If the material is a difficult sell, then every aspect of the story better be rock solid and worth the effort necessary to bring it out into the world.  And it will all come down to "Why do you want to tell this story?"  "Who is the audience?"  "How will we make our money back?"  Again, you need to know to whom you are pitching, and whom you hope will produce or publish your work. Do your research and find out whom produces material like yours, and find out if that similar material was a success.

The Best Offense

Screenwriters/playwrights (in no particular order): +William Goldman, +Robert Towne, +Quentin Tarantino, +Charlie Kaufman, +Aaron Sorkin, +Shane Black, the +Coen brothers, +Preston Sturges, +Nora Ephron, +Neil Simon, +Arthur Miller, +David Mamet, +William Shakespeare, to name a few. Novelists (in no particular order): +Ernest Hemingway, +Elmore Leonard, +Dashell Hammet, +Raymond Chandler, +Ray Bradbury, +Philip K. Dick, +Jack Kerouac, +Virginia Woolfe, +James Ellroy, +Jane Austen, +Stephen King, +Chuck Palahniuk, to name a few. What do all these great writers/artists have in common? They each have a unique "voice". When you read their material, you can tell who wrote it by each writer's individual style.

As I've mentioned, your "voice" is the key that turns the engine for your material.  Finding your "voice" as a writer is the best weapon in your arsenal to get your book/manuscript/screenplay noticed, bought, published/produced.  It's not always easy.  Developing your "voice" takes time and effort.  And for some (maybe most), it will be a lifelong pursuit.  But, if we realize there are millions of people writing millions of pages, odds are a few of them (hopefully, including you) are going to stand above the others by not just talent, but their personal stamp (their "voice") which elevates their material.  Your "voice" has to be marketable, or your options to get sold/published/produced will be limited.  You say you can write like other writers?  So what.  It's easy to copy someone else.  Producers/publishers want to know who YOU are as a writer, and they want YOU to show them why they should invest time, money, and effort into your material.  Your "voice" gives them a reason to believe in you.  Reward them not only with your talent, but your determination to make their efforts to produce/publish you worthwhile.

Epilogue

So what does the "War" Of Words really come down to? To me, it means not only being talented, but being prepared to do whatever is necessary to get the work to its highest level. Is it always possible? Who's to say? Deadlines, wholesale changes demanded by producers/editors, "helpful" notes by various concerned parties, and life in general can derail the best laid plans. It comes down to knowing who you are as a writer, knowing deep down that your work and effort have value and purpose, and knowing your "voice" will carry the work to the vaunted heights where it belongs.

These are just my opinions. Do with them what you will.  Best of luck.
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A Few Quotes:

You must stay drunk on writing so reality cannot destroy you - +Ray Bradbury

I try to leave out the parts that people skip - +Elmore Leonard

If my doctor told me I had only six minutes to live, I'd type a little faster - +Isaac Asimov

There is nothing to writing. All you do is sit down at a typewriter and bleed - +Ernest Hemingway

The difference between the right word and the almost right word is the difference between lightning and a lightning bug - +Mark Twain

We have to continually be jumping off cliffs and developing our wings on the way down - +Kurt Vonnegut
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Links:

+Writers Guild Of America - www.wga.org - Register your work!

+The Writers Store - www.writersstore.com - Software, books, seminars, and more

+Script Magazine - www.scriptmag.com - All things screenwriting

+Simply Scripts - www.simplyscripts.com - Library of film and TV scripts

+Film Independent - www.filmindependent.org - For independent filmmakers/writers

+Wordplay - www.wordplayer.com - Website of writers Ted Elliot & Terry Rossio

+Zoetrope - www.zoetrope.com - Francis Coppola's company website
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The Art Of Words: Prioritizing

The Art Of Words: Prioritizing

Organizing the elements of our writing can be tricky and  frustrating.  But, in understanding how we are the masters of the worlds we create, taking command of the material becomes less daunting.

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Writing in most any arena takes discipline.  It's a necessary component of the creative process.  But discipline can also feel like an overwhelming creative hesitation, because an idea for a scene, story, or article can sometimes be so overpowering that it has to be written immediately or the spark may be lost (or so it seems).  And I now admit, without reservation, that I have jumped the gun several times and written scenes and dialogue before I charted them out on index cards, or outlined them on paper. It happens.  It's natural to be excited about a project, to be anxious to get the ball rolling. That spontaneity is a precious commodity for your writing, and will pay many creative benefits as your work progresses.  But...it's also why what is written off the cuff quite often has to be extensively corrected or wholly replaced.

Before we begin writing a project, we should have an idea of how it will end.  No matter the twists and turns, we need to know where we're going before we take the journey to get there.  Screenplays, novels, magazine articles, etc., are perpetual works in progress until they are "finished". They require constant care and feeding until they are released into the world for judgement, and even then may require more attention.  And, though it may seem contrary to my statement above, preparation is the best asset a writer has for turning whatever they're writing into a meaningful endeavor.  Preparation's primary function is to help a writer control the chaos of invention; to gather the information in a coherent manner, avoid pitfalls and redundancies, and guide the work toward its final polish.
As our prime-generator is our creativity, preparation is a safe haven for our imagination to find its center. And the best weapon for preparation is prioritizing.

Which Thing Goes With The Other Thing?

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Constructing a credible story takes patience, determination, logic, a firm understanding of story structure, and a solid premise.  Without due preparation, writing mistakes, especially at a crucial juncture, can have a ripple effect throughout the material, causing heavy consternation and wild bouts of frustrated profanity.  Lack of preparation or prioritizing is the leading cause of writers writing themselves into a "corner", having to re-write entire scenes, re-work paragraphs, re-imagine characters, or question why they're writing their project in the first place.  Avoiding this very predicament is reason I like to use "bullet sheets".

A bullet sheet (aka beat sheet) is basically a bare-bones outline.  The difference is that a bullet sheet doesn't go into as much detail as an outline; just quick "shots" of the story points.  Its function is to prioritize what story "beats" need to be in place to pace out the story and build momentum, but not nessarily in the order it needs to happen.  Here's a sample* bullet sheet:

BEST SCRIPT EVER - BULLET SHEET
ACT ONE:
1. INTRO - PROTAG, OR ANTAG, OR BOTH
2. INCITING INCIDENT
3. PROTAG/ANTAG COMPLICATION
4. MINOR ACT COMPLICATION
5. MAJOR PLOT POINT #1

ACT TWO:
1. ANTAG PURSUES GOAL
2. PROTAG DENIED GOAL
3. MINOR COMPLICATION
4. MAJOR PLOT POINT #2
5. PLOT REVERSAL

ACT THREE:
1. PROTAG-ANTAG GOALS COLLIDE
2. MINOR COMPLICATION
3. ACT 3 PLOT POINT
4. RESOLUTION
5. EPILOGUE

* I usually put in a minimum of 10 beats per act, but limited it to 5 for the sample.

Let's "beat" out a big movie, +The Matrix. There are a number of ways the +Wachowskis could have approached the first act, since no one had seen anything like it before (although many people consider the film +Dark City to be kind of a "pre" +Matrix).  What makes priorities, and take a leap of faith from the very beginning.  We don't know much about Neo's real quest until the "world" of the Matrix has been firmly established.  By that time, we are completely immersed, making the transition into the "real" world in the second act easier to comprehend.

What makes The Matrix's first act work so well is that we don't know what the Matrix really is until the second act.  The film asks the audience to accept the story's

Here's what The Matrix first act bullet sheet might look like:

MATRIX - BULLET SHEET

ACT ONE:
1. Establish Matrix "world"; surreal, impossibly frenetic. Trinity fights police; confronts "agents".
2. Trinity runs, agents in hot pursuit; Trinity barely "escapes" by using a phone booth hard line.
3. Estab. Agent Smith; cold, relentless, determined.
4. Estab. Neo; his "world" is mundane, isolated by technology.
5. Neo gets an "alert" on his computer; "follow the white rabbit".
6. Night Club: Neo meets Trinity; she'll introduce him to Morpheus.
7. Office: Neo is pursued by agents; Morpheus on cell phone, guides Neo thru the office, trying to protect him; Neo is arrested.
8. Neo is interrogated by Smith. Neo is recalcitrant; "loses" the ability to speak (mouth melts); the agents implant the tracking device.
9. Neo is suddenly back in his apartment; was he dreaming the interrogation? His grip on reality slipping.
10. Neo gets in car with Trinity; tracking device is removed. It was real! He didn't dream the interrogation. Off to Morpheus.
11. Neo meets Morpheus; he explains why Neo is important, how the Matrix functions; gives Neo a choice: red pill, or blue pill?
12. Neo chooses the red pill. Off to find the "real" Neo.

While it certainly isn't as sexy a read as the script, the bullet sheet plants the ideas that will feed the form and function of the outline, and make the script easier to create.  Also notice that "red pill" is bolded, indicating a major turning point in the story.  I find bolding to be a helpful reminder when creating big plot points.

You Are The Master Of The Universe

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Well, the one you are writing, anyway.  I think a lot of writers forget that they are in total control of their characters' destinies; that the path to the final conflict is lead by the writers own hand.  But could a writer forget such a thing? Well -

Writers have a lot to worry about when we take on the duties of creating a story: Does the story make sense?  Does it flow?  Are the characters engaging? Will the audience care about the hero?  Am I taking the right approach?  Are the scenes in the right order?  Does the ending justify an audience spending two hours of their time in the theater?  Is the pace moving fast enough?  Is my dialogue any good?  Is the plot too convoluted?  And on...and on. It's hard to believe anything ever gets written at all.

Knowing that we are in control of the fates of all who live and breath in our pages is both liberating and intimidating.  The responsibility for us to entertain starts on the first page, and grows exponentially as we draw closer to the final fade out.  But believing in our words is what lights the fuse to our creative purpose.  By prioritizing our components and steering the story out of the gate, we're asking our audience to trust us.  Just relax, we'll take care of everything.

As demonstrated in the Matrix example, by using the dynamic, "hyper reality" opening, the Wachowskis told the audience right away "Don't worry, you're gonna like this ride", even if the audience didn't fully understand what was going on.  By prioritizing the story elements from the very beginning, the Wachowskis rewarded the audience's patience with a fantastic journey that was entertaining to the very end.  The Wachowskis understood what best served the story, best served the film, and best served the audience.  Could the beats from the bullet sheet be re-ordered, placing the scenes in a different linear perspective?  Sure.  Would the film feel the same, and be as satisfying an experience for the audience?  Who knows?  But they obviously felt that the approach they took was the best representation of their story.  Few would argue with that sentiment.

Ultimately, writer must have the confidence to know what they're putting on the page is the right choice. "Is this information I've put in place the best piece of the puzzle to show the audience/reader at this time?  How can I make it better?"  This is why I strongly believe a bullet sheet is an extremely useful tool for priroitizing story flow, and creating story symmetry.  What is story "symmetry"?  It's the balance of the overall elements of the story you are presenting.  To me, the best stories/scripts/articles must have symmetry to connect to their audience, or you end up with long expositional speeches and ponderous character actions.  We've all seen a film/TV show or read a book where we thought "That story would have been really good if they had just done this, or that".  An audience always notices a lack of symmetry.

Think of your story as someone who goes to the gym.  The purpose of the gym is to maintain your whole body.  But there are plenty of people that only put the heavy work into specific areas; i.e. big arms or chest, but under-developed legs, etc. So be sure to make symmetry and balance top priorities, as you write.

Epilogue

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The best thing about prioritizing is that it conforms to us.  It's a tool at our beckon call, because we decide what matters in the lives of the characters on our pages.  We can cut and paste someone's whole existence to our heart's content.  We can change entire destinies by pressing backspace, or enter.  But choosing what to change isn't always easy.  When we work so hard on creating the big picture, the smaller misshapen pieces can go unnoticed.  We sometimes get "tunnel vision" when we focus on elaborate set pieces, or specific story details and dialogue, leaving other equally important story components left unattended.   But by prioritizing the essential elements of our writing, and maintaining balance and symmetry, the journey to the end of the story is a much smoother road to travel.

I hope this post has been helpful.  Best of luck.
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A Few Quotes:
The role of the writer is to say what others cannot - +Anais Nin

Writing is a socially acceptable form of schizophrenia - +E.L. Doctorow

I try to leave out the parts that people skip - +Elmore Leonard

What is written without effort is usually read without pleasure - +Samuel Johnson

I am often so clever I that I don't understand a single word I've said - +Oscar Wilde

Either write something worth reading, or do something worth writing about - +Ben Franklin
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Recommended links:
+Writer's Guild Of America - www.wga.org - register your script!

+Screenplay.com - www.screenplay.com - Movie Magic Screenwriter 6

+The Writer's Store - www.writersstore.com - writing software, books, seminars, etc.

+WordPlay - www.wordplayer.com - website of writers Ted Elliot and Terry Rossio

+Zoetrope - www.zoetrope.com - +Francis Ford Coppola's company website

+Film Independent - www.filmindependent.org - for independent filmmakers/writers

JoBlo's Movie Scripts - http://www.joblo.com/moviescripts.php - film scripts

+Simply Scripts - www.simplyscripts.com - library of produced and unproduced scripts

The Script Mentor - www.thescriptmentor.com - script mentoring and coverage

SpecScout - www.specscout.com - a spec script sales tracking service.
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The Art Of Words: Quotability

An important, and often overlooked, aspect to screenwriting is how quoatble your characters are.  Quotability is essential to the "afterlife" of your story.

FADE IN:

Amongst several other projects, I am punching up a comedy screenplay. I have two agendas:

1. Make it funny.
2. Make it quotable.

Quotability is an underappreciated, and too often ignored, component in most screenplays. I believe quotable characters should be a top priority for all scripts, to help the stories achieve a successful "afterlife". In fact, I believe many movies wouldn't even have an afterlife if it weren't for their quotable lines.

Every film catagory has its "titans" who define the genre. And more often than not, those titans have some measure of recognizable quotability.  Let's look at some examples.  I bet you know which movies they're from:

1. "May the force be with you."
2. "I'll be back."
3. "You're gonna need a bigger boat."
4. "You talkin' to me?"
5. "We're not in Kansas, anymore."
6. "Rosebud."
7. "Here's lookin' at you, kid."
8. "I coulda been a contender."
9. "I'll make them an offer they can't refuse."
10. "You can't handle the truth!"
11. "She's my sister. She's my daughter."
12. "Go ahead. Make my day."
13. "I am serious. And don't call me Shirley."
14. "How am I funny?"
15. "Life is like a box of chocolates."
16. "There's no crying in baseball."
17. "Get busy livin', or get busy dyin'."
18. "Show me the money."
19. "I see dead people."
20. "Heeeere's Johnny!"
21. "Every man dies. Not every man truly lives."
22. "Why so serious?"
23. "Say 'hello' to my little friend!"
24. "Yo, Adrian!"
25. "Frankly my dear, I don't give a damn."

These quotes have helped each movie etch a permenant place in film history. True that most of the films are classics, or highly respected, and would probably endure without being quotable. But there's no denying that the power of quotability has given the films an even greater presence in the public conscious. This is a position well known to the +Bond films. What would that series be without our hero stating "Bond. +James Bond" in each film? It wouldn't be the same experience for the audience. And that is (or should be) the ultimate goal for every cinematic endeavor: letting the audience feel they have a special relationship with the material.

Film quotes answer key:
1. +Star Wars
2. +The Terminator
3. +Jaws
4. +Taxi Driver
5. +The Wizard Of Oz
6. +Citizen Kane
7. +Casablanca
8. +On The Waterfront
9. +The Godfather
10. +A Few Good Men
11. +China Town
12. +Sudden Impact
13. +Airplane
14. +Goodfellas
15. +Forrest Gump
16. +A League Of Their Own
17. +The Shawshank Redemption
18. +Jerry Maguire
19. +The Sixth Sense
20. +The Shining
21. +Braveheart
22. +The Dark Knight
23. +Scarface
24. +Rocky
25. +Gone With the Wind

YOUR STORY'S ETERNAL LIFE

Social media has provided a powerful arena for filmmakers to attract and maintain their audience. Every studio has a +Facebook page, a +Twitter presence, a +LinkedIn profile, and so on. +Studios and production companies understand the power of these environments; that social networks are perfect platforms for films and TV shows to live on long after they've left theaters, or been sent on to syndication glory.

Story is always the primary element in any script. Character is the next primary, and quotability is a definite character attribute. But making quotable characters isn't as easy as it sounds. If the "quotable" line is too cheesy or doesn't quite reflect the situation your character(s) is in, then it will fall flat (unless that's the intent, for comedic effect). This can be the pitfall for catchphrases, as well. If it doesn't relate, the audience won't equate. The key is to make the phrase relevent and (if possible) universal, so fans can use the phrase freely in whatever environment they're in (I've heard "We need a bigger boat" used in more social situations than I can count). Quotable lines used by fans, on social media, or other avenues, means more exposure for the source material - your story.

When +Robert De Niro's character Travis Bickle famously uttered "You talkin' to me?" in +Taxi Driver, the speech wasn't in the original script. He made it up while rehersing the scene. And since Mr. +De Niro just happens to be brilliant, he created a movie moment that will live forever. In fact, when +Taxi Driver was first released it wasn't a hit. But when people started quoting the famous speech, more people went to see the movie to understand the context. That's the power of quotability. Raising the public's curiosity and drawing in more audience. There have been many films where a famous line was made up on the spot, like +Bogart's "Here's looking at you, kid" from +Casablanca. That creativity is part of the collaborative nature of filmmaking, and is necessary for any film to succeed. But if you get your story ahead of the curve with strong characters and good quotability, your chances for cinematic eternity improve greatly.

WHAT EXACTLY IS A STORY'S "AFTERLIFE"?

Simply put, the "afterlife" of a story is why we write in the first place. It's that what we write has meaning and carries forward to future generations in the form of habitual re-viewing by a rabid fan base, celebrational re-releases, dvd's, books on our work, the public quoting our words ad nauseam, our story and characters having a constant presence on social media, and tilling the fertile land of merchandising and licensing.

Everyone hopes for an "afterlife" for their work, but we don't always know there will be one. When +George Lucas finally made +Star Wars (after being turned down by +Universal, among others), +20th Century Fox wasn't completely sold on how well the film would do. It wasn't titled +Episode IV, yet. It was a one-and-done project. +Fox looked at the film as an expensive (for the time) kids movie with cool effects. In fact, Fox handed over the merchdising rights to +Mr.Lucas as a sign of just how much faith they actually had in the property. Well it's safe to say that after five (soon to be six) sequels and $4.5 billion in gross later, the "afterlife" of a certain industry changing space saga worked out incredibly well for Mr. Lucas. His belief in his work, his unwavering vision, and his sheperding of all aspects of his story (including quotability) has culminated in a success few have dared to dream of.

We all have the opportunity to be game changers. But not everyone holds such lofty goals. Sometimes we just want to tell a nice story we can be proud of. It's an ambition every writer should have, regardless of scope and scale of our effort.

EPILOGUE

We don't always know what's quotable. That's the wild card. But I believe that it's better to take a shot at bolstering the longevity of the material, than playing it safe. This is a lesson we can learn from good comedy films.

A perfect example is from the early movie masters of quotability, the +Marx Brothers. Take a look at +Duck Soup. Almost the entire movie is quotable. Same goes for +Animal Crackers, which contains the famous "One morning, I shot an elephant in my pajamas. How he got in my pajamas, I'll never know". There are other films such as the +Hope and +Crosby "Road" movies, +Some Like It Hot, +The Odd Couple, +Blazing Saddles, +Young Frankenstein, +Caddyshack, +Airplane, the+ Naked Gun series, +The Princess Bride, +Austin Powers, +There's Something About Mary, +Anchorman, and many more. They're all great comedies, and all very quotable.

So take a chance and try to put some quotable lines in your script. If a line doesn't work, take it out. Simple. But if you know what your script is about, the quotability should be inherent. You just have to dig a little deeper, and find the magic.

I hope this post has been helpful. Best of luck.
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A few quotes:
It is not in the stars to hold our destiny, but in ourselves - +William Shakespeare

If it's not on the page, it's not on the screen - +Robert Evans

Story is the key to everything on screen - +Richard Zanuck

Self-trust is the first secret to success - +Ralph Waldo Emerson

The way to get started is to quit talking and begin doing - +Walt Disney

It's not about one big opening weekend. It's about building a career that you can be proud of - +George Clooney

The most incredible thing about my career is that I had one - +Preston Sturges
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Recommended links:
Writer's Guild Of America - www.wga.org - register your script!

Screenplay.com - www.screenplay.com - Movie Magic Screenwriter 6

The Writer's Store - www.writersstore.com - writing software, books, seminars, etc.

WordPlay - www.wordplayer.com - website of writers Ted Elliot and Terry Rossio

Zoetrope - www.zoetrope.com - Francis Ford Coppola's company website

Film Independent - www.filmindependent.org - for independent filmmakers/writers

JoBlo's Movie Scripts - http://www.joblo.com/moviescripts.php - film scripts

Simply Scripts - www.simplyscripts.com - library of produced and unproduced scripts

The Script Mentor - www.thescriptmentor.com - script mentoring and coverage

The Art Of Words: Screenplay Optimization

FADE IN:

Hello Writers,

How are you? I am fine. Just want to take a moment to explain what this post is about: screenplay optimization. It's an important and (I believe) fundemental part of screenwriting. We're not talking about story optimization, which is getting the most effective use out of all your story components.

Screenplay optimization is forming and shaping the physical appearance of your script. Optimization is imperative, because the physical appearance of your script pages is as important as the story itself. Optimization is another tool to get the most out of your script pages.

EVERY WRITER'S HIDDEN MISSION

It's been said the great Irish author James Joyce used a mathematical formula to determine the placement of each word, sentence and paragraph in every one of his manuscripts. Now, I'm not sure screenwriters need to go to that extent, but having an idea of how we want our scripts to look (or anything we write, for that matter) is an important part of our craft.

There's a certain perception versus reality when it comes to scriptwriting: just make the story great, and it will sell. Well, writing a great story is only half the battle. If the script doesn't look like a top shelf effort, it won't climb the ladder from a reader to an agent or producer or studio. We can accomplish this by editing stories down to a good "fighting weight", where word and page count is pared to a reasonable sum.

Something I find helpful is assessing a "value" on the words I put into a story. It doesn't mean giving monetary value to each word (though, I'm sure many writers do). What valuating really means (to me) is that not just any word adds value to the story. Another way to think of it is "Am I using the very best and most useful words to tell my story in an efficient manner"? Most any presentation spec script* with an explosion of words on each page will quickly find its way to the trash bin in a production office.

Editing down to the highest value words affects everything from sluglines, to narrative descriptions, to lines of dialogue. The good news is editing/valuating can be done using any pad of paper, computer or typwriter; at any desk, table, or lap; in any room, classroom, office, studio, or Starbuck's.

An important agenda is always make the script as lean as possible. This is where word valuation (aka economizing) comes into play: using the fewest, and best, words to tell the most story. Television embraces the optimized manner of writing because the confines of TV (30 min. and 60 min. formats; accelerated production schedules) dictates the necessity of a lean, tight approach.

We can learn script optimization by example. Read produced scripts from past decades to present, and you'll notice by comparison that screenwriting has made huge leaps forward in formatting, structure, and efficiency. For instance, the format of +Citizen Kane is quite different from that of +The Godfather. Both epic in scope and scale. Both exceptionally well told. Both worthy of the admiration they garner.  But Godfather's format has an efficiency that didn't exist when +Welles and +Mankiewicz were writing. That has to do with writers and studios coming together over the years to work out better, more effective standards. Much of the reason is that producers don't have time to read. They want efficient stories that are solid, lean, and sellable. And it's our job to write 'em that way.

* Note: There's a difference between a presentation script and a production script. A presentation script is the spec you want to sell to a producer or production company. A production script is what you write after the story has been sold, and is being drafted for production.

WAIT A MINUTE.  LESS WORDS = MORE STORY?

I recently read an unproduced script that I knew right away would not get past a reader at any production company or agency. It's not that the story was weak (though not as compelling as it could have been), it's not that the formatting was wrong, or that the characters weren't engaging (though, except for the two leads, most weren't as strong as they should have been).

And the problem was? The opening narrative description was 5 1/2 inches long! The standard script page is 8 1/2" x 11", which means half this opening page was description! This heavy-handed attention to detail replayed on every page to the end of the script. I believe most any reader would have put it in the rejection pile after 5 pages of this bombardment.

I have no doubt that if the writer optomized the script and used only high value words, keeping the descriptive blocks at 2-3 lines, they'd cut at least 20 pages of dead-weight from the script. That means 20 pages of story expansion, character growth, and emotional involvement for the audience were buried under a desert of unnecessary wordage.

Expanded description might work well for a novel, a magazine article, or an amazing blog on writing, but a screenplay has to be lean and lucid.  The effect is two-fold:

1. The story reads faster, which is a more pleasent experience for the reader (and the level of pleasure in their reading experience does count towards your script getting a Yes or Pass).

2. The more "white space" there is on the page has a psychological effect, relaxing the reader emotionally and suggesting there's less work for them mentally (script appearance also counts towards a Yes or Pass).

If a reader at most any production company or studio has a stack of scripts to cover (or a logjam of PDF's), the last thing they want to see are script pages covered in a dense fog of Courier type. If you've ever had to sign a stack of important documents, and seen an ocean of words on page after page, you know that can be intimidating. So imagine a poor reader having 50 scripts to cover, and each possesed a tidal wave of verbiage. The tears would be endless. Help them (and your story) by having tight, lean and clean script pages.

So what does a "lean" screenplay really mean? Is it less pages making a thinner script? Yes and no. A script that's been optimized refers to the amount of words used to tell a story in the confines of standard format (aka "trimming the fat"; "cutting the excess"). Less word count doesn't always mean less pages. But fewer words should mean tighter structure and efficiency, helping you serve all aspects of your story.

So, how do we do it?

SCRIPT LIPO 101

There's a learning curve when it comes to putting a script on a "diet". While it isn't always easy to make cuts, it does give us another opportunity to show our creativity within the body of the script. If we've done all the necessary grunt work to prepare our story (outlines, index cards, bullet sheets, treatments, or whatever our weapon of choice), we should be able to breakdown the essential narrative components relatively easily. The hard part comes in choosing which words to keep.

As we write, we fall into comfortable patterns, ones that help shape our "voice" as writers. Those patterns can be counter-productive because when it comes to editing, we tend to love our words a little too much. Sometimes it's a question of confidence: do we trust what we've written will be underdstood? If we take words away, will it lessen the impact of our writing? It's at this point we need to take a step back, and decide what's in the best interest of our work.

Example:
Let's say we have a common action/thriller scenario: Joe, our protagonist, is in a situation where Phil, our antagonist, will force Joe to rob the bank they're about to enter. Joe's wife and son are held hostage by Phil's henchmen, so if Joe doesn't rob the bank it will mean the end for his family.
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EXT. BANK - DAY
Phil's car pulls up front. Joe drives even though he doesn't want to, but Phil is making him. Joe has a trickle of sweat that starts at the top of his forehead, pauses, then beads down. He's trying to think of a way to get the gun away from Phil, because he thinks Phil will kill him and his family anyway after the bank robbery, even though Phil says he won't. They get out of the car together, and walk together to the front of the bank. They stand together and look at the entrance to the bank. Phil has a gun hidden under his coat and pokes Joe in the ribs with it. It hurts, but Joe doesn't say anything because he's kind of scared. Joe walks toward the bank doors, worried about what could go wrong after he goes in.
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Obviously, there is way too much information in this scene. There's misplaced information, irrelevant information, and needless redundancy.

Let's fix it up:
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EXT. BANK - DAY
Phil's car pulls up, Joe drives. Phil conceals his gun under his coat. Motions for Joe to get out. They exit.

They stand in front of the bank. Phil's gun jabs Joe in the ribs, reminding him the clock is ticking. Joe glances at his wedding ring. Knows what's at stake. Hesitantly approaches the bank doors.
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Much cleaner, more fluid. There's a hundred ways to give this same info in an equally effective manner, as long as we keep the page as clean as possible.

Scenes that require more intricate detail still apply the same principle: use only what's necessary.

Below is the first page of a screenplay I recently finished, titled The Den Of The Damned. I believe it follows the optimization principle quite closely.
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Excerpt from the screenplay, The Den Of The Damned, written by Charles Dalrymple

FADE IN:

EXT. DESERT - DAY

SUPER: NEW MEXICO TERRITORY - 1866

Harsh sunlight blankets the desert floor, and the path of -

A MAN (face unseen), slight limp. Something intense about him. Leads a PALE HORSE. The man's wide hat and long coat are dusted from the land he's crossed.

EXT. ROCCA BLANCO - TOWN CENTER - DAY (LATER)

Sun-blanched buildings hint at faded promise of a boomtown.

BULLET-POCKED SIGN: "WELCOME TO ROCCA BLANCO"

DUSTY BOOTS

Tow the pale horse past the sign to a weather-beaten water trough.

LEATHER GLOVES

Tie the horse to a hitch.

WATER TROUGH

A glove scoops water. Face, hidden by wide hat, drinks.

PALE HORSE

The gloves remove a battle-scarred .44 1863 Henry Repeating Rifle - STAMPED U.S. ON THE BUTT - from its saddle scabbard.
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The page sets the tone/mood immediately, gives character details, gives location details, and a bit of foreshadowing, all with a minimum of wordage. Later in the story, I fill in the blanks of how the man came to acquire the clothes, horse and Henry rifle. So, the story is served from beginning to end.
Also, notice that I didn't include blatant camera angles or editing direction. They clutter the page and take up valuable "white space". Don't include them until the script is in production.

EPILOGUE

There's no "one size fits all" approach to anything creative. And there are exceptions to every rule. Any number of recently produced scripts fly in the face of what I've posted here. But there are varying forces at work: a script produced by a studio can look however the studio wants it to look. If a particular writer's style suits a particular studio's needs, then the script will be built accordingly.

Case in point - +Quentin Tarantino and the +Weinstein Company. +Tarantino's scripts are 180 degrees opposite of lean. But his use of extensive narrative is masterful, and his style has garnered two Oscars, as well as a niche for himself and the Weinsteins. But, again, I feel this is the exception to the rule.  By and large, optimized scripts are the industry preference.

For every "full figured" script, there's one that's "lean". Check out the script for +Alien by Walter Hill and David Giler. It feels like the whole story is told in one-word sentances. That's an exaggeration, but not by much. As lean as it is, the whole story is on the pages, built for maximum effect and efficiency. The opposite might be the script for +Amadeus. Thick, intricate narrative blocks fill the pages - and it won an Oscar. +Butch Cassidy & The Sundance Kid - lean, tight. And it won an Oscar. +The Godfather, fits in the "full figured" catagory. Won an Oscar. +No Country For Old Men, fits the "lean" catagory. Won an Oscar. The list goes on...

I've read well over 200 produced scripts. From what I can see, lean scriptwriting has been the trend for at least 30 years. I truly believe that's the best approach, especially for a new writer. Create a lean, tight, efficient script, and your chances for success increase exponentially.

These are just my opinions. Do with them what you will. Best of luck.
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A few writers whom adhere to script optimization:
+Christopher Nolan
+Shane Black
+Walter Hill
+Tony Gilroy
+Darren Aronofsky
+The Wachowskis
+Thomas Lennon & Robert Ben Garant
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Useful links:
Writer's Guild of America - www.wga.org - Register your script!

Screenplay - www.screenplay.com - Movie magic Screenwriter 6

Writer's Store - www.writersstore.com - Books, vids, seminars, software, etc.

Wordplay - www.wordplayer.com - Website of writers Ted Elliot and Terry Rossio

Simply Scripts - www.simplyscripts.com - Library of produced and unproduced scripts

The Script Mentor - www.thescriptmentor.com - Script mentoring, coverage
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A Few Quotes:
Though this be madness, there is method to it - +William Shakespeare

Writing begins when you've finished. Only then do you know what you're trying to say - +Mark Twain

There can't be art, without risk - +Francis Ford Coppola

I don't believe in writer's block - +Elmore Leonard

First, find out what your hero wants. Then, just follow him - +Ray Bradbury

The difference between fiction and reality? Fiction has to make sense - +Tom Clancy

It's impossible to discourage real writers - +Sinclair Lewis

Screenwriting is really no more complicated than old French torture chambers - +James L. Brooks

The Art Of Words: So You Wanna Write A Screenplay

FADE IN:

INT. ROOM - DAY

A WRITER sits at their computer, words flow from their fingers to the keyboard.  The creativity is almost overwhelming...


INTRO
A screenplay (or play, teleplay, TV episodic script, etc.) is,
simply put, a visual story told through words.  You write down words to describe the settings and action, and dialogue for characters to say. Sounds simple, right?  Well, writing in these arenas is deceptively difficult.  A good story covers many more bases than just boy-meets-girl, hero-saves-world, girl-changes-her-life-for-the-better, etc. A good story speaks to many people in many different ways, and leaves an impression that (hopefully) can last a lifetime.

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INT. ROOM - DAY

The writer realizes there's more to their craft than just putting words on paper.  They must now learn proper story structure...

ACT ONE

First question: why do you want to tell your story?  There are many reasons to write a story, but whatever your reason, know why you want to write your particular tale.  Is it a story that is personal to you?  A story that you believe many people can relate to?  A story you know in your heart people are dying to see on stage or screen?  A big mistake a lot of writers make is the "writing to make a million" idea.  This angle has bitten more writers, producers, directors, and studios in the behind more times than most are willing to admit.  So be careful taking the "writing to make a million" approach.  Know the reason you are passionate about writing your story, because as you commit days/weeks/months/years to a project, that passion will make the path to completing the story a little easier.  So, now that you know why you're writing your epic, the next step is to -

LEARN THE CRAFT OF WRITING.  Writing is a profession.  To be taken seriously as a writer, you should approach it seriously.  And if you're going to write a story to present to professionals, your story better look professional.  Learn everything you can about writing, study how to properly structure story components, and what it really takes to make a solid, compelling tale.  Think about the stories you like to read, shows and movies you like to watch.  There is something inherently alluring about them, something that speaks to you on a deeper level than just visual stimulus, and a reason why you return to see, read or watch them again, and again.

There are so many good books, videos, seminars, produced scripts, schools, script reading services, script doctoring services (the list goes on), that I don't need to stand on a soapbox and say "Do it this way".  How to decipher which to read or pay for is up to you, so do thorough research when looking for the right ones.  A book you will hear a lot about in your research is Story by + Robert McKee.  It's an epic tome that lays out many of the best and most functional aspects of writing and the approach to writing.  I recommend it, but I won't say it's the end-all-be-all guide on how to write. (A personal note - I don't endorse any book, video, seminar, etc., because everyone has different needs to develop their own writing style. I am happy to make recommendations).

Research and preparation are your friends at the beginning of the writing process. Use them well, and get that story off to the write start.

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INT. ROOM - DAY

The writer types "The End".  The draft is done.  Couldn't possibly do more.  And yet, something's not quite right...

ACT TWO

Learn to write - better.

Wait, what?  Didn't I just say to learn the craft, do all the necessary research and preparation on which writing books/seminars/videos to read/view?  Yes, I did.  And all those things will help you get your script going. But -

EVERYONE has a learning curve when it comes to creative writing.  Understanding this is crucial, especially when you're just starting out.  Why?  Because writing can be frustrating, infuriating, and discouraging.  But if you realize that no one is brilliant right off the bat, and you know that the best writers from Hemingway to Sorkin have had the same struggles and frustrations, yet persevered and created the stories and films we all love, it makes the whole learning curve easier endure.

The saying that "writing is re-writng" may be the truest statement ever made about the creative process.  Why do we re-write?  Because no matter how good our work is, it can be better.  There's always a new idea or twist, or something that can be trimmed or re-worded.  And this is because, with extremely rare exception, no one's first draft* is good enough to sell right away.  Think of it as a painter whom constantly adds even the smallest of strokes to their painting time and again, because they know in their hearts the piece isn't yet finished.  If you're honest with yourself, you'll know when your work is truly ready to present to agents, or producers.  But let's not get ahead of ourselves.

As I mentioned - be honest with yourself.  Writing is hard enough without turning a blind eye to inherent structural flaws or thin character development.  So be honest enough to know when something isn't working in the overall story arc.  Honest enough to know if you've written too much or too little to tell your tale.  Honest enough to know when a character isn't panning out, or when the B or C story isn't going anywhere and dragging down the pace of A story.  Because when the whole story works together, you can have a great movie -

Example: + Die Hard

A story: New York detective John McClane is forced into action when thieves at his wife's office party take hostages, including McClane's estranged wife.

B story: McClane came out to Los Angeles so he and his wife can try to work things out in their troubled marriage.

C story: A disgraced beat cop in need of redemption is McClane's only link to the world outside the Nakatomi building.
 
D story: A sleazy, opportunistic reporter tries to get the scoop of a lifetime on the hostage situation.

There are actually a few more sub-plots, but I limited it to these four to make my point.  If you've seen the movie you know that each of these plots fully supports the other, and as you watch the movie unfold, the story as a whole works better because of it.  If McClane's wife didn't care, or helped the thieves capture McClane, it would've been a completely different and unsatisfying movie. If McClane decided the odds against him were too great, and abandoned the hostages to call the police from the AM/PM down the street, the movie wouldn't work.  If the reporter doesn't try to advance his career by taking a news van to the Nakatomi building, thereby alerting the police by broadcasting the gunfights on live TV, the story would end with the thieves getting the better of McClane.  If the script's structure was lax or lazy, or if any of these plots don't fully support the other, the entire story/movie would fail.

* A helpful hint - DO NOT put draft numbers and dates on your scripts, until you are paid to do it. Producers don't care how many drafts it's taken you to get your work ready to show them. They only care about production drafts. That means, as far as a producer is concerned, every draft is a first draft until the script has been purchased.

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INT. ROOM - DAY

The writer, having done all they can to make the story as good as it can be, types "The End".  It feels right,  But, one more thing...

ACT THREE

There.  The script is done.  Not a single word more could possibly be added or removed... or could it? The story is tightly written and compelling and balanced... or is it?  Let's find out.

Rule #1: Is it properly formatted?  The script has to meet the industry standard, whatever the current standard is.  Screenwriting (and writing in general) is an evolving art form, which means formats evolve, as well.  If you've done your research, your format should reflect the latest standard.  (A word of caution: if you are formating your story from a produced script - depending on when that script was written - the format may no longer be the standard.  Also, there are commissioned scripts that are studio or film specific, meaning that particular script's format may have been rendered for that specific project).  We've checked the format, now -

Rule #2: Are there any typos, misspellings, bad punctuation, wrong word usage (i.e. your vs. you're; there vs. they're vs. their; etc.)?  Is the title page properly formatted (yes, the title page is also formatted)?  All these items are part of the writing process, and should be addressed accordingly.  The physical appearance of your script is as important as the story itself.  Why?  Because it's the first introduction an agent/actor/producer/director/studio has to your skill set as a writer, and you have to impress them right off the bat.  I can't stress this enough.

Rule #3: Is the story really as good as you can make it?  I recommend reading your script as many times as possible before you present it to anyone professionally.  Have friends and family whose opinions you trust read it.  You may want to have your script professionally covered, meaning a service you pay for will read it and critique it.  Another option may be to have actors from an acting class/school/troupe/playhouse do a "table read".  A table read can be helpful because you hear the characters say your words out loud, and it can help you decide which dialogue works and which doesn't.  Many scripts have crashed and burned because they were presented before they were truly ready.  Do all you can to avoid this fate.

Rule #4: Is your work registered with the Writer's Guild, or Library of Congress?  Protect your work, protect your work, protect your work.  And if you're still missing my point - PROTECT YOUR WORK.  If you've spent any signicant time at all working on a story, you owe to yourself to take this step.  There are other services that claim to protect your intellectual property, and they may well do that.  It's up to you to investigate them.  But I would, at the very least, register with the WGA.  It's only $20, and well worth the peace of mind.

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EPILOGUE

Here are a few recommendations that I believe will be helpful:
(Note: I have no affiliation with any of these entities.)

Recommended books:
Poetics - +Aristotle

The Elements Of Style - Strunk, White, and Angell

Story - +Robert McKee

The Hero's Journey - + Chris Vogel

Screenwriting: The Art, Craft, and Business - +Richard Walter

Adventures In The Screen Trade - +William Goldman

Writing Movies For Fun And Profit - +Robert Ben Garant & +Thomas Lennon

Maverick Screenwriting - +Josh Golding

Writing Screenplays That Sell - +Michael Hauge
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Recommended links:
Writer's Guild Of America - www.wga.org - register your script!

Screenplay.com - www.screenplay.com - Movie Magic Screenwriter 6

The Writer's Store - www.writersstore.com - writing software, books, seminars, etc.

WordPlay - www.wordplayer.com - website of writers +Ted Elliot and +Terry Rossio

Zoetrope - www.zoetrope.com - +Francis Ford Coppola's company website

Film Independent - www.filmindependent.org - for independent filmmakers/writers

Simply Scripts - www.simplyscripts.com - library of produced and unproduced scripts

The Script Mentor - www.thescriptmentor.com - Script mentoring and coverage

SpecScout - www.specscout.com - A spec script sales tracking service
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Recommended script reads (no particular order):
+Pulp Fiction - +Quentin Tarantino

+Butch Cassidy & the Sundance Kid - +William Goldman

+The Godfather - +Mario Puzo and +Francis Ford Coppola

+The Matrix - The +Wachowskis

+The Bourne Identity - +Tony Gilroy

+The Dark Knight - +Christopher Nolan & Jonathan Nolan

+Alien - +Walter Hill and David Giler

+True Grit - +Joel Cohen & Ethan Cohen

+Shakespeare In Love - +Marc Norman & Tom Stoppard

+Shutter Island - +Laeta Kalogridis
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A few quotes:
Whatever you do, be so good they can't ignore you - +Steve Martin

Writing is its own reward - +Henry Miller

Prose is architecture, not interior design - +Ernest Hemingway

I believe more in the scissors than I do in the pencil - +Truman Capote

The reward of a thing well done is to have done it - +Dorothy Parker

Don't tell me the moon is shining; show me the glint of light on broken glass - +Anton Chekhov

We do not write because we want to, we write because we have to - +Somerset Maugham

Don't let what you can't do interfere with what you can - +John Wooden

Courage is resistance to fear, not the absence of it - +Mark Twain

Never use a long word where a short one will do - +George Orwell

Learn what you need to know, before you learn what you want to know - Charles Dalrymple
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There are literally dozens more recommendations I could make about great books on writing, script services, scripts and more.  But I would rather limit my recommendations to a choice few, and not overwhelm anyone.

I hope this information has been helpful. Best of luck.